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"Here is the story of a youth growing up in New Zealand. He was born not long after the First World War and left his country in the second. His grandfathers were an immigrant collier and second generation countryman respectively, who with the determined help of their wives ensured that their families were upwardly mobile. Cyril was brought up in an academic family and tells with frankness of the way he grew up, his ups and downs until he fell in love - and was posted overseas...The title Remuera is the name of a suburb in Auckland where he lived and may be roughly translated from the Maori as "a singed kilt". The book may be read as a social document of the time."--P. 1.
I have a reputation. Girls fall over themselves to be with me … except one. The Market Girl, that’s what I call her, and I can’t resist her. Up until a few weeks ago, light flirtatious banter was all that was between us. One-sided flirting - my side. But it worked. We worked. Then the busy-body Quylt sisters paired us together to volunteer. Planning local senior citizen events, of all things. Who would’ve thought by the end of the first event we’d be naked in the theater dressing room, and she’d be screaming out my name? Not me. She’s got rules about guys like me. Rules I respect. But I’ve always been a rule breaking kinda guy. Four events. Four weeks. And we’ll be back to normal. That’s what I keep telling myself. But now that I’ve had her, I want her to be all mine.
She’s off limits and I’ve never been allowed to want her. And I shouldn’t be having these feelings. But there’s no way I can resist her. Our families have been feuding long before we were born. That didn’t stop us from sneaking over the fence line growing up. We were best friends. Until one shared smooch at the fair kissing booth. We haven’t talked in twelve years. Last year, a scorned lover burned down the kissing booth. Now we’re forced to work together to resurrect a new kissing booth. Our families are furious. The town is in chaos. And I can’t get those sultry lips out of my head. And I don’t want to. I won’t stop until I’ve claimed her in every possible way.
Yodel-Ay-Ee-Oooo is the first book to address the question: How did a centuries-old, Swiss mountain tradition make its way into American country music? Along the way, the reader discovers that yodeling is not just a Swiss thing--everyone from Central African pygmies, Nashville hunks-in-hats, avant-garde tonsil-twisters like Meredith Monk, hiphop stars De La Soul, and pop stars like Jewel have been known to kick back and release a yodeling refrain. Along the way, we encounter a gallery of unique characters, ranging from the legendary, such as country singer Jimmie Rodgers, to the definitely different, including Mary Schneider (the Australian Queen of Yodeling) who specializes in yodeling Mozart, Beethoven, and Brahms, and the Topp Twins, a yodeling lesbian duo who employ the sound in their songs aimed at battling homophobia. The book is both a serious study of the history of yodeling around the world and a fun look at how this unique sound has worked its way into popular culture. Yodel-Ay-Ee-Oooo promises to be a classic for fans of music and popular culture.
While Western films can be seen as a mode of American exceptionalism, they have also become a global genre. Around the world, Westerns exemplify colonial cinema, driven by the exploration of racial and gender hierarchies and the progress and violence shaped by imperialism. Transnationalism and Imperialism: Endurance of the Global Western Film traces the Western from the silent era to present day as the genre has circulated the world. Contributors examine the reception and production of American Westerns outside the US alongside the transnational aspects of American productions, and they consider the work of minority directors who use the genre to interrogate a visual history of oppression. By viewing Western films through a transnational lens and focusing on the reinterpretations, appropriations, and parallel developments of the genre outside the US, editors Hervé Mayer and David Roche contribute to a growing body of literature that debunks the pervasive correlation between the genre and American identity. Perfect for media studies and political science, Transnationalism and Imperialism reveals that Western films are more than cowboys; they are a critical intersection where issues of power and coloniality are negotiated.
Singer. Songwriter. Swamp child. Soul man. Tex Perkins is a true rock'n'roll animal. In this loud, uncut, no-holds-barred, laugh-out-loud and take-no-prisoners memoir, the enigmatic king of the Australian music underground lays bare an extraordinary life lived on the road, on the stage and on the edge. Raised a bible-thumping Catholic and beaten bloody on the streets of Brisbane for being a "cow-punk", skinny Gregory Perkins flees to Sydney and mutates into "Tex", rogue leader of the Dums Dums, Thug and Salamander Jim before finding a strange kind of success, celebrity, sex symboldom and icon status as Tex Perkins, snake-hipped, honey-voiced, often bloodied frontman of influential Aussie bands the Cruel Sea, Beasts of Bourbon and Tex, Don & Charlie... and inventor of "Zoneball". Gigs. Albums. Tours. Fights. Feuds. Arrests. Drugs. High times. Low roads. This is a wild ride of a life written loudly, proudly and full of punk energy.
From city spinster…to cowboy's bride! Abandoned as a young child, Rebecca Lane has always felt unlovable. Convinced she's too tall and strong-minded to find a husband, she heads West to start a new life on her grandfather's ranch. Lantree Walker is wary of his employer's beautiful granddaughter. But when Rebecca is threatened, the cowboy does the only thing that will keep her safe—he marries her! Lantree may have convinced his reluctant bride to take his name, but what will it take to get her into his bed? "One exhilarating read… Take a deep breath and enjoy!" —RT Book Reviews on Rebel with a Cause
In the 87 issues of Snow Country published between 1988 and 1999, the reader can find the defining coverage of mountain resorts, ski technique and equipment, racing, cross-country touring, and the growing sport of snowboarding during a period of radical change. The award-winning magazine of mountain sports and living tracks the environmental impact of ski area development, and people moving to the mountains to work and live.
A Kiwi cowboy and his stubborn horse (nicknamed ‘Goddammityou-sonavabitch’) ride through America. Here’s how an ‘averagely dumb city-slicker’ looking for something to do on his summer holiday saw Dances With Wolves and was seduced by the lure of the West. Together with a small stubborn horse rescued from a career in the Belgian sausage industry, he travelled 3500 miles down the Rocky Mountains from Canada to Mexico. When Lee Hughes began, he didn’t know how to ride, and his horse, Spice (also known by his Indian name of ‘Goddammityou-sonavabitch’), wasn’t giving lessons either. Their relationship wasn’t exactly a partnership, more of an armed truce, but nevertheless they crossed rivers and deserts, mountains and plains, dodged buffalo and bears, moose and mountain lions, met policemen and preachers, cowboys and Indians, Democrats and all manner of respectable folk as well. They made it to Mexico only nine months late. Bones were broken, six-guns roared in anger and quicksands were explored the hard way. There were feasts, famines and some world-class drinking. Good deeds were done and dark ones concealed. And a good horse died. Around wintertime Lee and Spice bluffed their way on to a ranch and played at being a cowboy and a cowpony. 7000 cattle went along with the joke until summer, and then they headed south again, saddlebags bulging with rolled oats, baked beans and Cheez Whiz. What started out as just a summer holiday, grew until it filled a year with excitement and laughter, panic and peril and, ultimately, became this ‘mostly true story without too many lies or bits left out’.
In the third volume of this acclaimed country music series, readers can explore topics ranging from the career of country music icon Conway Twitty to the recent phenomenal success of the bluegrass flavored soundtrack to the film O Brother, Where Art Thou?. The tricky relationship between conservative politics and country music in the sixties, the promotion of early country music artists with picture postcards, the history of "the voice of the Blue Ridge Mountains" (North Carolina radio station WPAQ), and the formation of the Country Music Association as a "chamber of commerce" for country music to battle its negative hillbilly stereotype are just a few of the eclectic subjects that country music fans and scholars won't want to miss.