An award-winning historian on the transformative year in the sixties that continues to reverberate in our lives and politics—for readers of Heather Cox Richardson. If 1968 marked a turning point in a pivotal decade, 1964—or rather, the long 1964, from JFK’s assassination in November 1963 to mid-1965—was the time when the sixties truly arrived. It was then that the United States began a radical shift toward a much more inclusive definition of “American,” with a greater degree of equality and a government actively involved in social and economic improvement. It was a radical shift accompanied by a cultural revolution. The same month Bob Dylan released his iconic ballad “The Times They Are a-Changin’,” January 1964, President Lyndon Johnson announced his War on Poverty. Spurred by the civil rights movement and a generation pushing for change, the Civil Rights Act, the Voting Rights Act, and the Immigration and Nationality Act were passed during this period. This was a time of competing definitions of freedom. Freedom from racism, freedom from poverty. White youth sought freedoms they associated with black culture, captured imperfectly in the phrase “sex, drugs, and rock ’n’ roll.” Along with freedom from racist oppression, black Americans sought the opportunities associated with the white middle class: “white freedom.” Women challenged rigid gender roles. And in response to these freedoms, the changing mores, and youth culture, the contrary impulse found political expression in such figures as Barry Goldwater and Ronald Reagan, proponents of what was presented as freedom from government interference. Meanwhile, a nonevent in the Tonkin Gulf would accelerate the nation's plunge into the Vietnam tragedy. In narrating 1964’s moment of reckoning, when American identity began to be reimagined, McElvaine ties those past battles to their legacy today. Throughout, he captures the changing consciousness of the period through its vibrant music, film, literature, and personalities.

These forty-eight powerful stories and poems etch in vivid detail the breakthrough moments experienced by women during the life-changing era that was the ’60s and ’70s. These women rode the sexual revolution with newfound freedom, struggled for identity in divorce courts and boardrooms, and took political action in street marches. They pushed through boundaries, trampled taboos, and felt the pain and joy of new experiences. And finally, here, they tell it like it was. From Vietnam to France, from Chile to England, from the Haight-Ashbury to Greenwich Village, and to the Deep South and Midwest, Times They Were A-Changing recalls the cultural reverberations that reached into farm kitchens and city “pads” alike—and in doing so, it celebrates the women of the ’60s and ’70s, reminding them of the importance of their legacy.

This is a must-have anthology of the milestone speeches, manifestos, court decisions, and groundbreaking journalism of the Sixties. No other period in American history has been more liberating, more confusing, more unforgettable, and had a more direct impact on the way we navigated the profound changes that swept over the country in the following three decades. From Betty Friedan to Barry Goldwater, from the formidable presence of the Kennedy brothers to the unimaginable influence of Woodstock, Pulitzer prize-winning author Irwin Unger and journalist Debi Unger present the complexities of a volatile and tumultuous decade, while explaining how and why each significant event took place and how it shifted the country's consciousness. From the antiwar movement to the moon race, from the burgeoning counterculture to the Warren and Berger courts, and from the civil rights movement to the 1968 presidential campaign, The Times Were a Changin' will tantalize and confound readers, while inspiring and enraging them as well. The Ungers provide us with a better understanding of the strategy and maneuvering of the 1960s war games--from the Bay of Pigs to the Tet Offensive. And the pieces they have chosen help us define the current of social intolerance that plagues our country to this day. Balancing the controversial issues of the times with an even hand, the Ungers give equal time to William F. Buckley and Abbie Hoffman, Barry Goldwater and Hubert Humphrey, the Black Panthers and Martin Luther King, Jr., compiling an anthology that supplies rhyme and reason to a decade that never ceases to amaze us, endless in its capacity to be explored and understood.

This narrative and empirical analysis investigates Hilary's claim that in his day they would not have left a man behind to die. The authors examine over 60 years of Himalayan climbing data and stories in order to test the changes in cooperation in this extreme life and death environment.

