What does a writer do when he's got a family that includes a blacklisted member of the Hollywood Ten, the brains behind Tony the Tiger and the Marlboro Man, a trio of gay puppeteers, the world's leading birdwatcher, sixties hippies, a Dutch stowaway who served in an all-black regiment during the American Civil War, a mother of unusual compassion and understanding, and a convicted murderer? He tells their stories and secrets, illuminating 150 years of American life along the way. Dan Bessie begins the journey through his family history with his great-grandfather in the cargo hold of a ship bound for New York on the storm-tossed Atlantic. What follows are stories of his grandfather's various entrepreneurial schemes (including a folding butter box business), a grandmother who was voted "New York's Prettiest Shop Girl" (and who resisted the recruitment efforts of various city madams), and his uncle Harry's Turnabout Theater in Los Angeles (a renowned puppet theater drawing patrons as diverse as Shirley Temple, Ray Bradbury, and Albert Einstein). Through inherited journals and literary effects, Bessie comes to a new understanding of his father, Alvah. An actor and writer, he fought in the Lincoln Brigade during the Spanish Civil War. When he returned to the States, he headed to the Warner back lots to begin a screenwriting career. But as congress began investigating radicals in the film industry, Alvah was blacklisted for his Communist sympathies and was soon sent to jail as one of the Hollywood Ten. His grandmother's cousin, Sidney Lenz, wrote Lenz on Bridge, a classic guide to the game of contract bridge. Bessie describes what was billed as the Bridge Battle of the Century, a 1931 match between Lenz and an upstart opponent that was covered by journalists from all over the world. Bessie's brother-in-law Wes Wilson designed rock and roll posters for the Fillmore Auditorium in San Francisco during the 1960s, living a counterculture existence vastly different from the bridge-mad Depression Era. Cousin Michael was heir to the compulsive storytelling characterizing many of the Bessies. He found his niche in publishing, co-founding the Atheneum Press and shaping books by people such as Anwar Sadat, Edward Albee, and Aldous Huxley. With an equally impressive career, Uncle Leo built the country's fifth largest advertising agency. A passion of a different sort led cousin Phoebe Snetsinger to travel from Webster Groves, Missouri, to the far corners of Africa and Asia. The world's leading birder, she sighted 8,400 different birds-nearly 85 percent of the species known to exist. An extraordinary strain of creativity runs through the Bessie and Burnett clans, and Rare Birds celebrates the colorful diversity of a remarkable and accomplished family. While their choices and professions run the gamut of the American experience in the twentieth century, the history of the nation can be traced in these people's lives. Bessie's passionate birds of a feather gather to sing their unique song across decades and generations. Dan Bessie has been a film writer, director, producer, and animator since apprenticing on Tom and Jerry cartoons at MGM in 1956.

For generations of film and theatre audiences, Charles Boyer was the archetypal Frenchman - cultured, courteous, seductive, yet never quite at home in a culture not his own. Even his murmuring baritone voice echoed that loss, giving him the very essence of romance. While one might have expected that the real-life Boyer was a playboy and serial seducer, in reality, he was intensely private, thoughtful, and fidelitous in love - and very professionally astute. The Great Lover is the first biography of Boyer to exist in English in almost forty years. In an insightful analysis of Boyer's choice of roles during and after World War II, author John Baxter reveals how Boyer, realizing his accent would always mark him as an outsider, both embraced and subverted that identity. Baxter relates how Boyer established himself in the theatre and cinema of France, confidently transitioning from silent film to sound and making a name for himself as a romantic leading man in Hollywood through the early 1940s. During World War II, Boyer put his career on hold to become politically active on behalf of his occupied home country. Upon returning to acting, Baxter shows how Boyer adapted effortlessly to postwar character roles in both Europe and the United States. He entered television in the 1950s as producer and performer, and then remade himself as a comedy performer in the 1960s. A four-time Academy Award nominee, he was honored by the Academy only once for his activities on behalf of France during World War II. Far from clinging to the performances that made him famous, Boyer showed a readiness to break the mold. Yet above all, Baxter argues that Boyer's greatest achievement lies in being the embodiment of exiles everywhere.

