Cincinnati in the '50s and '60s offered a stunning array of live music and entertainment venues. Although many of them no longer exist, their memories live on. Fulfilling an obligation to mobsters, blues crooner Charles Brown played a residency at the Sportsman's Club in Newport. Incendiary comedian Lenny Bruce performed at the Surf Club on the city's conservative west side. Jim Tarbell's short-lived but iconic Ludlow Garage became a major stop on the national ballroom circuit that grew up around rock 'n' roll as it matured into its progressive, experimental era. Signaling an end to the '60s, Iggy Pop created a sensation at the 1970 Cincinnati Summer Pop Festival at Crosley Field. Join seasoned journalist Steven Rosen on a tour through historically heady days in the Queen City's music scene.
The nightspots, rock clubs, arenas & more that made the city swing Cincinnati in the '50s and '60s offered a stunning array of live music and entertainment venues. Though many of them no longer exist, their memories live on. Fulfilling an "obligation" to mobsters, blues crooner Charles Brown played a residency at the Sportsman's Club in Newport. Incendiary comedian Lenny Bruce performed at the Surf Club on the city's conservative west side. Jim Tarbell's short-lived but iconic Ludlow Garage became a major stop on the national "ballroom" circuit that grew up around rock 'n' roll as it matured into its progressive, experimental era. Signaling an end to the '60s, Iggy Pop created a sensation at the 1970 Cincinnati Summer Pop Festival at Crosley Field. Join seasoned journalist Steven Rosen on a tour through historically heady days in the Queen City's music scene.
Starting with a few songs and a dream in 1943, King Records--a leading American independent--launched musical careers from a shabby brick factory on Brewster Avenue in Cincinnati's Evanston neighborhood. Founder Sydney Nathan recorded country singers Cowboy Copas, Hawkshaw Hawkins, Wayne Raney, and others and later added black acts such as James Brown and the Famous Flames, Bull Moose Jackson, Hank Ballard and the Midnighters, Lonnie Johnson, and Freddy King. Meanwhile, King also explored polka, jazz, bluegrass, comedy, gospel, pop, and instrumental music--anything that Nathan could sell. Although King's Cincinnati factory closed in 1971, the company's diverse catalog of roots music had already become a phenomenon. Its legacy lives on in hundreds of classic recordings that are prized by collectors and musicians.
Incorporated on February 28, 1774, Ludlow, Massachusetts, was originally a part of Springfield. The origin of the name remains a mystery, though the most probable explanation is that it was named after Roger Ludlow, an early prominent New England citizen who played a great part in building up the town and taking care of its citizens. The Ludlow Manufacturing Company, formed around 1900 by Charles T. Hubbard, helped shape the town by providing housing, a library, schools, playgrounds, and even a clubhouse for the diverse community. Ludlow was home to many sawmills and gristmills, utilizing the power from the several sources of water nearby, including the Chicopee River, Broad Brook, Higher Brook, and Stony Brook. The town is most noted, however, for its factory mills and production of jute yarns, twine, and webbing. Less well known was the glass-making business that was prevalent in the early 1800s. John Sikes manufactured glass bottles and other glassware and the Ludlow Manufacturing Company glass works operated for only a short time before closing in the depression years following the War of 1812. Today, Ludlow remains a culturally diverse community made up of Portuguese, Polish, French, and Irish residents, just to name a few.
How was American culture disseminated into Britain? Why did many British citizens embrace American customs? And what picture did they form of American society and politics? This engaging and wide-ranging history explores these and other questions about the U.S.'s cultural and political influence on British society in the post-World War II period.
Cincinnati earned its nickname of "Queen City of the West" with a wealth of fine theaters and hotels, a burgeoning brewery district and the birth of professional baseball. Though many of these treasures have vanished, they left an indelible mark on the city. Revisit the favorite locales from old Coney Island to Crosley Field. Celebrate lost gems, such as the palatial Albee Theater and the historic Burnet House, where Generals Grant and Sherman plotted the end of the Civil War. Along the way, author Jeff Suess uncovers some uniquely Cincinnati quirks from the inclines and the canal to the infamous incomplete subway. Join Suess as he delves into the mystery and legacy of Cincinnati's lost landmarks.
A poetic exploration of the intersection of gender and place in Appalachia that does the work of that remembering, honoring the responsibility of the poet to speak the forbidden stories of her own life.
Restricted to the shorthand of “sex, drugs, and rock ‘n’ roll,” the counterculture would seem to be a brief, vibrant stretch of the 1960s. But the American counterculture, as this book clearly demonstrates, was far more than a historical blip and its impact continues to resonate. In this comprehensive history, Damon R. Bach traces the counterculture from its antecedents in the 1950s through its emergence and massive expansion in the 1960s to its demise in the 1970s and persistent echoes in the decades since. The counterculture, as Bach tells it, evolved in discrete stages and his book describes its development from coast to heartland to coast as it evolved into a national phenomenon, involving a diverse array of participants and undergoing fundamental changes between 1965 and 1974. Hippiedom appears here in relationship to the era’s movements—civil rights, women’s and gay liberation, Red and Black Power, the New Left, and environmentalism. In its connection to other forces of the time, Bach contends that the counterculture’s central objective was to create a new, superior society based on alternative values and institutions. Drawing for the first time on documents produced by self-described “freaks” from 1964 through 1973—underground newspapers, memoirs, personal correspondence, flyers, and pamphlets—his book creates an unusually nuanced, colorful, and complete picture of a time often portrayed in clichéd or nostalgic terms. This is the counterculture of love-ins and flower children, of the Grateful Dead and Jefferson Airplane, but also of antiwar demonstrations, communes, co-ops, head shops, cultural feminism, Earth Day, and antinuclear activism. What Damon R. Bach conjures is the counterculture in all of its permutations and ramifications as he illuminates its complexity, continually evolving values, and constantly changing components and adherents, which defined and redefined it throughout its near decade-long existence. In the long run, Bach convincingly argues that the counterculture spearheaded cultural transformation, leaving a changed America in its wake.
Profiles rock musicians from the 1950s to the 1990s who never made it big, including the Collins Kids, Graham Bond, Duffy Powder, the Remains, Nick Drake, Sandy Denny, Martin Newell, and the Free Spirits
