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Product details

Hardcover: 224 pages

Publisher: Abrams Image (May 21, 2019)

Language: English

ISBN-10: 1419737929

ISBN-13: 978-1419737923

Product Dimensions:

7 x 9 inches

Shipping Weight: 10.6 ounces (View shipping rates and policies)

Average Customer Review:

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Amazon Best Sellers Rank:

#1,074,363 in Books (See Top 100 in Books)

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Free Ebook Berlin Book Two: City of Smoke (Bk. 2), by Jason Lutes

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Review

“A comic of impressive scope, taking place in Weimar Berlin and touching on the issues of politics, aesthestics and technology in that cultural ground zero.” ―San Francisco Chronicle on Berlin Book One“[Berlin] will be the longest, most sophisticated work of historical fiction in the medium. Lutes has a natural, clean, European drawing style, much like Hergé's Tintin . . . This book has the density of the best novels.” ―Time on Berlin Book One

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About the Author

Born in 1967, JASON LUTES is an American cartoonist whose work includes the ongoing Berlin trilogy, and the graphic novel Jar of Fools.

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Product details

Series: Berlin (Book 2)

Paperback: 200 pages

Publisher: Drawn and Quarterly; 1St Edition edition (September 16, 2008)

Language: English

ISBN-10: 9781897299531

ISBN-13: 978-1897299531

ASIN: 1897299532

Product Dimensions:

7.6 x 0.6 x 10 inches

Shipping Weight: 1.8 pounds (View shipping rates and policies)

Average Customer Review:

4.6 out of 5 stars

15 customer reviews

Amazon Best Sellers Rank:

#402,288 in Books (See Top 100 in Books)

An extremely interesting comic of an extremely interesting era.I'm fascinated with the use of comics for historical fiction because the addition of visuals can do so much towards giving us the flavor of an era, something that's hard to hold in our minds since our own era is so different. It's has the maturity of a novel, but with the added dimension of visuals, and I'm hungry for exactly that type of comic (something you find often in Japan but that is all too rare in this country).I don't know where the story is (or, stories are) going, but I hope Lutes finishes it. (With its leisurely pace, I'm not sure anyone has that much stamina.) This is one of the few comics in this country that are truly written for adults, without the escapes of fantasy or superheroes or the like. It's ordinary adult life and it's fascinating.

Picking up immeadiately following the May Day, 1929 demonstrations, Jason Lutes continues his story of journalist Kurt Severing and student Marthe Muller in the waning days of the Weimar Republic. As with in Berlin: City of Stones: Book One (Part 1), the voices of other Berliners weave in and out of the narrative - including a sub-plot involving some American jazz musicians that I partiuclarly enjoyed.The story is bitter-sweet, not only in terms of the relationshipe between Kurt and Marthe, but for the city of Berlin itself. Again Lutes creates both a sympathetic view of Berlin in the late 20s and early 30s (as one character puts it, "Its a madhouse - things are on the verge of collapse! Can't any of you feel it? The air is thick with imminent disaster, and we spend our time doodling the days away like children") showing how Germany's post-war republic gradually dissolved into a fascist dictatorship.A closer read shows a real appreciation for the city - from the slang (referring to police as "Bulls" - slang that is not as benign as "cop" nor as acidic as "pig" - but somewhere in the middle) to depicitions of the city - especially the neighborhood Wedding (referred to as "Red Wedding" for its strong working-class feel) to bits of dialoge about the Spree or a scene of the Seigelsaule. Clearly Lutes knows his stuff.While graphic novels may not be to everyone's taste, I would without hesitation recommend this book to anyone given its strengths.