Cinema Houston celebrates a vibrant century of movie theatres and moviegoing in Texas's largest city. Illustrated with more than two hundred historical photographs, newspaper clippings, and advertisements, it traces the history of Houston movie theatres from their early twentieth-century beginnings in vaudeville and nickelodeon houses to the opulent downtown theatres built in the 1920s (the Majestic, Metropolitan, Kirby, and Loew's State). It also captures the excitement of the neighborhood theatres of the 1930s and 1940s, including the Alabama, Tower, and River Oaks; the theatres of the 1950s and early 1960s, including the Windsor and its Cinerama roadshows; and the multicinemas and megaplexes that have come to dominate the movie scene since the late 1960s. While preserving the glories of Houston's lost movie palaces—only a few of these historic theatres still survive—Cinema Houston also vividly re-creates the moviegoing experience, chronicling midnight movie madness, summer nights at the drive-in, and, of course, all those tasty snacks at the concession stand. Sure to appeal to a wide audience, from movie fans to devotees of Houston's architectural history, Cinema Houston captures the bygone era of the city's movie houses, from the lowbrow to the sublime, the hi-tech sound of 70mm Dolby and THX to the crackle of a drive-in speaker on a cool spring evening.

Presents a powerful argument for the limitations of judicial action to support significant social reform—now updated with new data and analysis. Since its first publication in 1991, The Hollow Hope has spurred debate and challenged assumptions on both the left and the right about the ability of courts to bring about durable political and social change. What Gerald N. Rosenberg argued then, and what he confirms today through new evidence in this edition, is that it is nearly impossible to generate significant reforms through litigation: American courts are ineffective and relatively weak, far from the uniquely powerful sources for change they are often portrayed to be. This third edition includes new data and a substantially updated analysis of civil rights, abortion rights and access, women’s rights, and marriage equality. Addressing changes in the political and social environment, Rosenberg draws lessons from the re-segregation of public schools, victories in marriage equality, and new obstacles to abortion access. Through these and other cases, the third edition confirms the power of the book’s original explanatory framework and deepens our understanding of the limits of judicial action in support of social reform, as well as the conditions under which courts do produce change. Up-to-date, thorough, and thought-provoking, The Hollow Hope remains vital reading.

(Ukulele). A unique collection of 100 classic songs from Bob Dylan's impressive 50-years-and-counting recording career, specially arranged for ukulele with easy-to-read chord boxes and full lyrics. Songs include: All Along the Watchtower * Blowin' in the Wind * Chimes of Freedom * Don't Think Twice, It's All Right * Duquesne Whistle * Forever Young * I Shall Be Released * It's All Over Now, Baby Blue * Just Like a Woman * Knockin' on Heaven's Door * Lay, Lady, Lay * Like a Rolling Stone * Make You Feel My Love * Masters of War * Mr. Tambourine Man * The Times They Are A-Changin' * This Wheel's on Fire * Visions of Johanna * and more.

It’s September 1961. Freshman Joe Murphy is just starting premed studies at Loyola’s Lake Shore campus in Chicago. There’re a lot on his mind besides biology and chemistry; he has to make friends, fit in and survive a long, daily commute on public transportation. This humorous memoir tracks the author for three decades—through college, dating, marriage, kids and an eclectic writing career that starts with the Sears catalog. Next, he tries his luck at writing classroom films and junk mail before landing in an advertising agency. The work is stressful, the hours long and the egos colossal, but the ad biz is fun. And luckily, Joe has the staunch support of a wife who believes in him. The young couple and their two toddlers move to the South, where Joe compiles a reel of TV commercials that gets him a job back in Chicago. Finally, he’s writing TV spots for national accounts. A dream come true? Not quite. Five years later, he hits the freelance trail, a route that leads to some bizarre assignments, quirky clients and baffling surprises. Looking back, was all his dreaming, scheming and striving worth it? One spirited episode after another will keep you guessing and laughing.

Bob Dylan’s abrupt abandonment of overtly political songwriting in the mid-1960s caused an uproar among critics and fans. In Wicked Messenger, acclaimed cultural-political commentator Mike Marqusee advances the new thesis that Dylan did not drop politics from his songs but changed the manner of his critique to address the changing political and cultural climate and, more importantly, his own evolving aesthetic. Wicked Messenger is also a riveting political history of the United States in the 1960s. Tracing the development of the decade’s political and cultural dissent movements, Marqusee shows how their twists and turns were anticipated in the poetic aesthetic—anarchic, unaccountable, contradictory, punk— of Dylan's mid-sixties albums, as well as in his recent artistic ventures in Chronicles, Vol. I and Masked and Anonymous. Dylan’s anguished, self-obsessed, prickly artistic evolution, Marqusee asserts, was a deeply creative response to a deeply disturbing situation. "He can no longer tell the story straight," Marqusee concludes, "because any story told straight is a false one."