“Fast-paced history . . . full of haunting, unforgettable wartime images.” —David M. Shribman, Boston Globe March 1917 is a riveting history of the month that transformed the world’s greatest nations as Russia faced revolution and America entered World War I. Drawing on a wealth of contemporary Russian and American diaries, memoirs, oral histories, and newspaper accounts, Pulitzer Prize–winning journalist Will Englund creates a highly detailed and textured account of America’s transformation from an isolationist nation to one that embraced an active role in shaping world affairs while at home Jim Crow still reigned. This fascinating examination considers the dreams of that year’s warriors, pacifists, activists, revolutionaries, and reactionaries—from Czar Nicholas II to Woodrow Wilson, from Theodore Roosevelt to the fiery congresswoman Jeannette Rankin—and demonstrates how their successes and failures constitute the origin story of our complex modern world.
Clemson: Where the Tigers Play is the most comprehensive book ever written on Clemson University athletics. This book chronicles over 100 years of Tiger athletics, listing yearly accounts of statistics, records, bowl and tournament appearances, and historical moments. Read about the legends that put the Clemson Tigers on the map, including Banks McFadden, John Heisman, Rupert Fike, Frank Howard, Fred Cone, Bruce Murray, Bill Wilhelm, and I. M. Ibrahim. Also included are vignettes on some of Clemson’s greatest moments—the 1981 national football championship and the 2015 national championship game appearance, the 1984 and 1987 national championship soccer seasons, College World Series appearances, the Frank Howard era, and the inaugural running down the hill in Death Valley. Other vignettes include career sports records; players in the NFL, the major leagues, and the NBA; and Tiger Olympic medalists. This newly revised edition offers the ground breaking accomplishments and victories that countless teams have had at this university. Clemson: Where the Tigers Play is a must-have for any library of every loyal Clemson fan. This book examines the rich history and tradition of the Clemson Tigers, and the coaches and players who made it happen!
You know MAD. Do you know Humbug? Harvey Kurtzman changed the face of American humor when he created the legendary MAD comic. As editor and chief writer from its inception in 1952, through its transformation into a slick magazine, and until he left MAD in 1956, he influenced an entire generation of cartoonists, comedians, and filmmakers. In 1962, he co-created the long-running Little Annie Fanny with his long-time artistic partner Will Elder forPlayboy, which he continued to produce until his virtual retirement in 1988. Between MAD and Annie Fanny, Kurtzman’s biographical summaries will note that he created and edited three other magazines―Trump, Humbug, and Help!―but, whereas his MAD and Annie Fanny are readily available in reprint form, his major satirical work in the interim period is virtually unknown. Humbug, which had poor distribution, may be the least known, but to those who treasure the rare original copies, it equals or even exceeds MAD in displaying Kurtzman’s creative genius. Humbug was unique in that it was actually published by the artists who created it: Kurtzman and his cohorts from MAD, Will Elder, Jack Davis, and Al Jaffee, were joined by universally acclaimed cartoonist Arnold Roth. With no publisher above them to rein them in, this little band of creators produced some of the most trenchant and engaging satire of American culture ever to appear on American newsstands.
One of the most popular and memorable American musicians of the 20th century, Nat King Cole (1919-65) is remembered today as both a pianist and a singer, a feat rarely accomplished in the world of popular music. Now, in this complete life and times biography, author Will Friedwald offers a new take on this fascinating musician, framing him first as a bandleader and then as a star. In Cole's early phase, Friedwald explains, his primary task of keeping his trio going was just as much of a focus for him as his own playing and singing, always a collective or group performance. In the second act, Cole's collaborators were more likely to be arranger-conductors like Nelson Riddle and Gordon Jenkins, rather than his sidemen on bass and guitar. In the first act, his sidemen were equals, in the second phase, his collaborators were tasked exclusively with putting the focus on him, making him sound good, while being largely invisible themselves. Friedwald brings his full musical knowledge to bear in putting the man in the work, demonstrating how this duality appears over and over again in Cole's life and career: jazz vs. pop, solo vs. trio, piano vs. voice, wife number one (Nadine) vs. wife number two (Maria), the good songs vs. the less-than-good songs, the rhythm numbers vs. the ballads, the funny songs and novelties vs. the "serious" songs of love and loss, Cole as an advocate for the Great American Songbook vs. Cole the intrepid explorer of other options: world music, rhythm & blues, country & western. Cole was different from his contemporaries in other ways; for roughly ten years after the war, the majority of hitmakers on the pop charts were veterans of the big band experience, from Sinatra on down.