I've eagerly awaited the appearance of Jason Lute second volume of Berlin. Now that it's appeared, I realize that it was well worth waiting for. But it also seems to me that there's a bit of a decline in the meticulous craftsmanship that characterized the first volume.The story line continues in expected ways from an historical perspective, but in quite unexpected ways from the perspective of the characters. The most searing change is in the relationship between Kurt Severing, the increasingly disillusioned pacifist, leftist, and political journalist, and his young love Marthe Muller, whom he introduces to the cultural life of Berlin.What happens to Marthe and Kurt seems to parallel what's happening to the Weimar Republic in general: things fall apart. Much of City of Smoke follows the breakdown of the Republic: the increasing violence between fascists and communists, the virulence of anti-Semitism, the suppression of intellectuals. Jazz, lesbianism, homosexuality, and a general sense of fin de siecle are some of the themes that Lutes explores.Two shortcomings, while not at all fatal to Lutes' project, make the second volume of Berlin less wonderful than the first. At times, in order to add some historical detail to his story, Lutes becomes overly didactic (especially pp. 120-124). A weightier problem is the occasional sloppiness with which the panels are drawn. The artistry in Berlin, City of Stones was breathtaking. Here, occasionally, it seems cartoonish--for example, Lutes draws conventionally cartoonish clouds of anger above characters' heads instead of letting the anger showing on their faces tell the story (see, for instance, bottom panel on p. 173). In other places, the drawing lacks perspective and strikes one as preliminary sketches that were never completed (see, for example, the panels on p. 35).Still, Jason Lutes' is creating a masterwork with his Berlin saga, and I now await the third volume as eagerly as I did the second.

Jason Lutes takes us on a wild and seemingly dreamlike story of Berlin going mad. The development of the characters of Marthe Muller and Kurt Severing goes on a severe roller coaster ride as is indicative of the political times in this Prussian Capital. The development of the various subplots, with the Communists and the Jewish family, play out a rather chaotic display of emotions and political thought. Also Lutes introduces American Negros into the cabaret lifestyle which ran rampant in the Pre-Nazi Berlin. Jazz, liquor and cocaine along with a decadent Teutonic advent guard populace were common mainstays in the "City built on a Marsh". The Author develops a flowing and quick prose along with a grand black and white depiction of a Berlin heading into the abyss of Nazism. Although this graphic novel is fiction, the very basis is historically accurate. Mr. Lutes is to be commended! Six Stars!! No Problem!!!

A terrific graphic novel!

Thank you!

:) :) :)

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Download Ebook The Origins of American Constitutionalism (Bibliographies in the History of)

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About the Author

Donald S. Lutz is professor of political science at the University of Houston. He is the author of several books, including Popular Consent and Popular Control: Whig Political Theory in the Early State Constitutions.

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Product details

Series: Bibliographies in the History of

Paperback: 178 pages

Publisher: LSU Press (October 1, 1988)

Language: English

ISBN-10: 0807115061

ISBN-13: 978-0807115060

Product Dimensions:

6 x 0.4 x 9 inches

Shipping Weight: 12 ounces (View shipping rates and policies)

Average Customer Review:

4.9 out of 5 stars

13 customer reviews

Amazon Best Sellers Rank:

#683,100 in Books (See Top 100 in Books)

I'm both an immigrant and US citizen. The Constitution fascinates me but also fills me with awe. Lutz's book may seem a little dry but its account of the transition from proud British immigrant to proud US citizen is fascinating. The profound heart searching and scholarship which accompanied this transition is remarkable. It may be politically incorrect for schools to teach this aspect of those early days preferring instead to preach identity politics, nevertheless Prof Lutz is there to be read and I hope and pray that before it is too late a culture of scholarship and reason dawns again in our liberal art and law schools.

A must read. Let's get it back in the public school teachings and raise powerful future politicians.

