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Ready for a Brand New Beat: How Dancing in the Street Became the Anthem for a Changing America
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.
288 pages, Hardcover
First published July 11, 2013
11 people are currently reading
984 people want to read
About the author
Mark Kurlansky
68 books1,981 followersMark Kurlansky is an American journalist and author who has written a number of books of fiction and nonfiction. His 1997 book, Cod: A Biography of the Fish That Changed the World (1997), was an international bestseller and was translated into more than fifteen languages. His book Nonviolence: Twenty-five Lessons From the History of a Dangerous Idea (2006) was the nonfiction winner of the 2007 Dayton Literary Peace Prize.
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Displaying 1 - 30 of 83 reviews
March 3, 2022
"[Co-writer Mickey Stevenson] insisted his only political message in ['Dancing in the Street'] was that all kinds of people could get along together. 'Kids have no color - they would play [and dance] out there as if they were brothers and sisters of every creed. So [the lyrics come] from that idea . . . I think that's why the song has outlasted most other songs [from that era] . . .'" -- on page 196
Kurlanksy's Ready for a Brand New Beat takes two interesting topics in American history from the momentous decade of the 1960's - the hit factory known as 'Motown' (between 1960 and 1970, 67 percent of their singles released made the Top 100 charts . . . in a time where a record company was considered a success with just a 10 percent accomplishment) and the storied civil rights' movement in the southern states - and attempts to marry them with the premise that the song 'Dancing in the Street' was the anthem for the latter's activity. Said tune is probably best remembered by its original version performed by Martha Reeves & the Vandellas, which went all the way to #2 on the U.S. charts (only kept out of the top spot by the inane 'Do Wah Diddy' by Manfred Mann) back in autumn 1964. While the coverage of the history (meaning both Motown and the civil rights movement) was mostly first-rate, I did not completely buy and/or was convinced by the author's premise . . . and it was especially telling that co-writer Stevenson and performer Ms Reeves consider their signature song mostly in terms of it being upbeat party music. The book starts out fairly strong, but starts to fall flat in the latter half when the repetitive-seeming op-ed sections go into overdrive.
Kurlanksy's Ready for a Brand New Beat takes two interesting topics in American history from the momentous decade of the 1960's - the hit factory known as 'Motown' (between 1960 and 1970, 67 percent of their singles released made the Top 100 charts . . . in a time where a record company was considered a success with just a 10 percent accomplishment) and the storied civil rights' movement in the southern states - and attempts to marry them with the premise that the song 'Dancing in the Street' was the anthem for the latter's activity. Said tune is probably best remembered by its original version performed by Martha Reeves & the Vandellas, which went all the way to #2 on the U.S. charts (only kept out of the top spot by the inane 'Do Wah Diddy' by Manfred Mann) back in autumn 1964. While the coverage of the history (meaning both Motown and the civil rights movement) was mostly first-rate, I did not completely buy and/or was convinced by the author's premise . . . and it was especially telling that co-writer Stevenson and performer Ms Reeves consider their signature song mostly in terms of it being upbeat party music. The book starts out fairly strong, but starts to fall flat in the latter half when the repetitive-seeming op-ed sections go into overdrive.
December 27, 2020
First book I've read by this author, though have been well-aware of his other titles. This was actually a great place to start for me. Hesitant to award five stars, as in a few places I felt the need to skim through detailed discussion of the record industry. Never really "bogged down" but rather that I felt I'd gotten the point.
Overall, however, Kurlansky pulled off integrating the history of Motown Records with the American Civil Rights Movement very well; never felt as though the latter had been grafted on as padding or filler. Really glad my library had a copy, but would have been worth purchasing, if necessary.
Definitely recommended!
Overall, however, Kurlansky pulled off integrating the history of Motown Records with the American Civil Rights Movement very well; never felt as though the latter had been grafted on as padding or filler. Really glad my library had a copy, but would have been worth purchasing, if necessary.
Definitely recommended!
July 11, 2013
On the way to answering the question of how Dancing in the Street became an anthem for a changing America, Mark Kurlansky explains how the song came to be recorded, goes into the history of Motown music and producer Berry Gordy, and races across the civil rights era of the Sixties.
