The rock wall above them was as smooth as polished black marble. There were no crevices and no ledges. They would have to fight for every inch. Rick looked at his friends. J.D. and Spud nodded silently. Rick stood up and started. His job would be to make the trail. Their job was to make sure he lived through it. High atop treacherous Devil’s Wall, The Rock Jockeys find much to explore. Sheer mountain cliffs. Wild woodland. Even a crashed B-17 bomber! But when they stumble upon a crew member’s diary—and underneath other eerie clues—the boys realize Devil’s Wall also holds a gruesome secret. That secret leaves The Rock Jockeys with a haunting question: If trapped on the mountain, would they do anything it takes to survive?
In Race, Rock, and Elvis, Michael T. Bertrand contends that popular music, specifically Elvis Presley's brand of rock 'n' roll, helped revise racial attitudes after World War II. Observing that youthful fans of rhythm and blues, rock 'n' roll, and other black-inspired music seemed more inclined than their segregationist elders to ignore the color line, Bertrand links popular music with a more general relaxation, led by white youths, of the historical denigration of blacks in the South. The tradition of southern racism, successfully communicated to previous generations, failed for the first time when confronted with the demand for rock 'n' roll by a new, national, commercialized youth culture. In a narrative peppered with the colorful observations of ordinary southerners, Bertrand argues that appreciating black music made possible a new recognition of blacks as fellow human beings. Bertrand documents black enthusiasm for Elvis Presley and cites the racially mixed audiences that flocked to the new music at a time when adults expected separate performances for black audiences and white. He describes the critical role of radio and recordings in blurring the color line and notes that these media made black culture available to appreciative whites on an unprecedented scale. He also shows how music was used to define and express the values of a southern working-class youth culture in transition, as young whites, many of them trying to orient themselves in an unfamiliar urban setting, embraced black music and culture as a means of identifying themselves. By adding rock 'n' roll to the mix of factors that fed into civil rights advances in the South, Race, Rock, and Elvis shows how the music,with its rituals and vehicles, symbolized the vast potential for racial accord inherent in postwar society.
Oliver Lewis was champion jockey of the Kentucky Derby in 1875 with a winning race time of two minutes and 37 seconds. Jockey Willie Simms won in 1896, bringing his horse in at two minutes and seven seconds. James Winkfield was the winning jockey in both 1901 and 1902 with winning race times of two minutes and seven seconds and two minutes and eight seconds, respectively. Each of these men possessed the skill and power necessary to spur a horse to glorious victory. All are members of the small, select group of Derby-winning jockeys who were African Americans. The stakes were high: Black jockeys who won a race in the late 1700s and 1800s sometimes won freedom from slavery as well. This work examines the presence of black jockeys in the Kentucky Derby, from the first instance of slaves working as stable hands and tending their masters' horses to the first black jockey to win the prestigious Kentucky Derby in 1875 and the continued participation of black jockeys in the Kentucky Derby. Black owners and trainers in the Kentucky Derby are also discussed. Three appendices list black winning jockeys, black trainers and black owners of Kentucky Derby horses.
