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For many, the Beatles offered a delightful alternative to the dull and the staid, while for others, the mop-top haircuts, the unsettling music, and the hysterical girls that greeted the British imports wherever they went were a symbol of unwelcome social and cultural change. This opposition to the group—more widespread and deeper rooted in Chicago than in any other major American city—increased as the decade wore on, especially when the Beatles adopted more extreme countercultural values. At the center of this book is a cast of characters engulfed by the whirlwind of Beatlemania, including the unyielding figure of Mayor Richard J. Daley who deemed the Beatles a threat to the well-being of his city; the Chicago Tribune editor who first warned the nation about the Beatle menace; George Harrison’s sister, Louise, who became a regular presence on Chicago radio; the socialist revolutionary who staged all of the Beatles’ concerts in the city and used much of the profits from the shows to fund left-wing causes; the African-American girl who braved an intimidating environment to see the Beatles in concert; a fan club founder who disbelievingly found herself occupying a room opposite her heroes when they stayed at her father’s hotel; the University of Chicago medical student who spent his summer vacation playing in a group that opened for the Beatles’ on their last tour; and the suburban record store owner who opened a teen club modeled on the Cavern in Liverpool that hosted some of the biggest bands in the world. Drawing on historical and contemporary accounts, Joy and Fear brings to life the frenzied excitement of Beatlemania in 1960s Chicago, while also illustrating the deep-seated hostility from the establishment toward the Beatles.

Rarely is the public taken deep into the inner sanctum of major news organisations. In this extraordinary book, award-winning journalist John Lyons goes to the heart of how the media reports--or does not report--one of the biggest stories of our time: the conflict in the Middle East. He looks at the power of lobby groups and shows how they determine much of what is written about Israel, and he turns the spotlight on his own profession and its failings. For Lyons, the six years he spent in Jerusalem as Middle East correspondent for The Australian were the toughest of his forty-year career. He explains how lobby groups attempt to prevent the real story being told and describes how journalists who accurately report what they see can be hounded and vilified, part of a practice of intimidation, harassment and influence peddling that is designed to stop the truth from being told--a practice that must stop. This is an insider's account of why the real story of the Israel-Palestine conflict goes largely unreported. It is also the story of why, in the wake of the international backlash against media coverage of the May 2021 Israel-Hamas violence, this could be about to change.

Bringing Up Baby (1938) is the essence of thirties screwball comedy. It is also quintessential Howard Hawks, treating many of the director's favorite themes, particularly the loving war between the sexes. Bringing Up Baby features Katharine Hepburn as a flaky heiress and Cary Grant as an absentminded paleontologist, roles in which they come into their own as stars and deliver particularly fine comic performances. Pauline Kael has called the film the "American movies' closest equivalent to Restoration comedy." The comparison is based on the quick repartee and witty dialogue, a hallmark of Hawks's work and well conveyed here by Gerald Mast's transcription from the screen.