This handbook provides a thorough treatment of the various mechanisms African Americans have used to participate in U.S. political affairs from the colonial era to the present. With contributions by several of the field's experts, this concise, provocative volume explores the evolution and current status of African American political action. Focusing on distinct types of activity (protest politics, grassroots movements, electoral politics, political office holding), it charts the unique development of African Americans as they progressed from enslavement by whites to empowerment as citizens to an ever-growing influence on elections. As the book vividly demonstrates, African Americans' efforts to act on their own political behalf didn't begin in the 1960s. Even while enslaved, black people courageously launched petitions, instigated strikes on plantations, and staged full-blown revolts, creating a legacy of activism that expanded through the abolition movement, Reconstruction, the Jim Crow era, the post-World War II civil rights movement, and into the present.

Sixties British rock and pop changed music history. While American popular music dominated the record industry in the late fifties and early sixties, the Beatles, the Rolling Stones, the Kinks, the Who, and numerous other groups soon invaded the world at large and put Britain at the center of the modern musical map. Please Please Me offers an insider's view of the British pop-music recording industry during the seminal period of 1956 to 1968, based on personal recollections, contemporary accounts, and all relevant data that situate this scene in the economic, political, and social context of postwar Britain. Author Gordon Thompson weaves issues of class, age, professional status, gender, and ethnicity into his narrative, beginning with the rise of British beat groups and the emergence of teenagers as consumers in postwar Britain, and moving into the competition between performers and the recording industry for control over the music. He interviews session musicians who recorded anonymously with the Beatles, Hermans Hermits, and the Kinks, professional musicians who toured with British bands promoting records or providing dance music, songwriters, music directors, and producers and engineers who worked with the best-known performers of the era. The consequences of World War Two for pop music in the late fifties and early sixties form the backdrop for discussion of recording equipment, musical instruments, and new jet-age transportation, all contributors to the rise of British pop-music alongside the personalities that more famously made entertainment news. And these famous personalities traverse the pages of Please Please Me as well: performing songwriters John Carter and Ken Lewis, Lennon and McCartney, Jagger and Richards, Ray Davies, and Pete Townshend took center stage while the production teams and session musicians created the art of recording behind the doors of Londons studios. Drawing his interpretation of the processes at work during this musical revolution into a wider context, Thompson unravels the musical change and innovation of the time with an eye on understanding what traces individuals leave in the musical and recording process. Opening up important new historical and musical understandings in a repertoire that is at the core of rock music's history, Please Please Me will appeal to all students, scholars, and fans of popular music.

There is growing interest world wide in nuclear-free zones. Originally published in 1987, this book explores the question of what constitutes a nuclear-free zone and charts the progress of the movement to establish them. The book shows how definitions of nuclear-free zones vary from those intended to exclude everything nuclear (including nuclear power installations and the dumping of nuclear waste) to those aiming to exclude nuclear weapons in a limited way. Special attention is paid to the three treaties which have established major international nuclear-free zones, (Latin America, South Pacific, Antarctica) examining their strengths and weaknesses as well as areas where the idea has been proposed (Balkans, Africa). The book concludes with a review of problems and prospects for the future.

There is growing interest world wide in nuclear-free zones. Originally published in 1987, this book explores the question of what constitutes a nuclear-free zone and charts the progress of the movement to establish them. The book shows how definitions of nuclear-free zones vary from those intended to exclude everything nuclear (including nuclear power installations and the dumping of nuclear waste) to those aiming to exclude nuclear weapons in a limited way. Special attention is paid to the three treaties which have established major international nuclear-free zones, (Latin America, South Pacific, Antarctica) examining their strengths and weaknesses as well as areas where the idea has been proposed (Balkans, Africa). The book concludes with a review of problems and prospects for the future.

