But Fort Worth was never again the same after the Frontier Centennial . . . and memories of that festival linger today, even though the buildings were long ago razed.

The area "where the West begins" awaits business travelers, vacationers, and new residents, and this thorough, unsubsidized guide serves as the perfect welcome mat. Maps will assist business travelers in finding their way around Cowtown, so called because of the sheer number and importance of cattle in the area's history. Self-guided city tours and suggested day trips will help vacationers explore the cities and their surroundings with a minimum of planning and a maximum of sightseeing. Listings for hotels, restaurants, and attractions will aid anyone with a zest for the best, while the chapter devoted to new residents will make moving to the area Texas Monthly calls "Texas' liveliest urban environment" as painless as possible.

Volume contains: (Scholen v. Guaranty Trust Co. of N.Y.) (Albert v. Public Service Mutual Casualty Ins. Co.) (Albert v. Public Service Mutual Casualty Ins. Co.) (Albert v. Public Service Mutual Casualty Ins. Co.) (Albert v. Public Service Mutual Casualty Ins. Co.) (Angelos v. Mesevich) (Angelos v. Mesevich) (Apro Realty Co., Inc. v. Rosenberg) (Apro Realty Co., Inc. v. Rosenberg) (Apro Realty Co., Inc. v. Rosenberg) (Apro Realty Co., Inc. v. Rosenberg) (Matter of Astwood v. Cohen) (Matter of Astwood v. Cohen) (Matter of Astwood v. Cohen) (Baker v. Cohn) (Matter of Bednarsh v. Cohen) (Matter of Bednarsh v. Cohen) (Matter of Bednarsh v. Cohen) (Matter of Bednarsh v. Cohen) (Matter of Bergman v. Mergenthaler Linotype Co.) (Matter of Bergman v. Mergenthaler Linotype Co.) (Matter of Bernstein) (Matter of Bernstein) (Matter of Bernstein) (Matter of Black) (Matter of Black) (Matter of Black) (Matter of Black) (Matter of Black) (Matter of Black) (Matter of Black)

For much of the mid-twentieth-century, Amon G. Carter Sr. was the man who invented the cowboy at least the larger-than-life Texas version that captured the imagination of the public, presidents, movie stars, and moguls. Carter donned his cowboy persona to build Fort Worth, from the Star-Telegram up, and much of the rest of West Texas. Jerry Flemmons brings to life the mythic huckster and newspaper giant who ushered the likes of Gary Cooper, Charles Lindbergh, Will Rogers, and Ike through the back door of his Fort Worth mansion and feted them at his Shady Oak Farm with rodeos and parties.

The Encyclopedia of Vaudeville provides a unique record of what was once America's preeminent form of popular entertainment from the late 1800s through the early 1930s. It includes entries not only on the entertainers themselves, but also on those who worked behind the scenes, the theatres, genres, and historical terms. Entries on individual vaudevillians include biographical information, samplings of routines and, often, commentary by the performers. Many former vaudevillians were interviewed for the book, including Milton Berle, Block and Sully, Kitty Doner, Fifi D'Orsay, Nick Lucas, Ken Murray, Fayard Nicholas, Olga Petrova, Rose Marie, Arthur Tracy, and Rudy Vallee. Where appropriate, entries also include bibliographies. The volume concludes with a guide to vaudeville resources and a general bibliography. Aside from its reference value, with its more than five hundred entries, The Encyclopedia of Vaudeville discusses the careers of the famous and the forgotten. Many of the vaudevillians here, including Jack Benny, George Burns and Gracie Allen, Jimmy Durante, W. C. Fields, Bert Lahr, and Mae West, are familiar names today, thanks to their continuing careers on screen. At the same time, and given equal coverage, are forgotten acts: legendary female impersonators Bert Savoy and Jay Brennan, the vulgar Eva Tanguay with her billing as “The I Don't Care Girl,” male impersonator Kitty Doner, and a host of “freak” acts.

In a career that spanned 60 years, Paul Whiteman changed the landscape of American music, beginning with his million-selling recordings in the early 1920s of “Whispering,” “Japanese Sandman,” and “Three O’Clock in the Morning.” Whiteman would then introduce “symphonic jazz,” a powerful blend of the classical and jazz idioms that represented a whole new approach to modern American music, influencing generations of bandleaders and composers. While some hold that at the close of the Roaring Twenties Whiteman’s musical hegemony quickly waned, Don Rayno illustrates in this second volume of Paul Whiteman: Pioneer in American Music how much of a dominant figure Whiteman remained. A major figure on the American music scene for decades to come, he would continue to lead critically-acclaimed orchestras, filling theaters and concert halls alike and diligently seeking out and nurturing musical talent on the largest scale of any orchestra leader in the 20th century. In this second volume of Rayno’s magisterial treatment of the life and music of this remarkable maestro, Whiteman’s career during the second half of his life is explored in the fullest detail, as Whiteman conquers the worlds of theater and vaudeville, the concert hall, radio, motion pictures, and television, winning accolades in all of them. Through hundreds of interviews, extensive documentation, and exhaustive research of over nearly three decades, a portrait emerges of one of American music’s most important musical figures during the last century. Rayno paints a stunning portrait of Whiteman’s considerable accomplishments and far-reaching influence.