Ready For A Brand New Beat

Can a song change a nation? In 1964, Marvin Gaye, record producer William “Mickey” Stevenson, and Motown songwriter Ivy Jo Hunter wrote “Dancing in the Street.” The song was recorded at Motown’s Hitsville USA Studio by Martha and the Vandellas, with lead singer Martha Reeves arranging her own vocals. Released on July 31, the song was supposed to be an upbeat dance recording—a precursor to disco, and a song about the joyousness of dance. But events overtook it, and the song became one of the icons of American pop culture. The Beatles had landed in the U.S. in early 1964. By the summer, the sixties were in full swing. The summer of 1964 was the Mississippi Freedom Summer, the Berkeley Free Speech Movement, the beginning of the Vietnam War, the passage of the Civil Rights Act, and the lead-up to a dramatic election. As the country grew more radicalized in those few months, “Dancing in the Street” gained currency as an activist anthem. The song took on new meanings, multiple meanings, for many different groups that were all changing as the country changed. Told by the writer who is legendary for finding the big story in unlikely places, Ready for a Brand New Beat chronicles that extraordinary summer of 1964 and showcases the momentous role that a simple song about dancing played in history.

The history of rock and roll music can be seen in a long arc of Western civilization's struggle for both greater individual expression and societal stability. In the 1960s, the West's relationship with authority ruptured, in part due to the rock revolution. The lessons and implications of this era have yet to be fully grasped. This book examines the key artists, music, and events of the classic rock era--defined here as 1964 to 1980--through a virtual psychoanalysis of the West. Over these years, important truths unfold in the stories of British Invaders, hippies, proto-punks, and more, as well as topics to include drugs, primal scream therapy, the occult, spirituality, and disco and its detractors, to name just a few. Through a narrative that is equal parts entertaining, scholarly, and even spiritual, readers will gain a greater appreciation for rock music, better understand the confusing world we live in today, and see how greater individuality and social stability may be better reconciled moving forward.

Film and television create worlds, but they are also of a world, a world that is made up of stuff, to which humans attach meaning. Think of the last time you watched a movie: the chair you sat in, the snacks you ate, the people around you, maybe the beer or joint you consumed to help you unwind—all this stuff shaped your experience of media and its influence on you. The material culture around film and television changes how we make sense of their content, not to mention the very concepts of the mediums. Focusing on material cultures of film and television reception, The Stuff of Spectatorship argues that the things we share space with and consume as we consume television and film influence the meaning we gather from them. This book examines the roles that six different material cultures have played in film and television culture since the 1970s—including video marketing, branded merchandise, drugs and alcohol, and even gun violence—and shows how objects considered peripheral to film and television culture are in fact central to its past and future.

In all of the books about rock music, relatively few focus on the purely musical dimensions of the style: dimensions of harmony and melody, tonality and scale, rhythm and meter, phrase structure and form, and emotional expression. The Musical Language of Rock puts forth a new, comprehensive theoretical framework for the study of rock music by addressing each of these aspects. Eastman music theorist and cognition researcher David Temperley brings together a conventional music-analytic approach with statistical corpus analysis to offer an innovative and insightful approach to the genre. With examples from across a broadly defined rock idiom encompassing everything from the Beatles to Deep Purple, Michael Jackson to Bonnie Raitt, The Musical Language of Rock shows how rock musicians exploit musical parameters to achieve aesthetic and expressive goals-for example, the manipulation of expectation and surprise, the communication of such oppositions as continuity/closure and tension/relaxation, and the expression of emotional states. A major innovation of the book is a three-dimensional model of musical expression-representing valence, energy, and tension-which proves to be a powerful tool for characterizing songs and also for tracing expressive shifts within them. The book includes many musical examples, with sound clips available on the book's website. The Musical Language of Rock presents new insights on the powerful musical mechanisms which have made rock a hallmark of our contemporary musical landscape.

