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A frank autobiography of the jazz trumpeter Miles Davis. This book records his life - the music, the women and the drugs. It talks about the white promotors and producers who exploited black musicians as well as the critics.
Never before available, the unexpurgated last interview with James
Baldwin
"I was not born to be what someone said I was. I was not born to be
defined by someone else, but by myself, and myself only." When, in
the fall of 1987, the poet Quincy Troupe traveled to the south of
France to interview James Baldwin, Baldwin's brother David told him
to ask Baldwin about everything--Baldwin was critically ill and
David knew that this might be the writer's last chance to speak at
length about his life and work.
The result is one of the most eloquent and revelatory interviews of
Baldwin's career, a conversation that ranges widely over such
topics as his childhood in Harlem, his close friendship with Miles
Davis, his relationship with writers like Toni Morrison and Richard
Wright, his years in France, and his ever-incisive thoughts on the
history of race relations and the African-American experience.
Also collected here are significant interviews from other moments
in Baldwin's life, including an in-depth interview conducted by
Studs Terkel shortly after the publication of "Nobody Knows My
Name." These interviews showcase, above all, Baldwin's fearlessness
and integrity as a writer, thinker, and individual, as well as the
profound struggles he faced along the way.
"From the eBook edition."
Recognized by the New York Times as one of the Best Photography
Books. Immerse yourself in the visual stream created over the first
50 years by Kamoinge, a pioneering photographic collective founded
in 1963 in New York City, at the height of the Civil Rights
Movement. Kamoinge's members include many of the nation's most
accomplished photographers. This is the first comprehensive book of
the work of Kamoinge's 30 members, from the founding of the
Kamoinge Workshop in 1963 to 2014. After more than 5 decades of
racist barriers to the recognition of Kamoinge by major museums,
the Kamoinge Workshop is finally being celebrated by the art world
and has assumed its rightful place as a major force in the history
of American photography, as the longest standing photographic
collective. The major traveling exhibition Working Together: The
Photographers of the Kamoinge Workshop launched in 2020 at the
Virginia Museum of Fine Arts and traveled to the Whitney Museum of
American Art, the J. Paul Getty Museum, and the Cincinnati Art
Museum. Several Kamoinge original members were featured in the
major 2017-2020 international exhibition Soul of a Nation: Art in
the Age of Black Power, first created at the Tate Modern in London
then traveling to Crystal Bridges Museum of American Art, the
Brooklyn Museum, the Broad Museum, the de Young Museum, and the
Museum of Fine Arts in Houston. In this stunning compendium, over
280 photographs are interspersed with insights and thoughts from
Kamoinge's members and other renowned authors. Taken in New York
City, West Africa, Guyana, and suburban America, the photos include
abstracts; daily moments of men, women and children; landscapes;
and portraits of Miles Davis, Biggie Smalls, a young Ntozake
Shange, and many other visionary citizens. Timeless: Photographs by
Kamoinge was recognized by the New York Times as one of the Best
Photography Books of 2015.
Kyle Dargan's debut collection of poetry, "The Listening," searches
through the cluttered surface of contemporary life to tune into the
elemental sounds within the marrow of living/life. Throughout the
collection, Dargan interweaves elements of his heritage with the
present day--jazz influences blend with hip-hop; neoslave
narratives run parallel with the intimate tale of civil rights
leaders; post-9/11 America is juxtaposed with family portraits of
the sixties and seventies--to reveal the continuous, though ever
changing, music of the world around us. Whether capturing the
famous Ali-Frazier fight in Manila or a trip to the local
barbershop, Muddy Waters or boyhood blacktop games, Dargan gives
voice to the most poignant and fleeting aspects of our everyday
existence. With singular incisiveness and vigor, these poems act
simultaneously as psalms and elegies, praising life at the same
time they lament its inevitable passing.
The world is made of seductions. In Quincy Troupe's Seduction, the
""I"" becomes the ""Eye,"" serving as metaphor and witness in a
narrative compilation from a master of poetic music. Elegies and
dramatic odes look at the seduction of all things loved or hated,
especially the man made of color. How did the killings of Michael
Brown, Tamir Rice, and Trayvon Martin seduce the public's eye and
catch the fire of racism? How did Aretha Franklin seduce us with
voice and twang? How does the art of Romare Bearden or Jack Whitten
still tell our truths, fantasies, and oppressions? time is a bald
eagle, a killer soaring high in the blue, / music to men dodging
bullets in speeding cars, / knew death, hoped it'd never come . . .
In this collection we are seduced by Troupe's opus. This is the
poet's art laid bare. He is our ""Eye."" Visions of the
transatlantic slave trade, portraits of American violence, pop
culture, and historical voices are the lyrical relics in Troupe's
masterful verse. One of American literature's most important
rhythmical artists, Troupe has created a chronicle reaching through
history for the collective ""I/Eye"" that is all of us.
If we were all brave enough to resurrect the voices lost from our
humanity, what would they say? Award-winning poet Quincy Troupe,
spokesman for the humanizing forces of poetry, music, and art,
parts the Atlantic and rattles the ground built on slavery with
Ghost Voices: A Poem in Prayer. we are crossing, / we are /
crossing, / we are crossing in big salt water, // we are crossing,
// crossing under a sky of no guilt / we have left home // though
we know we will go back / someday, / see our people / as we knew
them . . . Troupe re-creates the history of lost voices between the
waters of Africa, Cuba, and the United States. His daring poetics
drenched in new forms-notably the seven-elevens-clench
transformative narratives spurred on by a relentless, rhythmic
language that mimics the foaming waves of the Atlantic Ocean and
the Caribbean Sea. His personae speak quantum litanies within one
epic, sermonic-gospel to articulate our most ancient ways of
storytelling and survival.
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