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A collection of Courtney's columns from the Texas Monthly, curing the curious, exorcizing bedevilment, and orienting the disoriented, advising "on such things as: Is it wrong to wear your football team's jersey to church? When out at a dancehall, do you need to stick with the one that brung ya? Is it real Tex-Mex if it's served with a side of black beans? Can one have too many Texas-themed tattoos?"--Amazon.com.
A New York Times bestseller, The Midnight Assassin is a sweeping narrative history of a terrifying serial killer--America's first--who stalked Austin, Texas in 1885. In the late 1800s, the city of Austin, Texas was on the cusp of emerging from an isolated western outpost into a truly cosmopolitan metropolis. But beginning in December 1884, Austin was terrorized by someone equally as vicious and, in some ways, far more diabolical than London's infamous Jack the Ripper. For almost exactly one year, the Midnight Assassin crisscrossed the entire city, striking on moonlit nights, using axes, knives, and long steel rods to rip apart women from every race and class. At the time the concept of a serial killer was unthinkable, but the murders continued, the killer became more brazen, and the citizens' panic reached a fever pitch. Before it was all over, at least a dozen men would be arrested in connection with the murders, and the crimes would expose what a newspaper described as "the most extensive and profound scandal ever known in Austin." And yes, when Jack the Ripper began his attacks in 1888, London police investigators did wonder if the killer from Austin had crossed the ocean to terrorize their own city. With vivid historical detail and novelistic flair, Texas Monthly journalist Skip Hollandsworth brings this terrifying saga to life.
The editors of Texas Monthly explore what it means to be a Texan in this anthology packed with essays, reportage, recipes, and recommendations from their renowned list of contributors. Big hats, big trucks, big oil fortunes—Texas clichés all. And while those elements do flourish throughout Texas, they alone hardly define the place. The Lone Star State is and has always been a great melting pot, home to sprawling cities, trailblazing innovators, and treasured traditions from all over, many of which become ingrained in popular culture and intertwined with the American ideal. In this collection, the editors of Texas Monthly take stock of their multifaceted, larger-than-life state, including the people, customs, land, culture, and cuisine that have collided and comingled here. Featuring essays, reportage, recipes, and recommendations from the magazine’s legendary roster of contributors, and accompanied by original drawings, Being Texan explores the landscapes that are home to more than 29 million people; the joys and idiosyncrasies of Texan life; underappreciated episodes of Texas history; and distinctive strains of Texan arts and culture. Illuminating, surprising, and entertaining, Being Texan reveals the Lone Star State in all its beauty, vastness, and complexity.
A photo-filled behind-the-scenes journey into the creation of the book, the miniseries, and the world of Lonesome Dove. Widely acclaimed as the greatest Western ever made, Lonesome Dove has become a true American epic. Larry McMurtry’s Pulitzer Prize–winning novel was a New York Times bestseller, with millions of copies in print, and the miniseries has won seven Emmys. In this treasury, John Spong talks to forty of the key people involved, including author Larry McMurtry; actors Robert Duvall, Tommy Lee Jones, Anjelica Huston, Diane Lane, Danny Glover, Ricky Schroder, D. B. Sweeney, Frederic Forrest, and Chris Cooper; executive producer and screenwriter Bill Wittliff; executive producer Suzanne de Passe; and director Simon Wincer. They and a host of others tell lively stories about McMurtry’s writing of the epic novel and the process of turning it into the miniseries Lonesome Dove. Accompanying their recollections are photographs of iconic props, costumes, set designs, and shooting scripts. Rounding out the book are continuity Polaroids used during filming and photographs taken on the set by Bill Wittliff, which place you behind the scenes in the middle of the action. Designed as a companion for A Book of Photographs from Lonesome Dove, Wittliff’s magnificent fine art volume, A Book on the Making of Lonesome Dove is a must-have for every fan.
