Podcasts about hollywood westerns

Gabriel Kuhn is an Austrian writer and researcher who works for the Central Organization of Swedish Workers - and sat for an in-person interview (he has been on before when we talked about his wonderful book Soccer vs the State in 2023.) In this episode, we time travel to "red Vienna"  in the 1920s, to talk about how antifascism, organized workers' sports, the professionalization of soccer and sobriety intersected then, and what promise they can hold for the present. Our baseline is the life of Viennese Social Democratic leader Julius Deutsch, an edited collection of whose writings Gabriel has published with a comprehensive introduction by himself. British historian Richard Crockett recently wrote the seminal Vienna: How the City of Ideas Created The Modern World. He argues that the Vienna before everyone fled, first from the Austrian fascists and then from the Nazis, the “Red” Vienna, governed by the Social Democrats, was a kind of a laboratory for the modern world. From psychoanalysis to Reaganomics, from Hollywood Westerns to fitted kitchens - this city, Crockett says, made the modern world. That is also the time period, in which a separate workers football association and a workers football league saw the light of day in Austria, an alternative to the rapidly professionalizing other Austrian league, and Austrian football association. Working class organizers and politicians saw not just the recreational value of soccer, and watching soccer. They also saw its social, organizational, ethical and prophetic value. First, another football became possible - to make clear that another world was possible, too. HELPFUL LINKS FOR THIS EPISODE:Gabriel's website, with more on the Julius Deutsch book and other books herePM Press, book website for the book Gabriel Kuhn interview on Julius Deutsch in Jacobin MagazineTAPoF Episode 44, on Hakoah Vienna, Austria's first professional champion in 1925Richard Crockett, Vienna: How the City of Ideas Created the Modern WorldMatthias Marschik, “Wir Spielen nicht zum Vergnügen:” Arbeiterfussball NEW: send me a text message! (I'd love to hear your thoughts - texts get to me anonymously, without charge or signup) Please leave a quick voicemail with any feedback, corrections, suggestions - or just greetings - HERE. Or comment via Twitter, Instagram, Bluesky or Facebook. If you enjoy this podcast and think that what I do fills a gap in soccer coverage that others would be interested in as well, please Recommend The Assistant Professor of Football. Spreading the word, through word of mouth, truly does help. Leave some rating stars at the podcast platform of your choice. There are so many sports podcasts out there, and only ratings make this project visible; only then can people who look for a different kind of take on European soccer actually find me. Artwork for The Assistant Professor of Football is by Saige LindInstrumental music for this podcast, including the introduction track, is by the artist Ketsa and used under a Creative Commons license through Free Music Archive: https://freemusicarchive.org/music/Ketsa/

