**A new understanding of the birth of jazz through a fine-grained social history of early African American musicians **Brassroots Democracy recasts the birth of jazz, unearthing vibrant narratives of New Orleans musicians to reveal how early jazz was inextricably tied to the mass mobilization of freedpeople during Reconstruction and the decades that followed. Benjamin Barson presents a "music history from below," following the musicians as they built communes, performed at Civil Rights rallies, and participated in general strikes. Perhaps most importantly, Barson locates the first emancipatory revolution in the Americas—Haiti—as a nexus for cultural and political change in nineteenth-century Louisiana. In dialogue with the work of recent historians who have inverted traditional histories of Latin American and Caribbean independence by centering the influence of Haitian activists abroad, this work traces the impact of Haitian culture in New Orleans and its legacy in movements for liberation. Brassroots Democracy demonstrates how Black musicians infused participatory music practice with innovative forms of grassroots democracy. Late nineteenth-century Black brass bands and activists rehearsed these participatory models through collective performance that embodied the democratic ethos of Black Reconstruction. Termed 'Brassroots Democracy,' this fusion of political and musical spheres revolutionized both. Brassroots Democracy illuminates the Black Atlantic struggles that informed music-as-world-making from the Haitian Revolution through Reconstruction to the jazz revolution. The work theorizes the roots of the New Orleans brass band tradition in the social relations grown in maroon ecologies across the Americas. Their fruits contributed to the socio-sonic commons of the music we call jazz today.

Forsaken Relics examines the intricate mechanisms of ritualistic appropriation of ruined and/or abandoned assets and artifacts. It explores how this process occurs in situations where there is legislation to regulate the appropriation of ownerless property, as well as in cases where such rules are either absent or contested, leading to disputes and conflicts.Every society has developed its unique ways of managing the re-appropriation of ‘ownerless things’, such as places and houses abandoned after conflicts, crises, or natural disasters, forsaken cemeteries, tombs, and forgotten goods. These practices often involve the use of ritualistic methods to mask the intent to appropriate abandoned artifacts. The book aims to stimulate comparative analysis of this topic in both ancient and modern societies, profiling the identity of the ‘actors’ of appropriation, examining the definition of abandonment, and exploring the ritual aspects such as inventorying material, dedication to ancestors, and prayers to gods that legitimize the re-appropriation of places and goods classified as abandoned.

Following the Normandy invasion of 6 June, 1944, Heersgruppe B under German Generalfeldmarschall Erwin Rommel rushed reserves to the newly created bridgehead in order to crush it and drive the Allied forces into the sea. One of these armored reserves was the newly created 12. SS-Panzer-Division Hitlerjugend. Extremely well equipped and at near full strength by mid-1944 standards, it was seen as an extremely capable formation that could defeat any Allied invasion.During this period studied in this volume, 7-11 June 1944, the 12. SS-Panzer-Division attempted to capture and hold the battlefield initiative, and in conjunction with other Panzer-Divisionen, throw what would become the Second British Army into the sea. The main thesis presented will be that despite this division's best efforts, it was defeated by a firm Allied defence that repulsed their offensive operations, eventually robbing the Germans of the initiative in a grinding series of bridgehead battles.This first volume will study combat in the period 7-11 June 1944 in the eastern sector of the Normandy Bridgehead. Chapters will analyze the Anglo-Canadian D-Day assault and the deployment of the division, then analyze in detail the fighting of the Hitlerjugend in the following areas: northern Caen, Putot, Bretteville l'Orgueilleuse, Norrey-en-Bessin, Hill 103, Le-Mesnil-Patry, and finally Rots. Also studied will be contrasting German and Anglo-Canadian tactical doctrine, the influence of tactical airpower, and the war crimes committed by the Hitlerjugend immediately after the invasion.The conclusion will reinforce the thesis presented above and a detailed set of appendices will analyze German personnel, equipment, and armored losses during the battles, and losses inflicted on the Allies. This will be Volume 1 of a planned multi-volume commitment.

