A timely manifesto urging us to think critically, form opinions, and then argue them with gusto. Hater begins from a simple premise: that it's good to hate things. Not people or groups or benign belief systems, but things. More to the point, it's good to hate the things everyone seems to like. Scan the click-baiting headlines of your favorite news or pop-culture website and you're likely to find that just about everything is, supposedly, "what we need right now." We are the victims of an unbridled, unearned optimism. And our world demands pessimism. It's vital to be contrarian--now, as they say, more than ever. Because ours is an age of calcified consensus. And we should all hate that. In this scathing and funny rebuke of the status quo, journalist John Semley illustrates that looking for and identifying nonsense isn't just a useful exercise for society, it's also a lot of fun. But Hater doesn't just skewer terrible TV shows and hit songs--at its core it shows us how to meaningfully talk about and engage with culture, and the world. Ultimately, Hater is what we actually need right now.
The first book to explore their history, legacy, and influence This is a book about the Kids in the Hall „ the legendary Canadian sketch comedy troupe formed in Toronto in 1984 and best known for the innovative, hilarious, zeitgeist-capturing sketch show The Kids in the Hall „ told by the people who were there, namely the Kids themselves. John SemleyÍs thoroughly researched book is rich with interviews with Dave Foley, Mark McKinney, Bruce McCulloch, Kevin McDonald, and Scott Thompson, as well as Lorne Michaels and comedians speaking to the KidsÍ legacy: Janeane Garofalo, Tim Heidecker, Nathan Fielder, and others. It also turns a criticÍs eye on that legacy, making a strong case for the massive influence the Kids have exerted, both on alternative comedy and on pop culture more broadly. The Kids in the Hall were like a band: a group of weirdoes brought together, united by a common sensibility. And, much like a band, theyÍre always better when theyÍre together. This is a book about friendship, collaboration, and comedy „ and about clashing egos, lost opportunities, and one-upmanship. This is a book about the head-crushing, cross-dressing, inimitable Kids in the Hall.
Discover Toronto’s wild, weird history and the 100 unique beers it inspired! Did you know that Babe Ruth hit his first home run in Toronto? Or that the city’s first taxi service was operated by a former slave from the American South? Or that, during the Second World War, anti-submarine technology was developed in a carriage house at Casa Loma? These are the sorts of stories Henderson Brewing Company has been celebrating with their monthly “Ides” series: unique brews that pay tribute to just-as-unique moments in Toronto’s history. Toronto in 100 Beers is more than a history of Henderson’s limited releases, it’s a history of the city itself—a city that has nurtured the lives and legends of artists, golfers, boxers, prog rockers, prestidigitators, hockey legends, and even a few ghosts. This book collects their stories and those of the beers dreamt up in their honour. Toronto is a wild, weird city whose rich history is worthy of celebration—so raise a glass to Toronto and to the Henderson Brewing Company.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
The first book to explore their history, legacy, and influence This is a book about the Kids in the Hall „ the legendary Canadian sketch comedy troupe formed in Toronto in 1984 and best known for the innovative, hilarious, zeitgeist-capturing sketch show The Kids in the Hall „ told by the people who were there, namely the Kids themselves. John SemleyÍs thoroughly researched book is rich with interviews with Dave Foley, Mark McKinney, Bruce McCulloch, Kevin McDonald, and Scott Thompson, as well as Lorne Michaels and comedians speaking to the KidsÍ legacy: Janeane Garofalo, Tim Heidecker, Nathan Fielder, and others. It also turns a criticÍs eye on that legacy, making a strong case for the massive influence the Kids have exerted, both on alternative comedy and on pop culture more broadly. The Kids in the Hall were like a band: a group of weirdoes brought together, united by a common sensibility. And, much like a band, theyÍre always better when theyÍre together. This is a book about friendship, collaboration, and comedy „ and about clashing egos, lost opportunities, and one-upmanship. This is a book about the head-crushing, cross-dressing, inimitable Kids in the Hall.
In the sixteenth and seventeenth centuries, to be English and Catholic was to face persecution, financial penalties, and sometimes death. Yet some English Catholics prospered, reconciling their faith and loyalty to their country. Among the most prominent was George Calvert, a talented and ambitious man who successfully navigated the politics of court and became secretary of state under King James I. A conforming Protestant from the age of twelve, Calvert converted back to Catholicism when a political crisis forced him to resign his position in 1625. The king rewarded Calvert by naming him Baron of Baltimore in Ireland. Insulated by wealth, with the support of powerful friends, and no longer occupied with court business, Baltimore sought to exploit his land grants in Ireland and Newfoundland. Seeking to increase his own fortune and status while enlarging the king's dominions, he embarked on a series of colonial enterprises that eventually led to Maryland. The experiences of Calvert and his heirs foster our understanding of politics and faith in Jacobean England. They also point to one of the earliest codifications of religious liberty in America, for in founding Maryland, Calvert and his son Cecil envisioned a prosperous society based on freedom of conscience. In English and Catholic, John D. Krugler traces the development of the "Maryland Designe," the novel solution the Calverts devised to resolve the conflict of loyalty they faced as English Catholics. In doing so, Krugler places the founding and early history of Maryland in the context of pervasive anxieties in England over identity, allegiance, and conscience. Explaining the evolution of the Calvert vision, Krugler ties together three main aspects of George Calvert's career: his nationalism and enthusiasm for English imperialism; his aim to find fortune and fame; and his deepening sense of himself as a Catholic. Skillfully told here, the story of the Calverts' bold experiment in advancing freedom of conscience is also the story of the roots of American liberty.
A timely manifesto urging us to think critically, form opinions, and then argue them with gusto. Hater begins from a simple premise: that it's good to hate things. Not people or groups or benign belief systems, but things. More to the point, it's good to hate the things everyone seems to like. Scan the click-baiting headlines of your favorite news or pop-culture website and you're likely to find that just about everything is, supposedly, "what we need right now." We are the victims of an unbridled, unearned optimism. And our world demands pessimism. It's vital to be contrarian--now, as they say, more than ever. Because ours is an age of calcified consensus. And we should all hate that. In this scathing and funny rebuke of the status quo, journalist John Semley illustrates that looking for and identifying nonsense isn't just a useful exercise for society, it's also a lot of fun. But Hater doesn't just skewer terrible TV shows and hit songs--at its core it shows us how to meaningfully talk about and engage with culture, and the world. Ultimately, Hater is what we actually need right now.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Headed for a career as an English professor in the mid 1960's, John Lyle was 'broadsided' by Bob Dylan and The Beatles. His degree went out the window, and so did he, playing in a series of bands and then performing on Canadian network television and radio as a solo act. He was signed to two record labels during this era, but realized that because of his highly sensitive nature he was not cut out for the performing life. John returned to his home in the Vancouver area, and devoted himself to his family, supporting them with a career that may have been more dangerous than the performance stage. He became a postman. John Lyle's wonderful body of work is evidence of a life lived on the streets and in the home, filled with all the love and loss and joy and despair that are part and parcel of being alive. The songs are vital, not written to imitate a commercial trend or to fulfil a contract, but to reflect the intensity of experience and to remain sane.
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