By Walt HickeyDouble feature today!Welcome to the Numlock Sunday edition.This week, I spoke to Alissa Wilkinson who is out with the brand new book, We Tell Ourselves Stories: Joan Didion and the American Dream Machine.I'm a huge fan of Alissa, she's a phenomenal critic and I thought this topic — what happens when one of the most important American literary figures heads out to Hollywood to work on the most important American medium — is super fascinating. It's a really wonderful book and if you're a longtime Joan Didion fan or simply a future Joan Didion fan, it's a look at a really transformative era of Hollywood and should be a fun read regardless.Alissa can be found at the New York Times, and the book is available wherever books are sold.This interview has been condensed and edited. All right, Alissa, thank you so much for coming on.Yeah, thanks for having me. It's good to be back, wherever we are.Yes, you are the author of We Tell Ourselves Stories: Joan Didion and the American Dream Machine. It's a really exciting book. It's a really exciting approach, for a Joan Didion biography and placing her in the current of American mainstream culture for a few years. I guess just backing out, what got you interested in Joan Didion to begin with? When did you first get into her work?Joan Didion and I did not become acquainted, metaphorically, until after I got out of college. I studied Tech and IT in college, and thus didn't read any books, because they don't make you read books in school, or they didn't when I was there. I moved to New York right afterward. I was riding the subway. There were all these ads for this book called The Year of Magical Thinking. It was the year 2005, the book had just come out. The Year of Magical Thinking is Didion's National Book Award-winning memoir about the year after her husband died, suddenly of a heart attack in '03. It's sort of a meditation on grief, but it's not really what that sounds like. If people haven't read it's very Didion. You know, it's not sentimental, it's constantly examining the narratives that she's telling herself about grief.So I just saw these ads on the walls. I was like, what is this book that everybody seems to be reading? I just bought it and read it. And it just so happened that it was right after my father, who was 46 at the time, was diagnosed with a very aggressive leukemia, and then died shortly thereafter, which was shocking, obviously. The closer I get to that age, it feels even more shocking that he was so young. I didn't have any idea how to process that emotion or experience. The book was unexpectedly helpful. But it also introduced me to a writer who I'd never read before, who felt like she was looking at things from a different angle than everyone else.Of course, she had a couple more books come out after that. But I don't remember this distinctly, but probably what happened is I went to some bookstore, The Strand or something, and bought The White Album and Slouching Towards Bethlehem off the front table as everyone does because those books have just been there for decades.From that, I learned more, starting to understand how writing could work. I didn't realize how form and content could interact that way. Over the years, I would review a book by her or about her for one publication or another. Then when I was in graduate school, getting my MFA in nonfiction, I wrote a bit about her because I was going through a moment of not being sure if my husband and I were going to stay in New York or we were going to move to California. They sort of obligate you to go through a goodbye to all that phase if you are contemplating that — her famous essay about leaving New York. And then, we did stay in New York City. But ultimately, that's 20 years of history.Then in 2020, I was having a conversation (that was quite-early pandemic) with my agent about possible books I might write. I had outlined a bunch of books to her. Then she was like, “These all sound like great ideas. But I've always wanted to rep a book on Joan Didion. So I just wanted to put that bug in your ear.” I was like, “Oh, okay. That seems like something I should probably do.”It took a while to find an angle, which wound up being Didion in Hollywood. This is mostly because I realized that a lot of people don't really know her as a Hollywood figure, even though she's a pretty major Hollywood figure for a period of time. The more of her work I read, the more I realized that her work is fruitfully understood as the work of a woman who was profoundly influenced by (and later thinking in terms of Hollywood metaphors) whether she was writing about California or American politics or even grief.So that's the long-winded way of saying I wasn't, you know, acquainted with her work until adulthood, but then it became something that became a guiding light for me as a writer.That's really fascinating. I love it. Because again I think a lot of attention on Didion has been paid since her passing. But this book is really exciting because you came at it from looking at the work as it relates to Hollywood. What was Didion's experience in Hollywood? What would people have seen from it, but also, what is her place there?The directly Hollywood parts of her life start when she's in her 30s. She and her husband — John Gregory Dunn, also a writer and her screenwriting partner — moved from New York City, where they had met and gotten married, to Los Angeles. John's brother, Nick Dunn later became one of the most important early true crime writers at Vanity Fair, believe it or not. But at the time, he was working as a TV producer. He and his wife were there. So they moved to Los Angeles. It was sort of a moment where, you know, it's all well and good to be a journalist and a novelist. If you want to support yourself, Hollywood is where it's at.So they get there at a moment when the business is shifting from these big-budget movies — the Golden Age — to the new Hollywood, where everything is sort of gritty and small and countercultural. That's the moment they arrive. They worked in Hollywood. I mean, they worked literally in Hollywood for many years after that. And then in Hollywood even when they moved back to New York in the '80s as screenwriters still.People sometimes don't realize that they wrote a bunch of produced screenplays. The earliest was The Panic in Needle Park. Obviously, they adapted Didion's novel Play It As It Lays. There are several others, but one that a lot of people don't realize they wrote was the version of A Star is Born that stars Barbra Streisand and Kris Kristofferson. It was their idea to shift the Star is Born template from Hollywood entities to rock stars. That was their idea. Of course, when Bradley Cooper made his version, he iterated on that. So their work was as screenwriters but also as figures in the Hollywood scene because they were literary people at the same time that they were screenwriters. They knew all the actors, and they knew all the producers and the executives.John actually wrote, I think, two of the best books ever written on Hollywood decades apart. One called The Studio, where he just roamed around on the Fox backlot. For a year for reasons he couldn't understand, he got access. That was right when the catastrophe that was Dr. Doolittle was coming out. So you get to hear the inside of the studio. Then later, he wrote a book called Monster, which is about their like eight-year long attempt to get their film Up Close and Personal made, which eventually they did. It's a really good look at what the normal Hollywood experience was at the time: which is like: you come up with an idea, but it will only vaguely resemble the final product once all the studios get done with it.So it's, it's really, that's all very interesting. They're threaded through the history of Hollywood in that period. On top of it for the book (I realized as I was working on it) that a lot of Didion's early life is influenced by especially her obsession with John Wayne and also with the bigger mythology of California and the West, a lot of which she sees as framed through Hollywood Westerns.Then in the '80s, she pivoted to political reporting for a long while. If you read her political writing, it is very, very, very much about Hollywood logic seeping into American political culture. There's an essay called “Inside Baseball” about the Dukakis campaign that appears in Political Fictions, her book that was published on September 11, 2001. In that book, she writes about how these political campaigns are directed and set up like a production for the cameras and how that was becoming not just the campaign, but the presidency itself. Of course, she had no use for Ronald Reagan, and everything she writes about him is very damning. But a lot of it was because she saw him as the embodiment of Hollywood logic entering the political sphere and felt like these are two separate things and they need to not be going together.So all of that appeared to me as I was reading. You know, once you see it, you can't unsee it. It just made sense for me to write about it. On top of it, she was still alive when I was writing the proposal and shopping it around. So she actually died two months after we sold the book to my publisher. It meant I was extra grateful for this angle because I knew there'd be a lot more books on her, but I wanted to come at it from an angle that I hadn't seen before. So many people have written about her in Hollywood before, but not quite through this lens.Yeah. What were some things that you discovered in the course of your research? Obviously, she's such an interesting figure, but she's also lived so very publicly that I'm just super interested to find out what are some of the things that you learned? It can be about her, but it can also be the Hollywood system as a whole.Yeah. I mean, I didn't interview her for obvious reasons.Understandable, entirely understandable.Pretty much everyone in her life also is gone with the exception really of Griffin Dunn, who is her nephew, John's nephew, the actor. But other than that, it felt like I needed to look at it through a critical lens. So it meant examining a lot of texts. A lot of Didion's magazine work (which was a huge part of her life) is published in the books that people read like Slouching Towards Bethlehem and The White Album and all the other books. What was interesting to me was discovering (I mean, not “discovering” because other people have read it) that there is some work that's not published and it's mostly her criticism.Most of that criticism was published in the late '50s and the early '60s when she was living in New York City, working at Vogue and trying to make it in the literary scene that was New York at that time, which was a very unique place. I mean, she was writing criticism and essays for both, you know, like National Review and The Nation at the same time, which was just hard to conceive of today. It was something you'd do back then. Yeah, wild stuff.A lot of that criticism was never collected into books. The most interesting is that she'd been working at Vogue for a long time in various positions, but she wound up getting added to the film critic column at Vogue in, '62, I want to say, although I might have that date slightly off. She basically alternated weeks with another critic for a few years, writing that until she started writing in movies proper. It's never a great idea to be a critic and a screenwriter at the same time.Her criticism is fascinating. So briefly, for instance, she shared that column with Pauline Kael. Pauline Kael became well known after she wrote about Bonnie and Clyde. This was prior to that. This is several years prior to that. They also hated each other for a long time afterward, which is funny, because, in some ways, their style is very different but their persona is actually very similar. So I wonder about that.But in any case, even when she wasn't sharing the column with Pauline Kael, it was a literal column in a magazine. So it's like one column of text, she can say barely anything. She was always a bit of a contrarian, but she was actively not interested in the things that were occupying New York critics at the time. Things like the Auteur Theory, what was happening in France, the downtown scene and the Shirley Clark's of the world. She had no use for it. At some point, she accuses Billy Wilder of having really no sense of humor, which is very funny.When you read her criticism, you see a person who is very invested in a classical notion of Hollywood as a place that shows us fantasies that we can indulge in for a while. She talks in her very first column about how she doesn't really need movies to be masterpieces, she just wants them to have moments. When she says moments, she means big swelling things that happen in a movie that make her feel things.It's so opposite, I think, to most people's view of Didion. Most people associate her with this snobbish elitism or something, which I don't think is untrue when we're talking about literature. But for her, the movies were like entertainment, and entering that business was a choice to enter that world. She wasn't attempting to elevate the discourse or something.I just think that's fascinating. She also has some great insights there. But as a film critic, I find myself disagreeing with most of her reviews. But I think that doesn't matter. It was more interesting to see how she conceived of the movies. There is a moment later on, in another piece that I don't think has been republished anywhere from the New York Review of Books, where she writes about the movies of Woody Allen. She hates them. It's right at the point where he's making like Manhattan and Annie Hall, like the good stuff. She just has no use for them. It's one of the funniest pieces. I won't spoil the ending because it's hilarious, and it's in the book.That writing was of huge interest to me and hasn't been republished in books. I was very grateful to get access to it, in part because it is in the archives — the electronic archives of the New York Public Library. But at the time, the library was closed. So I had to call the library and have a librarian get on Zoom with me for like an hour and a half to figure out how I could get in the proverbial back door of the library to get access while the library wasn't open.That's magnificent. That's such a cool way to go to the archives because some stuff just hasn't been published. If it wasn't digitized, then it's not digitized. That's incredible.Yeah, it's there, but you can barely print them off because they're in PDFs. They're like scanned images