I read this book when it was first released. To this day, I still recognize it as one of the best biographies I've ever read. I'm such a fan of this book that I passed my original copy around for months to make sure not one of my friends or family missed this. David Ritz cut to the chase and made me put aside all my preconceived ideas about Marvin's life and death. At once Marvin Gaye's life and untimely death became real, painful and surprisingly personal to me. I highly recommend this book to anyone who appreciates an unflinchingly honest, richly detailed and flawless account of a life, especially one as complicated as Marvin's.

This was indeed a FASCINATING and TRAGIC drama. It produces emotions of love and hate for Mr. Gaye in the reader. I had no intention of reading the ENTIRE book...but I just couldn't help myself! I wish MORE had been said about HOW IN THE WORLD did his crazy father "get off," because it became obvious to me that it was a cold-blooded and premeditated murder. I wish the photos had been better and that there had been MORE of them....esp. did I want to see a photo of Jewel Price and Eugenie. It's a shame Marvin's mother was too weak to protect herself and her precious son throughout his life from such a vicious, mean, sick father...I couldn't believe how the whole family put up with him. I also feel regret that the family didn't intervene and didn't band together more to bring SOMEBODY to help Marvin in those last several months he spent at home and to keep those bad, destructive elements and people from "hanging out" at their own property. It's such a shame and a loss for the world that Marvin never sought professional therapy to resolve his many and varied issues. I believe that these sensitive entertainers should have "Conflict Resolution" as a part of their contracts. It's terrible to lose such a talent and for him not to have ever been truly happy with the wonderful life he COULD have enjoyed. All in all though, this book was DEFINITELY "da bomb." I'll never forget it or the man behind the story--esp. since I was a big fan, front-row center admiring his handsome face and body during his performance at his Black Expo Concert in Chicago in the 70's and have felt a real "closeness" to him ever since.

It's obvious from the start of this book that David Ritz had a great deal of appreciation and love for Marvin Gaye. It's also very apparent by the last chapter that his appreciation and love hasn't prevented Ritz from seeing Gaye's life from all sides. He explores his subject's strengths and failings with a deft hand; details that could have been tawdry and sensationalistic in a lesser writer becomes revelatory when Ritz deals with them.

Everybody discussed in this book emerges with three dimensions. Marvin Gay, Sr., who was his son's killer, certainly did a monsterous, horrible thing, but Ritz goes to great lengths to try and understand both father and son and their hateful relationship, in order to make some sense out of the day Marvin, Jr. died. Similarly, Berry and Anna Gordy, Marvin's former boss and former wife, are neither roundly vilified or let off the hook; Ritz takes pains, for instance, to show that however much Berry Gordy may have stifled Marvin's growth as an artist (he hated WHAT'S GOING ON, rightly considered by many as the finest album Marvin Gaye ever recorded), he also gave Marvin his freedom on a number of other projects and always respected his talent.

And Ritz doesn't whitewash his subject, either; it becomes clear that Marvin Gaye could be very warm and very hostile, equally surefooted and wreckless in his career. By the end of his life, Gaye had succumbed to the madness of his own demons and maybe, just maybe, there was no other way things could've turned out. If you've ever been buoyed by the jubilation of "How Sweet It Is" or moved by the passion of "What's Going On," you'd do well to read this excellent biography.