This vibrant catalogue showcases a decade’s work by Memphis-based Peruvian-American photographer Andrea Morales (b. 1984), whose camera sympatheticallydelves into community life and activism in the American South. It accompanies herfirst major exhibition at the Memphis Brooks Museum of Art, represents the firstscholarly publication on her work, and the first major museum exhibition dedicatedto movement journalism. The unofficial capital of the Mississippi Delta, Memphis, Tennessee, has long been aplace bubbling with activism and social movements. Roll Down Like Water – a nod to Dr.Martin Luther King, Jr.’s iconic last speech in the city in support of the 1968 SanitationWorkers’ Strike – shows Andrea Morales’s incredible ability to engage with her subjects,in Memphis and the surrounding region, through the lens. From intimate portraits andrecords of daily life to the documentation of social and environmental movements withlocal and national resonance, her photography builds a passionate and tender portrait ofthis unique part of the American South.The energy vibrating through Morales’s stills is the energy of the people themselves:the artist centres her practice on building long-term relationships with the communitiesshe photographs, and views this relationship as one of collaboration rather thandetached observation. Her approach is informed by ‘movement journalism’, whichrecognizes that journalism, like the camera, is not totally objective: behind laptops andlenses are people, institutions and systems that hold and wield power, for good or ill.By establishing a human connection between chronicler and people and rooting it inan ethical and rigorous framework, Morales’s ‘community-driven visual storytelling’reaches beyond historical injustice to capture the liveliness and joy of the communitiesshe photographs.For Memphis, and Morales, King’s words loom large. Echoing his descriptionof collective liberation as ‘an inescapable network of mutuality, tied into a singlegarment of destiny’, Morales’s captivating images of the American South inmoments of turbulence, stillness, darkness and beauty chart new, sustainable pathsin photojournalism, while reflecting upon identity, community and the power ofstorytelling.

Although Capa's Falling Soldier image from the Spanish Civil War has been definitively proven to be a staged propaganda fake, no one has applied a similarly critical eye to his later work. This book is the first effort to establish the facts behind the fables surrounding his D-Day adventures and the images he produced during that period. This book examines the fictionalized account Robert Capa penned in his pseudo biography Slightly Out of Focus. Written in the hopes of it becoming a movie, Capa included many elements which were exaggerated or simply not true, while omitting many relevant events. As he himself said in the dust jacket for that book: “Writing the truth being obviously so difficult, I have in the interests of it allowed myself to go sometimes slightly beyond and slightly this side of it. All events and persons in the book are accidental and have something to do with the truth.”This new account carefully details the actual events surrounding Capa's D-Day adventures, using official SHAEF files, still and motion picture images taken by other cameramen who were near or with Capa, and a variety of accounts of witnesses. It examines several aspects of Capa's narrative and reveals the truth behind the fiction: he claimed that he landed in the First Wave with Company E, in reality he landed almost two hours later in Wave 13 with the regimental commander. Analysis reveals how many of his images were presented in a false context and as a result have been misinterpreted for decades. Building on Allan Colleman and his team's proof that the bulk of Capa D-Day photos could not possibly have been ruined in a darkroom accident, this gripping expose details the effects the FORTITUDE deception plans had on censorship, and how the censorship system would have retained the images popularly thought to have been lost.

Richly illustrated with colourful, quirky rag rugs (also known as hooked rugs), this delightful book examines Winifred Nicholson’s relationship with the Cumbrian craft, the way in which she helped revive the tradition in the 1960s and ’70s, and her influence on contemporary makers. For anyone interested in textiles, naive art, British folk traditions or mid-century craft, this book will be a treasure trove.British artist Winifred Nicholson (1893–1981) initially encountered rag rugs in Cumberland in the early 1920s, when, with her husband Ben Nicholson (1894–1982), she visited her neighbour Margaret Warwick, who was sat in her kitchen making a rug from scraps of old clothing. The Nicholsons were interested in ‘naive art’ at that time and had explored the work of Rousseau, as well as African sculpture, but this was the first time they had come face to face with naive art being made in their own country. In 1960 Winifred moved back to Banks Head, the old Cumbrian farmhouse she had owned since 1923. It was here that she helped to revive the local ‘hooky’ rag rug making tradition. Through Winifred’s efforts, well over a hundred new rugs were made. Notable makers included Mary Bewick, Janet Heap and Florence Williams. Winifred herself designed a number of rugs, and she also encouraged her grandchildren, who were paid a pound a time for a design.This beautiful book also presents a number of contemporary rag rug makers, with direct links to Winifred. Emma Tennant, who lives in Scotland not far from Winifred’s house, was inspired to start making rugs after seeing the ones in Winifred’s home. Also included are works by Winifred’s nieces Louisa Creed and the late Jenny Steinbugler. The author also discusses the extensive rag rug collection at Chillingham Castle, Northumberland, which has interesting parallels with Winifred Nicholson’s approach to rug making, as well as the rug by Lucie Aldridge in the Fry Art Gallery, Essex.

