Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Are the cultural upheavals of the 1960s just a media myth? The "summer of love", with its ambience of marijuana and sitar music, the glitterati of swinging London, and student protesters battling with the police evoke a period of material prosperity, cultural innovation and youthful rebellion. But how significant were the radical aspirations and utopian ideals of the sixties? And what is the legacy of the social, political and cultural transformations which characterized the decade? In an interdisciplinary collection of specially commissioned essays, the contributors to "Cultural Revolution" uncover the complex economic and political contexts in which these changes took place. Covering a wide variety of art forms - drama, television, film, poetry, the novel, popular music, dance, cinema and the visual arts - they investigate how sixties' culture became politicized, and how its inherent contradictions still have repercussions for the arts today. Contributors include John Seed, Bart Moore-Gilbert, Alf Louvre, Stuart Laing, Jane Lewis, and Martin Priestman. This book should be of interest to undergraduates studying cultural studies, media and communications, social sciences and social

Are the cultural upheavals of the 1960s just a media myth? The "summer of love", with its ambience of marijuana and sitar music, the glitterati of swinging London, and student protesters battling with the police evoke a period of material prosperity, cultural innovation and youthful rebellion. But how significant were the radical aspirations and utopian ideals of the sixties? And what is the legacy of the social, political and cultural transformations which characterized the decade? In an interdisciplinary collection of specially commissioned essays, the contributors to "Cultural Revolution" uncover the complex economic and political contexts in which these changes took place. Covering a wide variety of art forms - drama, television, film, poetry, the novel, popular music, dance, cinema and the visual arts - they investigate how sixties' culture became politicized, and how its inherent contradictions still have repercussions for the arts today. Contributors include John Seed, Bart Moore-Gilbert, Alf Louvre, Stuart Laing, Jane Lewis, and Martin Priestman. This book should be of interest to undergraduates studying cultural studies, media and communications, social sciences and social

The fascinating, true, story of baseball's amateur origins. "Explores the conditions and factors that begat the game in the 19th century and turned it into the national pastime....A delightful look at a young nation creating a pastime that was love from the first crack of the bat."-Paul Dickson, The Wall Street Journal Baseball's true founders don't have plaques in Cooperstown. The founders were the hundreds of uncredited amateurs - ordinary people - who played without gloves, facemasks or performance incentives in the middle decades of the 19th century. Unlike today's pro athletes, they lived full lives outside of sports. They worked, built businesses and fought against the South in the Civil War. But that's not the way the story has been told. The wrongness of baseball history can be staggering. You may have heard that Abner Doubleday or Alexander Cartwright invented baseball. Neither did. You may have been told that a club called the Knickerbockers played the first baseball game in 1846. They didn't. You have read that baseball's color line was uncrossed and unchallenged until Jackie Robinson in 1947. Nope. You have been told that the clean, corporate 1869 Cincinnati Red Stockings were baseball's first professional club. Not true. They weren't the first professionals; they weren't all that clean, either. You may have heard Cooperstown, Hoboken, or New York City called the birthplace of baseball, but not Brooklyn. Yet Brooklyn was the home of baseball's first fans, the first ballpark, the first statistics-and modern pitching. Baseball was originally supposed to be played, not watched. This changed when crowds began to show up at games in Brooklyn in the late 1850s. We fans weren't invited to the party; we crashed it. Professionalism wasn't part of the plan either, but when an 1858 Brooklyn versus New York City series accidentally proved that people would pay to see a game, the writing was on the outfield wall. When the first professional league was formed in 1871, baseball was already a fully formed modern sport with championships, media coverage, and famous stars. Professional baseball invented an organization, but not the sport itself. Baseball's amazing amateurs had already done that. Thomas W. Gilbert's history is for baseball fans and anyone fascinating by history, American culture, and how great things began.