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Without Ray Arcel (1899-1994), the 20th century world of boxing would have been markedly different. The credibility of it as a sport would have been greatly lessened. Arcel's prominence is all the more interesting because he made his mark not as a fighter, promoter, or manager, but as a trainer. From Benny Leonard to Roberto Duran and Larry Holmes, Arcel stood in the corner for champions of every weight division that existed in his lifetime, a record that remains unequalled. This biography chronicles Arcel's life inside the ring--and outside, where he was a highly secretive man who maintained relationships with some of the chief mob figures of his day. Through a wealth of information from Arcel's unpublished memoir, this work offers an extraordinary portrait of one of boxing's most influential and enigmatic figures.

For many of his theater contemporaries, Lee J. Cobb (1911–1976) was the greatest actor of his generation. In Hollywood he became the definitive embodiment of gangsters, psychiatrists, and roaring lunatics. From 1939 until his death, Cobb contributed riveting performances to a number of films, including Boomerang, On the Waterfront, The Brothers Karamazov, 12 Angry Men, and The Exorcist. But for all of his conspicuous achievements in motion pictures, Cobb’s name is most identified with the character Willy Loman in the original stage production of Arthur Miller’s Death of a Salesman (1949). Directed by Elia Kazan, Cobb’s Broadway performance proved to be a benchmark for American theater. In Lee J. Cobb: Characters of an Actor, Donald Dewey looks at the life and career of this versatile performer. From his Lower East Side roots in New York City—where he was born Leo Jacob—to multiple accolades on stage and the big and small screens, Cobb’s life proved to be a tumultuous rollercoaster of highs and lows. As a leading man of the theater, he gave a number of compelling performances in such plays as Golden Boy and King Lear. For the Hollywood studios, Cobb fit the description of the “character actor.” No one better epitomized the performer who suddenly appears on the screen and immediately grabs the audience’s attention. During his forty-five-year career, there wasn’t a significant star—from Humphrey Bogart and James Stewart to Paul Newman and Clint Eastwood—with whom he didn’t work. Cobb was also followed by controversy: he appeared before the House Un-American Activities Committee in the 1950s and was a witness to a movie-set murder case in the 1970s. Through it all, he never lost his taste for fast cars and gin rummy. A bear of a man with a voice that equally accommodated growls and sibilant sympathies, Cobb was undeniably an actor to be reckoned with. In this fascinating book, Dewey captures all of the drama that surrounded Cobb, both on screen and off.

2008 Association of American University Presses Award for Jacket Design A comprehensive history of American political cartooning, complete with over 200 illustrations The Art of Ill Will is a comprehensive history of American political cartooning, featuring over two hundred illustrations. From the colonial period to contemporary cartoonists like Pat Oliphant and Jimmy Margulies, Donald Dewey highlights these artists uncanny ability to encapsulate the essence of a situation and to steer the public mood with a single drawing and caption. Taking advantage of unlimited access to The Granger Collection, which holds thousands of the most significant works of Thomas Nast and the other early American cartoonists, The Art of Ill Will provides a survey of American history writ large, capturing the voice of the people—hopeful, angry, patriotic, frustrated—in times of peace and war, prosperity and depression. Dewey tracks the cartoonists role as a jester with a serious brief. Ulysses S. Grant credited cartoonists with helping him win his election and was not the only president to feel that way; political bosses and even state legislatures have sought to ban cartoons when they endangered entrenched interests; General George Patton once promised to throw beloved wartime cartoonist Bill Mauldin in jail if he continued to spread dissent. (Mauldin later won the Pulitzer Prize.) Despite the increasing threats they face as daily newspapers merge or vanish, cartoonists have given us some of our most memorable images, from Theodore Roosevelt's pince-nez and mustache to Richard Nixon's Pinocchio nose to Jimmy Carters Chiclet teeth. At a time when domestic and foreign political developments have made these artists more necessary than ever, The Art of Ill Will is a rich collection of the wickedly clever images that puncture pomposity and personalize American history. Cartoonists include: Benjamin Franklin (whose Join, or Die was the first modern American political cartoon), the astoundingly prolific Thomas Nast, Puck magazine founder Joseph Keppler, Adalbert Volck, suffragist Laura Foster, Uncle Sam creator James Montgomery Flagg, Theodore Geisel departing from his Dr. Seuss persona to tackle World War II, Herbert Herblock Block (who so enraged Richard Nixon that the president canceled his subscription to the Washington Post), Daniel Fitzpatrick, Jules Feiffer, Paul Conrad, Gary Trudeau, and the controversial Ted Rall.

