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By the early 1960s, the Ford Motor Company, built to bring automobile transportation to the masses, was falling behind. Young Henry Ford II, who had taken the reins of his grandfather's company with little business experience to speak of, knew he had to do something to shake things up. Baby boomers were taking to the road in droves, looking for speed not safety, style not comfort. Meanwhile, Enzo Ferrari, whose cars epitomized style, lorded it over the European racing scene. He crafted beautiful sports cars, "science fiction on wheels," but was also called "the Assassin" because so many drivers perished while racing them.Go Like Helltells the remarkable story of how Henry Ford II, with the help of a young visionary named Lee Iacocca and a former racing champion turned engineer, Carroll Shelby, concocted a scheme to reinvent the Ford company. They would enter the high-stakes world of European car racing, where an adventurous few threw safety and sanity to the wind. They would design, build, and race a car that could beat Ferrari at his own game at the most prestigious and brutal race in the world, something no American car had ever done.Go Like Helltransports readers to a risk-filled, glorious time in this brilliant portrait of a rivalry between two industrialists, the cars they built, and the "pilots" who would drive them to victory, or doom.
The TV series that was never made and that youÕve never heard of celebrates its 40th year with an exhaustive retrospective guide! Growing from a child's game, the bizarrely-titled The Magnet Editor ran for ten years and a breathtaking 47 series. In bringing the series to life, Nick Goodman drew from 70s pop culture including Doctor Who and The New Avengers, and shared it only with his bewildered mother and childhood friends. Jo Bunsell was one such friend and soon the pair would be transported into a shared universe of preposterous Ð and badly designed Ð monsters and non-stop adventure with their extraordinary and strangely-named hero, Cabin Relese. Goodman and Bunsell open up their archive of materials and memories, and take you on a roller-coaster ride into their world! Magnet Memories is an episode guide, a frank, critical, incredulous and nostalgic reflection, a snapshot of childhood in the 70s and 80s... and it's possibly the most wonderfully bonkers cult TV book ever published!
'I couldn't put this book down. Malcolm inspired us to make art out of our boredom and anger. He set us free' Bobby Gillespie, Primal Scream Included in the Guardian 10 best music biographies 'Excellent . . . With this book, Gorman convincingly moves away from the ossified image of McLaren as a great rock'n'roll swindler, a morally bankrupt punk Mephistopheles, and closer towards his art-school roots, his love of ideas. Tiresome, unpleasant, even cruel - he was, this book underlines, never boring' Sunday Times 'Exhaustive . . . compelling' Observer 'Definitive . . . epic' The Times 'Gobsmacker of a biography' Telegraph 'This masterful and painstaking biography opens its doorway to an era of fluorescent disenchantment and outlandish possibility' Alan Moore Malcolm McLaren was one of the most culturally significant but misunderstood figures of the modern era. Ten years after his life was cruelly cut short by cancer, The Life & Times of Malcolm McLaren sheds fascinating new light on the public achievements and private life of this cultural iconoclast and architect of punk, whose championing of street culture movements including hip-hop and Voguing reverberates to this day. With exclusive contributions from friends and intimates and access to private papers and family documents, this biography uncovers the true story behind this complicated figure. McLaren first achieved public prominence as a rebellious art student by making the news in 1966 after being arrested for burning the US flag in front of the American Embassy in London. He maintained this incendiary reputation by fast-tracking vanguard and left-field ideas to the centre of the media glare, via his creation and stewardship of the Sex Pistols and work with Adam Ant, Boy George and Bow Wow Wow. Meanwhile McLaren's ground-breaking design partnership with Vivienne Westwood and his creation of their visionary series of boutiques in the 1970s and early '80s sent shockwaves through the fashion industry. The Life & Times of Malcolm McLaren also essays McLaren's exasperating Hollywood years when he broke bread with the likes of Steven Spielberg though his slate of projects, which included the controversial Heavy Metal Surf Nazis and Wilde West, in which Oscar Wilde introduced rock'n'roll to the American mid-west in the 1880s, proved too rich for the play-it-safe film business. With a preface by Alan Moore, who collaborated with McLaren on the unrealised film project Fashion Beast, and an essay by Lou Stoppard casting a twenty-first-century perspective over his achievements, The Life & Times Of Malcolm McLaren is the explosive and definitive account of the man dubbed by Melvyn Bragg 'the Diaghilev of punk'.
