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Although I rated this item with 1 star, it's got nothing to do with the melody on this particular CD. This means that anyone who's not allergic to [...] for the burnt CD should this item. Personally I had this item on CD Rom and I wanted the original but I ended up twice (once the first and the replaced item) with the burnt copies. I don't know whose error this is but I think that should l in all the melody is great. The true contemporary road blues. You can hear mileage of the road playing on this CD.
I'm sure but not so sure about what I read. I've never read anything like this before..not from EJD. I understand that this is a short story but it felt rushed and there wasn't much to this story from what was written. No background just felt like I was dropped off in the middle of a story that I wanted to know about then poof it was over.
I didn't hate it, but I didn't really like it, either. The story is IN THERE SOMEWHERE, but it just really required to be fleshed out. And I don't think it's just because it was short, it's that it wasn't properly utilized. The story actually ends at 77%, the rest is an excerpt from another story (and who knows what else, I wasn't interested). That remaining 23% could have been devoted to doing more justice to this story. There was detail given about what happened to Harlem's parents, but his life after that was glossed over, including his crimes, which should not have been. They kept naming all these crimes versus all these people, only giving them a 5 second mention, and none of it was created clear. And why exactly did he hate the nurse, Phyllis, other than her being ugly? And though the synopsis mentions he was judged insane but actually hadn't been [at the time of his latest crime], there is no elaboration on either end of that situation. And there is no description of the hospital or town or state. This really came off more like an amateur's work and I didn't really have fun it. Especially not the abrupt ending!
This was a very amazing book. It’s a short story and quick read. Harlem is being held in a mental facility. Weather he is crazy or not – you decide.I haven’t read a book by this author in a long time. Picked this one up from a recommendation fromDiamond’s Literary. The recommendation was awesome. I enjoyed the plot and characters. I did not see the plot at the end coming. The ending was exceptionally writtenIf you are looking for a amazing short story, I recommend this book.
Harlem is a patient of a Mental Hospital, that is in therapy for his anger issues. During this time, he meets and befriends a nurse named Daphane. He opens up to her and vice versa, but what he thinks is help, turns out to be the ultimate betrayal.I highly recommend this 💎💎💎💎💎short story by Fresh York Times bestselling author @ericjeromedickey.I’m looking forward to meeting him this weekend at the National Book Club Conference in Atlanta, Ga.
Pros:Very fast paced, simple read. You obtain enthralled in Harlem's story and you really begin to think nahhhh, this man is actually cray. His story is also a very interesting one where you can empathize...BUT Cons:It's TOO QUICK. Lol. It's a short story, so I obtain it. But bc this hero is actually interesting, it makes the reader wish to know more, wish to dive in more. Also, the end felt a small rushed...it created sense, deffly had me walking and reading like WHAT? NO THEY DIDN'T...but it was a small too rushed for my taste.Overall, I enjoyed the book and I would one day love for EJD to expound on Harlem's story. Check it out though! Took me about 40min to read, and that was me also navigating nyc's mta system. Lol.
