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An anthology of works by 27 women writers of the beat generation.
Jessie develops self-esteem as she proves to herself and to her father that she can succeed both academically and personally at a performing arts middle school.
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 author presents an inspiring portrait of 30 African Americans--including a guitar designer, a cartoonist, a circus ringmaster, a scientist, and a zoo curator, among others--who have refused to accept the cultural and social barriers around them.
(Meredith Music Percussion). This fantastic new addition to the rudimental literature for snare drum offers traditional-style rudimental solos presented in not-so traditional ways. These solos are fun to play, and are sure to challenge even the finest drummers! Features jazz-influenced rudimental solos each with flexible tempos inspired by legendary drummers, plus a three-page Rudimental Interpretation Chart. Perfect for contests or competitions! Composer Dom Cuccia is a former member of the West Point Band's revered field group The Hellcats.
Chronicles the history, development and major personalities involved in the Beat movement looking at their contributions to literature, poetry, music, film, and art.
Elegant, timeless, and riveting: an exciting anthology of short stories by mid-century women writers from Britain and Ireland—many being published in America for the first time These remarkable short stories from the 1940s and 50s depict women and men caught between the pull of personal desires and profound social change. From a remote peninsula in Cornwall to the drawing rooms of the British Raj, domestic arrangements are rewritten, social customs are revoked and new freedoms are embraced. Selected and introduced by writer and critic Lucy Scholes, Senior Editor at McNally Editions, this collection places works from renowned women writers alongside recently rediscovered voices. Contains: “The Cut Finger” by Frances Bellerby “Summer Night” by Elizabeth Bowen “The Birds” by Daphne du Maurier “The Land Girl” by Diana Gardner “Listen to the Magnolias” by Stella Gibbons “Shocking Weather, Isn”t It?” by Inez Holden “The First Party” by Attia Hosain “Three Miles Up” by Elizabeth Jane Howard “The Skylight” by Penelope Mortimer “The Thames Spread Out” by Elizabeth Taylor “Scorched Earth Policy” by Sylvia Townsend Warner Suffused with tension and longing, the captivating stories collected here from acclaimed as well as lesser-known women writers form a window onto a remarkable era of writing.
This is the first book-length study to read women of the Beat Generation as feminist writers. The book focuses on one author from each of the three generations that comprise the groups of female writers associated with the Beats – Diane di Prima, ruth weiss and Anne Waldman – as well as on experimental and multimedia artists, such as Laurie Anderson and Kathy Acker, who have not been read through the prism of Beat feminism before. This book argues that these writers’ feminism evolved over time but persistently focussed on intertextuality, transformation, revisionism, gender, interventionist poetics and activism. It demonstrates how these Beat feminisms counteract the ways in which women have been undermined, possessed or silenced.
Offers teachers strategies to cater for all students in a class, including ideas on classroom management; parental involvement; differentiating instruction; multiple intelligences and learning styles; co-operative learning; and, building a classroom community.
Before there was hip hop, there was DJ Kool Herc. On a hot day at the end of summer in 1973 Cindy Campbell threw a back-to-school party at a park in the South Bronx. Her brother, Clive Campbell, spun the records. He had a new way of playing the music to make the breaks—the musical interludes between verses—longer for dancing. He called himself DJ Kool Herc and this is When the Beat Was Born. From his childhood in Jamaica to his youth in the Bronx, Laban Carrick Hill's book tells how Kool Herc came to be a DJ, how kids in gangs stopped fighting in order to breakdance, and how the music he invented went on to define a culture and transform the world.