The final word from one of popular music's greatest critics.

In the summer of 2020, acclaimed music critic and journalist Peter Goddard began work on a new book that would take readers on a journey back through his fifty-plus years spent writing professionally about rock music and the musical styles circling it--everything from blues and jazz to country and classical. His plan was to revisit his old haunts and their habitués, scenes and figures he first wrote about starting in the mid-1960s when he became Canada's first on-staff popular music critic, to show how ongoing revisions continually reframe first impressions.

Tragically, Goddard died in 2022 before work on the manuscript was complete. But many of the core essays--on Bob Dylan, John Lennon and Yoko Ono, the Who, k.d. lang, David Bowie, Liza Minelli, The Band, Neil Diamond, and others--are here. Accompanying these new essays is a collection of some of the best writing of Goddard's career--ranging from interviews with B. B. King, Joni Mitchell, Paul Simon, Bruce Springsteen, and Janis Joplin to reviews of classic albums by the Beatles, the Rolling Stones, and Neil Young, to close readings of Leonard Cohen, Anne Murray, Led Zeppelin, and Gordon Lightfoot. Taken as a whole, One Foot on the Platform represents more than fifty years of thought and writing by one of Canada's foremost cultural critics.

A startling new portrait of Gould, including never-before-seen material.

Glenn Gould's astonishing recordings deliver that unmistakable jolt of genius to each generation newly discovering the great Canadian pianist. With the support of the Glenn Gould Estate, Peter Goddard draws on his own interviews with Gould and on new, and in some cases overlooked, sources to present a freshly revealing portrait of Gould's unsettled life, his radical decision to quit concertizing, his career as a radio innovator, and his deep response to the Canadian environment. Sci-fi and hi-fi, hockey and Petula Clark, Elvis, jazz, chess, the Beatles, and sex -- all these inform this exploration of the pianist's far-reaching imagination. There is even a touching account of the only piano lesson Gould ever gave.

This is the perfect gift for anyone new to classical music and those already immersed in it, for those with an interest in Canadian music, in Glenn Gould himself, and in what led to The Goldberg Variations, one of the greatest recordings in music history.

This lively and ground-breaking collection brings together work on forms of popular television within the authoritarian regimes of Europe after World War Two. Ten chapters based on new and original research examine approaches to programming and individual programmes in Spain, Greece, Czechoslovakia, Romania, the USSR and the GDR at a time when they were governed as dictatorships or one-party states. Drawing on surviving archives, scripts and production records, contemporary publications, YouTube clips and interviews with producers and performers, its chapters recover examples of television programming history unknown beyond national borders and often preserved largely in the memories of the audiences who lived with them.

The introduction examines how television can be considered 'popular' in circumstances where audience appeal is often secondary to the need for state control. Published in English, Popular television in authoritarian Europe represents a significant intervention in transnational television studies, making these histories available to scholars for the first time, encouraging comparative enquiry and extending the reach - intellectually and geographically - of European television history.

There is a foreword by John Corner and an informative timeline of events in the history of television in the countries covered.

Public issue television is a major contribution to understanding the relationship between television, politics and society. Based on full access to the archives, it offers a fascinating historical account of how one television series, Granada's World in Action, celebrated for its tough journalism, visual directness and public impact, functioned and developed over its run across 35 years between 1963 and 1998. In a succession of chapters looking at different periods in the series' development and at key dimensions of its distinctive identity, it gets deep inside the making of factual television and examines how a particular culture of production works within broader conditions of possibility and constraint. In particular, it charts the interwoven processes of change - technological, professional, aesthetic, institutional, economic, social and political.

As well as discussing achievement and success, it examines the tensions, the debates and open conflicts that formed part of the context within which the series was made and transmitted across four decades.

Public issue television is a major contribution to understanding the relationship between television, politics and society. By tracing the history of the high-profile series World in Action across four decades it charts the interwoven processes of media practice and social change in a manner unrivalled in its depth and detail.