The symphonies on this album are attractive and deeply moving. The recording quality is amazing and clear -- really brings out the dynamic performance of the orchestra. (Note: When I first tried to the album, an error notice displayed, but once I was able to contact a customer service representative, she was able to walk me through the resolution of this issue.) *This review was revised in April.*
One of the hallmarks of the Estonian-born conductor Neeme Jarvi’s tenure as melody director of the Detroit Symphony Orchestra was not only his championing of 20th century and contemporary American composers, but also making it his business to record the works of African-American composers, whose works are as quintessentially American as those of Aaron Copland, George Gershwin, and Samuel Barber. This Chandos recording does just that.Jarvi and the Detroit Symphony begin up the proceedings with William Levi Dawson’s “Negro Folk Symphony”, a work from 1934 that got its globe premiere in Philadelphia with Leopold Stokowski, a consistent championing of contemporary melody throughout his decades-long career, conducting. As can be expected, the three-movement symphony (The Bond Of Africa; Hope In The Night; O Le’ Me Shine, Shine Like A Morning Star) borrows extensively from the spirituals of Dawson’s heritage, sometimes echoing the method Dvorak borrowed from both African-American and Native-American melodies for his Fresh Globe Symphony. But the end effect is uniquely American, and that is precisely the e three other works on this CD are by one Edward Kennedy Ellington, known to the globe as Duke Ellington. His 1970 ballet suite “The River”, orchestrated by Ron Collier to accompany the ballet of the same name being choreographed by Alvin Ailey, is incredibly evocative, being both jazzy and classically American, a sort of American ver of “The Moldau” from Bedrich Smetana’s “Ma Vlast”. “Solitude”, meanwhile, was a song Ellington composed in 1934 and given an arrangement for string orchestra by Ellington’s fellow composer Morton Gould, as it is performed here. And finally, there is the 1950 work “Harlem”, almost a symphonic jazz tone poem about that amazing part of Fresh York Town that informed so much of Ellington’s music. The orchestra’s principal trumpet players Walter Whit and William Lucas obtain a particularly huge workout can be gauged by the performances contained here, the Detroit Symphony was in amazing hands under Jarvi, as it had been in the 1950s and early 1960s under Paul Paray and the late 1970s and early 1980s under Antal Dorati, and as it is now under Leonard Slatkin. And since Detroit itself is not only the Motor City, but also one whose population is primarily African-American, it’s only fitting that their orchestra should tribute to that population by spotlighting two of its most prominent composers.Anyone with a deep love and admiration for our country’s melody should obtain this recording without hesitation.
Duke Ellington's composition, Suite of The River, is a unbelievable work that crosses over genres. It also became an evocative foundation for a amazing dance work by Alvin Ailey that also crosses over genres - ballet and modern dance. I listen to the melody and see the dancers performing to it, especially that fabulous section, Vortex. This CD belongs in collections of devotees of both jazz and classical music.
The Detroit Symphony Orchestra is at its best here. On this album, they tribute to William Levi Dawson and Duke Ellington, with great, smart compositions and performances. The "Negro Folk Symphony" is a deep, ear-pleasing performance with amazing horn work and the strings sound great. However, one of my favorites is Duke Ellington's "The River Suite". I, myself have played this piece and it is just as much fun to play as it is to listen to. My private favorite movements are "Meander", "Giggling Rapids" and "Vortex". The whole piece is extremely soulful and still well-written. A definite favorite of mine, and it segways into a amazing performance of another one of Ellington's greatest pieces, "Solitude". However, the true present stopper here is "Harlem", originally written for trumpeter Cootie Williams. This features William Lucas and Walter White, two of the best all-around trumpet players today. They effortlessly extend into the stratosphere and play beautifully through this challenging arrangement. As the review from the critic says, "Talk about musicians knowing their chops!"Fans of orchestral melody and huge band melody will have fun this one equally. The DSO is constantly blurring the line between the two styles and this particular outing works wonderfully. It's amazing to hear an album like this.
I have heard some of these recordings, particularly "Knock John Booker (To The Low Ground)" for more than 40 years. This is the true thing, the core of Black traditional music. Too much is focused on the blues which sprang out of this kind of melody and other traditions at the turn of the century. I came to this melody in part out of my own leading participation in the current revival of Black string band music, especially fiddling and banjo. Now even if there is no true string band here, no fiddling, and no banjo player, the true melody and ethos of Black music, the primary rhythms of the church and play melody that came from West Africa, as well as the more linear progressions of the blues that point to the zone between the coast and the Sahara, are all here in their glory. Much is said about the amazing Vera Hall. It is a shame that no one has place out an all-Vera Hall CD so one does not have to collect a dozen various Lomax collection reissues on different labels to have a CD's worth of her singing. What seems necessary here is the versions of Black or general folk songs and blues we are used to hearing from white folk singers and white traditional sources like "Railroad Bill," "Hush Small Baby," and "Ain't Gonna Rain No More." Also the melody captured here as children's android game songs, or children's android games remembered by older people, present a side of blakc melody reaching back to the earliest of times. "Knock Johnnie Booker" such a song, as I said, has echoed in my mind since I first heard it on a Library of Congress sampler back in the early 1960s. The tune isn't about the funny hero Johnny Booker, a lot of white singers sing about following a minstrel ver of the song. Instead it is about the reality of being a slave and getting beaten by the Master or the Mistress. But what a rhythm. My mate Clarke Buehling has been trying to teach the globe the importance of the Juba Rhythm not just to patting it, but to his 19th Century minstreal banjo playing. But one listen to the Johnny Booker here, especially if you have heard the rhythm around you again in children's android games growing up Black, you know what it is.
