Senin, 30 Juli 2012

[W827.Ebook] Ebook Free LSAT Logic Games: Strategy Guide + Online Tracker (Manhattan Prep LSAT Strategy Guides), by Manhattan Prep

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Manhattan Prep’s LSAT Logic Games is truly cutting edge. Containing the best of Manhattan Prep’s proven strategies, this book will teach you how to tackle the LSAT logic games efficiently and flexibly.

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Each chapter is designed to encourage mastery with timed drill sets that use real LSAT logic game questions and provide in-depth explanations, including hand-drawn diagrams and notes from Manhattan Prep’s expert LSAT instructors. The book wraps with coached practice sets and complete solutions to all the logic games in PrepTests 40-70.

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  • Sales Rank: #134805 in Books
  • Published on: 2016-08-02
  • Released on: 2016-08-02
  • Original language: English
  • Number of items: 1
  • Dimensions: 10.88" h x 1.40" w x 8.37" l, .0 pounds
  • Binding: Paperback
  • 640 pages

About the Author
In 2000, Teach for America alumnus and Yale graduate Zeke Vanderhoek had a radical idea: students learn better from better teachers. His vision of what test prep could be if written and taught by great educators led him to start Manhattan Prep. Since we began, Manhattan Prep has grown from a boutique tutoring company to one of the world’s leading test prep providers, offering GMAT, GRE, LSAT, ACT, and SAT courses and tutoring worldwide.

We believe test prep should be real education. From our instructors to our materials, we work to teach you the skills you’ll need to succeed on the test, in school, and beyond.

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5 Star Rating
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Kamis, 26 Juli 2012

[L445.Ebook] Ebook Free Writing for the TOEFL iBT with MP3 CD, 5th Edition (Barron's Writing for the Toefl), by Dr. Lin Lougheed

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Writing for the TOEFL iBT with MP3 CD, 5th Edition (Barron's Writing for the Toefl), by Dr. Lin Lougheed

This updated manual prepares students to succeed on the TOEFL's Independent Task, the all-important essay question, and on the Integrated Task, which combines reading, listening, and writing skills. The author presents a three-step program designed to help students write like native speakers of English. His coaching entails gathering ideas, organizing details, and developing the chosen topic into clear, grammatical written English. He also provides exercises in proofreading and editing. Over 180 model essays and model integrated tasks are included for students to read and analyze. Lectures typical of those presented on actual tests are contained on the MP3 CD enclosed with the manual.

  • Sales Rank: #164845 in Books
  • Published on: 2014-10-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 11.00" h x 8.50" w x .75" l, .0 pounds
  • Binding: Paperback
  • 336 pages

From the Inside Flap


Table of Contents:
1 Introduction

  • How to Use This Book
  • Questions and Answers
  • To the Teacher
  • Overview
  • Scoring--Integrated Task
  • Scoring--Independent Task
  • Writing Strategies
    2 Self-Test
  • Integrated Task
  • Independent Task
    3 Writing Skills: Integrated Task
  • Step 1: Plan
  • Step 2: Write
  • Step 3: Revise
  • Practice Integrated Task
    4 Writing Skills: Independent Task
  • Step 1: Plan
  • Step 2: Write
  • Step 3: Revise
  • Practice Independent Task
    5 Writing Skills--Both Tasks
  • Transition: Connecting and Linking
  • Variety: Words and Sentences
    6 Model Tests
    Appendix
  • Model Essays
  • Answer Key
  • Audioscripts

    About the Author
    Dr. Lin Lougheed is author of more than 30 ESL/EFL textbooks. He is a past member of the Executive Board of TESOL, the international EFL/ESL professional organization.

