The autobiography of Ike Turner, as told to Nigel Cawthorne

The dramatic and spectacular story of an American music icon—the immortal Tina Turner! From Nutbush, Tennessee, to Hollywood stardom; from Ike’s Kings of Rhythm to onstage with Mick Jagger and the Stones; and from the lowest lows to the highest highs, Tina Turner has seen it, done it, suffered it, and survived it all. In her monumental bestseller I, Tina—the basis for the Academy Award-nominated motion picture What's Love Got to Do with It—she tells it like it really was . . . and really is. This book is a superstar's honest and intimate account of struggle and pain, love and abuse, glory and tragedy, and one of the greatest comebacks in music history.

If you don’t know Tina Turner’s spirituality, you don’t know Tina. When Tina Turner reclaimed her throne as the Queen of Rock ‘n’ Roll in the 1980s, she attributed her comeback to one thing: the wisdom and power she found in Buddhism. Her spiritual transformation is often overshadowed by the rags-to-riches arc of her life story. But in this groundbreaking biography, Ralph H. Craig III traces Tina’s journey from the Black Baptist church to Buddhism and situates her at the vanguard of large-scale movements in religion and pop culture. Paying special attention to the diverse metaphysical beliefs that shaped her spiritual life, Craig untangles Tina’s Soka Gakkai Buddhist foundation; her incorporation of New Age ideas popularized in ’60s counterculture; and her upbringing in a Black Baptist congregation, alongside the influences of her grandmothers’ disciplinary and mystical sensibilities. Through critical engagement with Tina’s personal life and public brand, Craig sheds light on how popular culture has been used as a vehicle for authentic religious teaching. Scholars and fans alike will find Dancing in My Dreams as enlightening as the iconic singer herself.

Taking Our Country Back presents the previously untold history of the uptake of new media in Democratic electoral campaigning over the last decade. Drawing on interviews with more than sixty political staffers, fieldwork during the 2008 primaries and general election, and archival research, Daniel Kreiss shows how a group of young, technically-skilled Internet staffers came together on the Howard Dean campaign and created a series of innovations in organization, tools, and practice that have changed the elections game. He charts how these individuals carried their innovations across Democratic politics, contributing to a number of electoral victories, including Barack Obama's historic bid for the presidency. In revealing this history, the book provides a rich empirical look at the communication tools, practices, and infrastructure that shape contemporary online campaigning. Taking Our Country Back is a serious and vital analysis, both on-the-ground and theoretical, of how a small group of visionary people transformed what campaigning means today and how technical and cultural work coordinates collective action.

She's So Fine explores the music, reception and cultural significance of 1960s girl singers and girl groups in the US and the UK. Using approaches from the fields of musicology, women's studies, film and media studies, and cultural studies, this volume is the first interdisciplinary work to link close musical readings with rigorous cultural analysis in the treatment of artists such as Martha and the Vandellas, The Crystals, The Blossoms, Brenda Lee, Dusty Springfield, Lulu, Tina Turner, and Marianne Faithfull. Currently available studies of 1960s girl groups/girl singers fall into one of three categories: industry-generated accounts of the music's production and sales, sociological commentaries, or omnibus chronologies/discographies. She's So Fine, by contrast, focuses on clearly defined themes via case studies of selected artists. Within this analytical rather than historically comprehensive framework, this book presents new research and original observations on the 60s girl group/girl singer phenomenon.

Taking Power analyzes the causes behind some three dozen revolutions in the Third World between 1910 and the present. It advances a theory that seeks to integrate the political, economic, and cultural factors that brought these revolutions about, and links structural theorizing with original ideas on culture and agency. It attempts to explain why so few revolutions have succeeded, while so many have failed. The book is divided into chapters that treat particular sets of revolutions including the great social revolutions of Mexico 1910, China 1949, Cuba 1959, Iran 1979, and Nicaragua 1979, the anticolonial revolutions in Algeria, Vietnam, Angola, Mozambique, and Zimbabwe from the 1940s to the 1970s, and the failed revolutionary attempts in El Salvador, Peru, and elsewhere. It closes with speculation about the future of revolutions in an age of globalization, with special attention to Chiapas, the post-September 11 world, and the global justice movement.