SOUND OF THE CROWD: A DISCOGRAPHY OF THE '80s is the ultimate record collector's guide to the 1980s. In the era of multi-formatting, picture discs, coloured vinyl, multiple remixes, funny shaped records and tiny CDs you could lose down the back of the sofa, this book lists every format of every single, EP and album released in the UK in the 1980s by over 140 of the decade's biggest acts, from ABBA to Paul Young. This fourth edition has been fully revised and expanded to include even more acts than ever before, with additional sections to cover Band Aid-style charity congregations and compilation albums from the early '80s K-Tel efforts through to the Now That's What I Call Music series and its competitors. Compiled by Steve Binnie, editor of the '80s music website Sound of the Crowd and writer, producer and co-host of the unconventional '80s chart show Off The Chart, broadcast weekly on Mad Wasp Radio.
1980 was an important year for Top of the Pops: it was the year it began to transform from a light entertainment show into essential viewing for pop music aficionados. The transition didn't happen overnight, but when a Musicians' Union strike forced the programme off air for the whole of June and July, producer Michael Hurll took the opportunity to restructure the show. As a result the latter half of 1980 was often bizarre, occasionally quite grim, but always fascinating as Hurll threw all sorts of new formats at the screen to see what would stick. This transitional year is documented here. Hopefully you will find it a breathtaking rollercoaster of good and bad decisions made in the pursuit of television excellence. Or maybe it will just inspire you to dig out some old records you'd forgotten. Either's good.
1980 was an important year for Top of the Pops: it was the year it began to transform from a light entertainment show into essential viewing for pop music aficionados. The transition didn't happen overnight, but when a Musicians' Union strike forced the programme off air for the whole of June and July, producer Michael Hurll took the opportunity to restructure the show. As a result the latter half of 1980 was often bizarre, occasionally quite grim, but always fascinating as Hurll threw all sorts of new formats at the screen to see what would stick. This transitional year is documented here. Hopefully you will find it a breathtaking rollercoaster of good and bad decisions made in the pursuit of television excellence. Or maybe it will just inspire you to dig out some old records you'd forgotten. Either's good.
SOUND OF THE CROWD: A DISCOGRAPHY OF THE '80s is the ultimate record collector's guide to the 1980s. In the era of multi-formatting, picture discs, coloured vinyl, multiple remixes, funny shaped records and tiny CDs you could lose down the back of the sofa, this book lists every format of every single, EP and album released in the UK in the 1980s by over 140 of the decade's biggest acts, from ABBA to Paul Young. This fourth edition has been fully revised and expanded to include even more acts than ever before, with additional sections to cover Band Aid-style charity congregations and compilation albums from the early '80s K-Tel efforts through to the Now That's What I Call Music series and its competitors. Compiled by Steve Binnie, editor of the '80s music website Sound of the Crowd and writer, producer and co-host of the unconventional '80s chart show Off The Chart, broadcast weekly on Mad Wasp Radio.
Moviegoers know her as the housekeeper in White Christmas, the nurse in Now, Voyager, and the crotchety choir director in Sister Act. This book, filled with never-published behind-the-scenes stories from Broadway and Hollywood, chronicles the life of a complicated woman who brought an assortment of unforgettable nurses, nuns, and housekeepers to life on screen and stage. Wickes (1910–1995) was part of some of the most significant moments in film, television, theatre, and radio history. On that frightening night in 1938 when Orson Welles recorded his earth-shattering “War of the Worlds” radio broadcast, Wickes was waiting on another soundstage for him for a rehearsal of Danton's Death, oblivious to the havoc taking place outside. When silent film star Gloria Swanson decided to host a live talk show on this new thing called television, Wickes was one of her first guests. When Lucille Ball made one of her first TV appearances, Wickes appeared with her—and became Lucy's closest friend for more than thirty years. Wickes was the original Mary Poppins, long before an umbrella carried Julie Andrews across the rooftops of London. And when Disney began creating 101 Dalmatians, Wickes was asked to pose for animators trying to capture the evil of Cruella De Vil. The pinched-face actress who cracked wise by day became a confidante to some of the day's biggest stars by night, including Bette Davis and Doris Day. Bolstered by interviews with almost three hundred people, and by private correspondence from Ball, Davis, Day, and others, Mary Wickes: I Know I've Seen That Face Before includes scores of never-before-shared anecdotes about Hollywood and Broadway. In the process, it introduces readers to a complex woman who sustained a remarkable career for sixty years.
This book, the first of two volumes, will provide a major new history of the British B film, tracing the development of the low-budget supporting feature from the 1927 Films Act (which introduced a quota system for the distribution and exhibition of indigenous product) to the age of television, when B film producers channelled their energies into making TV programmes. Along the way, the authors will address leading producers and studios, B film stars, distributors, the genres and themes that tended to dominate B film production (comedy, horror, crime and fantasy). 'Quota Quickies' will include a case study of the B films of Michael Powell. The authors' argument is that the B film was hugely important in British cinema history in offering an opportunity for British actors and technicians to develop their careers, and that the films themselves provided an outlet for the exploration of peculiarly British cultural concerns in an industry traditionally dominated by Hollywood output. They also contend that some of the films stand up well to contemporary viewing and are deserving of critical re-evaluation.
High Comedy in American Movies explores the 'comedy of manners' film throughout the twentieth century, from the advent of movie sound to recent films, and shows how class comedy's inside view of the aristocratic lifestyle has been influenced by the culture and times in which the movies are produced. Outlining the conventions of class comedy, Steve Vineberg discusses its British roots and analyzes how many American filmmakers have modified the genre, creating a distinctly American approach to class. Easily accessible, High Comedy in American Movies makes an engaging supplement to courses in American film, film genre, and film studies.
