John Christgau relates the true story of the rescue of Walker's thirteen slaves by soldiers of the Ninth Minnesota Regiment and the soldiers' subsequent arrest for mutiny.
The story of the pivotal first meeting between the all-white Minneapolis Lakers and the black Harlem Globetrotters in 1948 re-creates the game play by play and demonstrates how it represented an important step toward equality.
In the days following the Battle of Birch Coulie, the decisive battle in the deadly Dakota War of 1862, one of President Lincoln’s private secretaries wrote: “There has hardly been an outbreak so treacherous, so sudden, so bitter, and so bloody, as that which filled the State of Minnesota with sorrow and lamentation.” Even today, at the 150th anniversary of the Dakota War, the battle still raises questions and stirs controversy. In Birch Coulie John Christgau recounts the dramatic events surrounding the battle. American history at its narrative best, his book is also a uniquely balanced and accurate chronicle of this little-understood conflict, one of the most important to roil the American West. Christgau’s account of the war between white settlers and the Dakota Indians in Minnesota examines two communities torn by internal dissent and external threat, whites and Native Americans equally traumatized by the short and violent war. The book also delves into the aftermath, during which thirty-eight Dakota men were hanged without legal representation or the appearance of defense witnesses, the largest mass execution in American history. With its unusually nuanced perspective, Birch Coulie brings a welcome measure of clarity and insight to a critical moment in the troubled history of the American West.
An account of a dark chapter in American horse racing history documents the scandal that ensued in 1939 and 1940 Los Angeles when notorious L.A. bookmaker Bernard "Big" Mooney threatened young jockeys if they did not fix races, with the unwilling assistance of Albert Siler, a young apprentice rider manipulated by the criminal gambler.
During World War II, 15,000 P-51 Mustang fighter planes were produced by North American Aviation. Arguably the best fighter plane ever made, today there are less than a hundred left flying in the world. Of those, only a handful saw combat. Sierra Sue: The Story of a P-51 Mustang is the story of one of those survivors. The backdrop for the story is Sierra Sue IIs appearance at the huge Offutt Air Force Base Open House in 1989. There, we go behind-the-scenes for glimpses of warbird pilots and jet jockeys alike, preparing for their air show acts. We also go six stories underground for a rare, chilling visit to our nuclear command post. But the real story is the history of Sierra Sue II, and the remarkable pilots who flew and loved her: from 1st Lt. Bob Bohna who flew her in combat during World War II and nearly became a reverse ace, to Sten Soderquist who flew her in Sweden in the early 50s when more than thirty Swedish pilots died in Mustang crashes, to Nicaragua where she was involved in several of dictator Luis Somozas military adventures in the late 50s, to California where Dave Allender modified her with the intent of setting a new world speed record for piston aircraft. Almost forty years after her combat missions in the war, Sierra Sue II is bought by a hard-flying Minnesota physician known on the air show circuit simply as Doc. His romance with Sierra Sue II continues where Bohna and Soderquist and Allender leave off. But Doc is more than just another ardent admirer in her long history. While an Air Force jet pilot in the 50s, Doc crashed and suffered major injuries that ended his Air Force career. During his long recuperation, he took up a study of medicine that led to a general practice in Minneapolis. Now, he is determined to restore Sierra Sue II to her World War II condition and take her on the Midwest air show circuit. We follow that restoration in California by a mechanical genius named Jack Cochrane, and then Docs cross-country flight to Minnesota, ending in a harrowing landing at nightfall on a remote airstrip on the Minnesota prairie. Millions of air show fans have enjoyed the sight of Sierra Sue IIs ageless beauty. Now, here is her story.
