Jumat, 25 Maret 2011

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The Music of Black Americans: A History (Third Edition), by Eileen Southern

A new edition of the classic text on African American music.

Beginning with the arrival of the first Africans in the English colonies, Eileen Southern weaves a fascinating narrative of intense musical activity. As singers, players, and composers, black American musicians are fully chronicled in this landmark book. Now in the third edition, the author has brought the entire text up to date and has added a wealth of new material covering the latest developments in gospel, blues, jazz, classical, crossover, Broadway, and rap as they relate to African American music. Over 50 photographs

  • Sales Rank: #480372 in Books
  • Published on: 1997-01-17
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.30" h x 1.50" w x 6.10" l, 2.18 pounds
  • Binding: Paperback
  • 704 pages

From Library Journal
The third edition of Southern's (music and Afro-American studies, emerita, Harvard) scholarly work chronicles the development of African American music, from the arrival of the first Africans at the English colonies in 1619 to the present. The evolution of various genres, instrumentation, minstrelsy, dance, religious aspects, recording companies, and musical theater are all dealt with meticulously. A chronology of important events at the beginning of each chapter and extensive bibliographies and discographies help greatly in navigating the massive amount of material. An important addition to this edition is expanded coverage of women composers and performers. The only drawback is the minimal coverage of the modern era: rhythm and blues, soul, rock'n'roll, and disco are covered in just ten pages. The social, cultural, and historical importance of this book make it essential for all libraries.?Dan Bogey, Clearfield Cty. P.L. Federation, Curwensville, Pa.
Copyright 1997 Reed Business Information, Inc.

About the Author
Eileen Southern, Professor Emerita of Music and Afro-American Studies at Harvard University, founded and edited the journal The Black Perspective in Music (1973―90). She lives in New York City.

Most helpful customer reviews

9 of 9 people found the following review helpful.
An invaluable reference work --
By kellytwo
Have you ever heard about The National Negro Opera Company? Founded by Mary Cardwell Dawson, the company made its debut in Pittsburgh in 1941. This is but one of the fascinating things you can discover in this marvelous book. If you have an interest in music of whatever variety, your library is incomplete without this book.
This 3rd edition was done in 1997, thus it is quite up-to-date in its coverage of classical, jazz, rock, pop, gospel, swing, ragtime or blues. If it is music as practiced, performed or composed by people of color, this is where you'll find valuable information about it. Beginning with Africa and continuing to the present day, the four sections detail this rich history: Song in a Strange Land (1619-1775); Let My People Go (1776-1865); Blow Ye the Trumpet (1865-1919) and Lift Every Voice (1920-1996). The latter section is particularly informative reading with sections on Jazz, The Harlem Renaissance, and the Mid-Century Decades. It is these years in which artists of color finally took their well-deserved place on the musical stages of the world. Of course, they had been visible in their own world, and the popularity of such major composers as Scott Joplin and Duke Ellington allowed them to more or less effortlessly cross-over to the 'white' world. Lena Horne, the Mills Brothers, Louis Armstrong, Cab Calloway were--and still are--names to be reckoned with in any list of fabulous performers.
And then there was Marion Anderson who finally made her way to the Metropolitan Opera at the very end of her career, making way for Robert McFerrin, Leontyne Price, Jessye Norman, Simon Estes and George Shirley, who were very much pioneers in their respective repertoire. Today, thankfully, artists of color are not at all rare on the concert and/or opera stages of the world. But lest we forget the individual trauma these artists suffered in order to be able to compete in this way, we need to remember the past while we are glorying in the present. This book will, if you let it, open your mind and your ears to wonderful, glorious sounds, without which our world would be a much quieter and poorer place.
The author of this book is the renowned Eileen Southern (Professor Emerita of Music and Afro-American Studies at Harvard University) who is herself a musician as well as a writer, and is eminently qualified to illuminate The Music of Black Americans to the world in general.
Pages 613 through 646 comprise a rich bibliography and discography; the index takes up 41 pages. NO music lover should be without this invaluable reference work.

3 of 7 people found the following review helpful.
Recensione in italiano
By Roberto Leopardi
Cosa consigliare ad un appassionato di musica afro-americana che, conoscendo un po' di inglese, decidesse di leggere qualcosa per cui valga veramente la pena di fare un po' di fatica?
Personalmente non avrei molti dubbi: credo che l'opera più completa che esiste sul mercato e che associa alla competenza una buona leggibilità anche per chi non è di madre lingua sia proprio questo.
Eileen Southern è Professor Emerita di Musica e Studi Afro-americani alla Harvard University di Boston, fondatrice ed editrice della rivista The Black Perspective in Music, che è stata pubblicata dal 1973 al 1990, e autrice, coautrice ed editrice di numerosi volumi sulla musica e la cultura afroamericana.
Il libro in questione, di 678 pagine, ripercorre tutta la storia della musica afroamericana dalle origini (1619) fino all'ultimo decennio del XX secolo. L'opera è suddivisa in 14 capitoli ed è completata con un'accurata bibliografia e discografia e un indice dei nomi e dei temi.
Il linguaggio è piano e comprensibile anche a chi non abbia una quotidiana familiarità con l'americano scritto.
Il libro della Southern affronta tutti i diversi generi musicali dei neri americani, dal canto in congregazione alla musica urbana del primo ottocento, dai worksongs ai traveling road shows, dal blues al ragtime, ecc..
Il taglio critico trasversale, che analizza l'emergere della musica nera all'interno della più ampia realtà sociologica e culturale dell'America Settentrionale, consente di cogliere con chiarezza le fasi dell'evolversi della cultura afroamericana, non solo musicale. Si tratta di un'opera più descrittiva che interpretativa, in tal senso più adatta a chi, volendo avviare la propria conoscenza del fenomeno musicale afroamericano, non è interessato all'analisi del significato profondo della musica e dei testi e a conoscere i diversi modelli interpretativi proposti dagli studiosi.
Fondamentale!