Pottery was at the heart of the ‘Neolithic package’ appearing in Britain with the first farmers around 4000 BC. It arrived as a mature technology and was essential to the new, largely sedentary, lifestyle and economy. It transformed storage and cooking practices, and the earliest ceramics seem to have been essential equipment in the new practice of dairying. The pottery changed over time and, as a result, ceramics have been fundamental to the construction of relative chronologies since the early days of modern archaeology. Even with the development of absolute dating techniques, the role of pottery as a dating tool has not diminished but instead has become refined and more accurate.But pottery is not just a tool to dating the past – it also represents a facet of prehistoric art and expression. Starting simply, ceramics became arguably the main medium for display with designs often of great complexity. Simple techniques, motifs and panels are combined to create highly decorated vessels often of great individuality. The use of inlays, pastes and slips added contrasting colors to these vibrant designs.By the end of the Neolithic, ceramics became one of the major grave goods of British Prehistory, acting as accompaniments to those that warranted formal burial whether by inhumation or cremation. This practice continued throughout the Early Bronze Age to the extents that, lacking contemporary domestic sites, most of the corpora of Early Bronze Age ceramics are largely sepulchral in context. As we increasingly realize that burial rituals may have been varied and complex, so the roles of these ceramics are becoming increasingly questioned.This book traces the 3000 years of ceramic use and development in Britain, charting the changing forms and decorative techniques and the differing and changing roles that pottery played within its contemporary society.

Accompanying a major exhibition at Philip Mould & Company, Fruit of Friendship: Portraits by Mary Beale presents the work of the remarkable sevenenteenth-century woman artist. Mary Beale (1633–1699) was Britain’s first woman artist to run a successful studio practice. In an era when the arts in Britain were flourishing and portraitists were in high demand, Beale established a unique practice that set her apart from her competitors and brought her great acclaim. Friendship and family played a crucial role in Beale’s success. She was the figurehead of her family and studio, while her husband dedicated himself to supporting the business, often preparing paints and canvasses. Beale’s portraits, many of which are illustrated here for the first time, build a picture of a talented and multi-faceted woman – artist, writer, businesswoman, mother and friend. The title of this publication and of the accompanying exhibition is drawn from Beale’s own writings, and the materials presented span her entire career. Featuring essays by leading scholars, the catalogue introduces a number of recently discovered portraits by Beale and showcases several important works that have never been publicly displayed before.

Turkey has always been a crossroads and therefore offers an ideal location to study interaction between individuals and human communities and societies through time. Interaction has always necessarily involved movement which in turn did not occur randomly in the landscape, but was instead focused on routes and roads that secured faster and easier connections. There is substantial evidence that exchange networks already existed in Anatolia at least since the Neolithic period, with goods travelling over long distances. From the second millennium BC onwards, textual evidence has improved understanding of travelling routes. The Roman long-distance road network has been a focus of research over decades, but local roads and pathways around individual sites are still mostly unknown. Byzantine roads have also received attention, whereas the Seljuk road and routes system is less well known. It is likely that the younger roads and routes are overlying older ones at least partially, but these palimpsests of older roads are hardly researched. In this volume, experts from different disciplines, using a variety of methods and approaches, aim to transcend the present fragmentation of knowledge and create a new level of understanding of connecting road and route systems in Anatolia throughout time, for the first time.

A thematic, illustrated guide to the Cairo Genizah collections at Cambridge University Library.