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    2 of 2 people found the following review helpful.
    Excellent!!
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  • Rabu, 25 Juli 2012

    [O507.Ebook] Download Rau's Respiratory Care Pharmacology, 9e, by Douglas S. Gardenhire EdD RRT-NPS FAARC

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    Take the easiest path to respiratory pharmacology mastery with Rau’s Respiratory Care Pharmacology, 9th Edition. With broken-down terminology, relatable explanations, and reader-friendly writing, Rau simplifies the process of learning pharmacology material like never before to prepare you for success on your exams and in professional practice! This new edition includes the most recent advances related to apneic and asthmatic pharmacology, twice the number of clinical scenarios, more drug formulation tables, and a new mobile app for interactive drug flashcards.

    • Enhanced readability helps readers more easily understand difficult material.
    • Full-color design makes the text more reader-friendly and helps the learner to identify relevant details within an illustration.
    • Learning objectives parallel the levels tested by the NBRC exams to help readers identify important information that goes beyond memorization and recall.
    • Key terms with definitions provide easy access to the pharmacologic vocabulary readers should embrace.
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    • Self-assessment questions offer readers the opportunity to test themselves on content learned with thought-provoking questions that require short answers.
    • Clinical scenarios with follow-up SOAP assessment help readers assess their comprehension of the material.
    • Glossary of all key terms in the text aids readers in understanding the terminology associated with respiratory care pharmacology.
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    • NEW! Recent advances related to apneic and asthmatic pharmacology familiarize readers with current information.
    • NEW! Twice the number of clinical scenarios engages the reader and helps them apply what they have learned.
    • NEW! Mobile app for interactive drug flashcards provides a more technology-savvy, portable approach to the study and review of respiratory pharmacology.
    • NEW! More drug formulation tables that include drug categories, brand names, and dosages provide a go to reference for better consistency and readability.

    • Sales Rank: #222901 in Books
    • Published on: 2015-10-12
    • Original language: English
    • Number of items: 1
    • Dimensions: 10.70" h x .60" w x 8.40" l, 1.00 pounds
    • Binding: Paperback
    • 512 pages

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    Great book! Much cheaper than if I would have ...
    By Cherese
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    Sabtu, 21 Juli 2012

    [N818.Ebook] Fee Download Multirate Signal Processing for Communication Systems, by Fredric J. Harris

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    Multirate Signal Processing for Communication Systems: Current Practice and Next Generation Techniques fredric j harris Multirate signal processing can reduce costs and improve performance in applications ranging from laboratory instruments to cable modems, wireless systems, and consumer entertainment products. This book offers the first systematic, clear, and intuitive introduction to multirate signal processing for working engineers and system designers. The author uses extensive examples and figures to illuminate a wide range of multirate techniques, from basic resampling to leading-edge cascade and multiple-stage filter structures. Along the way, he draws on extensive research and consulting experience to introduce processing itricksi shown to maximize performance and efficiency.Coverage includes: *Effective sampling and resampling in time and frequency domains *Relationships between IIR Filter specifications and filter length (taps) *Window design and equal-ripple (Remez) design techniques *Square-Root Nyquist and Half Band Filters, including new design enhancements *Polyphase IIR Filters: up-sampling, down-sampling, and cascade up-down sampling *Polyphase interpolators and filters that perform arbitrary sample rate change *Dyadic Half Band Filters, including quadrature mirror and IIR Filters *Polyphase Channelizers, including M-path modulators, demodulator channel banks, simultaneous interpolation, and channel bank formation *Comprehensive coverage of recursive all-pass filtersoa topic never before covered in this detail *Comparisons with traditional DSP design techniques *Extensive applications coverage throughout

    • Sales Rank: #902812 in Books
    • Published on: 2004-05-24
    • Original language: English
    • Dimensions: 9.40" h x 1.10" w x 7.20" l, 1.89 pounds
    • Binding: Paperback
    • 496 pages

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    Heart of Darkness (Norton Critical Editions), by Joseph Conrad

    The Fourth Edition is again based on Robert Kimbrough’s meticulously re-edited text.