5 of 5 people found the following review helpful.
Great source on the subject!
By Octavia Holland
I am using this book for my masters thesis and I must say that I am very pleased. Ms. Southern did an excellent job researching the subject and the book is put together well. There is so much information involved!!! She starts from the VERY beginning and smoothly takes you through the ride of African-American music. Each section is very thorough. This text is perfect for anyone who is researching the subject or just wants to gain knowledge on this rich music. A+++

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Rabu, 23 Maret 2011

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  • Sales Rank: #9022939 in Books
  • Original language: French
  • Dimensions: 11.26" h x 8.94" w x .79" l,
  • Binding: Hardcover

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Selasa, 22 Maret 2011

[V602.Ebook] Free Ebook Happy Homemade: Sew Chic Kids: 20 Designs That are Fun and Unique-Just Like Your Kid!, by Ruriko Yamada

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Happy Homemade: Sew Chic Kids: 20 Designs That are Fun and Unique-Just Like Your Kid!, by Ruriko Yamada

Sew stylish clothes for your children with this enjoyable sewing book.

Today's DIY sewing generation loves to outfit their kids in stylish homemade clothes, and kids love clothes that feel good. Designer Ruriko Yamada draws from her own experiences as a mom to create designs and sewing patterns that are fun to wear, easy to make, and infused with covetable Japanese style. A wide range of sewing designs are covered from —tops and shorts for boys and girls, girls' dresses, and unisex pieces. Happy Homemade: Sew Chic Kids features easy-to-follow diagrams, Japanese sewing patterns in English, and simple instructions on how to make twenty super-comfy pieces for both boys and girls.

Sewing patterns include:

  • Pin-Tucked Blouse
  • Dress with Flared Sleeves
  • Knee-Length Shorts
  • Tiered Skirt
  • Boy's Stand-Up Collar Shirt
  • Pull-Over Parka
Yamada provides four sizes of westernized patterns, each of which can easily be adjusted to fit children from three to nine years old. Simple lines give kids room to move, and the classic styles look good on any frame. Sewing for children has never been easier. With Happy Homemade, you'll whip up a fantastic, money-saving wardrobe in practically no time at all!

  • Sales Rank: #182330 in Books
  • Brand: Yamada, Ruriko
  • Model: BCAC20525
  • Published on: 2013-11-05
  • Released on: 2013-11-05
  • Original language: English
  • Number of items: 1
  • Dimensions: 10.00" h x .50" w x 8.00" l, .75 pounds
  • Binding: Paperback
  • 64 pages

Review
"[…] I've had this book for a couple years in Japanese already. I knew I could wholeheartedly recommend it without even reading the translated version, but I couldn't have imagined how much more I like it now that I can read the words inside!" —OneGirlCircus.com blog

"Happy Homemade patterns are my go to for pajamas, hoodies, pants, and tops. Without a doubt it is my most used pattern book." —ElsieMarley.com blog

"The best thing about Sew Chic for Kids is that I love pretty much every pattern in it." —Very Shannon blog

"If you want to make quick and simple play clothes for your kids, then this book is just the thing!" —Sew-In-Love blog

"For anyone who has previously used the Japanese language sewing pattern books, you are in for such a treat! Now, instead of skipping over the Japanese symbols, just admiring the beautifully taken photographs, and then turning to the diagrams and illustrations, you will have the pleasure of being able to easily read all the important and fun details that give character to a book." —Sewn By Angela blog

"My daughter loves her very first Happy Homemade Gudrun Sjoden fabric dress!" —IvyArch blog

"If you are a mom with a sewing machine, Sew Chic Kids is the perfect book for you." —Liz Abderholden, Editor of FaveCrafts.com blog

"Some seriously pretty smock tops and dresses, in fact." —TillyandtheButtons.com blog

About the Author
Ruriko Yamada is a graduate of Bunka Fukuso Gakuan (Bunka Fashion College). She worked as a pattern maker until launching her own online pattern store. Her designs and pattern creations are drawn from her real-life experiences as a mother.

Most helpful customer reviews

19 of 19 people found the following review helpful.
Happy Homemade: Sew Chic Kids
By Judith M. Morin
Simple, classic patterns for boys and girls. Diagrams and simple instructions along with a variety of styles and sizes makes this a "must-have" book for intermediate and advanced sewers. The only problem I had was in the actual patterns that DON'T have the seam allowances OR hems added. It was clear that the seam allowances had to be added, but it was not as clear that the hem allowances were also to be added. Once that was clarified, the patterns went together beautifully.

10 of 10 people found the following review helpful.
Great for newbies to Japanese pattern books
By E's Mom
I sew clothes for my boys and the shorts, pants and hoodie in this book made it worth the price. The patterns are easy to find on the pattern sheets, outlined with frixion highlighters and taped to a sunny window and you can trace the highlighted pattern easily. Don't forget to add your seam allowances before cutting the traced pattern, they aren't incorporated in the pattern you trace. Erase the frixion highlighter marks with a medium hot iron and you're ready to fold and reuse. This is a popular book and there are many tutorials online if you get stuck on some of the instructions. I am still new to sewing apparel (I have quilted in the past), and the shorts came out better than I could have imagined. Though I did have to make a size smaller than what he wears from the store. He is a size 5T and I had to take in the size 4 pattern to fit him.

