A cornucopia of factoids and fun asides bursting with a wealth of in-depth information on every aspect of sneakers, from...
In his first book, journalist Smith follows his fascination, sprinting through the evolution of the planet’s hippest, most popular footwear, a history that goes way beyond sports and into the streets of the youth culture.
The tale begins with inventor Charles Goodyear, whose innovations and patents on rubber laid the basis for all things sneaker to come. Combine these innovations with a demand for sports footwear, and an industry was born. From the expansion of soccer and rugby, men’s and women’s tennis, the rebirth of the Olympic games, and the 1891 invention of basketball, the turn-of-the-20th-century sports explosion created an increasing proliferation of athletes—along with thousands of feet needing protection. As the author demonstrates, with the professionalization of sports through the coming decades and events like the 1960s creation of jogging as a pastime, the demand for sneakers continued to grow—and it hasn’t lost any momentum in the new millennium. The demand for sneakers today often boils down to status (“some people will wait in line for days to get kicks no one else has”) rather than utility, and Smith details how ingenious media campaigns such as Spike Lee’s Mars Blackmon/Michael Jordan ads spawned an all-new fashion boom beginning in 1988, with Nike selling millions of pairs of Air Jordan sneakers for their creative efforts. Today, with sneakers dominating the streets on the feet of the youth, the author explains that this universal footwear has become the latest symbol of globalization. With that symbolism, new controversies abound. Aside from sneaker manufacturers still battling to overcome stigmas of sweatshop conditions and poverty wages, they walk a fine line in marketing their wares as the popularity of gangster fashion grows in the street culture.
A cornucopia of factoids and fun asides bursting with a wealth of in-depth information on every aspect of sneakers, from their birth to their current and continuing explosive popularity.Pub Date: May 1, 2018
ISBN: 978-0-451-49811-3
Page Count: 320
Publisher: Crown
Review Posted Online: March 23, 2018
A sleek, vital history that effectively shows how, “from the outset, inequality was enforced with the whip, the gun, and the...
A concise, alternate history of the United States “about how people across the hemisphere wove together antislavery, anticolonial, pro-freedom, and pro-working-class movements against tremendous obstacles.”
In the latest in the publisher’s ReVisioning American History series, Ortiz (History/Univ. of Florida; Emancipation Betrayed: The Hidden History of Black Organizing and White Violence in Florida from Reconstruction to the Bloody Election of 1920, 2005, etc.) examines U.S. history through the lens of African-American and Latinx activists. Much of the American history taught in schools is limited to white America, leaving out the impact of non-European immigrants and indigenous peoples. The author corrects that error in a thorough look at the debt of gratitude we owe to the Haitian Revolution, the Mexican War of Independence, and the Cuban War of Independence, all struggles that helped lead to social democracy. Ortiz shows the history of the workers for what it really was: a fatal intertwining of slavery, racial capitalism, and imperialism. He states that the American Revolution began as a war of independence and became a war to preserve slavery. Thus, slavery is the foundation of American prosperity. With the end of slavery, imperialist America exported segregation laws and labor discrimination abroad. As we moved into Cuba, the Philippines, and Puerto Rico, we stole their land for American corporations and used the Army to enforce draconian labor laws. This continued in the South and in California. The rise of agriculture could not have succeeded without cheap labor. Mexican workers were often preferred because, if they demanded rights, they could just be deported. Convict labor worked even better. The author points out the only way success has been gained is by organizing; a great example was the “Day without Immigrants” in 2006. Of course, as Ortiz rightly notes, much more work is necessary, especially since Jim Crow and Juan Crow are resurging as each political gain is met with “legal” countermeasures.
A sleek, vital history that effectively shows how, “from the outset, inequality was enforced with the whip, the gun, and the United States Constitution.”Pub Date: Jan. 30, 2018
ISBN: 978-0-8070-1310-6
Page Count: 272
Publisher: Beacon Press
Review Posted Online: Oct. 9, 2017
Kirkus Reviews Issue: Nov. 1, 2017
Gioia, musician and critic, winner of the ASCAPDeems Taylor Award for The Imperfect Art (not reviewed) takes on a daunting task, tracing the history of jazz from preCivil War New Orleans to the embattled music of today—and does a creditable job of it. Jazz's history has been written by entirely too many mythographers and polemicists. Gioia, mercifully, spares us the myths and polemics. ``The Africanization of American music,'' as he calls it, begins farther back in American history than New Orleans's aptly named Storyville red-light district around the turn of the century; he starts his narrative in the slave market of the city's Congo Square in 1819, and when it comes to Storyville, he offers hard facts to puncture the picturesque racism that finds jazz's roots in the whorehouses of New Orleans. Indeed, one of the great strengths of Gioia's account is the sociohistorical insights it offers, albeit occasionally as throwaway sidelights, such as his observation about drumming as an avatar of regimentation more than of freedom. He is particularly good in explaining how the music was disseminated and shaped by new technologies—the player piano, the phonograph, radio. He is also excellent at drawing a portrait of a musician's style in short brushstrokes. His prose is for the most part fluid and even graceful (although his metaphors do get a bit strained at times, as in his comparison of Don Redman's ``jagged, pointillistic'' arrangement of ``The Whiteman Stomp'' and the Heisenberg uncertainty principle). Although Gioia is much too generous to jazz-rock fusion of the '70s and '80s and probably gives more space than necessary to white dance bands like the Casa Loma orchestra, if you wanted to introduce someone to jazz with a single book, this would be a good choice. (9 b&w photos, not seen)
Pub Date: Nov. 1, 1997
ISBN: 0-19-509081-0
Page Count: 448
Publisher: Oxford Univ.
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 1, 1997
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