The Rise of the Mad March ~ Lone Star Lit Book Campaign Spotlight

THE RISE OF THE MAD MARCH

by Robert Espenscheid, Jr. 

New Adult / Coming of Age / Friendship

Publisher: Stoney Creek Publishing

Pages: 374

Publication Date: May 9, 2025

SYNOPSIS

This one is for all the rock bands who never headlined the big stage, who never needed protection getting to the limo, who never made any money, who never got signed, who had no answer to the cry of “why aren’t you guys famous?” It’s for those who wrote killer songs never heard on the radio, who never made a Rolling Stone cover—or even a mention inside. It’s for those whose collars were always blue, who were promised this and wound up with that, who always opened and never closed.

America, 1973. Christine on lead, Henry on rhythm, Gretchen on bass and Melissa on drums. A chaotic rise, fighting amongst themselves, battling self-destruction, finding their sound, learning to trust, finding a helping hand, overcoming convention (girls can’t play guitar) to become one band, on one tour, for one month – New York to LA and all the stories in between.

CLICK TO PURCHASE

AMAZON | B&N | BOOKBUB

To learn more about the book, look for #LSLLTheRiseOfTheMadMarch on your preferred social media platform.

ABOUT THE AUTHOR

Rob Espenscheid, Jr. is a Connecticut native and a 1966 Wake Forest College graduate. After an Army RVN stint in 1969, Rob pulled up stakes and moved to the rural Midwest, settling in southern Iowa in the early 1970s. Prairie life provided a career tuning and repairing pianos from cattle country small towns to collegiate concert halls. When not tinkering on a piano, he can usually be found either on a golf course or working on a manuscript. In 1998, family connections led to a move, with his wife Sharon, to Smithville, Texas.

Website ◆ Instagram ◆ Amazon ◆ Goodreads

Chicano Soul ~ Blog Tour, Excerpt, & Review!

CHICANO SOUL
Recordings and History of an American Culture
(Anniversary Edition)

by

Ruben Molina

  Genre: Music / Chicano History

Publisher: Texas Tech University Press
on Twitter  ┃ on Facebook

Date of Publication: September 15, 2017

Number of Pages: 160

In 2007, Ruben Molina published the first-ever history of Mexican-American soul and R&B music in his book, Chicano Soul: Recordings and History of an American Culture. Ten years later, Chicano Soul remains an important and oft-referenced study of this vital but often overlooked chapter of the greater American musical experience. Chicano soul music of the 1950s and 1960s still reverberates today, both within Chicano communities and throughout many musical genres. Molina tells the story of the roots of Chicano soul, its evolution, and its enduring cultural influence.

"Brown-eyed soul" music draws on 1950s era jazz, blues, jump blues, rock `n' roll, Latin jazz, and traditional Mexican music such as ranchera, norteño, and conjunto music. With its rare and gorgeous photos, record scans, concert bills, and impressive discography (to say nothing of its rich oral histories/interviews), it is one of those rare works that speaks to both general and academic audiences.

As a teen in the 1960s, Ruben Molina used to take a bus to Hollywood to shop for records, and his passion for vinyl never waned. As a dedicated community historian, Molina interviewed dozens of the artists whose music he loves. Much of Chicano soul music's recent recognition and renaissance can be traced directly to Molina. He has deejayed with the Southern Soul Spinners crew since 2010.

PRAISE FOR CHICANO SOUL:

“[Chicano Soul} is nada if not revelatory… Molina seeks acknowledgement of this under-the-radar genre. With this book, he’ll get it. By linking the trail of Chicano soul bands to the route of the Mexican-American migrant workers across the United States as well as the migration of south-of-the-border families into Texas after the Mexican Revolution, the author presents a compelling account of rock and roll heroes literally unsung. Molina makes a case for teenagers who took their parents’ musical traditions, the trappings of black R&B bands with pop sensibilities, and channeled them into a vibrant sound that helped define the culture it sprang from.” —Austin Chronicle

