Mississippi Praying: Southern White Evangelicals and the Civil Rights Movement, 1945-1975

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Mississippi Praying� examines the faith communities at ground-zero of the racial revolution that rocked America. This religious history of white Mississippians in the civil rights era shows how Mississippians intense religious commitments played critical, rather than incidental, roles in their response to the movement for black equality.

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During the civil rights movement and since, it has perplexed many Americans that unabashedly Christian Mississippi could also unapologetically oppress its black population. Yet, as Carolyn Ren �e Dupont richly details, white southerners� evangelical religion gave them no conceptual tools for understanding segregation as a moral evil, and many believed that God had ordained the racial hierarchy.

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Challenging previous scholarship that depicts southern religious support for segregation as weak, Dupont shows how people of faith in Mississippi rejected the religious argument for black equality and actively supported the effort to thwart the civil rights movement. At the same time, faith motivated a small number of white Mississippians to challenge the methods and tactics of do-or-die segregationists. Racial turmoil profoundly destabilized Mississippi’s religious communities and turned them into battlegrounds over the issue of black equality. Though Mississippi� s evangelicals lost the battle to preserve segregation, they won important struggles to preserve the theology that had sustained the racial hierarchy. Ultimately, this history sheds light on the eventual rise of the religious right by elaborating the connections between the pre- and post-civil rights South.

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Carolyn Renée Dupont is Assistant Professor of History at Eastern Kentucky University in Richmond, KY.

Mississippi Praying: Southern White Evangelicals and the Civil Rights Movement, 1945-1975 Review

Carolyn Dupont is clear that her focus is on white evangelical protestant Mississippians and did a credible job of substantiating that reality as the defender of racial segregation. My first quick read of the introduction as a fourth generation Mississippian and Southern Presbyterian pastor there from 1959-66 was that a person not familiar with that time and place might draw the conclusion that ALL white protestant Mississippians fit that racist evangelical theological demographic. However, as one reads on she gives illustrations that there was a sizable minority of white Southern Baptist, Methodist, and Presbyterian moderates and progressives very active in the state at the time that gives another valid perspective, of which I was a part. Donald Schriver's "The Unsilent South" is a testimony to this moderate and progressive perspective. "Transformed: A White Mississippi Pastor's Journey into Civil Rights and Beyond" is another witness to the broader discussion.

Strengths of Dupont's book: Importance of extensive written records as reliable sources; Methodist references--"Born of Conviction" (Joe Reiff's "Conflicting Convictions" and yet to be published book); focus of Gospel description: spirituality of the church vs social gospel--individual sin/salvation vs corporate sin/salvation--accurate, well developed; theological basis for segregation/individual salvation--on target; solution that focuses only on changing individual attitudes/behavior fails to recognize the importance and necessity of changing systemic patterns or causes of inequity--well put; fundamentalists vs progressives examples--these two perspectives well illustrated; basic conclusions affirms she made her case--key connection between conservative faith and conservative politics, 1960s and 2013.

The Unsilent South: Prophetic Preaching in Racial Crisis
Transformed: A White Mississippi Pastor's Journey into Civil Rights and Beyond (Willie Morris Books in Memoir and Biography)
Religion and Race: Southern Presbyterians, 1946 to 1983

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The Aesthetics of Cultural Studies

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The subject of the aesthetic has returned to cultural and literary debates with a vengeance. The Aesthetics of Cultural Studies is a timely and authoritative collection of essays that analyze the role of aesthetics in American and British cultural studies, and reflect on its recuperation in the field.

• Contains first-rate, original essays that analyze the role of aesthetics in American and British cultural studies, and reflect on its recuperation in the field.
  
• Contributors are leading scholars, internationally based.
  
• Includes substantial introductory material by the editor.

The Aesthetics of Cultural Studies Review

The Aesthetics of Cultural Studies comes from the perspective of the 1990's during which purveyors of Cultural Studies had been in the field for 30 years or so, having read Williams, Hall and the like. The authors of the selected essays realized the changing times and the significant exclusion of aesthetics from the Birmingham school. Barry Faulk has put together a unique blend of perspectives of Cultural Studies from media, literary criticism, art, to the political. I find it refreshing and beneficial to see the discourse of the Cultural Studies discipline progress with age.

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Star Trek: Voyages of Imagination: The Star Trek Fiction Companion

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Through four decades, five television series comprising over seven hundred episodes, ten feature films, and an animated series, fandom's thirst for more Star Trek stories has been unquenchable.

From the earliest short-story adaptations by James Blish in the 1960s, followed by the first original Star Trek novels during the seventies, and on throughout the eighties, nineties, and into the twenty-first century, fiction has offered an unparalleled expansion of the rich Star Trek tapestry. But what is it that makes these books such a powerfully attractive creative outlet to some and a compelling way to experience the Star Trek mythos anew to others?

