Chris Dubbs – författare

Many readers will doubtless be astonished to learn that animals were being fired aloft in U.S. and Soviet research rockets in the late 1940s. In fact most people not only believe that the Russian space dog Laika was the first canine to be launched into space, but also that the high-profile, precursory Mercury flights of chimps Ham and Enos were the only primate flights conducted by the United States. In fact, both countries had sent literally dozens of animals aloft for many years prior to these events and continued to do so for many years after. Other latter-day space nations, such as France and China, would also begin to use animals in their own space research. Animals in Space will explain why dogs, primates, mice and other rodents were chosen and tested, at a time when dedicated scientists from both space nations were determined to establish the survivability of human subjects on both ballistic and orbital space flights. It will also recount the way this happened; the secrecy involved and the methods employed, and offer an objective analysis of how the role of animals as spaceflight test subjects not only evolved, but subsequently changed over the years in response to a public outcry led by animal activists. It will explore the ways in which animal high-altitude and space flight research impacted on space flight biomedicine and technology, and how the results - both successful and disappointing - allowed human beings to then undertake that same hazardous journey with far greater understanding and confidence.This book is intended as a detailed yet highly readable and balanced account of the history of animal space flights, and the resultant application of hard-won research to space technology and astrobiology.  It will undoubtedly become the ultimate authority on animal space flights.

U.S.A.F. Chief of Staff 2013 Professional Reading List Selection Nearly forty years passed between the Apollo moon landings, the grandest accomplishment of a government-run space program, and the Ansari X PRIZE–winning flights of SpaceShipOne, the greatest achievement of a private space program. Now, as we hover on the threshold of commercial spaceflight, authors Chris Dubbs and Emeline Paat-Dahlstrom look back at how we got to this point. Their book traces the lives of the individuals who shared the dream that private individuals and private enterprise belong in space. Realizing Tomorrow provides a behind-the-scenes look at the visionaries, the crackpots, the financial schemes, the legal wrangling, the turf battles, and—underpinning the entire drama—the overwhelming desire of ordinary people to visit outer space. A compelling story of the pioneers of commercial spaceflight—and their efforts to open the final frontier to everyone—this book traces the path to private spaceflight even as it offers an instructive, entertaining, and cautionary note about its future.

U.S.A.F. Chief of Staff 2013 Professional Reading List Selection Nearly forty years passed between the Apollo moon landings, the grandest accomplishment of a government-run space program, and the Ansari X PRIZE–winning flights of SpaceShipOne, the greatest achievement of a private space program. Now, as we hover on the threshold of commercial spaceflight, authors Chris Dubbs and Emeline Paat-Dahlstrom look back at how we got to this point. Their book traces the lives of the individuals who shared the dream that private individuals and private enterprise belong in space. Realizing Tomorrow provides a behind-the-scenes look at the visionaries, the crackpots, the financial schemes, the legal wrangling, the turf battles, and—underpinning the entire drama—the overwhelming desire of ordinary people to visit outer space. A compelling story of the pioneers of commercial spaceflight—and their efforts to open the final frontier to everyone—this book traces the path to private spaceflight even as it offers an instructive, entertaining, and cautionary note about its future.

The submarine was one of the most revolutionary weapons of World War I, inciting both terror and fascination for militaries and civilians alike. During the war, after U-boats sank the Lusitania and began daring attacks on shipping vessels off the East Coast, the American press dubbed these weapons "Hun Devil Boats," "Sea Thugs," and "Baby Killers." But at the conflict's conclusion, the U.S. Navy acquired six U-boats to study and to serve as war souvenirs. Until their destruction under armistice terms in 1921, these six U-boats served as U.S. Navy ships, manned by American crews. The ships visited eighty American cities to promote the sale of victory bonds and to recruit sailors, allowing hundreds of thousands of Americans to see up close the weapon that had so captured the public's imagination.In America's U-Boats Chris Dubbs examines the legacy of submarine warfare in the American imagination. Combining nautical adventure, military history, and underwater archaeology, Dubbs shares the previously untold story of German submarines and their impact on American culture and reveals their legacy and Americans' attitudes toward this new wonder weapon.