    Missing words have been restored and the entire novel has been repunctuated in accordance with Conrad’s style. The result is the first published version of Heart of Darkness that allows readers to hear Marlow’s voice as Conrad heard it when he wrote the story. "Backgrounds and Contexts" provides readers with a generous collection of maps and photographs that bring the Belgian Congo to life. Textual materials, topically arranged, address nineteenth-century views of imperialism and racism and include autobiographical writings by Conrad on his life in the Congo. New to the Fourth Edition is an excerpt from Adam Hochschild’s recent book, King Leopold’s Ghost, as well as writings on race by Hegel, Darwin, and Galton. "Criticism" includes a wealth of new materials, including nine contemporary reviews and assessments of Conrad and Heart of Darkness and twelve recent essays by Chinua Achebe, Peter Brooks, Daphne Erdinast-Vulcan, Edward Said, and Paul B. Armstrong, among others. Also new to this edition is a section of writings on the connections between Heart of Darkness and the film Apocalypse Now by Louis K. Greiff, Margot Norris, and Lynda J. Dryden. A Chronology and Selected Bibliography are also included.

    • Sales Rank: #44932 in Books
    • Brand: Conrad, Joseph/ Armstrong, Paul B.
    • Published on: 2005-12-13
    • Original language: English
    • Number of items: 1
    • Dimensions: 8.40" h x 1.20" w x 5.20" l,
    • Binding: Paperback
    • 536 pages

    About the Author
    Paul B. Armstrong is Professor of English and former Dean of the College at Brown University. He was previously a professor and a dean at the University of Oregon and the State University of New York at Stony Brook. He has also taught at the University of Copenhagen, Georgia Institute of Technology, the Free University of Berlin, the University of Virginia, and the Institute for Doctoral Studies in the VisualArts. He is the author of How Literature Plays with the Brain: The Neuroscience of Reading and Art; Play and the Politics of Reading: The Social Uses of Modernist Form; Conflicting Readings: Variety and Validity in Interpretation; The Challenge of Bewilderment: Understanding and Representation in James, Conrad, and Ford; and The Phenomenology of Henry James. He is editor of the Norton Critical Edition of E. M.Forster’s Howards End and of the fourth and fifth Norton Critical Editions of Heart of Darkness.

    Most helpful customer reviews

    7 of 7 people found the following review helpful.
    Conrad, As Fine As It Gets
    By Bruce Frier
    There is no point in lavishing superlatives on this famous story, told (so it is alleged) by "Marlow" -- an alter ego of Conrad himself -- during a long night on a boat in the Thames estuary. The story is filled with ambiguity about Marlow's earlier trip up the Congo River to visit an ivory-collecting station run by a ruthless agent named Kurtz. The ambiguity is on a number of fundamental levels as Conrad confronts basic internal contradictions of the colonial regime.

    The Norton Critical Edition is much the best if you really want to explore these multiple layers. It presents both extensive documentary evidence on the colonial regime, and a generous selection of later critical reactions, including Achebe's famous attack on Conrad as a racist, plus a large number of answers to that attack. It is also very helpful to have a set of photographs of Conrad's own trip up the Congo.

    One thing I would say is that is is now hard to read Heart of Darkness without remembering the movie Apocalypse Now, which is a sort of free-form adaptation. But the original novel is much subtler, and certainly the style of it is also vastly more sophisticated. In particular, one has to admire the clever way that Conrad undermines the credibility of Marlow by having him tell two huge lies in the last pages. We are left to make up our own minds about what to believe and how to evaluate what we believe. It is an enduring challenge.

