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Sideman to the Stars
For more than fifty years, Chicago drummer Jimmi Mayes served as a sideman behind some of the greatest musicians and musical groups in history. He began his career playing the blues in the juke joints of Mississippi, sharpened his trade under the mentorship of drum legends Sam Lay and Fred Below in the steamy nightclubs of south Chicago, and hit it big in New York City behind such music legends as Tommy Hunt from the Flamingos, Marvin Gaye, and James Brown.
Mayes played his drums behind blues giants Little Walter Jacobs, Jimmy Reed, Robert Junior Lockwood, Earl Hooker, Junior Wells, Pinetop Perkins, and Willie "Big Eyes" Smith. He lived for a while with Motown sensation Martha Reeves and her family and traveled with the Shirelles and the Motown Review. Jimi Hendrix was one of Mayes's best friends, and they traveled together with Joey Dee and the Starliters in the mid-1960s.
Mayes lived through racial segregation, the civil rights movement of the 1960s, the integration of rock bands, and the emergence of Motown. He personally experienced the sexual and moral revolutions of the sixties, was robbed of his musical royalties, and survived a musical drought. He's been a pimp and a drug pusher--and lived to tell the tale when so many musicians have not. This sideman to the stars witnessed music history from the best seat in the house--behind the drum set.
Leading through Hurricane Katrina
When Hurricane Katrina hit Mississippi on August 29, 2005, it unleashed the costliest natural disaster in American history, and the third deadliest. Haley Barbour had been Mississippi's governor for only twenty months when he assumed responsibility for guiding his pummeled, stricken state's recovery and rebuilding efforts. America's Great Storm is not only a personal memoir of his role in that recovery, but also a sifting of the many lessons he learned about leadership in a time of massive crisis.
For the book, the authors interviewed more than forty-five key people involved in helping Mississippi recover, including local, state, and federal officials as well as private citizens who played pivotal roles in the weeks and months following Katrina's landfall. In addition to covering in detail the events of September and October 2005, chapters focus on the special legislative session that allowed casinos to build on shore; the role of the recovery commission chaired by Jim Barksdale; a behind-the-scenes description of working with Congress to pass an unprecedented, multi-billion-dollar emergency disaster assistance appropriation; and the enormous roles played by volunteers in rebuilding the entire housing, transportation, and education infrastructure of South Mississippi and the Gulf Coast.
A final chapter analyzes the leadership skills and strategies Barbour employed on behalf of the people of his state, observations that will be valuable to anyone tasked with managing in a crisis.
The Genre at the Turn of the Millennium
Creatively spent and politically irrelevant, the American horror film is a mere ghost of its former self-or so goes the old saw from fans and scholars alike. Taking on this undeserved reputation, the contributors to this collection provide a comprehensive look at a decade of cinematic production, covering a wide variety of material from the last ten years with a clear critical eye. Individual essays profile the work of up-and-coming director Alexandre Aja and reassess William Malone's muchmalignedFeardotcom in the light of the torture debate at the end of President George W. Bush's administration. Other essays look at the economic, social, and formal aspects of the genre; the globalization of the U.S. film industry; the alleged escalation of cinematic violence; and the massive commercial popularity of the remake. Some essays examine specific subgenres-from the teenage horror flick to the serial killer film and the spiritual horror film-as well as the continuing relevance of classic directors such as George A. Romero, David Cronenberg, John Landis, and Stuart Gordon.Essays deliberate on the marketing of nostalgia and its concomitant aesthetic, and the curiously schizophrenic perspective of fans who happen to be scholars as well. Taken together, the contributors to this collection make a compelling case that American horror cinema is as vital, creative, and thought-provoking as it ever was.
Jason Edward Black examines the ways the US government’s rhetoric and American Indian responses contributed to the policies of Native-US relations throughout the nineteenth century’s removal and allotment eras. Black shows how these discourses together constructed the perception of the US government and of American Indian communities. Such interactions—though certainly not equal—illustrated the hybrid nature of Native-US rhetoric in the nineteenth century. Both governmental, colonizing discourse and indigenous, decolonizing discourse shaped arguments, constructions of identity, and rhetoric in the colonial relationship.
