DOCSLIB.ORG

Annie Oakley: Woman at Arms

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Annie Oakley: Woman at Arms ANNIE OAKLEY: WOMAN AT ARMS BY COURTNEY RYLEY COOPER © 2008 Tantor Media, Inc. © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc. © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc. © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc. © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc. © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc. © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc. © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc This PDF eBook was produced in the year 2008 by Tantor Media, Incorporated, which holds the copyright thereto. HOW TO USE THIS TANTOR eBOOK SEARCHING: Simply click on the chapter name in the table of contents and you will be taken to that chapter’s first page. You do not need to click on chapters in sequence, you can go to any chapter at any time.. TO GET BACK: Just click on the chapter title at the beginning of any chapter and it will return you the table of contents. Click here to go to Chapter Nine Click here to return to the Table of Contents © 2008 Tantor Media, Inc. © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc. © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc. © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc. © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc. © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc. © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc. © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc PRINTING A CHAPTER: If you prefer to have a printed page in front of you while listening to your audiobook, you can print a page, a chapter or any selection you wish by selecting the page(s) you wish to print, then going to Adobe Reader’s file menu and select “print.” Contents Chapter I Chapter II Chapter III Chapter IV Chapter V Chapter VI Chapter VII Chapter VIII Chapter IX Chapter X Chapter XI Chapter XII Chapter XIII Chapter XIV Chapter XV © 2008 Tantor Media, Inc. © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc. © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc. © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc. © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc. © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc. © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc. © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc 2 Chapter I IN the autumn of 1926, they laid away “Little Missy’s” sewing basket, her fine needles, the unfinished pieces of embroidery which, dainty stitch after dainty stitch, had grown under her skilled fingers and sharp eyes from the embryo of a mere stamped pattern to works of artistry. But some of these were brought forth again; there were those grateful for even a bit of uncompleted fancy work, if that trifle of linen and floss could form an intrinsic remembrance of a white haired woman who in all her life had done naught but kindness, who had given of her store of wealth that suffering might be alleviated, the uneducated benefited by the advantage of books and schooling, generosity provided where penury had been before; the “Little Missy” had first-hand knowledge of what hardships meant, and even the adulation of millions who once used her name more frequently than that of the ruling President of the United States could not wipe out a feeling of comraderie for all whose lot might not be of the happiest. A philanthropist? Not at all, in the common acceptation of the term. She perhaps would have resented the word. Such things were merely the outpouring of the nature of a woman who had fought her way from virtual slavery to a position, in which, for a span of years at least, she was the most famous feminine personage in the entire world. Her name was Mrs. Frank E. Butler. If that means nothing, reflect then upon the more magical one of Annie Oakley. The world moves swiftly enough that the heroine of one generation may be, to a certain degree at least, forgotten in the next. So was it with Annie Oakley in the broad sense; there is at hand a clipping from a news syndicate written a few months before her death by Will Rogers, which emphasizes this phase of things rather acutely. It is in far different style from the comedian’s daily quips; a touch of sentiment instead of the usual jest: © 2008 Tantor Media, Inc. © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc. © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc. © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc. © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc. © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc. © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc © 2008 Tantor Media, Inc.
