For thirteen-year-old Judy Strand, summers in Bay Ridge, Brooklyn, bustle with games of stickball played in the street, fun-filled outings to neighboring Coney Island, and her family’s yearly trip to the Catskill Mountains. But in July 1944, Judy’s carefree days and her innocence are shaken by a discovery: The man she’s always called Pa isn’t her real father. Even more shocking, Judy learns that the father she doesn’t remember was an alcoholic who abandoned his family. That’s why Judy’s mother emigrated to America from Norway. Now Judy feels jumbled inside: She’s angry at her mother for keeping the truth from her–and she’s suddenly awkward around Pa. Nothing her parents say soothes the hurt. At first, even the attentions of Jacob Jacobsen don’t make her feel any better. Judy likes Jacob; it’s just that his dad’s drinking binges hit too close to home. Ashamed, Judy doesn’t want anyone to find out her secret. But as misfortune befalls Jacob, Judy’s close friends, and her own family, Judy rallies to their side, and in the process recognizes that growing up encompasses forgiveness–of others and of herself.

In 1944, a thirteen-year-old girl grapples with the discovery that "Pa" isn't her biological father, experiences her first romance, and faces hardships dealt to friends in Brooklyn's Norwegian community.

By taking a fresh approach to the study of history in general, Alexandra Carter's Rethinking Dance History offers new perspectives on important periods in dance history and seeks to address some of the gaps and silences left within that history. Encompassing ballet, South Asian, modern dance forms and much more, this book provides exciting new research on topics as diverse as: *the Victorian music hall *film musicals and popular music videos *the impact of Neoclassical fashion on ballet *women's influence on early modern dance *methods of dance reconstruction. Featuring work by some of the major voices in dance writing and discourse, this unique anthology will prove invaluable for both scholars and practitioners, and a source of interest for anyone who is fascinated by dance's rich and multi-layered history.

In examining the relationship between the spectacular, iconic and vibrant New York of the musical and the off-screen history and geography of the real city—this book explores how the city shaped the genre and equally how the genre shaped representations of the city. Shearer argues that while the musical was for many years a prime vehicle for the idealization of urban density, the transformation New York underwent after World War II constituted a major challenge to its representation. Including analysis of 42nd Street, Swing Time, Cover Girl, On the Town, The Band Wagon, Guys and Dolls, West Side Story and many other classic and little-known musicals—this book is an innovative study of the relationship between cinema and urban space.

The need to ‘rethink’ and question the nature of dance history has not diminished since the first edition of Rethinking Dance History. This revised second edition addresses the needs of an ever-evolving field, with new contributions considering the role of digital media in dance practice; the expansion of performance philosophy; and the increasing importance of practice-as-research. A two-part structure divides the book’s contributions into: • Why Dance History? – the ideas, issues and key conversations that underpin any study of the history of theatrical dance. • Researching and Writing – discussions of the methodologies and approaches behind any successful research in this area. Everyone involved with dance creates and carries with them a history, and this volume explores the ways in which these histories might be used in performance-making – from memories which establish identity to re-invention or preservation through shared and personal heritages. Considering the potential significance of studying dance history for scholars, philosophers, choreographers, dancers and students alike, Rethinking Dance History is an essential starting point for anyone intrigued by the rich history and many directions of dance.

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.

A soloist with the New York City Ballet recounts his rise from poverty and the tough streets of Brooklyn to succes in the world of dance.