Has the global phenomenon that is Pop Idol completely ruined pop music, or is it just the natural revolution of a genre of music that has always been manufactured? From Tin Pan Alley via The Monkees and finally to boy bands, this is the complete history of the most successful genre of music ever.;Manufactured acts have been the money-spinning mainstay of the pop industry for decades. "Bubblegum: The History of Plastic Pop" takes a decade-by-decade look at some of the music industry's more cynical creations from the 1950s to the 21st century, encompassing acts such as The Monkees, The Bay City Rollers and The Spice Girls, as well as the phenomenon that is Pop Idol and its siblings. This revealing study includes interviews with the movers and shakers of the pop world and the artistic armies behind their successes, including Chinn and Chapman, Stock, Aitken and Waterman, Simon Fuller, Paula Abdul and Cathy Dennis. The result is a comprehensive look back at some of the fly-by-nights of pop and a DIY guide to becoming a pop star, listing the dos and don'ts of making it in the pop music industry.

Jack Beresford was the first British Olympian to win medals of any colour in five consecutive Olympic Games. His record of 3 Gold and 2 silver medals at the 5 Olympic Games held between 1920 and 1936 remained until Sir Steve Redgrave won gold at the 2000 Sydney Games. Historically, men have had two great chances to prove their mettle; in battle and in sport. While many are aware that Jack Beresford was one of Britain's greatest oarsmen, this affectionate but unsentimental tribute by his son, John, reveals what few know, that Beresford served his country with distinction in war as well as in peace, and both with a modesty that is usually indicative of true merit. It is commonly said, show me the boy and I'll show you the man, and this work reveals that Jack the schoolboy, the soldier and the sportsman was driven by the same strict principals of duty and hard work throughout his life. This is, says John, the story that his Father never wrote. It is also a story with a delicious (if vicious) irony; the German bullet that wounded 19-year-old 2nd Lieutenant Beresford in 1918 led to him abandoning rugby and taking up rowing. Eighteen years later, the German favourites to win the Olympic Double Sculls paid the price of Jack's change of sport as, in the final's last 100 metres, Dick Southwood and Jack Beresford rowed them to a standstill to win Olympic Gold.

In the 1980s and early 1990s, David Campese thrilled spectators both in Australia and overseas with his footloose, crazy-brave style of free running. This book tells the story of his rise from humble beginnings to the very top of a global sport.

As a rugby player, David Campese seemed to operate on cross-grained pure instinct, one that left many a defender clutching at him in vain, stranded in the slipstream of his audacity. Hailed as the 'Bradman of rugby' by former Wallaby coach Alan Jones, and the 'Pele' of rugby by others, Campese was a match-winner. The refrain 'I saw Campese play' now speaks to much more than wistful reminiscences about a player widely regarded as the most entertaining ever to play the game of Rugby Union. It has come to represent a state of chronic disbelief that the Wallaby ascendancy of Campese's era has been seemingly squandered.

Campese occupies a unique intersection in rugby's history: one of its last amateurs, and one of its first professionals. He had shown, too, that coming from outside the traditional bastions of rugby - the private schools and universities - was no barrier to reaching the top. Indeed, he challenged that establishment and unsettled it, warning in the early 1990s that the code risked 'dying' if more was not done to expand its appeal.

David Campese revolutionised how the game was played and appreciated. His genius, most visibly manifest in his outrageous goosestep, captured the national and sporting imagination. The rigid, robotic rugby of today appears incapable of accommodating a player of his dash and daring.

Education, the production of knowledge, identity formation, and ideological hegemony are inextricably linked in early modern and modern Korea. This study examines the production and consumption of knowledge by a multitude of actors and across languages, texts, and disciplines to analyze the formulation, contestation, and negotiation of knowledge. The production and dissemination of knowledge become sites for contestation and struggle-sometimes overlapping, at other times competing-resulting in a shift from a focus on state power and its control over knowledge and discourse to an analysis of local processes of knowledge production and the roles local actors play in them. Contributors are Daniel Pieper, W. Scott Wells, Yong-Jin Hahn, Furukawa Noriko, Lim Sang Seok, Kokubu Mari, Mark Caprio, Deborah Solomon, and Yoonmi Lee.