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Since 1950, Omaha's Rosenblatt Stadium (formerly Municipal Stadium) has hosted the nation's top college baseball programs in the College World Series. Baseball fans from every corner of the country have taken the annual "Road to Omaha" and packed the seats to see championship baseball at its best. In 1954 thousands saw Jim Ehrler of Texas toss the tourney's first no-hitter en route to the Longhorns winning back-to-back CWS championships. Fans at the 1970 tournament saw Southern Cal defeat Florida State in the midst of their unmatched five-year championship run. In 1996 Rosenblatt's faithful took in the dramatic bottom-of-the-ninth, two-out, two-run homer by Louisiana State's Warren Morris, giving his team a 9-8 upset victory over powerhouse Miami.
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.
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.
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.