In its 95-year history, the Kentucky Wildcats have won more games than any other college basketball team. Their winning percentage is the highest in the country. They share the record for the most 20-win seasons. They are second in all-time number one rankings. And despite no longer holding the record for winningest coach, Adolph Rupp will always be a giant in the pantheon of college basketball. When The Winning Tradition first appeared in 1984, it was the first complete history of the Wildcat basketball program. Bert Nelli pointed out that, contrary to the accepted mythology, Adolph Rupp arrived at a program already strong and storied. Nor did Rupp bring an entirely new style of play to the Bluegrass. Instead he adopted—and perfected—that of his predecessor, John Mauer. What Rupp did bring was an ability to charm the news media and a fierce determination to turn out winning teams, making him the undisputed "Baron of Basketball." This new and expanded edition of The Winning Tradition brings the history of Kentucky basketball up to date. Nelli and his son Steve turn the same unflinching gaze that characterized the honesty of the first edition on the scandals that marred Eddie Sutton's tenure, the return to glory under Rick Pitino, and a full accounting of Tubby Smith's history-making first year. The start of basketball season is welcomed in the Bluegrass with an unmatched enthusiasm and intensity. Each year brings a new team, new stars, and new glory. Other books have documented individual seasons, individual players, or individual coaches. But The Winning Tradition remains the only complete and authoritative history of the most celebrated college basketball program in the world. A book no fan can afford to be without, The Winning Tradition brings alive the agonies, frustrations, and glories of each season of Kentucky basketball, from the first team (fielded by women) to the surprising victory in the 1998 NCAA tournament.
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.
Steve Adubato's entire professional life has been about branding--learning it, living it, making mistakes at it, teaching it at several universities, while discovering how to find the fine line between shameless self-promotion and smart, strategic branding--first for himself, then for others, and now for readers interested in an honest analysis of the good and bad in practiced branding. In You Are the Brand Adubato profiles the brands of more than thirty people and companies and skillfully analyzes and dissects their strategies.
Genre and Hollywood provides a comprehensive introduction to the study of genre. In this important new book, Steve Neale discusses all the major concepts, theories and accounts of Hollywood and genre, as well as the key genres which theorists have written about, from horror to the Western. He also puts forward new arguments about the importance of genre in understanding Hollywood cinema. Neale takes issue with much genre criticism and genre theory, which has provided only a partial and misleading account of Hollywood's output. He calls for broader and more flexible conceptions of genre and genres, for more attention to be paid to the discourses and practices of Hollywood itself, for the nature and range of Hollywood's films to be looked at in more detail, and for any assessment of the social and cultural significance of Hollywood's genres to take account of industrial factors. In detailed, revisionist accounts of two major genres - film noir and melodrama - Neale argues that genre remains an important and productive means of thinking about both New and old Hollywood, its history, its audiences and its films.
Isoardi has done a wonderful job collecting oral histories and integrating them into an engaging, sophisticated, and highly readable book. He provides great insight into the artistic goals, political aspirations, internal conflicts, and social terrain that shaped the experiences of the Pan Afrikan Peoples Arkestra. He shows us quite clearly that jazz musicians continued to work within and gain sustenance from working class black communities long after the moment when some observers deemed the music irrelevant to them."—Eric Porter, author of What Is This Thing Called Jazz? "In these pages, Horace Tapscott says to the audience, 'This is one more you wrote through us.' And this is what Steve Isoardi has done here: given voice to the nearly lost history of a revolutionary community movement through its key players. Epic in scope, dazzling in detail and sensual as any Coltrane solo, this rare book—informative, intimate, lyrical, scholarly, nuanced, and essential—reads like no history book you've read before."—Chris Abani, author of GraceLand and Becoming Abigail "The Dark Tree is just wonderful. One cannot understand the history of black arts on the West Coast without a thorough assessment of this movement; Isoardi knows this history so well, and tells a much bigger story. The book does a fantastic job of capturing the nitty gritty nature of the music scene, and of resurrecting local figures in the Arkestra who have never gotten any press for their astounding musicianship. This is a remarkable book."—Robin Kelley, author of Freedom Dreams: The Black Radical Imagination "This is a revelatory document, virtuosically combining scholarship and oral history to connect the dots of African American music on the west coast. Far more than a mere historical 'overdub' of an underdocumented scene, this book disrupts the mythic notions of jazz history, showing instead how music and community unfold as one. Both a celebratory and a cautionary tale, it also delivers some of the most frank and eye-opening musicians' accounts since Arthur Taylor's Notes and Tones."—Vijay Iyer, musician/composer, New York City
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 was part of some of the most significant moments in film, television, theatre, and radio history. On that frightening night in 1938 that 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 her first TV appearance anywhere, 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, it asked Wickes 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.