The first Japanese American jockey, Kokomo Joe burst like a comet on the American horse-racing scene in the summer of 1941. As war with Japan loomed, Yoshio Kokomo Joe Kobuki won race after race, stirring passions far beyond merely the envy and antagonism of other jockeys. His is a story of the American dream catapulting headlong into the nightmare of a nation gripped by wartime hysteria and xenophobia. The story that unfolds in Kokomo Joe is at once inspiring, deeply sad, and richly ironic and remarkably relevant in our own climate of nationalist fervor and racial profiling. Sent to Japan from Washington State after his mother and three siblings died of the Spanish flu, Kobuki continued to nurse his dream of the American good life. Because of his small stature, his ambition steered him to a future as a star jockey. John Christgau narrates Kobuki s rise from lowly stable boy to reigning star at California fairs and in the bush leagues. He describes how, at the height of the jockey s fame, even his flight into the Sonora Desert could not protect him from the government s espionage and sabotage dragnet. And finally he recounts how, after three years of internment, Kokomo Joe tried to reclaim his racing success, only to fall victim to still-rampant racism, a career-ending injury, and cancer.
It is common to hear talk of how music can inspire crowds, move individuals and mobilise movements. We know too of how governments can live in fear of its effects, censor its sounds and imprison its creators. At the same time, there are other governments that use music for propaganda or for torture. All of these examples speak to the idea of music's political importance. But while we may share these assumptions about music's power, we rarely stop to analyse what it is about organised sound - about notes and rhythms - that has the effects attributed to it. This is the first book to examine systematically music's political power. It shows how music has been at the heart of accounts of political order, at how musicians from Bono to Lily Allen have claimed to speak for peoples and political causes. It looks too at the emergence of music as an object of public policy, whether in the classroom or in the copyright courts, whether as focus of national pride or employment opportunities. The book brings together a vast array of ideas about music's political significance (from Aristotle to Rousseau, from Adorno to Deleuze) and new empirical data to tell a story of the extraordinary potency of music across time and space. At the heart of the book lies the argument that music and politics are inseparably linked, and that each animates the other.
In this thought-provoking look at what's really important in life, John Ortberg uses games as a metaphor to help us recognize and play for life's real prize: being rich toward God. Told with humor and wisdom by this bestselling author, pastor, and game-strategist, When the Game is Over It All Goes Back in the Box reminds us that everything on earth belongs to God, and everything we "win" is just on loan. Being Master of the Board is not the point; playing by God's rules is. Ortberg makes sure we understand the object of the game, but he also walks us through the set-up, the rules, the strategies, and choosing the right trophies. This book is for those who want to sort out what's fleeting and what's permanent in God's kingdom. It's the perfect playbook for individuals or groups interested in considering life's true priorities and arranging their lives with eternal prizes in mind.
The story of the pivotal first meeting between the all-white Minneapolis Lakers and the black Harlem Globetrotters in 1948 re-creates the game play by play and demonstrates how it represented an important step toward equality.
Among the most significant subcultures in modern U.S. history, the hippies had a far-reaching impact. Their influence essentially defined the 1960s--hippie antifashion, divergent music, dropout politics and "make love not war" philosophy extended to virtually every corner of the world and remains influential. The political and cultural institutions that the hippies challenged, or abandoned, mainly prevailed. Yet the nonviolent, egalitarian hippie principles led an era of civic protest that brought an end to the Vietnam War. Their enduring impact was the creation of a 1960s frame of reference among millions of baby boomers, whose attitudes and aspirations continue to reflect the hip ethos of their youth.
Hearing Luxe Pop explores a deluxe-production aesthetic that has long thrived in American popular music, in which popular-music idioms are merged with lush string orchestrations and big-band instrumentation. John Howland presents an alternative music history that centers on shifts in timbre and sound through innovative uses of orchestration and arranging, traveling from symphonic jazz to the Great American Songbook, the teenage symphonies of Motown to the “countrypolitan” sound of Nashville, the sunshine pop of the Beach Boys to the blending of soul and funk into 1970s disco, and Jay-Z’s hip-hop-orchestra events to indie rock bands performing with the Brooklyn Philharmonic. This book attunes readers to hear the discourses gathered around the music and its associated images as it examines pop’s relations to aspirational consumer culture, theatricality, sophistication, cosmopolitanism, and glamorous lifestyles.
