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Reviews book: after investigating the death of Michael Jackson with many calls to the corner ,embalmer and many others and much hard work I found there is as much proof the Michael Jackson is alive than there is proof he is dead
Reviews book: ""African American gospel singer Mahalia Jackson was just sixty years old when her heart finally gave out on January 27, 1972, as she lay alone in her sick bed at Little Company of Mary Hospital just south of Chicago. Obituaries faithfully recounted the best-known story lines of her unlikely career: how the power of her voice was rooted in her devout Baptist upbringing; her birth in 1911 and rise from dire poverty in Uptown New Orleans to international celebrity; a dedication to the black freedom struggle that further elevated her to the status of cultural and political symbol. Together, Jackson's voice, faith, prestige, and activism, made her at the time of her death, in the assessment of her friend Harry Belafonte, "the single most powerful black woman in the United States." Yet her reputation is also complex. Invoking the charisma of Martin and Malcolm, the persuasion of statesmen and despots, and the splendor of divas and diadems, Maceo Bowie's letter to the editor of the Chicago Defender seems to both celebrate and grapple with the substance of Jackson dynamism as a gospel singer and her consequence as an illustrious black public figure. In an editorial in the Defender following Jackson's death, E. Duke McNeil acknowledged Jackson's habitual acclaim as the "Queen of the gospel singers," while also observing: "You can almost say that Mahalia was the 'greatest' because she was the only gospel singer known everywhere." Indeed, for scholars of black gospel, the music itself is often hidden in plain sight. On the one hand, gospel voices are inescapable, audible not just within the music industry, where they have become a lingua franca for pop singers, but also in recurring representations of the black church, in the omnipresent sound of the black gospel choir, and in the personal histories of many black artists. On the other, in comparison with such genres as jazz, blues, country music, and hip hop, documentation of black gospel music, which has thrived in in-group settings, is relatively scant, leaving researchers with limited sources and largely reliant on oral history. Fortunately, the scope and coverage of Jackson's caereer produced a paper trail that enables us to study her personal and professional life while gaining insight into the black gospel field of which she was such an integral part. In compiling a wide swath of these sources on Jackson, The Mahalia Jackson Reader seeks to paint a fuller and more vivid picture of one of the most resonant musical figures of the second half of the twentieth century. This volume offers a wealth of biographical detail about Jackson, though it also reveals that Jackson was many things to many people. This is reflected in the book's organization by topic and type of writing, though, as often as possible, Jackson's own voice joins the dialogue, offering her side of the story. Jackson always identified as a child of New Orleans and the documents in Part I convey her recognition of the singularity of that city and of her legacy as the grandaughter of enslaved and emancipated African Americans. Stories about Jackson's upbringing are recounted by the esteemed critics and commentators in Part II, though these writers also ruminate upon the essence of her artistry, her relationship to jazz, her significance as an African American woman in the public eye, and the ways in which she became an increasingly complicated crossover figure as her visibility grew beyond the bounds of the black church. Newspaper coverage in Part III offers "hot takes" on Jackson's appearances, the pop-cultural cachet of postwar gospel singing, and the singer's transatlantic reception. Already in the 1950s, though even more in subsequent decades, it is evident that beyond being an exemplar of gospel singing, Jackson was read through various investments in the sociopolitical significance of black expressive culture. In 1931, Jackson moved from New Orleans to Chicago where she became immediately immersed in a burgeoning modern gospel movement. The testimony of Jackson and her associates in Part IV are more personal and allow us to understand her less as an exceptional individual than as a musical colleague and as a member of a black South Side community. Yet another perspective on Jackson emerges from the writing directed toward a scholarly audience in Part V, which seeks to contextualize the singer historically and offer enterprising interpretive claims"--
Reviews book: However people remember Jackson, no one can deny that, in cultural terms, Jackson remains a compelling subject: an icon of the late 20th century, he reflects not only the changes in the circumstances of the African American population, but changes in white America. Jackson was idolized, perhaps even reified and, for many, objectified into an extraordinary being, an Other, for whom there were no established reference points in white people's conceptions. The Destruction and Creation of Michael Jackson places Jackson at the center of its argument, but maintains he was a creation of, at first, American and, later, global culture at a time when it seemed desirable, if not necessary to exalt a Black person on merit. America had become a society in which someone of Jackson's indisputable genius not only can, but must, rise to the top.
Reviews book: Major Frank Howard. Doctor. Surgeon. Army officer. 1971. At the 95th Evacuation Hospital, Da Nang, South Vietnam, he learns there is a difference in the moral code of war and peace. A conflict between a doctor’s Hippocratic Oath and his duty as a soldier. To allow some to live while others die. A balance depending on varying factors. Would he lose his soul, trying to live with his wartime decisions, stuck between the fluctuating moral compass of the military and civilian world?
Reviews book: The story is about 3 boys and the adventures they encounter during summer vacation with the magic wishing well. Is it real or just their imagination? You be the judge.
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Reviews book: In 1829 Andrew Jackson arrived in Washington in a carriage. Eight years and two turbulent presidential terms later, he left on a train. Those years, among the most prosperous in American history, saw America transformed not only by growth in transportation but by the expansion of the market economy and the formation of the mass political party. Jackson's ambivalence—and that of his followers—toward the new politics and the new economy is the story of this book. Historians have often depicted the Old Hero (or Old Hickory) as bigger than life—so prominent that his name was wed to an era. Donald Cole presents a different Jackson, one not always sure of himself and more controlled by than in control of the political and economic forces of his age. He portrays Jackson as a leader who yearned for the agrarian past but was also entranced by the future of a growing market economy. The dominant theme of Jackson's presidency, Cole argues, was his inconsistent and unsuccessful battle to resist market revolution. Elected by a broad coalition of interest groups, Jackson battled constantly not only his opponents but also his supporters. He spent most of his first term rearranging his administration and contending with Congress. His accomplishments were mostly negative—relocating Indians, vetoing road bills and the Bank bill, and opposing nullification. The greatest achievement of his administration, the rise of the mass political party, was more the work of advisers than of Jackson himself. He did, however, make a lasting imprint, Cole contends. Through his strength, passions, and especially his anxiety, Jackson symbolized the ambivalence of his fellow Americans at a decisive moment—a time when the country was struggling with the conflict between the ideals of the Revolution and the realities of nineteenth-century capitalism.
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