Newspaper Clippings From The Cullman Banner 1937 1941

The Cullman Banner published from July 1937 until about 1952. It was established by Jack N. Huie and his older brother, William Bradford Huie. The Banner published in competition with the older established county papers, the Cullman Tribune and the Cullman Democrat. William Bradford Huie soon moved on to another job in California leaving his brother Jack and a handful of associates in charge of the fledgling paper. Jack ran the paper until he joined the Armed Services during WWII. In 1944, the paper was sold to Claudia Kinney, mother of Probate Judge Horace H. Kinney. Claudia ran the paper for a few years and hired a procession of new editors and business managers. In 1949 the paper was sold to Alexander and Hudson Miller, who ran the paper until it was sold again in 1952 to Robert Bryan and associates and renamed the Modernistic Times. The name "Modernistic" was soon dropped and the paper became knows as the Cullman Times. The editor of the Cullman Democrat retired in 1954 and that paper was bought by Bryan and associates. Each paper published for the next few years under its own name until the papers merged in 1961 and published daily under the name the Times-Democrat. The word "Democrat" was dropped in 1963. The history of a county is written in the pages of its newspapers. These papers contain information found in no other source. You are sure to enjoy reading about Cullman events of many decades ago.

From the author of Eichmann in Jerusalem and The Origins of Totalitarianism, “a book to think with through the political impasses and cultural confusions of our day” (Harper’s Magazine) Hannah Arendt’s insightful observations of the modern world, based on a profound knowledge of the past, constitute an impassioned contribution to political philosophy. In Between Past and Future Arendt describes the perplexing crises modern society faces as a result of the loss of meaning of the traditional key words of politics: justice, reason, responsibility, virtue, and glory. Through a series of eight exercises, she shows how we can redistill the vital essence of these concepts and use them to regain a frame of reference for the future. To participate in these exercises is to associate, in action, with one of the most original and fruitful minds of the twentieth century.

A groundbreaking contribution to the history of the "long Civil Rights movement," Hammer and Hoe tells the story of how, during the 1930s and 40s, Communists took on Alabama's repressive, racist police state to fight for economic justice, civil and political rights, and racial equality. The Alabama Communist Party was made up of working people without a Euro-American radical political tradition: devoutly religious and semiliterate black laborers and sharecroppers, and a handful of whites, including unemployed industrial workers, housewives, youth, and renegade liberals. In this book, Robin D. G. Kelley reveals how the experiences and identities of these people from Alabama's farms, factories, mines, kitchens, and city streets shaped the Party's tactics and unique political culture. The result was a remarkably resilient movement forged in a racist world that had little tolerance for radicals. After discussing the book's origins and impact in a new preface written for this twenty-fifth-anniversary edition, Kelley reflects on what a militantly antiracist, radical movement in the heart of Dixie might teach contemporary social movements confronting rampant inequality, police violence, mass incarceration, and neoliberalism.

From agriculture to big business, from medicine to politics, The Cigarette Century is the definitive account of how smoking came to be so deeply implicated in our culture, science, policy, and law. No product has been so heavily promoted or has become so deeply entrenched in American consciousness. The Cigarette Century shows in striking detail how one ephemeral (and largely useless) product came to play such a dominant role in so many aspects of our lives—and deaths.

Featuring 165 expertly reproduced visionary architectural drawings from The Museum of Modern Art's Howard Gilman Archive, this collection brings together a selection of idealized, fantastic and utopian architectural drawings.

This exhibition presents new insights into these artists' visual deconstructions of language and examines the connections and collisions among visual art, the word and the social world.