══════════║║║══════════

CLICK TO PURCHASE

EXCERPT from the Foreword by Alex La Rotta, in Chicano Soul

Oldies are forever. It’s a mantra. A credo. A maxim for diehard sweet soul enthusiasts from Los Angeles to London, Toronto to Tokyo, and beyond. Ruben Molina’s The Old Barrio Guide to Low Rider Music (2002) and Chicano Soul: Recordings & History of an American Culture (2007) — its sacred texts. Not since Paul Oliver’s The Story of the Blues (1969) has a Book and author so distinctively revived a vintage and marginal American music culture from obscurity to widespread and cult-like revelry. What was once a niche collector’s category in the aughts and prior is a recognized subgenre in the twenty-tens: Chicano Soul. In the decade since its publication, Chicano Soul — like the long-lost recordings it so lovingly documents and historicizes — has itself become a collector’s item. Original copies highly-prized and sought after by record collectors, music aficionados, DJs, musicians, fans, and others. And, too, like much of the music in question: finally receiving its due reissuance. (Only this: a legitimate, not bootleg, reissuance.)

Its long-awaited return is timely. A brief review of the past ten years in popular music culture must surely include the massive reemergence of the vinyl music format (and its swift cooptation by the music industry); roots and vintage pop music revival (film/television soundtracks, documentaries, compilations, cultural histories, etc.); and the (ongoing) digital music revolution. Most notably, as it concerns the latter, one might also note the ascension of streaming media and video-sharing websites in democratizing and disseminating “rare groove” music of the analog past for broader audiences of the digital present. Further still, YouTube- and social media based soulero (sweet soul) DJs and record collector cliques build notoriety as prized possessors of rare Chicano Soul records to wide acclaim — much of which builds on Molina’s foundation. While the diffusion of music and cultural history in the past decade has broadened, the appreciation of this specific brand of soul music has expanded in tandem. You know it as the West Side Sound, the East Side Sound, Brown-Eyed Soul, Latin Soul, Lowrider Oldies, even rock en español — all components of the vast domain of mid-century Chicano Soul music culture principally documented in Molina’s work. And a book that remains today the only single monograph devoted to the subject.

            More importantly, Chicano Soul challenges the assumptions and stereotypes of what “Latin music” could or should be in both popular culture and preceding musical-historical analyses: tropical, exotic, and almost always, distinctly foreign. Unequivocally, this music is none. It is, as the subtitle denotes, an American culture. Molina’s meticulous documentation of over 400 Mexican-American musicians/rock-and-roll combos spanning the American Southwest (née Aztlán) — and their collective thousands of independent recordings — deserves recognition if just for its impressive magnitude. But it’s the paradigm shift that Chicano Soul, and other recent works from such scholars as Deborah Vargas, Roberto Avant-Mier, Anthony Macias, Josh Kun, and Deborah Pacini Hernández, among others, provides for the current discourse on racial identity, hybridity, and the origins of American popular music that warrant as much praise. In part, a response to the tired narrative surrounding America’s supposed black/white racial binary and the forging of a national culture. Yes: Chicanos made soul music. Lots of it. And it’s damn good, too.

HALL WAYS REVIEW: For better or for worse, most of the time, what draws me to read a book is its cover.  And Chicano Soul: Recordings & History of an American Culture absolutely grabbed me with the bright colors and bold print.  The beauty of the book doesn’t stop with the cover; inside, the lay-out is engaging even as a digital copy, and I cannot wait to hold it in my hands and have it gussying-up my bookshelf.  Filled with fascinating facts and images of memorabilia - many from the author's own collection - it is fun and interesting to flip through the pages just to look at the photos.

"Within the area of South Texas there exists a culture caught between Mexico and the rest of America, a buffer zone if you will, with a culture all its own. The music of this region was a reflection of this uniqueness and of the inhabitants of the region, gritty, and full of life."

I am completely ignorant of music history of any kind - be it Bach or Britney. And in Chicano Soul, there are a gazillion people and band names dropped, very few recognizable to me. But isn't that, in part, author Ruben Molina's point? The Mexican-American music evolution is a huge chunk of music history that most people don't know about.  The good news is that even without knowing the names, the weight of the names and implications of their roles in music history carries readers enough to be able to understand the importance of the change points in history -- how person X heard band Y and arranged a meeting with label/DJ/manager Z really mattered.