This 170 page book manages to cover the origins of the American Constitution more completely than any other work I have read.The author, Donald S. Lutz, convincingly demonstrates the sources of the American Constitutional ideas. The sources are not at all what I was taught in school. When mentioned at all, constitutional ideas like separation of powers and three branches of government were linked to a few European philosphers like Locke and Montesquieu;Lutz convincingly shows that not only are the ideas on government contained in the Constitution uniquely American, but that the whole idea of constitutionalism is an American invention. In 1787 the only written Constitutions that existed in the world were the Federal US Constitution and the 13 State Constitutions.Even the Bill of Rights contains mostly rights elucidated and developed by the Americans. Lutz points out that of the 27 rights in the US Bill of Rights only 6 were first found in Magna Carta. 75% of these rights were found in American documents prior to the English Bill of Rights in 1689 or the writings of John Locke. While even now most texts will attribute to John Locke the rights of "life, liberty, and the pursuit of happiness", the origins of these ideas came from much earlier American documents.For example, from the Massachusetts laws of 1641 (Locke was only 9 years old at the time), we read "No mans life shall be taken away... no mans person shall be arrested.... no mans goods or estate shall be taken away..." Life, liberty and property as rights were first written here from John Cotton and Nathaniel Ward and the Puritans who found them in the Bible and implicit in the English Common Law; Locke had nothing to do with it.Another aspect that Lutz covers well is the transition from covenant theology to constitutional government. Lutz also notes the US Constitution was written after 150 years of experieince in self-government and after all 13 states writing their Constitutions. Experience was the main source of most government institutions; not European philosphy, though the founders often cited then-current philosphers like Locke and others.In short, this is an excellent, scholarly work that will educate the reader more than all the college history, political science classes and poorly-researched wikipedia articles put together. Highly recommended. As the author wrote near the end of the book, "The origins of the American Constitution, like the constitutional tradition of which it is a part, are complex and manifold, but ultimately planted firmly in American soil."

This is a fascinating and valuable book. There are a number of scholars who have studied American constitutional history who have made major contributions--Forrest McDonald, Bernard Bailyn, and--in this book--Donald Lutz.He explores the various elements that shaped the American Constitution. He develops a rich data base. Among these documents--colonial constitutions, state constitutions after the revolution, charters, covenants (religious documents), and pamphlets and sermons. Pulling these various sources together, he presents a story of the roots of the Constitution, He also discusses the Declaration of Independence and the Articles of Confederation.One very important chapter explores the people to whom the Founding Fathers referred. There were changes with time. Sources included the Bible (as a result of sermons), radical Whigs in England (Trenchard and Gordon), Enlightenment thinkers (Locke and Hume), English common law, and the classics (Greek and Roman sources).All in all, a fascinating examination of the roots of the American Constitution. . . .

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Product details

Grade Level: Kindergarten - 3

Paperback: 24 pages

Publisher: Orange Hat Publishing (April 12, 2018)

Language: English

ISBN-10: 1948365227

ISBN-13: 978-1948365222

Product Dimensions:

8.5 x 0.1 x 8.5 inches

Shipping Weight: 2.9 ounces (View shipping rates and policies)

Average Customer Review:

5.0 out of 5 stars

13 customer reviews

Amazon Best Sellers Rank:

#1,016,181 in Books (See Top 100 in Books)

What a fabulous book that will delight your children and grandchildren. I'm looking forward to more from this author...

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Great book......my grandchildren enjoyed it so much. I also loved this well written book.

Cute book.

This book is as sweet and as positive as it can get for children. Very relatable for kids who enjoy their winter fun activities with cute illustrations to help them imagine. After every "scene" the last line repeats "until the last snow pile melts", which is so nice to hear the kids be able to remember and say along with me. I can definitely see this as the beginning of a seasonal series the kids will look forward to reading as well!

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Review

A book called 'The Death of Common Sense: How Law is Suffocating America' by attorney Philip Howard has captured the attention of Washington's policy community with its maddening accounts of overzealous regulation and complex litigation. But Mr. Howard's appeal for enforcing rules with a dose of common sense never sets forth a framework for bringing about legal simplification. That's why Richard Epstein's new book...is such a suitable companion to Mr. Howard's battle cry. Mr. Epstein...believes that the traditional common law is actually more attuned to the modern world...He argues that the more complex the world, the less bureaucrats and lawmakers can know about how everything interacts, and the more perverse and inefficient the law will become...Mr. Epstein's relentlessly logical arguments tell us why we should return to the tried-and-true rules of the common law. Like manners, the common law has proven useful and long lasting precisely because it is so well-suited to a world of strangers. (John H. Fund Wall Street Journal)Richard A. Epstein, a professor of law at the University of Chicago, has a record of proposing radical and extreme alterations in key areas of law--alterations that perhaps initially could be dismissed as so far from the center of legal thinking as to be of only theoretical interest but then turn out to have much more political life in them than one could have thought possible...Mr. Epstein has to be taken seriously, and not only because of the power of his reasoning and his authoritative command of the common law and political philosophy...The reasoning is strong, the knowledge of specific areas of policies is deep, and behind them stands his basic commitment to a more productive and efficient society...It is bracing to undergo a cold bath in the pure doctrine of the simple rules, and in many areas they will give us some practical guidance. (Nathan Glazer New York Times Book Review)Simple Rules for a Complex World is a clear, consistent, libertarian economic approach to the law that should keep you interested from start to finish. (Charles W. Chesbro Trial)This book is a tour de force of legal history and analysis. It would have been timeless in any event, but the current Congress' agenda makes it timely as well. Property rights, product and professional liability, a flat tax and environmental protection are now front and center; labor law reform and comparable worth may soon crowd their way onto the agenda as well. Long-range vision and wisdom are too seldom combined with topical analysis, but Simple Rules for a Complex World has this invaluable quality...What Mr. Epstein has accomplished, then, is not the fabrication of a framework but the distillation of one. He has articulated and rationalized basic principles of law in a creative way that shows these principles to have both historical and theoretical primacy. At a time when much legal scholarship is devoted to the deconstruction of the root of our legal order, Mr. Epstein has written a book of reconstruction. (Roger Clegg Washington Times)A persuasive argument for the American legal system's return to the common-sense rules of common law, by a distinguished professor at the University of Chicago. (Chicago Tribune)

