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  1. From out of the shadows, vampires step into the light
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The first of two name changes came up when they got an outside booking in Derbyshire -- at that point, Foster decided that "the Drifters " wasn't impressive enough as a name by itself, and wanted their vocalist to have lead billing. A little more than 40 years later, he was Sir Cliff Richard. By that time, the group was a quintet of Richard who still played guitar as well as singing, in the early days , Mitham, Samwell, Ken Pavey on third guitar , and Terry Smart -- and still no bassist.

And fortunately for all concerned, the record was "flipped" and "Move It" became the A-side. The record, released in late August, reached number two on the charts, and as it was climbing the listings, Cliff Richard began a series of appearances on the television show Oh Boy! All of these events -- the recording contract, the single, the chart placement -- ensured Richard 's emergence to stardom, but the Drifters , at first, were another matter. Although he was willing to use the group on Richard 's recordings, Paramor already felt compelled to use session musicians to enhance their sound in the studio; and as their audience grew along with the demand for shows in bigger and more competitive venues, it was clear that the group would have to adapt.

It was John Foster who, in the summer of , went to the 2I's in search of a Liverpool guitarist-and-singer he'd heard about named Tony Sheridan -- he wasn't there, but Foster did find a pair of virtuoso guitarists named Hank Marvin and Bruce Welch ; they were already members of a top skiffle group called the Chesternuts, and had made a couple of records.

Richard also abandoned his guitar, just as Elvis Presley had, and found the experience liberating, as his stage moves became all the more intense and downright provocative, so much so that they were regarded as highly controversial in the press. And the shows filled up and the bookings and the fees skyrocketed -- their sound was still a bit raw on-stage, but even that worked to their advantage at the time, giving the music still more authenticity than was typical for the time in England.

And in early , Tony Meehan , a drummer who was already making a good living in his mid-teens as a session musician, replaced Terry Smart, the last of the original Drifters. This was the version of the group that was finally signed in their own right to EMI. An album followed in February of , cut live before an audience of extremely fervent fans at Abbey Road's Studio No. And beyond Richard 's fame, Marvin , Welch , Harris , and Meehan all became stars in their own right, with Harris and Meehan regarded as one of the best rhythm sections in the business, with a huge fan following of their own, while Marvin and Welch were directly responsible for the sales of tens of thousands of electric guitars to teenagers.

From out of the shadows, vampires step into the light

A story out of the early history of the Beatles illustrates their dominance -- John Lennon and Paul McCartney , both in their mid-teens at the time, knew that Richard and the Shadows were to appear on television one evening, and both were watching from their respective homes to look at Hank Marvin to see exactly how the intro to "Move It" was played. There was an effort early in to push Richard as a star in his own right, separate from the band, but it didn't come from the music side of the entertainment business -- rather, he was signed to play an important supporting role in the gritty juvenile delinquency drama Serious Charge.

Whether living in a labor camp, a boxcar settlement, or an urban barrio, Mexican women nurtured families, worked for wages, built extended networks, and participated in community associations--efforts that solidified the community and helped Mexican Americans find their own place in America. Ruiz provides the first full study of Mexican-American women in the 20th century, in a narrative enhanced by interviews and personal stories that capture a vivid sense of the Mexicana experience in the United States.

Beginning with the first wave of women crossing the border early this century, Ruiz reveals the struggles they have faced, the communities they have built, and also highlights the various forms of political protest they have initiated.

What emerges from the book is a portrait of a distinctive culture in America that has slowly gathered strength in the last 95 years. From Out of the Shadows is an important addition to the largely undocumented history of Mexican-American women in our century.

From out of the shadows | Oregon State Library

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Community Reviews. Showing Rating details. More filters. Sort order. Oct 18, Lizzy Rideout rated it really liked it. I really enjoyed this book. It's pretty dense, but not in an off-putting way so much as an economical way. It's short- less than pages- but really teaches a lot about the women coming from Mexico or of Mexican heritage and what they did to not only support their families and make life possible for their families and their communities. It was very well researched and had a little bit of a personal touch by the author, which I felt gave it that much more meaning and passion.

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The footnotes are I really enjoyed this book. The footnotes are extensive, so you can really follow where she got her information and add more books to your reading list if you want to follow the subject further. I borrowed this book from a friend who had marked it all up and wrote little notes in the margins, and I loved reading it that way. I think my favorite part about it was that it really showed how all these women made something better out of their lives of poverty, misogyny, and racism, and I'm definitely taking notes on how to move forward in the world today.

Shelves: latin-american-history. In the hands of social historians, butchers, bakers, candlestick makers, male and female, European and non-European have all been given a written history. Our guest today, Vicki Ruiz , is one of the pioneers in this effort. Through interviews and extensive documentary investigation, Vicki does a masterful job reconstructing the experiences of immigrant women who have gone by many names— Mexicanas, Tejanas, Chicanas, Hispanas among them. She describes in vivid detail how they negotiated the life passages of school, marriage, motherhood, and work while trying to balance the forces of assimilation and tradition.

Though the book is about Mexican women, the theme resonates with the American immigrant experience more generally.