Ranging across genres from the popular to the scholarly, this selection of John Szwed's published essays abides in the intersection of race and art, jazz and rap: crossovers inside and outside the academy. With reviews written for the Village Voice and articles from academic journals, this volume includes essays, commentary, and meditations on James Agee and Walker Evans, Cuban folklorist Lydia Cabrera, Lafcadio Hearn, Melville Herskovits, Josef Skorvecky, Patrick Chamoiseau, pop song writer Ellie Greenwich, and jazz musicians Sonny Rollins, Anthony Braxton, Sun Ra, and Ornette Coleman. Also included are pieces on the prehistory of hip hop, the blues, popular dance instruction songs, tap dance, and African American set dancing; creole writing and creolization; race and culture; and authenticity, representation, nostalgia, and obscenity in American popular culture, with excursions into jazz in Africa, Russia, and Argentina. Written about a country with cultural crossroads everywhere, where the question of race is thoroughly woven into the fabric of society, these essays cross boundaries and shed light on the complexities of American life.
(Limelight). Now available in paperback, this compilation by longtime New York Times music and arts critic John Rockwell features the creme de la creme of the renowned journalist's arts criticism and commentary over the past 40 years. Taken mostly from the Times , but also including pieces from 17 other sources, such as the Los Angeles Times , The New Republic , the San Francisco Examiner , High Fidelity , Opera , and the Village Voice , these writings present Rockwell's unique vision of the arts scene over the past 40 years, with essays on classical music (including the breadth of contemporary works), rock, dance, art, film, theater, general arts topics, and reports from abroad. Rockwell's analysis includes parallels among the arts, insights from one to another, as he brilliantly communicates his aesthetic experiences to the reader.
When Columbia Records finally decided to open up the voluminous Bob Dylan vaults, unleashing thousands of hours of long-sought-after, oft-rumored, unreleased material, it was hard to keep up. Included in the release were six CDs of Blood On The Tracks outtakes, six CDs of the complete Basement Tapes, 10 CDs of Rolling Thunder Revue live material, the six extraordinary CDs of The Cutting Edge from Dylan's game-changing 1965-66 sessions, and a stunning 36 CD release of Dylan's stormy 1966 world tour that some say changed the face of popular music. It is all explored here. This updated examination of Dylan's five-decade career provides a comprehensively analyzes his writing and recording history and the historical impact of Dylan's prolific creative output. It features critical commentary on every song and album, including many rare bootleg recordings and the recent new discoveries from Columbia Records. Later chapters also list and discuss Dylan's numerous appearances in film, in literature, on radio, and on television. Including his Nobel Prize speech and lecture, an extensive bibliography of books on Dylan old and new, and a brand-new introduction with updated Billboard charts, this is the ultimate book on Bob.
In less than 120 years an activity invented by one man to alleviate winter boredom for a college gym class has evolved into a worldwide multi-billion dollar enterprise. It is impossible for Dr. James Naismith, basketball's inventor, to have envisioned the extent to which his simple game would reach. Without major changes to his original 13 rules, basketball is now played in more than 200 countries by people of all ages. Thanks to basketball, players like Michael Jordan, Earvin 'Magic' Johnson, Larry Bird, LeBron James, Kobe Bryant, and Shaquille O'Neal have become some of the most famous people in the world. The Historical Dictionary of Basketball is a comprehensive account of all forms of basketball_amateur, professional, men's, women's, Olympic, domestic, and international_from its invention in 1891 through the present day. This is done through a chronology, an introductory essay, an extensive bibliography, and over 600 cross-referenced dictionary entries on the people, places, teams, and terminology of the game.