I have to confess, I didn't know that Dancing in the Street was any kind of anthem. I've heard it these past forty years and thought no more about it than that it's a song that almost requires you to dance to it. But it turns out I was wrong about that. If you listen to some of the many cover versions of Dancing in the Street (and Kurlansky has included a list of every cover version to date), you'll find at least several that are less than danceable. Check out the YouTube of a very early Carpenters version that sounds rushed. The version by the Leningrad Cowboys and the Alexandrov Red Army Ensemble is downright scary.
In explaining how different people used the song as a theme for their causes, Kurlansky points out how composers and singers have little or no control over their works once they're released into the world. If the words that may have been merely a call to get out there and dance inspire people to gather and fight for their rights, it doesn't matter what Marvin Gaye or Martha Reeves or anyone else meant when they recorded the song. Record producer Jon Landau, quoted in the book, says "When work goes out into the public the artist interpretation becomes just another interpretation. It's not necessarily the deepest interpretation. It's just one interpretation."
Kurlansky includes a comprehensive bibliography and timeline, but no notes. I would have liked more evidence of the claim, which Kurlansky repeats unchallenged in this book, that riots broke out in the late 1950s when teenagers were sent into an uncontrollable destructive frenzy by rock and roll music. Please. I suspect Gene Krupa and Buddy Rich inspired more frenzy than Bill Haley ever did.
I have to confess, I didn't know that Dancing in the Street was any kind of anthem. I've heard it these past forty years and thought no more about it than that it's a song that almost requires you to dance to it. But it turns out I was wrong about that. If you listen to some of the many cover versions of Dancing in the Street (and Kurlansky has included a list of every cover version to date), you'll find at least several that are less than danceable. Check out the YouTube of a very early Carpenters version that sounds rushed. The version by the Leningrad Cowboys and the Alexandrov Red Army Ensemble is downright scary.
In explaining how different people used the song as a theme for their causes, Kurlansky points out how composers and singers have little or no control over their works once they're released into the world. If the words that may have been merely a call to get out there and dance inspire people to gather and fight for their rights, it doesn't matter what Marvin Gaye or Martha Reeves or anyone else meant when they recorded the song. Record producer Jon Landau, quoted in the book, says "When work goes out into the public the artist interpretation becomes just another interpretation. It's not necessarily the deepest interpretation. It's just one interpretation."
Kurlansky includes a comprehensive bibliography and timeline, but no notes. I would have liked more evidence of the claim, which Kurlansky repeats unchallenged in this book, that riots broke out in the late 1950s when teenagers were sent into an uncontrollable destructive frenzy by rock and roll music. Please. I suspect Gene Krupa and Buddy Rich inspired more frenzy than Bill Haley ever did.
July 20, 2013
As a soixante-huitard who spent several years showing up for protests and attending Black Panther rallies, Kurlansky's latest book was a trip down memory lane. The music of the era inspired, energized and motivated us. We loved Motown, not because it was political in an overt way like Dylan or Baez, but because the music was shared with our African American brothers and sisters. It brought us together in a shared experience of joy, grooving to the beat, singing out the choruses, making the older generations a little nervous. This was edgy music and it made us happy. But I'm not at all sure that Kurlansky's thesis, that the music had a fundamental impact on the politics of the era, holds up to scrutiny.
Kurlansky has written a fine history of Motown and the song that brought Martha and the Vandellas to the top of the charts. Berry Gordy, the genius behind the hay day of Motown, discovered, groomed, recorded and promoted dozens of successful artists. His Motown labels produced 45 rpm hit after hit.
Kurlansky also evokes the political history of the era and we see the transition from a segregated nation to a nation embroiled in the conflict that so often presages massive social change.
Kurlansky makes the case that Motown motivated the civil rights movement. To the extent that the music brought blacks and whites together sharing music, this is plausible. But I think his major premise is flawed to some degree. Dancing in the Streets was not a protest song. It didn't demand anything from listeners beyond getting out and dancing. If I were to evoke the politics of the era, I'd look to Phil Ochs, Pete Seeger, Richie Havens, Bob Dylan, Joan Baez who played at the rallies and demonstrations and who were played in small groups late at night among protesters.
The great contribution of Ready for a Brand New Beat is in giving us insights into how and why Motown flowered when it did. Detroit's outstanding school music programs played a major role. Berry Gordy's entrepreneurial genius and know-how transformed good singers into great recording stars. The story is worth reading. Best of all, I found dozens of You Tube clips of performers singing the referenced songs and recommend that readers take frequent reading breaks to enjoy them.