that are super high res, so the printer just dies when you try to print them. It's all very fascinating. I hope it gets republished at some point because I think there's enough interest in her work that it's fascinating to see this other aspect of her taste and her persona.It's really interesting that she seems to have wanted to meet the medium where it is, right? She wasn't trying to literary-up Hollywood. I mean, LA can be a bit of a friction. It's not exactly a literary town in the way that some East Coast metropolises can be. It is interesting that she was enamored by the movies. Do you want to speak about what things were like for her when she moved out?Yeah, it is funny because, at the same time, the first two movies that they wrote and produced are The Panic in Needle Park, which is probably the most new Hollywood movie you can imagine. It's about addicts at Needle Park, which is actually right where the 72nd Street subway stop is on the Upper West Side. If people have been there, it's hard to imagine. But that was apparently where they all sat around, and there were a lot of needles. It's apparently the first movie supposedly where someone shoots up live on camera.So it was the '70s. That's amazing.Yes, and it launched Al Pacino's film career! Yeah, it's wild. You watch it and you're just like, “How is this coming from the woman who's about all this arty farty stuff in the movies.” And Play It As It Lays has a very similar, almost avant-garde vibe to it. It's very, very interesting. You see it later on in the work that they made.A key thing to remember about them (and something I didn't realize before I started researching the book)was that Didion and Dunn were novelists who worked in journalism because everybody did. They wrote movies, according to them (you can only go off of what they said. A lot of it is John writing these jaunty articles. He's a very funny writer) because “we had tuition and a mortgage. This is how you pay for it.”This comes up later on, they needed to keep their WGA insurance because John had heart trouble. The best way to have health insurance was to remain in the Writers Guild. Remaining in the Writers Guild means you had to have a certain amount of work produced through union means. They were big union supporters. For them this was not, this was very strictly not an auteurist undertaking. This was not like, “Oh, I'm gonna go write these amazing screenplays that give my concept of the world to the audience.” It's not like Bonnie and Clyding going on here. It's very like, “We wrote these based on some stories that we thought would be cool.”I like that a lot. Like the idea that A Star is Born was like a pot boiler. That's really delightful.Completely. It was totally taken away from them by Streisand and John Peters at some point. But they were like, “Yeah, I mean, you know, it happens. We still got paid.”Yeah, if it can happen to Superman, it can happen to you.It happens to everybody, you know, don't get too precious about it. The important thing is did your novel come out and was it supported by its publisher?So just tracing some of their arcs in Hollywood. Obviously, Didion's one of the most influential writers of her generation, there's a very rich literary tradition. Where do we see her footprint, her imprint in Hollywood? What are some of the ways that we can see her register in Hollywood, or reverberate outside of it?In the business itself, I don't know that she was influential directly. What we see is on the outside of it. So a lot of people were friends. She was like a famous hostess, famous hostess. The New York Public Library archives are set to open at the end of March, of Didion and Dunn's work, which was like completely incidental to my publication date. I just got lucky. There's a bunch of screenplays in there that they worked on that weren't produced. There's also her cookbooks, and I'm very excited to go through those and see that. So you might meet somebody there.Her account of what the vibe was when the Manson murders occurred, which is published in her essay The White Album, is still the one people talk about, even though there are a lot of different ways to come at it. That's how we think about the Manson murders: through her lens. Later on, when she's not writing directly about Hollywood anymore (and not really writing in Hollywood as much) but instead is writing about the headlines, about news events, about sensationalism in the news, she becomes a great media critic. We start to see her taking the things that she learned (having been around Hollywood people, having been on movie sets, having seen how the sausage is made) and she starts writing about politics. In that age, it is Hollywood's logic that you perform for the TV. We have the debates suddenly becoming televised, the conventions becoming televised, we start to see candidates who seem specifically groomed to win because they look good on TV. They're starting to win and rule the day.She writes about Newt Gingrich. Of course, Gingrich was the first politician to figure out how to harness C-SPAN to his own ends — the fact that there were TV cameras on the congressional floor. So she's writing about all of this stuff at a time when you can see other people writing about it. I mean, Neil Postman famously writes about it. But the way Didion does it is always very pegged to reviewing somebody's book, or she's thinking about a particular event, or she's been on the campaign plane or something like that. Like she's been on the inside, but with an outsider's eye.That also crops up in, for instance, her essays. “Sentimental Journeys” is one of her most famous ones. That one's about the case of the Central Park Five, and the jogger who was murdered. Of course, now, we're many decades out from that, and the convictions were vacated. We know about coerced confessions. Also Donald Trump arrives in the middle of that whole thing.But she's actually not interested in the guilt or innocence question, because a lot of people were writing about that. She's interested in how the city of New York and the nation perform themselves for themselves, seeing themselves through the long lens of a movie and telling themselves stories about themselves. You see this over and over in her writing, no matter what she's writing about. I think once she moved away from writing about the business so much, she became very interested in how Hollywood logic had taken over American public life writ large.That's fascinating. Like, again, she spends time in the industry, then basically she can only see it through that lens. Of course, Michael Dukakis in a tank is trying to be a set piece, of course in front of the Berlin Wall, you're finally doing set decoration rather than doing it outside of a brick wall somewhere. You mentioned the New York thing in Performing New York. I have lived in the city for over a decade now. The dumbest thing is when the mayor gets to wear the silly jacket whenever there's a snowstorm that says “Mr. Mayor.” It's all an act in so many ways. I guess that political choreography had to come from somewhere, and it seems like she was documenting a lot of that initial rise.Yeah, I think she really saw it. The question I would ask her, if I could, is how cognizant she was that she kept doing that. As someone who's written for a long time, you don't always recognize that you have the one thing you write about all the time. Other people then bring it up to you and you're like, “Oh, I guess you're right.” Even when you move into her grief memoir phase, which is how I think about the last few original works that she published, she uses movie logic constantly in those.I mean, The Year of Magical Thinking is a cyclical book, she goes over the same events over and over. But if you actually look at the language she's using, she talks about running the tape back, she talks about the edit, she talks about all these things as if she's running her own life through how a movie would tell a story. Maybe she knew very deliberately. She's not a person who does things just haphazardly, but it has the feeling of being so baked into her psyche at this point that she would never even think of trying to escape it.Fascinating.Yeah, that idea that you don't know what you are potentially doing, I've thought about that. I don't know what mine is. But either way. It's such a cool way to look at it. On a certain level, she pretty much succeeded at that, though, right? I think that when people think about Joan Didion, they think about a life that freshens up a movie, right? Like, it workedVery much, yeah. I'm gonna be really curious to see what happens over the next 10 years or so. I've been thinking about figures like Sylvia Plath or women with larger-than-life iconography and reputation and how there's a constant need to relook at their legacies and reinvent and rethink and reimagine them. There's a lot in the life of Didion that I think remains to be explored. I'm really curious to see where people go with it, especially with the opening of these archives and new personal information making its way into the world.Yeah, even just your ability to break some of those stories that have been locked away in archives out sounds like a really exciting addition to the scholarship. Just backing out a little bit, we live in a moment in which the relationship between pop culture and political life is fairly directly intertwined. Setting aside the steel-plated elephant in the room, you and I are friendly because we bonded over this idea that movies really are consequential. Coming out of this book and coming out of reporting on it, what are some of the relevances for today in particular?Yeah, I mean, a lot more than I thought, I guess, five years ago. I started work on the book at the end of Trump One, and it's coming out at the beginning of Trump Two, and there was this period in the middle of a slightly different vibe. But even then I watch TikTok or whatever. You see people talk about “main character energy” or the “vibe shift” or all of romanticizing your life. I would have loved to read a Didion essay on the way that young people sort of view themselves through the logic of the screens they have lived on and the way that has shaped America for a long time.I should confirm this, I don't think she wrote about Obama, or if she did, it was only a little bit. So her political writing ends in George W. Bush's era. I think there's one piece on Obama, and then she's writing about other things. It's just interesting to think about how her ideas of what has happened to political culture in America have seeped into the present day.I think the Hollywood logic, the cinematic logic has given way to reality TV logic. That's very much the logic of the Trump world, right? Still performing for cameras, but the cameras have shifted. The way that we want things from the cameras has shifted, too. Reality TV is a lot about creating moments of drama where they may or may not actually exist and bombarding you with them. I think that's a lot of what we see and what we feel now. I have to imagine she would think about it that way.There is one interesting essay that I feel has only recently been talked about. It's at the beginning of my book, too. It was in a documentary, and Gia Tolentino wrote about it recently. It's this essay she wrote in 2000 about Martha Stewart and about Martha Stewart's website. It feels like the 2000s was like, “What is this website thing? Why are people so into it?” But really, it's an essay about parasocial relationships that people develop (with women in particular) who they invent stories around and how those stories correspond to greater American archetypes. It's a really interesting essay, not least because I think it's an essay also about people's parasocial relationships with Joan Didion.So the rise of her celebrity in the 21st century, where people know who she is and carry around a tote bag, but don't really know what they're getting themselves into is very interesting to me. I think it is also something she thought about quite a bit, while also consciously courting it.Yeah, I mean, that makes a ton of sense. For someone who was so adept at using cinematic language to describe her own life with every living being having a camera directly next to them at all times. It seems like we are very much living in a world that she had at least put a lot of thought into, even if the technology wasn't around for her to specifically address it.Yes, completely.On that note, where can folks find the book? Where can folks find you? What's the elevator pitch for why they ought to check this out? Joan Didion superfan or just rather novice?Exactly! I think this book is not just for the fans, let me put it that way. Certainly, I think anyone who considers themselves a Didion fan will have a lot to enjoy here. The stuff you didn't know, hadn't read or just a new way to think through her cultural impact. But also, this is really a book that's as much for people who are just interested in thinking about the world we live in today a little critically. It's certainly a biography of American political culture as much as it is of Didion. There's a great deal of Hollywood history in there as well. Thinking about that sweep of the American century and change is what the book is doing. It's very, very, very informed by what I do in my day job as a movie critic at The New York Times. Thinking about what movies mean, what do they tell us about ourselves? I think this is what this book does. I have been told it's very fun to read. So I'm happy about that. It's not ponderous at all, which is good. It's also not that long.It comes out March 11th from Live Right, which is a Norton imprint. There will be an audiobook at the end of May that I am reading, which I'm excited about. And I'll be on tour for a large amount of March on the East Coast. Then in California, there's a virtual date, and there's a good chance I'll be popping up elsewhere all year, too. Those updates will be on my social feeds, which are all @alissawilkinson on whatever platform except X, which is fine because I don't really post there anymore.Alyssa, thank you so much for coming on.Thank you so much.Edited by Crystal Wang.If you have anything you'd like to see in this Sunday special, shoot me an email. Comment below! Thanks for reading, and thanks so much for supporting Numlock.Thank you so much for becoming a paid subscriber! Send links to me on Twitter at @WaltHickey or email me with numbers, tips or feedback at walt@numlock.news. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.numlock.com/subscribe