This exceedingly timely book looks at the history of black activist athletes and the important role of the black community in making sure fair play existed, not only in sports, but across U.S. society. Most books that focus on ties between sports, black athletes, and the Civil Rights Movement focus on specific issues or people. They discuss, for example, how baseball was integrated or tell the stories of individuals like Jackie Robinson or Muhammad Ali. This book approaches the topic differently. By examining the connection between sports, black athletes and the Civil Rights Movement overall, it puts the athletes and their stories into the proper context. Rather than romanticizing the stories and the men and women who lived them, it uses the roles these individuals played - or chose not to play - to illuminate the complexities and nuances in the relationship between black athletes and the fight for racial equality. Arranged thematically, the book starts with Jackie Robinson's entry into baseball when he signed with the Dodgers in 1945 and ends with the revolt of black athletes in the late 1960s, symbolized by Tommie Smith and John Carlos famously raising their clenched fists during a medal ceremony at the 1968 Olympics. Accounts from the black press and the athletes themselves help illustrate the role black athletes played in the Civil Rights Movement. At the same time, the book also examines how the black public viewed sports and the contributions of black athletes during these tumultuous decades, showing how the black communities' belief in merit and democracy - combined with black athletic success - influenced the push for civil rights. •

Horror films. Deanna Durbin musicals. Francis the talking mule. Ma and Pa Kettle. Ross Hunter weepies. Theme parks. ET. Apollo 13. These are only a few of the many faces of Universal Pictures. In February 1906 Carl Laemmle, German immigrant and former clothing store manager, opened his first nickelodeon in Chicago. He quickly moved from exhibition to distribution and to film production. A master of publicity and promotions, within ten years "Uncle Carl" had moved his entire operation to southern California, founded a city, and established Universal Pictures as one of the major Hollywood studios. In time Universal found its niche in horror films featuring Karloff and Lugosi, comedies starring Abbott and Costello and W.C. Fields, and low-budget musicals. But Carl Laemmle Jr. proved less adept than his father at empire building. Eventually he was forced out by financial difficulties, opening the way for a string of studio heads who entered and exited one after another. Thus the age of corporate Hollywood arrived at Universal Pictures earlier than at other studios. The Universal-International merger in 1946, Decca's stock takeover in the early 1950s, and MCA's buyout in 1962 all presaged today's Hollywood, where the art of the deal often eclipses the art of making movies. Stars and executives have come and gone, shaping and reshaping the studio's image, but through it all Universal's revolving globe logo has remained on movie screens around the world. And, unlike several other studios of Hollywood's golden age, Universal still makes movies today.

In Girl Singer, poet Marianne Worthington often blurs the lines between the historical and the romantic, much like the artists to whose songs and stories she pays careful attention and homage. Locals or country music fans will recognize the names and histories documented here, but even those unfamiliar with these references will understand the intricacy and intimacy with which they are woven together. From Tom Dula to The Carters to Patsy Cline, Girl Singer not only documents this wealth of stories with care and accuracy, but it also dares to venture into the subjects' innermost thoughts. The speaker places her personal life on the same level of importance as the subjects of local stories, elevating the collection from a simple report of facts into a work of art. Her own family history dances among those of celebrities. The collection is as invested in the poet's own life as it is in Appalachia as a whole. With poems about birds and the moon, the collection also harbors an abundance of natural imagery that highlights the dramatic details of the speaker's daily life, even within the mundane. Skillfully divided into three distinct yet harmonious parts, cantillating local, familial, and personal histories, Girl Singer is a collection of lyrical and descriptive poems that offer unique insight on famous and infamous Appalachian tales from this life and the next.

"They had been told their sacrifice was for the public good. They were never told how much they would miss it, or for how long."Drowned Town explores the multigenerational impact caused by the loss of home and illuminates the joys and sorrows of a group of people bound by western Kentucky's Land Between the Lakes and the lakes that lie on either side of it. The linked stories are rooted in a landscape forever altered by the impoundment of the Tennessee and Cumberland rivers and the taking of property under the power of eminent domain to create the national recreation area on a narrow strip of land running between the lakes. The massive federal land and water projects that came in quick succession were designed to serve the public interest by providing hydroelectric power, flood control, and economic progress for the region, but at great sacrifice for those who gave up their homes, livelihoods, towns and history in the process.The narrative follows two women characters whose lives are shaped by their friendship and connection to the place, and goes back and forth in time to show how the creation of the lakes both healed and hurt the people connected to them. In the process, the stories focus on the importance of sisterhood and family, both blood and created, and how we cannot separate ourselves from our places in the world.

