Pretty Boy"Floyd
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lituttfll tatf.a 1!lurfau nf ]Utlflittgatinu 3Jn4u 1Ellgar llInunrr. itrrrtor l'lali4iugfnu. 13. or . ., " . There is toQ..ay a -most encouraging .. indication of increased publ ic in terest in crlme probŅems . Thi s interest lS,being manifested by civic groups, -'institutes of goyhrnment, the press, and organizations of ' different types, as • well as more frequent activņty on the part.oŇ individual citizens . This is a , reflection of a condition precedent 'to the fuňlreʼnliŊation of the American ,.' people of their responsibiU ty in connectibJ? 'wltlf' such problems . We, the law enforcement officials and agencies of the,natŋon, qan and should exert every effort to stimulate the interest now being shown and to direct this interest ' : toward the cotisummati6n of the desired obj ective, namely, a recognition of the fact that the law enfotceŌent offigers are thō nati9n 's peace-time soldiers always on actŎve duty aŏq tpat tŐe citiőens,of the.countrY are allies of these officers . Certainly, no citizhn, in time of war or national danger, would be worthy of his trust if he·concealed information of value to our armed forces, or if he concealed information concerning the activities or whereabouts of enemy spies. Obviously, the same responsioility exists in the warfare against crime and criminal s. The criminal is a public enemy., CQmfort, solace , and aid are' given this enemy when a·citizen does'not promptly report the commission of a crime, or the' whereabouts and activity 'of violator or a fugitive . The responsibil ity of course goes even further, and'extends to the duty of serving as a witness or as a juror, without fear or favor. -
PUNKS! TOPICALITY and the 1950S GANGSTER BIO-PIC CYCLE
cHAPTER 6 PUnKs! TOPIcALItY AnD tHe 1950s gANGSTER BIo-PIc cYcLe ------------------------------- PeteR stAnfield “This is a re-creation of an era. An era of jazz Jalopies Prohibition And Trigger-Happy Punks.” — Baby Face Nelson this essay examines a distinctive and coherent cycle of films, pro- duced in the late 1950s and early 1960s, which exploited the notoriety of Prohibition-era gangsters such as Baby Face Nelson, Al Capone, Bonnie Parker, Ma Barker, Mad Dog Coll, Pretty Boy Floyd, Machine Gun Kelly, John Dillinger, and Legs Diamond. Despite the historical specificity of the gangsters portrayed in these “bio-pics,” the films each display a marked interest in relating their exploits to contemporary topical con- cerns. Not the least of these was a desire to exploit headline-grabbing, sensational stories of delinquent youth in the 1950s and to link these to equally sensational stories of punk hoodlums from 1920s and 1930s. In the following pages, some of the crossovers and overlaps between cycles of juvenile delinquency films and gangster bio-pics will be critically eval- uated. At the centre of analysis is the manner in which many of the films in the 1950s bio-pic gangster cycle present only a passing interest in pe- riod verisimilitude; producing a display of complex alignments between the historical and the contemporary. 185 peter stanfield DeLInQUENTS, gANGSTERs, AnD PUnKs In the 1950s, the representation of gangsters and of juvenile delinquents shared a common concern with explaining deviancy in terms of a rudi- mentary psychology, -
TOPICALITY and the 1950S GANGSTER BIO-PIC CYCLE