    1 of 1 people found the following review helpful.
    Dated in some aspects but a lot of the themes are still relevant
    By Decker
    I had seen this title and Conrad's name coined constantly through other mediums before I actually decided to read this. I wasn't really pressed on until I came across a lecture by Chinua Achebe, an African author, who claimed that Heart of Darkness and Conrad were racist. Nothing like some controversy to inadvertently give attention to what your actually protesting eh? His views on Conrad though reminded me of my own on Mark Twain though. I don't like Twain, I think he was a racist despite being hailed constantly by English teachers I've known. I would have thought the same if I hadn't come across his views on American Indians. He called us "scum of the earth" and other things. Statements he never retracted apparently. It didn't stop me from reading Twain which I have done but It didn't impress me. So I can actually somewhat understand Achebe's qualms but there turned out to be more to the Heart of Darkness than he would have some believe.

    From what I understand this short work is heavily based on Conrad's own experiences from what he saw in the Congo Free State, something that would go on to effect his health and stability as it does for the character of the book Marlow. Marlow is a young man from England. Hungry for adventure on a steam boat in the dark continent. He manages to land a job with a company that is based on the Congo. So now the captain of his own tug boat he goes into Africa only to bare witness to the acts of the corporation he works for. Lines of naked bony natives in chains are led into mine shafts by uniformed men, massive tracts of the jungle are slashed and burned for bits of ivory, while starving slaves are left to die on the banks of the river. If this is progress then humanity is doomed it seems. But Marlow isn't there to gawk instead he's sent down river to track down and find a company agent, Mr Kurtz.

    Kurtz seems to be a golden boy of the company. His superiors praise him, so does his family and friends. He is like the embodiment of European ideals, superior in every way to the savages but as Marlowe goes down the river and further into the dark jungles he learns more about this man and his troubling nature. Despite his superior stock and civilized morals Kurtz had quite literally "gone native". It can be looked at in various ways. A disturbing indictment of greed and imperialism. A look at the self destructive nature of humanity or civilization in general. While the book was good in the respects of allegory its still very archaic. His writing can drag in certain parts and feels pretty dated. But it's Conrad's depictions of the natives stands out above all of them. They have almost no actual culture, they prance around fires with grass skirts and bones in their noses; and the description of the witch woman feels like it was torn right out of a pulp magazine. Still though I think the themes of the book and overall message trump these bits but some may just find them distasteful.

    In the end I actually liked Heart of Darkness but it definitely is racist in some parts. Conrad may have been disgusted with the Congo Free State, he may have been against imperialism, but he still saw the Africans as a lesser people. Still one can't really indict a man on views that were otherwise very common in his time. Compared to others from the same period Conrad was definitely a progressive. The book is pretty powerful and it had a strong message of anti-imperialism before it was beaten to death later on. In the end it's all a matter of taste. I liked it, its well written, not long, and it may dwell in the back of your head for a while. It left me wondering whether or not Kurtz's final message "exterminate the brutes" was meant for the natives or mankind in general.

    2 of 2 people found the following review helpful.
    An extended metaphor for human evil
    By George C. King
    The HEART OF DARKNESS is a frame story. The outside frame consists of four men sailing on the Thames on a boat called the "Nellie."The narrator of this part of the story, one of the four men, turns the story over to one of the other men, Marlow, who speaks for most of this short novel. He describes how he was hired by a company trading in ivory to retrieve one of their agents from the heart of the Congo--a man named Kurtz.

    Before Marlow describes his adventure, the Thames is identified as the river used by the Romans when they came to subjugate and exploit the barbaric tribes living in what would eventually be called England. This brilliant irony is meant to parallel the contemporary Europeans and their exploitation of the blacks in the Congo to the Romans and the ancient English.

    Marlow's spoken account describes a descent into darkness. The superior technology of the European company (guns, steamboat, and machines) is used to exploit the ivory trade and subjugate the natives--who are variously referred to as savages, cannibals, devils, and the "N" word. I couldn't disagree more with those who claim that this novella is racist. It is a depiction of racism--much like HUCKLEBERRY FINN--at the end of the 19th century in Europe.

