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At immigrant picnics, social clubs, and urban dance halls, Randy McBee discovers distinct and highly contested gender lines, proving that the battle between the ages was also one between the sexes."--BOOK JACKET.
The rise of commercialized leisure coincided with the arrival of millions of immigrants to America's cities. Conflict was inevitable as older generations attempted to preserve their traditions, values, and ethnic identities, while the young sought out the cheap amusements and sexual freedom which the urban landscape offered. At immigrant picnics, social clubs, and urban dance halls, Randy McBee discovers distinct and highly contested gender lines, proving that the battle between the ages was also one between the sexes. Free from their parents and their strict rules governing sexual conduct, working women took advantage of their time in dance halls to challenge conventional gender norms. They routinely passed certain men over for dances, refused escorts home, and embraced the sensual and physical side of dance to further accentuate their superior skills and ability on the dance floor. Most men felt threatened by women's displays of empowerment and took steps to thwart the changes taking place. Accustomed to street corners, poolrooms, saloons, and other all-male get-togethers, working men tried to transform the dance hall into something that resembled these familiar hangouts. McBee also finds that men frequently abandoned the commercial dance hall for their own clubs, set up in the basements of tenement flats. In these hangouts, working men established rules governing intimacy and leisure that allowed them to regulate the behavior of the women who attended club events. The collective manner in which they behaved not only affected the organization of commercial leisure but also men and women's struggles with and against one another to define the meaning of leisure, sexuality, intimacy, and even masculinity.
Blending dynamic live shots with intimate portraits and candids, Dancehall Days is a collection of over 300 stunning black-and-white photographs drawn from Michael O'Reilly's personal archive.
"This enriching, complex family saga and interracial drama brims with beautiful writing. It begins one summer on Bowen Island during the Depression and moves through Pearl Harbour and the evacuation of the Japanese and into the 1970s. Gwen Killam is a child on Bowen whose idyllic summers are obliterated by the outbreak of the war. Her swimming teacher, Takumi Yoshito, disappears along with his parents who are famous for their devotion to the Bowen Inn gardens. The Lower Mainland is in blackout, and so is the future of Gwen’s beloved Aunt Isabelle who must make an unthinkable sacrifice. The Bowen Island dancehall is well-known during the war as a moonlight cruise destination and it becomes an emotional landmark for time passing and remembered."--Provided by publisher.
Author : Gail Louise Folkins Publisher : Voice in the American West Page : 220 pages File Size : 49,7 Mb Release : 2007 Category : Performing Arts ISBN : UCSC:32106019393823
"Blending literary and photo-journalism, history, and storytelling, essays examine eighteen Texas dance halls in terms of their music, culture, and community. Also considers the predominantly Czech and German heritage from which these halls evolved, as well as the cultural dynamics that enable them to continue as centers of community"--Provided by publisher.
Let's Dance: A Celebration of Ontario's Dance Halls and Summer Dance Pavilions is a nostalgic musical journey, recapturing the unforgettable music of youth and lasting friendships, the days when the live mellow sounds of Big Bands wafted through the air -- Louis Armstrong, the Dorsey Brothers, Bert Niosi, Art Hallman, Johnny Downs, Mart Kenney, Bobby Kinsman, Ronnie Hawkins .... Throughout the 1920s to the '60s, numerous legendary entertainers drew thousands of people to such memorable venues as the Brant Inn in Burlington, Dunn's Pavilion in Bala, the Stork Club at Port Stanley, to the Club Commodore in Belleville and the Top Hat Pavilion in North Bay -- and the hundreds of other popular dance venues right across Ontario. From the days of jitney dancing through the introduction of jazz and the Big Bands era to the sounds of some of Ontario's best rock groups, people of all ages came to dance and some to find romance on soft summer nights.
A collection of Courtney's columns from the Texas Monthly, curing the curious, exorcizing bedevilment, and orienting the disoriented, advising "on such things as: Is it wrong to wear your football team's jersey to church? When out at a dancehall, do you need to stick with the one that brung ya? Is it real Tex-Mex if it's served with a side of black beans? Can one have too many Texas-themed tattoos?"--Amazon.com.
Satan in the Dance Hall explores the overwhelming popularity of social dancing in the 1920s, examining its close relationship to America's rapidly changing society. The book also focuses on the fierce debate led by moral reformers and religious leaders such as Rev. John Roach Straton over the morality of social dancing in the more than 750 public dance halls in New York City.
Megawattage sound systems have blasted the electronically-enhanced riddims and tongue-twisting lyrics of Jamaica's dancehall DJs across the globe. This high-energy raggamuffin music is often dismissed by old-school roots reggae fans as a raucous degeneration of classic Jamaican popular music. In this provocative study of dancehall culture, Cooper offers a sympathetic account of the philosophy of a wide range of dancehall DJs: Shabba Ranks, Lady Saw, Ninjaman, Capleton, Buju Banton, Anthony B and Apache Indian. Cooper also demonstrates the ways in which the language of dancehall culture, often devalued as mere 'noise,' articulates a complex understanding of the border clashes which characterize Jamaican society, and analyzes the sound clashes that erupt in the movement of Jamaican dancehall culture across national borders.
An angry lover who turned a place of dance and light into a place of death. A much-missed husband in the wrong place at the wrong time. Who will be waiting for Ann at the top of the stairs? "A hall, a hall, give room!—And foot it, girls.— More light, you knaves! And turn the tables up, And quench the fire. The room is grown too hot.— Ah, sirrah, this unlooked-for sport comes well.— Nay, sit, nay, sit, good cousin Capulet, For you and I are past our dancing days." —William Shakespeare, "Romeo & Juliet" An Ann Kinnear Suspense Short from Matty Dalrymple, author of the Ann Kinnear Suspense Novels, including Book 1: THE SENSE OF DEATH.