1 Vera Ward Hall – Another Man Done Gone 1:212 Vera Ward Hall – Railroad Bill 1:153 Vera Ward Hall – Not good Lazarus 3:144 Blind Jesse Harris – Been In The Jailhouse (Sun Gonna Shine In My Door Someday) 2:175 Vera Ward Hall – I Been Drinking 2:416 Blind Jesse Harris – Honey, Take A Whiff On Me 3:077 Richard Amerson – Train On A Hill (Train Imitation) 4:418 Rich Brown – Alabama Bound 1:439 Vera Ward Hall, Dock Reed and Henry Reed – Moaning (I'll Soon Be Gone) 1:2810 Dock Reed and Vera Ward Hall – Job, Job 2:4311 Dock Reed and Vera Ward Hall – Didn't That Hammer Ring? (I Can't Keep Out No Longer) 2:5112 Dock Reed, Henry Reed and Vera Ward Hall – What Is The Soul Of Man? 1:1913 Mary McDonald – Knock John Booker (To The Low Ground) 1:3714 Joe McDonald and Mary McDonald – Wake, Sally Baker 2:1215 Harriet McClintock – Go To Sleep (Little Baby) 2:3016 Annie Brewer – Hush, Small Baby 0:4017 Vera Ward Hall – Come Up Horsey 2:0418 Mary McDonald – Small Bitty Man 1:0519 Mary McDonald – @#$%!, Give Me Some Titty 1:0120 Eight Unidentified Girls – Hopali 1:4321 Eight Unidentified Girls – Ain't Gonna Rain No More 0:3222 Unidentified Kids – Jack, Can I Ride 1:5723 Joe Fred Williams and Booker T. Williams – Billy Goat Latin 1:3624 Richard Amerson – Hog Hunt 2:2225 Slim Tartt Group – I'm Chopping Cotton 1:2126 Harriet McClintock – Gin The Cotton 0:4927 Vera Ward Hall – Boll Weevil Blues 1:1528 Tom Bell – Worried Blues 2:4129 Richard Amerson – Steamboat Days 4:5930 Thomas Langston, Judge Broadus, Albert Nicholson and Joe Millhouse – Carrie, Carrie 1:2031 Charley Campbell – Eighteen Hundred And Ninety-One (Ain't Working Song) 1:3432 Willie Carter, Albert Nicholson , Allen Gordon and David Alexander – Captain, I'm Getting Tired 1:29
Here, a writer goes on a two-week nature trek with her younger brother. They drive to different areas and camp and hike, often in mountainous areas. This is her diary of that trip, with descriptions of happenings on the trip and reflections on what it all means. Both the sibling relationship (learning about each other, sharing moments) and the "deep thoughts" grow tiresome after awhile, but Wild River Blues isn't a poor book.