    When Marlow eventually finds Kurtz, after a harrowing steamboat trip down the Congo, he is horrified. The man has made himself into a god for the natives, has killed and beheaded enemy tribesmen, and essentially become more savage than the savages. The interior of the Congo is literally the heart of darkness (the impenetrable, foreboding jungle), Kurtz has a heart of darkness, and the allusion to the Romans at the outset suggests that all humanity possesses this defect, which shows up in generation after generation. I found the novel to be an inspired indictment of European colonialism and an extended metaphor for human evil.

    I downloaded this for free to my Kindle and read it in two days.

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    Senin, 16 Juli 2012

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    • Sales Rank: #1817439 in Books
    • Published on: 2003-10
    • Original language: English
    • Number of items: 1
    • Dimensions: 1.03" h x 5.06" w x 8.54" l,
    • Binding: Hardcover
    • 232 pages

    Most helpful customer reviews

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    Five Stars
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    Q: The Autobiography of Quincy Jones, by Quincy Jones

    Musician, composer, producer, arranger, and pioneering entrepreneur Quincy Jones has lived large and worked for five decades alongside the superstars of music and entertainment -- including Frank Sinatra, Michael Jackson, Steven Spielberg, Oprah Winfrey, Ray Charles, Will Smith, and dozens of others. Q is his glittering and moving life story, told with the style, passion, and no-holds-barred honesty that are his trademarks.

    Quincy Jones grew up poor on the mean streets of Chicago’s South Side, brushing against the law and feeling the pain of his mother’s descent into madness. But when his father moved the family west to Seattle, he took up the trumpet and was literally saved by music. A prodigy, he played backup for Billie Holiday and toured the world with the Lionel Hampton Band before leaving his teens. Soon, though, he found his true calling, inaugurating a career whose highlights have included arranging albums for Frank Sinatra, Ray Charles, Dinah Washington, Sarah Vaughan, and Count Basie; composing the scores of such films as The Pawnbroker, In Cold Blood, In the Heat of the Night, and The Color Purple, and the theme songs for the television shows Ironside, Sanford and Son, and The Cosby Show; producing the bestselling album of all time, Michael Jackson’s Thriller, and the bestselling single “We Are the World”; and producing and arranging his own highly praised albums, including the Grammy Award—winning Back on the Block, a striking blend of jazz, African, urban, gospel, and hip-hop. His musical achievements, in a career that spans every style of American popular music, have yielded an incredible seventy-seven Grammy nominations, and are matched by his record as a pioneering music executive, film and television producer, tireless social activist, and business entrepreneur–one of the most successful black business figures in America. This string of unbroken triumphs in the entertainment industry has been shadowed by a turbulent personal life, a story he shares with eloquence and candor.

    Q is an impressive self-portrait by one of the master makers of American culture, a complex, many-faceted man with far more than his share of talents and an unparalleled vision, as well as some entirely human flaws. It also features vivid testimony from key witnesses to his journey–family, friends, and musical and business associates. His life encompasses an astonishing cast of show business giants, and provides the raw material for one of the great African American success stories of this century.

    • Sales Rank: #142833 in Books
    • Published on: 2001-10-09
    • Released on: 2001-10-09
    • Original language: English
    • Number of items: 1
    • Dimensions: 9.53" h x 1.50" w x 6.40" l,
    • Binding: Hardcover
    • 416 pages