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Kent Academic Repository CHAPTER 6 PUNKS! TOPICALITY AND THE 1950s gANgSTER BIO-PIC CYCLE ------------------------------- peter Stanfield “This is a re-creation of an era. An era of jazz Jalopies Prohibition And Trigger-Happy Punks” — Baby Face Nelson this essay examines a distinctive and coherent cycle of films, pro- duced in the late 1950s and early 1960s, which exploited the notoriety of Prohibition-era gangsters such as Baby Face Nelson, Al Capone, Bonnie Parker, Ma Barker, Mad Dog Coll, Pretty Boy Floyd, Machine Gun Kelly, John Dillinger, and Legs Diamond. Despite the historical specificity of the gangsters portrayed in these “bio-pics,” the films each display a marked interest in relating their exploits to contemporary topical con- cerns. Not the least of these was a desire to exploit headline-grabbing, sensational stories of delinquent youth in the 1950s and to link these to equally sensational stories of punk hoodlums from 1920s and 1930s. In the following pages, some of the crossovers and overlaps between cycles of juvenile delinquency films and gangster bio-pics will be critically eval- uated. At the centre of analysis is the manner in which many of the films in the 1950s bio-pic gangster cycle present only a passing interest in pe- riod verisimilitude; producing a display of complex alignments between the historical and the contemporary. 15 peter stanfield DELINQUENTS, gANgSTERS AND PUNKS In the 1950s, the representation of gangsters and of juvenile delinquents shared a common concern with explaining deviancy in terms of a rudi- mentary psychology, which held that criminality was fostered by psycho- pathic personalities. -
Beautiful and Damned: Geographies of Interwar Kansas City by Lance
Beautiful and Damned: Geographies of Interwar Kansas City By Lance Russell Owen A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Geography in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Michael Johns, Chair Professor Paul Groth Professor Margaret Crawford Professor Louise Mozingo Fall 2016 Abstract Beautiful and Damned: Geographies of Interwar Kansas City by Lance Russell Owen Doctor of Philosophy in Geography University of California, Berkeley Professor Michael Johns, Chair Between the World Wars, Kansas City, Missouri, achieved what no American city ever had, earning a Janus-faced reputation as America’s most beautiful and most corrupt and crime-ridden city. Delving into politics, architecture, social life, and artistic production, this dissertation explores the geographic realities of this peculiar identity. It illuminates the contours of the city’s two figurative territories: the corrupt and violent urban core presided over by political boss Tom Pendergast, and the pristine suburban world shaped by developer J. C. Nichols. It considers the ways in which these seemingly divergent regimes in fact shaped together the city’s most iconic features—its Country Club District and Plaza, a unique brand of jazz, a seemingly sophisticated aesthetic legacy written in boulevards and fine art, and a landscape of vice whose relative scale was unrivalled by that of any other American city. Finally, it elucidates the reality that, by sustaining these two worlds in one metropolis, America’s heartland city also sowed the seeds of its own destruction; with its cultural economy tied to political corruption and organized crime, its pristine suburban fabric woven from prejudice and exclusion, and its aspirations for urban greatness weighed down by provincial mindsets and mannerisms, Kansas City’s time in the limelight would be short lived. -
The Making of a Stat^Jimji^ |
