When Youngwolfe recants his confession, saying he was forced to confess by the authorities, his city condemns him, except for one man—public defender and Creek Indian Elliott Howe. Recognizing in Youngwolfe the life that could have been his if not for a few lucky breaks, Howe risks his career to defend Youngwolfe against the powerful county attorney’s office. Forgotten today, the sensational story of the murder, investigation, and trial made headlines nationwide.Oklahoma’s Atticus is a tale of two cities—oil-rich downtown Tulsa and the dirt-poor slums of north Tulsa; of two newspapers—each taking different sides in the trial; and of two men both born poor Native Americans, but whose lives took drastically different paths. Hunter Howe Cates explores his grandfather’s story, both a true-crime murder mystery and a legal thriller. Oklahoma’s Atticus is full of colorful characters, from the seventy-two-year-old mystic who correctly predicted where the body was buried, to the Kansas City police sergeant who founded one of America’s most advanced forensics labs and pioneered the use of lie detector evidence, to the ambitious assistant county attorney who would rise to become the future governor of Oklahoma. At the same time, it is a story that explores issues that still divide our nation: police brutality and corruption; the effects of poverty, inequality, and racism in criminal justice; the power of the media to drive and shape public opinion; and the primacy of the presumption of innocence. Oklahoma’s Atticus is an inspiring true underdog story of unity, courage, and justice that invites readers to confront their own preconceived notions of guilt and innocence.

    

    Mike Davis shows us where the city's money comes from and who controls it while also exposing the brutal ongoing struggle between L.A.'s haves and have-nots.

    We Africans in America have been socially engineered to reject our past, and far too many of us live in a state of suspended animation.

    The leading narrative history that students love to read, now made more relevant and accessible.

    Misrepresented in the media as a black parallel to the Hell's Angels, portrayed as everything from a vicious street gang to quasi- Islamic revolutionaries, The Five Percenters are a movement that began as a breakaway sect from the Nation of Islam (NOI) in 1960s Harlem and went on to impact the formation of hip-hop. References to Five Percent language and ideas are found in the lyrics of wide-ranging artists, such as Nas, Rakim, the Wu-Tang Clan, and even Jay-Z. The Five Percenters are denounced by white America as racists, and orthodox Islam as heretics, for teaching that the black man is Allah. Michael Muhammad Knight ("the Hunter S. Thompson of Islamic literature" -The Guardian) has engaged this culture as both white and Muslim; and over the course of his relationship with The Five Percenters, his personal position changed from that of an outsider to an accepted participant with his own initiatory name (Azreal Wisdom). This has given him an intimate perch from which to understand and examine the controversial doctrines of this influential movement. In "Why I Am a Five Percenter," Knight strips away years of sensationalism to offer a serious encounter with Five Percenter thought. Encoded within Five Percent culture is a profound critique of organized religion, from which the movement derives its name: Only Five Percent can act as "poor righteous teachers" against the evil Ten Percent, the power structure which uses religion to deceive the Eighty- Five Percent, the "deaf, dumb, and blind" masses. Questioning his own relationship to the Five Percent, Knight directly confronts the community's most difficult teachings. In "Why I Am a Five Percenter," Knight not only illuminates a thought system that must appear bizarre to outsiders, but he also brilliantly dissects the very issues of"insiders" and "outsiders," territory and ownership, as they relate to religion and privilege, and to our conditioned ideas about race.

    Known as La Vecchia Signora - "The Old Lady" - she is the perfect blend of flair, artistry and skill, combined with a ruthless determination and will to win that constantly flirts with the less savoury elements of the game.For every Michel Platini or Alessandro Del Piero to win the hearts of fans of the beautiful game, there has been a Claudio Gentile or Paolo Montero waiting their moment to launch a well-timed elbow into an opponent. For every Gianni Agnelli to woo the crowds with his sartorial elegance and well chosen words, a Luciano Moggi lurks, playing the villain and serving to heighten the levels of hate felt towards the club by rival supporters.It is all encapsulated by those starkly contrasting stripes which have become synonymous with the Turin giants.This is that story, a history in black and white.