On the forty-seventh episode of The Constitutionalist, Shane Leary and Benjamin Kleinerman are joined by Dr. Matthew Reising, a John and Daria Barry Postdoctoral Research Fellow at Princeton University, to discuss John Ford's classic film "The Man Who Shot Liberty Valance." We want to hear from you! Constitutionalistpod@gmail.com The Constitutionalist is proud to be sponsored by the Jack Miller Center for Teaching America's Founding Principles and History. For the last twenty years, JMC has been working to preserve and promote that tradition through a variety of programs at the college and K-12 levels. Through their American Political Tradition Project, JMC has partnered with more than 1,000 scholars at over 300 college campuses across the country, especially through their annual Summer Institutes for graduate students and recent PhDs. The Jack Miller Center is also working with thousands of K-12 educators across the country to help them better understand America's founding principles and history and teach them effectively, to better educate the next generation of citizens. JMC has provided thousands of hours of professional development for teachers all over the country, reaching millions of students with improved civic learning. If you care about American education and civic responsibility, you'll want to check out their work, which focuses on reorienting our institutions of learning around America's founding principles. To learn more or get involved, visit jackmillercenter.org. The Constitutionalist is a podcast cohosted by Professor Benjamin Kleinerman, the RW Morrison Professor of Political Science at Baylor University and Founder and Editor of The Constitutionalist Blog, and his student, Shane Leary. Each week, they discuss political news in light of its constitutional implications, and explore a unique constitutional topic, ranging from the thoughts and experiences of America's founders and statesmen, historical episodes, and the broader philosophic ideas that influence the American experiment in government.