BY LOUISE PETTUS Page 12-B The Lancaster News Wednesday, July 23,1986 AND RON CHEPESIUK The most wanted man in America walked up to the ticket window of the Biograph Theatre on Chicago's Purvis'Life Never The Same North Side on July 24,1934. He had a girl on each arm. After Killing Dillinger The movie the trio was about to see fit the drama about to unfold — "Manhattan Melodrama," a gangster movie starring Clark Gable, William Powell and Myma Loy. The police were ready for the hardened criminal and his female companions. Two hours before, from South Carolina's Story his seat in a parked car near the theater, Melvin H. Purvis, chief of the U.S. Department of Justice's The making of a stat^jiMji^| Chicago force, had placed his 15 men around the theater. So precise was the deployment that the theater manager thought his theater was about to be robbed and called the police. Upon arriving, the ^WINTHROP COLLEGE police were quietly ushered to the sidelines by Purvis' men. When the movie ended at 10:40, Here is some of what Purvis had to the outlaw left the theater, turned Several newspapers across the say about the incident at the south and passed Chief Purvis' car. country carried front page stories Biograph Theatre: "As he Positively identifying the fugitive, about the hero from South Carolina. (Dillinger) bought a ticket, I got a Purvis gave the pre-arranged signal Back home in the Palmetto State, profile and front view of him and I to make the arrest. -
Road Chatter
ROAD CHATTER Early Ford V-8 Club - Northern Illinois Regional Group #8 P.O. Box 803 March 2014 Volume 48 Issue 3 Arlington Heights, IL 60006-0803 www.nirgv8.org UPCOMING In this Issue NIRG EVENTS Page 2 – President Scott Gilday talks about recent club events, welcomes March 8 Pioneer Turners new members, and encourages members to attend outings planned for Luncheon, Chicago. See March. Page 3. Page 3 – If you haven’t signed up for the Pioneer Turners luncheon this March 13 Board of Directors Saturday, March 8, please call Ron Steck today and let him know if you Meeting, Wheeling Township plan to attend. Also, make plans to attend the Eggs & Eights breakfast in Service Center, 7:30 pm. Geneva on Sunday, March 30. March 18 Monthly Meeting, Page 4 – Joe Novak is making plans for our Fourth Annual Joint Tour Wheeling Township Service with the Northern Ohio Regional Group. This year we will travel to Center, 8:00 pm. Auburn, Indiana. Details provided here. March 30 Eggs & Eights Page 5 – Sadly, we again report the passing of a long time member. Breakfast, Geneva, IL. See Also, we once again welcome new members to the club. And, a brief Page 3. update on more upcoming events. Page 6 – John Emmering treats us to another interesting story of the demise of a prohibition-era gangster and the connection to V-8 Fords. This is the 4th in a series from John, who says it is the last. We need to talk to him. Page 8 – Minutes of the February 18 monthly meeting. -
Kansascitymassacre
I [23 _' - i iii 7 _ _i._£~ :_ _ _i_ ___~ ;;___; ___ __ _ 7 _ _ _ _:__7_ __ __ _;_* __|__: Jllnr-_. 7 _;___' I "'--.._ CHARLES PRETTY Boy" FLOYD KANSAS CITY MASSACRE 1 2-;92i3<T:5 SECTION /8 ~. ;-:gr'= - . -a: W WW W km #7 kw _ H ' ' " 7 * 7 /" '' ' '*" _ * 7 _ -_-1~;' _-_-__--75:-.~;=-H-..__ _ J_,_, I A | - .~ _.. ._ -. _ ._. __ _ 7,_ ., . " - CHARLES "PRETTY BOY" FLDYD ;;_; FRANK NASH - .. VERNE MILLER. , ., ~. 4 ADAM RICI-|ETTI___ L KANSAS CITY MASSACRE A 5UE>_]¬C6-.__-_-_-_____.______. 1ZiLenc1mE>¬R - S¬C@iOI'1 numE>@R_/_&________ SEPJALS 53' "" .54:-O Z<3OZ<5AL DA§¬S /as pages Re92.eAse<§ /4,5 ; p;»,_§e5 cu1<'~:=>DDeLo___Q____________ @ exempéioms! useo_blD__'21§____. g I_ _ . _ ._ _ _ k_H__,_J'___,_,-;l_-J; . __ . 4=¢, "*1" __.____. * f __._ r *"' _.,,~i__,. - ""' . r': hi i -_| '_*_ -__ J. Q-''* I I J*. g _- I; _ -,_ ..-. ,- 1 ' W l "3; - _ e . - - w _'-.... .,..-..;..---»-=-- --~*--' I_ _ .... __- I "'-'--. '. CU . 92 , _ - g 92 *0 * : :71 8" b.J I 92 92 . I I ! - -.-.._______ . 1 ""~ 1/ h_-e-II-?"-.?' . .-ue- .. __ < . - -I-"_'-' -"'_ _ 1.1.1 -. -
PRETTY BOY's GUN , Laverne, CALIFORNIA