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About the Author

Richard A. Epstein is Laurence A. Tisch Professor of Law at New York University School of Law, Peter and Kirsten Bedford Senior Fellow at the Hoover Institution, and James Parker Hall Distinguished Service Professor Emeritus of Law and Senior Lecturer at the University of Chicago Law School.

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Product details

Paperback: 361 pages

Publisher: Harvard University Press; Revised edition (March 25, 1995)

Language: English

ISBN-10: 0674808215

ISBN-13: 978-0674808218

Product Dimensions:

6.1 x 0.9 x 9.2 inches

Shipping Weight: 1 pounds (View shipping rates and policies)

Average Customer Review:

3.3 out of 5 stars

7 customer reviews

Amazon Best Sellers Rank:

#214,201 in Books (See Top 100 in Books)

Great book by legal giant from the Chicago School of Economics.

Addresses the legal system with an eye toward "necessary and sufficient" rules. Valuable in helping me get a handle on how to approach fixing the stifling complexity of our current system.

This is not a book for folk who believe in simple (ie; naive) behaviours: our government controlled economies are complex and it requires sophisticated rules in order to ensure unscrupulus, powerful individuals and groups (political;,administrative and corporate) are kept in check. The author admits to being influenced positively by Frederick Hayek (The Road to Serfdom). Hayek, unfortunately, was a brilliant idealist, a Monrail Thinker, a simpleton 'Preacher': suckered lots of folks especially the high academics. The most useful parts of the text were the Introduction and the Conclusion - the remainder was quite technical (legal stuff) and of little interest to me. The text is at this point in time dated and would only be useful to academic scholars who were interested in the development of a particular line of political economic theorising and policy-making from the mid 1970s. The author does write well. I enjoyed reading the parts I did read - though I was continuously on the alert for the inevitable 'Hayekisms'.