Slavery was known as a "peculiar institution". By broadcasting such labels for slavery, the southern slave owners were able to downplay the severity of the subjugation of slaves in this "peculiar institution". However, in 1845 a runaway slave by the name of Frederick Douglass was published his narrative which showed the extent of the cruelty within of the oppressive the institution of American slavery. Douglass gives a powerful portrayal of his personal struggle against the tyranny of himself and his fellow slaves. By depicting his personal story regarding the horrors of slavery, Douglass testified to the injustices of the slave institution and conveyed an urgent message of the time for prompt abolition.
Douglass leaves out no detail as he portrays the brutal means in which slaves were forced into subjugation. In order to maintain order and to achieve maximum efficiency and productivity from his slave, an owner used the fear of the ever-present whip against his slaves. Over, and over again throughout the Narrative, Douglass gives account of severe beatings, cruel tortures, and unjust murders of slaves. The message is evident. Slavery dehumanized African Americans.
From the introduction of his early experience, Douglass portrays the burdens of slavery. The reader is forced to cope with the fact that he has no tangible background. Slavery has robbed him of the precious moments of his childhood. He was raised in the same manner as one would raise an animal. In his early years he had no knowledge of time-he did not even know when he was born. He is also forced to scrounge for food in the same fashion as a pig digs for slop. The saddest insight is the alienation of Douglass from his family. He has no connection with his parents and when his mother dies he was untouched. On hearing of her death he states, "I received the tidings of her death with much the same emotions I should have probably felt at the death of a stranger" (19). The bond between mother and child is the strongest bulwark for children and to be robbed of this and to not care demonstrates just how severe slavery was to Douglass and countless others who faced the same fate. In the entire slave experience, the only escape from the repression was through sorrowful singing. As Douglass states, "every tone was a testimony against slavery..." and "slaves sing the most when they are unhappy" (29). Only through music could slaves find comfort in dealing with their anguish.
Douglass's first witness of brutality is the telling of his Aunt Hester's beating. The narration is powerfully effective through terrible detail. The cursing of the overseer, the shrieks of his aunt, and the horrible effects the whip upon her flesh is almost as agonizing the reader of the Narrative as it was to his unfortunate aunt. The fact that this terrible instance is a common occurrence makes it a heavier burden upon the reader's soul.
As if the beatings were not enough, slaves were also murdered on a whim. Douglass tells of Gore, a meticulously cold taskmaster who blew out the brains of a poor slave by the name of Demby. The chilliness of Gore's is terrible due the fact that he kills with the sympathy of a butcher.
Upon hearing about this, one would speculate that the authorities would deal with such barbaric acts justly. However, as Douglass recounts in the story Mrs. Hicks, the murderess that killed a slave girl for not moving fast enough, the law officials were hesitant to enforce the rights of the slave and would intentionally overlook such matters. This is primarily due to the fact that a slave owning society could not allow the rights of the slave to be upheld to the same level as a white man. To do such a thing would threaten the stability of their superiority. This is further illustrated in Douglass's struggle against the shipyard workers, when he fled to his master and told him of the attack his master stated that he could not hold up Douglass or even a thousand blacks testimony. The lack of protection under the law and the unwillingness of the whites to give the slaves a voice allowed the whites to completely dominate the slaves without the fear of accountability for their actions.
The worst aspect of slavery is found in the religious nature of the subjugation of slaves. The cruelty found in slavery was even more intense when placed under the pretense of the slaveholding religion of Christianity. Through Douglass's deconstruction of Christianity, he learns that the white oppressive version of Christianity is much different from his own beliefs of Christianity. The incident that shaped Douglass's understanding of the mentality of religious slaveholders was when he was placed under the authority of Mr. Freeland. In this situation, he was able to see the difference between the so-called "religious slave-holders" and "non-religious slave-holders." Douglass felt that the "non-religious slave-holders" were less brutal because they did not reprimand their slaves based on a Divine command. Instead they were more concerned about reprimanding the slaves when the slaves did wrong as opposed to whenever they felt that the Lord professed a beating.
The Narrative and Selected Writings is a powerful testimony to the struggles American slaves faced. Through the writings of men such as Frederick Douglass, abolitionists were given fuel to the bonfire of the Abolition Movement. Douglass honest testimony helped to bring out the truth about slavery. Abolitionists now had evidence to back their claim that the "peculiar institution" was in fact an institution of evil.

As the title implies, this short work is the narrative of Frederick Douglass, an escaped slave. He wrote it by himself, a significant fact in that his prose is so eloquent and his pathos so powerful that it seems impossible for a former slave to have composed it. In this short autobiography, Douglass recounts his life as a slave, and details some of the horrors and atrocities perpetuated on slaves by their fiendish overseers, most of whom Douglass portrays as downright evil. More than just a narrative of his life, Douglass also gives an account of how the desire to be free grew and began to burn within his bosom, and how he grew to hate that horrible institution. Above all, this is a story of a slave learning that he is, in fact, a human being.

The significance of this book cannot be overestimated. In it, Douglass effectively dispels a number of popular myths about slaves and slaveholders, and forever changes the way the reader (especially one who lived while slavery still existed) looks at slavery. The theme of this book is very simple: slavery is wrong. It is evil, it is cruel, and, despite what many people thought at the time, the slaves know how cruel it is. Douglass cites several examples of the horrible treatment slaves received, one of them being separation of families. "It is a common custom...to part children from their mothers at a very early age" So it was with Douglass and his own mother.

