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Billie Jean King didn’t want to play Bobby Riggs. He baited and begged her for months while she ignored his catcalls and challenges. But after Margaret Court’s ignominious defeat in the so-called Mother’s Day Massacre, Billie knew what she had to do despite the personal and professional risks: take on the self-proclaimed male chauvinist pig and slay the myths about women and weakness. And so it was that King’s acquiescence led to the Battle of the Sexes, one of the most wildly surreal moments of the decadent 1970s. The worldwide event, showcasing three sets of tennis in a raucous Houston Astrodome, forever changed the social landscape for women. In A Necessary Spectacle, Selena Roberts, one of the country’s finest sportswriters and the only female sports columnist in the New York Times’ history, has created a masterful and entertaining journey through the 1970s and beyond, capturing the color and passion, tackiness and anger, prejudice and progress of an American culture in transition. At the heart of the story lies the intersection of two complex characters: Billie Jean King, the daughter of a homemaker and a firefighter who grew up in the Norman Rockwell tradition of the 1950s; and Bobby Riggs, the gambling son of a fundamentalist minister who won everlasting fame as a card-carrying sexist—not because he believed women to be inferior, but because he craved attention. Roberts enjoyed unprecedented access to the characters in this story, including numerous in-depth interviews with Billie Jean King and her former husband, Larry, as well as the friends and family of Bobby Riggs, who died in 1995. Essential details and insights also were provided through hours of conversation with key figures in the women’s rights movement and Title IX fight, including Gloria Steinem and Donna de Varona, and with tennis legends of the 1970s, such as Chris Evert, Margaret Court, Rosie Casals, and others. This book reveals the outsize personalities of Billie and Bobby; the intensity and intricacy of the Kings’ longtime marria≥ the simmering social revolution that pitted chauvinists against feminists and tennis players against each other; and a wrenching coming-out story recounted in intimate detail by Billie Jean King for the first time. By the end of the book, Roberts has traced the cultural continuum of Billie and Bobby’s night at the Astrodome. She relates its significance to the day Richard Williams began hitting bald tennis balls to his pigtailed daughters, Venus and Serena; to the glorious afternoon when more than 90,000 fans watched as the U.S. women’s soccer team won the 1999 World ∪ and, ultimately, to the present day’s second-generation battle to keep Title IX alive. The book’s poignant last scene between Billie and Bobby serves to remind us how much of an effect that 1973 match—and the passion it fueled for change—continues to have on American society, showing how necessary it was, and how necessary it remains. 1973. The Battle of the Sexes. It was the match that changed everything. In this riveting book by New York Times sports columnist Selena Roberts, the whole spectacle returns, larger than life and more important than ever. This story reaches beyond two outsize and utterly fascinating personalities who emerged during a simmering social revolution that pitted chauvinists against feminists. It also chronicles the complex, longtime marriage of Billie Jean and Larry King; the cavalcade of issues that rocked the 1970s, from equal pay to abortion rights; and a wrenching coming-out story recounted in intimate detail by Billie Jean King for the first time.
Eighteen-year-old Nathalie Baudin, ever-curious reporter at the Paris morgue, is no stranger to death—even discounting the supernatural visions that give her disturbing glimpses into the minds of killers. Paris, 1889. When the Exposition Universelle opens in Paris, Nathalie welcomes a much-needed break from the heartache of her friend's murder. The fair is full of sensational innovations, cultural displays, and marvelous inventions from around the world. But someone is celebrating the 100th anniversary of the guillotine with a gruesome display of their own: beheaded victims in some of the Exposition’s most popular exhibits. Haunted by the past and burdened with new secrets, Nathalie struggles to use her wits and her gift. Yet she and her friends must stop the killer before the macabre display features one of them... At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
The Das Kapital of the 20th century,Society of the Spectacle is an essential text, and the main theoretical work of the Situationists. Few works of political and cultural theory have been as enduringly provocative. From its publication amid the social upheavals of the 1960's, in particular the May 1968 uprisings in France, up to the present day, with global capitalism seemingly staggering around in it’s Zombie end-phase, the volatile theses of this book have decisively transformed debates on the shape of modernity, capitalism, and everyday life in the late 20th century. This ‘Red and Black’ translation from 1977 is Introduced by Notting Hill armchair insurrectionary Tom Vague with a galloping time line and pop-situ verve, and given a more analytical over view by young upstart thinker Sam Cooper.
Over the course of his distinguished career, Robert Hughes wrote with brutal honesty about art, architecture, culture, religion—and himself. The Spectacle of Skill brings together some of his most unforgettable pieces, culled from nine of his most widely read and important books, alongside never-before-published pages from his unfinished second volume of memoirs. Showcasing Hughes’s enormous range, this indispensable anthology offers a uniquely cohesive view of both the critic and the man.
The authors argue that the most influential and well-known educational policy programs in the past 30 years are not based on democratic consensus, but are instead formulated by the political community as symbolic efforts meant to generate personal partisan gain.
