Donald Dewey – författare

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In this penetrating and riveting biography of one of Hollywood's most beloved screen icons, Donald Dewey probes beneath Jimmy Stewart, the conservative image and ideal, to reveal James Stewart, the actor and the man.Through hundreds of interviews and in-depth analysis of his seventy-five films, the author assesses how the Hollywood man-about-town of the 1930's and 40's - Stewart's lovers included Ginger Roberts, Olivia de Havilland and Marlene Dietrich - became the epitome of American family values who remained married for forty-five years; and how the studio-bred, effervescent star of It's a Wonderful Life developed into the brilliant actor whose performances in films such as Vertigo and Shenandoah exposed a vulnerability unseen in his personal relationships. With many insights into the turmoil of his private life, the artistry behind his cinematic craft and his heroic military record in the Secon World War, Dewey gives us much more than a legend to love.

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 Through a wealth of information from Arcel's unpublished memoir, this work offers an extraordinary portrait of one of boxing's most influential and enigmatic figures.

As America lurched into the twentieth century, its national pastime was afflicted with the same moral malaise that was enveloping the rest of the nation. Players regularly bet on games, games were routinely fixed, and league politics were as dirty as the base paths. Against this backdrop, Hal Chase emerged as one of the game’s greatest players and also as one of its most scandalous characters.With charisma and bravado that earned him the nickname The Prince, Chase charmed his way across America, spinning lies in the afternoon, dealing high-stakes poker at night, and gambling with beautiful women until dawn. Most notoriously of all, he undermined his stature as the era’s greatest first baseman by conniving with gamblers to fix games and draw teammates into his diamond conspiracies.But as Donald Dewey and Nicholas Acocella reveal in their groundbreaking biography, The Black Prince of Baseball, Chase was also a scapegoat for baseball notables with hands even dirtier than his. These included league officials who ignored facts in an attempt to pin the 1919 Black Sox scandal on him and-a previously unknown twist-the fabled John McGraw, who perjured himself on a witness stand against the first baseman. Although Chase, contrary to popular belief, was never banned from the major leagues, meticulous research by the authors implicates him in other shady enterprises as well, not least an attempt to blackmail revivalist Aimee Semple McPherson.As The Black Prince of Baseball makes clear, in his protean talents and larcenies, Hal Chase personified all the excesses of Ragtime.

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 DesignA comprehensive history of American political cartooning, complete with over 200 illustrationsThe 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.