    Amazon.com Review
    He reached an apogee of fame in the mid-1980s as the producer-arranger of Michael Jackson's blockbuster album Thriller and the charity single "We Are the World," but Quincy Jones has been a force in American music since he was a teenager. He swung hard enough to play with beboppers like Dizzy Gillespie; he studied composition with the legendary Nadia Boulanger; he scored dozens of films and TV shows; he arranged and/or produced albums for everyone from Frank Sinatra to Leslie Gore, and rappers like Melle Mel don't disdain the old man either. Looking back at age 68 in a good-natured autobiography supplemented with brief chapters by such friends as Ray Charles and ex-wife Peggy Lipton, Jones asserts, "I've been driven all my life by a spirit of adventure and a criminal level of optimism." Given his beginnings, growing up poor in Chicago and Seattle with a mentally ill mother lurking in the background, that's quite an achievement. Jones never stood still long enough to let sorrow catch him, and though his treatment of his personal life is standard Hollywood glib ("Though Nastassja [Kinski]'s and my relationship as a couple was not destined to last, she is a great friend"), his prose catches fire when it touches on music: Dinah Washington "could take the melody in her hand, hold it like an egg, crack it open, fry it, let it sizzle, reconstruct it, put the egg back in the box and back in the refrigerator, and you would've still understood every single syllable." His furious energy may have been fueled by personal demons, but his joyous sweep through a half century of American pop convinces you that Jones was right to keep moving: "Nothing is ever wrong if it's going someplace," he asserts. "Music is about ever-changing." --Wendy Smith

    From Publishers Weekly
    With some chapters written by Jones, and others by his family and friends (Ray Charles and Peggy Lipton, to name a few), this (auto)biography full of behind-the-scenes anecdotes has an improvisational feel that suits its subject: a jazz musician and superstar composer. Jones came from a hardscrabble background split between Seattle and Chicago when he was still a boy, his schizophrenic mother was placed in a mental hospital for a time, and he was raised by his father and a stepmother. Jones discovered his talent for music early on, and hit the road with Lionel Hampton's jazz band when he was still a teenager. Hampton is just one of the musical greats who makes an appearance Frank Sinatra, Dinah Washington and Ray Charles are others. Jones scored his greatest musical successes during the 1970s and '80s (during which years he composed film scores and Michael Jackson's albums), but the strength of the book comes early on, when he describes the joy of his discovery of music, his early friendship with Charles and his struggles and joys as a jazz trumpeter on the road. "When I played music, my nightmares ended. My family problems disappeared." But to Jones's credit, he doesn't hold back his narrative when those problems caught up with him in the 1980s and he suffered a mental breakdown. With the help of his friends, Jones has composed a life story that gives much more than the typical celebrity memoir. (Oct.)Forecast: This title will appeal to many, including fans buying the CD boxed set, Q: The Music of Quincy Jones.

    Copyright 2001 Cahners Business Information, Inc.

    From Library Journal
    Jones has been a celebrated jazz trumpeter, band leader, arranger, composer, producer, and business mogul. Now he can add writer to his r sum . His powerful, cinematic recollections range from his mother's mental illness, a rough childhood in Chicago, and a musical epiphany in Seattle to working with Lionel Hampton, Dizzy Gillespie, and Frank Sinatra, leading his own band through a ramshackle tour of Europe, becoming a successful writer of motion picture and television music, producing two of the biggest-selling records of all time (Michael Jackson's Thriller and the "We Are the World" charity single), and surviving two brain operations and a mental breakdown. Jones's snapshots of these events alternate with revealing sections written by his brother, ex-wives, children, and close friends (alas, no Jacko). Though gimmicky in theory, these "witness" chapters actually complement and deepen Jones's firsthand remembrances. Most problematic are the tiresome chapters devoted to his love life (he's fathered seven children by five different women) and the unfocused nature of the book's second half. These flaws, though substantial, are outweighed by the book's strengths. Recommended for most collections.
    - Lloyd Jansen, Stockton-San Joaquin Cty. P.L., CA
    Copyright 2001 Reed Business Information, Inc.