This handsome catalogue explores a remarkable collection of medieval and Renaissance art in various media. It features stunning new photography and original research, significantly broadening the scope of the existing scholarship on the subject.The Wyvern Collection stands out as one of the world’s pre-eminent collections in private hands. Scholarly catalogues of its rich array of holdings have been published in recent years, but new, important additions continue to be made. This volume includes all the medieval and Renaissance works of art acquired since 2020. The recent acquisitions have built on the existing strengths of the collection, while adding significant new pieces that cover a wide geographical, technical and stylistic range. Among the highlights in this volume are a striking German twelfth-century aquamanile in the form of a stag, three early-thirteenth-century Limoges enamels, a rare fourteenth-century cameo of the Virgin and Child, a fine fourteenth-century French marble canopy from a tomb, and a previously unknown enamelled knop from a processional cross made by the esteemed Italian goldsmith and painter Nicola da Guardiagrele around 1410. Italian Renaissance ceramics are also well represented, with outstanding examples by such celebrated sixteenth-century masters as Giorgio Andreoli da Gubbio, the so-called Milan Marsyas Painter, Francesco Xanto Avelli and Orazio Fontana da Urbino. The Wyvern Collection is especially strong in the painted enamels of Renaissance Limoges, and three pieces have been added to this category, including a magnificent ewer by Pierre Reymond. There are also sculptures in stone, wood and bronze, and a beautiful early sixteenth-century stained and painted glass roundel from the Northern Netherlands that perfectly complements the roundels already in the Collection.The beautiful new photographs commissioned specially for this volume bring to light every detail of the pieces, making it possible to appreciate the technical refinement and exceptional craftsmanship of their medieval and Renaissance makers. Alongside their visual and aesthetic quality, the new additions are important documents for the history of collecting, as attested by the prestigious provenance of several of the pieces – formerly in the Adda, Cottreau, Harris, Hunt and Rothschild collections among others.Paul Williamson, the author of this, as of the previous, volumes, is acknowledged to be an outstanding expert on medieval sculpture and decorative arts.

A detailed account of Herbert Otto Gille’s IV SS-Panzerkorps that participated in many of the key battles fought on the Eastern Front during the last year of WWII.During World War Two, the armed or Waffen-SS branch of the Third Reich’s dreaded security service expanded from two divisions in 1940 to 38 divisions by the end of the war, eventually growing to a force of over 900,000 men until Germany’s defeat in May 1945. Not satisfied with allowing his nascent force to be commanded in combat by army headquarters of the Wehrmacht, Heinrich Himmler, chief of the SS, began to create his own SS corps and army headquarters beginning with the SS-Panzerkorps in July 1942. As the number of Waffen-SS divisions increased, so did the number of corps headquarters, with 18 corps and two armies being planned or activated by the war’s end.The histories of the first three SS corps are well known – the actions of I, II, and III (Germanic) SS-Panzerkorps and their subordinate divisions, including the Leibstandarte SS Adolf Hitler, Das Reich, Hitlerjugend, Hohenstaufen, Frundsberg and Nordland divisions, have been thoroughly documented and publicized. Overlooked in this pantheon is another SS corps that never fought in the west or in Berlin but one that participated in many of the key battles fought on the Eastern Front during the last year of the war – the IV SS-Panzerkorps. Activated during the initial stages of the defense of Warsaw in late July 1944, the corps, consisting of both the 3. and 5. SS-Panzer Divisions (Totenkopf and Wiking, respectively) was born in battle and spent the last ten months of the war in combat, figuring prominently in the battles of Warsaw, the attempted Relief of Budapest, Operation Spring Awakening, the defense of Vienna, and the withdrawal into Austria where it finally surrendered to U.S. forces in May 1945.Herbert Otto Gille’s IV SS-Panzerkorps was renowned for its tenacity, high morale and, above all, its lethality, whether conducting a hard-hitting counterattack or a stubborn defense in situations where its divisions were hopelessly outnumbered. Often embroiled in heated disputes with its immediate Wehrmacht higher headquarters over his seemingly cavalier conduct of operations, Gille’s corps remained to the bitter end one of the Third Reich’s most reliable and formidable field formations.

The valley of the western Rother lies within the South Downs National Park but has a special character based on its Cretaceous geology of sandstones and clays. These give rise to soils that are ideal for agriculture but are extremely erodible. Over the centuries the area has been exploited by humans and partially cleared of forest. In this book, the archaeological history of the Rother Valley is summarized, with particular emphasis on the evidence for Mesolithic, Bronze Age and Roman occupation. Analysis of sediments in ponds adds to the evidence for changes that have happened over the last few hundred years. A notable feature of the cultural landscape is the network of sunken lanes.The Rother Valley contains unique chalk-aquifer fed streams with rare and protected species, such as sea trout and otter. Heathland, floodplain, wet meadows and woodlands are interspersed with agriculture, linked together by hedgerows and ditches. The health of the river is threatened by polluting inputs from farming and sewage. Past weather and hydrological records show the potential impact of climate change on the functioning of the river. The impact of recent changes on water availability for irrigation and human consumption are explored in relation to ecosystem requirements. Soil erosion is a significant problem, with the resulting high river sediment concentrations requiring expensive cleaning for the water to be fit for human consumption and the runoff often causes flooding of roads and properties. Mitigation measures aim to reduce the loss of soil on fields and interrupt connectivity between fields and the river system. We identify sediment sources contributing eroded soil to the river, the function of field-edge sediment traps, in-stream weirs and major reservoirs on sediment storage and connectivity.Finally, the book considers the future of the unique landscape that is the Rother Valley, including plans for restoration of the flood plain. Contributors include planners, researchers and managers of the large estates that are an integral part of the Rother landscape.