It all started with a simple e-mail from John to his coworkers. They were about to start a special project at the major healthcare organization John was working. He and his wife had just adopted Mojo from the Animal Friends pet shelter in Pittsburgh. One of the four principles John tries to follow is that your attitude will determine your altitude. MojoaEUR(tm)s name and his demeanor definitely reminded John of that fact. So he sent an e-mail as Mojo stating that on the first day of the project.Well, Mojo was voted the team mascot! His picture became displayed throughout the department. One of JohnaEUR(tm)s duties was as a subject matter expert. John approached his boss about sending a teaching e-mail to help everyone focus on their jobs each day. He sent an e-mail from the team mascot to help everyone want to read the message. It contained a quote from a famous person throughout history. He then applied the quote to that dayaEUR(tm)s lesson, and The Bark of the Day was born.At the core of The Bark of the Day are the beliefs that John has always tried to follow. These four beliefs are as follows: attitude equals altitude; perception is reality; live life in the spirit of thankfulness; and most importantly, practice forgiveness to yourself and others.When John retired, he stopped writing those e-mails. About three weeks into his retirement, while reading a book by Bishop Fulton J. Sheen, he was inspired to write this book. It is his hope that you will find the book entertaining, thought-provoking, and helpful in adopting those principles in your own life.

Most studies of 1960s jazz underscore the sounds of famous avant-garde musicians like John Coltrane, Ornette Coleman, and Albert Ayler. Conspicuously absent from these narratives are the more popular jazz artists of the decade that electrified dance clubs, permeated radio waves, and released top-selling records. Names like Eddie Harris, Nancy Wilson, Ramsey Lewis, and Jimmy Smith are largely neglected in most serious work today. Mike Smith rectifies this oversight and explores why critical writings have generally cast off best-selling 1960s jazz as unworthy of in-depth analysis and reverent documentation. The 1960s were a time of monumental political and social shifts. Avant-garde jazz, made by musicians indifferent to public perception aligns well with widely held images of the era. In with the In Crowd: Popular Jazz in 1960s Black America argues that this dominant, and unfortunately distorted, view negates and ignores a vibrant jazz community. These musicians and their listeners created a music defined by socialization, celebration, and Black pride. Smith tells the joyful story of the musicians, the radio DJs, the record labels, and the live venues where jazz not only survived but thrived in the 1960s. This was the music of everyday people, who viewed jazz as an important part of their cultural identity as Black Americans. In an era marked by turmoil and struggle, popular jazz offered a powerful outlet for joy, resilience, pride, and triumph.

In February 2008, Bill Walton, after climbing to the top of every mountain he ever tried, suffered a catastrophic spinal collapse--the culmination of a lifetime of injuries--that left him in excruciating, debilitating, and unrelenting pain. Unable to walk, he underwent pioneering surgery and slowly recovered. The ordeal tested Walton to the fullest, but with extraordinary determination and sacrifice, he recovered. Now Bill Walton shares his life story in this remarkable memoir. Walton, the son of parents with no interest in athletics, played basketball in every spare moment. An outstanding player on a great high school team, he only wanted to play for John Wooden at UCLA--and Wooden wanted him. Walton was deeply influenced by the culture of the 1960s, but he respected the thoughtful, rigorous Wooden, who seemed immune to the turmoil of the times. Other than his parents, Wooden would be the greatest influence in Walton's life--the two would speak nearly every day for 43 years until Wooden's death. Throughout a brilliant championship career, accumulating injuries would afflict Walton. He would lose almost two-thirds of his playing time to injury. After his playing days ended, Walton chose a career in broadcasting, despite being a lifelong stutterer--once again he overcame a physical limitation and eventually won multiple broadcasting accolades. Wooden once said that no greatness ever came without sacrifice--nothing better illustrates this notion than Walton's life.--Adapted from dust jacket.

The cultural historian and author of Atomic Spaces offers a comprehensive account of the Baby Boomer years—from the atomic age to the virtual age. Born under the shadow of the atomic bomb, with little security but the cold comfort of duck-and-cover drills, the postwar generations lived through—and led—some of the most momentous changes in all of American history. In this new cultural history, Peter Bacon Hales explores those decades through a succession of resonant moments, spaces, and artifacts of everyday life. Finding unexpected connections, he traces the intertwined undercurrents of promise and peril. From newsreels of the first atomic bomb tests to the invention of a new ideal American life in Levittown; from the teen pop music of the Brill Building and the Beach Boys to Bob Dylan’s canny transformations; from the painful failures of communes to the breathtaking utopian potential of the digital age, Hales reveals a nation in transition as a new generation began to make its mark on the world it was inheriting. Outside the Gates of Eden is the most comprehensive account yet of the baby boomers, their parents, and their children, as seen through the places they built, the music and movies and shows they loved, and the battles they fought to define their nation, their culture, and their place in what remains a fragile and dangerous world.