Kurlansky has written a fine history of Motown and the song that brought Martha and the Vandellas to the top of the charts. Berry Gordy, the genius behind the hay day of Motown, discovered, groomed, recorded and promoted dozens of successful artists. His Motown labels produced 45 rpm hit after hit.
Kurlansky also evokes the political history of the era and we see the transition from a segregated nation to a nation embroiled in the conflict that so often presages massive social change.
Kurlansky makes the case that Motown motivated the civil rights movement. To the extent that the music brought blacks and whites together sharing music, this is plausible. But I think his major premise is flawed to some degree. Dancing in the Streets was not a protest song. It didn't demand anything from listeners beyond getting out and dancing. If I were to evoke the politics of the era, I'd look to Phil Ochs, Pete Seeger, Richie Havens, Bob Dylan, Joan Baez who played at the rallies and demonstrations and who were played in small groups late at night among protesters.
The great contribution of Ready for a Brand New Beat is in giving us insights into how and why Motown flowered when it did. Detroit's outstanding school music programs played a major role. Berry Gordy's entrepreneurial genius and know-how transformed good singers into great recording stars. The story is worth reading. Best of all, I found dozens of You Tube clips of performers singing the referenced songs and recommend that readers take frequent reading breaks to enjoy them.
August 19, 2015
Interesting pop history of the song "Dancing in the Street," with an overview of race relations, the history of Motown, and Detroit thrown in. Could probably have been tightened up into an excellent long-form piece of music journalism, but was a little baggy as a book. Still, some fascinating stuff in it.
October 3, 2013
While this was a readable history of the parallels between the civil rights movement and popular music of the time (especially Motown), Kurlansky wasn't able to unify it all into a persuasive theme. One thing I didn't find out was how Dancing in the Street became THE anthem for a changing America. He made the case that it was a one-of-a-kind song interpreted many ways by many people, including as a civil rights anthem. That falls short of the cover's promise, though.
August 22, 2013
I really enjoyed reading Ready For A Brand New Beat How "Dancing In The Street" Became The Anthem For A Changing America, I never knew the prominence the song had gained or how many other artists recorded it. I always knew that Martha Reeves and the Vandellas would be the best ones.
September 8, 2019
This is an excellent Rock n Roll history!
Rock n Roll history is twentieth century history. African American history is American history. I love how this book has so much information all connected in a web to a single record. I had no idea “dancing in the streets” was seen as a controversial protest song. I think of Aretha Franklin’s “Respect” as the civil right anthem of the 60s. I probably think that because 1. It’s a better song and 2. popular history is always trying to remove the violence from the civil rights era and make us think it was all about peaceful marching. Cultural gate keepers see raising the profile of Malcom X or Stokely Carmichael as dangerous.
What I learned: “hepcat” comes from a Senegalese word for one who’s eyes are open. Lady Bird Johnson had a picture phone, but the product didn’t catch on with the wider public. ”Burn baby burn” was a radio DJ’s catch phrase. During the race riots tanks would fire on projects! The poet laureate of New Jersey, Amiri Baraka, was fired. The song “what a wonderful world” posits if we didn’t care so much about history or biology we could love each other. Karen carpenter played the drums. Laura Nyro’s original name was Laura Nigro.
The story behind why the David Bowie and Mick Jagger video is so cringeworthy. They brought their own wardrobe and shot it in a few hours.
Rock n Roll history is twentieth century history. African American history is American history. I love how this book has so much information all connected in a web to a single record. I had no idea “dancing in the streets” was seen as a controversial protest song. I think of Aretha Franklin’s “Respect” as the civil right anthem of the 60s. I probably think that because 1. It’s a better song and 2. popular history is always trying to remove the violence from the civil rights era and make us think it was all about peaceful marching. Cultural gate keepers see raising the profile of Malcom X or Stokely Carmichael as dangerous.
What I learned: “hepcat” comes from a Senegalese word for one who’s eyes are open. Lady Bird Johnson had a picture phone, but the product didn’t catch on with the wider public. ”Burn baby burn” was a radio DJ’s catch phrase. During the race riots tanks would fire on projects! The poet laureate of New Jersey, Amiri Baraka, was fired. The song “what a wonderful world” posits if we didn’t care so much about history or biology we could love each other. Karen carpenter played the drums. Laura Nyro’s original name was Laura Nigro.