Load more

Recommended publications
  • Nebraska's Unique Contribution to the Entertainment World
    Nebraska History posts materials online for your personal use. Please remember that the contents of Nebraska History are copyrighted by the Nebraska State Historical Society (except for materials credited to other institutions). The NSHS retains its copyrights even to materials it posts on the web. For permission to re-use materials or for photo ordering information, please see: http://www.nebraskahistory.org/magazine/permission.htm Nebraska State Historical Society members receive four issues of Nebraska History and four issues of Nebraska History News annually. For membership information, see: http://nebraskahistory.org/admin/members/index.htm Article Title: Nebraska’s Unique Contribution to the Entertainment World Full Citation: William E Deahl Jr, “Nebraska’s Unique Contribution to the Entertainment World,” Nebraska History 49 (1968): 282-297 URL of article: http://www.nebraskahistory.org/publish/publicat/history/full-text/NH1968Entertainment.pdf Date: 11/23/2015 Article Summary: Buffalo Bill Cody and Dr. W F Carver were not the first to mount a Wild West show, but their opening performances in 1883 were the first truly successful entertainments of that type. Their varied acts attracted audiences familiar with Cody and his adventures. Cataloging Information: Names: William F Cody, W F Carver, James Butler Hickok, P T Barnum, Sidney Barnett, Ned Buntline (Edward Zane Carroll Judson), Joseph G McCoy, Nate Salsbury, Frank North, A H Bogardus Nebraska Place Names: Omaha Wild West Shows: Wild West, Rocky Mountain and Prairie Exhibition
    [Show full text]
  • Courier Gazette : October 19, 1939
    IsS8UED J g ESDAY ItoURSDffiT Saturday he ourier azette T Entered is Second ClassC Mail Matter -G Established January, 1846 By The Courier-Gazette, 465 Main St. Rockland, Maine, Thursday, October 19, 1939 TWELVE PAGES V o lu m e 9 4 ....................Number 125. The Courier-Gazette [EDITORIAL] THREE-TIMES * WEEK HELLO DAD,” SAID HELVI HELD UP FEYLER’SLOBSTERS AIR AGAINST SEA Editor “The Black Cat” WM O FULLER Apropos of an editorial which appeared in this column Associate Editor At the Bell telephone exhibit at This Is going to be good, thought Tuesday is the rapidly dawning belief that the skies hold the FRANK A, WINSLOW the World's Fair 150 persons daily the other listeners, and they gave Union Trucks Place Ban On Rockland Concern, destinies of battles which will be fought in the future. Under arc permitted to talk free to any careful attention. Subscription* 43 00 per year payable the caption "Air Against Sea." the Press Herald yesterday said: In advance: single copies three cents. point In the United States, the And then, with gatling rapidity For Reason Unknown To It Advertising rate* baaed upon circula­ Defense is easier than offense, sav military tacticians, tion and very reasonable privilege determined by the draw­ Helvi began to talk to "dad" in writing of land operations. But what of the air? Here small NEWSPAPER HISTORY ing of lucky numbers. Finnish. handfuls of German planes have succeeded in doing consider­ (Press Herald) The Rockland Gazette was estab­ In attendance one night recently The 300 listeners put down their Commissioner of Sea and Shore able damage and ln causing a great deal of consternation lished In 1846.
    [Show full text]
  • THE WALTER STANLEY CAMPBELL COLLECTION Inventory and Index
    THE WALTER STANLEY CAMPBELL COLLECTION Inventory and Index Revised and edited by Kristina L. Southwell Associates of the Western History Collections Norman, Oklahoma 2001 Boxes 104 through 121 of this collection are available online at the University of Oklahoma Libraries website. THE COVER Michelle Corona-Allen of the University of Oklahoma Communication Services designed the cover of this book. The three photographs feature images closely associated with Walter Stanley Campbell and his research on Native American history and culture. From left to right, the first photograph shows a ledger drawing by Sioux chief White Bull that depicts him capturing two horses from a camp in 1876. The second image is of Walter Stanley Campbell talking with White Bull in the early 1930s. Campbell’s oral interviews of prominent Indians during 1928-1932 formed the basis of some of his most respected books on Indian history. The third photograph is of another White Bull ledger drawing in which he is shown taking horses from General Terry’s advancing column at the Little Big Horn River, Montana, 1876. Of this act, White Bull stated, “This made my name known, taken from those coming below, soldiers and Crows were camped there.” Available from University of Oklahoma Western History Collections 630 Parrington Oval, Room 452 Norman, Oklahoma 73019 No state-appropriated funds were used to publish this guide. It was published entirely with funds provided by the Associates of the Western History Collections and other private donors. The Associates of the Western History Collections is a support group dedicated to helping the Western History Collections maintain its national and international reputation for research excellence.
    [Show full text]
  • William H. Parker and the Thin Blue Line: Politics, Public
    WILLIAM H. PARKER AND THE THIN BLUE LINE: POLITICS, PUBLIC RELATIONS AND POLICING IN POSTWAR LOS ANGELES By Alisa Sarah Kramer Submitted to the Faculty of the College of Arts and Sciences of American University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy In History Chair: Michael Kazin, Kimberly Sims1 Dean o f the College of Arts and Sciences 3 ^ Date 2007 American University Washington, D.C. 20016 AMERICAN UNIVERSITY UBRARY Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 3286654 Copyright 2007 by Kramer, Alisa Sarah All rights reserved. INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. ® UMI UMI Microform 3286654 Copyright 2008 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. © COPYRIGHT by Alisa Sarah Kramer 2007 ALL RIGHTS RESERVED Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. I dedicate this dissertation in memory of my sister Debby.