12 of 13 people found the following review helpful.
Great bang for your buck.
By Maria Kennedy
You get so much for the price! This is my third japanese sewing book, and once you get used to tracing the patterns and adding seam allowances, it is quite easy. I but rolls of children's easel paper, tape in a window and trace. I made the long flaired shorts in a pink linen for my daughter. They are great for school because they look a bit like a skirt, but are great for playing in and easy to make.

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Empire of Cotton: A Global History, by Sven Beckert

WINNER OF THE BANCROFT PRIZE

PULITZER PRIZE FINALIST

The empire of cotton was, from the beginning, a fulcrum of constant global struggle between slaves and planters, merchants and statesmen, workers and factory owners. Sven Beckert makes clear how these forces ushered in the world of modern capitalism, including the vast wealth and disturbing inequalities that are with us today.
        In a remarkably brief period, European entrepreneurs and powerful politicians recast the world’s most significant manufacturing industry, combining imperial expansion and slave labor with new machines and wage workers to make and remake global capitalism. The result is a book as unsettling as it is enlightening: a book that brilliantly weaves together the story of cotton with how the present global world came to exist.

  • Sales Rank: #7715 in Books
  • Published on: 2015-11-10
  • Released on: 2015-11-10
  • Original language: English
  • Number of items: 1
  • Dimensions: 7.97" h x 1.29" w x 5.18" l, .0 pounds
  • Binding: Paperback
  • 640 pages

Amazon.com Review

An Amazon Best Book of the Month, December 2014: How important is cotton? For starters, there’s a good chance that you’re wearing it right now. That’s true no matter where you live in the world. Cotton is everywhere, has been for a long time, and was the dominant commodity during the early years of our country. It fostered “war capitalism” among European nations. It helped launch the industrial revolution in England. It drove slavery. The story of cotton is the story of modern capitalism, and in Empire of Cotton, author Sven Beckert shows how a worldwide crop that came in multiple forms and was cultivated and produced in many different ways came to be dominated by the late coming Europeans, and later Americans, often through violent means, reshaping both the world economy and the world itself—for better or worse—along the way. – Chris Schluep

Review

“Masterly. . . . Deeply researched and eminently readable, Empire of Cotton gives new insight into the relentless expansion of global capitalism.  With graceful prose and a clear and compelling argument, Beckert not only charts the expansion of cotton capitalism . . . he addresses the conditions of enslaved workers in the fields and wage workers in the factories.  An astonishing achievement.”—Thomas Bender, New York Times
 
“Important  . . .a major work of scholarship that will not be soon surpassed as the definitive account of the product that was, as Beckert puts it, the Industrial Revolution’s ‘launching pad.’” —Adam Hochschild, New York Times Book Review     
        
“Breathtakingly comprehensive, informative and provocative.” —Glenn C. Altschuler, Tulsa World
 
“Persuasive . . . brilliant . . . Beckert’s detailed narrative never scants the rich complexity of the cotton trade’s impact on many different societies.” —Wendy Smith, Boston Globe
  
“Empire of Cotton proves Sven Beckert one of the new elite of genuinely global historians.  Too little present-day academic history is written for the general public. ‘Empire of Cotton’ transcends this barrier and should be devoured eagerly, not only by scholars and students but also by the intelligent reading public. The book is rich and diverse in the treatment of its subject. The writing is elegant, and the use of both primary and secondary sources is impressive and varied. Overviews on international trends alternate with illuminating, memorable anecdotes. . . . Beckert’s book made me wish for a sequel.” —Daniel Walker Howe, The Washington Post
 
“Momentous and brilliant . . . Empire of Cotton is among the best nonfiction books of this year.” —Karen R. Long, Newsday
 
“Compelling . . . Beckert demonstrates persuasively how the ravenous cotton textile trade in Europe was instrumental in the emergence of capitalism and draws a direct line from the practices that nourished this empire to similar elements in the production of goods for today’s massive international retailers. Those who long to know more about how and why slavery took hold in Europe, Africa and the Americas will find this book to be immensely enlightening.  Better still, those who live out the troubled legacy of the exploitation and enslavement of workers in the service of the cotton empire will find in it added inspiration for their continuing efforts to realize a just and more equitable society.” —Ruth Simmons, President Emeritus of Brown University
  
“Intellectually ambitious . . . a masterpiece of the historian’s craft.” —Timothy Shenk, The Nation
 
“A highly detailed, provocative work.” —Booklist
 
“Hefty, informative, and engaging . . . Beckert’s narrative skills keep the story of capitalism fresh and interesting for all readers.” —Publishers Weekly
 
“[Beckert’s] close-up study of the cotton economy is a valuable model for the study of capitalism generally, an economic system in which slavery and colonialism were not outliers but instead integral to the whole . . . a valuable contribution.” —Kirkus
 
“Fascinating and profound. . . . Global history as it should be written.” —Eric Foner

About the Author

Sven Beckert is the Laird Bell Professor of American History at Harvard University. Holding a PhD from Columbia University, he has written widely on the economic, social, and political history of capitalism. He has been the recipient of numerous awards and fellowships, including from Harvard Business School, the Dorothy and Lewis B. Cullman Center for Scholars and Writers at the New York Public Library, and the Charles Warren Center for Studies in American History. He was also a fellow of the American Council of Learned Societies and the John Simon Guggenheim Memorial Foundation. He lives in Cambridge, Massachusetts.