Douglass writes in a very eloquent style, and this contributes to the power of this work. Many people who thought blacks were inferior in intelligence were shown to be sadly mistaken with the coming of Frederick Douglass, a man both educated and refined. It may be said that the book is not entirely fair, for it is decidedly anti-slavery, but it is undoubtedly true for most cases nonetheless. Most of the overseers in Douglass's narrative are demonic and sadistic, but when a good overseer comes along (such as Freeland), he is fair in his treatment of him.

One can imagine the fuel this book gave to the abolitionist fire, and it is not difficult to see why Douglass had such an impact on both North and South. This is, in my opinion, a definitive work, in that it shows the horrible institution of slavery in all its barbaric nature, and does it from a firsthand point of view, that of a former slave. This book was a tremendous contribution, both for the light it shed on slavery in general, and for proving that blacks were not intellectually inferior by nature, but instead were "transformed into...brute[s]" at the hands of their overseers.

This is a great book, essential for anyone wanting to study the Civil War era or wanting to gain a firmer understanding of slavery.

Perhaps more so than any other account, Douglass gives us a look into the life of a slave. I enjoy this book on many level. Douglass writes honestly and in a factual tone. He does mince his words when he describes the brutality of slavery. Douglass demonstrates that he is an intelligent man despite his lack of education. He taight himself to read. To our youth, this demonstrates the value of education. Douglass also show Americans manipulated the work of God even in his time. Yet, Douglass found strength in that God. I think the quality I enjoyed most about this book is the fact that Douglass does not see himself as a hero, but as an average slave. This is not a typical characteristic of an autobiography. I read this book for the second time coming and going on 3 hour flights. The book is a short read, but well worth your time to read of atriumph of the human spirit.

Know of of a lawyer (whom does not already have this indespenseable tool) or of a person heading to law school; then you should buy this book for them, i.e., Black's Law Dictionary by Bryan A. Garner (Editor), et al. The reference book starts out with a pronunciation guide; preface (which is very well written indeed); guide to dictionary; list of abbreviations; dictionary; seven appendixes, legal maxims, the constitution of the united states of america, universal declaration human rights; time chart of the united states supreme court; federal circuita map; british regnal years; list of works cited. The price is abit steep ... but it is well worth its price.

The point of contention which normally arises in a discussion of this Pocket Edition of Black's Law Dictionary is the price. Many other products exist which are less than half the $ price tag.

The only response is that these other books are a waste of money. Dollar for dollar there is no better option than this near perfect book. The months of preparation by renowned lexicographer Bryan Garner (author of the Dictionary of Modern American Usage), along with legal librarians and any number of other professionals and assistants have created a volume that will serve the law student especially well.

The relief of not carrying the full dictionary in their backpacks is worth the students' money. And every student should own both a full and a pocket dictionary. These are indispensable tools.

If you are not going to carry Black's Pocket Dictionary you are better off using the full 7th edition available (maybe) at the reference desk of your law library. Save your money.

...

Know of of a lawyer (whom does not already have this indespenseable tool) or of a person heading to law school; then you should buy this book for them, i.e., Black's Law Dictionary by Bryan A. Garner (Editor), et al. The reference book starts out with a pronunciation guide; preface (which is very well written indeed); guide to dictionary; list of abbreviations; dictionary; seven appendixes, legal maxims, the constitution of the united states of america, universal declaration human rights; time chart of the united states supreme court; federal circuita map; british regnal years; list of works cited. The price is abit steep ... but it is well worth its price.

This Bible paralleled a timeline of spiritual change for me. My wife got it for me for Christmas 1999. At that time we were Evangelical Lutheran Church in America; now we are Lutheran Church - Missouri Synod.

There are many good points about this Bible. The in-text study notes are very well arranged. The maps and concordance are excellent. The articles on Bible study are well-written. It is indeed set up to be "accessible".

Caveats: The NRSV is a good translation, but let down by awkward, forced "gender-neutrality". Not a good thing. I think most female readers don't explicitly look for this. It would have been so much better had the translators gone with what the Greek and Hebrew actually said, instead of being "politically correct". Also, the study notes and book introductions are very much worded according to the "historical-critical" method of Bible interpretation. The Old Testament is treated strictly as a Jewish work, with almost no links noted to the New Testament.

