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.

An Unauthorized Guide To The Complete Radio Series 1988 - 1992 All 218 episodes catalogued and researched plus: * complete unreleased tracks index * comparison of Bag Records bootleg tracks and Lost Lennon Tapes broadcast versions * comparison of commercially released tracks and Lost Lennon Tapes broadcast versions

QUALB Provides: Any point on the surface of the Spherical-Time-Matrix contains the Qualb-Code. Every human in the 22 Sibling Universes has an immediate, (in time), and a direct, (in space), access to the Qualb-Code. This is known as QUALB provides. Qualb-Code, The: The Code of QUALB, according to which the whole Creation is being continuously created, unfolded, evolved, of QUALB’s own free will and the free will of the human race. The Qualb-Code is the “mediator” between the Time-world and the Timeless-world; the “mediator” between the living and nonliving human beings. The Qualb-Code is the substratum of the Spherical Time-Matrix. QUALB-Lucifer Clash: The clash ensued some 50 millennia ago. Lucifer suggested to QUALB the Giver, the SUPREME BEING, to switch Atlantis Universe to a completely free-will mode and offered self to be the sole guardian of such a free-willed Atlantis Universe. In such a universe, Lucifer would work independently from QUALB, so that QUALB could focus His work on other issues in Atlantis Universe. Satan and Belial, the human beings of the code-11 from Atlantis Continent, and Leviathan, a human of the code-11 from Lemuria Continent, seconded Lucifer’s proposal. As a result, QUALB down-codes Lucifer from the code-13 down to code-11, and revokes Lucifer’s post as the Master Guardian of the Creation.

The Road Movie Book is the first comprehensive study of an enduring but ever-changing Hollywood genre, its place in American culture, and its legacy to world cinema. The road and the cinema both flourished in the twentieth century, as technological advances brought motion pictures to a mass audience and the mass produced automobile opened up the road to the ordinary American. When Jean Baudrillard equated modern American culture with 'space, speed, cinema, technology' he could just as easily have added that the road movie is its supreme emblem. The contributors explore how the road movie has confronted and represented issues of nationhood, sexuality, gender, class and race. They map the generic terrain of the road movie, trace its evolution on American television as well as on the big screen from the 1930s through the 1980s, and, finally, consider road movies that go off the road, departing from the US landscape or travelling on the margins of contemporary American culture. Movies discussed include: * Road classics such as It Happened One Night, The Grapes of Wrath, The Wizard of Oz and the Bob Hope-Bing Crosby Road to films * 1960's reworkings of the road movie in Easy Rider and Bonnie and Clyde * Russ Meyer's road movies: from Motorpsycho! to Faster Pussycat! Kill! Kill! * Contemporary hits such as Paris Texas, Rain Man, Natural Born Killers and Thelma and Louise * The road movie, Australian style, from Mad Max to the Adventures of Priscilla, Queen of the Desert.

A comprehensive history of the influential cult band draws on dozens of new interviews and previously undiscovered archive sources, tracing their initial lack of success before they inspired and were championed by such artists as David Bowie. Original.

Mother Jones is an award-winning national magazine widely respected for its groundbreaking investigative reporting and coverage of sustainability and environmental issues.

In this candid retrospective of the disco era, 40 men and women who reigned over the dance music industry of the 1970s and 1980s recall their lives and careers before, during and after the genre's explosion. Artists interviewed include Alfa Anderson, formerly of Chic ("Good Times"); Ed Cermanski and Robert Upchurch of The Trammps ("Disco Inferno"); Sarah Dash ("Sinner Man"); producer John Davis ("Ain't That Enough for You"); Janice Marie Johnson of A Taste of Honey ("Boogie Oogie Oogie"); France Joli ("Come to Me"); Denis LePage of Lime ("Babe, We're Gonna Love Tonite"); Randy Jones of the Village People ("Y.M.C.A."); Rob Parissi of Wild Cherry ("Play That Funky Music"); producer Warren Schatz ("Turn the Beat Around"); Debbie, Joni and Kim Sledge of Sister Sledge ("We Are Family"); and many more.

After three decades of undying adoration, KISS fans will get their first fully authorized and total access look at the band who loves to "rock 'n' roll all nite and party every day!" Twenty years ago, KISS officially revealed the faces behind the stage makeup, and fans all over the world got their first look at the band. Now, in KISS: BEHIND THE MASK, the band's legion of fans and music enthusiasts alike will get to know the men behind the stage personas. After 30 years as a band, KISS are more than just a rock 'n' roll institution-they are legends. For decades, they have consistently remained among the most successful acts in the history of popular music. KISS' legendary stagemanship and extreme theatrics are well known by two generations of rock fans, and they are already pulling in the next one. Now, through their own words and exclusive material contributed by some of the biggest rock stars in the industry, KISS: BEHIND THE MASK will tell the band's full story.

A memoir by the heavy metal icon and reality television star shares perspectives on his rise, fall and return as the frontman for the rock band, Twisted Sister.