The seeds of irreverent humour that inspired the likes of Wayne and Shuster and Monty Python were sown in the trenches of the First World War, and The Dumbells—concert parties made up of fighting soldiers—were central to this process. Soldiers of Song tells their story. Lucky soldiers who could sing a song, perform a skit, or pass as a “lady,” were taken from the line and put onstage for the benefit of their soldier-audiences. The intent was to bolster morale and thereby help soldiers survive the war. The Dumbells’ popularity was not limited to troop shows along the trenches. The group also managed a run in London’s West End and became the first ever Canadian production to score a hit on Broadway. Touring Canada for some twelve years after the war, the Dumbells became a household name and made more than twenty-five audio recordings. If nationhood was won on the crest of Vimy Ridge, it was the Dumbells who provided the country with its earliest soundtrack. Pioneers of sketch comedy, the Dumbells are as important to the history of Canadian theatre as they are to the cultural history of early-twentieth-century Canada.
Why is the memoir genre so important? What is it that drives us to tell our own stories? The ancient Greek myth of Goddess Memory, and her daughters, the Muses, offers new ways to re-enter the stories of our lives and shape them in surprising ways. Mnemosyne's birthing of the Muses underscores her commitment to express all of the facets of her personal story: grief, joy, love, body, breath, history, spirituality, reverie, and humor. The memoirist follows Mnemosyne's imaginal lineage in crafting all memoirs. Memories live in matter, in the very cells of our bodies. Writing our life stories allows us to consider the content of our experiences, the plurality of perspectives from which we can choose to shape them, and the use that we want to make of them. We may choose to write for many reasons, psychological, physical, and cultural healing being just a few. This book suggests the exploration of an imaginable field is possible when we look at how figures from Greek mythology continue to inspire contemporary life writing.
Twenty-five years on from its famous début victory in the 1995 Le Mans 24 Hours, the wonderful McLaren F1 GTR is the subject of this major two-volume history. Derived from the BMW V12-powered three-seat McLaren F1 road car, the F1 GTR only came into existence because of customer pressure on designer Gordon Murray to produce a racing version. With 28 examples built over three seasons, the F1 GTR was fabulously successful, winning 41 of its 131 races and taking two international championship titles. This sumptuous book outlines the life of the McLaren F1 GTR in exhaustive depth, with Volume 1 devoted to race-by-race narrative and Volume 2 to individual car histories and the stories of the people who raced them, all supported by over 775 colour photographs.
He escaped from Singapore's Changi prisoner of war camp to become one of Australia's great World War II guerrilla fighters. 'The way I look at it is this...When you're behind the line and get yourself into trouble, you've got to get your bloody self out irrespective of anybody else. That's why I like it.' Scottish-born but a Queenslander to the bone, Jock McLaren was a true Australian hero. As a prisoner he escaped twice, first from Changi and later from the infamous Sandakan POW camp in Borneo. After paddling a dugout canoe across open sea, he fought for two years with American-led Filipino guerrillas, his exploits so audacious the Japanese put a price on his head. At the helm of his 26-foot whaleboat, the Bastard, McLaren sailed brazenly into enemy-held harbours, wreaking havoc with his mortar and machine guns before heading back out to sea. In early 1945 he joined Australia's secretive Z Special Unit, parachuting into Borneo to carry out reconnaissance and organise anti-Japanese resistance ahead of Allied landings. He cheated death on numerous occasions and saved his own life by removing his appendix without anaesthetic, using 'two large dessert spoons' and a razor blade. Drawing on Allied and Japanese wartime documents, Bastard Behind the Lines brings the story of a courageous digger vividly to life and throws light on a rarely explored aspect of Australia's Pacific war.
The Immortal Memory remains the centrepiece of the traditional Burns Supper and although that rite might be seen by some to have had its day, the "Immortal Memory" itself still retains its importance and prestige to Burns lovers all over the world. It is an honour to be invited to present this toast and it is to honour this status and to further respect its subject that Dr Cairney's third book on Burns is devoted to his "Immortal Memory". The extraordinary thing is that the contributors, while dealing with the same man, all appear to see him so differently, but what they all still have in common is a love and admiration for the man and his work. This is the factor that makes Burns unique, that he has the same appeal for so many different kinds of people.
While London dominated the wider British music hall in the 19th century, Glasgow, the Second City of the Empire, was the center of a vigorous Scottish performing culture, one developed in a Presbyterian society with a very different experience of industrial urbanization. It drew heavily on older fairground and traditional forms in developing its own brand of this new urban entertainment. The book explores all aspects of the Scottish music hall industry, from the lives and professional culture of performers and impresarios to the place of music hall in Scottish life. It also explores issues of national identity, both in terms of Scottish audiences' responses to the promotion of imperial themes in songs and performing material, and in the version of Scottish identity projected by Lauder and other kilted acts at home and abroad in America, Canada, Australia and throughout the English-speaking world.