Voyages of Imagination takes a look back on the first forty years of professionally published Star Trek fiction, revealing the personalities and sensibilities of many of the novels' imaginative contributors and offering an unprecedented glimpse into the creative processes, the growing pains, the risks, the innovations, the missteps, and the great strides taken in the books.

Author Jeff Ayers has immersed himself in nearly six hundred books and interviewed more than three hundred authors and editors in order to compile this definitive guide to the history and evolution of an incomparable publishing phenomenon. Fully illustrated with the covers of every book included herein, Voyages of Imagination is indexed by title and author, features a comprehensive timeline, and is a must-have for every fan.

Star Trek: Voyages of Imagination: The Star Trek Fiction Companion Review

"Voyages" is an amazing resource that's fun to read. Every piece of authorized Star Trek fiction ever published is in here: over 500 novels, the ebooks, the anthologies . . . From "Spock Must Die!" (1970) to David George's "Crucible" Trilogy (2006-2007).

For each book and short story you get a cover reproduction, publication date, page count, and a short, non-spoiler summary of the plot. And then you get the backstory . . . And that's what this volume is all about: how the story came to be what you finally read between the book covers. Sometimes it's just a paragraph. Sometimes it's pages. And that includes all nine volumes of "Strange New Worlds" (a good chunk of the book right there), which should prove very inspirational to would-be writers. Ayers interviewed hundreds of writers.

This book is definitive. If it was professionally published, it's in here. Even the controversies regarding "Killing Time", "Ishmael", and "Probe" are covered. By virtue of its scope, "Voyages" ends up being a nearly complete oral history of Trek writing and a record of how many people progressed from being fans to being writers.

Just a few of the many highlights are:

- The execution of the four way collaboration between Carmen Carter, Peter David, Michael Jan Friedman and Robert Greenberger on "Doomsday World."

- What Peter David endured to write the first DS9 novel, "The Siege", in just 14 days.

- Richard Arnold tells all from his point of view.

- The financial reasons why the pseudonymous Nathan Archer is still Nathan Archer after all these years.

-The timeline. 70+ pages placing every novel and short story in a precisely dated chronology along with the episodes and movies.

Bottom line: Anybody who reads Trek fiction needs (and will want!) this book. Nuf said.

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Fela: Life And Times Of An African

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Musician, political critic, and hedonist, international superstar Fela Anikulapo-Kuti created a sensation throughout his career. In his own country of Nigeria, he was simultaneously adulated and loathed, often by the same people at the same time. His outspoken political views and advocacy of marijuana smoking and sexual promiscuity offended many, even as his musical brilliance enthralled them. In his creation of afrobeat, he melded African traditions with African-American and Afro-Caribbean influences to revolutionize world music. Although harassed, beaten, and jailed by Nigerian authorities, he continued his outspoken and derisive criticism of political corruption at home and economic exploitation from abroad. A volatile mixture of personal characteristics charisma, musical talent, maverick lifestyle, populist ideology, and persistence in the face of persecution made him a legend throughout Africa and the world. Celebrated during the 1970's as a musical innovator and spokesman for the continent's oppressed masses, he enjoyed worldwide celebrity during the 1980's and was recognized in the 1990's as a major pioneer and elder statesman of African music.
By the time of his death in 1997 from AIDS-related complications, Fela had become something of a Nigerian institution. In Africa, the idea of transnational alliance, once thought to be outmoded, has gained new currency. In African-America, during a period of increasing social conservatism and ethnic polarization, Africa has re-emerged as a symbol of cultural affirmation. At such a historical moment, Fela's music offers a perspective on race, class, and nation on both sides of the Atlantic. As Professor Veal demonstrates, over three decades Fela synthesized a unique musical language while also clearing if only temporarily a space for popular political dissent and a type of counter-cultural expression rarely seen in West Africa. In the midst of political turmoil in Africa, as well as renewal of pro-African cultural nationalism throughout the diaspora, Fela's political music functions as a post-colonial art form that uses cross-cultural exchange to voice a unique and powerful African essentialism. Author note: Michael E. Veal is Assistant Professor of Ethnomusicology at Yale University.
In addition to being thoroughly grounded in the literature on Nigeria, African music, and the world music scene, he played as a guest saxophonist with Fela and his band Egypt 80, and has conducted interviews with Fela himself, and with his colleagues and other Nigerian musicians.