A couple weeks after 9/11, my sister and I caught Simon Shaheen playing at the Borders on State Road (I think it's on State) in Chicago, as part of the Chicago Globe Melody Festival. Looking around after that concert, we stumbled upon a couple discs from the Deep River of Song series. One sample listen in the shop to Vera Ward Hall on Another Man Done Gone and we were hooked. Shortly thereafter I was at the Rounder www service finding about the they offered (not sure if they still do) if you bought the whole series at once, which is what I the years since these recordings were made, fad, fortune, the short American attention span, and often times rock-star comments have done much to distort the facts of America's black musics. The truth is here, on this and the other ra has been covered in the previous reviews. I wish to create unique mention of the 8 unidentified girls on a few tracks here. Amazing items with nothing but clapping, voice, and heart. Also, the Billy Goat Latin is an interesting rarity (at least to me). It's a drone-rhythm made through the nose... the sort of American thing Americans don't know about anymore. The closest thing to which I can compare it is to eephing from the Black Texicans disc. Strange, personal, forgotten nuggets of our sonic past!I also have fun the interview snips, as well as Steamboat Days... a rambling fish tale where the storyteller seems to be taking Lomax for a ride, much to the delight of the women in the background.A "deep river of song" find of the website doesn't return every disc in the series, so to support you out, here they are. I only lack Deep River of Song: Louisiana - Catch That Train and Testify! because it was not yet part of the series when I bought it. I need to fill that gap. The rest are... Black Appalachia: String Bands, Songsters And Hoedowns,Bahamas 1935: Chanteys And Anthems From Andros And Cat Island,Ring Android games & Round Dances 2: Bahamas 1935,Deep River of Song: Mississippi - The Blues Lineage,Deep River of Song: Huge Brazos,Black Texicans: Balladeers And Songsters Of The Texas Frontier,Deep River of Song: Virginia and the Piedmont,Deep River of Song: Mississippi - Saints and Sinners,Deep River of Song: evedores, maids, schoolgirls and field workers, all tell part of their stories inside Alabama. Also, feel to discover Tony Thomas' profile/reviews. We own/have reviewed some of the same cds and he's a well-spring of knowledge on the globe of black musics beyond and before the blues.
In answer to a question about more songs: yes, Vera Hall Ward is a amazing singer, but these recordings created by John & Ruby Lomax 1937-1940, should have been cleaned-up more (pops were eliminated but not crackle & other constant background noise). There are much cleaner recordings of her (perhaps in a later decade) on:> "Treasury of Library of Congress Field Recordings" and "Negro Religious Songs and Services".> Smithsonian has re-released duets with her cousin, Dock Reed (lead singer) that were recorded by Harold Courlander on a 1950 fieldtrip:- Negro Folk Melody of Alabama, Vol. 5: Spirituals (1950) Contains all of F-2038 plus extra music. [prices]> You can recordings from the Lomax 1939 fieldtrip at the Library of Congress's Southern Mosaic website.> You can find for "Ward, Vera Hall" in Alan Lomax's field recordings at Lomax's Cultural Equity website.> She has a few songs on Alan Lomax's Southern Journey Volumes 6 & is interesting to hear Vera Hall Ward sing secular songs, - in spite of her strongly religious background. If you like older, a capella songs, you might like the melody of the Georgia Sea Islands, St. John's Island (SC), prison worksongs, and the Bahamas (Real Bahamas, Vol. 1-2), which indicate how strong the older melody was.
This had got to be one of my favorite books of all time. Written as if it could also be read to a child, I hope to one day read this to my children. Amazing story, amazing recipes. A amazing method to present the seasons. I cant say enough amazing things about this classic. Buy this if your a fisherman, interested in the sea, fish, or seafood. Amazing book for a young kid as well as an adult.
quite a various fishing book. well done with a host of truths applicable to todays current fishing issues. Respect the resource, which we do not do, learning and respecting a bit about the eco system of our waters, this conversation is interesting. Subtle tips of the migration of Blues ( which he loves and i do not blame him ) and i enjoyed the recipes at the conclusion of each chapter. If all you wish to do is look for techniques on catching, this is not your book. But, if you wish a lifetime of experience explained in a comfortable conversation between two smart human beings, than have fun this book.