    [Show full text]
  • Front Matter
    Cecil_J Edgar Hoover & Amer Press 11/19/13 1:39 PM Page v © University Press of Kansas. All rights reserved. Reproduction and distribution prohibited without permission of the Press. CONTENTS List of Illustrations vii Preface ix Introduction 1 1. The FBI’s Ongoing Crisis of Legitimacy 12 2. A Bureau Built for Public Relations 43 3. Enforcing the Bureau’s Image of Restraint 76 4. Silencing a “Useful Citizen” 101 5. Investigating Critics on the Left 124 6. Dividing the Press 156 7. Engaging Defenders in the Press 177 8. Corresponding with Friends in the Press 193 9. Managing Friends in the Broadcast Media 217 10. Renewing the FBI Story in Bureau-Authorized Books 239 11. Building a Television Audience 265 Conclusion 282 Notes 289 Selected Bibliography 339 Index 345 Cecil_J Edgar Hoover & Amer Press 11/19/13 1:39 PM Page vi © University Press of Kansas. All rights reserved. Reproduction and distribution prohibited without permission of the Press. Cecil_J Edgar Hoover & Amer Press 11/19/13 1:39 PM Page vii © University Press of Kansas. All rights reserved. Reproduction and distribution prohibited without permission of the Press. ILLUSTRATIONS 1. Reporters interviewing “Hoover” 7 2. Attorney General A. Mitchell Palmer 17 3. J. Edgar Hoover at his Justice Department desk 20 4. Harlan Fiske Stone 23 5. Louis B. Nichols 29 6. Hoover congratulates assistant director William C. Sullivan 32 7. Columnist and broadcaster Walter Winchell 38 8. President Roosevelt signs into law the Twelve Point Crime Control Program 49 9. Hoover speaks with unidentified reporters 53 10. Washington Star reporter Neil “Rex” Collier fingerprints Hoover 59 11.
    [Show full text]
  • J. Edgar Hoover and the Rhetorical Rise of the Fbi: the Public Campaigns Against Vermin, the Fifth Column, and Red Fascism
    ABSTRACT Title of Document: J. EDGAR HOOVER AND THE RHETORICAL RISE OF THE FBI: THE PUBLIC CAMPAIGNS AGAINST VERMIN, THE FIFTH COLUMN, AND RED FASCISM. Stephen Michael Underhill, PhD, 2012 Directed By: Professor Shawn J. Parry-Giles, Department of Communication This project examines J. Edgar Hoover’s rhetorical leadership of the Federal Bureau of Investigation during the Franklin D. Roosevelt and Harry S Truman administrations (1933-1953). Hoover launched and sustained a concerted domestic propaganda program that helped enhance his own political power and invented the FBI as a central force in domestic and international matters. In the process, he re- envisioned conceptions of U.S. citizenship by promoting notions of idealized citizenship. Hoover entered law enforcement and U.S. politics during the early decades of the twentieth century—a time of increased use of public campaigns sponsored by the U.S. government and presidential administrations to alter public opinion on important policy matters. This period witnessed, for example, the country’s experimentation with domestic propaganda during World War I. While the Soviet Union and Germany used disease, vermin, parasite, and body metaphors to organize their own domestic propaganda campaigns in the following decades, Hoover used these same metaphors to advance the need to purify America and exterminate its social pariah. Through his public campaigns against vermin (1933-1939), the Fifth Column (1939-1945), and Red Fascism (1945-1953), Hoover constructed a reality in which corruption and subversion were immutable elements of democratic life. Increasingly, Hoover’s tactics of threat and intimidation began to mimic the tactics of threat practiced by America’s enemies, moving the country closer to what many at the time called a police state.
    [Show full text]
  • Courtney Ryley Cooper Journalist 1886-1940
    Missouri Valley Special Collections Courtney Ryley Cooper Journalist 1886-1940 By Daniel Coleman The idea of running away with the circus remained a fantasy to most of the American children who dreamed of it in the late 1800s, but not Courtney Ryley Cooper, who left his Kansas City home to travel with a circus troupe as a teen. The Big Top life never ceased to fascinate him, and Cooper drew upon it throughout his long career in another profession about which many dream but few realize success, that of a rich and famous adventure writer. Born October 31, 1886, Courtney Ryley Cooper’s Halloween arrival gained him an otherworldly reputation with his three sisters, who sensed something supernatural in their pixie-like younger brother. His parents, Catherine Grenolds and Baltimore Thomas Cooper, descended from early settlers of Maryland and Virginia. Young “Court” showed an unusual childhood connection with animals; his insistence on bringing the family cat along on hunting expeditions became family legend, and it was often impossible to tear him away from the exotic animals caged on Kansas City’s circus grounds, fortuitously located several blocks from the Cooper home at 1424 Flora Avenue. The death of his father in 1900 led to a state of domestic chaos from which Cooper slipped away to a small circus that had been encamped near his home. Between assignments as a water boy, sign painter, barker, dancer, and clown, he performed any other job he could handle. But he discovered his true calling while writing long letters home to his mother in which he described the many sights and sounds of his strange new life on the road.