However, this was also the first time I have read the Apocrypha in any detail and I found the notes very well-explained.

Overall, good, but could have been better. If you are a member of a "mainline" denomination (whatever that means in this day and age) and have never really read the Bible, it would be a good introduction. However, if you are more theologically conservative, you will find problems.

My choice is still the NIV Concordia Self-Study Bible.

There are many Study Bibles on the market today and the Access Bible is one of the better ones. It uses the highly respected (in academic circles and in the church) New Revised Standard Version, which blends accuracy and readability to make it the best version available. The study notes were done by a team of highly acclaimed biblical scholars from many well-respected seminaries. They represent a variety of denominations including Episcopal, United Methodist, and Roman Catholic. The notes are formulated based on the modern critical principles of biblical scholarship. The annotations are a good length and account for about 30% of the total text (just my rough estimate). There are introductions to each book, as well as boxes throughout that go into more detail on certain topics (e.g. Father-Son relationship in John). There is a glossary that includes many interesting topics of interest to those studying the Bible. The Access Bible also contains a concordance, a table of weights and measures, and maps. This edition contains the deuterocanon.

This is a terrific resource for readers who really desire to grow in their understanding of the Bible and Biblical times. The notes are very good, providing pertinent historical and cultural information and insightful analysis. They're straight forward and really help to illuminate the entire Bible, especially the more difficult passages. They're also user- friendly, providing the information right there rather than sending the reader off on a hunt through a maze of cross references.

My comparisons are with the NIV Study Bible (which I found too conservative and rigid)and the Harper-Collins Study Bible (which I found too technical and almost secular in their approach). This Bible strikes a happy medium--real,user friendly scholarship, presented in an uplifting way. For me it really helps in sorting out the time bound, cultural aspects of the Bible from the eternal truths we should cling to forever.

If I have one complaint, it's that there are no headings within the text to help the reader locate specific passages (e.g., "The Transfiguration" or "Feeding the 5,000.") But that's pretty picky--it's a wonderful book!

With Soulful Divas, David Nathan - a true lover of r&B music - has compiled interviews with many of his favorite singers of the past 40 years. Some of the subjects, like that of the humorously raunchy Millie Jackson and the troubled Nina Simone, make for compelling reading. Most suffer from his endless fawning however. Take, for instance, Diana Ross. By all other accounts, Miss Ross is a difficult person, yet Nathan makes her out to be practically a saint.

Nathan's frequent access to all of the top divas exposes the modern journalist's dilemma: if he fully captures his subjects in print, warts and all, he risks alienating them and being denied interview access to them in the future. Instead, Nathan fawns all over his subjects and gets repeat interviews with high-profile women who are often leery of the press (Aretha Franklin for one). Because of his "tactics", we are able to enjoy his many interviews in one setting (this book). Too bad most of his portraits don't penetrate the surface.

David Nathan KNOWS his R & B. For close to four decades, the book's author has been a contributor, in some way or another, to the production of over 500 albums of soul music. He has done countless interviews, provided liner notes for recordings, served as producer on several, and even done a little background singing. It is obvious that if anyone knows what a "diva" truly is, David Nathan is that man.

"The Soulful Divas" covers the recording careers of the ladies profiled with little snippets of their non-professional beginnings, as well as individual highs and lows. However, it's these little "peeks" into the artists' characters that make the book such a fascinating read.

Not meaning to reveal much of the text, there are many little known facts reported in each profile. Each of the women has experienced her share of failed romantic relationships, legal battles with recording companies, perceived public opinions, peaks and valleys in album sales, and personal tragedies.

Most tragic of all showcased within the pages of the expose is the late Phyllis Hyman, a diva in every sense of the word. Like Nathan, I am a fan of hers, also, and her untimely demise still brings a lump in my throat.

But, the chapter on Millie Jackson is a welcome find. Jackson is the only diva profiled that is not represented in my musical library, save for a duet album with Isaac Hayes. However, after reading about the singer's body of work, as well as her down-to-earth and honest demeanor, I think that this is about to change.

I am curious about a certain "expletive deleted" symphony that she composed.

Note for the author: The next time around, include Patti Austin in volume two.

