“Chronicles the misdeeds of many of America’s worst miscreants, with special emphasis on the tools of the outlaw trade.” —American Rifleman From colonial-era rifles carried on the “Owlhoot Trail” to John Dillinger’s Colt pistols, the history of the American outlaw is told in guns—weapons that became each man’s personal signature. Authors Gerry and Janet Souter peer into these criminals’ choices of derringers, revolvers, shotguns, rifles, machine guns, and curious hybrids, giving us a glimpse into the minds behind the trigger fingers. With over 200 illustrations, Guns of Outlaws gives a unique look at the lives and the hardware of the most infamous outlaws in American history, and of the law enforcement officers who hunted them. As settlers moved further west, away from authority and soft city life into the Great Plains, the push for survival through the endless prairies and jagged isolating mountain ranges bred ruthless men. Most outlaws were technology freaks who seized upon the latest weapon innovations developed in the industrious East to provide an edge in the life-and-death cosmos of the Wild West. By the late 1930s and early 1940s, outlaws on horseback had given way to marauding bank robbers. Using fast cars and faster guns, they became folk heroes of the Great Depression, even as the law was hard on their tails. “Historians Gerry and Janet Souter take the reader back to a time between 1840 and 1940 when . . . outlaws and man hunters lived bold and died hard . . . [The] book show[s] actual tools of the trade wielded during a violent century, bound up in a mix of hard truths and mythology.” —Ammoland.com
In 1905 Georgia travelled to Chicago to study painting at the Art Institute of Chicago. In 1907 she enrolled at the Art Students’ League in New York City, where she studied with William Merritt Chase. During her time in New York she became familiar with the 291 Gallery owned by her future husband, photographer Alfred Stieglitz. In 1912, she and her sisters studied at university with Alon Bement, who employed a somewhat revolutionary method in art instruction originally conceived by Arthur Wesley Dow. In Bement’s class, the students did not mechanically copy nature, but instead were taught the principles of design using geometric shapes. They worked at exercises that included dividing a square, working within a circle and placing a rectangle around a drawing, then organising the composition by rearranging, adding or eliminating elements. It sounded dull and to most students it was. But Georgia found that these studies gave art its structure and helped her understand the basics of abstraction. During the 1920s O’Keeffe also produced a huge number of landscapes and botanical studies during annual trips to Lake George. With Stieglitz’s connections in the arts community of New York – from 1923 he organised an O’Keeffe exhibition annually – O’Keeffe’s work received a great deal of attention and commanded high prices. She, however, resented the sexual connotations people attached to her paintings, especially during the 1920s when Freudian theories became a form of what today might be termed “pop psychology”. The legacy she left behind is a unique vision that translates the complexity of nature into simple shapes for us to explore and make our own discoveries. She taught us there is poetry in nature and beauty in geometry. Georgia O’Keeffe’s long lifetime of work shows us new ways to see the world, from her eyes to ours.
In 1905 Georgia travelled to Chicago to study painting at the Art Institute of Chicago. In 1907 she enrolled at the Art Students’ League in New York City, where she studied with William Merritt Chase. During her time in New York she became familiar with the 291 Gallery owned by her future husband, photographer Alfred Stieglitz. In 1912, she and her sisters studied at university with Alon Bement, who employed a somewhat revolutionary method in art instruction originally conceived by Arthur Wesley Dow. In Bement’s class, the students did not mechanically copy nature, but instead were taught the principles of design using geometric shapes. They worked at exercises that included dividing a square, working within a circle and placing a rectangle around a drawing, then organising the composition by rearranging, adding or eliminating elements. It sounded dull and to most students it was. But Georgia found that these studies gave art its structure and helped her understand the basics of abstraction. During the 1920s O’Keeffe also produced a huge number of landscapes and botanical studies during annual trips to Lake George. With Stieglitz’s connections in the arts community of New York – from 1923 he organised an O’Keeffe exhibition annually – O’Keeffe’s work received a great deal of attention and commanded high prices. She, however, resented the sexual connotations people attached to her paintings, especially during the 1920s when Freudian theories became a form of what today might be termed “pop psychology”. The legacy she left behind is a unique vision that translates the complexity of nature into simple shapes for us to explore and make our own discoveries. She taught us there is poetry in nature and beauty in geometry. Georgia O’Keeffe’s long lifetime of work shows us new ways to see the world, from her eyes to ours.
Our story is about the genesis and evolution of these phantoms and men-who-never-were, these artists and magicians at the front line who operated in stealth and secrecy. Throughout the course of World War II, Allied forces engaged in elaborate deceptions to fool Hitler's armies. A ragtag group of Bohemian artists and creatives were assembled to devise these strategies, including rubber dummy tanks, faux railway lines and falsified wireless intelligence. They made armies appear out of thin air, baffling German forces and ensuring Allied success in battle. For fifty years, information on the Ghost Army strategies was classified. It is only recently that details of their heroic actions have come to light. This book includes details of SHAEF command centre who organised many of the deceptions, the First US Army Group (the so-called 'Ghost Army'), the 23rd Camouflage Engineers, and accounts of the double cross agents who risked their lives and freedom to mislead Nazi High Command. Featuring never-before-seen information from veteran interviews, The Ghost Army brings to life the fascinating story of the men and women who conned Adolf Hitler.
