"Munro argues in an informed and imaginative way that greater attention should be paid to the recurring sonic elements of black cultures in the new world. Different Drummers provides profound insights into the importance of rhythm as a marker of resistance and a dynamic facet of everyday life across Caribbean literatures and in African American music."—J. Michael Dash, New York University "Munro takes us on a fascinating journey through the music of poetry and the poetry of music, beautifully tying together the cultures and literary texts of a range of Caribbean societies."—Laurent Dubois, author of Soccer Empire: The World Cup and the Future of France

Initially published in 1985, Marching to Different Drummers was one of the first sources to pull together information on what was a newly flourishing topic in education. Now, more than a decade later, this revised and expanded edition takes a fresh look at the subject. Among the new chapters are a discussion of the importance of knowledge about students' culture, learning styles in light of recent discoveries about the functioning of the brain, and how learning styles relate to Howard Gardner's theory of multiple intelligences. Part I defines style and looks at the history of style research. Part II describes applications of style in seven areas, illustrated through the research models of Carl Jung, Herman A. Witkin, Walter Barbe and Raymond Swassing, Rita Dunn and Kenneth Dunn, Anthony Gregorc, Bernice McCarthy, and Howard Gardner. Part III identifies common questions and discusses implementation and staff development. A comprehensive annotated bibliography sets the stage for further study. Authors Pat Burke Guild and Stephen Garger have spent nearly 25 years studying styles, applying its research, teaching about styles, and listening to students and educators talk about styles. Their extensive experience in teacher education over the past decade grounds the theory in the second edition of Marching to Different Drummers with a practicality that all educators will value.

When the African-American dancer Josephine Baker visited Berlin in 1925, she found it dazzling. "The city had a jewel-like sparkle," she said, "the vast caf'es reminded me of ocean liners powered by the rhythms of their orchestras. There was music everywhere." Eager to look ahead after the crushing defeat of World War I, Weimar Germany embraced the modernism that swept through Europe and was crazy over jazz. But with the rise of National Socialism came censorship and proscription: an art form born on foreign soil and presided over by Negroes and Jews could have no place in the culture of a "master race." In Different Drummers, Michael Kater--a distinguished historian and himself a jazz musician--explores the underground history of jazz in Hitler's Germany. He offers a frightening and fascinating look at life and popular culture during the Third Reich, showing that for the Nazis, jazz was an especially threatening form of expression. Not only were its creators at the very bottom of the Nazi racial hierarchy, but the very essence of jazz--spontaneity, improvisation, and, above all, individuality--represented a direct challenge to the repetitive, simple, uniform pulse of German march music and indeed everyday life. The fact that many of the most talented European jazz artists were Jewish only made the music more objectionable. In tracing the growth of what would become a bold and eloquent form of social protest, Kater mines a trove of previously untapped archival records and assembles interviews with surviving witnesses as he brings to life a little-known aspect of wartime Germany. He introduces us to groups such as the Weintraub Syncopators, Germany's best indigenous jazz band; the Harlem Club of Frankfurt, whose male members wore their hair long in defiance of Nazi conventions; and the Hamburg Swings--the most daring radicals of all--who openly challenged the Gestapo with a series of mass dance rallies. More than once these demonstrations turned violent, with the Swings and the Hitler Youth fighting it out in the streets. In the end we come to realize that jazz not only survived persecution, but became a powerful symbol of political disobedience--and even resistance--in wartime Germany. And as we witness the vacillations of the Nazi regime (while they worked toward its ultimate extinction, they used jazz for their own propaganda purposes), we see that the myth of Nazi social control was, to a large degree, just that--Hitler's dictatorship never became as pure and effective a form of totalitarianism as we are sometimes led to believe. With its vivid portraits of all the key figures, Different Drummers provides a unique glimpse of a counter-culture virtually unexamined until now. It is a provocative account that reminds us that, even in the face of the most unspeakable oppression, the human spirit endures.

Discusses attention deficit hyperactivity disorder and offers suggestions on how to deal with it.

Different Drummers explores the disjunction between organizational solidarity and individual pushback in military organizations, examining how members of the armed forces express ambivalent attitudes about their service. The volume focuses not on antimilitary sentiment but on psychological complexity within a loyal opposition, considering examples of creative insubordination and analyzing the “oppositional positioning” of individuals whose military identity is conflicted. This multidisciplinary collection brings in the perspectives of scholars from folklore, literary studies, psychology, and media studies, as well as the first-person perspectives of veterans. It includes chapters on the vernacular genres of bodylore, folksong, personal narrative, and legend; literary items like soldiers’ memoirs and poetry; the artwork of soldier cartoonists; and accounts of defying the chain of command in the field. Ideally, the goal of military basic training is to replace recruits’ focus on their own individuality with an unquestioned devotion to group solidarity. In reality, unit cohesion is constantly challenged by humans clinging obstinately to their non-collective personalities. Different Drummers focuses on those in uniform who feel themselves to be both of the military culture and at odds with it. It shows how these loyal “discontents” find ways of communicating and interacting with others that sometimes defy institutional expectations. Contributors: Ron Ben-Tovim, Carol Burke, Richard Allen Burns, Catherine Calloway, James I. Deutsch, Ronald Fry, Angus Kress Gillespie, Christina M. Knopf, Jay Mechling, Matthew David Perry, Mark C. Russell, John Paul Wallis