Dan Brown fans will want to check this one out" (Publishers Weekly): The Ghent Altarpiece is the most violated work of art in the world. Thirteen times it has been vandalized, dismantled, or stolen. Why? What secrets does it hold? Enter UNESCO investigator, Nicholas Lee, who works for the United Nations’ Cultural Liaison and Investigative Office (CLIO). Nick’s job is to protect the world’s cultural artifacts—anything and everything from countless lesser-known objects to national treasures. When Nick travels to Belgium for a visit with a woman from his past, he unwittingly stumbles on the trail of a legendary panel from the Ghent Altarpiece, stolen in 1934 under cover of night and never seen since. Soon Nick is plunged into a bitter conflict, one that has been simmering for nearly two thousand years. On one side is the Maidens of Saint-Michael, les Vautours—the Vultures—a secret order of nuns and the guardians of a great truth. Pitted against them is the Vatican, which has wanted for centuries to both find and possess what the nuns guard. Because of Nick the maidens have finally been exposed, their secret placed in dire jeopardy—a vulnerability that the Vatican swiftly moves to exploit utilizing an ambitious cardinal and a corrupt archbishop, both with agendas of their own. From the tranquil canals of Ghent, to the towering bastions of Carcassonne, and finally into an ancient abbey high in the French Pyrenees, Nick Lee must confront a modern-day religious crusade intent on eliminating a shocking truth from humanity’s past. Success or failure—life and death—all turn on the Omega Factor.
From John Philip Sousa to Green Day, from Scott Joplin to Kanye West, from Stephen Foster to Coldplay, The Encyclopedia of Great Popular Song Recordings, Volumes 1 and 2 covers the vast scope of its subject with virtually unprecedented breadth and depth. Approximately 1,000 key song recordings from 1889 to the present are explored in full, unveiling the stories behind the songs, the recordings, the performers, and the songwriters. Beginning the journey in the era of Victorian parlor balladry, brass bands, and ragtime with the advent of the record industry, readers witness the birth of the blues and the dawn of jazz in the 1910s and the emergence of country music on record and the shift from acoustic to electrical recording in the 1920s. The odyssey continues through the Swing Era of the 1930s; rhythm & blues, bluegrass, and bebop in the 1940s; the rock & roll revolution of the 1950s; modern soul, the British invasion, and the folk-rock movement of the 1960s; and finally into the modern era through the musical streams of disco, punk, grunge, hip-hop, and contemporary dance-pop. Sullivan, however, also takes critical detours by extending the coverage to genres neglected in pop music histories, from ethnic and world music, the gospel recording of both black and white artists, and lesser-known traditional folk tunes that reach back hundreds of years. This book is ideal for anyone who truly loves popular music in all of its glorious variety, and anyone wishing to learn more about the roots of virtually all the music we hear today. Popular music fans, as well as scholars of recording history and technology and students of the intersections between music and cultural history will all find this book to be informative and interesting.
Offering a behind-the-scenes look into the world of automotive research and development in the 1960s, this engaging narrative traces the birth of Chrysler’s alternative “jet” car and reveals the story behind its sudden and mysterious demise. Relying on extensive research and firsthand accounts from surviving members of the turbine car program—including the metallurgist who created the exotic metals for the engine and the test driver who drove it at Chrysler's proving grounds—this chronicle documents the bold development of an automobile with a jet turbine engine. In addition to running well on virtually any flammable liquid—including kerosene, vodka, heating oil, and Chanel N°5 perfume—the pioneering engines had one fifth the number of moving parts and required less maintenance than conventional engines. Despite the fleet’s amazing performance over millions of miles by test drivers, Chrysler pulled the plug on the project and crushed almost all of the cars. The reasons behind the surprising end to the jet car fleet are finally explained here.
A two-time Academy Award-nominated screenwriter and the New York Times bestselling author of The Formula, Shagan offers a blistering novel that takes the wraps off Tinsel Town. Inside Gemstone Pictures, a Mafia financial wizard masterminds a bogus corporate takeover. A major flop should send the stock prices plummeting nicely. . . .
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