Most helpful customer reviews

29 of 30 people found the following review helpful.
How slavery, colonialism, and strong state involvement laid the foundations of modern prosperity
By Robert J. Crawford
This is an academic treatment of how the modern industrial economy was born: heavy in detail, clear in analysis, if somewhat dry at times. While much of the ground has been covered elsewhere, the synthesis, breadth, and grand themes that emerge are unavailable in a single volume, to my knowledge. For me, it was a seminal reading experience, a necessary perspective that brought things together in a way that will influence my view of modern society for the rest of my life.

The principal idea of the book is that the cotton industry, which represented the first step in the development of the modern industrial economy, was created by slavery and brutal and ever-more-efficient state coercion in cooperation with private capital. Global in scale, this convergence of factors would re-fashion the everyday lives of a majority of people on the planet - subordinating their working days to the rhythms of machines that replaced human muscle labor, opening the way to unprecedented prosperity for many, and enabling decisionmakers far from their homes to control the lives of people they will never meet.

Beckert sees several steps in these developments. In the beginning, there was the development of "war capitalism". In a nutshell, this was the forcible appropriation of land and labor, with the cooperation of a primitive form of the state. While cotton had been in use for millenia, it was limited to small, very local, networks at this time. As demand grew and new forms of mechanized manufacture began to appear, war capitalism vastly increased the scale of cotton cultivation, employing slaves to undertake the backbreaking work of clearing the land and then the thankless task of harvesting the cotton - their utility was cheap labor that could be forced to work by any means necessary. Meanwhile, the state aided in the acquisition of land - because it exhausted the soil quickly, cotton cultivation required continual land appropriation - and the displacement or elimination of whomever was unfortunate enough to occupy that land, in most cases Amer-Indians. For their part, capitalist traders emerged in Manchester, a mercantile capital that gained tremendous market influence and political power to bring the state into alignment with their interests.

The next phase opened with the invention of new means of production, in particular in the harnessing of chemical power in mills of ever-expanding scale and with elaborate forms of administrative innovation. At the same time, the state got involved with the protection and establishment of markets for their goods, both in supply but also for selling, i.e the distribution of goods. Industry was national and nationalistic. The natural culmination of this was the colonial enterprise. This was the second great legacy of the cotton empire: the de-industrialization and control of vast new territories. For example, the skills required for the production of the fine muslin of India were completely and forever destroyed. The native populations were subjugated to this order, fitting integrally into a hierarchy that exploited them while enriching captains of industry and politicians in colonial capitals. Meanwhile, manufacturing facilities became the source of massive employment, drawing people from the countryside to urban agglomerations that grew to then-incredible proportions.

Furthermore, the state remained intimately involved in the development of the economy in the major colonial states, not only in the development of supporting infrastructure, but in the legal subjugation of workers for the protection of the evolving industrial practices. This was the crucial step in the virtuous circle that arose of self-reinforcing economic development, resulting in a far more intricate and complex industrial economy that emerged in the product cycles of related manufactures. It can only be described as a revolution that changed our lives so fundamentally that it is on a par with the neolithic revolution.

Of particular interest is the evolution of the political economy of slavery. It was seen as a necessity for cotton production in the American South - a phenomenally profitable enterprise that created capital for further industrial investment that benefited all free Americans regardless of location - and as a crucial basic resource for all the new manufacturing powers. When the American Civil War began, it severely disrupted the world economy, based as it was on cotton, and the industrialized nations desperately sought to increase the supply of raw cotton. After that war, it was proven that low-wage sharecroppers could be counted on to produce cotton in a profitable way, supported as it was by state and private repression of the newly freed slaves. The colonial powers took note of this. In the US South, this arrangement was to survive for almost a full century, when automated cotton picking was finally perfected in the 1940s.

The most recent phase of the industry is its globalization, a shift of manufacturing to the former colonies. The real power gravitated to transnational corporations - predominantly retailers like Walmart or Gap - that were no longer subject to coherent national legal jurisdictions, hence largely disconnected from nationalistic considerations. While this caused the precipitous decline of once-prosperous cities like Liverpool, it is part of the ebb of flow of 21C capitalism. Organizational innovation extended to the development of massive logistical networks to handle getting cotton to manufacturers and then distributing their low-cost products in developed nations at a hefty profit. As this is so new, it is the least developed portion of the book. I suspect it decisively locks Third World producers and manufacturers into a lower-value added position, where design and brand generate greater profits for transnational corporations and their shareholders that no longer need to worry about employees in their home base of operation.

The implications of the book are of great interest and relevancy. First, it proves that the free classes all benefited directly and lastingly from slavery as an enabler of the first phase of industrialization. Without slaves (and subsequently share croppers or colonial serfs), both investment capital and the self-reinforcing and expanding product base of consumer capitalism would have accumulated far more slowly, perhaps over centuries rather than decades. This is the best argument for reparations that I have yet seen - the line from slavery and colonialism to prosperity for most of us is direct, while the descendants of slaves and serfs remain exploited and oppressed. Second, the state functioned as a crucial support for the development of private enterprise, from protecting nascent industries to enforcing laws that favored the manufacturing class. This flies in the face of neo-liberal ideology, which argues for a "free trade" that locks the developing world into an inferior status.

This book is a wonderful intellectual adventure, its ideas are far more subtle than I could ever express here. It is a bit too academic for my taste, covering developments in exhaustive detail, but on the whole it is a page turner. Recommended with the greatest enthusiasm.