This book is a must for music lovers. I have followed the careers of every Diva in this book, my only dissapointment is that wasnt longer and included more Diva's. I especially enjoyed the one on one with Aretha, Patti, Diana, Dionne, and Glady's. I have a new R-E-S-P-E-C-T for all the Diva's. Mr. Nathan gives great insight on what sacrifices that each performer has made to become a star. He shows that its not all its crack up to be. I hope that this books shoots straight to the top. I can guarantee that you will not be dissapointed with this book. Pick up a copy and give it to friends. These Divas story need to be told to the world.

And so "education" should be, one of many great, though by no means unique, insights into the mind of mankind in W.E.B. Dubois's "Souls of Black Folk." I read this book after reading both the "Autobiography of Malcolm X" as well as Foner's "The Black Panther's Speak." Both of these books make allusion to Dubois, and in reading "Souls" I better understand the ideas and programs of Malcolm, Huey and Eldridge, their desire to be granted the same rights and privileges as all American citizens, and, where the white man continued to disallow it, their taking them "by any means necessary."

Admittedly, I have very little experience with African-American culture. "The Souls of Black Folk" I think helps bridge this gap by exploring the history - economic, social and political - and pyschology of the African-American. I came away with a much better understanding of organizations like the Freeman's Relief Association, men like Booker T. Washington, African-American Christianity and, to a small extent, the psyche of the black man in America, at least its historical antecedents, up until the early 1900s.

I have read reviews dismissing Dubois's work as outdated, especially after the '60s and the civil rights movement. Perhaps it is, though, again, I don't feel I know enough about African-American culture in our day to be able to say either way. Having said that, I am much better acquainted with other socially and economically constructed "niggers" of our world, both domestically and internationally, and in that regard I think Dubois's "Souls of Black Folk" is still very much applicable, in fact a complementary resource from which to glean insight into contemporary politics and economics. Perhaps, hopefully, there will one day be no more "niggers" on American soil. But, unfortunately, there will always be "niggers" in this world, and Dubois's lectures on removing "the great problem of the 20th century - the color line" are as important today as they were 100 years ago.

From "Of the Sons of Master and Man":
In any land, in any country under modern free competition, to lay any class of weak and despised people, be they white, black or blue, at the political mercy of their stronger, richer and more resourceful fellows, is a temptation which human nature seldom has withstood and seldom will withstand.

Perhaps basic, perhaps something one has heard numerous times, but the fact that this citation and many, many others like it to be found in "The Souls of Black Folk" were written 100 years before guys like Ralph Nader and Howard Zinn were selling hundreds of thousands of books based on a slightly different spin of the same argument is at least relevant, if not impressive.

Dubois was no racist, as any of the rest of the aforementioned group weren't either. If anything (and perhaps in this time this is a politically incorrect term) he was a classist, and merely argued for the assimilation of the black man into the society that did not understand their mutual dependence. Reading the book did not produce "white guilt" or anything the David Horwitzes of the world would like to convince me is happening to me. It provided me with a greater understanding and respect for people I daily ride the metro with, work with, am an American citizen WITH.

The Souls of Black Folks, as other reviewers have pointed out, is a masterpiece of African-American thought. But it is even more than that when we consider the context and time in which the book was written. Most of what DuBois discusses is still relevant today, and this is a tribute to the man, not only as a scholar, but as someone who was continually adapting his views in the best image and interests of black people.

Some reviewers refer to DuBois as "the Black Emerson" and, as a university instructor, I heard similar references made: 'the Black Dewey" or "the Black Park," referring to the Chicago School scholars. Du Bois was brilliant; indeed, these white men should be being called "the white Du Bois"! Du Bois literally created the scientific method of observation and qualitative research. With the junk being put out today in the name of "dissertations," simply re-read Du Bois' work on the Suppression of the African Slave Trade and his work on the Philadelphia Negro and it is clear that he needs not be compared to any white man of his time or any other: he was a renaissance man who cared about his people and, unlike too many of the scholars of day, he didn't just talk the talk or write the trite; he walked the walk and organized the unorganizable.

White racism suffered because Du Bois raised the consciousness of the black masses. But he did more than that; by renouncing his American citizenship and moving to Ghana, he proved that Pan Africanism is not just something to preach or write about (ala Molefi Asante, Tony Martin, Jeffries and other Africanists); it is a way of life, both a means and an end. Du Bois organized the first ever Pan African Congress and, in doing so, set the stage for Afrocentricity, Black Studies and the Bandung Conference which would be held in 1954 in Bandung, Indonesia. Du Bois not only affected people in this country, he was a true internationalist.

