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An ancient inland sea, surrounded by lush vegetation and inhabited by dinosaurs, helped create the mineral-rich landscape where Rock Springs, Wyoming, now sits. French trappers first encountered American Indians who were traveling via a natural corridor that traverses the region, and eventually pioneer trails used this same route in the great westward expansion. The First Transcontinental Railroad arrived in 1868, and the national demand for energy in the form of fossil fuels turned everyones attention to the vast coal deposits. Thus the frontier outpost of Rock Springs became an important energy center, and immigrants from around the world came to work in the mines and make this land their home. As local businessman Leonard Hay used to say, All wealth comes from the earth. Today other minerals have joined coal as new sources of wealth for Rock Springs, and plans are being made to harness the wind that carved out this unique landscape.
Countless young people in the Midwest, South, and Southwest went to dances and stage shows in the early to mid-twentieth century to hear a territory band play. Territory bands traveled from town to town, performing jazz and swing music, and Tulsa-based musician Ernie Fields (1904–97) led one of the best. In Going Back to T-Town, Ernie’s daughter, Carmen Fields, tells a story of success, disappointment, and perseverance, extending from the early jazz era to the 1960s. This is an enlightening account of how this talented musician and businessman navigated the hurdles of racial segregation during the Jim Crow era. Because few territory bands made recordings, their contributions to the development of jazz music are often overlooked. Fortunately, Ernie Fields not only recorded music but also loved telling stories. He shared his “tales from the road” with his daughter, a well-known Boston journalist, and his son, Ernie Fields Jr., who has carried on his legacy as a successful musician and music contractor. As much as possible, Carmen Fields tells her father’s story in his own voice: how he weathered the ups and downs of the music industry and maintained his optimism even while he faced entrenched racial prejudice and threats of violence. After traveling with his band all over the United States, Fields eventually caught the attention of renowned music producer John Hammond. In 1939, Hammond arranged for recording sessions and bookings that included performances in the famed Apollo Theater in New York. Ernie finally scored a top-ten hit in 1959 with his rock-and-roll rendition of “In the Mood.” At a time when most other territory bands had faded, the Ernie Fields Orchestra continued to perform. A devoted husband and family man, Ernie Fields also respected and appreciated his fellow musicians. The book includes a “Roll Call” of his organization’s members, based on notes he kept about them. Going Back to T-Town is a priceless source of information for historians of American popular music and African American history.
While vacationing in the mountains, Eric meets an unusual girl, Susan, who has sparkling, emerald eyes that are unusually captivating. They are a unique, singular shade of green and seem to be imbued with an ancient fire that even a spoiled, youthfully unperceptive Eric could easily feel. He senses a strange maturity about this mysterious girl and is drawn to her like a magnet.When I said we would never be married, I meant in your way, Susan said. Will you marry me in my way? Right now?Even though numerous questions clamored in his head, Eric easily replied, Of course.Eric's answer was far too easy in Susan's opinion. As she mused over his quick reply, she speculated on how to best explain their strange situation in terms that he could understand, an impossibility to do beforehand. He would have to commit himself, then learn the truth. It was unfair to the extreme, yet unavoidable under these very peculiar circumstances, and thus Eric is drawn into a mysterious world.
This book draws from a rich history of scholarship about the relations between music and cities, and the global flows between music and urban experience. The contributions in this collection comment on the global city as a nexus of moving people, changing places, and shifting social relations, asking what popular music can tell us about cities, and vice versa. Since the publication of the first Sounds and the City volume, various movements, changes and shifts have amplified debates about globalization. From the waves of people migrating to Europe from the Syrian civil war and other conflict zones, to the 2016 “Brexit” vote to leave the European Union and American presidential election of Donald Trump. These, and other events, appear to have exposed an anti-globalist retreat toward isolationism and a backlash against multiculturalism that has been termed “post-globalization.” Amidst this, what of popular music? Does music offer renewed spaces and avenues for public protest, for collective action and resistance? What can the diverse​​ histories, hybridities, and legacies of popular music tell us about the ever-changing relations of people and cities?
This archaeological study reconstructs Pre-Columbian exchange networks in the Lesser Antilles based on lithic artefact distributions among the different islands.