73 of 83 people found the following review helpful.
A History of Capital and the Industrial Revolution for the 21st Century
By Jonathan M. Soffer
Sven Beckert's Empire of Cotton continues on a global scale his project in his first book, The Monied Metropolis: New York City and the Consolidation of the American Bourgeoisie, 1850-1896, in demonstrating that the US is not an exceptional Arcadia emancipated from the repressive political, economic, & ideological forces of global capitalism. It is a must-read for anyone interested in the evolution of our global system of political economy, indeed for anyone seriously interested in the development of the 19th and twentieth century world. Beckert, a professor of history at Harvard University, creates a history of capitalism for the 21st century, decisively demonstrating that older Marxist scholars notably Eugene Genovese, were wrong to argue that slavery was a pre-capitalist mode of production, with the implication that Southern US slaveowners were somehow more benevolent "paternalist" employers than Northern industrialists. He also definitively challenges classical liberal lines of scholarship that argue that superior western institutions (other than the military) and free markets led to the economic expansion of the West. Unfreedom had far more to do with the rise of capitalism than freedom, liberty, or democracy. Even after the post-emancipation shift to industrial capitalism, capitalist enterprise remained tied closely to, and probably could not continue to expand without strong exercises of state, particularly military power. In line with recent scholarship by Walter Johnson, and Edward Baptiste, Beckert demonstrates that slave labor and state action on behalf of private interests were integral to the establishment of capitalism and to the industrial revolution.

Conducting research in the archives of every major country that produced cotton or finished cotton goods, and consulting local scholars where he doesn't have the languages, this book is also a model of transnational scholarship. Beckert traces the global evolution of cotton production and consumption, noting that in the early modern period, Western Europe was notable as a non-cotton producing region, making it even more remarkable that in the 19th century that it should become the center of the cotton trade.

He divides capitalism into two periods--war capitalism, which lasts until the US Civil War, was the first system. "Slavery, the expropriation of indigenous peoples, imperial expansion, armed trade, and the assertion of sovereignty over people and land by entrepreneurs were at its core." He then demonstrates the close ties of supply, transport, communication, and credit with plantation forced labor. The knowledge and wealth that war capitalism expropriated, he argues, were "crucial preconditions for Europe's extraordinary economic development."

But expropriation and slavery, along with the deindustrialzation of the original producers of finished cotton goods in Asia and South America were not stable bases for bourgeois property and production. The revolution in St. Domingue in 1793 disrupted the English cotton industry and shifted production the American South, until the US Civil War ended the southern states' near monopoly of world cotton exports. This second American revolution, fought over the issue of free labor, shifted much of the cotton business back to Asia, Egypt, and Central America. Britain and other cotton-military- industrial complexes expanded their penetrations of colonies, such as India, where peasant labor had resisted the complete replacement of subsistence crops by cotton that Manchester demanded.

The new system, industrial capitalism, based on wage labor, both created political openings for workers in the West. "The dependence of capitalists on the state, and of the state on its people, empowered the workers who produced that capital. . . By the second half of the nineteenth century, workers organized collectively, both in unions and political parties, and slowly, over multiple decades, improved their wages and working conditions." The increased production costs eventually made the reindustrialization of the global South possible, and the center of the cotton industry has shifted there.

Empire of Cotton is surely one of the most significant works of history published this year. It is not impossible that in ten years that historians will consider it one of the most significant works of the decade.

71 of 87 people found the following review helpful.
"Vast sphere of war capitalism"
By evolveape
"...starting in the sixteenth century, armed European capitalists and capital-rich European states reorganized the world's cotton industry. It was this early embrace of war capitalism that was the precondition for the Industrial Revolution that eventually created an enormous further push toward global economic integration and continues to shape and reshape our world today..."
An excellent account on the importance of cotton in the development of capitalism with the emphasis given to slave labor. My only question is while discussing capitalism the author makes no reference to "Das Kapital" even Karl Marx have many attributions to cotton industry in England in his work . Let us not forget F. Engels who provided the information and data to Marx due to his connection to the textile industry in England, his family owned factories in Manchester. In his work " The Condition of the Working Class" Engels too gives examples of workers in the cotton mills of victorian Manchester: As an early advocate of workers cooperatives, George Jacob Holyoake writes in the secularist paper "Reasoner": "As you enter Manchester from Rusholme, the town at the lower end of Oxford road has the appearance of one dense volume of smoke, more forbidden than the entrance to Dante's inferno". In writing the ills of capitalism Engels admits that he was shocked: "I have never seen so systematic a shutting out of the working class from the thoroughfares, so tender a concealment of everything which might affront the eye and the nerves of the bourgeois as in Manchester" "..in such dwellings only a physically degenerate race, robbed of all humanity, degraded, reduced morally and physically to bestiality, could feel comfortable and at home" Likewise Robert Owen, an utopian socialist, was a textile manufacturer himself tried to change the conditions of his workers by introducing a model of equitable employment and community cohesion in his factories. Furthermore on the impacts of American Civil War on cotton industry in England the author misses hundreds of thousands Lancashire laborers enthusiastically supporting Abraham Lincoln's ideals and the anti-slave North being fired, cut back to part-time and earnings reduced. As a result food riots broke out. (See "History of Cotton Famine." by R. Arthur Arnold) In addition to all this, no reference is given to John Hobson and his work on "Imperialism". Hobson's focus on industrial capitalism as the driving force of imperialism and his great influence on V.I Lenin and his work "Imperialism: The Highest Stage of Capitalism" is well known. These references would have only enriched the argument in the context of "war capitalism". Now that the cold war is over and Soviet Union has been disintegrated the historians should not hold themselves from exploring the classical works out of the fear of being labeled as "marxist".