Prof. Richard Epstein has written a brilliant book here. His thesis, at heart, is that the world operates more efficiently and productively when legal rules are "simple" than when they are complex.In order to elaborate this thesis, he spells out just what he means by "simple," proposes a handful of simple rules himself in various areas of law (property, contracts, torts), and shows how they play out in action (in, e.g., labor contracting, employment discrimination, and products liability). In each case he argues, with much success, that it just wouldn't be efficient to try to improve on the results provided by the "simple" rules.I especially recommend this book, and Epstein's work generally, to law students. Epstein's knowledge of the law is thorough and deep; One-Ls will find it useful to keep it handy for the whole year.So why only four stars? Partly because I think cost-benefit analysis is neither an adequate defense of liberty against the regulatory State nor an adequate foundation for law; and partly because Epstein's reliance on such analysis leads him toward (though he stops short of actually arriving at) positions I regard as non- or anti-libertarian.This review isn't the place to critique consequentialism; for a more or less standard and (I think) decisive critique, the reader is referred to W.D. Ross's _Foundations of Ethics_, which, after sixty-odd years, is still one of the most judicious works on ethics ever written. Suffice it to say that I think we can increase efficiency by pursuing justice, but not vice versa; consequentialism and its subspecies utilitarianism seem to me to be not so much ways of answering moral questions as of never raising them. The "maximization" of happiness is one ground of moral obligation, but not the only one. (And in general, I simply fail to understand recent libertarian interest in an ethical school founded by a man who regarded natural rights as "nonsense" and imprescriptible natural rights as "nonsense upon stilts.")More serious, from a libertarian point of view, is that Epstein comes within inches of allowing a positive role for antitrust law. Now, mind you, he doesn't _quite_ do so. Indeed he calls for the repeal of the Sherman Act and related legislation, and he opposes the use of government power to distinguish between "corporate combinations that increase market competition" (p. 125) from those that do otherwise. (Note that his understanding of "competition" is thoroughly Chicago-school, a point for which Austrian theorists have quite properly taken him to task.)Yet his only ground for this latter opposition is merely that government agencies can't _tell_ which are which. Some corporate mergers, he says, may actually increase efficiency. Well, what about those that don't? Is he opposed in principle to such "inefficient" mergers? Would it be okay if the government stepped in to kill a merger that _was_ clearly "inefficient" by Epstein's standards? Or does he think there would be something morally wrong with outlawing certain uses of people's justly acquired property merely because somebody can think of a more "efficient" use?Unfortunately Epstein's consequentialist approach prevents him from giving the standard libertarian answer. It seems that, for him, the rights of property and trade are dependent not merely on their promotion of "happiness" but, more specifically, on their service to the aggregate good -- where, most significantly, this "good" is apparently defined quite independently of justice.So I have to knock off one star for inadequate moral foundations. But don't let that stop you from reading the book: Epstein's cost-benefit approach is solid as far as it goes. It just doesn't go far enough.

Professor Richard Epstein does a very convincing job in this book of articulating a legal system which is far more practical and comprehensible than the regime we currently enjoy. In the tradition of the law and economics approach, Epstein's major theme is that the administrative costs associated with so much contemporary and complex law far exceed any incremental benefit in the social incentive structures they create. Whether he is dicussing contracts, torts, products liablility, or anti-discrimination laws, Epstein makes an intellectual, yet common-sense case as to how they should be reformed, or, in the case of anti-discrimination laws, why they should be abandoned. Epstein makes no bones that the complexity of law, while driven in part by a legal system which benefits from such complexity, is also the product of sincere efforts by well-intentioned individuals to create a legal system that can produce an individually fair result in almost any set of circumstances. This is, perhaps, the biggest obstacle to the adoption of the legal principles outlined by Epstein in "Simple Rules" - a narcissism shared by so many judges and lawmakers which has always seemed to prevent them from fully coming to grips with their own limitations.

Epstein is a brilliant guy with a great idea - simple rules are better for society than complex rules. At least, that's what I think he says. This book is NOT for the masses. Here's a sample from page 30: "Although I have from time to time been of different minds on this proposition, I have now made peace with myself and believe that these consequentialist theories--that is, those which look to human happiness--offer the best justificatory apparatus for demarcating the scope of state power from the area of individual choice." Huh? Mr. Epstein, would you consider a comic book version for the rest of us?

I found his ideas for changing the system to be boring.

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About the Author

John Kimantas has been a journalist for more than 18 years and has written for newspapers across Canada. He is editor and owner of Coast and Kayak Magazine (formerly Wavelength) and the author of the Wild Coast series and the BC Coastal Recreation Kayaking and Small Boats Atlas series. He lives on Vancouver Island.

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Product details

Series: British Columbia Coastal Recreation Kayaking and Small Boat Atlas (Book 1)

Paperback: 64 pages

Publisher: Whitecap Books; Second Edition, Revised edition (May 15, 2012)

Language: English

ISBN-10: 177050057X

ISBN-13: 978-1770500570

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11 x 1 x 14 inches

Shipping Weight: 1.7 pounds (View shipping rates and policies)

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Better to go with the Broughton Archipelago map.