Unless you lived through the 1970s, it seems impossible to understand it at all. Drug delirium, groovy fashion, religious cults, mega corporations, glitzy glam, hard rock, global unrest—from our 2018 perspective, the seventies are often remembered as a bizarre blur of bohemianism and disco. With Pick Up the Pieces, John Corbett transports us back in time to this thrillingly tumultuous era through a playful exploration of its music. Song by song, album by album, he draws our imaginations back into one of the wildest decades in history. Rock. Disco. Pop. Soul. Jazz. Folk. Funk. The music scene of the 1970s was as varied as it was exhilarating, but the decade’s diversity of sound has never been captured in one book before now. Pick Up the Pieces gives a panoramic view of the era’s music and culture through seventy-eight essays that allow readers to dip in and out of the decade at random or immerse themselves completely in Corbett’s chronological journey. An inviting mix of skilled music criticism and cultural observation, Pick Up the Pieces is also a coming-of-age story, tracking the author’s absorption in music as he grows from age seven to seventeen. Along with entertaining personal observations and stories, Corbett includes little-known insights into musicians from Pink Floyd, Joni Mitchell, James Brown, and Fleetwood Mac to the Residents, Devo, Gal Costa, and Julius Hemphill. A master DJ on the page, Corbett takes us through the curated playlist that is Pick Up the Pieces with captivating melody of language and powerful enthusiasm for the era. This funny, energetic book will have readers longing nostalgically for a decade long past.
Named one of the Best Books of 2023 by the New Yorker and The New York Times' Dwight Garner “The first comprehensive biography of this hipster magus . . . [John Szwed] allows different sides of Smith’s personality to catch blades of sun. He brings the right mixture of reverence and comic incredulity to his task.” —Dwight Garner, The New York Times Grammy Award–winning music scholar and celebrated biographer John Szwed presents the first biography of Harry Smith, the brilliant eccentric who transformed twentieth century art and culture. He was an anthropologist, filmmaker, painter, folklorist, mystic, and walking encyclopedia. He taught Patti Smith and Robert Mapplethorpe about the occult, swapped drugs with Timothy Leary, had a front-row seat to a young Thelonious Monk, lived with (and tortured) Allen Ginsberg, was admired by Susan Sontag, and was one of the first artists funded by Guggenheim Foundation. He was always broke, generally intoxicated, compulsively irascible, and unimpeachably authentic. Harry Smith was, in the words of Robert Frank, “the only person I met in my life that transcended everything.” In Cosmic Scholar, the Grammy Award-winning music scholar and celebrated biographer John Szwed patches together, for the first time, the life of one of the twentieth century’s most overlooked cultural figures. From his time recording the customs of Native American tribes in the Pacific Northwest and Florida to his life in Greenwich Village in its heyday, Smith was consumed by an unceasing desire to create a unified theory of culture. He was an insatiable creator and collector, responsible for the influential Anthology of American Folk Music and several pioneering experimental films, but was also an insufferable and destructive eccentric who was unable to survive in regular society, or keep himself healthy or sober. Exhaustively researched, energetically told, and complete with a trove of images, Cosmic Scholar is a feat of biographical restoration and the long overdue canonization of an American icon. Includes black-and-white and color images
If You Don't Know Me By Now," "The Love I Lost," "The Soul Train Theme," "Then Came You," "Ain't No Stoppin' Us Now"--the distinctive music that became known as Philly Soul dominated the pop music charts in the 1970s. In A House on Fire, John A. Jackson takes us inside the musical empire created by Kenny Gamble, Leon Huff, and Thom Bell, the three men who put Philadelphia Soul on the map. Here is the eye-opening story of three of the most influential and successful music producers of the seventies. Jackson shows how Gamble, Huff, and Bell developed a black recording empire second only to Berry Gordy's Motown, pumping out a string of chart-toppers from Harold Melvin & the Blue Notes, the Spinners, the O'Jays, the Stylistics, and many others. The author underscores the endemic racism of the music business at that time, revealing how the three men were blocked from the major record companies and outlets in Philadelphia because they were black, forcing them to create their own label, sign their own artists, and create their own sound. The sound they created--a sophisticated and glossy form of rhythm and blues, characterized by crisp, melodious harmonies backed by lush, string-laden orchestration and a hard-driving rhythm section--was a glorious success, producing at least twenty-eight gold or platinum albums and thirty-one gold or platinum singles. But after their meteoric rise and years of unstoppable success, their production company finally failed, brought down by payola, competition, a tough economy, and changing popular tastes. Funky, groovy, soulful--Philly Soul was the classic seventies sound. A House on Fire tells the inside story of this remarkable musical phenomenon.