A fair review of this book appeared in slate.com by Eric Herschthal entitled: "The Fabric of Our Lives"
http://www.slate.com/articles/arts/books/2014/12/empire_of_cotton_a_global_history_by_sven_beckert_is_a_great_history_of.html

Despite the shortcomings mentioned above I should still consider it as an important work about the history of cotton industry especially in connection with slave trade and development of industrial capitalism.

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Sabtu, 19 Maret 2011

[R710.Ebook] Ebook The 6 Voyages of Lone Sloane Vol. 1, by Philippe Druillet

Ebook The 6 Voyages of Lone Sloane Vol. 1, by Philippe Druillet

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The 6 Voyages of Lone Sloane Vol. 1, by Philippe Druillet

 800 years after a catastrophic event called the "Great Fear", Lone Sloane, a troubled space traveler, is captured by an entity called "He Who Seeks", after his space ship is destroyed. The entity transports him to different dimensions, where he faces a myriad of Lovecraftian challenges!
A Sci-Fi Ulysess, forced to endlessly wander through the universe

  • Sales Rank: #238866 in Books
  • Published on: 2015-08-18
  • Released on: 2015-08-18
  • Original language: English
  • Number of items: 1
  • Dimensions: 12.70" h x .40" w x 9.60" l, 1.25 pounds
  • Binding: Hardcover
  • 72 pages

From School Library Journal
Gr 10 Up—Lone Sloane finds himself, as the title suggests, adrift in solitude after his spacecraft explodes. Where most people would surely have perished, Sloane survives, managing to evade the all-consuming black hole that has seemingly erased any vestiges of his craft. In its place a stone throne emerges, thus beginning the very trippy voyages of the title character. Druillet's oversize picture book is a psychedelic fantasy reminiscent of the "Bronze Age" of comics (1970–85). His use of worm's-eye perspective, warm colors, monochromatic patterns, and various shades of gray, black, and white capture Sloane's alternating position as the "hunted" and the "one touched by the King of Gods." Readers may find themselves confused by the bizarre surrealism of the illustrations, which occasionally might cause them to lose the story's focus. There isn't much revealed about the protagonist and how he came to be regarded as the sought after "living one," nor why he is a "loner" among his kin. Perhaps the answer to these questions and more will be found during subsequent voyages. VERDICT Recommended for older teens interested in sci-fi/fantasy graphic novels with a retro feel.—Tamela Chambers, Chicago Public Schools

Review
"A space opera of extraordinary visual splendor" - Library Journal 

“Mind-Expanding... Some Of The Most Gorgeous Design Work In The History Of Comics!” - Paul Cornell (Wolverine, Doctor Who)

“Sensational!” – Hergé (Tintin)

 "Really bizarre in a totally good way" - Greg Burgas, Comic Book Resources

About the Author
Philippe Druillet is a comics artist and writer, known for his innovative approach to visual design. In the US, he’s best known for his graphic adaptation of Michael Moorcock’s Elric hit fantasy series, Elric, the Return to Melnibone, and his work for Heavy Metal, such as City of Flowers.
 

Most helpful customer reviews

25 of 25 people found the following review helpful.
The reproductions of drawings are of poor quality, and there are some questionable changes to font- not what I was looking for.
By Y. Teperman
The following comments are specific to this latest 2015 re-print of the Lone Sloane. I gave this re-print two stars, because it fails to do Druillet drawings justice:

-1) When compared to the original 1973 printing, ALL the lines and edges in ALL of the pictures are blurry soft, and lacking in sharpness, as if made from slightly out-of-focus low-resolution scans.

-2) Even more disturbingly, the colors are lifeless and dull, less saturated and not as vibrant as they ought to be. The hue is frequently off, as with the page 32, for example, where you get a muddy purple-grey instead of deep dark blue found in the original printing...

These are serious issues for a comic meant to be admired primarily on it's graphic strength. It is like trying to listen to a well-regarded musical performance through a grainy low-resolution MP3 file: the enjoyment is just not there, and the whole point of re-issuing this book becomes questionable, as something essential- the intensely psychedelic atmosphere that was the prime attraction of this otherwise peculiar and strange graphic story has been lost!

The motive for this re-issue is plain and clear, as one cannot help but notice the rather obvious attempt to milk consumers for what it's worth: this new book contains only half of the original book, which is now split and will be published as two separate volumes.

Finally, and rather mysteriously, the font in all of the original text bubbles was changed- Gone is the harder to read but very characterful writing. Instead, you got a generic comics font. Unfortunately, even the famed double-spreads weren't spared. I thought their strange gothic font was an integral part of those pictures - But alas! It is an unfortunate change that is hard to rationalize- go figure what was the motive behind it?

Have I mentioned that the glossy paper is less appropriate than the original semi-gloss, as it produces veiling reflections that complicate viewing the already de-saturated pictures even further.

Overall, the new book is not what I was hoping for, and a very poor monetary value to boot, so I returned it.
Instead of this reprint, and for the similar princely sum of $20, I managed to get the original 1973 printing which is both more complete (twice as thick) and graphically superior in each and every way: better quality print, better paper, better colors, better fonts.