Excellent

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Download Ebook Father of the Blues: An Autobiography (Da Capo Paperback), by W. C. Handy

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From the Back Cover

Handy's remarkable tale- pervaded with his unique personality and humor- reveals not only the career of the man who brought the blues to the world's attention, but the whole scope of American music, from the days of the old popular songs of the South, through ragtime to the great era of jazz.

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About the Author

William Christopher Handy (1873-1958) was a composer and musician, known as the "Father of the Blues."

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Paperback: 317 pages

Publisher: Da Capo Press; Reprint edition (1969)

Language: English

ISBN-10: 0306804212

ISBN-13: 978-0306804212

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Before there were selfies and Facebook updates, there were memoirs like this one where the voice of the author is authentic and the story of his life is told with humility and honesty. I loved it. I loved learning about the places in Handy's life that became touchstones for how this Alabama native intersected with music and how the music around him informed his life and in doing so moved him to validate with his own spirit and craft the genre of music called "the blues." Handy's life story is about more than the blues, however. He was an early performer in the now controversial minstrel shows, traveled on steamboats like Mark Twain and Louis Armstrong, and was an innovative businessman, establishing with his colleague Harry Pace a music company in New York that will celebrate it's 100th anniversary next year--still existing on the Avenue of the Americas after all this time. Of course, my interest in Handy's life was triggered by Nat King Cole playing Handy in the movie titled after Handy's most famous song: "St Louis Blues." And, no, I didn't just read this book--I just finished reading it for the second time. It's that good.

This is a look at how jazz and blues began, from the man who was instrumental in getting it started. W.C. Handy tells us how the transition was made from marches, classical music, dance music, Stephen Foster, vaudville tunes and folk blues to the arranged and orchestrated blues and jazz of the 20th Century. Not only did Handy help create the music, but he also helped preserve it through recordings and publications. In this book, he tells in detail how he came to compose his most famous pieces, including Memphis Blues, St. Louis Blues and Beale Street Blues. Handy is a superb storyteller who paints a vivid picture of life in the Reconstruction South, and the world of the African-American entertainer during the minstrel show days and the birth of the jazz era.

As someone who lives in Florence, AL, it was incredibly moving to read Mr. Handy's account on his life growing up in the area. It's amazing to know that he walked down the same downtown city streets that I do today. The writing is entertaining and honest. I would encourage anyone with a curiosity about Mr. Handy's life or the history of blues music to read this book.