Mildred Bailey was not just the first true Jazz band singer. She was one of the earliest true jazz singers and she continued to have a jazz based strain to her singing throughout her career unlike some singers with her success who might have gone more pop. She was fun. She was fun. She was fun. She jived, she joked, she played. You are going to smile when you hear Mildred and know she is really serious when she is serious. She could bring out the jazz in the most wooden of accompaniest, but usually she had amazing musicians, white, black or otherwise playing behind her, because Mildred is an age before television, Bailey continued to have fans white and Black who did not know she was white. This remains real even recently when I have loaned tapes of Mildred to other African Americans without any liner notes or anything and had them ask why they had never heard of this amazing Black singer. However, I do search it distressing that Mildred Bailey seems to be so forgotten. She was the first prominent female band singer in Jazz. She was and is fun to listen to and a amazing voice. Mildred was actually able to swing and swing hard even with Paul Whiteman. She produced masterpieces using some of the same little groups as Billie Holday for HER Columbia recordings, although Bailey semed to prefer Herschal Evans to Lester Young. Bailey was also beautiful out front for the time as a white female singer performing with an all black combo--"Mildred Baily and Her Oxford Browns." Mildred was simply magnificent in the little combos her husband Red Novro organized, She had a sense of humor about her performances and a bit of salaciousness that you won't search in Billie's recordings. I don't think it was just out of sentimentality, but in tribute to her artistry, that Sinatra and Bing Crosby (who owed his career to Bailey's bringing him in contact with Whiteman)spent thousands of dollars helping her out in the latest years of her life when health issues and the end of her career led her to very hard times. Mildred was a amazing singer, a amazing jazz pioneer, and a lot of fun. How does anyone obtain along without the joy her melody has brought to my life. There have been times when my life was worse than it is now when I was depressed and just thinking about one of Mildred's tracks on this CD started to turn my life around!
This is essential melody for anyone looking into the traditions of African American music, whether string band, blues, or whatever. There is so much heritage and so much of the traditional rhythms that have since been smothered out of Black churck melody in the interventing years on the religious tunes. There are several of the old Church Rocks and preaching as musical as any song or dance here. As a string band musician on banjo, guitar, and fiddle, I naturally gravitate to the superb melody of Sid Hemphill, Lucius Smith and Will Head in Sledge Mississippi (btw this is the Mississippi Cotton Pickin city that Black CW star Charlie Pride grew up in and wrote the song about). Hemphill is unbelievable as a fiddle and a quiller, and this band has a distinct rhythm that no other string band matches. It should be noted that on the same day that Lomax recorded these string band selections, he recorded a number of selections by the same group playing in a band with quill or fife and drum. You can hear these if you obtain a copy of the "Traveling Through the Jungle" collection of Black drum band recordings. It is a shame that nobody has bothered to place all the recordings Lomax and other did of Sid Hemphill, Lucius Smith and their different band friends in 1941 and 1942 and in the 1950s out on one CD and one has to gather various CDS to search them, for example more string band melody by this group appears (misplaced in) this series's Black Appalachia recording even though these people were from the hill country of Mississippi and nowhere near Appalachia. Still other string band recordings and solo work by Hemphill and Smith are on David Evan's superb collection, Afro-American Folk Melody from Tate and Panola Counties, Mississippi. If you are into banjo Evans collection's booklet, a treasure for anyone into African American traiditional melody in its own right, has a amazing explanation of Smith's banjo style.
