A journey through the personal money stories of the US presidents and how they built wealth—or didn’t. Was Harry Truman really our poorest president or simply a man up at 2 a.m. struggling with financial anxiety? Did Calvin Coolidge get bad advice from his stockbroker to buy stocks in 1930 as the market continued to crash? Is it true George Washington enhanced his net worth by marrying up? We often think of the US presidents as being above the fray. But the truth is, the presidents are just like us—worried about money, trying to keep a budget, and chasing the American financial dream. While some presidents like Herbert Hoover and Gerald Ford became wildly successful with money, others like Thomas Jefferson and Joe Biden struggled to sustain their lifestyle. The ability to win the presidency is no guarantee of financial security, although today it’s a much easier path to monetize. In All the Presidents’ Money, tax attorney and wealth manager Megan Gorman takes us on a journey to understand the different personal money stories of the presidents. Grit, education, and risk are just some of the different ways that the presidents over the last 250 years have made (or lost) money. With lively storytelling and rigorous research, All the Presidents’ Money reveals how some of the greatest leaders are the worst money managers and our least favorite presidents are good at making money.

"An investigation into the Biden family's finances"--

Prins shows how powerful Wall Street bankers partnered with presidents to became the unelected leaders of the 20th century.

This study closely analyzes key works by five pivotal playwrights: Sidney Kingsley, Arthur Miller, David Mamet, August Wilson, and Suzan-Lori Parks, in a comparison of the treatment of money in a range of American plays from the Great Depression to the early twenty-first century. Money emerges as a site of anxieties regarding the relation of signs to the real: a “monstrous” substance that seems to breed itself from itself; a dangerous abstraction that claims for itself a “hard” reality, transforming lived reality into an abstraction. At the same time, money’s self-generating properties have made it a serviceable metaphor for the American ideal of “self-making”; money’s ability to exchange means for ends, abstract for concrete, representation for real, has made it an emblem of our postmodern condition. Money has been conceived as a malevolent force robbing us of our natural relation to the world and to ourselves, and as an empowering one with which we may remake this relation. This ambivalence about money constitutes an important animating tension of American drama. Furthermore, anxieties surrounding money resemble in important ways anxieties surrounding theatre, and the plays’ treatment of money reveals interesting tensions between a persistent American dramatic realism and naturalism, and a philosophical and aesthetic postmodernism.

"Containing the public messages, speeches, and statements of the President", 1956-1992.