    [Show full text]
  • O. HENRY MEMORIAL AWARD PRIZE STORIES of 1921
    u 3 1 ^Daiiid ©.oMcTKmj Sftbitang Chosen b society of 38 o arts and sciences Prize stories of 1921 9 \ A > Date Due j m^7 ym RICKS COLLEGE LRC [/ 3 1404 00 094 164 8 MEMORIAL 0. HENRY AWARD PRIZE STORIES 1921 Digitized by the Internet Archive in 2012 with funding from Brigham Young University-Idaho http://archive.org/details/ohenrymemorialaw01will 0. HENRY MEMORIAL AWARD PRIZE STORIES of 1921 CHOSEN BY THE SOCIETY OF ARTS AND SCIENCES WITH AN INTRODUCTION BY BLANCHE COLTON WILLIAMS Author of "A Handbook on Storv Writing," "Our Short Story Writers,"' Etc. Associate Professor of English. Hunter College of the City of New York Instructor in Story Writing, Columbia Univer' sity (Extension Teaching and Summer Session) GARDEN CITY NEW YORK DOUBLEDAY, PAGE & COMPANY 1923 COPYRIGHT, 1921, 1922, BY DOUBLEDAY, PAGE & COMPANY ALL RIGHTS RESERVED, INCLUDING THAT OF TRANSLATION INTO FOREIGN LANGUAGES, INCLUDING THE SCANDINAVIAN Copyright, 1920, 1921, by The Ridgway Company, and The Metropolitan Publications, Inc. Copyright, 1921, by Harper & Brothers; The Curtis Publishing Company in the United States and Great Britain; Charles Scribner's Sons; The Crowell Publishing Company; Wm. H. Kofold; Consolidated Magazines Corporation (The Red Book Magazine) All rights reserved, and The Pictorial Review Company PRINTED IN THE UNITED STATES AT THE COUNTRY LIFE PRESS, GARDEN CITY, N. Y. t CD H cm CONTENTS PAGE The Heart of Little Shikara. By Edison Marshall i The Man Who Cursed the Lilies. By Charles Ten- ney Jackson 29 The Urge. By Maryland Allen 45 Mummery. By Thomas Beer 66 The Victim of His Vision.
    [Show full text]
  • The Esquire Case: a Lost Free Speech Landmark
    University at Buffalo School of Law Digital Commons @ University at Buffalo School of Law Journal Articles Faculty Scholarship 12-1-2018 The Esquire Case: A Lost Free Speech Landmark Samantha Barbas University at Buffalo School of Law Follow this and additional works at: https://digitalcommons.law.buffalo.edu/journal_articles Part of the Communications Law Commons, and the First Amendment Commons Recommended Citation Samantha Barbas, The Esquire Case: A Lost Free Speech Landmark, 27 Wm. & Mary Bill Rts. J. 287 (2018). Available at: https://digitalcommons.law.buffalo.edu/journal_articles/949 This Article is brought to you for free and open access by the Faculty Scholarship at Digital Commons @ University at Buffalo School of Law. It has been accepted for inclusion in Journal Articles by an authorized administrator of Digital Commons @ University at Buffalo School of Law. For more information, please contact [email protected]. THE ESQUIRE CASE: A LOST FREE SPEECH LANDMARK Samantha Barbas* During the Second World War, one of the most highly publicized cases impli- cating speech and press freedoms did not involve political dissent. It did not involve opposition to the war, socialism, Communism, pacifism, anarchism, or any political matter whatsoever. Instead, it involved pin-up girls and a popular men’s magazine. The First Amendment cause célèbre of the first half of the 1940s was the Post Office Department’s seemingly arbitrary denial of second-class mailing privileges to Esquire magazine, on grounds that it did not “contribute to the
    [Show full text]
  • The End of the Red Queen's Race: Medical Marijuana in the New Century, 27 Quinnipiac L
    Maurice A. Deane School of Law at Hofstra University Scholarly Commons at Hofstra Law Hofstra Law Faculty Scholarship 2009 The ndE of the Red Queen's Race: Medical Marijuana in the New Century Ruth C. Stern J. Herbie DiFonzo Maurice A. Deane School of Law at Hofstra University Follow this and additional works at: https://scholarlycommons.law.hofstra.edu/faculty_scholarship Recommended Citation Ruth C. Stern and J. Herbie DiFonzo, The End of the Red Queen's Race: Medical Marijuana in the New Century, 27 Quinnipiac L. Rev. 673 (2009) Available at: https://scholarlycommons.law.hofstra.edu/faculty_scholarship/459 This Article is brought to you for free and open access by Scholarly Commons at Hofstra Law. It has been accepted for inclusion in Hofstra Law Faculty Scholarship by an authorized administrator of Scholarly Commons at Hofstra Law. For more information, please contact [email protected]. THE END OF THE RED QUEEN'S RACE: MEDICAL MARIJUANA IN THE NEW CENTURY Ruth C. Stern and J. Herbie DiFonzo * Lately it occurs to me What a long strange trip it's been. Robert Hunter I. INTRODUCTION More than forty years after the Summer of Love, marijuana still soothes and vexes the public consciousness. Research data on the therapeutic uses of cannabis continue to accumulate, adding fuel to an ongoing controversy about permissible drug use. In recent decades the contours of the debate have shifted, and adapted to the drive to legalize medicinal marijuana. But there is something eerily familiar about the rhetoric, the partisan fury, even the ubiquity of that bright green botanical logo.