The story behind why the David Bowie and Mick Jagger video is so cringeworthy. They brought their own wardrobe and shot it in a few hours.
June 9, 2025
Perhaps I'm not the ideal reader for this book--I myself write about music, and I lived through the era he describes, so I come to the table with my own version of things. I was a socially aware white frat boy>hippie, dancing with equal ardor to The 4 Seasons, The Beach Boys, The Beatles and Martha & the Vandellas, no matter what 21st century social historions try to tell you. Kurlansky makes the case that "Dancing in the Streets" fueled or represented or was the soundtrack for the Civil Rights revolution. It wasn't. It was in the air, it played a part, it reflected the zeitgeist, but it wasn't an anthem. "Blowing in the Wind" was moreso a few years earlier.
And Kurlansky seemed to me on shaky ground when talking about jazz.
It was a rare case for me, reading a history of something I personally witnessed. But I know nothing about Salt or Cod, so I'm hoping to be entertained by other books by Mr Kurlansky without my prejudices getting in the way.
And Kurlansky seemed to me on shaky ground when talking about jazz.
It was a rare case for me, reading a history of something I personally witnessed. But I know nothing about Salt or Cod, so I'm hoping to be entertained by other books by Mr Kurlansky without my prejudices getting in the way.
May 28, 2025
A great book from Mark Kurlansky.
All about the classic song from Motown titled Dancing in the Street sung by Martha Reeves and the Vandellas in 1964.
The history of this song is amazing, having been sung by over 40 other singers and bands and is still being sung regularly in 2025. These versions were known as covers.
It has been a feel good song, a call to arms during the violence of the civil rights movement, and just about as many interpretations as there have been singers.
Mick Jagger and David Bowie did a joint version.
Kurlansky's book covers the civil rights movement, the Viet Nam war, the assassination of Dr. King, the politics and political parties of this era, the racism that was overwhelming the country, the music industry, Motown, Berry Gordy, and much, much more.
It is fully worth your readership.
All about the classic song from Motown titled Dancing in the Street sung by Martha Reeves and the Vandellas in 1964.
The history of this song is amazing, having been sung by over 40 other singers and bands and is still being sung regularly in 2025. These versions were known as covers.
It has been a feel good song, a call to arms during the violence of the civil rights movement, and just about as many interpretations as there have been singers.
Mick Jagger and David Bowie did a joint version.
Kurlansky's book covers the civil rights movement, the Viet Nam war, the assassination of Dr. King, the politics and political parties of this era, the racism that was overwhelming the country, the music industry, Motown, Berry Gordy, and much, much more.
It is fully worth your readership.
May 5, 2017
Mark Kurlansky has a writing style that I really enjoy - he's once again presented a social/political history as a "single item social history." This book is ostensibly about a song but it truly describes a shift that happened in the US in the mid 60s that resulted in more than a decade of radical protest and upheaval. The song happened to be catchy, in the right place at the right time and easily borrowed to other interpretations because of enigmatic lyrics which happen to be a result historical African American black cultural tradition called "masking."
The book is extremely well documented with historical resources and interviews that the author conducted -- and it's a fantastic primer for anyone who wasn't there and probably a very enjoyable historical review for anyone who was.
The book is extremely well documented with historical resources and interviews that the author conducted -- and it's a fantastic primer for anyone who wasn't there and probably a very enjoyable historical review for anyone who was.
August 15, 2017
Like Kurlansky's other books I have read, this is a thoroughly enjoyable slice of history. I find it a little weaker for two primary reasons. Other than in Chapter 3, he brings little to the table that is not fairly well known to an audience that has a basic knowledge of Motown, Gordy and pop music development. Similarly with MLK and SNCC. Secondly, the last chapter is very personable but not very engaging. He reminisces about Dancing in the Street without demonstrating a real connection. Still, a solid engaging read.
September 15, 2019
Detroit, Motown and the Civil Rights struggle in the ‘60’s. Of course I had to deal with the ear worm “Dancing in the Street” while reading! I guess I know a lot about this era and Motown because I didn’t learn as many fascinating facts as I normally do from his books. If you don’t know that the Funk brothers are the heartbeat of Motown or know of the different Civil Rights organizations (SNCC, NAACP, Black Panthers) you might get more historical info than I did. “Calling out around the world...”
