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The wild blood-on-the-mat saga of the rise and fall of the infamous Stampede Wrestling company.
Four noted wrestling writers discuss the life and death of Chris Benoit, a Canadian professional wrestler who became one of the most popular athletes in professional wrestling before committing a double-murder suicide in 2007.
"Morgan's return to music in the early to mid-sixties witnessed a tremendous evolution in his playing. Formerly a virtuoso in the model of his idol, Clifford Brown, Morgan brought to his critically acclaimed Blue Note records of the era an emotionally charged, muscular tone, full of poise and control. But it was with the record Sidewinder, recorded in 1963, that Morgan found his greatest fame and commercial success, due to the infectious groove of the title tune. By the time of his death, at thirty-three---murdered in a New York City club by his girlfriend Helen More, during a gig - Morgan had begun a new phase of his career, experimenting with freer-forms of musical expression."--BOOK JACKET.
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An accurate, detailed and fascinating account of the life of a man whose story should have been told in this much detail long ago. Author Mark Wilkerson interviewed Townshend himself and several of Townshend's friends and associates for this biography.
Horseback wrestling, catch-as-catch-can, glima; long before the advent of today’s WWE, forms of wrestling were practised by virtually every cultural group. C. Nathan Hatton’s Thrashing Seasons tells the story of wrestling in Manitoba from its earliest documented origins in the eighteenth century to the Great Depression. Wrestling was never merely a sport: residents of Manitoba found meaning beyond the simple act of two people struggling for physical advantage on a mat, in a ring, or on a grassy field. Frequently controversial and often divisive, wrestling was nevertheless a popular and resilient cultural practice that proved adaptable to the rapidly changing social conditions in western ...
The research presented in this volume is very recent, and the general approach is that of rethinking popular musicology: its purpose, its aims, and its methods. Contributors to the volume were asked to write something original and, at the same time, to provide an instructive example of a particular way of working and thinking. The essays have been written with a view to helping graduate students with research methodology and the application of relevant theoretical models. The team of contributors is an exceptionally strong one: it contains many of the pre-eminent academic figures involved in popular musicological research, and there is a spread of European, American, Asian, and Australasian scholars.