He played deception like music, the way Miles played his horn. Every note moved her until she almost had no will of her own. Pregnant and alone, 26 year old Dahlia Reynolds recounts the events that led to her imprisonment in Thailand, an unlikely place for a Sista from Waycross, Georgia. Nervously awaiting the ultimate punishment, Dahlia realizes how far she is from Washington, DC, her best friends, Stacy and El, her job as a Pentagon analyst and from Antoine Blackwell, her occasional lover. This could be the end of a journey full of treachery and deceit launched by a mystery from her family's past and a quilt she inherited from a slave ancestor, all started with a chance encounter with a much older man. Mackenzie Powell stole Dahlia's heart and holds the key to a treasure that made her an unknowing pawn in a high stakes game of murder and intrigue that began deep inside a South African mine before she was born. Dahlia was swept away by the Bentley driving Mackenzie's classy good looks and debonair charm, but "Mac" has a secret and only The Stone has the power to unlock it and make sense of what appears to be a series of unrelated events. She wonders: Is Mac hero or villain?
Marian Roberts, Roland Hayes, and Paul Robeson were among the most visible early African American concert singers, but they were not the only ones. Many others were involved in the arts as concert singers and, given the times in which they lived, achieved tremendous results in the face of great adversity and helped pave the way for the post-1950 African American vocal artist. Drawn from articles, reviews, programs, biographical sources, and interviews, this work is a survey of the unknown early African American concert singers. Much of the information from periodicals was taken from The New York Amsterdam News, The Chicago Defender, and The New York Age. The book covers the African Americans who came before Roberts, Hayes, and Robeson, and details the opportunities available in Europe for black concert singers.
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