Hollywood Westerns became popular because of one man, on THIS DAY, June 10th with Chris Conley.See omnystudio.com/listener for privacy information.

In this episode of Tales From Hollywoodland, the hosts engage in a nostalgic discussion about TV westerns, sharing personal anecdotes and analyzing the genre's influence on American culture. Join Steve, Arthur, and Julian as they reflect on iconic shows and the rise of actors like Clint Eastwood while examining the appeal of Westerns in terms of escapism and patriotism. The conversation also touches on the technical aspects of producing Westerns in the 1950s and '60s and their cost-effectiveness. Through their insights, the hosts paint a picture of the enduring legacy of TV westerns and their impact on entertainment and popular culture to this day. Tales From Hollywoodland on Facebook https://www.facebook.com/talesfromhollywoodland  Tales From Hollywoodland on Instagram https://www.instagram.com/talesfromhollywoodland/ Tales From Hollywoodland on YouTube https://www.youtube.com/channel/UCdLX2kbwHqdn47FNN6vVN7Q  We want to hear from you! Feedback is always welcome. Please write to us at  talesfromhollywoodland@gmail.com and why not subscribe and rate the show on Apple Podcast, Spotify, iHeartRadio, Goodpods, PlayerFM, YouTube, Pandora, Amazon Music, Audible, and wherever fine podcasts are found.   #TalesFromHollywoodland #WesternsonTV #TVWesternshistory  #ClassicTVshows #Westerngenreanalysis #Hollywoodnostalgia #Goldenageoftelevision #TVWesternstrivia #Westernstelevisionculture #HollywoodWesterns #TVWesternsdiscussion #WesternTV series #TVWesternsretrospective #Westernsontelevisionpodcast #TVshowanalysis #HollywoodlandWesternsepisode

In this very special episode, Amartya, Aryan, and Dhruv discuss the different styles of the Hollywood Western from its "birth" in 1939 to its "death" in 1968. We begin by discussing John Ford's 1939 film, "Stagecoach," singlehandedly responsible for resuscitating the A-Movie Western for the talkies in Hollywood's Pre-War Era. It provides us with a broad template for archetypes and narratives that -- through repetition -- became movie conventions for reasons both good and bad. Fast forward to the Golden Era of the Hollywood Westerns, particularly the Post-War period -- and you see filmmakers like Anthony Mann beginning to question these conventions while still largely adhering to them in his 1950 film, "Winchester '73." The fondly remembered Spaghetti Westerns of the '60s push even further in this direction, with Sergio Leone's 1968 film, "Once Upon a Time in the West," simultaneously homaging the West and deflating America's constructed myths. Listen to the full episode for our deep dive into each film and the historical context that defined their varied narratives and aesthetic styles! TIME CODES The Western and its Mythology - Archetypes, Narratives, and Aesthetics: [01:16 - 35:09] "Stagecoach" (1939) : [35:09 - 58:11] "Winchester '73" (1950) : [58:11 - 01:22:40] "Once Upon a Time in the West" (1968) : [01:22:40 - 02:01:04] The Western's Contemporary Manifestations: [02:01:04 - 02:19:40] NOTE: The episode is in no way a complete summation of the countless films and directors whose works continue to influence Westerns today. It's intended as a (hopefully) informative celebration of a genre we love! Do hit 'Follow' on Spotify if you haven't already to help the podcast reach more people! Follow our Instagram page: https://instagram.com/queenisdead.filmpodcast You can also follow us on Instagram at:   Aryan: https://www.instagram.com/aryantalksfilm/ Amartya: https://www.instagram.com/amartya25/ Dhruv: https://www.instagram.com/terminalcinema/ Do hit 'Follow' on Spotify if you haven't already to help the podcast reach more people! Follow us on Letterboxd at: Dhruv: https://letterboxd.com/aterminalcinema/ Aryan: https://letterboxd.com/aryantalksfilms/ Amartya: https://letterboxd.com/amartya/

This week, the Tales from Hollywoodland guys don their stetsons and chaps to discuss the greatest westerns ever produced by Hollywood.  From "Red River" to "High Noon," to "The Professionals" and "Butch Cassidy and the Sundance Kid," they cover the whole trail, even including such comedy classics as "Blazing Saddles" and "The Frisco Kid."  We want to hear from you! Feedback is always welcome. Please write to us at  talesfromhollywoodland@gmail.com and subscribe and rate the show on Apple Podcast, Spotify, iHeartRadio, PlayerFM, Pandora, Amazon Music, Audible, and wherever fine podcasts are found.

“Cowboys and Indians.” For most Americans, the words evoke a sinister game, representing a timeless enmity between the forces of civilization and savagery. In actual historical fact, cowboys and Indians were symbiotic trading partners, and many cowboys were Indians themselves; but the image of the cowboy as a conqueror and as the bearer of civilization into the “Wild West” has become central to the American national myth. We trace how the romantic self-image of the 19th-century buckaroos as modern-day knights gradually evolved into the iconography of gunslingers battling on the untamed frontier, from early dime novels to grand “horse operas” to Hollywood Westerns and science fiction, and finally to the new fable of the gay cowboy. Image: Frederic Remington, "Shotgun Hospitality," 1908 Suggested reading: Russell Martin, "Cowboy: The Enduring Myth of the Wild West"; Richard Slotkin, "The Fatal Environment" & "Gunfighter Nation." Please sign up to support and hear patron-only lectures, including Myth o the Month 20: Conspiracy Theories -- https://www.patreon.com/user?u=5530632

Thar visually echoes other Hindi films that have Hollywood Westerns imprinted in their DNA. Be warned, Thar is disturbingly violent. Listen to Anupama Chopra's full review to know more.

Thar visually echoes other Hindi films that have Hollywood Westerns imprinted in their DNA. Be warned, Thar is disturbingly violent. Listen to Anupama Chopra's full review to know more.

n this episode, we investigate The Book of Boba Fett and discuss how this new Star Wars series pulls many of its themes and motifs directly from old Hollywood Westerns, including a few regressive tropes popular in that genre.