During the Vietnam war 3500 officers and men served in the Swift Boat program in a fleet of 130 boats with no armor plating. The boats patrolled the coast and rivers of South Vietnam, with the average age of the crew being twenty-four. Their days consisted of deadly combat, intense lightning firefights, storms and many hidden dangers. This action-packed story of combat written by Dan Daly, a Vietnam combat veteran who was the Officer in Charge of PCF 76 makes you part of the Swift Boat crew. The six man crew of PCF 76 were volunteers from all over the United States, eager to serve their country in a unique type of duty not seen since the PT boats of WWII. This inexperienced and disparate group of men would meld into a combat team - a team that formed an unbreakable, lifelong bond.After training they were plunged into a 12-month tour of duty. Combat took place in the closest confines imaginable, where the enemy were hidden behind a passing sand dune or a single sniper could be concealed in an onshore bunker. In many cases the rivers became so narrow there was barely room to maneuver or turn around. The only way out might be into a deadly ambush.Dan Daly received his naval commission after graduation from Harvard College. After 18 months on a Navy destroyer, he volunteered for Swift Boat duty. After training, he and his crew served 12 months in Vietnam, 1967–68. He later founded several consulting firms and lives on Cape Cod with his family.

Anybody who says that the pen is mightier than the sword hasn't spent time in Somalia, or in Beirut during its bloody heyday. So begins this fascinating memoir of a journalist, filmmaker, and just plain raconteur who has made a career of examining warfare-on the ground as the bullets are flying. While the average citizen is aware of violent conflicts broiling all around the globe, Al J. Venter has felt the need to see them all in person, preferably at the centre of the action. Born in South Africa, Venter has found no shortage of horrific battles on his own continent, from Rhodesia to Biafra, and Angola to Somalia. He has ridden with the legendary mercenary group Executive Outcomes, flown with the Selous Scouts on their bounty hunts,' and traipsed the jungles with both guerrillas and national troops under whoever in the country then held power. During Sierra Leone's civil war he flew in the government's lone Mi-24 Hind gunship as it blasted apart rebel villages and convoys. In the Middle-east he went into southern Lebanon with the invading Israeli army, and at one point was held prisoner by Hezbollah. In his journeys, Venter associated with an array of similarly daring soldiers and journalists, from Mad MikeA" Hoare to Danny Pearl, as well as elite soldiers from around the world, many of whom, he sadly relates, never emerged from the war zones they entered. Al Venter here offers the reader his own personal combat experiences, in all their multifaceted fascination.

From a proper London fry-up to espresso cookies, Brunch in London celebrates over 100 delicious dishes from every corner of this incredible city and its enviable food scene. With recipes from The Ritz and St. JOHN to Hoppers and Pophams, plus guest features from the likes of Jamie Oliver, Yotam Ottolenghi, Anna Jones, Heston Blumenthal, Angela Hartnett, Diana Henry, Claire Ptak, Melissa Hemsley, Rick Stein, Philip Khoury and Ella Mills, you'll elevate your weekend fare to new heights. This iconic cookbook has been created with love by OnePlate, a charity partnering with the hospitality industry to fund sustainable gardens and farms for children in great need. London's food scene has united together with OnePlate to make a difference. This is a cookbook for impact, with 100% of profit from the sale of this book funding life-changing food projects to nourish children. Bring the best of London into your very own kitchen while making a difference.Project Manager: Harriet WebsterFood Photographer: Georgia GoldProject Photographer: Dean HobsonProp Styling: Emily EzekielFood Styling: Emily Ezekiel & Joseph Denison Carey