    [Show full text]
  • The Truman Doctrine Speech and J. Edgar Hoover’S Rhetorical Realism
    Marshall University Marshall Digital Scholar Communications Faculty Research Communications Fall 2017 Prisoner of Context: The rT uman Doctrine Speech and J. Edgar Hoover’s Rhetorical Realism Stephen Underhill Marshall University, [email protected] Follow this and additional works at: https://mds.marshall.edu/communications_faculty Part of the Speech and Rhetorical Studies Commons Recommended Citation Underhill, Stephen M. "Prisoner of Context: The rT uman Doctrine Speech and J. Edgar Hoover’s Rhetorical Realism." Rhetoric & Public Affairs 20.3 (2017): 453-487. This Article is brought to you for free and open access by the Communications at Marshall Digital Scholar. It has been accepted for inclusion in Communications Faculty Research by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. PRISONER OF CONTEXT:THE TRUMAN DOCTRINE SPEECH AND J. EDGAR HOOVER’S RHETORICAL REALISM STEPHEN M. UNDERHILL In this project, I argue that J. Edgar Hoover’s style of political realism should be studied by critics because it long preceded that of President Harry S. Truman. The style belonged to a stockpile of anti-Communist imagery that helped to shape how the Truman Doctrine speech was drafted and how audiences interpreted its meanings in more local domestic politics. When Truman fınally announced that the Soviet Union had challenged international protocol, I argue that he confırmed the vision that his Federal Bureau of Investigation (FBI) director and other detractors had developed throughout the New Deal to discredit reformers who challenged issues of race, labor, and police technique. In this way, anti-Communist containment rhetoric limited the president’s ability to control the domestic security and economic agendas.
    [Show full text]
  • THE POSTERS of BUFFALO BILL's WILD WEST By
    ART PERPETUATING FAME: THE POSTERS OF BUFFALO BILL’S WILD WEST By Copyright 2013 Stephanie Fox Knappe Submitted to the graduate degree program in Art History and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson Dr. Charles C. Eldredge ________________________________ Dr. David Cateforis ________________________________ Dr. Stephen Goddard ________________________________ Dr. Susan Earle ________________________________ Dr. Chuck Berg Date Defended: July 1, 2013 The Dissertation Committee for Stephanie Fox Knappe certifies that this is the approved version of the following dissertation: ART PERPETUATING FAME: THE POSTERS OF BUFFALO BILL’S WILD WEST ________________________________ Chairperson Dr. Charles C. Eldredge Date approved: July 1, 2013 ii Abstract From 1883 until 1913, Buffalo Bill’s Wild West attracted fifty million people in more than one thousand cities in ten countries. William Frederick “Buffalo Bill” Cody’s globe- galloping extravaganza would not have attained its status as one of the most widely attended and wildly popular turn-of-the-century spectacles without an extensive and effective promotional system to perpetuate its fame. Using the exhibition’s posters as primary objects of inquiry, this dissertation examines the Wild West’s most iconic and resonant elements. Each of four case studies is anchored by a key image—a poster that serves as a platform from which to investigate other imagery devoted to the same theme—and incorporates visual and contextual analysis, contemporary public reception, and an exploration of influential iconography originating from both fine art and popular sources as well as their literary counterparts.
    [Show full text]