For 40 years the most attended sport in New England was thoroughbred racing. Since1933 when pari-mutuel racing was legalized in the region after 300 years of puritanical opposition there were 16 tracks in operation in five New England states. Today there is only one track left and its barely surviving. The Pilgrims Would be Shocked: The History Of Thoroughbred Racing In New England traces the rise and near fall of the sport, beginning with its puritanical background when people were put in the stocks and fined by the Pilgrims for merely racing horses, with or without wagering. Finally, in 1906, a meet was run at Rockingham Park in Salem, New Hampshire which was financed by John Bet A Million Gates. His million dollar bet proved to be a loser as the track was quickly closed down by authorities because of gambling at the facility. Wagering had not been legalized by the state legislature and church leaders and others demanded it be stopped. In 1933, Lou Smith, an amazing immigrant son of impoverished Russian parents, came to the Granite State and, through his power of persuasion and political savvy, convinced the legislature during the hard economic times of the Depression to legalize pari-mutuel racing. The enabling legislation was passed and the first race meeting was an unqualified artistic and financial success, producing top quality racing, high employment and significant revenue to Salem and the state of New Hampshire. Seeing the tremendous success of New Hampshire, Rhode Island legalized the sport in 1934 and Massachusetts in 1935. The tracks produced significant tax revenues and employment for these states as well. For the next four decades the greatest horses (including three Triple Crown winner), jockeys, owners and trainers competed throughout New England, producing the highest caliber of racing. There was no shortage of incredible occurrences during that time, including the closing of Narragansett Park by the National Guard on orders of the Rhode Island governor, and a man who ran out in front of the horses at the finish of a stakes race at Suffolk Downs in East Boston. Beginning in the late 1970s the sport began its decline for a number of reasons. This book analyzes the factors contributing to its fall in popularity and possible solution to saving it from extinction.
Tag pointed his flashlight into the hole and peered inside. It was impossible. The inside was hollow, like an underwater cave. Something shiny lay near the opening and reflected the beam from his light. He reached inside and pulled it out. A pewter spoon. If he could have made a sound, he would have screamed with joy. He tucked the spoon in his vest pocket and reached into the hole again. A sharp stab of pain shot through his left hand. Something had hold of the tip of his thumb and was trying to yank him into the hole! Tag Jones knows that somewhere in the azure water and coral reef surrounding Bermuda lies a sunken ship full of treasure. El Patron sank in 1614, and Tag’s father died in a diving accident while looking for it. Tag won’t give up until he finds El Patron—and he’s not scared off by the local legend that says the ship is cursed. But when two tourists ask Tag and his friend Cowboy to retrieve some mysterious underwater parcels for them, the boys find themselves in dangerous water, way over their heads!
Winner of the Man Booker Prize Winner of the National Book Critics Circle Award in Fiction Winner of the John Dos Passos Prize for Literature New York Times Bestseller Los Angeles Times Bestseller Named One of the 10 Best Books of the Year by The New York Times Book Review Named a Best Book of the Year by Newsweek, The Denver Post, BuzzFeed, Kirkus Reviews, and Publishers Weekly Named a "Must-Read" by Flavorwire and New York Magazine's "Vulture" Blog A biting satire about a young man's isolated upbringing and the race trial that sends him to the Supreme Court, Paul Beatty's The Sellout showcases a comic genius at the top of his game. It challenges the sacred tenets of the United States Constitution, urban life, the civil rights movement, the father-son relationship, and the holy grail of racial equality—the black Chinese restaurant. Born in the "agrarian ghetto" of Dickens—on the southern outskirts of Los Angeles—the narrator of The Sellout resigns himself to the fate of lower-middle-class Californians: "I'd die in the same bedroom I'd grown up in, looking up at the cracks in the stucco ceiling that've been there since '68 quake." Raised by a single father, a controversial sociologist, he spent his childhood as the subject in racially charged psychological studies. He is led to believe that his father's pioneering work will result in a memoir that will solve his family's financial woes. But when his father is killed in a police shoot-out, he realizes there never was a memoir. All that's left is the bill for a drive-thru funeral. Fueled by this deceit and the general disrepair of his hometown, the narrator sets out to right another wrong: Dickens has literally been removed from the map to save California from further embarrassment. Enlisting the help of the town's most famous resident—the last surviving Little Rascal, Hominy Jenkins—he initiates the most outrageous action conceivable: reinstating slavery and segregating the local high school, which lands him in the Supreme Court.
Gender & Rock introduces readers to how gender operates in multiple sites within rock culture, including its music, imagery, technologies, and business practices. Additionally, it explores how rock culture, despite a history of regressive gender politics, has provided a place for musicians and consumers to experiment with alternate ways of being.