“Robert Pippin is one of the precious few thinkers, writers and teachers who stands out in the worlds of philosophy and the humanities for his devotion and attention to the arts most broadly construed. While others in his field might want to write on Hegel alone (about whom Pippin writes better anybody - see his Hegel's Prac- tical Philosophy - for but one example) Pippin has been pro- lific in writing on some of the major arts and artists of our modern and contem- porary periods, including Hollywood Westerns, Proust, Henry James, Douglas Sirk , crime and Film Noir movies, Coatzee novels, and paintings from all periods and eras. Even better it was revealed to me that he is deep in the footage of a book on the great Robert Bresson. In short, he writes on a lot of things and on those things very well. I must admit that my initial familiarity with him was back in the 1990s and due to my ongoing intense interest in Hegel, a philosophy who is experiencing a resurgence of interest at the moment, and even though I take Hegel to be for all ages and who though found to be difficult (an adjective that itself came up more than once in our episode) by many people I feel to be simply indispensable in the "canon" of the great philosophers. I found Robert Pippin to be in general very open and helpful in clarifying what can often be miscon- strued as obscure in certain quarters. Like the episodes with Elizabeth Anderson and George Kateb, this is one of those episodes where I was able to go into the weeds al little more than is usual and indulge my love for philosophy. I can only hope that some of this love is infectious and is as interesting for the listener as it was for us to conduct the episode.” Links: Website: voices.uchicago.edu/rbp1 Books: https:// press.uchicago.edu/ucp/books/author/P/R/ au5252783.html Bio For Mr. Pippin's extended biography, visit us here:https://www.facebook.com/journeyofanaesthetepodca He is the author of several books on modern German philosophy, including Kant's Theory of Form; Hegel's Ideal- is: The Satisfactions of Self-Consciousness; Modernism as a Philosophical Problem; Hegel's Practical Philosophy; After the Beautiful: Hegel and the Philoso- phy of Pictorial Modernism, and Hegel's Realm of Shadows: Logic as Metaphysics in The Science of Logic; a book on philosophy and literature, Henry James and Modern Moral Life; and five books on film. His last two books are Filmed Thought: Cinema as Re- flective Form, and Philosophy by Other Means: The Arts in Philosophy and Philosophy in the Arts, both published by University of Chicago Press. He is a past winner of the Mellon Distinguished Achievement Award in the Humanities, is a fellow of the American Academy of Arts and Sciences, of the Ameri- can Philosophical Society, and of the German National Academy of Sciences, Leopoldina. --- Send in a voice message: https://anchor.fm/mitch-hampton/message Support this podcast: https://anchor.fm/mitch-hampton/support

