Gripping and tragic, Dalko is the definitive story of Steve “White Lightning” Dalkowski, baseball’s fastest pitcher ever. Dalko explores one man’s unmatched talent on the mound and the forces that kept ultimate greatness always just beyond his reach. For the first time, Dalko: The Untold Story of Baseball’s Fastest Pitcher unites all of the eyewitness accounts from the coaches, analysts, teammates, and professionals who witnessed the game’s fastest pitcher in action. In doing so, it puts readers on the fields and at the plate to hear the buzzing fastball of a pitcher fighting to achieve his major league ambitions. Just three days after his high school graduation in 1957, Steve Dalkowski signed into the Baltimore Orioles system. Poised for greatness, he might have risen to be one of the stars in the Baseball Hall of Fame. Instead, he spent his entire career toiling away in the minor leagues. An inspiration for the character Nuke LaLoosh in the classic baseball film Bull Durham, Dalko’s life and story were as fast and wild as the pitches he threw. The late Orioles manager Earl Weaver, who saw baseball greats Nolan Ryan and Sandy Koufax pitch, said “Dalko threw harder than all of ‘em.” Cal Ripken Sr., Dalkowski’s catcher for several years, said the same. Bull Durham screenwriter Ron Shelton, who played with Dalkowski in the minor leagues, said “They called him “Dalko” and guys liked to hang with him and women wanted to take care of him and if he walked in a room in those days he was probably drunk.” This force on the field that could break chicken wire backstops and wooden fences with his heat but racked up almost as many walks as strikeouts in his career, spent years of drinking all night and showing up on the field the next day, just in time to show his wild heat again. What the Washington Post called “baseball’s greatest what-If story” is one of a superhuman, once-in-a-generation gift, a near-mythical talent that refused to be tamed. Steve Dalkowski will forever be remembered for his remarkable arm. Said Shelton, “In his sport, he had the equivalent of Michaelangelo’s gift but could never finish a painting.” Dalko is the story of the fastest pitching that baseball has ever seen, an explosive but uncontrolled arm.
Gripping and tragic, Dalko is the definitive story of Steve “White Lightning” Dalkowski, baseball’s fastest pitcher ever. Dalko explores one man’s unmatched talent on the mound and the forces that kept ultimate greatness always just beyond his reach. For the first time, Dalko: The Untold Story of Baseball’s Fastest Pitcher unites all of the eyewitness accounts from the coaches, analysts, teammates, and professionals who witnessed the game’s fastest pitcher in action. In doing so, it puts readers on the fields and at the plate to hear the buzzing fastball of a pitcher fighting to achieve his major league ambitions. Just three days after his high school graduation in 1957, Steve Dalkowski signed into the Baltimore Orioles system. Poised for greatness, he might have risen to be one of the stars in the Baseball Hall of Fame. Instead, he spent his entire career toiling away in the minor leagues. An inspiration for the character Nuke LaLoosh in the classic baseball film Bull Durham, Dalko’s life and story were as fast and wild as the pitches he threw. The late Orioles manager Earl Weaver, who saw baseball greats Nolan Ryan and Sandy Koufax pitch, said “Dalko threw harder than all of ‘em.” Cal Ripken Sr., Dalkowski’s catcher for several years, said the same. Bull Durham screenwriter Ron Shelton, who played with Dalkowski in the minor leagues, said “They called him “Dalko” and guys liked to hang with him and women wanted to take care of him and if he walked in a room in those days he was probably drunk.” This force on the field that could break chicken wire backstops and wooden fences with his heat but racked up almost as many walks as strikeouts in his career, spent years of drinking all night and showing up on the field the next day, just in time to show his wild heat again. What the Washington Post called “baseball’s greatest what-If story” is one of a superhuman, once-in-a-generation gift, a near-mythical talent that refused to be tamed. Steve Dalkowski will forever be remembered for his remarkable arm. Said Shelton, “In his sport, he had the equivalent of Michaelangelo’s gift but could never finish a painting.” Dalko is the story of the fastest pitching that baseball has ever seen, an explosive but uncontrolled arm.
“We are not worth more, they are not worth less.” This is the mantra of S. Brian Willson and the theme that runs throughout his compelling psycho-historical memoir. Willson’s story begins in small-town, rural America, where he grew up as a “Commie-hating, baseball-loving Baptist,” moves through life-changing experiences in Viet Nam, Nicaragua and elsewhere, and culminates with his commitment to a localized, sustainable lifestyle. In telling his story, Willson provides numerous examples of the types of personal, risk-taking, nonviolent actions he and others have taken in attempts to educate and effect political change: tax refusal—which requires simplification of one’s lifestyle; fasting—done publicly in strategic political and/or therapeutic spiritual contexts; and obstruction tactics—strategically placing one’s body in the way of “business as usual.” It was such actions that thrust Brian Willson into the public eye in the mid-’80s, first as a participant in a high-profile, water-only “Veterans Fast for Life” against the Contra war being waged by his government in Nicaragua. Then, on a fateful day in September 1987, the world watched in horror as Willson was run over by a U.S. government munitions train during a nonviolent blocking action in which he expected to be removed from the tracks and arrested. Losing his legs only strengthened Willson’s identity with millions of unnamed victims of U.S. policy around the world. He provides details of his travels to countries in Latin America and the Middle East and bears witness to the harm done to poor people as well as to the environment by the steamroller of U.S. imperialism. These heart-rending accounts are offered side by side with inspirational stories of nonviolent struggle and the survival of resilient communities Willson’s expanding consciousness also uncovers injustices within his own country, including insights gained through his study and service within the U.S. criminal justice system and personal experiences addressing racial injustices. He discusses coming to terms with his identity as a Viet Nam veteran and the subsequent service he provides to others as director of a veterans outreach center in New England. He draws much inspiration from friends he encounters along the way as he finds himself continually drawn to the path leading to a simpler life that seeks to “do no harm.&rdquo Throughout his personal journey Willson struggles with the question, “Why was it so easy for me, a ’good’ man, to follow orders to travel 9,000 miles from home to participate in killing people who clearly were not a threat to me or any of my fellow citizens?” He eventually comes to the realization that the “American Way of Life” is AWOL from humanity, and that the only way to recover our humanity is by changing our consciousness, one individual at a time, while striving for collective cultural changes toward “less and local.” Thus, Willson offers up his personal story as a metaphorical map for anyone who feels the need to be liberated from the American Way of Life—a guidebook for anyone called by conscience to question continued obedience to vertical power structures while longing to reconnect with the human archetypes of cooperation, equity, mutual respect and empathy.
