Stone Cold Dead In The Market

From one of our finest cultural historians, The Noir Forties is a vivid reexamination of America's postwar period, that "age of anxiety" characterized by the dissipation of victory dreams, the onset of the Red Scare, and a nascent resistance to the growing Cold War consensus. Richard Lingeman examines a brief but momentous and crowded time, the years between VJ Day and the beginning of the Korean War, describing how we got from there to here. It evokes the social and cultural milieu of the late forties, with the vicissitudes of the New Deal Left and Popular Front culture from the end of one hot war and the beginning of the cold one -- and, longer term, of a cold war that preoccupied the United States for the next fifty years. It traces the attitudes, sentiments, hopes and fears, prejudices, behavior, and collective dreams and nightmares of the times, as reflected in the media, popular culture, political movements, opinion polls, and sociological and psychological studies of mass beliefs and behavior.

One of a series of novels based on the cult 1960s TV spy series, The Man From UNCLE. The series was conceived as a Bond pastiche, pitting Napoleon Solo (Robert Vaughan) and Illya Kuryaki (David McCallum) of the secret organization UNCLE against their evil counterparts THRUSH.

When Music Migrates uses rich material to examine the ways that music has crossed racial faultlines that have developed in the post-Second World War era as a consequence of the movement of previously colonized peoples to the countries that colonized them. This development, which can be thought of in terms of diaspora, can also be thought of as postmodern in that it reverses the modern flow which took colonizers, and sometimes settlers, from European countries to other places in the world. Stratton explores the concept of ’song careers’, referring to how a song is picked up and then transformed by being revisioned by different artists and in different cultural contexts. The idea of the song career extends the descriptive term ’cover’ in order to examine the transformations a song undergoes from artist to artist and cultural context to cultural context. Stratton focuses on the British faultline between the post-war African-Caribbean settlers and the white Britons. Central to the book is the question of identity. For example, how African-Caribbean people have constructed their identity in Britain can be considered through an examination of when ’Police on My Back’ was written and how it has been revisioned by Lethal Bizzle in its most recent iteration. At the same time, this song, written by the Guyanese migrant Eddy Grant for his mixed-race group The Equals, crossed the racial faultline when it was picked up by the punk-rock group, The Clash. Conversely, ’Johnny Reggae’, originally a pop-ska track written about a skinhead by Jonathan King and performed by a group of studio artists whom King named The Piglets, was revisioned by a Jamaican studio group called The Roosevelt Singers. After this, the character of Johnny Reggae takes on a life of his own and appears in tracks by Jamaican toasters as a Rastafarian. Johnny’s identity is, then, totally transformed. It is this migration of music that will appeal not only to those studying popular music, but