July 1, 2021
A misleading title, this book gives a good look at what was happening in both society and the music field in the 50's and 60's. The music was often reflective of what was happening in the areas of civil rights, Vietnam, street protests, etc.
Dancing in the Street was often played at these gatherings and has been recorded by 35 different groups/singers. President Barack Obama referenced it as a civil rights song, while Martha Reeves called it a party song. It had different meanings to different people in different situations.
Dancing in the Street was often played at these gatherings and has been recorded by 35 different groups/singers. President Barack Obama referenced it as a civil rights song, while Martha Reeves called it a party song. It had different meanings to different people in different situations.
July 24, 2017
I will give it 3.5 stars. The first half is a bit long about the history of rock and Roll and R&B (though,interesting). The second half is devoted to how this song was used in the 1960s during civil rights protests, a bit about the start of Motown and Berry Gordy. Kurlansky also writes about how many other musicians sang recorded this song over the years but none better than Martha Reeves and the Vandals.
January 2, 2021
I suppose one has to be of a certain age to appreciate this book fully, but it’s a real treat for those of us who lived through those days.
The subtitle gets rather short shrift, but Kurlansky includes a decent outline of blues music and an extensive review of the Motown years.
Eventually Kurlansky gets to his point and shows the relationship between the 60s Civil Rights movement and what Rolling Stone magazine has called the greatest sumner song of all time.
The subtitle gets rather short shrift, but Kurlansky includes a decent outline of blues music and an extensive review of the Motown years.
Eventually Kurlansky gets to his point and shows the relationship between the 60s Civil Rights movement and what Rolling Stone magazine has called the greatest sumner song of all time.
June 4, 2019
This was a very good and informative book. This book was very interesting in that is gave the history of music for African Americans. I loved that I knew about all the other events that were going on in history when they were mentioned and I was able to connect them with music events it talked about. Overall good book.
October 9, 2020
In this book, Kurlansky explores the phenomenon of how Motown and the song “Dancing in the Street” changed music in a turbulent time in the US in the 1960’s. Kurlansky also explores the events of the time period including the rise of the Beatles, Vietnam, the Civil Rights Act and changes in politics. Kurlansky is never boring and I enjoy his unusual book topics!
April 23, 2019
I enjoyed the unique perspective of this book, the history of protest music, Motown and the many different interpretations of what “In the Streets” meant. Not about Martha Reeves or Motown per se, but provides the context for a different narrative.
May 8, 2022
Entertaining and educational look at how one song can have a huge legacy outside the music industry. It's interesting to read the background and learn more about Motown records in the variety of bands and singers who have taken this song and trying to make it their own.
March 28, 2018
This is an excellent book, and with Kurlankys book 1968 ( and maybe non violence), really covers an era.
June 2, 2019
Full of slightly related facts and wishful conjecture, this book’s thesis fails to deliver.
September 5, 2019
Interesting look at the birth of Motown and the song "Dancing in the Street"
December 23, 2019
This is a great book, full of musical history and American cultural and political history.
June 5, 2024
Interesting look at a song and the Civil Rights movement.
I enjoyed how the song has been interpreted differently by different people and times.
I enjoyed how the song has been interpreted differently by different people and times.
August 18, 2013
Received this as an ARC through Goodreads and Riverhead/Penguin books - thanks for that.
I wish that I had liked this book more. I have read quite a bit on the history of rock, so much of the ground the Kurlansky covers, about the black-white divide in music - the separate charts and radio stations etc - was quite familiar to me. Although I didn't know about Motown in as much detail as Kurlansky presents, I can't say that I found a lot of what he added that valuable and interesting. The piece at the beginning of the book about the actual recording of the song, the info about Marvin Gaye (sounds like a fascinating guy) was new and interesting. But a lot of the details - and there are a lot of them - that he provided seem trivial and irrelevant. Perhaps this would have been better as a Rolling Stone essay rather than a full length book? It feels a bit padded. Kurlansky is also - at least in this book - simply not a good writer. His sentences are often awkward and unclear. It's possible that some of my complaints stem from having read this as an ARC - I recognize that this is not the final published version of the book - but the poor grammar, punctuation and sheer awkwardness and poor quality of the writing couldn't possibly have all been corrected between the ARC and the final version.