American Indians and the Rhetoric of Removal and Allotment demonstrates how American Indians decolonized dominant rhetoric through impeding removal and allotment policies. By turning around the US government’s narrative and inventing their own tactics, American Indian communities helped restyle their own identities as well as the government’s. During the first third of the twentieth century, American Indians lobbied for the successful passage of the Indian Citizenship Act of 1924 and the Indian New Deal of 1934, changing the relationship once again.
In the end, Native communities were granted increased rhetorical power through decolonization, though the US government retained an undeniable colonial influence through its territorial management of Natives. The Indian Citizenship Act and the Indian New Deal—as the conclusion of this book indicates—are emblematic of the prevalence of the duality of US citizenship that fused American Indians to the nation, yet segregated them on reservations. This duality of inclusion and exclusion grew incrementally and persists now, as a lasting effect of nineteenth-century Native-US rhetorical relations.
The Race to Capture the Luftwaffeâ??s Secrets
World War II ¨ Cold War--> At the close of World War II, Allied forces faced frightening new German secret weapons--buzz bombs, V-2s, and the first jet fighters. When Hitler's war machine began to collapse, the race was on to snatch these secrets before the Soviet Red Army found them. The last battle of World War II, then, was not for military victory but for the technology of the Third Reich. In American Raiders: The Race to Capture the Luftwaffe's Secrets Wolfgang Samuel assembles from official Air Force records and survivors' interviews the largely untold stories of the disarmament of the once mighty Luftwaffe and of Operation Lusty--the hunt for Nazi technologies. In April 1945 American armies were on the brink of winning their greatest military victory, yet America's technological backwardness was shocking when measured against that of the retreating enemy. Senior officers, including the Commanding General of the Army Air Forces Henry Harley "Hap" Arnold, knew all too well the seemingly overwhelming victory was less than it appeared. There was just too much luck involved in its outcome. Two intrepid American Army Air Forces colonels set out to regain America's technological edge. One, Harold E. Watson, went after the German jets; the other, Donald L. Putt, went after the Nazis' intellectual capital--their world-class scientists. With the help of German and American pilots, Watson brought the jets to America; Putt persevered as well and succeeded in bringing the German scientists to the Army Air Forces' aircraft test and evaluation center at Wright Field. A young P-38 fighter pilot, Lloyd Wenzel, a Texan of German descent, then turned these enemy aliens into productive American citizens--men who built the rockets that took America to the moon, conquered the sound barrier, and laid the foundation for America's civil and military aviation of the future. American Raiders: The Race to Capture the Luftwaffe's Secrets details the contest won, a triumph that shaped America's victories in the Cold War. Wolfgang W. E. Samuel, a retired U.S. Air Force colonel, is the author of German Boy: A Refugee's Story, I Always Wanted to Fly: America's Cold War Airmen, and The War of Our Childhood: Memories of World War II, all published by University Press of Mississippi. He lives in Fairfax Station, Virginia.
The Life and Times of Duncan M. Gray Jr.
The story of the civil rights movement is not simply the history of its major players but is also the stories of a host of lesser-known individuals whose actions were essential to the movement's successes. Duncan M. Gray Jr., an Episcopal priest who served various Mississippi parishes between 1953 and 1974, when he was elected bishop of Mississippi, is one of these individuals. And One Was a Priest is his remarkable story.From one perspective, Gray (b. 1926) would seem an unlikely spokesman for racial equality and reconciliation. He could have been content simply to become a member of the white, male Missisippi "club." Gray could have embraced a comfortable life and ignored the burning realities around him. But he chose instead to use his priesthood to speak in unpopular but prophetic support of justice and equality for African Americans. From his student days at the seminary at the University of the South, to his first church in Cleveland, Mississippi, and most famously to St. Peter's Parish in Oxford, where he confronted rioters in 1962, Gray steadfastly and fearlessly fought the status quo. He continued to work for racial reconciliation, inside and outside of the church, throughout his life.This biography tells not only Gray's story, but also reveals the times and people that helped make him. The author's question is "What makes a good person?" And One Was a Priest suggests there is much to learn from Gray's choices and his struggle.
Angola to Zydeco: Louisiana Lives is a collection of creative nonfiction pieces about the lively personalities who call south Louisiana home. Originally published in newspapers based in Lafayette-Times of Acadiana and Independent Weekly-the twenty-five profiles and features provide intriguing glimpses into the lives of well-known Louisianans such as James Lee Burke, Ernest J. Gaines, Elemore Morgan Jr., Buckwheat Zydeco, Marc Savoy, Boozoo Chavis, Calvin Borel, Santy Runyon, and Eddie Shuler. Author R. Reese Fuller also details the sometimes zany and sometimes tragic subjects that populate the cultural landscape of south Louisiana, from Tabasco peppers to Angola prison to cockfighting.
