All Hopped Up And Ready To Go Music From The Streets Of New York 1927 77

From the acclaimed biographer of Keith Moon comes a vibrant picture of mid-20th-century New York and the ways in which its indigenous art, theater, literature, and political movements converge to create an original American sound.

A penetrating and entertaining exploration of New York’s music scene from Cubop through folk, punk, and hip-hop. From Tony Fletcher, the acclaimed biographer of Keith Moon, comes an incisive history of New York’s seminal music scenes and their vast contributions to our culture. Fletcher paints a vibrant picture of mid-twentieth-century New York and the ways in which its indigenous art, theater, literature, and political movements converged to create such unique music. With great attention to the colorful characters behind the sounds, from trumpet player Dizzy Gillespie to Tito Puente, Bob Dylan, and the Ramones, he takes us through bebop, the Latin music scene, the folk revival, glitter music, disco, punk, and hip-hop as they emerged from the neighborhood streets of Harlem, the East and West Village, Brooklyn, the Bronx, and Queens. All the while, Fletcher goes well beyond the history of the music to explain just what it was about these distinctive New York sounds that took the entire nation by storm.

Of all the changes that have swept across America in the past century, perhaps none have been as swift or dramatic as those that transpired in the 1960s. The United States entered the decade still flush with postwar triumphalism, but left it profoundly changed: shaken by a disastrous foreign war and unhinged by domestic social revolutions and countercultural movements that would define the nation’s character, politics, and policies for decades to come. The prevailing understanding of the 1960s traces its powerful shockwaves to 1968, a year of violent protests and tragic assassinations. But in The First Year of the Sixties, esteemed historian James T. Patterson shows that it was actually in 1965 that America truly turned a corner and entered the new, tumultuous era we now know as “The Sixties.” In the early 1960s, America seemed on the cusp of a golden age. Political liberalism, national prosperity, and interracial civil rights activism promised positive change for many Americans. Although the nation had been shocked by the 1962 Cuban Missile Crisis and the 1963 assassination of President Kennedy, America’s fundamental traditions and mores remained intact. It was a time of consensus and optimism, and popular culture reflected this continuity. Young people dressed and behaved almost exactly as they did in the 1950s, and if the music and hairstyles of the British Invasion worried some conservative parents, these concerns were muted. At the beginning of 1965, Americans saw no indication that the new year would be any different. In January, President Johnson proclaimed that the country had “no irreconcilable conflicts.” Initially, events seemed to prove him right. The economy continued to boom, and the overwhelmingly Democratic Congress passed a host of historic liberal legislation, from the Voting Rights Act to Medicare and Medicaid to expansions of federal aid for education and the war on poverty. But Patterson shows that, even amidst these reassuring developments, American unity was unraveling. Turmoil erupted in the American South and overseas in the spring of 1965, with state troopers attacking civil rights demonstrators in Selma, Alabama and American combat troops rushing into Vietnam to protect American interests there. Many black leaders, meanwhile, were becoming disenchanted with nonviolence, and began advocating instead for African-American militancy. That summer, as anti-war protests reached a fever pitch, rioting exploded in the Watts area of Los Angeles; the six days of looting and fires that followed shocked many Americans and cooled their enthusiasm for the president’s civil rights initiatives, which—like his other “Great Society” programs—were also being steadily undermined by the costly and unpopular war in Vietnam. Conservative counterattacks followed, with Republicans like California gubernatorial candidate Ronald Reagan—and even some disillusioned Democrats—criticizing the President for mismanaging the war and expanding the federal government past its manageable limits. As Patterson explains, this growing pessimism permeated every level of society. By the end of 1965 the national mood itself had darkened, as reflected in a new strain of anti-establishment rock music by artists like the Rolling Stones, Bob Dylan, the Grateful Dead, and Jefferson Airplane. Their songs and lyrics differed dramatically from the much more staid recordings of contemporary acts like Frank Sinatra, Julie Andrews, and the Supremes, reflecting an alienation from mainstream American culture shared by an increasing number of young Americans. In The First Year of the Sixties, James T. Patterson traces the transformative events of this critical year, showing how 1965 saw an idealistic and upbeat nation derailed by developments both at home and abroad. An entire generation of Americans—as well as the country&r

On a snowy winter morning in 1961, Robert Zimmerman left Minnesota for New York City with a suitcase, guitar, harmonica and a few bucks in his pocket. Wasting no time upon arrival, he performed at the Cafe Wha? in his first day in the city, under the name Bob Dylan. Over the next decade the cultural milieu of Greenwich Village would foster the emergence of one of the greatest songwriters of all time. From the coffeehouses of MacDougal Street to Andy Warhol's Factory, Dylan honed his craft by drifting in and out of New York's thriving arts scenes of the 1960s and early ,70s. In this revised edition, originally published in 2011, author June Skinner Sawyers captures the thrill of how a city shaped an American icon and the people and places that were the touchstones of a legendary journey.

Two kids in their early twenties walk down the Bowery on a spring afternoon, just as the proprietor of a club hangs an awning with the new name for his venue. The place will be called CBGB & OMFUG which, he tells them, stands for “Country Bluegrass and Blues & Other Music for Uplifting Gormandizers.” That's exactly the sort of stuff they play, they lie, somehow managing to get a gig out of him. After the first show their band, Television, lands a regular string of Sundays. By the end of the year a scene has developed that includes Tom Verlaine's new love interest, a poet-turned rock chanteuse named Patti Smith. American punk rock is born. Bryan Waterman peels back the layers of this origin myth and, assembling a rich historical archive, situates Marquee Moon in a broader cultural history of SoHo and the East Village. As Waterman traces the downtown scene's influences, public image, and reputation via a range of print, film, and audio recordings we come to recognize the real historical surprises that the documentary evidence still has to yield and come to a new appreciation of this quintessential album of the New York City night.

From John Philip Sousa to Green Day, from Scott Joplin to Kanye West, from Stephen Foster to Coldplay, The Encyclopedia of Great Popular Song Recordings, Volumes 1 and 2 covers the vast scope of its subject with virtually unprecedented breadth and depth. Approximately 1,000 key song recordings from 1889 to the present are explored in full, unveiling the stories behind the songs, the recordings, the performers, and the songwriters. Beginning the journey in the era of Victorian parlor balladry, brass bands, and ragtime with the advent of the record industry, readers witness the birth of the blues and the dawn of jazz in the 1910s and the emergence of country music on record and the shift from acoustic to electrical recording in the 1920s. The odyssey continues through the Swing Era of the 1930s; rhythm & blues, bluegrass, and bebop in the 1940s; the rock & roll revolution of the 1950s; modern soul, the British invasion, and the folk-rock movement of the 1960s; and finally into the modern era through the musical streams of disco, punk, grunge, hip-hop, and contemporary dance-pop. Sullivan, however, also takes critical detours by extending the coverage to genres neglected in pop music histories, from ethnic and world music, the gospel recording of both black and white artists, and lesser-known traditional folk tunes that reach back hundreds of years. This book is ideal for anyone who truly loves popular music in all of its glorious variety, and anyone wishing to learn more about the roots of virtually all the music we hear today. Popular music fans, as well as scholars of recording history and technology and students of the intersections between music and cultural history will all find this book to be informative and interesting.