In an age where film stars become presidents and politicians appear in pop videos, politics and popular culture have become inextricably interlinked. In this exciting new book, John Street provides a broad survey and analysis of this relationship.
Journalists and novelists responded to the pervasive social changes of the 1960s in America with a variety of experiments in nonfiction. Those who have praised the vitality of the new journalism have seen it as a fusion of the journalist's passion for detail and the novelist's moral vision. Hollowell presents a critically sharp portrait of what the new journalists and novelists are doing and why. The author concludes that future writing will further obscure the difference between fact and fiction. Originally published in 1977. A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.
In the mid-twentieth century, certain elements of the American popular music industry (publishers, recording companies, and broadcasters) began to redefine their product as something more than mere entertainment. This became evident in the arguments made by competing sides in a series of clashes that unfolded during that period, starting with the ASCAP-Radio dispute of 1941 and ending with the payola scandal in 1959. Although these disputes typically revolved around economic issues, in making their cases to the public the respective sides often asserted the significant role played by popular music in promoting core national values. While such rhetoric was basically self-serving, when set against the backdrop of major events like World War II, the Civil Rights Movement, and the Cold War, it resonated strongly with the public and helped convince many that popular music offered more to its audience than momentary diversion. Considering that the resolutions to these conflicts also tended to expand opportunities for previously marginalized styles and performers, notably African-Americans and rural southerners, it became natural to link popular music to ideas of social progress as well. This contributed to the creation of what could be called “rock and roll culture,” a coherent set of values related to concepts of youth, authenticity, sexual liberation, and social equality that emerged by the end of the 1950s. These traits became a prevalent part of American culture through the end of the twentieth century, with popular music seen a perhaps the most significant medium for expressing those values.
John E. Schmitz examines the causes, conditions, and consequences of America’s selective relocation and internment of German, Italian, and Japanese Americans during World War II.
The definitive biography of Creedence Clearwater Revival, exploring the band's legendary rise to fame and how their music embodied the cultural landscape of the late '60s and early '70s From 1969 to 1971, as the United States convulsed with political upheaval and transformative social movements, no band was bigger than Creedence Clearwater Revival. They managed a two-year barrage of top-10 singles and LPs that doubled as an ubiquitous soundtrack to one of the most volatile periods in modern American history, and they remain a staple of classic rock radio and films about the era. Yet despite their enduring popularity, no book has ever sought to understand Creedence in conversation with their time. A Song for Everyone finally tells that story: the thirteen-year saga of an unassuming suburban quartet's journey through the wilds of 1960s pop, and their slow accrual of a sound and ethos that were almost mystically aligned with the concerns of decade's end. Starting in middle school, these Californian friends and brothers cut a working-class path through the most expansive decade in American music, playing R&B, country, and rock 'n' roll under a variety of names as each of those genres expanded and evolved. When they finally synthesized those styles under a new name in 1968, Creedence Clearwater Revival became instantly epochal, then fell apart under the weight of personal grievances that dated back to adolescence. As musicians and as men, they embodied the contradictions and difficulties of their time, and those dimensions of their career have never been explored until now. Drawing on wide-ranging research into the social and musical developments of 1959-1972, extensive original interviews with surviving Creedence members and associates, and unpublished memoirs from people who knew the group closely, A Song for Everyone is the definitive account of a legendary and still-beloved American band. At the same time, it is also a cultural history of those same years—from Elvis to Altamont, Eisenhower to Watergate—seen through the eyes of four men who encapsulated them in song for all time, told by one of the rising figures in contemporary music writing.
In this revised second edition, Roberts updates the history of Latin American influences on the American music scene over the last 20 years. 50 halftones.
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