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How did one long and expensive party change a city forever? World Expo 88 was the largest, longest, and loudest of Australia's bicentennial events. A shiny 1980s amalgam of cultural precinct, shopping mall, theme park, travelogue, and rock concert, Expo 88 is commonly credited as the catalyst for Brisbane's 'coming of age'. So how did an elaborate and expensive party change a city forever? We'll Show the World explores the shifting social and political environment of Expo 88, shaped as much by Queensland's controversial premier Sir Joh Bjelke-Petersen as it was by those who reacted against him. It shows how something initially greeted with outrage, scepticism, and indifference came to mean so much to so many, how a state better known for eliciting insults enchanted much of the nation, and how, to Brisbane, Expo was personal.
No team, in any sport, enjoys a championship legacy as celebrated as the New York Yankees—and no book provides as thorough an exploration of that legacy as Yankee Classics. With year-by-year recaps filled with stories and photos, the book goes through all 40 World Series the Yankees have participated in, including the seven-game classics and the four-game cakewalks. Profiles of the biggest stars of the Fall Classic—from Ruth and Gehrig, to Berra and Mantle, to Jeter and Rivera—and detailed sidebars on the memorable moments, the October rivalries, and the lesser-known heroes round out this comprehensive look at an unprecedented sports success story.
Underwater Worlds throws open a new area in the emerging field of “blue” environmental humanities by exploring how subaqueous environments have been imagined and represented across cultures and media. The collection pursues this theme through various disciplinary perspectives and methodologies, including history, literary and film criticism, myth studies, legal studies and the history of art. The essays suggest that, since the nineteenth century, technologies of underwater exploration have generated novel sensory experiences that have destabilized conventional modes of representation and influenced new aesthetic forms from fiction and television to virtual reality. The collection also examines how representations of underwater environments have reflected and critiqued humans’ relationships with marine ecology and life-forms. It reflects on the deeper cultural and symbolic resonances of mythical figures such as mermaids, sea monsters and the ghosts of drowned seafarers. The contributions further reveal myriad political, ideological, gendered and racial dimensions of representing underwater environments.
This cultural history of the travelling freak show in America chronicles the rise and fall of the industry as attitudes about disability evolved. From 1840 until 1940, hundreds of freak shows crisscrossed the United States, from the smallest towns to the largest cities, exhibiting their casts of dwarfs, giants, Siamese twins, bearded ladies, savages, snake charmers, fire eaters, and other oddities. By today’s standards such displays would be considered cruel and exploitative—the pornography of disability. Yet for one hundred years the freak show was widely accepted as one of America’s most popular forms of entertainment. Robert Bogdan’s fascinating social history brings to life the world of the freak show and explores the culture that nurtured and, later, abandoned it. In uncovering this neglected chapter of show business, he describes in detail the flimflam artistry behind the shows, the promoters and the audiences, and the gradual evolution of public opinion from awe to embarrassment. Freaks were not born, Bogdan reveals; they were manufactured by the amusement world, usually with the active participation of the freaks themselves. Many of the "human curiosities" found fame and fortune, until the ascent of professional medicine transformed them from marvels into pathological specimens.