Souls of Black Folk is an important narrative that predates critical race theory. It is an important reading, which predates formal Black Studies. The book calls for elevation of black people by empowering black communities -- today's leadership is so starved for acceptance that I believe that Karenga was correct when he says that these kind of people "often doubt their own humanity."

The book should be read by all.

At the end of the century, in a few months there will be much debate about the person of the century, the writer of the century, the actor of the century and so on. This book, this writing should put DuBois at the very least in the top five ranking of the most important writer and thinker of the twentieth century. He is as far as I am concerned the Black Nostradamus. He forsaw what has been happening in recent years with the increase of hate crimes and mass acts of violence and oppression against the colored masses of the United States and the world. DuBois like no other from his time captures the spirit of the America Black and he allows his reader to read and to understand what has caused the Black consciousness to be in the state of disaster that it was in and is in in some aspects. He is a great writer and this book should be required reading in every American Literature and Black Literature class in every high school and college in this country. This is an important work not only for Blacks to read but whites as well. Well written and well received is all that I can say about this book. GREAT!!!!!

How was lynching ever respectable? Why did nightclub owners discourage Billie Holiday from singing this protest song against the murder of innocent Blacks? How did this powerful, somber song become Time Magazine's Best Song of the Century?

David Margolick traces the history of Strange Fruit from a forbidden, banned song to a celebrated cry for civil rights in a concise style. Performers, club owners, reviewers, and activists are extensively quoted - and the differing perceptions allowed to exist next to each other without comment.

This facinating book should be carried in all public school libraries, read in courses on American music. It's a fine addition to the scholarship on the civil rights movement too.

I do have, however, one serious criticism. Somehow, even if in just a single sentence, Margolick should have noted the irony of sensitive, gentle progressive defending Stalin's regime. Several key people, great souls, involved in the early civil rights movement - including the songwriter of Strange Fruit - were members of the Communist Party during the Stalin's dictatorship. They were outraged at the lack of freedom for blacks in America, and their criticisms of Jim Crowe laws were totally accurate. I wish, however, that Margolick had at least mentioned - once - their blindness toward the brutal rule of Stalin in the USSR.
The vast, vast majority of these progressive activists recognized their mistake, and their committment to the Bill of Rights and individual freedom only increased.

Despite this minor criticism, this is a fantastic book that documents the great change in American cultural norms over the last 50 years.It's hard to imagine a time when Billie Holiday and Strange Fruit would be banned and lynching accepted as a Southern tradition.

Thank God for progress!

It may seem odd to devote an entire book to a single song, but if ever a song demanded such an exploration, itÕs Billie HolidayÕs recording of Strange Fruit. Almost everyone thinks itÕs brilliant, yet few people listen to it often. Holiday makes this depiction of a lynching so real that the song is physically painful to listen to. To this day, itÕs rarely played on jazz-formatted radio stations. ItÕs too disturbing. IÕve always wondered how Billie Holiday managed to get it recorded in 1939. Did radio stations play it? And where did she sing it? I simply could not imagine Lady Day, with a gardenia in her hair, singing such a horrifying song to people in a nightclub while they sipped martinis. And if she did, how did her audience react? The fascinating thing about this book is that it not only answered my questions, it also raised many issues I hadnÕt thought about. David Margolick has collected comments and anecdotes about Strange Fruit and HolidayÕs performance from a wide variety of sources Ð musicians who worked with her, people who saw her perform the song at different time in her life, and contemporary singers who have recorded the song or performed it. What they say raises a lot of interesting questions about the relationship between art and politics, as well as the relationship between an artist and her art. The most fascinating Ð and shocking Ð thing to me was the number of people who worked with Billie Holiday who insist that her performance was a fluke, that she did not understand what she was singing. She was an uneducated, not terribly intelligent woman, her "friends" say, and didnÕt even know the meaning of the songÕs words. To anyone who has ever heard the song, that suggestion seems insane. The words are powerful, but it is what Billie Holiday does with them that makes this the most disturbing recording ever made. It is clearly a song with a deep, personal meaning for her. In the end, after reading the book, and hearing about how she performed the song throughout her life (sometimes sharing it with an audience she thought would be sympathetic, but just as often using it as a slap in the face to an audience she felt did not respect her), you canÕt help but see that what makes HolidayÕs recording so personal, so deep, is that for her it wasnÕt only a song about lynching, it was a protest against all kinds of racism, including the racism of dismissing a brilliant artist as one more empty-headed "girl singer." Margolick makes a strong case that it was the first cry of the civil rights movement that began more than a decade later.