When war erupted in Europe in 1914, American journalists hurried across the Atlantic ready to cover it the same way they had covered so many other wars. However, very little about this war was like any other. Its scale, brutality, and duration forced journalists to write their own rules for reporting and keeping the American public informed.American Journalists in the Great War tells the dramatic stories of the journalists who covered World War I for the American public. Chris Dubbs draws on personal accounts from contemporary newspaper and magazine articles and books to convey the experiences of the journalists of World War I, from the western front to the Balkans to the Paris Peace Conference. Their accounts reveal the challenges of finding the war news, transmitting a story, and getting it past the censors. Over the course of the war, reporters found that getting their scoop increasingly meant breaking the rules or redefining the very meaning of war news. Dubbs shares the courageous, harrowing, and sometimes humorous stories of the American reporters who risked their lives in war zones to record their experiences and send the news to the people back home.

In the opening decades of the 20th century, war reporting remained one of the most well-guarded, thoroughly male bastions of journalism. However, when war erupted in Europe in August 1914, a Boston woman, Mary Boyle O'Reilly, became one of the first journalists to bring the war to American newspapers. A Saturday Evening Post journalist, Mary Roberts Rinehart, became the first journalist, of any country, of any gender, to visit the trenches. These women were only the first wave of female journalists who covered the conflict.American Women Report World War I collects more than 35 of the best of their articles and those that highlight the richness of their contribution to the history of the Great War. Editor Chris Dubbs provides section introductions for background and context to stories such as 'Woman Writer Sees Horrors of Battle,' 'Star Woman Runs Blockade,' and 'America Meets France.'The work of female journalists focuses more squarely on individuals caught in the conflict - including themselves. It offers a valuable counterpoint to the male, horror-of-the-trenches experience and demonstrates how World War I served as a catalyst that enabled women to expand the public forum for their opinions on social and moral issues.

An elite team of reporters brought the Great War home each week to ten million readers of the Saturday Evening Post. As America’s largest circulation magazine, the Post hired the nation’s best-known and best-paid writers to cover World War I. The Weekly War provides a history of the unique record Post storytellers created of World War I, the distinct imprint the Post made on the field of war reporting, and the ways in which Americans witnessed their first world war. The Weekly War includes representative articles from across the span of the conflict, and Chris Dubbs and Carolyn Edy complement these works with essays about the history and significance of the magazine, the war, and the writers.By the start of the Great War, the Saturday Evening Post had become the most successful and influential magazine in the United States, a source of entertainment, instruction, and news, as well as a shared experience. World War I served as a four-year experiment in how to report a modern war. The news-gathering strategies and news-controlling practices developed in this war were largely duplicated in World War II and later wars. Over the course of some thousand articles by some of the most prolific writers of the era, the Saturday Evening Post played an important role in the evolution of war reporting during World War I.

An eye-opening look at women’s war reporting, An Unladylike Profession is a portrait of a sisterhood from the guns of August to the corridors of Versailles.When World War I began, war reporting was a thoroughly masculine bastion of journalism. But that did not stop dozens of women reporters from stepping into the breach, defying gender norms and official restrictions to establish roles for themselves-and to write new kinds of narratives about women and war.Chris Dubbs tells the fascinating stories of Edith Wharton, Nellie Bly, and more than thirty other American women who worked as war reporters. As Dubbs shows, stories by these journalists brought in women from the periphery of war and made them active participants-fully engaged and equally heroic, if bearing different burdens and making different sacrifices. Women journalists traveled from belligerent capitals to the front lines to report on the conflict. But their experiences also brought them into contact with social transformations, political unrest, labor conditions, campaigns for women’s rights, and the rise of revolutionary socialism.