Can a song change a nation? In 1964, Marvin Gaye, record producer William "Mickey" Stevenson, and Motown songwriter Ivy Jo Hunter wrote "Dancing in the Street." The song was recorded at Motown's Hitsville USA Studio by Martha and the Vandellas, with lead singer Martha Reeves arranging her own vocals. Released on July 31, the song was supposed to be an upbeat dance recording-a precursor to disco, and a song about the joyousness of dance. But events overtook it, and the song became one of the icons of American pop culture.
The Beatles had landed in the U.S. in early 1964. By the summer, the sixties were in full swing. The summer of 1964 was the Mississippi Freedom Summer, the Berkeley Free Speech Movement, the beginning of the Vietnam War, the passage of the Civil Rights Act, and the lead-up to a dramatic election. As the country grew more radicalized in those few months, "Dancing in the Street" gained currency as an activist anthem. The song took on new meanings, multiple meanings, for many different groups that were all changing as the country changed.
Told by the writer who is legendary for finding the big story in unlikely places, Ready for a Brand New Beat chronicles that extraordinary summer of 1964 and showcases the momentous role that a simple song about dancing played in history.
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by Mark Kurlansky
by Mark Harris
by Mark Gimenez
by R. Howard Bloch
by Mark Kurlansky, H.H. Dalai Lama
by Mark Billingham
"The Motown classic "Dancing in the Street," covered by everyone from the Grateful Dead to Mick Jagger and David Bowie, has endured as a timeless dance floor staple. Beneath its pulsating rhythm it can be read as a metaphor for the social upheaval of the 1960s--one of the first popular "soul" records to earn the distinction. Basing his book on that viewpoint, Mark Kurlansky provides a plethora of facts about the musicians involved as well as the tumultuous era itself. Stephen Hoye is a fine narrator, but his stately voice seems a bit stiff for the streetwise subject matter. On the other hand, given the book's perceptive sociopolitical orientation, perhaps Hoye's stolid treatment is intentional. J.S.H. (c) AudioFile 2013, Portland, Maine"
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