Little rock Anderson, Karen
2010., 20131110, 2013, 2010, 2010-01-01, Volume:
66
eBook
The desegregation crisis in Little Rock is a landmark of American history: on September 4, 1957, after the Supreme Court struck down racial segregation in public schools, Arkansas Governor Orval ...Faubus called up the National Guard to surround Little Rock Central High School, preventing black students from going in. On September 25, 1957, nine black students, escorted by federal troops, gained entrance. With grace and depth, Little Rock provides fresh perspectives on the individuals, especially the activists and policymakers, involved in these dramatic events. Looking at a wide variety of evidence and sources, Karen Anderson examines American racial politics in relation to changes in youth culture, sexuality, gender relations, and economics, and she locates the conflicts of Little Rock within the larger political and historical context.
A Social History of Early Rock 'n' Roll in Germany explores the people and spaces of St. Pauli's rock'n'roll scene in the 1960s. Starting in 1960, young British rockers were hired to entertain ...tourists in Hamburg's red-light district around the Reeperbahn in the area of St. Pauli. German youths quickly joined in to experience the forbidden thrill of rock'n'roll, and used African American sounds to distance themselves from the old Nazi generation. In 1962 the Star Club opened and drew international attention for hosting some of the Beatles' most influential performances. In this book, Julia Sneeringer weaves together this story of youth culture with histories of sex and gender, popular culture, media, and subculture. By exploring the history of one locale in depth, Sneeringer offers a welcome contribution to the scholarly literature on space, place, sound and the city, and pays overdue attention to the impact that Hamburg had upon music and style. She is also careful to place performers such as The Beatles back into the social, spatial, and musical contexts that shaped them and their generation. This book reveals that transnational encounters between musicians, fans, entrepreneurs and businessmen in St. Pauli produced a musical style that provided emotional and physical liberation and challenged powerful forces of conservatism and conformity with effects that transformed the world for decades to come.
Bob Beatty dives deep into the motivations and musicalbackground of Duane Allman to tell the story of what made At Fillmore Eastnot just a smash hit, but one of the most important live rock albums ...inhistory.
All stars are celebrities, but not all celebrities are stars, states David Shumway in the introduction to Rock Star, an informal history of rock stardom. This deceptively simple statement belies the ...complex definition and meaning of stardom and more specifically of rock icons. Shumway looks at the careers and cultural legacies of seven rock stars in the context of popular music and culture—Elvis Presley, James Brown, Bob Dylan, the Rolling Stones, the Grateful Dead, Joni Mitchell, and Bruce Springsteen. Granted, there are many more names that fall into the rock icon category and that might rightfully appear on this list. Partly, that is the point: rock star is a familiar and desired category but also a contested one.
Shumway investigates the rock star as a particular kind of cultural construction, different from mere celebrity. After the golden age of moviemaking, media exposure allowed rock stars more political sway than Hollywood's studio stars, and rock stars gradually replaced movie stars as key cultural heroes. Because of changes in American society and the media industries, rock stars have become much more explicitly political figures than were the stars of Hollywood’s studio era. Rock stars, moreover, are icons of change, though not always progressive, whose public personas read like texts produced collaboratively by the performers themselves, their managers, and record companies. These stars thrive in a variety of media, including recorded music, concert performance, dress, staging, cover art, films, television, video, print, and others.
Filled with memorable photographs, Rock Star will appeal to anyone interested in modern American popular culture or music history.