Often invoked between Vatican II and the end of the twentieth century by both Orthodox and Catholic officials across their confessional division, the expression “sister churches” reflected their growing rapprochement, as well as a shift on the Catholic side from a more centralized ecclesiology to one more attentive to the local church and conciliarity. Pope John Paul II in his 1995 encyclical Ut Unum Sint spoke significantly of a “doctrine of sister churches” that would help guide the Catholic and Orthodox toward unity along a path of mutual respect rather than either tradition’s submission to the other. In his comprehensive treatment of the history of the expression “sister churches” over half a century of Catholic-Orthodox relations, Dr. Will Cohen explores why the concept developed as it did, why it was so fiercely contested, and what remains vital about the concept today. In the process, Dr. Cohen illuminates the ways in which Catholic and Orthodox ecclesiology, respectively, is each most capable of renewing and sustaining its proper balance when open to the authentic gifts of the other.
The author of the magisterial A Biographical Guide to the Great Jazz and Pop Singers now approaches the great singers and their greatest work in an innovative and revelatory way: through considering their finest albums, which is the format in which this music was most resonantly organized and presented to its public from the 1940s until the very recent decline of the CD. It is through their albums that Ella Fitzgerald, Frank Sinatra, Peggy Lee, Sarah Vaughan, Nat King Cole, Judy Garland, and the rest of the glorious honor roll of jazz and pop singers have been most tellingly and lastingly appreciated, and the history of the album itself, as Will Friedwald sketches it, can now be seen as a crucial part of musical history. We come to understand that, at their finest, albums have not been mere collections of individual songs strung together arbitrarily but organic phenomena in their own right. A Sinatra album, a Fitzgerald album, was planned and structured to show these artists at their best, at a specific moment in their artistic careers. Yet the albums Friedwald has chosen to anatomize go about their work in a variety of ways. There are studio and solo albums: Lee’s Black Coffee, June Christy’s Something Cool, Cassandra Wilson’s Belly of the Sun. There are brilliant collaborations: famous ones—Tony Bennett and Bill Evans, Louis Armstrong and Oscar Peterson—and wonderful surprises like Doris Day and Robert Goulet singing Annie Get Your Gun. There are theme albums—Dinah Washington singing Fats Waller, Maxine Sullivan singing Andy Razaf, Margaret Whiting singing Jerome Kern, Barb Jungr singing Bob Dylan, and the sublime Jo Stafford singing American and Scottish folk songs. There are also stunning concert albums like Ella in Berlin, Sarah in Japan, Lena at the Waldorf, and, of course, Judy at Carnegie Hall. All the greats are on hand, from Kay Starr and Carmen McRae to Jimmy Scott and Della Reese (Della Della Cha Cha Cha). And, from out of left field, the astounding God Bless Tiny Tim. Each of the fifty-seven albums discussed here captures the artist at a high point, if not at the expected moment, of her or his career. The individual cuts are evaluated, the sequencing explicated, the songs and songwriters heralded; anecdotes abound of how songs were born and how artists and producers collaborated. And in appraising each album, Friedwald balances his own opinions with those of musicians, listeners, and critics. A monumental achievement, The Great Jazz and Pop Vocal Albums is an essential book for lovers of American jazz and popular music.
Sport is an important part of the lives of rural Papua New Guineans, and a significant connection to global imaginaries for economically marginal villagers. Such grassroots sport, however, is rarely studied and has never previously been the subject of an ethnographic monograph. This book represents a pioneering study of the history and effects of grassroots sport in Papua New Guinea. We Are Playing Football explores Panapompom people’s attempts to recreate the international game, and the social and subjective effects of this effort. From a raw ethnographic starting-point, the book moves through historical and interpretive materials, exploring the motives, methods and results of Panapompom people’s work to recreate global images of football, and to turn them to their own political ends. As the argument proceeds, we see how playing football implicates Panapompom people in circuits of domination, power and humiliation that tether them to colonial modes of control, and derogatory racialist identities, which they themselves reproduce in their communities. From its effects on the most intimate self-understanding, through the embodied experience of playing football, to the details of colonial history and the values and ideas underpinning community life, this book offers an original and challenging assessment of what it means to be “globalised.” It charts the new outlooks and imaginaries, the disruptions, failures and disappointments, and above all the vital synergies between different people that define the global situation of Panapompom people.
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