On June 8, 1883, Rev. Elisha Green was traveling by train from Maysville to Paris, Kentucky, when about forty students from the Millersburg Female College crowded onto the train at Millersburg accompanied by George T. Gould, the school's president, and Frank L. Bristow, their music teacher. Gould grabbed the reverend by the shoulder and ordered him to give up his seat. When Green refused, Bristow and Gould assaulted Green until the conductor intervened and ordered the assailants to stop or he would throw them off the train. Friends advised Green to take legal action, and he did, winning his case against them in March 1884, though with only token compensation. The significance of this case lies not only in prevailing justice, but that a black man won a lawsuit against two white men. In The Assault on Elisha Green: Race and Religion in a Kentucky Community, historian Randolph Paul Runyon tells the story of Green's life and traces the network of relationships that led to the event of the assault. Tracing these three men's lives brings the reader from the slavery era to the eve of the First World War, from Kentucky to New Mexico, from Covington to the Kentucky River Palisades, with particular focus on Mason and Bourbon counties. The Assault on Elisha Green recounts one man's pursuit of justice over violence and racism in the nineteenth century. In this engagingly written tale, Runyon masterfully interweaves background information with the immediacy of the harrowing attack and its aftermath, revealing the true character of the primary actors and the racial tensions unique to a border state.

Why have the major, post-9/11, US military interventions turned into quagmires? Despite huge power imbalances, major capacity-building efforts, and repeated tactical victories by what many observers call the world's best military, the wars in Afghanistan and Iraq turned bloody and intractable. The US government's fixation on zero-sum decisive victory is an important part of the explanation why successful military operations to overthrow two developing-world regimes failed to achieve favorable and durable outcomes. In Zero-Sum Victory, Christopher D. Kolenda identifies three interrelated problems that have emerged from the government's insistence on a zero-sum victory. First, the US government has no organized way to consider successful outcomes alternative to decisive military victory and, thus, selects strategies that overestimate the prospects of such a victory. Second, the US is slow to recognize and modify or abandon losing strategies. In both cases, US officials believe their strategies are working even as the situations deteriorate. Third, once the US decides to withdraw, bargaining asymmetries and disconnects in strategy undermine the prospects for a successful transition or negotiated outcome. By making powerful historic comparisons and drawing from personal experience, Kolenda draws thought-provoking and actionable conclusions about the utility of American military power in the contemporary world.

The recent $3.4 billion purchase of Columbia Pictures by Sony Corporation focused attention on a studio that had survived one of Hollywood's worst scandals under David Begelman, as well as ownership by Coca-Cola and David Puttnam's misguided attempt to bring back the studio's glory days. Columbia Pictures traces Columbia's history from its beginnings as the CBC Film Sales Company (nicknamed "Corned Beef and Cabbage") through the regimes of Harry Cohn and his successors, and concludes with a vivid portrait of today's corporate Hollywood, with its investment bankers, entertainment lawyers, agents, and financiers. Bernard F. Dick's highly readable studio chronicle is followed by thirteen original essays by leading film scholars, writing about the stars, films, genres, writers, producers, and directors responsible for Columbia's emergence from Poverty Row status to world class. This is the first attempt to integrate film history with film criticism of a single studio. Both the historical introduction and the essays draw on previously untapped archival material - budgets that kept Columbia in the black during the 1930s and 1940s, letters that reveal the rapport between Depression audiences and director Frank Capra, and an interview with Oscar-winning screenwriter Daniel Taradash. The book also offers new perspectives on the careers of Rita Hayworth and Judy Holliday, a discussion of Columbia's unique brands of screwball comedy and film noir, and analyses of such classics as The Awful Truth, Born Yesterday, From Here to Eternity, On the Waterfront, Anatomy of a Murder, Easy Rider, Taxi Driver, The Big Chill, Lawrence of Arabia, and The Last Emperor. Amply illustrated with film stills and photos of stars and studio heads, Columbia Pictures includes a brief chronology and a complete 1920-1991 filmography. Designed for both the film lover and the film scholar, the book is ideal for film history courses.