The late John Hammond, who literally listened to Billie Holiday's music until the moment he died, considered "Strange Fruit" to be the song that took the strange beauty he had discovered and nurtured and in making her art, took away her primitive integrity and aesthetic, and replaced it with inauthentic artiness, making her a celebrity for all the wrong (political) rather than the right (soulful) reasons.

Strange Fruit is far from my favorite Billie Holiday song, but David Margolick is right in assessing it as the fulcrum of her career and in a strange way, of her location in the history of black America, the civil rights movement, the American left, the relationship of the left to jazz and of jazz to the American intelligentsia, and the tragic misunderings among all of the above and each of the above in relationship to the coarse country that gave them all bith.

Margolick is one of the few remaining writers in America whose every sentence illuminates American culture. His is a quiet brightness, not a showy one, but my god can he write, with nuance and feeling, making prose do what Billie beauty once made do with sound. A great book from a writer whose feelingful, rich work at Vanity Fair shames the shallows where the rest of the publication's writers dwell.

I didn't know Sam Cooke beyond a few of his old hits (I was born in 1971) but picked up this book on the advice of a friend. 'You Send Me' is a fascinating study of the man and his music.

There is stuff in there for everyone... his religious roots... early fame at the helm of the most famous gospel group of his day... the illegitimate children... his tragic marriages... his relationships with Aretha, Lou Rawls and Muhammed Ali... his refusal to play to segregated audiences, blazing the way for integration across the South... spirited, behind-the-scenes stories of his recordings and live performances... his everlasting love of soul and gospel music and how he founded his own label to showcase otherwise overlooked talents. And, of course, his controversial death in a cheap motel and subsequent investigations.

'You Send Me' is a wonderful picture, as well, of the South at the turn of the 20th century, Depression-era Chicago and a teenage America finding a common love of rock and roll.

In the end, the reader is left with a satisfying read as well as a sense of tragedy over a life so filled with potential cut so short by misadventure (he was not yet 34 when he died). I almost cringe to draw this comparison, but like Princess Diana, another charismatic celebrity, Sam Cooke is beloved because despite the glamour, he was altogether too human.

This book stands up to repeated readings. Then, listen to his music. You will smile, because Daniel Wolff will have taken you there.

this is a must have book.while it would have been nice to have more info on his wife&BOBBY WOmack this book does a great job of reflecting his musical impact and the Rich Legacy that he left behind.it's a Shame about his Murder.but once again Black Life in AMerica doesn't have the same meaning no matter how influential or important you are.ANd Sam Cooke was all of that.he has inspired countless others.his Business sense was ahead of the curve as well.to hear him sing A Change Is Coming is still one of the most Haunting things to me ever.Spike Lee used the song Brilliantly in Malcolm X right before MaLcolm was Killed.you won't want to put this book done.his voice&music are as fresh then as it is now.he is a Father of Music.

When I first read this book,I was so entranced that I stayed up all night reading.Sam Cooke had long been my musical idol and many stories about him are a) sketchy or ;b)center around the bizarre circumstances surrounding his death.Granted this book doesn't answer many questions about his cause of death,but it does open up alot of things about his life.It showed a human side to the man behind the voice(fathering many illegitimate children,his shrewed business instincts,the death of his son Vincent,and the heavy drinking before his own death),as well as a detailed account about the genisis of his greatest songs(guitarist Cliff White thought You Send Me was repetitive during the sessions for the song,Wonderful World was a demo which was rushed released by his former record label to cash-in on his RCA success,and A Change Is Gonna Come was inspired by Dylan's Blowin' In The Wind).You Send Me, like the now deleted Man and His Music CD are essential to any Cooke fan,especially when many of todays music stars could never hold a candle to this talent.