There is so much in this book, and it felt overwhelming at times without a strict chronological timeline and without being able to clearly see the building blocks stacked in order. Structurally, the Table of Contents helps break out who is who and shows the division of Chicano Soul into early influences & pioneers, then focusing on groups regionally -- from San Antonio & around the state of Texas to California and Phoenix & Albuquerque. At the end of the book is a substantial discography which lists all the musicians and bands, their cities of origin, and mentioned releases. A chronological listing or mapping would have been a fabulous addition to really help readers see the big picture.

The overall theme of the book is to underscore the rich cultural legacy that paved the way for today's musicians. A few of my take-aways:

*many of the musicians forming these bands in the 1950s and 1960s were only twelve to fourteen years old (Freddie/Freddy Chavez [The Majestics, Thee Chekkers] only eleven!);

*the sound of the music was based on what instruments were readily available -- the newly forming Chicano bands didn't have much piano, for example, because no one had access to them;

*as victims of discrimination, the black and Mexican communities cooperated and supported each other in venues, wage payments, and audiences;

*war(s) decimated the black and Chicano music scenes;

*missing are the expected stories of wild partying and recklessness but repeatedly, the professionalism of the bands is emphasized.

Disappointingly, also mostly missing from the book is the role of women in the formation, participation, and success of the Chicano bands. Readers will notice a few females in pictures, but there are only scattered mentions of lead singers like Rosie Hamlin (Rosie and the Originals), Paula Estrada (The Latinaires), Mary Unzuetta (The Velveteens), and Ersi Arvisu (El Chicanos). There is an interesting story about Lillian Gonzales (wife of Pa-Go-Go records label owner Pato Gonzales) being responsible for the success of “96 Tears" by ? and the Mysterians:  

Pato’s wife Lillian went to the radio stations and told them they were being prejudiced because we’re Chicanos, well they started playing it and it hit; she’s the one that made it hit. 

Lastly -- though it is really of utmost importance to me – I am extremely disappointed in the lack of copy editing/proofreading in this otherwise beautiful book. Literally, not a page is cleanly written, and most pages have multiple typos and errors in spelling, grammar, and punctuation, which really inhibits my ability to enjoy the content. Quite honestly, it is not ready for prime time. My review copy is digital and supposedly final, but I have a print copy coming. If I find that the print copy shows these problems corrected, I will update my review and rating. As it stands, Chicano Soul is a 5-star premise and presentation, with 4-star content, and 2-star delivery.

Thank you to Lone Star Book Blog Tours and the publisher for providing me a digital copy in exchange for my honest opinion – the only kind I give.

As a teen in the 1960s, Ruben Molina used to take a bus to Hollywood to shop for records, and his passion for vinyl never waned. As a dedicated community historian, Molina interviewed dozens of the artists whose music he loved. Much of Chicano soul music’s recent recognition and renaissance can be traced directly to Molina. He has deejayed with the Southern Soul Spinners crew since 2010.

CHECK OUT THE OTHER GREAT BLOGS ON THE TOUR:

11/09/17	Promo	The Page Unbound
11/10/17	Promo	Texas Book Lover
11/11/17	Review	A Page Before Bedtime
11/12/17	Promo	Books and Broomsticks
11/13/17	Review	Hall Ways Blog
11/14/17	Promo	Chapter Break Book Blog
11/15/17	Review	Missus Gonzo
11/16/17	Promo	Syd Savvy
11/17/17	Promo	Tangled in Text
11/18/17	Review	Forgotten Winds

   blog tour services provided by

  

Symphony for the City of the Dead

Anderson, M.T. (2015). Symphony for the City of the Dead: Dmitri Shostakovich and the Siege of Leningrad. Brilliance Audio.