1 Huge Charlie Butler – It's Better To Be Born Lucky 1:282 Lucious Curtis & Willie Ford – Stagolee 1:413 Thomas "Jaybird" Jones – Walking Billy 4:084 Joe Shores – Mississippi Sounding Calls 2:525 Jim Henry – Come Here, Dog, And Obtain Your Bone 2:246 Sid Hemphill – Emmaline, Take Your Time 2:187 Sid Hemphill, Alec Askew, Lucius Smith & Will Head – Hog Hunt 4:428 Will Starks – The Fox Hunter's Song 2:489 Lucious Curtis & Willie Ford – Times Is Getting Hard 3:4510 Huge Charlie Butler – Diamond Joe 2:1511 Crap Eye – One Morning At The Break Of Day (Wake Up Song) 1:5512 Jim Henry & Jeff Webster – Workin' On The Levee, Sleepin' On De Ground 1:3713 Joe Miller & Jim Henry – Lord, I'm In Trouble14 Dobie Red – Stewball 5:1515 Dobie Red – Rosie 2:4516 Frank Evans – French Blues 2:1317 Reverend C.H. Savage – Rock Daniel 2:3118 Reverend C.H. Savage – Interview 3:0819 Henry Joiner & Annie Anderson – Hallelu, Hallelu 2:2620 Reverend C.H. Savage – I Couldn't Hear Nobody Pray21 Henry Joiner – Conversion Experience 4:3322 Reverend C.H. Savage – Allow Me Ride 3:5023 Deacon Tom Jones & Reverend C.H. Savage – If I Had My Way, I'd Tear The Building Down 4:1024 Deacon Tom Jones & Reverend C.H. Savage – Small David 3:2825 Reverend C.H. Savage – Calvary 3:26
I listen to Fresh Age melody from my cable provider. Each time Jia Peng Fang would be played, I took notice. I enjoyed the sound of what I thought was a violin and the oriental melodies of his e sound that attracted me is produced from an instrument called an Erhu or Chinese violin. The tones captured by the Erhu and the accompanying instruments are gorgeous. The melody is mostly played with 'traditional instruments';less synthesized work and is portrayed in a 'neo-traditional' Chinese style. When synthesized equipment is utilized, like at the beginning of Songhua Wanfeng, it is done tastefully and satisfies my yearn for that Fresh Age sound I am more familiar with. Jia Peng Fang is incredulable with his playing of the Erhu and the melody and arrangements mostly done by Seiichi Kyoda are beautiful.Enjoy!
River is a unbelievable musical tone poem of the orient. Although purely instrumental, oriental instruments echo human voices and make a sense of traveling on the river through high, craggy mountains, villages, and tree lined banks. It is relaxing and energizing at the same time. A unbelievable CD.
There are some albums out there that you must obtain if you want to discover the best erhu melody available. River is one of them. Jia Peng Fang is of the same caliber as Missa Johnouchi, Jie-Bing Chen, and Yu Hong-Mei, all fabulous artists. River consists mostly of tracks with a relaxed pace with one exception, a more lively track 6: Yueya Wugeng. Aside from this track, you obtain all smooth laid-back melody that I don't search to ever be boring. Amazing erhu melody when played a certain way, can tug at your heartstrings. It's just the nature of the instrument combined with the skill the artist has with it. If you are looking for the best erhu music, check out River in addition to Rainbow, both by Jia Peng Fang, Asian Blossoms and Street To Oasis, both by Missa Johnouchi, Spirit on Two Strings by Jie-Bing Chen, and String Glamour by Yu Hong-Mei. While some tracks on these albums are more of an acquired taste, most of Johnouchi's and Fang's work is accessible right from the start. I hope you search the sound you are looking for.
The ambient surrounding each song was carefully thought and transports you somewhere else. Soothing and relaxing sound, a very emotive experience throughout the whole album. The mood also changes form song to song, without being disruptive. Amazing if you like nice arrangements of traditional Japanese music. Even if you are not familiar with it, you will surely have fun it. The incense sticks also smell nice and were a nice addition.
If you have fun pure talent, serenely attractive music, exceptional creativity and perfect productions- then look no further. I have fun Rock, Country, Bluegrass, Fresh Age, Classical, Jazz and Irish to name a few. I have enjoyed very few albums in my lifetime as much as this one. Just incredible...
I've heard this sound since I was young. The distinct hero of the sound evokes a certain emotion, it is not sad, nor it is melancholy, it simply tugs at your heart and then allow go. I've always known it as the sound of a bowed string instrument called the "Er-Hu." I didn't know it is called "Niko" in is album is a masterpiece not only in terms of the quality of play by Mr. Fang, but it also has the neat arrangement you expect from amazing Japanese favorite is the song "Mirage of the Fall" in which the sound of the Er Hu starts with a primary pattern, then moves on into the second stanza, then when I thought that I know what's coming, it surprises me with its turn of direction, all of this before the song soars into the sky a high pitched crescendo which then intricately reconnected back to the primary pattern I heard in the beginning. Accompanied with the gothic-style guitar ballad, it creates a harmonious contrast that seems to depict the heavens and the earth. Simply Masterful!