EPISODE 10,2004: PRETTY BOY’S GUN , LaVERNE, CALIFORNIA Wes: Our first story gives a different twist to the career of one of America’s most notorious outlaws. It’s the 1930’s. The Great Depression. Across the Midwest, as factories close and banks foreclose, the rural poor feel cheated. Bankers are seen as crooks and bank robbers heroes. Across the nation, criminals capture the headlines - John Dillinger, Bonnie and Clyde and Charles Arthur Floyd, better known as “Pretty Boy.” Modeling himself on the outlaws of the Wild West, Pretty Boy Floyd becomes one of the most infamous bank robbers of the 20th century. For decades writers and folk singers romanticize his legacy. We’ve heard about a weapon believed to have been used by Pretty Boy on his final flight from the law. Richard Kee of LaVerne, California owns this gun, which he believes belonged to the legendary bandit. Richard Kee: From what I’ve heard, my Uncle Ted had received the gun from Pretty Boy Floyd. My uncle was only 17 and my father didn’t want him to get into any more trouble than he was already in so he took the weapon away from him. And that’s how it’s come down to me. So this has been in my family since 1934. Wes: I’m Wes Cowan. I’ve come to LaVerne, California to help Richard uncover the truth about the gun. Well, let’s take a look. Richard: Well, here it is. .32 Colt automatic. Wes: Wow. You ever shoot it? Richard: I shot it as a child when my father taught me how to use it when I was about ten. -
Charles "Pretty Boy"Floyd
FREEDOM OF INFORMATION AND PRIVACY ACTS SUBJECT: CHARLES "PRETTY BOY"FLOYD KANSAS CITY MASSACRE FILE: 62-28915 SECTION 68 FEDERAL BUREAU OF INVESTIGATION N1 ZTICE THE BEST COPIES OBTAINABLE ARE INCLUDED IN THE REPRODUCTION OF THE FILE. PAGES INCLUDED THAT ARE BLURRED, LIGHT OR OTHERWISE DIFFICULT TO READ ARE THE RESULT OF THE CONDITION AND OR COLOR OF THE ORIGINALS PROVIDED. THESE ARE THE BEST COPIES AVAILABLE. % CHARLES PRETTY aov" new FRANK NASH " VERNE MILLER A A - ADAM RICHETTI & _ KANSAS CITY MASSACRE SC1E!_}¬CI9'_.__._________________ 1211.6 nUm%R 5¬C2§iOD numE>eR_6_8_______ %RiAL5 3'-5ODl92§¬S @79292_ _?l.i___ PA§¬5 Renemeo Q0 pA§3¬5 cu92©DDeLo 2. exémptéioms! U6¬O " " " " ' 'i ' " " I "-VI -- . ',1.-'_-_ .~ '.1,-' . ---- '.- ._ _.'-» i.-1--._--_-, ~»:-.92 .-. , -' H 'fnm~§wm"~~¢r£m@+H@g¢»Tu+Hx#wcé1+x#1uwr¢..,q,@@¢.¢-.,-:33.-;'_-~-.__-__"j._I'__;, wig_: . .,,'.___i'__ _ . ",'._r __ _.;"-':;-_.§-;;:;'1Z.- '--I-~"' .:-1;"1fj..}-11;?-?.92¢,',_4' M -"'"-'--'- ~l-=i.r»;-----,.4'...¢..a#"" -;._'.'.__-.'-fa:'T.-'=-.- ----'~'r_.;;-.-5»,-.-. 15--'-q_ r_qa=-,1 ;..-1:. ,._.'____ -1'1: - .1 O L.i-92 " e - ' ' 0 D F .. , gpaawnn£Ammgmm1 }L§§.§hpndnuniu§$md&2 1615 FEDERALRESERVE BANKBJIEDING KANSAS CITY, MISSUUHI ~ - ocmosrn 25, 19:54. cJC3 1-.,1 - -. _'4:"-. -
Yesteryears:Jun 5, 1991 Vol 1 No 1
Pretty Boy's crime strea ends on farm By Dale E. Shaffer HE EARLY 1930s WERE the final years fo:r T three famous despe:rados - John· Dillinger, Pretty Boy Floyd and Baby Face Nelson. Headliries of the Salem News :read "Pretty Boy Floyd Flees; Fou:r Wounded"(Oct. 22, 1934); "Floyd Trapped, Slain by Police, U.S. Agents" (Oct. 23, 1934); and "Baby Face Nelson, Gunman, Found Dead" (Nov. 28, 1934). One of the earliest memories I have is seeing Pretty Boy Floyd laid out on a cot at the Sturgis Funeral Home in East Liverpool. I was five years old at the time and remember that only his face was uncovered. Our neighbor, a Salem fireman, offered .to take my father and me along to view the bullet riddled body. It was Tuesday, Oct. 23, 1934 and hundreds were gathered on the streets outside the funeral. home. ·From this corn crib Floyd began a race for the woods, one Pictures of the crowd and the lifeless body of Floyd which ended in his mortal wounding hJI approaching law appeared in all the local newspapers. It was a men. He'd been sitting in Stewart Dykes Model A, waiting circus-like event of national significance. Widow Ellen Conkle poses in the kitchen of her farm home for the farmer to finish husking corn, unaware that the police There he was, the terror of the Oklahoma bad with the tray she prepared for Floyd when she fi'xed a meal were speeding toward the Conkle farm. lands, at the end of his 10 years of crime. -
