In 1873 a pair of Oneonta businessmen initiated the Oneonta Fair, an endeavor that would grow into the second largest fair in the State and become known as the Central New York Fair. For one week in September thousands of visitors would fill Oneonta streets and hotels, coming from as far away as New England and Pennsylvania. The Fair offered acrobats, wild animals, midway rides, public weddings, parachute jumpers, horse races, and even the Golden Globe of Death The most popular attraction was the Floral Parade, a procession of horses and floats decorated with hundreds of thousands of flowers, and which drew crowds of 30,000 in a single day. The Fair always tried to provide sensational new attractions, featuring an airship in 1906 and the first airplane in 1910. But, due to the increasing popularity of the automobile during the 1920's, fairgoers began staying only one day, and attendance began to drop off. In 1927 the Fair was canceled, its iconic and beautiful buildings torn down, and the fairgrounds developed into building lots to create what is today the Belmont Circle neighborhood. Peppered with colorful characters and a sense of nostalgia, the story of the Oneonta Fair has been recovered by author and historian Jim Loudon, who has collected images, facts, and personal memories from those who can still recall this fond chapter in Oneonta's history. Illustrated and indexed. ABOUT THE AUTHOR: Jim Loudon is a native of Otsego County and currently resides in the West End of Oneonta. He graduated from the State University of Oneonta in 1972 with a BS in Liberal Arts, majoring in art and history. In 1982 he organized the Leatherstocking Railway Historical Society which currently operates the Cooperstown and Charlotte Valley Train Ride, on which he as worked as Brakeman and Conductor. Jim has written three books on local history: The Oneonta Roundhouse, Leatherstocking Rails, and Electric Lake.

Heaven's Wrath explores the religious thought and religious rites of the early Dutch Atlantic world. D. L. Noorlander argues that the Reformed Church and the West India Company forged and maintained a close union, with considerable consequences across the seventeenth century. Noorlander questions the core assumptions about why the Dutch failed to establish a durable empire in America. He downplays the usual commercial explanations and places the focus instead on the tremendous expenses incurred in the Calvinist-backed war and the Reformed Church's meticulous, worried management of colonial affairs. By pinpointing the issues that hampered the size and import of the Dutch Atlantic world, Noorlander revises core notions about the organization and aims of the Dutch empire, the culture of the West India Company, and the very shape of Dutch society.

In talking about contemporary media, we often use a language of newness, applying words like “revolution” and “disruption.” Yet, the emergence of new sound media technologies and content—from the earliest internet radio broadcasts to the development of algorithmic music services and the origins of podcasting—are not a disruption, but a continuation of the century-long history of radio. Today’s most innovative media makers are reintroducing forms of audio storytelling from radio’s past. Sound Streams is the first book to historicize radio-internet convergence from the early ’90s through the present, demonstrating how so-called new media represent an evolutionary shift that is nevertheless historically consistent with earlier modes of broadcasting. Various iterations of internet radio, from streaming audio to podcasting, are all new radio practices rather than each being a separate new medium: radio is any sound media that is purposefully crafted to be heard by an audience. Rather than a particular set of technologies or textual conventions, web-based broadcasting combines unique practices and features and ideas from radio history. In addition, there exists a distinctive conversationality and reflexivity to radio talk, including a propensity for personal stories and emotional disclosure, that suits networked digital media culture. What media convergence has done is extend and intensify radio’s logics of connectivity and sharing; sonically mediated personal expression intended for public consideration abounds in online media networks. Sound Streams marks a significant contribution to digital media and internet studies. Its mix of cultural history, industry research, and genre and formal analysis, especially of contemporary audio storytelling, will appeal to media scholars, radio and podcast practitioners, audio journalism students, and dedicated podcast fans.