This book examines economic analysis relevant to monopoly policy and traces the growth of monopoly policy in the U.S. from its common-law origins to the present as it relates to cartels, market tactics, oligopoly, and labor unions.

A man of many film firsts, James Stuart Blackton promoted motion pictures as a mass commercial medium by creating the first true movie studio, adopting the star system, pioneering film animation, and publishing Motion Picture Magazine, one of the first film periodicals. As much of a seminal figure to the film industry as Thomas Edison and D.W. Griffith, James Stuart Blackton nonetheless remains unknown to most film enthusiasts and even many cinema scholars. In Buccaneer: James Stuart Blackton and the Birth of American Movies Donald Dewey recounts the drama, intrigue, and romance of this motion picture trailblazer. A gifted director, producer, and founder of Vitagraph studios, Blackton’s personal escapades were nearly as dramatic as his contributions to the medium he helped establish. Decades ahead of his time, Blackton also played a critical role in propagating war-time sentiment during both the Spanish-American War and World War I and was an influence on such key historical figures as Theodore Roosevelt. A fascinating look into the life of a truly distinguished filmmaker, Buccaneer narrates the volatile world of the early motion picture industry, as influenced by a man whose own story rivaled anything on screen. A must read for film lovers, this book will also prove to be invaluable to readers with an interest in American history.

Anybody can star in a motion picture, write a Tony-Award-winning play, gain fame as a great jazz pianist, promote a Sudanese rock singer, supply the words for one of America's greatest songwriters, and cause an international crisis among the United States, Soviet Union, and China. Well, ... maybe not anybody. CONTENTS: Mosquitoes and Tortoises -- How to become 15-feet tall without leaving your orchestra seat.Blind Newsy Sees -- Running a newsstand can be show business, too.The Jazz Pianist and the Misanthrope -- Not every good boy does fine.The New Jugglers -- Ed Sullivan, Arthur Godfrey, and prime time modesty.On the Road to Big City Politics -- Jack Kerouac defeats Soviet tanks.Skin Deeper -- Naked nights with Ingmar Bergman.Balloon Man -- Sometimes short subjects aren't short enough.The Guy and the Doll -- Louie and Lorna put on a show.The Missing Times Square -- When the New York hub wasn't theater, porno houses, or Disneyland.At Sea -- Crossing the Atlantic for new anonymity.To Be and Not to Be -- Ben Webster, Roy Eldridge, Sudanese rockers, and other swingers in Denmark.Bed and Board -- Waiting anxiously for Bette Davis.Provocative Sources -- All the non-news that's fit to print.CIA-The Secret Story -- Exposing Italy's foreign ties.Agents, Double Agents, and Just Double-crossers -- Expect nothing and you may be lucky enough to get it.Finding Direction -- When the play isn't the thing.

How to Make it YoursHumankind has spent centuries searching for ways to resolve its existential malaise and sense of futility. We have rushed to one organized corpus of thought after another-from philosophy to numerology to astrology and beyond-in our vain search to find joy. And yet, we continue to grasp for that "team feeling" about life; we continue to feel disenfranchised. Until now.When Dr. Alan Gibb passes a young boy on the street wearing a pair of Mets shorts, a Red Sox t-shirt, and a Yankees cap, the theory of human relationships called "Franchisement" is born. Franchisement: The Alan Gibb Story is the revolutionary story and guidebook to humankind's most inclusive corpus of thought. It is your outlet to finally discovering the truths of one influential man's race toward maximizing the possibility and profitability of human interconnection.As Gibb likes to say, "If you listen to people, the world is divided between the Yankees and the Red Sox. Tell that to those with a crush on the Minnesota Twins." This satirical novel will have you laughing out loud, scratching your head, and as long as Gibb has something to say about it, buying the answer to your true identity.

A reporter for a New York daily, Danny receives a deus ex machina for his frazzled life when a bureaucratic snafu sends the wrong coffin from Italy. Soon, he finds himself assigned to Rome to escort the sister of the man who should have been in the coffin.As he accompanies her dance through Italian red tape, he realizes two things -- that he is in love with her and that he is far more interested in the story of the Italian whose body had been sent to New York than in that of her deceased brother. The dilemma becomes only more complicated when a third body is found to have been misplaced and when one of the three turns out not to be very dead.

Ars Breve Vita Longa follows the author's decades-long odyssey through orchestras in the United States and Europe to describe the indelible characters he encountered on and off the screen and that, not just by coincidence, had a strong influence in developing his own character.