Podcast: 22 minutes. Listen Now, or Download to Your Favorite App for Later, by clicking on “Listen in Podcast App” above right.Black travelers with covered wagons on the overland trails? Absolutely!Dr. Shirley Ann Wilson Moore is author of Sweet Freedom's Plains: African Americans on the Overland Trails, 1841-1869, the book on which my latest Tales post, Black Americans and Covered Wagons, is based. Dr. Moore's book and her research for the National Park Service are changing how the American public understands 19th century Westward Migration after all the misimpressions left by Hollywood Westerns.Recently, I sat down (via Zoom) with Dr. Moore, and this is our interview, in downloadable audio podcast format.Our chat is also available on video at this link. You can also read it below as an edited transcript. TRANSCRIPTEdited for clarity.Annette Laing:  Welcome to Non-Boring History. Today we're going to be talking about a truly fantastic book. It's Sweet Freedom's Plains:  African Americans on the Overland Trail from 1841 to 1869,  written by Shirley Ann Wilson Moore. This is an academic book, but please don't stop watching, because I do think this book engages an awful lot of people outside of history departments. I'm delighted to say that today I have with me Dr. Moore herself. She holds a PhD in American history from the University of California, Berkeley. She is a professor emeritus at California State University. Sacramento. She's a specialist in African-American history and especially African-American women in the West. She's the author of three books, including this one [for which Dr. Moore won the 2019 Barbara Sudler Award for best non-fiction book on a western American subject authored by a woman.]Dr. Moore has also written numerous articles, essays, and book chapters, and she has served as a consultant on projects for the public, including with the National Park Service, as well as on various documentaries. So with that, thank you very much for joining me at Non-Boring History today, Shirley.Shirley Moore: Well, it's my pleasure and it's delightful to be here. So we'll have to live up to Non-Boring History, right?Annette Laing: Exactly! We're two historians. This is not a good start. We will do our best!So who were they? Who were the African American folks who went West?Shirley Moore: You know, that's a really good question. As to numbers, I don't think we'll ever establish the numbers of black people who went West. I've seen estimates from 5,000 to 50,000. So we'll never know. Because officials who were in charge of census taking of the travelers, those who were enslaved, their owners didn't refer to them or count them for anything other than black, or black woman, black man. They were ignored and discounted. So we'll never know the numbers.However,  one thing we have to understand, and probably most people don't think that in the pioneer days, the wagon train days, that African Americans were involved at all. That is not the case. Black immigrants, travelers, were involved in every aspect of that process from start to finish. And they were not all enslaved. Many free blacks came. So their invisibility doesn't stem from the fact that they weren't there. They were seen as inconsequential. So that's why this cloak of invisibility surrounded them, as far as whites were concerned,Annette Laing: The knowledge that most people have of the wagon trains is based more on 1950s westerns than anything. Most people haven't a clue, starting with the fact that people were not traveling in the wagons, but walking next to them. What makes black folks' overland journeys especially significant?Shirley Moore: That's one of the questions I set out to explore in Sweet Freedom's Plains. What I discovered is that many blacks came West for similar reasons as their white counterparts. You know, the West was the land of starting over, in the popular imagination. It was a place where you could reinvent yourself, a place where you had greater freedoms. That was in the popular imagination, and certainly African Americans held to those reasons.But especially those who are were enslaved, and those who were restricted by black laws and Black Codes--even if you were free in the so-called free states and certainly, in the slave states, if you had a free status, that meant very little-- were hemmed in by laws. You had no political status. You had no citizenship status. So it was tough for even free Blacks, in free states and certainly in the South. They came West seeking relief from those conditions.The title of the book, as a matter of fact, came from an old abolitionist hymn, you know, abolitionist words, from the anti-slavery movement, grafted onto hymns. The title is from one of these abolitionist hymns called The Flying Slave. One verse in that hymn says "Behind, I left the whips and chains. Before me, lay sweet freedom's plains." That's where the title comes from. That alone was, you know, worth the discovery. I knew when I heard it, that would be the title for the book. I knew it.Annette Laing: So when people embarked full of hope on this journey west. . .  I mean, this, we know, was not an easy journey for anyone . . .Shirley Moore: For anybody.Annette Laing: What specific challenges did black folks run into?Shirley Moore: As I said, they were counted whether they were free or enslaved, They were counted as non-people. Many wagon companies had in their charters provisions that restricted them from taking on Black travelers. Even if they could pay, they weren't allowed to be on those [wagon] trains. So, once they could secure passage, either by paying or working, they had to wait around those jumping off towns longer than their white counterparts. They had to figure out where they were going to stay as they waited, that kind of thing.So from the beginning, even before they hit the trails, this was the dilemma that white travelers, white overlanders, didn't face. And on the trails, they were, of course, as slaves, required to work.  Everybody worked under horrific conditions that we would just shudder at. But for Blacks, they had no choice. They were on call 24 hours a day, 7 days a week. They did the most onerous, difficult work possible.There is one company, these were the so-called Mississippi Mormons, that made the journey in two stages, coming from Mississippi. There were a number of Blacks in that company, and one of the leaders of the train recorded that everybody suffered the terrible cold conditions. They suffered terribly but, as the person, whose name escapes me, writes in his journal, the Negroes suffered the most. And several died and were buried along the trail. It was commonplace for slaves to be worked in horrific conditions. And throughout the slave states, slaves, especially in the wintertime suffered from pneumonia. They called it . . . Oh, gosh. I forgot the name. It's in the book, so look it up! [laughter] So, they suffered from this, and they were routinely expected to die. So, this was a burden. They were routinely expected to be, as I say in the book, pack animals.Annette Laing: But at the same time, one of the things that really came out in the book to me, and I'm thinking here of people like George W. Bush, who's handing out loans and things . . . There was this sort of crucible on the overland trail.  Maybe you could address that.Shirley Moore: One of the reasons, you asked me why did they come West, one of the popular notions about the West was that some of these racial proscriptions could be left behind and capability and ability and prowess could trump those racial categories.Bush, who was a free black man, and he left with his five sons, and his wife who was white, left Missouri, he epitomized that.  George W. Bush --that improbable name! His chronicler and friend wrote in journals that George W. Bush was the most capable man he'd ever met. He not only financed several of the company members who were cash-strapped, because he was a successful farmer, and businessman in Missouri. He also bought wagons for them, provisioned their wagons, and so on. And when they were going through starving times, he taught them to hunt small game, and he was the provider. So he's an outstanding example of that notion that ability could at times overcome those stigmas. That was on the Trail. Now, when he made it to his destination in Oregon Territory, he was not allowed to own the land that he had homesteaded. And so the US Congress had to make a special petition for George Bush to own these lands up in the Puget Sound area. Bush is a fascinating story. This book is full of stories. It's full of footnotes, dense, wonderful footnotes . . .(laughing) But you can ignore those. You don't have to read them.Annette Laing: Don't worry, audience!Shirley Moore: Yeah, don't worry. Don't let that scare you off the stories. I like to think that this book is full of stories that Hollywood hasn't even tapped into. Real life.Annette Laing: That's absolutely right. I mean, there are so many. And it complicates things, doesn't it? I've asked you to do this interview in such a short time, and we can't just reduce it to "Did they get there, and everything went great or not?” Because it's impossible, right?Shirley Moore: It is impossible to do that. But the complications, the complexities, the nuances of this whole journey, that's what makes it so interesting to me.And I think your viewers and listeners would be interested to know that these overlanders in this timespan I'm looking at weren't the first Blacks in the west. You know, you had black mountain men, black guides, for whom this was their territory. And I talk about that in the book. I think that in the complexity and the complications, that's where you get the real stories. Once Blacks set out on the trails, took first steps on the trails, whether they were enslaved or free, they knew something had changed. And there were Blacks who, and I call them facilitators, who never made the Overland journey, but were very, very instrumental in allowing it to happen, in facilitating it. One such person was a man by the name of Hiram Young. He was a former slave. He didn't know how to read or write, but he rose to be, I think, the third wealthiest man in in Missouri. He was based in Independence, Missouri. He came up with a wagon [design]. The wagon was the iconic symbol, right, of the overland trip of pioneer days, of westward migration? [Young built] a wagon that was preferred by most overlanders. They called it, in short, the Hiram Young wagon. And it was lighter, smaller, just easier to work with. He had plaques put up on the wagons that bore his name.But he didn't stop at that. He had a business conglomerate in this jumping-off town of Independence, Missouri, where everybody came to provision themselves, to get supplies. He supplied them from his farms. He had cornered the market on yoke making. Oxen were the preferred mode of force pulling the wagons, so he cornered the market on oxen, yokes, wagons, food. He had farms. He was an interesting, interesting person, Hiram Young, because he employed slaves from the surrounding area, Missouri being a slave state, and gave them a working wage. His thought was that they can buy their freedom just as he did, and perhaps buy one of his wagons, and head West. He also employed white workers, and let some of them board in his home, which was breaking every racial taboo at the time.Annette Laing: Like the white Irishman that you mentioned. Shirley Moore: Oh, yes.  And so Hiram Young was a facilitator, and I don't think people associate the iconic symbol of overland immigration with a Black man. You know, he made it, and he sold wagons to anyone who could purchase them. One of his contemporaries said that you could see Hiram Young wagons on the trails from Missouri out to California and beyond, that's how popular they were.Annette Laing: He's mentioned in Independence, which is where I first learned of him. But this is news that is just not trickling down into schools. You know, I mean, I talk about westward migration, I talk about Hiram Young in schools. And this is all kind of news to people. Have you seen some progress with, you know, certainly with the National Park Service.?Shirley Moore: Yes. Yes, this book actually started out as a report. The National Park Service contacted me and asked me if I'd be interested in writing a report, so they could update their materials on the various trails and their various facilities, update that signage, and update the language. And I thought, well, it's intriguing. I, like everybody else, didn't know much about the Blacks on the Overland trail, but I completed that report and they were pleased with it. But I knew, as I was working on the report, there was much more to be said about this, and that's what sparked me into continuing to this book. The National Park Service wanted to make changes and be more inclusive, and I know there's a hunger out there, as I've gone around and talked about these issues. People are hungry for it, from grade schools to adults who haven't been in school in a very long time, to everybody, and it strikes a chord because it is such a diversity of experience. We can't talk about the Black overlanders' experience because they had some things in common, but they had such different experiences.Annette Laing: You bring that out so, so well. This is a really compelling set of stories, and with really fascinating overarching arguments. You know, I have deliberately limited our time, which I hate, because I could really have this conversation all day.Shirley Moore: We could!Annette Laing: So we really have to have you back.  But I want to thank you so much, Dr. Moore, for taking the time out to talk to me today.I just want to remind everybody that Sweet Freedom's Plains is available in libraries, for sale in independent bookstores, and on  A____n, the online store we don't talk about. I do recommend this book, and I don't recommend all academic books for a popular audience.So once again, thank you,  Dr. Shirley Moore.Shirley Moore: Thank you so much. Next time I come back, I have to tell you about the two Black women who were kicked out of the wagon train, a super story.Annette Laing:  I want to hear that, and I also want to talk about the cover, and your interviews you did with people, and you name it! Thank you again, so much.Share this podcast with a friend. And don't forget to subscribe to Non-Boring History! You can sign up in seconds for FREE emails, or opt for an annual or monthly subscription for the full experience, including moderated comments. Get full access to Non-Boring History at annettelaing.substack.com/subscribe