Perhaps on a more profound note, the author also doesn't prove his central contention - that "Dancing in the Street" became the soundtrack of the 60's "revolution." It's an interesting premise - it might even be true - but I remain unconvinced.
I have several other books by Kurlansky at home - "Salt," "The Big Oyster," and "Cod" - but I'm now wondering if they are worth reading if the writing quality is the same as in "Ready for a Brand New Beat." But it seems if they really were of that quality, Kurlansky would never have gotten another book contract. SO I'll think about those others. Again, I wish that I could have liked this more and written a more favorable review.
I wish that I had liked this book more. I have read quite a bit on the history of rock, so much of the ground the Kurlansky covers, about the black-white divide in music - the separate charts and radio stations etc - was quite familiar to me. Although I didn't know about Motown in as much detail as Kurlansky presents, I can't say that I found a lot of what he added that valuable and interesting. The piece at the beginning of the book about the actual recording of the song, the info about Marvin Gaye (sounds like a fascinating guy) was new and interesting. But a lot of the details - and there are a lot of them - that he provided seem trivial and irrelevant. Perhaps this would have been better as a Rolling Stone essay rather than a full length book? It feels a bit padded. Kurlansky is also - at least in this book - simply not a good writer. His sentences are often awkward and unclear. It's possible that some of my complaints stem from having read this as an ARC - I recognize that this is not the final published version of the book - but the poor grammar, punctuation and sheer awkwardness and poor quality of the writing couldn't possibly have all been corrected between the ARC and the final version.
Perhaps on a more profound note, the author also doesn't prove his central contention - that "Dancing in the Street" became the soundtrack of the 60's "revolution." It's an interesting premise - it might even be true - but I remain unconvinced.
I have several other books by Kurlansky at home - "Salt," "The Big Oyster," and "Cod" - but I'm now wondering if they are worth reading if the writing quality is the same as in "Ready for a Brand New Beat." But it seems if they really were of that quality, Kurlansky would never have gotten another book contract. SO I'll think about those others. Again, I wish that I could have liked this more and written a more favorable review.
September 8, 2013
Very interesting and informative, especially as I grew up in the era of R&B and remember this song and most of the music referred to very well. However, I found the book illuminating as well because my experience as a white middle-class female from the suburbs of Philly gave me such a biased view of the song and its effect on society. I really was not aware of the greater impact the song had for the black community.
One of the major points of the book is the use of the 1964 song, "Dancing in the Street" by Martha and the Vandelas, as both a party song for good times and as an anthem for the Black Power movement, with subliminal meaning that reads "Dancing" as rioting instead of just dancing.
Actually the book talks about the song from a number of viewpoints, e.g. tracing the background and increasing popularity of Rhythm and Blues in a very white music world, talking about all the artists and musicians who had a part in either the rise of the genre or the criticism of the style. Societal mores and prejudice are discussed, in terms of black and white musicians, as well as the Freedom movement. There are lots of interviews and quotes from artists of both colors, and it is eye-opening to hear the commentary and history.
"Dancing in the Street" is apparently one of the most "covered" songs in American pop history. It was also interesting to hear the list of people who have attempted to perform or record this song, none of whom really ever equaled the original performance.
Note: I listened to the book as an audio book and I was not impressed with the narrator. I also think the recording of the text would have been greatly improved by snippets of the songs talked about. There was no sound track to speak of, not even a recording of the title song. Big mistake.
One of the major points of the book is the use of the 1964 song, "Dancing in the Street" by Martha and the Vandelas, as both a party song for good times and as an anthem for the Black Power movement, with subliminal meaning that reads "Dancing" as rioting instead of just dancing.
Actually the book talks about the song from a number of viewpoints, e.g. tracing the background and increasing popularity of Rhythm and Blues in a very white music world, talking about all the artists and musicians who had a part in either the rise of the genre or the criticism of the style. Societal mores and prejudice are discussed, in terms of black and white musicians, as well as the Freedom movement. There are lots of interviews and quotes from artists of both colors, and it is eye-opening to hear the commentary and history.
"Dancing in the Street" is apparently one of the most "covered" songs in American pop history. It was also interesting to hear the list of people who have attempted to perform or record this song, none of whom really ever equaled the original performance.