When rock samples are loaded until macroscopic fractures develop, the failure process can be divided into several stages based on axial and lateral strain responses or the acoustic emission sequence ...during uniaxial compression tests. Several stress thresholds may be identified: the crack closure stress
σ
cc
, crack initiation stress
σ
ci
, crack damage stress
σ
cd
, and uniaxial compressive strength
σ
ucs
; these may be used as a warning indicator for rock rupture. We investigated the crack damage stress
σ
cd
, its threshold, and a possible relationship between
σ
cd
and the uniaxial compressive strength. The
σ
cd
of different rock types were compiled from previous studies based on uniaxial compression tests. The results showed that the overall averages and standard deviations of
σ
cd
/σ
ucs
for igneous, metamorphic, and sedimentary rocks were ~0.78 (±0.11), ~0.85 (±0.11), and ~0.73 (±0.18), respectively. There were no significant differences in
σ
cd
/σ
ucs
between the different rock types, except that the sedimentary rock had a slightly larger standard deviation attributed to the variation of porosity in the samples, while the metamorphic rock had higher average
σ
cd
/σ
ucs
resulting from the small statistical sample size. By excluding the higher-porosity (>10 %) rock samples, the averages and standard deviations of
σ
cd
/σ
ucs
for igneous, metamorphic, and sedimentary rocks were ~0.78 (±0.09), ~0.85 (±0.09), and ~0.78 (±0.11), respectively. The results imply that the rock origin process (i.e., igneous, metamorphic, and sedimentary) has a minimal effect on
σ
cd
/σ
ucs
. The ratio
σ
cd
/
σ
ucs
could be an essential intrinsic property for low-porosity rocks, which could be used in rock engineering for predicting the failure process.
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Randall Stephens traces rock's inspiration to the Pentecostal churches where Elvis, Little Richard, and others worshipped. Faith, which served as a vehicle for whites' fears, led them to condemn the ...godless music of blacks and hippies. But in a reversal of strategy, evangelicals later embraced Christian rock as a way to project Jesus's message.
An energy-absorbing rock support device, called a D bolt, has been recently developed to counteract both burst-prone and squeezing rock conditions that occur during underground excavation. The bolt ...is a smooth steel bar with a number of anchors along its length. The anchors are firmly fixed within a borehole using either cement grout or resin, while the smooth sections of the bolt between the anchors may freely deform in response to rock dilation. Failure of one section does not affect the reinforcement performance of the other sections. The bolt is designed to fully use both the strength and the deformation capacity of the bolt material along the entire length. The bolt has large load-bearing and deformation capacities. Static pull tests and dynamic drop tests show that the bolt length elongates by 14–20% at a load level equal to the strength of the bolt material, thereby absorbing a large amount of energy. The impact average load of a 20
mm D bolt is 200–230
kN, with only a small portion of the load transferred to the bolt plate. The cumulative dynamic energy absorption of the bolt is measured to be 47
kJ/m. D bolts were tested in three deep mines. Filed measurements show that D bolts are loaded less than rebar bolts. This paper presents the layout and principle of the D bolt, and corresponding results from static, dynamic, and field tests.
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A raucous cultural history of rock's relationship with the moving image. When rock 'n' roll burst into life in the 1950s, the shockwaves echoed around the world, amplified by images of untamed youth ...projected on cinema screens. But for the performers themselves, corporate showbusiness remained very much in control, contriving a series of cash-in movies to exploit the new musical fad. In this cultural history, John Scanlan explores rock's relationship with the moving image over seven decades in cinema, television, music videos, advertising, and YouTube.
Music has always been central to the cultures that young people create, follow, and embrace. In the 1960s, young hippie kids sang along about peace with the likes of Bob Dylan and Joan Baez and tried ...to change the world. In the 1970s, many young people ended up coming home in body bags from Vietnam, and the music scene changed, embracing punk and bands like The Sex Pistols. In Sells Like Teen Spirit, Ryan Moore tells the story of how music and youth culture have changed along with the economic, political, and cultural transformations of American society in the last four decades. By attending concerts, hanging out in dance clubs and after-hour bars, and examining the do-it-yourself music scene, Moore gives a riveting, first-hand account of the sights, sounds, and smells of teen spirit.Moore traces the histories of punk, hardcore, heavy metal, glam, thrash, alternative rock, grunge, and riot grrrl music, and relates them to wider social changes that have taken place. Alongside the thirty images of concert photos, zines, flyers, and album covers in the book, Moore offers original interpretations of the music of a wide range of bands including Black Sabbath, Black Flag, Metallica, Nirvana, and Sleater-Kinney. Written in a lively, engaging, and witty style, Sells Like Teen Spirit suggests a more hopeful attitude about the ways that music can be used as a counter to an overly commercialized culture, showcasing recent musical innovations by youth that emphasize democratic participation and creative self-expression - even at the cost of potential copyright infringement.
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