Since 1901, when Joshua Lionel Cowen launched his company by creating a small number of electrified toy trolleys for department store window displays, Lionel has been the leader in toy electric trains. Lionel's success is based on excellent engineering, durable construction, numerous accessories, and great play value. This colorful volume illustrates the history of Lionel electric toy trains. See how Lionel stayed alive during the Depression when they teamed with Disney and marketed electric Mickey Mouse handcars, and learn of Lionel's greatest years in the 1950s and 1960s. Lionel's resurgence in the 1990s was just in time for the company's 100th anniversary celebration in 2000.
This chronological history of the toy train celebrates the wares of all prominent American toy train manufacturers from the turn of the century to the present, with special focus on: Lionel, American Flyer, and Marx.
Knowing how to write a good report is very important. Using the Internet to make your reports even better is easy and exciting. You can display your report online and add graphics, colors, charts, and other tools to make it more interesting. Producing an informative and eye-catching report is fun when you use the Internet. In Creating E-Reports and Online Presentations, authors Gerry, Janet, and Allison Souter clearly explain the process of creating and laying out a report on the Internet. The authors discuss the steps involved in producing a good report and show you how to add interest through various elements. Carefully explained examples help to illustrate the ideas. Book jacket.
In 1905 Georgia travelled to Chicago to study painting at the Art Institute of Chicago. In 1907 she enrolled at the Art Students’ League in New York City, where she studied with William Merritt Chase. During her time in New York she became familiar with the 291 Gallery owned by her future husband, photographer Alfred Stieglitz. In 1912, she and her sisters studied at university with Alon Bement, who employed a somewhat revolutionary method in art instruction originally conceived by Arthur Wesley Dow. In Bement’s class, the students did not mechanically copy nature, but instead were taught the principles of design using geometric shapes. They worked at exercises that included dividing a square, working within a circle and placing a rectangle around a drawing, then organising the composition by rearranging, adding or eliminating elements. It sounded dull and to most students it was. But Georgia found that these studies gave art its structure and helped her understand the basics of abstraction. During the 1920s O’Keeffe also produced a huge number of landscapes and botanical studies during annual trips to Lake George. With Stieglitz’s connections in the arts community of New York – from 1923 he organised an O’Keeffe exhibition annually – O’Keeffe’s work received a great deal of attention and commanded high prices. She, however, resented the sexual connotations people attached to her paintings, especially during the 1920s when Freudian theories became a form of what today might be termed “pop psychology”. The legacy she left behind is a unique vision that translates the complexity of nature into simple shapes for us to explore and make our own discoveries. She taught us there is poetry in nature and beauty in geometry. Georgia O’Keeffe’s long lifetime of work shows us new ways to see the world, from her eyes to ours.
This is a story about a beautiful girl from a small Mississippi town and her adventures through life. She was a caring, fun loving, and charismatic person who enjoyed life to its fullest. This book chronicles her many pursuits and adventures. She was a true joy and I had the pleasure of being with her for 20 years. She was my companion and friend. I hope by reading this book you can enjoy her as much as I did. This book was written in her final years of her life as she fought a courageous battle with cancer. This book is a tribute to her life. With all my love Kirk A. Stanley.
A slip-cased collectible volume containing removable facsimiles of memorabilia that records the birth of the United States includes a selection of maps, diaries, letters, military orders, newspapers, and posters, along with an audio CD containing readings of firsthand accounts based on period journals, diary excerpts, and letters. 35,000 first printing.
This brilliant showcase looks at the evolution of the toy train industry and its miniature products from 1970 to today. Presented are the O- and G-gauge offerings of Williams, MTH, Weaver, Marx, RailKing, Lionel and others. Collectors of these toy trains will delight in the contributions of major industry players as they examine the modern technologies incorporated by the manufacturers and the market trends that dictate their products. In the populr Enthusiast Color Series.