David Cordingly has written an interesting book on piracy that consists of well researched stories of how pirates really acted, and then compares those stories to the mainstream culture view of piracy. The anecdotes are entertaining, and are well written, so that the book flows along nicely. For people who are looking for a history book, the style of Cordingly's writing is a bit informal and some of his information on pirates doesn't get very in depth (although his extensive list of sources shows that he could be in depth, and gives the reader a chance to research more for his/herself if he/she so desires), but for someone who is looking for information about pirates and a good read, this book is excellent. I highly recommend it.

It is difficult to find intelligent, well written, historically accurate accounts on such broad (yet obscure) topics as piracy on the high seas. It is even more difficult to find ones whose style doesn't dull the compelling nature of the institution. Cordingly however, is able to put forth to his readers a refined historical account, that is long on both drama and accuracy. This book fills a gap, on the study of pirates, that existed between the overly scholarly and the overly sensational, giving both the history buff and the mildly curious a window into an otherwise difficult subject to research and report on. But unlike most historical works, there is no loss of romance, proof that history doesn't need the added flare of a coffee table publication if the humanity of the subject is stressed over the plain, dry facts. The lives of these sea-roving vagabonds are enough to lure the reader further into Cordingly's pages, but his style is enough to keep you loving it. ! I recommend this book wholeheartedly, especially to those who have never read any such account on the true history of piracy.

David Cordingly's "Under the Black Flag, The Romance and the Reality of Life Among the Pirates" constitutes the best researhed book on pirate history I have ever read. The information provided about the lives of this notorious anti-heroes, the reality of the life among them and the world of the seventeenth and eighteenth centuries is amazingly accurate, and backed up with an extensive bibliography and footnotes. For those interested in pirate history throughout the ages, and specially the Golden Age of Piracy, this book constitutes a fundamental tool for understanding the pirate reality. When uncovering how the real people like Edward Teach and Calico Jack were, this book has no equal. Cordingly separates the myths from the real individuals behind them, proving that the reality is much more interesting than the romance, when uncovered. At the same time, the author discusses how the myths surrounding Blackbeard, the Women Pirates or Kidd's treasure, were formed and have survived through the years, becoming important elements of popular culture. Cordingly establishes why in our hearts, pirates were not sadistic villans, but rather "...romantic outlaws living far from civilization on some distant sunny shore," something most of us would dream to be.

One of the best books I've read in years.

The plot moves fast and you find yourself caring a great deal about these characters. Clement is extraordinary, and yet he feels completely real and believable.

I love Joey's narration--sly and seemingly cynical but also open to the possibility of higher things being at work. And how can you not love Linda?

When you think of what has happened to the Sioux, you wish everyone would read this book, which seems to call for a touch of justice It's also a hell of a ride.

I picked up this book expecting just a good story - and ended up unable to put the book down until I finished. The concommitant devotion and pain that the characters share; the complexity of their relationships with one another and their predicament; the author's straightfoward style coupled with a hawk's eye for detail; and his acute sense of the pathos of the historical and cultural territory that this book covers all make this book one of the best I've read for a long time.

I think the issue of whether a writer is "qualified" to write about another culture is a thorny one. Certainly there's the whole "it's a thing, you just don't understand" is valid in certain respects. However, I can't help but think that the act and process of trying to understand (and write about) a culture or experience that is "other" is admirable and is what, ultimately, enables people to rise above their own small worlds and begin to make sense of that raging ether we call the human condition. I applaud London's sensitive and educated attempt - as well as what I would say is his successful result. That is, if you can claim to distill the ability to capture and empathize with pain, exhilaration, the will to survive, etc - all of that - something as simple as "successful." Perhaps a work such as Sundancer is better labled with a word such as "humilty" rather than "successful."

I came across Sun Dancer only by accident, and was completely taken with it from page one. The plight of the Lakota Sioux has been on many people's minds over the past several years, and this book lets the reader revisit some of the complex issues surrounding the history of the Sioux within the context of a captivating, well-written novel.

As an author myself, I was particularly impressed by the fine craftsmanship of Mr. London's prose, and thoroughly enjoyed the cast of quirky, but entirely believable characters who serve to manifest the various facets of contemporary life on the reservation. I was further impressed to learn that Mr. London is not a Native American himself, but spent several summers living and working with the Lakota.

This book is clearly an inspired tribute to a group of Americans that the author has great respect for; it is keenly observed, and a wonderful first novel that deserves nothing but praise.