During World War II, the United States Army Air Corps was led by a cadre of officers who believed implicitly that military aviation, particularly fast heavy bombers at high altitude, would be able to destroy strategic enemy targets during daylight with minimal losses. However, by 1942 the Flying Fortress was proving vulnerable to Luftwaffe fighters. This title charts the United States Army Air Force's struggle to develop a Long-Range Escort which would enable them to achieve the Combined Bomber Objectives and gain mastery of the skies over the Third Reich. The commitment of the USAAF to the Mediterranean and European theatres saw an increasingly desperate need to find a fighter escort, which reached crisis point in 1943 as losses suffered in the Tidal Wave offensive and Schweinfurt-Regensburg-Munster raids emphasised the mounting strength of the Luftwaffe. The USAAF leaders increasingly accepted the probability of bomber losses, and the deployment of the P-51B Mustang solved the problem of Germany's layered defence strategy, as Luftwaffe fighters had been avoiding the P-47 Thunderbolt and P-38 Lightening escort fighters by concentrating their attacks beyond the range of the Thunderbolt and Lightning. The P-51B duly emerged as the 'The Bastard Stepchild' that the USAAF Material Division did not want, becoming the key Long-Range Escort fighter, alongside the P-38 and P-47, that defeated the Luftwaffe prior to D-Day. As well as the P-51B's history, this title explores the technical improvements made to each of these fighters, as well as the operational leadership and technical development of the Luftwaffe they fought against.
He was the consummate designer of film architecture on a grand scale, influenced by German expressionism and the work of the great European directors. He was known for his visual flair and timeless innovation, a man who meticulously preplanned the color and design of each film through a series of continuity sketches that made clear camera angles, lighting, and the actors’ positions for each scene, translating dramatic conventions of the stage to the new capabilities of film. Here is the long-awaited book on William Cameron Menzies, Hollywood’s first and greatest production designer, a job title David O. Selznick invented for Menzies’ extraordinary, all-encompassing, Academy Award–winning work on Gone With the Wind (which he effectively co-directed). It was Menzies—winner of the first-ever Academy Award for Art Direction, jointly for The Dove (1927) and Tempest (1928), and who was as well a director (fourteen pictures) and a producer (twelve pictures)—who changed the way movies were (and still are) made, in a career that spanned four decades, from the 1920s through the 1950s. His more than 120 films include Rosita (1923), Things to Come (1936), Foreign Correspondent (1940), Kings Row (1942), Mr. Lucky (1943), The Pride of the Yankees (1943), For Whom the Bell Tolls (1943), Address Unknown (1944), It’s a Wonderful Life (1947), Invaders from Mars (1953), and Around the World in 80 Days (1956). Now, James Curtis, acclaimed film historian and biographer, writes of Menzies’ life and work as the most influential designer in the history of film. His artistry encompassed the large, scenic drawings of Douglas Fairbanks’ The Thief of Bagdad (1924), which created a new standard for beauty on the screen and whose exotic fairy-tale sets are still regarded as pure genius. (“I saw The Thief of Bagdad when it first came out,” said Orson Welles—he was, at the time, a nine-year-old boy. “I’ll never forget it.”) Curtis writes of Menzies’ design and supervision of John Barrymore’s Beloved Rogue (1927), a film that remains a masterpiece of craft and synthesis, one of the most distinctive pictures to emerge from Hollywood’s waning days of silent films, and of his extraordinary, opulent appointments for Gone With the Wind (1939). It was Menzies who defined and solidified the role of art director as having overall control of the look of the motion picture, collaborating with producers like David O. Selznick and Samuel Goldwyn; with directors such as D. W. Griffith, Raoul Walsh, Alfred Hitchcock, Lewis Milestone, and Frank Capra. And with actors as varied as Ingrid Bergman, W. C. Fields, Cary Grant, Clark Gable, John Barrymore, Barbara Stanwyck, Ronald Reagan, Gary Cooper, Vivien Leigh, Carole Lombard, Mary Pickford, Gloria Swanson, and David Niven. Interviewing colleagues, actors, directors, friends, and family, and with full access to the William Cameron Menzies family collection of original artwork, correspondence, scrapbooks, and unpublished writing, Curtis brilliantly gives us the path-finding work of the movies’ most daring and dynamic production designer: his evolution as artist, art director, production designer, and director. Here is a portrait of a man in his time that makes clear how the movies were forever transformed by his startling, visionary work. (With 16 pages of color illustrations, and black-and-white photographs throughout.)