Dillinger's Ghost
[ INVESTIGATIVE FILES JOE NICKELL Joe Nickell, PhD, is CSI’s senior research fellow. A former stage magician and private detective, he has—since 1969—investi- gated numerous cases of alleged ghosts, poltergeists, and demons from a scientific perspective. Dillinger’s Ghost and Hoover’s Vendetta against G-Man Purvis ot since Jesse James had a bank Dillinger to fend for himself. Although stepped on the gas and sped them to robber attained such a Robin both were soon arrested, the latter safety. Dillinger had another close call NHood image. Although there was sentenced to just two years, while one night a month later in the infamous were other “public enemies” of the Dillinger drew a prison term of ten to affair at Wisconsin’s Little Bohemia Depression Era—such as “Pretty Boy twenty years. Freed in 1933, after only Lodge. FBI agents led by Melvin Purvis Floyd” and “Baby Face” Nelson—John nine years, he was rearrested while still approached the lodge but were forced Dillinger had daring and style to spare. on parole as the leader of a new band of to dive for cover from machine-gun But so did a tenacious G-man named bank robbers (Girardin 1994, 10–32). fire. Three non-gangsters, who jumped Melvin Purvis (Figure 1), an agent so After some of his old prison buddies in a car and failed to stop when ordered effective and so adored by the public escaped, they raided the jail in Lima, to, were shot by Purvis’s men, one fa- and press that his boss, Federal Bureau Ohio, where Dillinger had been lodged, tally, and Dillinger, Nelson, and others of Investigation Director J. -
OSU-Tulsa Library Archives Michael Wallis Papers Pretty Boy Floyd Rev
OSU-Tulsa Library archives Michael Wallis papers Pretty Boy Floyd Rev. October 2015 Writings 1:1 Book proposal in several versions. 1:2 Potential word count for book. 1:3 Original draft: Typed draft marked “original draft,” with handwritten revisions, frontispiece, title page, books page, Dedication, Table of Content (in 2 versions), Epigraph, Prologue, p1-200. 1:4 p201-419. 1:5 Fragments. 1:6 Version 2: Chapter 1-6, 43p. 1:7 Another version of p362-419. 1:8 Another version of p367-478, marked as “not edited.” 1:9 p472-478 (a different version), 479-504. 2:1 Photocopy of original draft, with editor’s corrections, revisions, and notations, p1- 174. 2:2 p175-287. 2:3 Typed draft segments, heavily edited with additional corrections and revisions to text. p288-399 (with another version of p398-399). 2:4 p400-503 (facsimile of p454-478, sent 31 Jul 1991). p472-504 (facsimile sent 9 Aug 1991). 2:5 Epilogue, a facsimile with handwritten editor’s revisions and notations. Dated 16 Aug 1991. 2:6 Photocopy typed draft including front matter, p1-275. 3:1 p276-526. 3:2 Photocopy typed draft of previous draft including frontispiece, and front and back matter, p1-275. 3:3 p276-526. 3:4 Typed editorial style sheet and geographical name verification, guide to bibliographic referencing, and notes in reference to permissions needed for use of song lyrics, etc. 3:5 Photocopy of copyeditor’s draft including front matter, p1-125. 4:1 p126-327. 4:2 p328-525. 4:3 Epilogue, another version; selected bibliography and source notes in 2 versions (version 1 dated 14 Oct 1991 and version 2 dated 28 Oct 1991).