When the first American tax on distilled spirits was established in 1791, violence broke out in Pennsylvania. The resulting Whiskey Rebellion sent hundreds of families down the Ohio River by flatboat, stills on board, to settle anew in the fertile bottomlands of Kentucky. Here they used cold limestone spring water to make bourbon and found that corn produced even better yields of whiskey than rye. Thus, the licit and illicit branches of the distilling industry grew up side-by-side in the state. This is the story of the illicit side -- the moonshiners' craft and craftsmanship, as practiced in Kentucky. A glossary of moonshiner argot sheds light on such colorful terms as "puker," "slop," and "weed-monkey."With a new foreword by author Wes Berry, David Maurer's classic history of this subject is tongue-in-cheek, but nevertheless a realistic look at the Kentucky moonshiner and the moonshining industry.

This provocative study traces Alfred Hitchcock's long directorial career from Victorianism to postmodernism. Paula Cohen considers a sampling of Hitchcock's best films - Shadow of a Doubt, Rear Window, Vertigo, Psycho - as well as some of his more uneven ones - Rope, The Wrong Man, Topaz - and makes connections between his evolution as a filmmaker and trends in the larger society.Drawing on a number of methodologies including feminism, psychoanalysis, and family systems, the author provides an insightful look at the paradox of a Victorian-style gentleman who evolved into one of the leading masters of the modern medium of film. Cohen sees Hitchcock's films as developing, in part, as a masculine response to the domestic, psychological novels that had appealed primarily to women during the Victorian era. His career, she argues, can be seen as an attempt to balance "the two faces of Victorianism": the masculine legacy of law and hierarchy and the feminine legacy of feeling and imagination. Also central to her thesis is the Victorian model of the nuclear family and its permutations, especially the father-daughter dyad. She postulates a fundamental dynamic in Hitchcock's films, what she calls a "daughter's effect," and relates it to the social role of the family as an institution and to Hitchcock's own relationship with his daughter, Patricia, who appeared in three of his films. Cohen argues that Hitchcock's films reflect his Victorian legacy and serve as a map for ideological trends. She charts his development from his British period through his classic Hollywood years into his later phase, tracing a conceptual evolution that corresponds to an evolution in cultural identity - one that builds on a Victorian inheritance and ultimately discards it.

From Double Indemnity to The Godfather, the stories behind some of the greatest films ever made pale beside the story of the studio that made them. In the golden age of Hollywood, Paramount was one of the Big Five studios. Gulf + Western's 1966 takeover of the studio signaled the end of one era and heralded the arrival of a new way of doing business in Hollywood. Bernard Dick reconstructs the battle that culminated in the reduction of the studio to a mere corporate commodity. He then traces Paramount's devolution from free-standing studio to subsidiary - first of Gulf + Western, then Paramount Communications, and currently Viacom-CBS. Dick portrays the new Paramount as a paradigm of today's Hollywood, where the only real art is the art of the deal. Former merchandising executives find themselves in charge of production, on the assumption that anyone who can sell a movie can make one. CEOs exit in disgrace from one studio only to emerge in triumph at another. Corporate raiders vie for power and control through the buying and selling of film libraries, studio property, television stations, book publishers, and more. The history of Paramount is filled with larger-than-life people, including Billy Wilder, Adolph Zukor, Sumner Redstone, Sherry Lansing, Barry Diller, Michael Eisner, Jeffrey Katzenberg, and more.

General of the Armies John J. Pershing (1860--1948) had a long and distinguished military career but is most famous for leading the American Expeditionary Forces in World War I. He published a memoir, My Experiences in the World War, and has been the subject of numerous biographies, but the literature regarding this towering figure and his enormous role in the First World War deserves to be expanded to include a collection of his wartime correspondence. Carefully edited by John T. Greenwood, volume 1 of John J. Pershing and the American Expeditionary Forces in World War I, 1917--1919 covers the period of April 7 through September 30, 1917. The letters speak to such topics as Pershing's appointment to command the US expeditionary force, his initial preparations, and early meetings with Allied civilian and military leaders, including Field Marshal Sir Douglas Haig and General Henri Philippe Pétain. Drawing heavily on Pershing's extensive personal papers, this collection includes his letters and cablegrams exchanged with Secretary of War Newton D. Baker and the Chiefs of Staff Hugh L. Scott and Tasker H. Bliss. The inclusion of extracts from the large volume of seldom-used cablegrams is an important contribution to Pershing's wartime story.Two appendixes provide the reader with details of Pershing's relations with the Allied governments and armies (as he reported them in an unpublished part of his Final Report of Gen. John J. Pershing in 1920) and his personal appraisal of Marshal Ferdinand Foch as he knew him during the war. These volumes of wartime correspondence provide new insight into the work of a legendary soldier and the historic events in which he participated.

