Max Harrison was known in Hollywood and around the world as "Artist for the Stars." Max Harrison drew his first drawing in 1937 at the age of 8, and graduated from Southeastern Oklahoma State University Durant, Oklahoma. He was the artist for Gene Autry and Gene Autry Comics from 1946 to 1963. Today Gene Autry comic books are considered by collectors as a valued addition to their collection. His 1949 drawing of Rudolph the Red Nose Reindeer (included, along with "Max Knows The Nose") for Gene Autry is still sold around the world. Max Harrison was the artist for Smiley Frog Burnette, Sunset Carson, State of Kentucky Safety Program with Fess Parker as Daniel Boone, Petticoat Junction, Green Acres, and many others. He has appeared in 17 movies and has received awards for his artwork from around the world. In The Max Harrison Story, Sylvia Harrison shares with her readers many personal stories of her time in Hollywood and her many friends in the movie business.
From her conception in 1956, the N.S. Savannah--the world's first and only nuclear-powered merchant ship--was ill-starred. The Savannah was meant to revitalize the American Merchant Marine. She never fulfilled that hope. Before her first sea trial, the Savannah was embroiled in problems which reflected the complex nature of the entire maritime industry. In this detailed and controversial history, David Kuechle proposes some answers to the age-old maritime labor relations problem, assessing the implications of the Savannah story, not only for the maritime industry but for other industries concerned with technological change.
Histories of the US sixties invariably focus on New York City, but Los Angeles was an epicenter of that decade's political and social earthquake. L.A. was a launchpad for Black Power where Malcolm X and Angela Davis first came to prominence and the Watts uprising shook the nation and home to the Chicano walkouts and Moratorium, as well as birthplace of 'Asian America' as a political identity, base of the antiwar movement, and of course, centre of California counterculture. Mike Davis and Jon Wiener provide the first comprehensive movement history of L.A. in the sixties, drawing on extensive archival research, scores of interviews with principal figures of the 1960s movements, and personal histories (both Davis and Wiener are native Los Angelenos). Following on from Davis's award-winning L.A. history, City of Quartz, Set the Night on Fire is a fascinating historical corrective, delivered in scintillating and fiercely elegant prose.