Coaches, managers and athletes frequently ask about how they can recover as fast as possible from fatigue and improve subsequent performance. Recovery from Strenuous Exercise informs students, athletes and practicing strength and conditioning coaches and performance therapists on how to use the latest scientific evidence to inform their recovery practice – particularly during high training volumes and competitive cycles. This book empowers the athlete, the coach and the therapist by giving them greater confidence, improving their critical thinking, helping them to avoid poor practice and enhancing their understanding of what causes fatigue and how its effects can be minimised. Recovery from Strenuous Exercise covers many of the aspects required to make a highly skilled, confident, knowledgeable personal trainer, sports therapist or strength and conditioning coach. It also acts as a recovery ‘go-to’ guide for competitive recreational athletes who lack the knowledge and guidance on optimal recovery protocols used by their professional peers. This text serves as a learning and research aid for athletes and those studying vocational personal training and sports therapy courses, and those studying other courses where recovery modalities form part of their undergraduate and postgraduate study, such as strength and conditioning, sports science, sports therapy, sports rehabilitation, osteopathy and physiotherapy.
Sydney University Sport 1852-2007: More than a Club offers a fascinating and highly informative overview of the development of sport at the University of Sydney over the past century and a half.
Recording and performing in the early 1950s, Jesse Belvin, Guitar Slim, and Johnny Ace produced at least thirteen top-25 hits between the three of them. All but forgotten in the annals of rock ‘n’ roll, these artists have influenced musicians as varied as Elvis Presley, Jimi Hendrix, Frank Zappa, and generations of soul singers. Their songs have been covered by artists like Bob Dylan, Joan Baez, Luther Vandross, and Paul Simon. In Earth Angels: The Short Lives and Controversial Deaths of Three R&B Pioneers Steve Bergsman affords readers a view of the lives and careers of three influential artists who left us much too soon. Bergsman notes in his introduction that this lack of notoriety is partly due to their untimely deaths. Jesse Belvin, a crooner whose “Goodnight My Love” became the closing theme to famed disc jockey Alan Freed’s radio shows, was killed in a head-on collision along with his wife just after performing at the first racially integrated concert in Little Rock, Arkansas; he was 27. Guitar Slim, whose million-selling song “The Things I Used to Do” has been re-recorded by both Jimi Hendrix and Stevie Ray Vaughan, died in New York City at the age of 32 due to pneumonia that was possibly induced by alcoholism. Johnny Ace’s “Pledging My Love” spent ten weeks at the top position on Billboard’s R&B chart. He died of a self-inflicted gunshot wound at age 25. Bergsman’s meticulous research and entertaining narrative style seeks to restore the credit denied these artists by their untimely deaths.
Part two of a recollection of more than fifty years of watching professional sport across Britain and Europe. The memories in this volume cover hundreds of games of Football, Rugby League, Cricket and Ice Hockey.
VIZARD UNCUT is the unauthorised and largely untold story of Steve Vizard's life. Drawn from extensive interviews and comprehensive research, VIZARD UNCUT seeks to demystify the enigma that is Steve Vizard: underpants salesman, corporate lawyer, Gold Logie winner, philanthropist, victim of a multi-million-dollar fraud and subject of a high-profile investigation by ASIC. In the early 1990s, Vizard revolutionised television comedy with the ground-breaking Fast Forward and Full Frontal, with characters such as Roger Ramshett, Hunch and the airline stewards Wayne and Darryl. He is also well remembered as the wise-cracking, stunt-pulling host of Tonight Live who interviewed everyone from Kylie Minogue to Gerard Depardieu. The late 1990s saw him become a part of the Melbourne establishment, especially in the arts, entertainment and sport. Then, in one swift blow, Steve Vizard went from icon to pariah. Steven Bedwell gives us the complete, complex story of the man, pieced together from never-before-seen documents and testimonies. VIZARD UNCUT brings to light the events of recent years that have shrink-wrapped themselves over a remarkably full and diverse life.
The resort town of Weneshkeen, nestled along Michigan’s Gold Coast, has become a complex melting pot: townies and old timers mix with ritzy summer folk, migrant cherry pickers, wily river guides, and a few Ojibwe Indians. As the summer blooms, these lives mingle in surprising ways–a lifelong resident and Vietnam Vet pursues the take-no-guff deputy sheriff, while plotting revenge against the jet-skiers polluting his beloved lake; a summer kid from downstate stumbles into a romance with the sexiest rich girl in town; the town’s retired reverend discovers the Internet and a new friend in his computer tutor. A resonant social comedy with richly-drawn characters and quirky charm, The Lake, the River & the Other Lake welcomes you into a world that you may never want to leave.
Although food has been part of motion pictures since the silent era, for the most part it has been treated with about as much respect as movie extras: it's always been there on the screen but seldom noticed. For the most part filmmakers have settled on three basic ways to treat food: as a prop in which the food is usually obscured from sight or ignored by the actors; as a transition device to compress time and help advance the plot; as a symbol or metaphor, or in some other meaningful way, to make a dramatic point or to reveal an aspect of an actor's character, mood or thought process. This hugely expanded and revised edition details 400 food scenes, in addition to the 400 films reviewed for the first edition, and an introduction tracing the technical, artistic and cultural forces that contributed to the emergence of food films as a new genre--originated by such films as Tampopo, Babette's Feast and more recently by films like Mostly Martha, No Reservations and Ratatouille. A filmography is included as an appendix.
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