According to company lore, Gibson, the guitar manufacturer, had ceased guitar production during World War II with only "seasoned craftsmen" too old for battle doing repairs and completing the few instruments already in progress at their Kalamazoo, Michigan factory. However, beginning in 1942, Gibson started producing wartime guitars each marked with a small, golden "banner" displaying the slogan: "only a Gibson is good enough." Over 9000 of these "Banner" guitars were produced between 1942 and 1945 and they are considered to be some of the finest acoustic guitars ever produced but who was making them? In this work of musical and social history, Thomas explores the origins of the Gibson "Banner" guitars and the remarkable women, many of whom had no prior training in instrument construction, who built them.
DigiCat Publishing presents to you this special edition of "Brave Men" by Ernie Pyle. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.
This book features oral histories, mainly of members of the ranching families who have lived in the Mexican State of Sonora and the corresponding territory in the US that stretches from Tijuana on the California border to Agua Prieta on the Arizona border. The elders in those families recall the tales that their grandparents told, providing a century of perspectives on the revolution in economics, culture, and drug trade that the area has witnessed. The book uses the voices of those who have lived through the vicissitudes of border life to paint this cultural upheaval in gripping, personal terms.
Globalization discourse now presumes that the “world space” is entirely at the mercy of market norms and forms promulgated by reactionary U.S. policies. An academic but accessible set of studies, this wide range of essays by noted scholars challenges this paradigm with diverse and strong arguments. Taking on topics that range from the medieval Mediterranean to contemporary Jamaican music, from Hong Kong martial arts cinema to Taiwanese politics, writers such as David Palumbo-Liu, Meaghan Morris, James Clifford, and others use innovative cultural studies to challenge the globalization narrative with a new and trenchant tactic called “worlding.” The book posits that world literature, cultural studies, and disciplinary practices must be “worlded” into expressions from disparate critical angles of vision, multiple frameworks, and field practices as yet emerging or unidentified. This opens up a major rethinking of historical “givens” from Rob Wilson’s reinvention of “The White Surfer Dude” to Sharon Kinoshita’s “Deprovincializing the Middle Ages.” Building on the work of cultural critics like Edward Said, Gayatri Spivak, and Kenneth Burke, The Worlding Project is an important manifesto that aims to redefine the aesthetics and politics of postcolonial globalization withalternative forms and frames of global becoming.
Considered by many to be a founder of Afrofuturism, Sun Ra—aka Herman Blount—was a composer, keyboardist, bandleader, philosopher, entrepreneur, poet, and self-proclaimed extraterrestrial from Saturn. He recorded over 200 albums with his Arkestra, which, dressed in Egypto-space costumes, played everything from boogie-woogie and swing to fusion and free jazz. John Szwed's Space is the Place is the definitive biography of this musical polymath, who was one of the twentieth century's greatest avant-garde artists and intellectuals. Charting the whole of Sun Ra's life and career, Szwed outlines how after years in Chicago as a blues and swing band pianist, Sun Ra set out in the 1950s to impart his views about the galaxy, black people, and spiritual matters by performing music with the Arkestra that was as vital and innovative as it was mercurial and confounding. Szwed's readers—whether they are just discovering Sun Ra or are among the legion of poets, artists, intellectuals, and musicians who consider him a spiritual godfather—will find that, indeed, space is the place.
It seemed at times during the 1960s that America was caught in an unending cycle of violence and disorder. Successive summers from 1964-1968 brought waves of urban unrest, street fighting, looting, and arson to black communities in cities from Florida to Wisconsin, Maryland to California. In some infamous cases like Watts (1965), Newark (1967), and Detroit (1967), the turmoil lasted for days on end and left devastation in its wake: entire city blocks were reduced to burnt-out ruins and scores of people were killed or injured mainly by police officers and National Guardsmen as they battled to regain control. This book takes the pivotal year of 1967 as its focus and sets it in the context of the long, hot summers to provide new insights into the meaning of the riots and their legacy. It offers important new findings based on extensive original archival research, including never-before-seen, formerly embargoed and classified government documents and newly released official audio recordings.
A unique chronicle of the war from the perspective of a sensitive twenty-four-year-old sergeant who wrote for the Army's in-house paper, Yank, the Army Weekly and a tale of the South Pacific that will not soon be forgotten. Correspondent Mack Morriss reluctantly left his diary in the Honolulu Yank office in July 1943. "Here is contained an account of the past eight and one-half months," he wrote in his last entry, "a period which I shall never forget." The next morning he was on a plane headed back to the South Pacific and the New Georgia battleground. Morriss was working out of the press camp at Spa, Belgium, in January 1945, when he learned that the diary he had kept in the South Pacific had arrived in a plain brown wrapper at the New York office. He was so happy "to know that this impossible thing had happened," he wrote to his wife, that he helped two friends "murder a quart of scotch." What was preserved and appears in print here for the first time is a unique chronicle of the war in the South Pacific from the perspective of a sensitive twenty-four-year-old sergeant. This is an intensely personal account, reporting the war from the ridge known as the Sea Horse on Guadalcanal, from the bars and dance halls of Auckland to a B-17 flying through the moonlit night to bomb Japanese installations on Bougainville. Morriss thought deeply and wrote movingly about everything connected with the war: the sordiness and heroism, the competence and ineptitude of leaders, the strange mixture of constant complaint and steady courage of ordinary GIs, friendships formed under combat stress, and, above all, what he perceived to be his own indecisiveness and weaknesses. Ronnie Day introduces Morriss's diary and illuminates the work with extensive notes based on private papers, government documents, travel in the Solomon Islands, and the recollections of men mentioned in the diary.
This is a step-by-step guide to playing the electric guitar, shown in over 600 photographs, illustrations and exercises. It shows you how to master a range of diverse musical styles, such as funk and disco, heavy rock, indie rock, electric blues, country guitar, jazz, lounge and reggae.