every blues aficionado needs this book

Like many autobiographies, this book is best before Handy becomes WC Handy the great and venerated music composer and publisher. Handy describes coming up in the hard world of the South in the years that Reconstruction was being demolished and Jim Crow segregation was being imposed. Handy's childhood decision to become a musician flew in the face of his family's and much of the Black church (Handy's father was a minister) world's view that being a musician of any kind was hardly better than becoming a criminal.Classically trained in both the violin and the trumpet and in composition and harmony, Handy always looked to the folk music of working class and farming African Americans and to rhythms and music he knew came from Africa as his source of inspiration. In fact, when Handy became a music professor at a Black state-run college in Alabama, he ended up resigning when the administration frowned on his teaching the students to venerate the music their people created. Handy gives some interesting stories of life in the Black ministrel companies he worked in. These companies were a focal point of Black entertainment between the civil war and the second world war. Not only did 19th Century figures like Banjoist Horace Weston, and the early 20th Century dance and comedy men like Bert Williams and Bill Robinson graduate from minstrelsy to Broadway, but 20th century stars like Louis Jordan, Dizzy Gillespie, and Rufus Thomas got their start in minstrel shows. These shows trained musicians and singers who became the founding stars of blues and Jazz. One such minstrel troupe had Classic Blues Divas Ma Rainey, Clara Smith, and Bessie Smith, all on the same bill. Handy discusses the danger and persecution Black minstrel companies faced in the Jim-Crow South. The railroad coach his company traveled in contained secret compartments to hide the Black entertainers from police and lynch mobs as well as places to store firearms for self-defense. Handy tells several stories that make clear that W.C. Handy might never have survived to write the Memphis and St. Louis Blues without the secret compartment or self defense with firearms. Contrary to popular misconceptions, the blues is not an ancient form of Black musical expression. It arose in the 1890s and early 20th century. Handy grew up in Alabama, lived in Kentucky, and Mississippi and was headquartered for years in Clarksdale, Mississippi, the big town in the area that produced Charlie Patton, Robert Johnson, Son House, Muddy Waters, and Johnny Lee Hooker, He had heard old time Black banjo and fiddle tunes since childhood. Yet, he did not hear the blues until the early 20th Century.He points out that the real "inspiration" for him to incorporate the blues into the music he wrote for his dance band came in a small town in Mississippi where his band played a dance. The country people demanded that a ragged blues trio of mandolin, guitar, and bass play a few song. As Handy and his band were tired, they welcomed the opportunity to take a break. However with the three blusicians were finished, the crowd showered more money on them for a few songs than Handy's whole band received for a whole night's work.Playing for Black dancers, Handy explained how he had to incorporate the blues and other rhythms and music that came from Africa into his music. Then, Handy is always insistence that the base of his music is working and farming Black folk.As he enters fame, Handy remains interesting, especially when he explains the way he had to battle swindling and racism when he became a music publisher. He's also pretty adamant about demanding respect for African American entertainers and for song writers and composers as well.He's a good, friendly and often humorous writer throughout.Handy never claims to have invented Blues, but to have heard it second or third hand from folk sources in Mississippi and Memphis. His claim to fame was to have integrated folk bluses ideas into written compositions. Seeking to present himself as an innovator more than he actually was, he fails to mention that some of his early Blues, like the Memphis Blues were not actually Blues, but ragtime pieces with the title Blues appended to take advantage of the popularity the Blues was gathering among dancers and buyers of sheet music.In the 1930s, Handy was quite willing to accept without protest media claims that he invented the Blues and was one of the early innovators of Jazz. This was not to Handy's credit, particularly since although his Memphis band was one of the great ragtime bands and played many of Handy's compositions well, Handy as a bandleader, a composer, or as a musican was never known for Jazz, although he appreciated it.WhenIn the 1930s Jelly Roll Morton and others contested Handy's claims as the originator of Blues and Jazz. Morton pointed on that in the early 1900s, Handy had told Morton that it was impossible for a band to play the blues. This was at a time when Morton and other New Orleans musicians were leading Jazz bands that played the blues and. Indeed, Morton and the Jazz players had been preceded by pre-Jazz bands in New Orleans that played great Blues.While Handy does confront discrimination he faced as an African American in the South, his final chapter a paen to Ascap, stains his reputation and record. The American Society of Composers, Authors and Publishers is a performing rights organization which licenses and collects royalties for performance of its members, composers and song writers. In the 1930s and early 1940s ASCAP demanded royalties from the recording industry, and especially from music venues and radio for music in general. However at the time ASCAP was notorious for its discrimination against African Americans composers who sought to join the organization while it maintained a few well-known African American members like Handy. For the few African Americans who were able to fight their way into ASCAP, royalties were distributed not based on the sales of music written by each composer, but an evaluation of the "value" of different forms of music. This evaluation out Jazz, Blues, and other African American music at almost no value, while white Broadway composers and classical compositions received huge sums.Black composers and song writers, led by Jelly Roll Morton protested this. Morton wrote not only many pieces that became standards for early Jazz, but several pieces that became among the most recorded songs of the Swing Era, especially "The King Porter Stomp" which was the theme song for Benny Goodman. Royalties on this music was probably worth hundreds of thousands or even millions of dollars. Yet, after a long struggle involving lawyers and appeals to the Justice department, when Morton fought his way into ASCAP, he was awarded less than 200 dollars per year for his compositions. Congress later investiged ASCAP and exposed ASCAP's discrimination against Black composers and song writers. The investigation and a series of court rulings forced ASCAP to change these practices.However, this came long after Handy wrote his concluding chapter celebrating ASCAP. He makes no note that the organization is openly discriminating against allowing Blacks other than a few well known tokens like himself to join. He makes no note that ASCAP collects millions from the compositions of African Americans, but paid them a pittance. He talks about ASCAP like it was the greatest invention since The Blues

Very informative and entertaiming.

Gift for my husband for Christmas, he loved it

About halfway through this one and in addition to being a history of the blues it is a history of a horrible time in our nation. Well worth the read.

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