Join John Wayne's daughter, Aissa Wayne, as she shares memories of her father with guest curator Andrew Patrick Nelson at the Briscoe Western Art Museum on Saturday, Sept. 5., 210 W. Market St. in San Antonio. This will also be the last chance to see the “Still in the Saddle: A New History of Hollywood Westerns” exhibit, and get a guided tour with Patrick and Aissa. The program begins at 2 p.m. with a question-and-answer session, followed by the guided tour at 3 p.m. For tickets or more information, call 210-299-4499 or visit www.briscoemuseum.org.Article Link

On Thursday's Houston Matters: It's been an eventful week in immigration policy developments, from a potential legal dispute between the Biden administration and the state of Texas over the licensing of facilities housing unaccompanied migrant children, to the fate of some of the nearly 100 migrants rescued from captivity during a human smuggling bust in April. News 88.7's Elizabeth Trovall gives us an update. Also this hour: Some local experts share advice on how buyers can navigate the competitive real estate market. Then, Rice University President David Leebron talks about his time at the institution he has led since 2004. He recently announced he'll step down next summer. And we reflect on how Hollywood Westerns have depicted Texas over the years with film critic Joe Leydon.

Performer, composer, silent film accompanist and television presenter Neil Brand is the special guest joining Chris and Alex for Episode 57 of the podcast, which celebrates the musical beats and Mariachi owls of Rango (Gore Verbinski, 2011). Listen as they discuss how this curious 2011 computer-animated film revels in the power of telling tales alongside its broader relationship to folk ballads; Rango’s cinephilic evocation of canonical Hollywood Westerns and U.S. cinema history; themes of ambition, isolation, and aimlessness, and how this ties into a film whose existentialist narrative is predicated on the question of inevitability; Rango’s musical score that functions as a bridge between landscape and character; and what Gore Verbinski’s film tells us about what audiences might want from contemporary fantasy/animation (namely highly sophisticated anarchy rather than structures that organise, and a fantasy better realised onscreen that we can ever imagine!).

An insightful interview with film historian Andrew Patrick Nelson about his book, "Still in the Saddle: The Hollywood Western, 1969 - 1980." Demonstrating that there was far more to the 1970s Westerns than mere revisionism, Nelson provides a challenging new history of the genre's most controversial period.

The Boys delve into a wide range of historical and technical inaccuracies they've noticed in Hollywood westerns. Some of the errors are forgivable, but others are not. You can decide for yourself how much meticulous precision you demand for the sake of your viewing pleasure.

Didier Gondola (IUPUI, History and Africana Studies) on his book, Tropical Cowboys: Westerns, Violence, and Masculinity in Kinshasa. He reflects on how Hollywood Westerns shaped a performative young urban masculinity expressed through nicknames and slang, cannabis consumption, gender violence, fashion, and sport. Gondola also offers insights on Jean Depara’s photography, the recent DRC elections, and […]

Didier Gondola (IUPUI, History and Africana Studies) on his book, Tropical Cowboys: Westerns, Violence, and Masculinity in Kinshasa. He reflects on how Hollywood Westerns shaped a performative young urban masculinity expressed through nicknames and slang, cannabis consumption, gender violence, fashion, and sport. Gondola also offers insights on Jean Depara’s photography, the recent DRC elections, and […]

Interview with Dr Andrew P. Nelson (Montana State University) on his book "Still in the Saddle: The Hollywood Western, 1969-1980". Read more about the book on goodreads: https://www.goodreads.com/book/show/26063327-still-in-the-saddle Follow Dr Nelson on twitter: @ DrAPNelson And on his website: www.andrewpnelson.com Old West, Now is on twitter: @ OldWestNow Follow the blog: www.oldwestnow.wordpress.com

Robert B. Pippin is the Evelyn Stefansson Nef Distinguished Service Professor in the John U. Nef Committee on Social Thought, the Department of Philosophy, and the College at the University of Chicago. He is the author of several books on German idealism, including "Kant’s Theory of Form" (1982), "Hegel’s Idealism: The Satisfactions of Self-Consciousness" (1989), "Modernism as a Philosophical Problem" (1991), and "Hegel’s Practical Philosophy" (2008). He has also written on literature ("Henry James and Modern Moral Life" (2000)) and film ("Hollywood Westerns and American Myth" (2010). His most recent books are "Nietzsche, Psychology, and First Philosophy" (2010), "Hegel on Self-Consciousness" (2011), and "Fatalism in American Film Noir: Some Cinematic Philosophy" (2012), and "Kunst als Philosophie: Hegel und die Philosophie der bildlichen Moderne" (2012). He has been visiting professor at universities in Amsterdam, Jena, Frankfurt, and at the Collège de France. He is a past winner of the Mellon Distinguished Achievement Award in the Humanities, is a fellow of the American Academy of Arts and Sciences, and is a member of The American Philosophical Society. This podcast is an audio recording of Professor Pippin's talk - 'The Significance of Self-Consciousness in Idealist Theories of Logic' - at the Aristotelian Society on 27 January 2014. The recording was produced by Backdoor Broadcasting Company in conjunction with the Institute of Philosophy, University of London.

Popular tragedy in which Hieronimo pursues aristocratic murderers of his son Horatio and takes revenge. It speaks, like Hollywood Westerns, to questions about private revenge versus public justice, and to the vexed religious questions of its age.

The whistled motive from this film has become nearly synonymous with climactic Old West showdowns, even though the film that it graces was made well after the golden age of Hollywood Westerns. The composer scored countless Westerns in this peculiar international style, making his reputation abroad…

The whistled motive from this film has become nearly synonymous with climactic Old West showdowns, even though the film that it graces was made well after the golden age of Hollywood Westerns. The composer scored countless Westerns in this peculiar international style, making his reputation abroad…