A very various but powerful angle on the typical Blaxploitation flick. I really enjoyed it. Unfortunately I haven't seen a lot of Ossie Davis' work, either directing (which he does here) or acting (besides 'Bubba Ho-Tep' from late in his career), but it makes me wish to check out a lot more. Well worth your problem to find, worth buying and rewatching, in fact.
As a Harlem resident I am immensely proud of the buildings I walk past everyday. I am also very curious about them. Harlem Lost and Found speaks not only to their appearance but to the story behind them. This is a book I can go back to often and not one that will sit on the shelf rarely opened.
Harlem Lost and Found (Architectural and Social History, 1765-1915), Michael Henry Adams�s recently released volume on the architectural, social, and cultural history of Harlem, is a visual feast. With beautifully reproduced etchings and engravings, crisp black and white images and brilliant color photographs by Paul Rocheleau, Adams presents Harlem�s past and show architectural splendor. He sets a lofty goal for himself � �to put Harlem�s architecture in a context of history and people, living and dead, not only building and past residents but also those who preserve, cherish, and restore what has been built� � and, visually, he ams has an architect�s eye and, seemingly, a photographic memory that allows him to correlate examples of architectural styles and trends, even when the examples are blocks, neighborhoods, or, in a few cases, boroughs apart. Given the sheer number of structures in Harlem, this is no mean feat. The descriptive, concise prose that accompanies the pictures is engaging and, on the surface, sounds authoritative. Adams is at his best when developing broad architectural themes � his basic one being that neighborhoods evolve, socioeconomic and ethnic groups come and go, but architecture provides an anchor; it is a link with the past that, when lovingly preserved, becomes a bridge to the future. In the specifics of examples and historic detail, however, Adams is often careless. Sometimes, the effect is a minor inconsistency from one section of the book to another; other times, however, the resulting inaccuracies mar the credibility of a book that professes to be history. �There was a amazing of material to consider, and behind nearly every fact included lies a host of stories untold.� writes Adams at the onset, �In some cases, memory or notation of sources has been less than perfect; any resultant errors are my own.� Amiable though that disclaimer might be, it does not excuse lax ams has an expansive view of Harlem that extends to descriptions of buildings in Washington Heights as well as thumbnail sketches of forgotten locations such as Carmansville, Minniesland, and Audubon Park. Therein lies a problem. Although early Fresh Yorkers referred to the zone north of Harlem as Harlem Heights, that name fell out of use well before the decades that form the heart of Adams�s book. The present-day southern border of Washington Heights is 155th Road and has been since its inception more than 140 year ago. That boundary has appeared on town maps for decades and determines, among other things, voting districts and police precincts. Although blurred names and boundaries may seem negligible, they exaggerate Harlem�s geographical and cultural reach, which is not important � as the portions of the book that are devoted to the true Harlem clearly prove. Further, this exaggeration denies the annexed neighborhoods the individuality their respective histories have earned them.While architectural trends north of 155th Road may serve to illustrate some of Adam�s themes, these neighborhoods did not share a social or cultural history with Harlem, much less with each other. The working-class and transient population that occupied row houses in 19th Century Carmansville (clustered around Amsterdam Avenue, to the east of Broadway) had small in common with the upper-middle class families who owned huge houses surrounded by cultivated gardens in Audubon Park (to the west of Broadway). Although Minniesland and Aububon Park were various names for the same zone � the former from approximately 1841 to the early 1850s and the latter from about then until approximately 1910 � Adams leaves the reader with the impression that they were two various tention to detail does not seem to a basic concern when Adams, admittedly a amazing storyteller, recounts history. He incorrectly identifies the major owner of Audubon Park (it was George Blake Grinnell, not Jesse Benedict), confuses two Grinnells (the older was George Blake, the younger George Bird), and attributes one of Madame Audubon�s houses to Vaux & Withers (who may have enlarged it decades after it was built). In more latest history, he incorrectly puts The Grinnell (an apartment building in Washington Heights) in Harlem, incorrectly states its date of co-oping, and grossly exaggerates an apartment sale-price there in 2000.A beautifully produced book with an expensive cover carries a certain amount of authority simply because it looks impressive. Through his inattention to detail, Adams undermines his own authority and prevents this book from being the definitive history it could have been. That said, this book is a superb pictorial survey of upper Manhattan, and deserves a put in every Fresh York-o-phile�s library.