PS - A word about the original Druillet story: a true classic head-trip a-la Barbarella, but very different in visual style: the story is a bit crazed, but inventive, and extremely unusual in it's structure, even by the standard of the 1970's drug-induced visions like Barbarella:
"Lone Sloan" flips the conventional story-telling on it's head by starting off as fantasy, and becoming hard sci-fi. This is in opposition to almost every conventional storyline of the genre, exemplified by Jodorowski and Moebius Incal, and plethora of modern Marvel stories that start off sci-fi and become more fantasy, as powers, enlightenment and magic gets introduced.
Every visually-inclined person would do well to at least flip through Druillet drawings once.
For a comic-book connoisseur, this is a classic on par with the famed "Incal" and "Blueberry", and, thus, indispensable.
But do avoid this 2015 reissue! Hope this helps.

10 of 10 people found the following review helpful.
Beware, this has previously been published in English
By dennisqdw
The art and story is fantastic. However, I already had the Dragon's Dream edition, and didn't realize that this was the same book. (strictly speaking it's only 1/2 the same book, as the Dragon's Dream is twice as long). So if you already have an older copy don't buy this one.

6 of 6 people found the following review helpful.
Milestone
By bob
Revering to the review with the complaint about the printing quality, my copy is crisp. Even under my magnifying glass it looks crisp. I have a lot of comic books with worse printing quality and I am very angry about it but this one is satisfying. Beside the overwhelming details, this comic book impresses with breathtaking pictorial composition. Druillet created with Lone Sloane an outstanding masterpiece. No one can call himself a comic geek without having this standalone milestone. Lone Sloane is gothic, psychedelic science fiction. Since 1972, the year Lone Sloane was first published, no other artist came close to the outrageous and mind-blowing drawings in this comic book. I have many comic books drawn by ingenious Artists but Druillet is a class of its one.
This new oversized edition is like a dream come true. Before, I just had an over 40 years old copy in Italian on cheap paper and too dark printed.
The 6 voyages of Lone Sloane is the king of must-haves. I want to be buried with this comic book.
(English is not my mother language, so excuse possible mistakes in my writing)

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Jumat, 18 Maret 2011

[P430.Ebook] Free PDF The Handbook of Infrared and Raman Characteristic Frequencies of Organic Molecules, by Daimay Lin-Vien, Norman B. Colthup, William G. Fate

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The Handbook of Infrared and Raman Characteristic Frequencies of Organic Molecules, by Daimay Lin-Vien, Norman B. Colthup, William G. Fate



The Handbook of Infrared and Raman Characteristic Frequencies of Organic Molecules, by Daimay Lin-Vien, Norman B. Colthup, William G. Fate

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The Handbook of Infrared and Raman Characteristic Frequencies of Organic Molecules, by Daimay Lin-Vien, Norman B. Colthup, William G. Fate

This necessary desk reference for every practicing spectroscopist represents the first definitive book written specifically to integrate knowledge about group frequencies in infrared as well as Raman spectra. In the spirit of previous classics developed by Bellamy and others, this volume has expanded its scope and updated its coverage. In addition to detailing characteristic group frequencies of compounds from a comprehensive assortment of categories, the book includes a collection of spectra and a literature search conducted to verify existing correlations and to determine ways to enhance correlations between vibrational frequencies and molecular structure. Particular attention has been given to the correlation between Raman characteristic frequencies and molecular structure.

Key Features
* Constitutes a necessary reference for every practicing vibrational spectroscopist
* Provides the new definitive text on characteristic frequencies of organic molecules
* Incorporates group frequencies for both infrared and Raman spectra
* Details the characteristic IR and Raman frequencies of compounds in more than twenty major categories
* Includes an extensive collection of spectra
* Compiled by internationally recognized experts

  • Sales Rank: #2988440 in Books
  • Published on: 1991-10-22
  • Ingredients: Example Ingredients
  • Original language: English
  • Number of items: 1
  • Dimensions: 1.21" h x 6.28" w x 9.31" l,
  • Binding: Hardcover
  • 503 pages

Review
"This handbook is a worthy follower to Bellamy's books and will be indespensible for planning and performing analyses. As a bonus, the book is beautifully produced: it has fine paper and printing and is well bound, as befits a book likely to be opened frequently."
--SPECTROSCOPY
"A new text on this subject was desperately needed and this book admirably addresses this need....Obviously, a huge effort went into its preparation. It is truly an academic tour de force....This book achieves its goals admirably and should become the new Bellamy for at least the next ten years. It is strongly recommended for anyone who deals with the interpretation of the vibrational spectra of organic compounds."
--JOURNAL OF THE AMERICAN CHEMICAL SOCIETY
"This book is an excellent handbook for anyone interested in spectroscopic properties of organic molecules and is a perfect starting place for characterizing organic molecules through their spectroscopic properties."
--ANALYTICAL CHEMISTRY
"Above all things, this book is a scholarly tour de force. Certainly it is one that will merit a place both on my own bookshelf and in my lab when it is published."
--Peter R. Griffiths, UNIVERSITY OF IDAHO
"These well known spectroscopists have integrated the established IR and Raman characteristic frequencies of organic molecules into a unique well documented handbook including IR and Raman spectra and correlation charts. Students as well as established scientists will benefit by having this well written compendium available for reference."
--R.A. Nyquist, THE DOW CHEMICAL COMPANY
"This text is a masterful update of Bellamy's classic work, infrared Spectra of Complex Molecules. It faithfully preserves the style and broad literature coverage of Bellamy. It is also ample evidence that the field of infrared group frequencies is as dynamic as ever. This is a first class treatment and with the inclusion of detailed discussions of Raman data, it stands alone. It should be in the library of all scientists dealing with the spectroscopy of organic molecules."
--Dana W. Mayo, BOWDOIN COLLEGE

Excerpt. © Reprinted by permission. All rights reserved.
A reference for all spectroscopists.

