Our love affair with folk songs runs as deep as the enduring power of music, nature, creativity, and the longings of the human heart. Artist Jennie Smith celebrates the tradition with her illustrated renderings of thirteen soulful songs, including time-honored Scottish ballads, classics by the likes of the Carter Family, contemporary favorites by Gillian Welch, and more. Smith's art—hopeful, sincere, and delicate—adds an unexpected and charming dimension to a familiar genre. With a foreword from contemporary folk legend Michael Hurley, complete lyrics, and playable tablature or sheet music for each song, this is a keepsake collection for the whole family to treasure.
In an ethnography that challenges standard approaches to understanding the poor and disempowered, Jennie M. Smith's descriptions of peasant activity change what constitutes a democratic society. Through their civil institutions and artistic expression, Haitian peasants, widely known as some of the world's most impoverished, politically disempowered, and illiterate citizens, debate the meanings of development, democracy, and the public good.Smith offers a historically grounded overview of how the Haitian state and certain foreign powers have sought to develop rural Haiti and relates how Haitian peasants have responded to such efforts through words and deeds. The author argues that songs called chante pwen serve as "melodic machetes," a tool with which the peasants make their voices heard in many social circumstances.When the Hands Are Many illustrates the philosophies, styles, and structures typical of social organization in rural Haiti with narrative portraits of peasant organizations engaged in agricultural work parties, business meetings, religious ceremonies, social service projects, song sessions, and other activities. Smith integrates these organizations' strengths into a new vision for social change and asks what must happen in Haiti and elsewhere to facilitate positive transformation in the world today.
Tortoises disappear from a Madagascar reserve and reappear in the Bronx Zoo. A dead iguana floats in a jar, awaiting its unveiling in a Florida court. A viper causes mayhem from Ethiopia to Virginia. In Stolen World, Jennie Erin Smith takes the reader on an unforgettable journey, a dark adventure over five decades and six continents. In 1965, Hank Molt, a young cheese salesman from Philadelphia, reinvented himself as a “specialist dealer in rare fauna,” traveling the world to collect exquisite reptiles for zoos and museums. By the end of the decade that followed, new endangered species laws had turned Molt into a convicted smuggler, and an unrepentant one, who went on to provide many of the same rare reptiles to many of the same institutions, covertly. But Molt soon found a rival in Tommy Crutchfield, a Florida carpet salesman with every intention of usurping Molt as the most accomplished reptile smuggler in the country. Like Molt, Crutchfield had modeled himself after an earlier generation of natural-history collectors celebrated for their service to science, an ideal that, for Molt and Crutchfield, eclipsed the realities of the new wildlife-protection laws. Zoo curators, caught between a desire for rare animals and the conservation-minded focus of their institutions, became the smugglers’ antagonists in court but also their best customers, sometimes simultaneously. Crutchfield forged ties with a criminally inclined Malaysian wildlife trader and emerged a millionaire, beloved by some of the finest zoos in the world. Molt, following a string of inventive but disastrous smuggling schemes in New Guinea, was reduced to hanging around Crutchfield’s Florida compound, plotting Crutchfield’s demise. The fallout from their feud would result in a major federal investigation with tentacles in Germany, Madagascar, Holland, and Malaysia. And yet even after prison, personal ruin, and the depredations of age, Molt and Crutchfield never stopped scheming, never stopped longing for the snake or lizard that would earn each his rightful place in a world that had forgotten them—or rather, had never recognized them to begin with.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Jennie Paul is the only daughter of Baseball Hall of Fame nominee, and former New York Yankees owner and President, Gabe Paul. An experienced sports reporter in her own right, Jennie is a keen observer whose unique view, combined with never-before seen excerpts from her father's diaries, gives a new perspective on the tumultuous world of 1970s Yankees baseball. Her struggle to find her place in that world - and in her father's life - played out on the field known as "The Bronx Zoo."The Yankee Princess is for every father who wants to be closer to his daughter, and for every daughter who lovingly tries to understand her father.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
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