Sixties British rock and pop changed music history. While American popular music dominated the record industry in the late fifties and early sixties, the Beatles, the Rolling Stones, the Kinks, the Who, and numerous other groups soon invaded the world at large and put Britain at the center of the modern musical map. Please Please Me offers an insider's view of the British pop-music recording industry during the seminal period of 1956 to 1968, based on personal recollections, contemporary accounts, and all relevant data that situate this scene in the economic, political, and social context of postwar Britain. Author Gordon Thompson weaves issues of class, age, professional status, gender, and ethnicity into his narrative, beginning with the rise of British beat groups and the emergence of teenagers as consumers in postwar Britain, and moving into the competition between performers and the recording industry for control over the music. He interviews session musicians who recorded anonymously with the Beatles, Hermans Hermits, and the Kinks, professional musicians who toured with British bands promoting records or providing dance music, songwriters, music directors, and producers and engineers who worked with the best-known performers of the era. The consequences of World War Two for pop music in the late fifties and early sixties form the backdrop for discussion of recording equipment, musical instruments, and new jet-age transportation, all contributors to the rise of British pop-music alongside the personalities that more famously made entertainment news. And these famous personalities traverse the pages of Please Please Me as well: performing songwriters John Carter and Ken Lewis, Lennon and McCartney, Jagger and Richards, Ray Davies, and Pete Townshend took center stage while the production teams and session musicians created the art of recording behind the doors of London's studios. Drawing his interpretation of the processes at work during this musical revolution into a wider context, Thompson unravels the musical change and innovation of the time with an eye on understanding what traces individuals leave in the musical and recording process. Opening up important new historical and musical understandings in a repertoire that is at the core of rock music's history, Please Please Me will appeal to all students, scholars, and fans of popular music.

PREFACE. THE material from which this little work has been drawn has necessarily been exceedingly various. I had at one time thought of indicating the many authorities to whose works I am indebted for information, and as far as possible this has been done in the footnotes to the text. So extensive, however, have been the sources from whichmy information has been derived, that it will hardly be surprising if some have been left unacknowledged. May I therefore express my indebtedness to all upon whose experience I have based my argument or from whom I have obtained facts and figures, either by direct communication or by a consultation of their works- The object of this account of our Canal System has been, not so much to discuss each individual waterway, but to set forth in order the facts relating to our inland navigations as a whole, and to give some idea of the possibilities which lie before the method of transport. November 15th, 1902, Waimer House, 1, Catherine Street, Liverpool. H. The subject of transport is undoubtedly one of tbe introduction most important questions of the present day. The dawn of the Twentieth Century finds the great nations of the world still struggling supremacy, for commercial and there can be no doubt that one of the most important factors in this contest, is the possession of adequate means of transport. The nation having the best means of conveying her merchandise, possesses an advantage, difficult to estimate and still more difficult to reduce. The utility of water as a means of transport has been TIt apparent from a very early age, and the adaptation of the channels or canals, used by the ancients for irrigation, to the much wider purpose, namely as ameans of transport, marked the birth of artificial inland navigations. JcJ f Tran8P rt - The Canal System of England. I. HlSTORY. Eariy canals. From the writings of Herodotus, Aristotle, Pliny, and other ancient historians, we learn that canals existed in Egypt before the Christian era, and there is reason to believe that at the same early period, artificial inland navigation had also been introduced into China. Hardly anything, however, save their existence has been recorded of these early works. We know that the Greeks, and afterwards, three of the Roman Emperors, attempted to join the Ionian Sea and the Archipelago by a canal, but failed and Pliny mentions that Drusus, commanding under Augustus an army which was to march into Germany, had a canal made from the now-known Rhine, to the Issel, for the sole purpose of conveying his army it. upon introduction Canals appear to have been introduced into Europe into Europe. with the advent of the Christian era, but for many centuries their employment was very gradual, introduction Their first introduction into this country was by the into J England, RomanSj when Britain, for a period of 400 years, was a province of the Roman Empire. The canals which the Romans constructed were designed for irrigation and water supply rather than for purposes of navigation. Such was one of the most notable of their canals, the Foss- Dyke, extending from Lincoln to the Trent, a distance of eleven miles, concerning which Cambden states in his Priestly...