Fela: Life And Times Of An African Review

A timely exploration of the father of Afro-beat. Veal, who we learn had occasion to play with Fela and spent time at the Shrine, is obviously a fan of the music and his enthusiasm is palpable. Veal's work is distinguished on many levels. As an ethnomusicologist, Veal offers rigorous descriptions and insights into the compositional aspects of Fela's work. We are given the specifics of Fela's innovations and refinements with Afro-beat. Veal locates Fela's accomplishments within the context of its forbears (E.T. Mensah, James Brown, John Coltrane, etc.)and 20th century African/Afrodiaporic music in general. From Nkrumah to Obasanjo, Veal's discussion of Nigerian/African culture and politics is well researched and thoughtful. There are great nuggets of biographical information from Fela's brief feud with Paul McCartney to November 14th, "Fela Day" in Berkeley (go figure). Veal offers a wealth of information on Fela's family and the impact his parents (his mother in particular) had on his musical and political development. We get the blow-by-blow account of Fela's confrontations with the Nigerian authorities (often, as with the Kalakuta Massacre, in harrowing detail). On the critical throretical tip, Veal 'samples' Gilroy, Jameson, Fanon, Spivak (and others), engaging in a extended discussion of Fela's compositions as postcolonial 'texts.' Though at times distractingly academic, Veal is rigorous in his deconstruction of Fela and gender, the "specific symbolic and psychological functions" of strategic historical essentialism, mysticism, etc., avoiding the cheap and oversimplistic assessments that often surround the man (often, as Veal notes, in service of hegemonic notions of "civilization"). There is much I loved about this book: the bits about Fela's "punk" approach, the rejoinder to jazzbo(zos) and their complaints about the lack of technical virtuosity in Fela's playing, the similarities between Fela's work and blaxploitation cinema, the Yoruban (tragic) basis of his music, his later compositions as underrated "African symphonies." Veal isn't afraid to write about Fela's misguided relationship with Professor Hindu, the emptiness of Fela's vaguely anarchic rhetoric as a concrete political agenda (Fela wasn't kidding about his aspirations), the problematics of Fela's lifestyle (too much pot, rampant and unprotected sex) and the effect of his lifestyle on his wives. I would have liked to have seen more on the parallels between Fela's development of Afro-beat and the stylistic exchanges with the J.B.s, and the Afrodiasporic interchanges that led to the development of hip-hop and modern dancehall. More on Dennis Bovell's involvement with Fela and more than passing reference to the Biafran conflict. The passage on Fela's continuing influence (and the intense rediscovery taking place as we speak by a new generation of musicians and music lovers) is all too brief. But these are minor quibbles. Veal has written a marvelous book on a man who was, by turns, confrontational, generous, autocratic, wild, and always brilliant. Essential reading on an essential figure. Long live Fela!

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The Wedding Video Handbook: How to Succeed in the Wedding Video Business (DV Expert Series)

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For readers who want to become part of the thriving wedding video industry, Wedding Video Handbook explains everything a wedding videographer needs to know. Each chapter explores a different part of either the business or the production ends, and covers topics including secrets for getting clients, selecting the proper equipment, and tips on capturing special wedding moments despite difficult filming conditions. The book includes handy primers on marketing and advertising, handling phone calls and appointments, pre-production preparations, what to shoot on the wedding day, interacting with other vendors, editing and packaging the DVD or video, and generating referrals. Fully up-to-date with information on the newest tools and equipment used in this rapidly-evolving market as well as the cutting-edge trends in wedding video products, Wedding Video Handbook is packed with practical advice from a pro who has spent years in the field.

The Wedding Video Handbook: How to Succeed in the Wedding Video Business (DV Expert Series) Review

As a videographer new to the wedding business, I'm constantly in search of more information to guide me in my work. I own the Video University DVD on professional wedding videography and read the forum there regularly. I also have several other books on the topic from various years past. In purchasing this book I was hoping for an all inclusive look at the wedding video business from someone who's established in the business. I believe this book does a great job of covering the bases and surpasses any other single book I've read.

There are so many facets to this business that it would be a stretch to expect any one source to provide you with all the answers. While this book does a great job of pointing out most of the factors you will need to be aware of, I found myself with some questions regarding certain points. I don't feel as though it's fair to fault the author for this. The book is awesome. But I was prompted to further my investigation using other sources. The thing to keep in mind is that I didn't even think about those topics before reading the book. Could it have gone deeper? Of course it could. But even though I had some questions, I was made aware of issues I hadn't even thought of.

The music topic is a question of legality. The author states that he is not a lawyer and that it would be inappropriate for him to provide a definitive answer. He points out that there is a possibility of legal ramification for using copyrighted music. Duh. He also discusses royalty free music. In the end, he states that the choice is up to you whether you want to risk a record company lawsuit. It's true that there's no concrete answer given. This is a very controversial topic and I respect the author for laying the facts on the table and leaving the decision up to me. The fact is, I'm responsible for my choices.

All in all I thought this was a great book. The price is fair and you will get a large amount of insight into many facets of the business. Will you need to dig deeper? I believe you will. But The Wedding Video Handbook will definitely get you pointed in the right direction quickly. Thumbs up.

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