“They’re still trying to hide the weenie,” thought Sherron Watkins as she read a newspaper clipping about Enron two weeks before Christmas, 2001. . . It quoted [CFO] Jeff McMahon addressing the company’s creditors and cautioning them against a rash judgment. “Don’t assume that there is a smoking gun.” Sherron knew Enron well enough to know that the company was in extreme spin mode… Power Failure is the electrifying behind-the-scenes story of the collapse of Enron, the high-flying gas and energy company touted as the poster child of the New Economy that, in its hubris, had aspired to be “The World’s Leading Company,” and had briefly been the seventh largest corporation in America. Written by prizewinning journalist Mimi Swartz, and substantially based on the never-before-published revelations of former Enron vice-president Sherron Watkins, as well as hundreds of other interviews, Power Failure shows the human face beyond the greed, arrogance, and raw ambition that fueled the company’s meteoric rise in the late 1990s. At the dawn of the new century, Ken Lay’s and Jeff Skilling's faces graced the covers of business magazines, and Enron’s money oiled the political machinery behind George W. Bush’s election campaign. But as Wall Street analysts sang Enron’s praises, and its stock spiraled dizzyingly into the stratosphere, the company’s leaders were madly scrambling to manufacture illusory profits, hide its ballooning debt, and bully Wall Street into buying its fictional accounting and off-balance-sheet investment vehicles. The story of Enron’s fall is a morality tale writ large, performed on a stage with an unforgettable array of props and side plots, from parking lots overflowing with Boxsters and BMWs to hot-house office affairs and executive tantrums. Among the cast of characters Mimi Swartz and Sherron Watkins observe with shrewd Texas eyes and an insider’s perspective are: CEO Ken Lay, Enron’s “outside face,” who was more interested in playing diplomat and paving the road to a political career than in managing Enron’s high-testosterone, anything-goes culture; Jeff Skilling, the mastermind behind Enron’s mercenary trading culture, who transformed himself from a nerdy executive into the personification of millennial cool; Rebecca Mark, the savvy and seductive head of Enron’s international division, who was Skilling’s sole rival to take over the company; and Andy Fastow, whose childish pranks early in his career gave way to something far more destructive. Desperate to be a player in Enron’s deal-making, trader-oriented culture, Fastow transformed Enron’s finance department into a “profit center,” creating a honeycomb of financial entities to bolster Enron’s “profits,” while diverting tens of millions of dollars into his own pockets An unprecedented chronicle of Enron’s shocking collapse, Power Failure should take its place alongside the classics of previous decades – Barbarians at the Gate and Liar’s Poker – as one of the cautionary tales of our times.
A New York Times bestseller! “Lively and absorbing. . ." — The New York Times Book Review "Engrossing." —Wall Street Journal “Entertaining and well-researched . . . ” —Houston Chronicle Three noted Texan writers combine forces to tell the real story of the Alamo, dispelling the myths, exploring why they had their day for so long, and explaining why the ugly fight about its meaning is now coming to a head. Every nation needs its creation myth, and since Texas was a nation before it was a state, it's no surprise that its myths bite deep. There's no piece of history more important to Texans than the Battle of the Alamo, when Davy Crockett and a band of rebels went down in a blaze of glory fighting for independence from Mexico, losing the battle but setting Texas up to win the war. However, that version of events, as Forget the Alamo definitively shows, owes more to fantasy than reality. Just as the site of the Alamo was left in ruins for decades, its story was forgotten and twisted over time, with the contributions of Tejanos--Texans of Mexican origin, who fought alongside the Anglo rebels--scrubbed from the record, and the origin of the conflict over Mexico's push to abolish slavery papered over. Forget the Alamo provocatively explains the true story of the battle against the backdrop of Texas's struggle for independence, then shows how the sausage of myth got made in the Jim Crow South of the late nineteenth and early twentieth century. As uncomfortable as it may be to hear for some, celebrating the Alamo has long had an echo of celebrating whiteness. In the past forty-some years, waves of revisionists have come at this topic, and at times have made real progress toward a more nuanced and inclusive story that doesn't alienate anyone. But we are not living in one of those times; the fight over the Alamo's meaning has become more pitched than ever in the past few years, even violent, as Texas's future begins to look more and more different from its past. It's the perfect time for a wise and generous-spirited book that shines the bright light of the truth into a place that's gotten awfully dark.