Young Adult and older / Audio Book / Non-Fiction

I give this audio book 5 of 5 stars
✮✮✮✮✮

Blurb (SYNC): In September of 1941, Adolf Hitler’s Wehrmacht surrounded Leningrad in what was to become one of the longest and most destructive sieges in Western history—two and a half years of bombardment and starvation. More than a million citizens perished. Survivors recall corpses littering the frozen streets, the relatives of the dead having neither the means nor the strength to bury them. Desperate citizens burned books, furniture, and floorboards to keep warm; they ate family pets and—eventually—even one another to stay alive.

Trapped between the Nazi invading force and the Soviet government itself was composer Dmitri Shostakovich, who would write a symphony that roused, rallied, eulogized, and commemorated his fellow citizens—the Leningrad Symphony. This testament of courage was copied onto microfilm, driven across the Middle East, and flown over the deserts of North Africa to be performed in the United States—where it played a surprising role in strengthening the Grand Alliance against the Axis powers.

This is the true story of a city under siege: the triumph of bravery and defiance in the face of terrifying odds. It is also a look at the power—and layered meaning—of music in beleaguered lives. Symphony for the City of the Dead is a masterwork thrillingly told and impeccably researched by National Book Award–winning author M. T. Anderson.

***********************************************

HALL WAYS REVIEW: This was yet another audio book that I went into without knowing a thing about it -- I hadn't even read the full title, so I didn't know it was non-fiction or about Shostakovich. In hindsight, I think this was a good thing because I might not have listened to it because the subject matter wasn't one that would grab my interest.  Too many books, too little time, you know.

I am so glad I listened to this book. Not only did I learn more about composer Dmitri Shostakovich, I got a serious schooling in world history and particularly, the madness of Joseph Stalin, and the suffering, slaughter, and perseverance of the Russian people. The narration (by author M.T. Anderson) was outstanding, and a perk of reading with my ears was getting to listen to snippets of various pieces by Shostakovich placed in context of when and why they were composed.

What I found fascinating is how the Russian government, over Shostakovich's whole lifetime, used Shostakovich and his music for intentional purposes. He was first raised up to inspire and improve morale, but when he got too popular, he was then berated and put in his place to show that the government was all powerful.  Then he was protected because his music was excellent propaganda, which showed the outside world that Russia was cultured and refined (and kept hidden the atrocities happening there).

Though the hook was to find out about Shostakovich's 7th Symphony (referenced in the title) and its secret message, what comes through is that regarding music, what message is transmitted via the music is completely dependent upon the circumstances of the listener at that time. Where some hear a victory march, others hear a death march; the bells of hope may also be ringing doom.

Thank you to SYNC summer audiobook program for providing this free download with absolutely no strings attached. Listening and reviewing were entirely my own decision -- and it was a good one.

ABOUT THE AUTHOR: M. T. Anderson is the author of Feed, winner of the Los Angeles Times Book Prize, as well as The Astonishing Life of Octavian Nothing, Traitor to the Nation Volume I: The Pox Party, winner of the National Book Award and a New York Times bestseller, and its sequel, The Kingdom on the Waves, which was also a New York Times bestseller. Both volumes were also named Michael L. Printz Honor Books. M. T. Anderson lives in Cambridge, Massachusetts.

A Snicker of Magic

Lloyd, N. (2014). A snicker of magic. NY: Scholastic, Inc.
Children's/Middle Grade Fantasy

I gave this book a 4.5 out of 5.0 stars!

Scroll down for post update!

Refreshing, fun story for kids grades 3 through 7! This story was happily unlike anything I've read before. The author had a Fannie Flagg-ish feel to her writing, maybe because it's so clearly southern, which was delightful to me.

Felicity, our main character, is so real you want to squeeze her. She has struggles and fears and a gift that sometimes feels more like a burden, and with her mother constantly moving her and her sister from place to place, Felicity longs for roots and for a place to call home.  I think there are lots of readers who can relate to her character, and certainly plenty who will sympathize.

The supporting characters are also very real and well written. Jonah is just the friend that Felicity needed and readers will wish they knew him. Felicity's family members are interesting and each have enough personality to make them tangible.  Only Felicity's mom remains a little blurry around the edges, but it is intentional and makes sense given her story.