From the foreword: "In Perfect Black, Crystal Wilkinson walks us back down the road she first walked as a girl, wanders us through the trees that lined the road where she grew up, where her sensibilities as a woman and a writer were first laid bare. In one of the first poems that opens the collection she is a woman looking back on her life, on the soil and mountains that first stamped the particular sound of her voice and she is deeply inquisitive about how it all fell into place: "The map of me can't be all hills& mountains even though I've been country all my life. The twang in my voice has moved downhill to the flat land a time or two. " Perfect Black is a book of poems and legends about ancestry, culture, and the terrain of a Black girl becoming. It is a narrow and spacious terrain that enters the bloodstream of this black writing girl's body early. It is a country that she never truly exits even though different zip codes continue to fly through her wild, wondrous, winding life. We read and we hold on too.

In Head to Head, award-winning writer Lenny Shulman offers highlights from the best interviews he has conducted throughout his twenty-year career covering Thoroughbred horse racing. In that time, he has coaxed the innermost thoughts out of the sport's most notable headline-makers. It was to Shulman that Helen "Penny" Chenery, owner of Secretariat, publicly revealed for the first time the mistakes she made with her superstar colt. Arthur Hancock III shared with him his feelings of being banished from his family's Claiborne Farm, and his pride in succeeding on his own with the great Sunday Silence. Owner Paul Reddam poured out his hopes and fears to Shulman in the hour before realizing his dream of winning the Kentucky Derby with I'll Have Another. Head to Head offers insights from men and women who reached the top levels of success in all aspects of the sport of kings and documents the history of the Thoroughbred racing industry over a roughly fifty-year period. Shulman takes readers behind the scenes with industry legends (including Chenery, James E. "Ted" Bassett III, Bobby Frankel, Tony Leonard, Cot Campbell, Tom Durkin, and Bob Baffert), owners, trainers, veterinarians, and even celebrities such as Sam Shepard, Bo Derek, and Jenny Craig. A special section highlights the women of the Thoroughbred world and features interviews with Helen Alexander, Charlsie Cantey, Barbara Banke, Josephine Abercrombie, Maggi Moss, Charlotte Weber, and Marylou Whitney.Touching on some of the greatest horses and greatest races the sport has ever seen, this engaging book serves as an important oral history of the sport and the industry. At the same time, it will be a guide for new generations of enthusiasts who are interested in learning from some of horse racing's most successful luminaries.

For the last third of the nineteenth century, Union General Stephen Gano Burbridge enjoyed the unenviable distinction of being the most hated man in Kentucky. From mid-1864, just months into his reign as the military commander of the state, until his death in December 1894, the mere mention of his name triggered a firestorm of curses from editorialists and politicians. By the end of Burbridge's tenure, Governor Thomas E. Bramlette concluded that he was an "imbecile commander" whose actions represented nothing but the "blundering of a weak intellect and an overwhelming vanity."In this revealing biography, Brad Asher explores how Burbridge earned his infamous reputation and adds an important new layer to the ongoing reexamination of Kentucky during and after the Civil War. He explains that Burbridge's use of measures, including retaliatory executions, to quell guerrillas and Confederate partisans fell within the range of tactics used by Union commanders faced with irregular fighters in other areas and within the bounds of the laws of war as articulated by the Union high command. Burbridge jailed, banished, and harassed those who expressed anti-Lincoln, anti-war, or pro-Confederate political sympathies. Most importantly, however, he oversaw and sped along the destruction of slavery by administering the recruitment and enlistment of enslaved people as soldiers.This reassessment illuminates how Burbridge -- as a Kentuckian and the local architect of the destruction of slavery -- became the scapegoat for white Kentuckians, including many in the Unionist political elite, who were unshakably opposed to emancipation. Beyond successfully recalibrating history's understanding of Burbridge, Asher's biography adds administrative and military context to the state's reaction to emancipation and sheds new light on its postwar pro-Confederacy shift.