Irvin Mayfield's mission is to celebrate-and share-the culture of New Orleans. With adventure, style, creativity, art, and passions, New Orleans Jazz Playhouse delivers on his promise. This unrivaled anthology of sights, sounds, and stories will transport you to the city that gave birth to Jazz and continues to feed the hearts and souls of those in pursuit of truth, love, and beauty. --dust jacket.
This volume explores the making of Gordon Parks' first photographie essay for Life magazine in 1948, "Harlem Gang Leader". After gaining the trust of one particular group of gang members and their leader, Leonard "Red" Jackson, Parks produced a series of photographs that are artful, poignant, and, at times, shocking. From this large body of work (Parks made hundreds of negatives) the editors at Life selected twenty-one pictures to print in the magazine, often cropping or enhancing details in the pictures. Gordon Parks : The .Making of an Argument traces this editorial process and parses out the various voices and motives behind the production of the picture essay. This volume. together with an exhibition of the same name at the New Orleans Museum of Art (NOMA), considers Parks' photographic practice within a larger discussion about photography as a narrative device. Featuring vintage photographs, original issues of Life magazine, contact sheets, and proof prints, Gordon Parks : The Making of an Argument raises important questions about the role of photography in addressing social concerns, its use as a documentary tool, and its function in the world of publishing. The book includes contributions from Susan M Taylor, The Montine McDaniel Freeman Director of the New Orleans Museum of Art ; Péter W Kunhardt, Jr., Executive Director of The Gordon Parks Foundation ; and Irvin Mayfield, Artistic Director of the New Orleans Jazz Orchestra.
Presents a tribute to the Hollywood entertainer-turned-author. Covers her close friendship with Judy Garland, contributions as a celebrity trainer, and creation of the mischievous six-year-old Plaza mascot, Eloise.
In this companion to The Life of Johnny Reb, Bell Irvin Wiley explores the daily lives of the men in blue who fought to save the Union. With the help of many soldiers' letters and diaries, Wiley explains who these men were and why they fought, how they reacted to combat and the strain of prolonged conflict, and what they thought about the land and the people of Dixie. This fascinating social history reveals that while the Yanks and the Rebs fought for very different causes, the men on both sides were very much the same. "This wonderfully interesting book is the finest memorial the Union soldier is ever likely to have.... [Wiley] has written about the Northern troops with an admirable objectivity, with sympathy and understanding and profound respect for their fighting abilities. He has also written about them with fabulous learning and considerable pace and humor.
In this companion to The Life of Johnny Reb, Bell Irvin Wiley explores the daily lives of the men in blue who fought to save the Union. With the help of many soldiers' letters and diaries, Wiley explains who these men were and why they fought, how they reacted to combat and the strain of prolonged conflict, and what they thought about the land and the people of Dixie. This fascinating social history reveals that while the Yanks and the Rebs fought for very different causes, the men on both sides were very much the same. "This wonderfully interesting book is the finest memorial the Union soldier is ever likely to have.... [Wiley] has written about the Northern troops with an admirable objectivity, with sympathy and understanding and profound respect for their fighting abilities. He has also written about them with fabulous learning and considerable pace and humor.
The color line, once all too solid in southern public life, still exists in the study of southern history. As distinguished historian Nell Irvin Painter notes, historians often still write about the South as though people of different races occupied entirely different spheres. In truth, although blacks and whites were expected to remain in their assigned places in the southern social hierarchy throughout the nineteenth and much of the twentieth century, their lives were thoroughly entangled. In this powerful collection, Painter reaches across the color line to examine how race, gender, class, and individual subjectivity shaped the lives of black and white women and men in the nineteenth- and twentieth-century South. Through six essays, she explores such themes as interracial sex, white supremacy, and the physical and psychological violence of slavery, using insights gleaned from psychology and feminist social science as well as social, cultural, and intellectual history. At once pioneering and reflective, the book illustrates both the breadth of Painter's interests and the originality of her intellectual contributions. It will inspire and guide a new generation of historians who take her goal of transcending the color bar as their own.
The color line, once all too solid in southern public life, still exists in the study of southern history. As distinguished historian Nell Irvin Painter notes, we often still write about the South as though people of different races occupied entirely different spheres. In truth, although blacks and whites were expected to remain in their assigned places in the southern social hierarchy throughout the nineteenth century and much of the twentieth century, their lives were thoroughly entangled. In this powerful collection of pathbreaking essays, Painter reaches across the color line to examine how race, gender, class, and individual subjectivity shaped the lives of black and white women and men in the nineteenth- and twentieth-century South. She explores such themes as interracial sex, white supremacy, and the physical and psychological violence of slavery, using insights gleaned from psychology and feminist social science as well as social, cultural, and intellectual history. The book illustrates both the breadth of Painter's interests and the originality of her intellectual contributions. This edition features refreshed essays and a new preface that sheds light on the development of Painter's thought and our continued struggles with racism in the twenty-first century.
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