Rock Rowlands Flashback

In his first book “Rockin’ on the Rideau: Ottawa’s Golden Age of Rock and Roll”, veteran Ottawa broadcaster and musicologist Jim Hurcomb pulled back the curtain on the first 15 years of Rock and Roll in Ottawa, from 1955-1970. That fascinating story continues in “Rockin’ on the Rideau 2: The 70’s”. It was the decade when Ottawa welcomed some of the biggest bands in the world to town, including Led Zeppelin, Genesis, Queen, Kiss, David Bowie and many, many others. Rock FM radio arrived in Ottawa, and Geoff Winter, Brian Murphy, Shelly Hartman and Delmer and Cecil on CHEZ 106 became household names. We lined up to get into Barrymore’s and the Black Swan, and travelled across the river to enjoy Red Hot and Larkspur at The Ottawa House or the legendary Chaud, run by the mighty Gerry Barber. Midnight showings of the Rocky Horror Picture Show at the Towne Cinema were wild, boisterous parties, and Punk Rock burst on the scene when The Rotter’s Club opened on Bank Street. And, of course, we had the great local bands: Octavian, The Cooper Brothers, Heaven’s Radio, Avalon, The Action, Tokyo Rose and Bolt Upright and the Erections, to name a few. Relive the best days and nights of your lives, with “Rockin’ On The Rideau 2: The 70’s".

Consolidating major figures and film movements into their decade of greatest influence or prestige, this “no-nonsense” book offers a generously illustrated, concise, and very readable history of fiction movies with an emphasis on American cinema. Eclectic in methodology and written in a plain English style that audiences can relate to, it examines the full scope of traditional film history and criticism, viewing film as both an art and an industry– as it mirrors popular audience values, social ideologies, and historical epochs.Film discussions include titles such asForrest Gump, Jurassic Park, There's Something About Mary, Face Off, the Lion King, Saving Private Ryan, Good Will Hunting, Pulp Fiction, Choosing Amy, The Piano, Menace II Society, Sweet Hereafter, The English Patient, Sense and Sensibility, Shakespeare in live, The Full Monty, The Crying Game, Life is Beautiful, and like Water for Chocolate.For anyone who enjoys going to, and thinking about, the movies.

Winner of the Man Booker Prize Winner of the National Book Critics Circle Award in Fiction Winner of the John Dos Passos Prize for Literature New York Times Bestseller Los Angeles Times Bestseller Named One of the 10 Best Books of the Year by The New York Times Book Review Named a Best Book of the Year by Newsweek, The Denver Post, BuzzFeed, Kirkus Reviews, and Publishers Weekly Named a "Must-Read" by Flavorwire and New York Magazine's "Vulture" Blog A biting satire about a young man's isolated upbringing and the race trial that sends him to the Supreme Court, Paul Beatty's The Sellout showcases a comic genius at the top of his game. It challenges the sacred tenets of the United States Constitution, urban life, the civil rights movement, the father-son relationship, and the holy grail of racial equality—the black Chinese restaurant. Born in the "agrarian ghetto" of Dickens—on the southern outskirts of Los Angeles—the narrator of The Sellout resigns himself to the fate of lower-middle-class Californians: "I'd die in the same bedroom I'd grown up in, looking up at the cracks in the stucco ceiling that've been there since '68 quake." Raised by a single father, a controversial sociologist, he spent his childhood as the subject in racially charged psychological studies. He is led to believe that his father's pioneering work will result in a memoir that will solve his family's financial woes. But when his father is killed in a police shoot-out, he realizes there never was a memoir. All that's left is the bill for a drive-thru funeral. Fueled by this deceit and the general disrepair of his hometown, the narrator sets out to right another wrong: Dickens has literally been removed from the map to save California from further embarrassment. Enlisting the help of the town's most famous resident—the last surviving Little Rascal, Hominy Jenkins—he initiates the most outrageous action conceivable: reinstating slavery and segregating the local high school, which lands him in the Supreme Court.

The love affair between boxing and Hollywood began with the dawn of film. As early as the days of Chaplin, the "boxing film" had assumed its place as a subgenre, and over the decades it has taken the forms of biographies, dramas, romances, comedies, and even musicals and westerns. Such well known pictures as The Champ, Body and Soul, Don King: Only in America, Girl Fight, The Irish in Us, The Kid from Brooklyn, Somebody Up There Likes Me, Raging Bull, each of the Rocky movies and When We Were Kings are just a few examples of the feature films included in this filmography. Thoroughly researched, this work examines 98 boxing films from the 1920s through 2003. Each entry provides basic filmographic data (the film's studio, its genre, its length, cast and credits); a detailed synopsis of the film; illuminating commentary on the boxing sequences; and excerpts from contemporary reviews. Most entries also summarize the making of the film, with particular attention to the training of the actors for the boxing scenes. The filmography also includes information on studio publicity releases and advertisements, press books and exhibitor campaign materials for each film.

Winner of the 2022 Open Publication Prize by the International Association for the Study of Popular Music (IASPM-ANZ) A Women's History of the Beatles is the first book to offer a detailed presentation of the band's social and cultural impact as understood through the experiences and lives of women. Drawing on a mix of interviews, archival research, textual analysis, and autoethnography, this scholarly work depicts how the Beatles have profoundly shaped and enriched the lives of women, while also reexamining key, influential female figures within the group's history. Organized topically based on key themes important to the Beatles story, each chapter uncovers the varied and multifaceted relationships women have had with the band, whether face-to-face and intimately or parasocially through mediated, popular culture. Set within a socio-historical context that charts changing gender norms since the early 1960s, these narratives consider how the Beatles have affected women's lives across three generations. Providing a fresh perspective of a well-known tale, this is a cultural history that moves far beyond the screams of Beatlemania to offer a more comprehensive understanding of what the now iconic band has meant to women over the course of six decades.