Most helpful customer reviews

1 of 1 people found the following review helpful.
Nice handbook for everyday IR/Raman interpretation
By Xiaoyun Chen
I work as an analytical chemist mainly using IR and Raman for unknown identification and for studying various chemical reactions.

This book, together with the Infrared and Raman Characteristic Group Frequencies: Tables and Charts (Spiral-bound)by George Socrates, are the two books that I use almost on a daily base. With the electronic IR/Raman library becoming more and more popular, it is no longer necessary for your to remember all the peak frequencies/intensity. But having a book that compiles all the group frequencies and explains how the various chemical environments could affect the vibrational modes is a must-have if you are a serious vibrational spectroscopist.

i usually use the book by Lin-Vien when I want a systematic description of a particular modes or a class of molecules. I use the Infrared and Raman Characteristic Group Frequencies: Tables and Charts for its nice charts. I like both. But Lin-Vien's book does appear to be a little 'ancient' compared to the one from George Socrates.

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Selasa, 15 Maret 2011

[O847.Ebook] Download Ebook Thelonious Monk Plays Standards - Volume 1: Piano Transcriptions (Artist Transcriptions), by Thelonious Monk

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Thelonious Monk Plays Standards - Volume 1: Piano Transcriptions (Artist Transcriptions), by Thelonious Monk

(Artist Transcriptions). Volume 1 features note-for-note transcriptions of Monk's renditions of 11 jazz classics: April in Paris * Between the Devil and the Deep Blue Sea * Dinah * Don't Blame Me * Everything Happens to Me * I Should Care * I Surrender, Dear * Just a Gigolo * Liza (All the Clouds'll Roll Away) * Nice Work If You Can Get It * Sweet and Lovely. Includes a biography and a discography.

  • Sales Rank: #495008 in Books
  • Brand: Brand: Hal Leonard
  • Published on: 2002-04-01
  • Released on: 2002-04-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 12.00" h x .24" w x 9.00" l, .90 pounds
  • Binding: Paperback
  • 88 pages
Features
  • Used Book in Good Condition

Most helpful customer reviews

0 of 0 people found the following review helpful.
Five Stars
By Mr. Francoisxavier Lacroix
What a precious book !

10 of 14 people found the following review helpful.
greet transcriptions, jumpeen offf poynts
By scarecrow
you have no vision of jazz piano until you see the Solo, away from the group who's keepeen the beat, and laying down the bass for you, this just frees you up a bit, Monk created his greea-test solos in the group, all those spiky chords, Ab-D-G, or cd-Ab-Db,also the suspension(S) of the beat attest to his interest in expanding what we call music, But if you've never heard Solo you really haven't heard anything, Also Cecil Taylor, needs a review of Solo, what he creates, the bonfires he sets with the Solo Piano,

But Monk equally did Solo Work,n'had a way of practicing, taking only one song and playing it for hours, to see what was in it, He did this with all the tunes here, and I guess you can say that what is here was the best reading of possibly I don't know 10 different reading of each tune. Still you get the interesting dimensions of what Monk could do with harmonies, and chords,-flatted and sharped 5ths and Ninths, is where the tension comes from, in a Blues progression you need to sharp the Ninth, as in C-Major, Tonic Chord is now E-Bb-D#, and F-Chord, is F-A-B-Eb, greet stuff.When he Went Solo he kept the traditional stride Left Hand, something if you look for it in group Work it remains but, He began to use his Left Hand in the Group as rhythm as percussion products, with cluster chords, even in "Bright Mississippi", he uses his whole arm for accents.

My favorite here is "everything happens to me", sums up the state of the globe now for us down here, you can play this over and over again and still find different voices between the hands, I found myself developing from what is written out, and it is fairly faithful to the recording, well one of them in that Monk always took multiple taks on all the Tunes herein. "Don't Blame me" as well, has great dissonances, that you can develop even more, and the classic now, "just a gigolo', who would think this Vegas tune could be made into a classic, but again the dissonances are incredible, it lives forever because of the unresolved tensions you have here;and there are more hesitations in Live than in the transcription; I found that you can really make your own half hour solos from what is written here, and apply the chords in and around the other tunes, like a paradigm that lives throughout all the tunes herein.There are other more strenuus as "devil and Deep Blue Sea", difficult to bring off, and Gershwin's "Liza" you really need to work with vision. . . This is the best book I've found thus far on Monk or any jazz transcriptions, the other are too skeletle,too obvious to do you any good, if you really want to learnnn jazz. But please listen to Monk play without the music first, and bring that experience internally inside yourself, then you can go and play from this Book. . . it will change the way you think about music. . .

0 of 0 people found the following review helpful.
Close to the real deal
By Bluesman
With all transcriptions it is difficult to know from which recording they are transcribed. The book is at least a great starting point for those of us that are striving to understand his style. These are solo piano transcriptions so they do not translate well into trio work. Would recommend this book to any serious student of Monk.

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Minggu, 13 Maret 2011

[A239.Ebook] Download PDF Little Wars, by H. G. Wells

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Little Wars, by H. G. Wells

A defining work on war gaming, introduction by Isaac Asimov.

  • Sales Rank: #3275071 in Books
  • Published on: 1970-08
  • Ingredients: Example Ingredients
  • Format: Facsimile
  • Original language: English
  • Number of items: 1
  • Binding: Hardcover
  • 136 pages

Most helpful customer reviews

0 of 0 people found the following review helpful.
Five Stars
By john
Love the book. It's going to be great for my display.

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