This volume, tenth in the Research Correspondence Series of the Yale Editions of the Private Papers of James Boswell, documents the long friendship between Boswell and Sir William Forbes This volume, tenth in the Research Correspondence Series of the Yale Editions of the Private Papers of James Boswell, collects the letters exchanged between lawyer, diarist, and biographer James Boswell and Sir William Forbes of Pitsligo, eminent Scottish banker, civic improver, philanthropist, literary and cultural patron, and lay leader of Edinburgh's "English Episcopal" community. Forbes served as Boswell's most valued Scottish advisor, to whom he would often turn for personal, financial, moral, and religious guidance, and whom he would name executor of his estate and co-guardian of his children. The volume includes a total of 111 comprehensively annotated letters, few of which have appeared previously in print, between Forbes and Boswell and other correspondents. It illuminates in particular the period in which Boswell moved from Edinburgh to London and wrote his major books, The Journal of a Tour to the Hebrides with Samuel Johnson and The Life of Samuel Johnson.
Arlington National Cemetery is America's most treasured national burial ground, steeped in history and the site of our most solemn, national memories. "Arlington National Cemetery: Shrine to America's Heroes" is a definitive guide that describes Arlington, its history, and its heroes.
This is one of the most important baseball books to be published in a long time, taking a comprehensive look at black participation in the national pastime from 1858 through 1900. It provides team rosters and team histories, player biographies, a list of umpires and games they officiated and information on team managers and team secretaries. Well known organizations like the Washington's Mutuals, Philadelphia Pythians, Chicago Uniques, St. Louis Black Stockings, Cuban Giants and Chicago Unions are documented, as well as lesser known teams like the Wilmington Mutuals, Newton Black Stockings, San Francisco Enterprise, Dallas Black Stockings, Galveston Flyaways, Louisville Brotherhoods and Helena Pastimes. Player biographies trace their connections between teams across the country. Essays frame the biographies, discussing the social and cultural events that shaped black baseball. Waiters and barbers formed the earliest organized clubs and developed local, regional and national circuits. Some players belonged to both white and colored clubs, and some umpires officiated colored, white and interracial matches. High schools nurtured young players and transformed them into powerhouse teams, like Cincinnati's Vigilant Base Ball Club. A special essay covers visual representations of black baseball and the artists who created them, including colored artists of color who were also baseballists.
Collected together, James F. Simon’s books share the bitter struggles and compromises that have characterized the relationship between the presidents and the Supreme Court Chief Justices across US history. The bitter and protracted struggle between President Thomas Jefferson and Supreme Court Chief Justice John Marshall; the frustration and grudging admiration between FDR and Chief Justice Hughes; the clashes between President Abraham Lincoln and Chief Justice Roger B. Taney. These were the conflicts that ended slavery, that rescued us from the Great Depression, and that defined a nation—for better and for worse. And, Simon brings them to brilliant and compelling life.
Born to poor tenant farmers in a log cabin in Graves County, Kentucky, Alben Barkley (1877--1956) rose to achieve a national political stature equaled by few of his contemporaries. His memorable public career ranged from the Progressive era to the early years of the Cold War, and he witnessed or influenced many of the key events of the twentieth century. Eventually elected vice president of the United States on the ticket with Harry S. Truman in 1949, Barkley possessed a candid demeanor and social skills that helped him become one of the most popular politicians of his day. In Alben Barkley: A Life in Politics, James K. Libbey offers the first full-length biography of this larger-than-life personality, following Barkley in his transition from local politician to congressman, then senator, senate majority leader, vice president, and senator once again. A loyal Democrat, Barkley was instrumental in guiding Franklin D. Roosevelt's New Deal programs through Congress. He later took on a key role in managing domestic policy as the president became more and more immersed in World War II. Libbey also reveals Barkley's human side, from his extremely humble beginnings to his dramatic and chilling final speech at Washington and Lee University in 1956, when he said, "I would rather be a servant in the house of the Lord than to sit in the seats of the mighty," delivering the legendary quote moments before succumbing to a massive heart attack. A significant contribution to American history, this definitive biography offers a long overdue look at the "Iron Man" of politics.
Using an interdisciplinary approach, this book argues that American artistry in the 1960s can be understood as one of the most vital and compelling interrogations of modernity. James C. Hall finds that the legacy of slavery and the resistance to it have by necessity made African Americans among the most incisive critics and celebrants of the Enlightenment inheritance. Focusing on the work of six individuals--Robert Hayden, William Demby, Paule Marshall, John Coltrane, Romare Bearden, and W.E.B. DuBois--Mercy, Mercy Me seeks to recover an American tradition of evaluating the "dialectic of the Enlightenment.
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