“One of the premier narrative non-fiction writers of her time.” —The New Republic Janet Malcolm’s previous collection, Forty-One False Starts: Essays on Artists and Writers, was “unmistakably the work of a master” (The New York Times Book Review). Like Forty-One False Starts, Nobody’s Looking at You brings together previously uncompiled pieces, mainly from The New Yorker and The New York Review of Books. The title piece of this wonderfully eclectic collection is a profile of the fashion designer Eileen Fisher, whose mother often said to her, “Nobody’s looking at you.” But in every piece in this volume, Malcolm looks closely and with impunity at a broad range of subjects, from Donald Trump’s TV nemesis Rachel Maddow, to the stiletto-heel-wearing pianist Yuju Wang, to “the big-league game” of Supreme Court confirmation hearings. In an essay called “Socks,” the Pevears are seen as the “sort of asteroid [that] has hit the safe world of Russian Literature in English translation,” and in “Dreams and Anna Karenina,” the focus is Tolstoy, “one of literature’s greatest masters of manipulative techniques.” Nobody’s Looking at You concludes with “Pandora’s Click,” a brief, cautionary piece about e-mail etiquette that was written in the early two thousands, and that reverberates—albeit painfully—to this day.
The world's first televised war through the eyes of those who fought in it, both the generals commanding the war and the ordinary soldiers on the ground and in the air. Features memorabilia from key US archives.
From 1900 through the late-1950s, Lionel went from a wooden cheese box on wheels to expensive toy trains that flew off shelves at the height of the Great Depression to one of the world's most recognizable brand names. In the 1960s, the company found itself in a fight for its life; only a buyout from General Mills would save the name from relegation to the dust heap of time. More than 80 modern color photographs help break Lionel's "classic" rags-to-riches-to-rags period into five distinct eras, and a fascinating history examines the design and marketing of the company's most significant -- and dubious -- products, placing them in the context of contemporary competition, real-life railroads, and world affairs.
In 1905 Georgia travelled to Chicago to study painting at the Art Institute of Chicago. In 1907 she enrolled at the Art Students’ League in New York City, where she studied with William Merritt Chase. During her time in New York she became familiar with the 291 Gallery owned by her future husband, photographer Alfred Stieglitz. In 1912, she and her sisters studied at university with Alon Bement, who employed a somewhat revolutionary method in art instruction originally conceived by Arthur Wesley Dow. In Bement’s class, the students did not mechanically copy nature, but instead were taught the principles of design using geometric shapes. They worked at exercises that included dividing a square, working within a circle and placing a rectangle around a drawing, then organising the composition by rearranging, adding or eliminating elements. It sounded dull and to most students it was. But Georgia found that these studies gave art its structure and helped her understand the basics of abstraction. During the 1920s O’Keeffe also produced a huge number of landscapes and botanical studies during annual trips to Lake George. With Stieglitz’s connections in the arts community of New York – from 1923 he organised an O’Keeffe exhibition annually – O’Keeffe’s work received a great deal of attention and commanded high prices. She, however, resented the sexual connotations people attached to her paintings, especially during the 1920s when Freudian theories became a form of what today might be termed “pop psychology”. The legacy she left behind is a unique vision that translates the complexity of nature into simple shapes for us to explore and make our own discoveries. She taught us there is poetry in nature and beauty in geometry. Georgia O’Keeffe’s long lifetime of work shows us new ways to see the world, from her eyes to ours.
In 1905 Georgia travelled to Chicago to study painting at the Art Institute of Chicago. In 1907 she enrolled at the Art Students’ League in New York City, where she studied with William Merritt Chase. During her time in New York she became familiar with the 291 Gallery owned by her future husband, photographer Alfred Stieglitz. In 1912, she and her sisters studied at university with Alon Bement, who employed a somewhat revolutionary method in art instruction originally conceived by Arthur Wesley Dow. In Bement’s class, the students did not mechanically copy nature, but instead were taught the principles of design using geometric shapes. They worked at exercises that included dividing a square, working within a circle and placing a rectangle around a drawing, then organising the composition by rearranging, adding or eliminating elements. It sounded dull and to most students it was. But Georgia found that these studies gave art its structure and helped her understand the basics of abstraction. During the 1920s O’Keeffe also produced a huge number of landscapes and botanical studies during annual trips to Lake George. With Stieglitz’s connections in the arts community of New York – from 1923 he organised an O’Keeffe exhibition annually – O’Keeffe’s work received a great deal of attention and commanded high prices. She, however, resented the sexual connotations people attached to her paintings, especially during the 1920s when Freudian theories became a form of what today might be termed “pop psychology”. The legacy she left behind is a unique vision that translates the complexity of nature into simple shapes for us to explore and make our own discoveries. She taught us there is poetry in nature and beauty in geometry. Georgia O’Keeffe’s long lifetime of work shows us new ways to see the world, from her eyes to ours.
This book, Blurring the Lines, has immediate appeal to policy-makers, and analysis in public and private sectors, as well as legal scholars and practitioners. It will be of interest, too, to university teachers working in the areas of "School Law," "School Policy and Politics," and "New Trends in American K-12 Education." The book treats the complex and interesting issues of Church-State and Public-Private education, the two great changing cross-road in US education.
This book brings together chapters dealing with sexual harassment and violence, legal developments, as well as sexual harassment in the workplace, education, and military.
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