Fuller brings years of experience in the newspaper industry to bear on this collection, offering behind-the-scenes access not available elsewhere. Of particular note are his interviews with musicians and local celebrities, who reveal how their love of the region has influenced their work. Fuller's natural approach to storytelling creates a book that is a joy to read and truly represents the people of south Louisiana.
A Life with Dragons
Anne McCaffrey: A Life with Dragons is the biography of a writer who vividly depicted alien creatures and new worlds. As the author of the Dragonriders of Pern series, McCaffrey (b. 1926) is one of the most significant writers of science fiction and fantasy. She is the first woman to win the Hugo and Nebula awards, and her 1978 novel The White Dragon was the first science-fiction novel to appear on the New York Times hardcover bestseller list. This biography reveals a fascinating and complex figure, one who creates and re-creates her fiction by drawing on life experiences. At various stages, McCaffrey has been a beautiful young girl who refused to fit into traditional gender roles in high school, a restless young mother who wanted to write, an American expatriate who became an Irish citizen, an animal lover who dreamed of fantasy worlds with perfect relationships between humans and beasts, and a wife trapped in an unhappy marriage just as the women's movement took hold. Author Robin Roberts conducted interviews with McCaffrey, her children, friends, and colleagues, and used archival correspondence and contemporary reviews and criticism. The biography examines how McCaffrey's early interests in theater, Slavonic languages and literature, and British history, mythology, and culture all shaped her science fiction. The book is a nuanced portrait of a writer whose appeal extends well beyond readers of her chosen genre.
In Anteaters Don't Dream and Other Stories, Louise Hawes deftly portrays lovers at the end of their patience, marriages on the verge of decline, children reeling from abuse, and parents devastated by loss.
But many of these stories have a sardonic, humorous edge as well: in the title story, a jaded architect learns to take his dream life more seriously when a female co-worker threatens his career. In "Mr. Mix Up," a mother becomes infatuated with the clown at her son's birthday party. In "My Last Indian," a menopausal woman goes native. And in "Salinger's Mistress," a young woman lies about having an affair with J. D. Salinger. . . until Salinger himself calls her on the phone!
Whether Hawes's protagonists are rich or poor, male or female, young or old, their voices are convincing, varied, and human. With equal portions of wit and pathos, Anteaters Don't Dream and Other Stories is a versatile collection by a remarkable prose stylist.
Louise Hawes is a writer and teacher based in Pittsboro, North Carolina. She is the author of The Vanishing Point, Rosey in the Present Tense, and other novels.
Anthony Minghella: Interviews is an illuminating anthology of in-depth conversations with this important contemporary film director and producer. The collection explores Minghella's ideas on every aspect of the cinematic creative process including screenwriting, acting, editing, the use of music in film, and other topics concerning the role of the film director.Minghella (1954-2008) was a highly regarded British playwright (Made in Bangkok), and television writer (Inspector Morse) before turning to film directing with his quirky, highly regarded first film, Truly, Madly, Deeply, in 1990. He went on to direct an extraordinary trilogy of large-scale films, all adapted from significant works of contemporary literature. Minghella's 1996 adaptation of Michael Ondaatje's poetic novel The English Patient was the director's most critically and commercially successful film and went on to win dozens of awards around the world, including nine academy awards. Minghella followed this film with his entertaining, elegant adaptation of Patricia Highsmith's The Talented Mr. Ripley, a film that enjoyed great critical and commercial success and featured some of the best acting of the 1990s by its talented cast of young, rising stars, Jude Law, Matt Damon, Gwyneth Paltrow, and Philip Seymour Hoffman. Minghella's ambitious adaptation of Charles Frazier's American Civil War romance, Cold Mountain, was released in 2003, and firmly marked Minghella as a director of intimate, yet large-scale epic cinema worthy of David Lean. Although Minghella was a successful film director and producer, he was also an important part of the cultural life of the U.K. He was awarded a CBE (Commander of the British Empire) in 2001 for his contributions to culture, and he was Chairman of the Board of Governors of the British Film institute from 2004 to 2007.