Note: I listened to the book as an audio book and I was not impressed with the narrator. I also think the recording of the text would have been greatly improved by snippets of the songs talked about. There was no sound track to speak of, not even a recording of the title song. Big mistake.
December 28, 2013
I received an advanced reades copy of this book through a Goodreads Giveaway contest.
There are not too many songs that whole book can be written about. I did not think that Dancing in the street by Martha Reeves and Vandellas could be one of them. I was wrong. You tie this song with the civil rights movement and you have a big story.
The author did a good job in his homework. His research on the civil rights movement was very good. That subject has produced many books alone. His research on the history of Motown records was very good. Although I am pretty sure that he could have written a lot more on that. Those two histories are important in telling the story of Dancing in the Street. I feel the author did a great job in bringing those two stories together and what each meant to the other.
I felt the author caught the mood of what was going on in Americ and at Motown at the time. It was a hectic and confusing time. The actual recording session was not covered in too much detail as it was very quick and who knew the impact it would have. The time before the actual recording is very important to the telling of the sory.
I did feel the author could have covered the years after the songs release a little more in detail. It did have a big impact and the author covered a lot, somehow I thouhg there might me more. Maybe not.
I really enjoyed this book. I really enjoyed the history lessaon that went with the song. I recommend this book for anyone who likes history and music.
There are not too many songs that whole book can be written about. I did not think that Dancing in the street by Martha Reeves and Vandellas could be one of them. I was wrong. You tie this song with the civil rights movement and you have a big story.
The author did a good job in his homework. His research on the civil rights movement was very good. That subject has produced many books alone. His research on the history of Motown records was very good. Although I am pretty sure that he could have written a lot more on that. Those two histories are important in telling the story of Dancing in the Street. I feel the author did a great job in bringing those two stories together and what each meant to the other.
I felt the author caught the mood of what was going on in Americ and at Motown at the time. It was a hectic and confusing time. The actual recording session was not covered in too much detail as it was very quick and who knew the impact it would have. The time before the actual recording is very important to the telling of the sory.
I did feel the author could have covered the years after the songs release a little more in detail. It did have a big impact and the author covered a lot, somehow I thouhg there might me more. Maybe not.
I really enjoyed this book. I really enjoyed the history lessaon that went with the song. I recommend this book for anyone who likes history and music.
August 9, 2013
I thought this was a brilliant idea and written brilliantly. I would love to hear the story of what generated the concept. What made him think of using one of the 1960's R n B songs to take the reader through the history of Motown and the Civil Rights Movement? As the title indicates, "are you ready for a brand new beat", a line from Martha and the Vandellas' "Dancing in the Street", a favorite of any R n B fan, is questioned. What did it mean? Was it just a fun, get-people-on-their-feet song? Was it a call to bring people together, to get out in the streets demanding their rights? The history of the song, Motown and the civil rights strife are woven together in a very interesting scenario.
I had read Kurlansky's "Salt", which i liked a lot, "Cod", which i didn't finish, "1968", which i referenced in a course i taught on the 60's. I like his style of focusing on oone subject to teach us all a little history, especially when he does it as well as i think he did in this book.
You may like to know that Barbara Ehrenreich has written a book titled "Dancing in the Streets". The flyleaf says "Drawing on a wealth of history and anthropology, Ehrenreich uncovers the deep origins of communal revelry in human biology and culture.........Original, exhilarating, and profoundly optimistic, Dancing in the Streets concludes that we are innately social beings, impelled almost instinctively to share our joy, and therefore able to envision, perhaps even create, a more peaceful future." huuuummm. Just got it yesterday at the library, haven't gotten into it yet.
I had read Kurlansky's "Salt", which i liked a lot, "Cod", which i didn't finish, "1968", which i referenced in a course i taught on the 60's. I like his style of focusing on oone subject to teach us all a little history, especially when he does it as well as i think he did in this book.
You may like to know that Barbara Ehrenreich has written a book titled "Dancing in the Streets". The flyleaf says "Drawing on a wealth of history and anthropology, Ehrenreich uncovers the deep origins of communal revelry in human biology and culture.........Original, exhilarating, and profoundly optimistic, Dancing in the Streets concludes that we are innately social beings, impelled almost instinctively to share our joy, and therefore able to envision, perhaps even create, a more peaceful future." huuuummm. Just got it yesterday at the library, haven't gotten into it yet.
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