The Jews who returned from exile in Babylonia to Jerusalem and Judah faced difficult and straitened times, in which the bright hopes of the Restoration had faded. The Chronicler wrote his history partly to encourage his community to have faith in God's ancient promises to David, that better things would come to a penitent people. Although not often recognized as such, the books of Chronicles belong to the mainstream of biblical teaching on divine grace and hope, as the present study shows by analysing its themes of reward and punishment, and its teaching on the future. It differs significantly from the interpretation given by Sara Japhet in her monograph on Chronicles of 1989 and her major new commentary of 1993.
After serving in the Vietnam War, S. Brian Willson became a radical, nonviolent peace protester and pacifist, and this memoir details the drastic governmental and social change he has spent his life fighting for. Chronicling his personal struggle with a government he believes to be unjust, Willson sheds light on the various incarnations of his protests of the U.S. government, including the refusal to pay taxes, public fasting, and, most famously, public obstruction. On September 1, 1987, Willson was run over by a U.S. government munitions train during a nonviolent blocking action in which he expected to be removed from the tracks. Providing a full look into the tragic event, Willson, who lost his legs in the incident, discusses how the subsequent publicity propelled his cause toward the national consciousness. Now, 23 years later, Willson tells his story of social injustice, nonviolent struggle, and the so-called American way of life.
Misconceptions about memory phenomena often go hand-in-hand with popular misrepresentations of its function in media. In Popular Myths about Memory, Brian H. Bornstein examines how the representation of memory in novels, movies, and television shows often clashes with scientific research. Bornstein discusses the consequences of these myths on the popular understanding of memory and its functions. Depictions of amnesia, eyewitness accounts, and superior memory are just a few of the processes explored and debunked. This book is recommended for scholars interested in psychology, media and film studies, literary studies, and communication studies.
This is a book for all those who have been absorbed and moved by Brief Encounter in the seventy or so years since its first appearance. It explores the central relationship of the film, where two people who fall unexpectedly in love come to realise that there is more to life than self-gratification. Mores have undoubtedly changed, for better or worse, but that essential moral choice has never lost its power. While acknowledging this, the book goes further in an effort to account for the way the film has passed into the wider culture. People born decades after its first appearance are now adept at picking up references to it, whether a black-and-white scene in a much later film or a passing joke about a bald man in a barber’s shop.
An engaging and accessible introduction to a broad range of critical approaches to contemporary mass media theory and research A decade after its first publication, Critical Media Studies continues toshape and define the field of media studies, offering innovative approaches that enable readers to explore the modern media landscape from a wide variety of perspectives. Integrating foundational theory and contemporary research, this groundbreaking text offers the most comprehensive set of analytical approaches currently available. Twelve critical perspectives—pragmatic, rhetorical, sociological, erotic, ecological, and others—enable readers to assess and evaluate the social and cultural consequences of contemporary media in their daily lives. The new third edition includes up-to-date content that reflects the current developments and cutting-edge research in the field. New or expanded material includes changing perceptions of race and gender, the impact of fandom on the media, the legacy of the television age, the importance of media literacy in the face of “fake news”, and developments in industry regulations and U.S. copyright law. This textbook: Presents clear, reader-friendly chapters organized by critical perspective Features up-to-date media references that resonate with modern readers Incorporates enhanced and updated pedagogical features throughout the text Offers extensively revised content for greater clarity, currency, and relevance Includes fully updated illustrations, examples, statistics, and further readings Critical Media Studies, 3rd Edition is the ideal resource for undergraduate students in media studies, cultural studies, popular culture, communication, rhetoric, and sociology, graduate students new to critical perspectives on the media, and scholars in the field.
I have often thought how wonderful it would have been if any of my grandparents, not to mention my great grandparents, had jotted down some of their thoughts, experiences and accumulated wisdom on paper for me to read, irrespective of how trivial or mind-blowing they may have been. I could have gleamed a glimpse as to who they were and how they thought, even though they died long before I was born in most cases. I really feel the void of not having known them. This book is an attempt to correct that omission and is written for the benefit of my kin still to come.
An only child living in Aldershot, Brian Stuart has always been in touch with the arts. When his father was called up to the army in 1940 his mother decided to take in boarders who performed weekly in the Hippodrome.
The Lost History of Tenderness is Brian Jordan's exploration of thought, religion, belief and love. His superb stories are uniquely illustrated, presenting the reader with a sumptuous visual and literary experience. A meditation upon life and the human condition, this book is one that will touch readers deeply as they dive into the beauty and wonder of its pages.
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