The townspeople and back stories are many, but it's not overwhelming or unnecessary.  All of the parts to the story end up making a whole by the end, where readers will see the magic unfold into a very satisfactory ending.

This story is age appropriate, clean in all ways (no language, violence, or sexuality), and flows very pleasantly.  There is an overall mystery to be solved, there are relationships that need tending and mending, and there is a lot of reality in the magic.

So, why not a perfect 5.0?  There were times when the story dragged a little -- never enough that I didn't want to keep reading, but it slowed.  Also, I wasn't fully satisfied with where we end with Felicity's mother, but I think kids reading the book probably wouldn't ponder it.

I won this ARC in a giveaway from the Sam Houston State Holiday Break Reading Contest. Thank you SHSU!

UPDATE: Was just my luck that Ms. Lloyd attended the Texas Library Association Conference in April, 2014, so of course I got a signed copy of Snicker while gushing about how much I loved it. Also listened to a panel where Ms. Lloyd was a speaker, and I think she's super fabulous!!

Me, the fan-girl, with Natalie Lloyd.

 

Brooklyn Burning

Brezenoff, S. (2011). Brooklyn Burning. Minneapolis, MN: Carolrhoda Lab.

YA Realistic Fiction / Contemporary Fiction / Urban

QuickNEasy, 195 pages, ages 14+

I gave this 4 out of  5 stars on Goodreads.

I started reading this book for two reasons: 1) I am on a trek to find books appealing to kids who don't think they like to read, and 2) this book was under 200 pages and available at the library!

Going into a book cold-turkey is always interesting.  I hadn't read the book jacket or any reviews of Brooklyn Burning and assumed by the cover that the book was about a pyromaniac. (By the way, I like the cover and am so glad that it's not a back view of a teenaged girl wearing a formal gown and her hair blowing ever so subtly in the wind.  Thank you Steve Brezenoff. Never mind that the girl cover wouldn't fit in any way, shape, or form with the contents of the book.) So, not knowing what I was in for, I was initially frustrated because I couldn't tell if the main character, Kid, was male or female.  Enter character Scout, who also is not identified as male or female, and I started to get it. Ding! The author was being INTENTIONALLY VAGUE in stamping a gender label on these characters. Brilliant! People are just people with talents and skills and beliefs and feelings.

The book's main character is Kid, who writes some chapters directly to Scout, so that the readers almost feel like they are getting a peek into a journal or love letter.  Other chapters are written as general narratives, mostly filling in what the readers don't know about Kid's year prior to meeting Scout. Those back chapters made my heart ache for all the injustices poor Kid experienced, and they made me angry. Had Kid's parents been accepting and loving and acted like parents, Kid's life wouldn't have been so hard.  On the other hand, as a result of being rejected by Kid's father, Kid found love not once but twice and acceptance in places and ways that never would have been possible if Kid's parents had just loved Kid.  

The characters that showed love and acceptance towards Kid were really what made this story push forward.  With the presence of Fish, Jonny, and Konny, the readers didn't have to waste energy worrying about things that didn't matter -- Kid was going to be okay.  Imperfect as they are, these characters feel so real and familiar -- like you'd find them in any inner city neighborhood, looking out for their own. 

There are questions that aren't answered (namely, the genders of two major characters), but it's okay to be left wondering about some things.  And again, that intentional vagueness reminds us that sometimes there aren't clear answers for the questions in life. 

On the Clean-O-Meter rating. . . this is tough. There's an Fbomb fairly early on, but then I don't recall there being so much as a damn after that. There is significant underage drinking (mostly without any consequences, effects beyond the characters being identified as drunk), and drug references of shooting-up and junkies.  There is also a character who is a bisexual prostitute, but we are spared any details, and another character who is a minor and very sexually active with multiple partners, though we are also spared details.  Several of the characters are lesbian or gay or bisexual or questioning or not caring. Again, no details other than putting two and two together that character A - who is either male or female - is attracted to both males and females. There are several homeless teenagers, but they all seem to have food, money, shelter, safety.  There isn't any violence and nothing in the story is graphic.  I'm going to say a 7 out of 10.