Daniel A. Smith exposes the truth about the American tax revolt. Contrary to conventional wisdom, recent ballot initiatives to limit state taxes have not been the result of a groundswell of public outrage; rather, they have been carefully orchestrated from the top down by professional tax crusaders: political entrepreneurs with their own mission. These faux populist initiatives--in contrast to genuine grassroots movements--involve minimal citizen participation. Instead, the tax crusaders hire public relations firms and use special interest groups to do the legwork and influence public opinion. Although they successfully tap into the pervasive anti-tax public mood by using populist rhetoric, these organizations serve corporate interests rather than groups of concerned neighbors. The author shows that direct democracy can, ironically, lead to diminished public involvement in government. Smith looks at the key players, following the trail of money and power in three important initiatives: Proposition 13 in California (1978), Proposition 2 1/2 in Massachusetts (1980), and Amendment 1 in Colorado (1992). He provides a thorough history of tax limitation movements in America, showing how direct democracy can be manipulated to subvert the democratic process and frustrate the public good.

Daniel Smith looks behind what we think we know about the well-known sleuth and reveals little-known facts of which every Sherlock aficionado should be aware.

American culture changed radically over the course of the 1960s, and the culture of Hollywood was no exception. The film industry began the decade confidently churning out epic spectacles and lavish musicals, but became flummoxed as new aesthetics and modes of production emerged, and low-budget youth pictures like Easy Rider became commercial hits. New Constellations: Movie Stars of the 1960s tells the story of the final glory days of the studio system and changing conceptions of stardom, considering such Hollywood icons as Elizabeth Taylor and Paul Newman alongside such hallmarks of youth culture as Mia Farrow and Dustin Hoffman. Others, like Sidney Poitier and Peter Sellers, took advantage of the developing independent and international film markets to craft truly groundbreaking screen personae. And some were simply “famous for being famous,” with celebrities like Zsa Zsa Gabor and Edie Sedgwick paving the way for today’s reality stars.

Explore Einstein's unique approach to solving the great scientific mysteries of his age.

How to Think Like Steve Jobs reveals the philosophies and carefully honed skills Steve Jobs used in his journey to the top.

Why did America invade Iraq? Why do nations choose to fight certain wars and not others? How do we bring ourselves to believe that the sacrifice of our troops is acceptable? For most, the answers to these questions are tied to struggles for power or resources and the machinations of particular interest groups. Philip Smith argues that this realist answer to the age-old "why war?" question is insufficient. Instead, Smith suggests that every war has its roots in the ways we tell and interpret stories. Comprised of case studies of the War in Iraq, the Gulf War, and the Suez Crisis, Why War? decodes the cultural logic of the narratives that justify military action. Each nation, Smith argues, makes use of binary codes—good and evil, sacred and profane, rational and irrational, to name a few. These codes, in the hands of political leaders, activists, and the media, are deployed within four different types of narratives—mundane, tragic, romantic, or apocalyptic. With this cultural system, Smith is able to radically recast our "war stories" and show how nations can have vastly different understandings of crises as each identifies the relevant protagonists and antagonists, objects of struggle, and threats and dangers. The large-scale sacrifice of human lives necessary in modern war, according to Smith, requires an apocalyptic vision of world events. In the case of the War in Iraq, for example, he argues that the United States and Britain replicated a narrative of impending global doom from the Gulf War. But in their apocalyptic account they mistakenly made the now seemingly toothless Saddam Hussein once again a symbol of evil by writing him into the story alongside al Qaeda, resulting in the war's contestation in the United States, Britain, and abroad. Offering an innovative approach to understanding how major wars are packaged, sold, and understood, Why War? will be applauded by anyone with an interest in military history, political science, cultural studies, and communication.

In this gripping narrative, Peter Smith tells the untold story of the doomsday bomb. In 1950, for the first time in history, mankind realised that he had within his grasp a truly God-like power - the ability to destroy life itself. Doomsday Menreveals the personalities behind the technologies of nuclear doomsday and shows how, in the end, the doomsday machine became the ultimate symbol of humanity's deepest fears about the science of destruction. As Smith forcefully shows, the culture that grew up in the shadow of this frightening weapon has helped shape all our contemporary anxieties about science, technology, and the future.