Keeping the Beat on the Street


Book Description

Told in the words of the musicians themselves, Keeping the Beat on the Street celebrates the renewed passion and pageantry among black brass bands in New Orleans. Mick Burns introduces the people who play the music and shares their insights, showing why New Orleans is the place where jazz continues to grow. Brass bands waned during the civil rights era but revived around 1970 and then flourished in the 1980s when the music became cool with the younger generation. In the only book to cover this revival, Burns interviews members from a variety of bands, including the Fairview Baptist Church Brass Band, the Dirty Dozen, Tuba Fats' Chosen Few, and the Rebirth Brass Band. He captures their thoughts about the music, their careers, audiences, influences from rap and hip-hop, the resurgence of New Orleans social and pleasure clubs and second lines, traditional versus funk style, recording deals, and touring. For anyone who loves jazz and the city where it was born, Keeping the Beat on the Street is a book to savor. "We should be grateful to Mick Burns for undertaking the task of producing... the only book to cover the subject of what he rightly calls the brass band renaissance." -- New Orleans Music"A welcome look at the history of brass bands. These oral histories provide a valuable contribution to New Orleans musical history.... What shines through the musicians' words is love of craft, love of culture." -- New Orleans Times-Picayune "A seminal work about the Brass Bands of New Orleans." -- Louisiana Libraries




Street Survivor


Book Description

(Book). Artimus Pyle, a Marine, a Rock and Roll Hall of Fame inductee, and the "Wild Man" of southern rock, is one of the last surviving members of Lynyrd Skynyrd. He played drums with the band during its seventies heyday. He is the first bandmate to write about the tortuous rise and tragic fall of the Jacksonville hell raisers, offering detailed insights into the band's complex personalities and anthemic music. Packed with anecdotes of booze-fueled violence and destruction, he also lays out the exquisite musicianship and sheer hard work that transformed Lynyrd Skynyrd into one of America's greatest rock 'n' roll bands. It all came to an end on October 20, 1977, when four shows into a world tour to promote its new album, Street Survivors , the band's rickety private plane ran out of gas just minutes from its destination, and crashed into a Mississippi swamp. Artimus survived, but three of his bandmates including leader Ronnie Van Zant did not. Artimus recounts every moment of that flight, as well as the days leading up to the crash, and the years of painful recovery. Remarkably, he would encounter even greater challenges when he was falsely accused of horrific crimes. But Artimus is a survivor with a keen sense of humor, and he continues to perform Lynyrd Skynyrd music with just as much energy and precision as in his youth.




We Beat the Street


Book Description

Growing up on the rough streets of Newark, New Jersey, Rameck, George,and Sampson could easily have followed their childhood friends into drug dealing, gangs, and prison. But when a presentation at their school made the three boys aware of the opportunities available to them in the medical and dental professions, they made a pact among themselves that they would become doctors. It took a lot of determination—and a lot of support from one another—but despite all the hardships along the way, the three succeeded. Retold with the help of an award-winning author, this younger adaptation of the adult hit novel The Pact is a hard-hitting, powerful, and inspirational book that will speak to young readers everywhere.




Dancing the Politics of Pleasure at the New Orleans Second Line


Book Description

On many Sundays, Black New Orleanians dance through city streets in Second Lines. These processions invite would-be spectators to join in, grooving to an ambulatory brass band for several hours. Though an increasingly popular attraction for tourists, parading provides the second liners themselves with a potent public expression of Black resistance. Rachel Carrico examines the parading bodies in motion as a form of negotiating and understanding power. Seeing pleasure as a bodily experience, Carrico reveals how second liners’ moves link joy and liberation, self and communal identities, play and dissent, and reclamations of place. As she shows, dancers’ choices allow them to access the pleasure of reclaiming self and city through motion and rhythm while expanding a sense of the possible in the present and for the future. In-depth and empathetic, Dancing the Politics of Pleasure at the New Orleans Second Line blends analysis with a chorus of Black voices to reveal an indelible facet of Black culture in the Crescent City.




The 'Baby Dolls'


Book Description

One of the first women's organizations to mask and perform during Mardi Gras, the Million Dollar Baby Dolls redefined the New Orleans carnival tradition. Tracing their origins from Storyville-era brothels and dance halls to their re-emergence in post-Katrina New Orleans, author Kim Marie Vaz uncovers the fascinating history of the "raddy-walking, shake-dancing, cigar-smoking, money-flinging" ladies who strutted their way into a predominantly male establishment. The Baby Dolls formed around 1912 as an organization of African American women who used their profits from working in New Orleans's red-light district to compete with other Black prostitutes on Mardi Gras. Part of this event involved the tradition of masking, in which carnival groups create a collective identity through costuming. Their baby doll costumes -- short satin dresses, stockings with garters, and bonnets -- set against a bold and provocative public behavior not only exploited stereotypes but also empowered and made visible an otherwise marginalized female demographic. Over time, different neighborhoods adopted the Baby Doll tradition, stirring the creative imagination of Black women and men across New Orleans, from the downtown Trem area to the uptown community of Mahalia Jackson. Vaz follows the Baby Doll phenomenon through one hundred years with photos, articles, and interviews and concludes with the birth of contemporary groups, emphasizing these organizations' crucial contribution to Louisiana's cultural history.







Ready for a Brand New Beat


Book Description

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.




A Visit from the Goon Squad


Book Description

NATIONAL BESTSELLER • NATIONAL BOOK CRITICS CIRCLE WINNER • With music pulsing on every page, this startling, exhilarating novel of self-destruction and redemption “features characters about whom you come to care deeply as you watch them doing things they shouldn't, acting gloriously, infuriatingly human” (The Chicago Tribune). One of the New York Times’s 100 Best Books of the 21st Century • One of The Atlantic’s Great American Novels of the Past 100 Years Bennie is an aging former punk rocker and record executive. Sasha is the passionate, troubled young woman he employs. Here Jennifer Egan brilliantly reveals their pasts, along with the inner lives of a host of other characters whose paths intersect with theirs. “Pitch perfect.... Darkly, rippingly funny.... Egan possesses a satirist’s eye and a romance novelist’s heart.” —The New York Times Book Review




Keep the Rhythm and the Bridge Won't Swing


Book Description

Noah Gordon, youngest son of Scottish Earl Hugh Gordon, immigrated to America in the 1800’s seeking a new life. He found romance, adventure, and hardship, and his strength of character steered the course for his family through the decades. That spirit led great-granddaughter Thelma and her husband, H.E. Wyatt to leave Arkansas for Nebraska during the 1930’s Depression. With five children to feed and clothe, H.E. worked at corn shucking and odd jobs for the farmers around Lisco, Nebraska; anything he could get to make a dollar. F.D.R’s election and subsequent programs for the poor lifted them from poverty, and life improved. The older girls grew up and moved to California, finally enticing their parents to follow. With H.E.’s well-paying job, the Wyatts purchased their first home. Life flowed along after the Second World War ended, and Norma and Faye moved back to Nebraska with their husbands and children. The 1949 blizzard hit the state shortly after the family’s return. The massive storm hammered the ranching community, where 1000’s of livestock died. Rural residents were stranded in their homes, and the Army moved in to open roads and restore power. Part 2 consists of letters from James, the Wyatt’s only son. He journalized his Korean War experiences daily. After months of heavy combat he was discharged without a scratch, and nothing prepared the family for his death from leukemia several years later. The epilogue sums up the family history, and the dream the prefaced Thelma’s death at 95.