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While BOOK OF THE HOPI was written through the eyes and ears of an outsider, it contains much of the spirit of the Hopi, and countless fascinating insights. One such example is the explanation of how one sacred ceremony (the Ya Ya) was profaned and is no longer performed, since much of its powers were taken for evil. "When you receive a wonderful power and use it for evil you lose the power. You have to use it for good to keep it."
I love the richness of information contained in this little book: symbols, the tablets of the clans, a glossary of Hopi words, thrilling tales about the creation of the worlds, and detailed descriptions of sacred objects such as the Paho (prayer-feather). This attention to detail is marvelous, but it's the heart of BOOK OF THE HOPI that makes me feel at home with the Hopi and at one with their spirit.
I give this book my highest recommendation.
Who this book is not for is the UFOlogist, Hollow-Earth and Alien-Conspiracy theorists who believe the Hopi people have come from the purported middle-earth where an evil alien civilization still exist to this day. However, who this book is for are those who respect life as the Hopi respect life and who want to these peoples through the early migrations. From this book you will see that the Hopi have traveled throughout all of the Northern and Southern Americas, as well as Canada and the Artic polar regions long before the European traveled to these parts of the globe, and whose religious practices are older than that of any religion in the world. Where the Christian religion (through the teachings and historical records of the Bible) only know of two worlds the Hopi civilization have memories of four worlds, but both have records of the exact same destruction of the last world, i.e., its destruction by water. Also the Hopi are privy to the knowledge that we will face three more worlds.
I rate this book wonderful, enlightening, educational and spiritually edifying.
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Kofsky is most effective in the individual stories he tells in the separate articles in this book where as has already been pointed out he "names names." Kofsky unmasks a lot of people who have manufactured images that they were friends of the jazz musician like Blue Note Records.
One of his most interesting vignettes is his exposure of Vanderbuilt heir, self-praising liberal, and paternalist interferer with Jazz John Hammond. He exposes how Hammond's phoney story about Bessie Smith's death was part of the legend that helped net the already-wealthy Hammond scores of thousands of dollars, back when a dollar was a dollar, while Smith and her estate got zilch. Just the Bessie Smith story is worth the price of the book!
This book illuminates that ugly side to the jazz world. The first three chapters get things rolling in fits and starts without adequate evidence to demonstrate that the explotation of black musicians has been markedly different from that of other musicians. If this were the bulk of the work it would be interesting reading but would not do much more than preach to the choir.
The rest of the book builds on those chapters, deepens them, broadens them, and creates an inarguable portrait of exploitation that goes so far as to names names *and* provide well-researched explanations that refute, for example, the notion that race is what one should focus on when exploring the history of jazz.
The "black" and "white" of the title may appear to refer to genetics or race -- but the text makes it clear that these are cultural categories and are inextricably bound up within the history of jazz, what it has sounded like, what it sounds like now, and how it has been made.
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I admit that I found Frank Waters writing style to be clinical at times, but the information he is presenting was interesting enough to overlook this.
By the time you are done with this book, I imagine there is very little you won't know about the Hopi.