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No matter where people live on the BC coast, says Howard White, they have certain shared experiences: frustration with rain and ferries, familiarity with gumboots, bumbershoots, seagull droppings and barnacles in the wrong places. But each little community clings to its own sense of uniqueness and considers itself the true West Coast. As a case in point, White offers fifty funny sketches of life as he has come to know it in sixty-odd years of living along that hundred-mile stretch of monsoon-prone shoreline ironically known as the Sunshine Coast. Included is what must be one of the most admiring testaments ever written about the virtues of the old-time outhouse; fond remembrances of saltwater fishing when a bad day meant you didn’t hook something in twenty minutes; and explorers who stooped to naming islands after favourite racehorses. We also meet a “bouquet of characters,” including a lyrical logger known as Pete the Poet; a diabolical seagoing remittance man; the saintly Quaker philosopher Hubert Evans and White’s barrier-busting Aunt Jean who taught him the advantages of “scientifically enlarging the truth.” Along with accounts of waste disposal wars and wry observations on modern technology, Here On the Coast offers a West Coast counterpart to such favourites as Letters From Wingfield Farm and Sunshine Sketches of a Little Town.
Morry is a young moose who would rather play video games than do anything else. Unfortunately for Morry, his mother doesn't feel the same way�she tells him to go outside and use his IMAGINATION. Morry isn't sure how to use his imagination, but luckily his best friend, Doug the duck, is an expert. With Doug's help, they are both soon traveling to a distant land in their very own TIME-TRAVELING OUTHOUSE.
A young couple in Toronto starts house-hunting with a $450,000 budget and ends up with a $700,000 home, after losing fifteen bidding wars. In Vancouver the average bungalow soars past $900,000. In Saskatoon, house values rock higher 56 per cent in one year. At the same time, real estate values in the US plunge for the first time since the Great Depression. Millions of families are forced out of their homes. Canadians are told it can't happen here, while first-time buyers outside Toronto sign up for monster houses with virtually no down payment and 40-year mortgages for 98 per cent of the cost. When the average family can no longer afford the average home, how can so many people be deluded into believing a boom will last forever'when none has before? How could we have put so much money into something we might never be able to sell, except to a greater fool? Truth is, homeowners and homebuyers have been seduced by a cabal made up of real estate marketers, builders, lenders and bankers, along with a pliant media, to buy, buy, buy. Canada has its own, hidden debt crisis just as dire as the subprime mortgage fiasco, and the same self-dealing industry tactics have led us to put more than 80 per cent of our net worth into a single asset, ignoring the obvious threats and repeating the disastrous mistakes of others. Are we next? Yes.
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Historian Sara Eskridge examines television’s rural comedy boom in the 1960s and the political, social, and economic factors that made these shows a perfect fit for CBS. The network, nicknamed the Communist Broadcasting System during the Red Scare of the 1940s, saw its image hurt again in the 1950s with the quiz show scandals and a campaign against violence in westerns. When a rival network introduced rural-themed programs to cater to the growing southern market, CBS latched onto the trend and soon reestablished itself as the Country Broadcasting System. Its rural comedies dominated the ratings throughout the decade, attracting viewers from all parts of the country. With fascinating discussions of The Andy Griffith Show, The Beverly Hillbillies, Petticoat Junction, and other shows, Eskridge reveals how the southern image was used to both entertain and reassure Americans in the turbulent 1960s.
Imagine being just twenty-one, thirteen thousand miles from home in a strange country where the inhabitants want to kill you! Envision living in mud, eating food packed in 1941, witnessing hostilities from your enemies and among your friends. The Dirty Thirty explains life as it was as a Gun-Bunny, a trucker, a thief and a soldier in the jungles and towns of South Vietnam Live as a draftee lived among the diversity of an army of draftees. The odd and endearing characters of The Dirty Thirty and the strict military minds of the Lifers, will give you a glimpse of the real Vietnam experience. Jolt at the realization that the NVA was not an Evil Empire, but a military force with a cause and a heartfelt dedication among its soldiers. Be sad at the plights of individual U.S. soldiers at the mercy of the Military Machine. Be proud of the sacrifices made by the men and women of both sides during the 10,000 Day War. The Dirty Thirty gives a day to day account of what life was really like on the fire bases in the jungles and hills of Vietnam and Cambodia in 1969-1970.
This comprehensive biography of George Gershwin (1898-1937) unravels the myths surrounding one of America's most celebrated composers and establishes the enduring value of his music. Gershwin created some of the most beloved music of the twentieth century and, along with Jerome Kern, Irving Berlin, and Cole Porter, helped make the golden age of Broadway golden. Howard Pollack draws from a wealth of sketches, manuscripts, letters, interviews, books, articles, recordings, films, and other materials—including a large cache of Gershwin scores discovered in a Warner Brothers warehouse in 1982—to create an expansive chronicle of Gershwin’s meteoric rise to fame. He also traces Gershwin’s powerful presence that, even today, extends from Broadway, jazz clubs, and film scores to symphony halls and opera houses. Pollack’s lively narrative describes Gershwin’s family, childhood, and education; his early career as a pianist; his friendships and romantic life; his relation to various musical trends; his writings on music; his working methods; and his tragic death at the age of 38. Unlike Kern, Berlin, and Porter, who mostly worked within the confines of Broadway and Hollywood, Gershwin actively sought to cross the boundaries between high and low, and wrote works that crossed over into a realm where art music, jazz, and Broadway met and merged. The author surveys Gershwin’s entire oeuvre, from his first surviving compositions to the melodies that his brother and principal collaborator, Ira Gershwin, lyricized after his death. Pollack concludes with an exploration of the performances and critical reception of Gershwin's music over the years, from his time to ours.