2016 NAACP Image Award Winner An award-winning journalist reveals a little-known and shameful episode in American history, when an African man was used as a human zoo exhibit—a shocking story of racial prejudice, science, and tragedy in the early years of the twentieth century in the tradition of The Immortal Life of Henrietta Lacks, Devil in the White City, and Medical Apartheid. In 1904, Ota Benga, a young Congolese “pygmy”—a person of petite stature—arrived from central Africa and was featured in an anthropology exhibit at the St. Louis World’s Fair. Two years later, the New York Zoological Gardens displayed him in its Monkey House, caging the slight 103-pound, 4-foot 11-inch tall man with an orangutan. The attraction became an international sensation, drawing thousands of New Yorkers and commanding headlines from across the nation and Europe. Spectacle explores the circumstances of Ota Benga’s captivity, the international controversy it inspired, and his efforts to adjust to American life. It also reveals why, decades later, the man most responsible for his exploitation would be hailed as his friend and savior, while those who truly fought for Ota have been banished to the shadows of history. Using primary historical documents, Pamela Newkirk traces Ota’s tragic life, from Africa to St. Louis to New York, and finally to Lynchburg, Virginia, where he lived out the remainder of his short life. Illuminating this unimaginable event, Spectacle charts the evolution of science and race relations in New York City during the early years of the twentieth century, exploring this racially fraught era for Africa-Americans and the rising tide of political disenfranchisement and social scorn they endured, forty years after the end of the Civil War. Shocking and compelling Spectacle is a masterful work of social history that raises difficult questions about racial prejudice and discrimination that continue to haunt us today.
Leading social critic Carol Becker offers a timely analysis of the nature of art and its role in politics and society. Completed just before the September 11, 2001 World Trade Center catastrophe, this book is remarkably prescient of the new concerns that have now become foremost in our thoughts since the attack. Becker raises the question of the place of art and the function of public intellectuals in a society desperately in need of creativity and leadership. Visit our website for sample chapters!
Eric Wilson's work poses crucial challenges to social theory, unsettling our understanding of the nature of the liberal democratic state. In The Spectacle of the False Flag, he urges the reader to examine the, often unconsidered, deep state practices that confound conventional notions of the state as monolithic or uniform. This compelling volume traces deep state conflicts and convergences through central cases in the development of American political economic power-JFK/Dallas, LBJ/Gulf of Tonkin, and Nixon/Watergate.Rigorously documented and unflinchingly analyzed, The Spectacle of the False Flag provides a stunning example of a new criminological practice-one that takes the state seriously, making the inner workings of the state rather than its effects the primary object of study. Drawing upon a wealth of historical records and developing the theoretical insights of Guy Debord's writings on spectacular society, Wilson offers a glimpse into a necessary criminology to come.
Considers the history of the American blockbuster—the large-scale, high-cost film—as it evolved from the 1890s to today. The pantheon of big-budget, commercially successful films encompasses a range of genres, including biblical films, war films, romances, comic-book adaptations, animated features, and historical epics. In Epics, Spectacles, and Blockbusters: A Hollywood History authors Sheldon Hall and Steve Neale discuss the characteristics, history, and modes of distribution and exhibition that unite big-budget pictures, from their beginnings in the late nineteenth century to the present. Moving chronologically, the authors examine the roots of today's blockbuster in the "feature," "special," "superspecial," "roadshow," "epic," and "spectacle" of earlier eras, with special attention to the characteristics of each type of picture. In the first section, Hall and Neale consider the beginnings of features, specials, and superspecials in American cinema, as the terms came to define not the length of a film but its marketable stars or larger budget. The second section investigates roadshowing as a means of distributing specials and the changes to the roadshow that resulted from the introduction of synchronized sound in the 1920s. In the third section, the authors examine the phenomenon of epics and spectacles that arose from films like Gone with the Wind, Samson and Deliliah, and Spartacus and continues to evolve today in films like Spider-Man and Pearl Harbor. In this section, Hall and Neale consider advances in visual and sound technology and the effects and costs they introduced to the industry. Scholars of film and television studies as well as readers interested in the history of American moviemaking will enjoy Epics, Spectacles, and Blockbusters.
From 13th century Franciscan monks to Beyoncé in Black is King, Making a Spectacle charts the fascinating ascension of eyeglasses—from an unsightly but useful tool to fashion's must-have accessory. The power of glasses to convey a range of vivid messages about their wearers have made them into a billion-dollar business that appeals to cool kids and rock stars, and those who want to be like them, but the fashionable history of eyeglasses is fraught with anxiety and drama. At the beginning of the 20th century, the assessment in Vogue and Harper's Bazaar was that spectacles were "invariably disfiguring." Invisibility was the best option, and glasses were only to be put on once the lights at the opera went dark. While variations of that glasses-shaming sentiment appeared at regular intervals over the next 100 years or so, eyeglasses continued to evolve into an endless array of shapes, colors, purposes, and personalities. Once sunglasses took off in the 1930s, the magazine editorial made glasses a conspicuous part of the fashion narrative. Eyeglasses went to the ski slopes, the stables, the beach, the Havana hotel. Plastic innovations made a candy-colored rainbow of cat-eyes and "starlet" styles possible. Suddenly, everyone had the opportunity to look like Jackie O on vacation in Capri. Making a Spectacle traces contemporary high fashion frames back to their origins: the military aviator, the glam cat eye, the nerdly Oxford, the high-tech shield, the fanciful butterfly, the lowly rimless, and other styles all make an appearance. Featuring interviews with influential designers, makers, and purveyors of glasses including Adam Selman, Kerin Rose Gold, and l.a. Eyeworks, Making a Spectacle also takes a look at today's most cutting edge eyewear, showing the reader the latest and most innovative ways to see and be seen.