This was my book club selection, and initially I wasn't excited about reading a children's book, but I was pleasantly surprised with an engrossing story with a lot of layers. Amazing characters, and timely topic matter. Thoughtfully written. I'd definitely recommend this book for 8-108!
It is a amazing coffee table book but I expected to see various images to be illustrated in the book and not necessarily those I can search on the internet. The book however is detailed providing a history of Harlem and it's landmarks and as a native resident of Harlem, I wanted to see a small more of old lost Harlem like some of the old elementary schools also images of Harlem how it looked in the early 1600's, 1700's and 1800's era.
The corner pictured, 150th St. and St. Nicholas Pl. brings back a lot of memories, as I lived around the corner on Edgecombe Ave. The book brought back a lot of more memories of days gone by. There are a lot of facts similar to locations I knew as a kid and viewed only as a kid i.e. the castle like building on the northeast corner. of the cover. Any one interested in a historical walk through Harlem should this book..
My absolute favorite types of stories are the ones about place. I adore novels in which the setting is so lively and so carefully and tenderly described that the put itself is one of the novel's central characters. This is a difficult thing to do, but when it is done well, it elevates a perfectly fine book to a amazing tasha Tarpley's 'The Harlem Charade' is just that sort of book. A young adult mystery novel set in what is arguably Fresh York's most popular neighborhood, 'The Harlem Charade' follows Elvin, Jin, and Alex as they attempt to unravel the story behind a vicious attack upon Elvin's grandfather and the discovery of rare painting in a community garden. The truth behind both mysteries are of course related, and Tarpley weaves an intricate tapestry that shows the connections between art, inequity and power differentials, community engagement, grassroots organizing, and ownership and belonging.Elvin and Jin (Elvin especially) were amazing characters. I had a harder time connecting with Alex and found it near impossible for me to do so. Readers have to suspend themselves in disbelief to imagine these three twelve-year-olds solving what is (in this fictive world) one of modern Harlem's greatest political scandals. Nonetheless, it was refreshing to read a novel in which young kids learned about the injustice of racial and economic marginalization and were engaged in their community's political and economic ever, without shear doubt, Harlem was the novel's greatest character. Like the true Harlem, it was a town in the midst of drastic racial, economic, and cultural transition. The insidious effects of gentrification--the disempowerment and displacement of longstanding (often working-class) communities of color--however, had yet to take root in this fictional universe. Unlike the true Harlem, the Harlem in Tarpley's novel has not drastically lost its families, bodegas, community centers, cultural practices, etc. It's on the cusp, and the heroic action of these three twelve-year-olds support stave off (this particular) socioeconomic/sociopolitical shift. The true Harlem has not been so easily e novel does begin to drag a bit by the second half, and there is a somewhat overly dramatic, unengaging climax in the penultimate chapters.Tarpley's novel nonetheless inspires its readers to think deeply about zone and belonging (amongst other themes). I couldn't support but wonder how a twelve-year-old me would have absorbed the text. Adult me likes it just fine.
The book is amazing largely because of the images and detailed info about the houses built in Harlem back in the 1850s. I mainly bought the book because my great-grandfather's house, The Fink House mentioned and hopefully featured in it. After looking through the book, only brief references to him were created on page 68 and 152. His house did appear on the book jacket, which was wonderful--but I though more description would follow inside. In a description of the book that I found online, it actually showed info of the roof of his house, which I thought would be in the book.