Historians and economists will find here what their fields have in common - the movement since the 1950s known variously as 'cliometrics', 'economic history', or 'historical economics'. A leading figure in the movement, Donald McCloskey, has compiled, with the help of George Hersh and a panel of distinguished advisors, a highly comprehensive bibliography of historical economics covering the period up until 1980. The book will be useful to all economic historians, as well as quantitative historians, applied economists, historical demographers, business historians, national income accountants, and social historians.
A history of the African Theatre, the first all-black theatre company in the United States. Founded in 1821 in New York by William Alexander Brown, the African Theatre was created in response to the social segregation of the day. Within its first year, however, the theatre had expanded its audience. No longer characterizing itself as a resort primarily for New York's African-American community, it began to address itself to New Yorkers in general. The author has researched and documented all available facts about the company: its members; productions; playhouses; length of operation; types of audiences; and the reasons for its demise.
First published by the New York Public Library in 1946, Black's The Surnames of Scotland has long established itself as one of the great classics of genealogy. Arranged alphabetically, each entry contains a concise history of the family in question (with many cross-references), making it an indispensable tool for those researching their own family history, as well as readers with a general interest in Scottish history. An informative introduction and glossary also provide much useful information.
An Irish officer in the British Army, Major General Robert Ross (1766–1814) was a charismatic leader widely admired for his bravery in battle. Despite a military career that included distinguished service in Europe and North Africa, Ross is better known for his actions than his name: his 1814 campaign in the Chesapeake Bay resulted in the burning of the White House and Capitol and the unsuccessful assault on Baltimore, immortalized in “The Star Spangled Banner.” The Man Who Captured Washington is the first in-depth biography of this important but largely forgotten historical figure. Drawing from a broad range of sources, both British and American, military historians John McCavitt and Christopher T. George provide new insight into Ross’s career prior to his famous exploits at Washington, D.C. Educated in Dublin, Ross joined the British Army in 1789, earning steady promotion as he gained combat experience. The authors portray him as an ambitious but humane commanding officer who fought bravely against Napoleon’s forces on battlefields in Holland, southern Italy, Egypt, and the Iberian Peninsula. Following the end of the war in Europe, while still recovering from a near-fatal wound, Ross was designated to lead an “enterprise” to America, and in August 1814 he led a small army to victory in the Battle of Bladensburg. From there his forces moved to the city of Washington, where they burned public buildings. In detailing this campaign, McCavitt and George clear up a number of misconceptions, including the claim that the British burned the entire city of Washington. Finally, the authors shed new light on the long-debated circumstances surrounding Ross’s death on the eve of the Battle of North Point at Baltimore. Ross’s campaign on the shores of the Chesapeake lasted less than a month, but its military and political impact was enormous. Considered an officer and a gentleman by many on both sides of the Atlantic, the general who captured Washington would in time fade in public memory. Yet, as McCavitt and George show, Ross’s strategies and achievements during the final days of his career would shape American defense policy for decades to come.
Most pop songs are short-lived. They appear suddenly and, if they catch on, seem to be everywhere at once before disappearing again into obscurity. Yet some songs resonate more deeply—often in ways that reflect broader historical and cultural changes. In Footsteps in the Dark, George Lipsitz illuminates these secret meanings, offering imaginative interpretations of a wide range of popular music genres from jazz to salsa to rock. Sweeping changes that only remotely register in official narratives, Lipsitz argues, can appear in vivid relief within popular music, especially when these changes occur outside mainstream white culture. Using a wealth of revealing examples, he discusses such topics as the emergence of an African American techno music subculture in Detroit as a contradictory case of digital capitalism and the prominence of banda, merengue, and salsa music in the 1990s as an expression of changing Mexican, Dominican, and Puerto Rican nationalisms. Approaching race and popular music from another direction, he analyzes the Ken Burns PBS series Jazz as a largely uncritical celebration of American nationalism that obscures the civil rights era’s challenge to racial inequality, and he takes on the infamous campaigns to censor hip-hop and the radical black voice in the early 1990s. Teeming with astute observations and brilliant insights about race and racism, deindustrialization, and urban renewal and their connections to music, Footsteps in the Dark puts forth an alternate history of post–cold war America and shows why in an era given to easy answers and clichd versions of history, pop songs matter more than ever. George Lipsitz is professor of black studies and sociology at the University of California, Santa Barbara. Among his many books are Life in the Struggle, Dangerous Crossroads, and American Studies in a Moment of Danger (Minnesota, 2001).
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