    Taking us inside the New Orleans slave market, the largest in the nation, where 100,000 men, women, and children were packaged, priced, and sold, Walter Johnson transforms the statistics of this chilling trade into the human drama of traders, buyers, and slaves, negotiating sales that would alter the life of each. What emerges is not only the brutal economics of trading but the vast and surprising interdependencies among the actors involved.Using recently discovered court records, slaveholders' letters, nineteenth-century narratives of former slaves, and the financial documentation of the trade itself, Johnson reveals the tenuous shifts of power that occurred in the market's slave coffles and showrooms. Traders packaged their slaves by "feeding them up," dressing them well, and oiling their bodies, but they ultimately relied on the slaves to play their part as valuable commodities. Slave buyers stripped the slaves and questioned their pasts, seeking more honest answers than they could get from the traders. In turn, these examinations provided information that the slaves could utilize, sometimes even shaping a sale to their own advantage.Johnson depicts the subtle interrelation of capitalism, paternalism, class consciousness, racism, and resistance in the slave market, to help us understand the centrality of the "peculiar institution" in the lives of slaves and slaveholders alike. His pioneering history is in no small measure the story of antebellum slavery.

    His comrades claim that he saved 100. President Harry S. Truman presented him with the Congressional Medal of Honor upon his return to the United States, for his heroics on Okinawa, and the citation credits him with saving 75 lives, splitting the difference. "From a human standpoint, I shouldn't be here to tell the story," said Doss in an interview with the Richmond Times-Dispatch. "No telling how many times the Lord has spared my life." During World War II, 16,112,556 American soldiers served their country and the cause of the Allies, and only 43 received the Medal of Honor. Doss, who held a powerful allegiance to Christ, and was a devoted member of the Seventh Day Adventist Church, became the first conscientious objector to receive the U.S. military's highest honor. Today, he is one of two conscientious objectors to have received it.

    And I make my analogy through the slave citizen's music—through the music that is most closely associated with him: blues and a later, but parallel development, jazz... [If] the Negro represents, or is symbolic of, something in and about the nature of American culture, this certainly should be revealed by his characteristic music."So says Amiri Baraka in the Introduction to Blues People, his classic work on the place of jazz and blues in American social, musical, economic, and cultural history. From the music of African slaves in the United States through the music scene of the 1960's, Baraka traces the influence of what he calls "negro music" on white America—not only in the context of music and pop culture but also in terms of the values and perspectives passed on through the music. In tracing the music, he brilliantly illuminates the influence of African Americans on American culture and history.

    It was the first Brian Eno album tobe composed almost completely in the confines of a recording studio,over a scant few months in the summer of 1975. The album was a proofof concept for Eno's budding ideas of "the studio as musicalinstrument," and a signpost for a bold new way of thinking aboutmusic.In this book, Geeta Dayal unravels Another Green World's abundantmysteries, venturing into its dense thickets of sound. How was analbum this cohesive and refined formed in such a seemingly ad hoc way?How were electronics and layers of synthetic treatments used to createan album so redolent of the natural world? How did a deck of cardsfigure into all of this? Here, through interviews and archivalresearch, she unearths the strange story of how Another Green Worldformed the link to Eno's future -- foreshadowing his metamorphosisfrom unlikely glam rocker to sonic painter and producer.

    High Art Lite provides a sustained analysis of the phenomenal success of YBA, young British artists obsessed with commerce, mass media and the cult of personality Damien Hirst, Tracey Emin, Jake and Dinos Chapman, Marcus Harvey, Sarah Lucas, among others. In this fully revised and expanded edition, Julian Stallabrass explores how YBA lost its critical immunity in the new millennium, and looks at the ways in which figures such as Hirst, Emin, Wearing and Landy have altered their work in recent years.

    It includes a list of important people and important terms, and overall book summary, a chapter by chapter book summary as well as a supplemental essay.

    From The Wire: "Matthew Ingram, aka Woebot, has published a book titled 100 Lost Rock Albums From The 1970s. The book takes in strands of metal, glam rock, French artists, punk and pub rock, and is released digitally as a self-published eBook via Amazon. Ingram says: 'Last year I started writing an article on the 100 Lost Rock Albums From The 1970s but it ballooned out of all proportions and I decided to turn it into an eBook.''Over time we have lost touch with the original character of the 70s. Using 'lost' records I've attempted to re-examinine the decade and redress what I see as imbalance. Beyond small reviews of a meticulously-selected 100 albums there's quite a lot of contemporary history, much theorising and lots of gags.'"

    Why it's easy to demonstrate, the evidence given to the Warren Commission by members of the Dallas police, was all created. There are 44 photos and illustrations in, 'Ambush in Dealey Plaza'. Many prove Lee Oswald did not kill President Kennedy or Officer Tippit. LookBack Publications