Have Repertoire Will Travel

Nonviolence is celebrated and practiced around the world, as a universal 'method for all human conflict.' This Element describes how nonviolence has evolved into a global repertoire, a patterned form of contentious political performance that has spread as an international movement of movements, systematizing and institutionalizing particular forms of protest as best claims-making practice. It explains how the formal organizational efforts of social movement emissaries and favorable and corresponding global models of state and civic participation have enabled the globalization of nonviolence. The Element discusses a historical perspective of this process to illuminate how understanding nonviolence as a contentious performance can explain the repertoire's successes and failures across contexts and over time. The Element underscores the dynamics of contention among global repertoires and suggests future research more closely examines the challenges posed by institutionalization.

One of the most successful series of its time, Have Gun—Will Travel became a cultural phenomenon in the late 1950s and made its star, Richard Boone, a nationwide celebrity. The series offered viewers an unusual hero in the mysterious, Shakespeare-spouting gunfighter known only as “Paladin” and garnered a loyal fan base, including a large female following. In Have Gun—Will Travel, film scholar Gaylyn Studlar draws on a remarkably wide range of episodes from the series’ six seasons to show its sophisticated experimentation with many established conventions of the Western. Studlar begins by exploring how the series made the television Western sexy, speaking to mid-twentieth century anxieties and aspirations in the sexual realm through its “dandy” protagonist and more liberal expectations of female sexuality. She also explores the show’s interest in a variety of historical issues and contemporaneous concerns—including differing notions of justice and the meaning of racial and cultural difference in an era marked by the civil rights movement. Through a production history of Have Gun—Will Travel, Studlar provides insight into the television industry of the late 1950s and early 1960s, showing how, in this transition period in which programming was moving from sponsor to network control, the series’ star exercised controversial influence on his show’s aesthetics. Because Have Gun—Will Travel was both so popular and so different from its predecessors and rivals, it presents a unique opportunity to examine what pleasures and challenges television Westerns could offer their audiences. Fans of the show as well as scholars of TV history and the Western genre will enjoy this insightful volume.

It was 1982 when Bill Lee was famously booted from the Montreal Expos after he went AWOL in protest of another player’s mistreatment by management. His reputation for antics both on and off the field guaranteed that no other club would pick him up. The Ace from Space had landed on professional baseball’s blacklist, and so it was that one of the most popular major-league pitchers of our day was fated to pack his bags and wander the globe searching for a ball game. Have Glove, Will Travel is the chronicle of an amazing odyssey that began more than twenty years ago and continues today. Unable to live without baseball, Lee went anywhere he could find a game, beginning in the dank and dreary locker room of a Canadian hockey team that later became a softball team. We follow him around the world as he competes in pickup games, town tournaments, senior leagues, and fantasy camps, barnstorming like a modern Satchel Paige around the United States, South America, China, Cuba, Russia, and every province in Canada. At the heart of this story are the rollicking, colorful characters Lee meets during his travels, and the mishaps that befall him whether he’s sober or stoned. There’s the eccentric Latin pitching master Lee plays with in Cuba, who once struck out Ernest Hemingway. And a hilarious story that takes place in the backwoods of a British Columbia timber town, where Lee and Hall-of-Famer Ferguson Jenkins go fishing and end up being chased back to their pickup truck by a 450-pound black bear. Have Glove, Will Travel is so much more than the average baseball book. Lee’s humor, keen eye for detail, and extraordinary pitching intellect are always on display, but in the end this book is a love story about a middle-aged maverick who refused to stop pursuing his passion for a boy’s game long after the grown-ups told him he couldn’t play on their team anymore. Readers who loved Lee’s bestselling The Wrong Stuff, also written with Richard Lally, will find the long wait for this rich and wonderful sequel well worth it. Those who haven’t yet encountered the literary Bill Lee have a great treat in store.

This is an account of the life and cultural contribution of one of Canadas most talented conductors. He was known for his limitless enthusiasm and support of Canadian music and young musicians, as well as for his insistence on playing music by Canadian composers.

This book shows how science works, fails to work, or pretends to work, by looking at examples from such diverse fields as physics, biomedicine, psychology, and economics. Social science affects our lives every day through the predictions of experts and the rules and regulations they devise. Sciences like economics, sociology and health are subject to more ‘operating limitations’ than classical fields like physics or chemistry or biology. Yet, their methods and results must also be judged according to the same scientific standards. Every literate citizen should understand these standards and be able to tell the difference between good science and bad. Scientific Method enables readers to develop a critical, informed view of scientific practice by discussing concrete examples of how real scientists have approached the problems of their fields. It is ideal for students and professionals trying to make sense of the role of science in society, and of the meaning, value, and limitations of scientific methodology in the social sciences.

Young classical singers, particularly recent graduates of music programs, need not only considerable artistic ability but also intelligence and an acute business sense to navigate the world of professional singing. In this book, author Susan Mohini Kane has created a user-friendly guide for these recent graduates. Kane combines the benefits of an instructional manual with those of a self-reflective workbook to provide emerging classical singers with both practical and inspirational advice.