Forced to confront both her painful past and the seemingly inevitable loss of her old home, Sofia realizes that she must reevaluate everything she thought she knew about art, love, men, miracles, and money."--BOOK JACKET.
The timing couldn't be better--as scandals erupt over journalists and memoirists who've cooked their books--for a work that explores our difficulty in separating fact and fiction, while explicitly demonstrating how they differ and what they share. In prose so fine and wry it makes the back of your neck prickle, Jake Silverstein narrates a journey he undertook through the American Southwest and Mexico, looking to become a journalist. His picaresque travels are filled with beguiling and hilarious characters: nineteenth-century author Ambrose Bierce; an unknown group of famous poets; a twenty-first-century treasure hunter in the Gulf of Mexico; an ex-Nazi mechanic shepherding an old Mexican road race; a stenographer who records every passing moment; and various incarnations of the trickster devil. As bold, ambitious, and funny as it is unconventional, Nothing Happened and Then It Did is a deep and lasting pleasure.
“Editorial design is the art of storytelling, and DJ’s brand of it is uniquely American. Western American. It starts out slow and builds. It wins you with a bit of humility (almost ‘shucks-gee-whiz’) and then comes back at you with a surprise punch. The pacing and analogies feel like a Will Rogers narrative. . . . When he first began presenting his work to his London Pentagram partners, they thought he could have just as easily been from the moon. But the storytelling was so strong, so funny, so completely designed but guileless at the same time that the Londoners, and the rest of us, found ourselves confronted with something real, authoritative, and probably definable only as pure American Graphic Design.” —Paula Scher, from the introduction An internationally renowned graphic designer and partner in Pentagram, the world’s most famous graphic design firm, DJ Stout is a fifth-generation Texan whose strong sense of place has inspired his design work for over thirty-five years. His contributions to Texas Monthly, where he was art director for thirteen years, helped the magazine win three National Magazine Awards. American Photo magazine named Stout one of its “100 Most Important People in Photography,” and I.D. (International Design) magazine selected him for “The I.D. Fifty,” its annual listing of design innovators. The Society of Illustrators honored Stout with the national Richard Gangel Art Director Award, and he was made a Fellow of the Austin chapter of the AIGA (American Institute of Graphic Arts) for his lifetime achievements. Variations on a Rectangle presents both a career retrospective of DJ Stout’s work and his inimitable, often humorous perspectives on publication design. Using nearly eight hundred images to illustrate more than two hundred fifty major design projects, Stout describes the inspiration and creative process behind his highly innovative designs for magazines, books, brochures, posters, and even a fiberglass “batcow.” He tells fascinating, behind-the-scenes stories of Texas personalities such as Tommy Lee Jones, Sissy Spacek, and Ann Richards, who figured prominently in Texas Monthly’s pages, while also discussing how his Texas heritage has influenced his more recent design work US and international clients. An essential primer for younger graphic designers and a revelation for everyone who values exceptional design, Variations on a Rectangle proves Stout’s maxim, “A publication without style is just a document, and documents don’t do well on the newsstand. And that’s why you need editorial art directors. Amen.”
A portrait of three couples successively occupying a suite at the Plaza. A suburban couple take the suite while their house is being painted and it turns out to be the one in which they honeymooned 23 (or was it 24?) years before and was yesterday the anniversary, or is it today? This tale of marriage in tatters is followed by the exploits of a Hollywood producer who, after three marriages, is looking for fresh fields. He calls a childhood sweetheart, now a suburban housewife, for a little sexual diversion. Over the years she has idolized him from afar and is now more than the match he bargained for. The last couple is a mother and father fighting about the best way to get their daughter out of the bathroom and down to the ballroom where guests await her or as Mother yells, "I want you to come out of that bathroom and get married!"--Publisher's description.