    Most helpful customer reviews

    19 of 19 people found the following review helpful.
    As masterful as Quincy Jones' arrangements: A classic
    By Joel L. Gandelman
    The autobiography of Quincy Jones is like one of his arrangements: masterful, engaging on several levels, and state-of the-art.
    Jones' life story seems MADE for a highly dramatic, award-winning t.v. or big screen movie -- and I dearly hope it'll be made into one. Musician. Producer. Businessman. Composer. Arranger. Determination and incredible talent skyrocketing him over big obstacles. It's fitting that Jones' biggest passion is music because this outstanding autobiography truly SINGS.
    From the first pages, you're thrust into the drama -- and challenge -- of Jones' life. Born into a poor family, throughout most of his life (well into his adult years) Jones struggled with how to cope-with and at times how to distance himself from a mother who suffered from severe mental illness. Music became his savior and Jones embraced it like the stable motherly love which he sought and he lacked as a child. He embraced Mother Music, letting it's beauty embrace, comfort and sustain him.
    There are several things that sets this book apart from other show biz bios and makes it such sheer JOY for readers of ALL ages (old fogies like me who grew up with his music as well as young folks interested in music, interested in biographies or interested in show business and the arts in general):
    1.PANORAMIC STYLE. There is so much in it that we can only list a little here, such as the poignant vignette of a young, arts-smitten Jones, just discovering his musical "chops" and bonding with a blind teenage musician named Ray Charles who basically mentored and inspired him; his later associations with greats such as Sammy Davis Jr, Ella Fitzgerald, Frank Sinatra, Michael Jackson and many many more.
    Jackson, he writes, "wanted to be the best of everything" so he "went to the top model in each (show biz) category to create an act and a persona that would be unequalled." But "somehow later on the line between the reality and the fantasy got blurred." In the end, Jones writes, Jackson became "a total sponge, a chamelon." Jackson practiced hours and hours to perfect every single move, gesture and facial expression.
    I am haunted by Jones' portrait of Sinatra. For all the tough-guy accounts elsewhere, Sinatra comes across as a noble and principled human being -- cooking Jones breakfast when he learned that Jones stayed up all night working; insisting that African-American musicians for his Vegas concert be allowed to play and get good rooms at a casino and telling his security to do significant bodily harm to any racists who harrassed them, even the slightest bit.
    2)SECOND VOICES. Not all chapters are written by Jones. He also let others write their accounts about parts of his life, and not all of this material is complimentary. This adds a documentary feel and a sense of balance that most show business autobiographies lack.
    3)USEFUL OBSERVATIONS. In his chapter on Michael Jackon's rise to the top of the music heap he notes that writes that he learned that "Nobody stays at the top. Nobody." Success, he writes, is "about preparation, then finding the right
    opportunity" -- and that he learned that "being chronically underestimated can be a gift."
    Jone's autobiography takes you through the 20th century's top musical and show business eras, and gifts you an incredible cast of famous well-etched cameos. The depth, ease, and detail of this panoramic journey is paralleled only by his private trek -- from poverty to aspiration to success, all amid personal family tragedies. In the end, we see a man (and artist) who constantly survived and triumphed due to his humanity -- and his unceasing personal growth.

    3 of 3 people found the following review helpful.
    Q had an amazing ride
    By R. J. Marsella
    I ,like many of the reviewers below, am just blown away by the accomplishments of this man. His life in music spans decades and musical styles that makes him unique among American musicians. From Lionel Hampton to Frank Sinatra To Michael Jackson to a seemingly endless list of film and TV scores----Q has seen and done it all musically.
    The book is very well written and touchingly sentimental in his recollection of deceased family members and friends. At one point I began to wonder if Q ever met a man or a woman he didn't like. He has so much that is positive to say about almost everyone he came into contact with in what is a notoriously sleezy business that I began to wonder if he was just trying to be inoffensive. I concluded at last that this guy is just blessed with a generous heart that allows him to see the best in people. His genuine love of the music and the people who make it with him just jumps off the pages.
    This is an inspiring story of a man who has overcome considerable obstacles both social and physcial but has retained his essential positive energy. He is one of the all time greats.

    0 of 0 people found the following review helpful.
    A Good Read!
    By Pam
    I enjoyed this story. I also like how others in Quincy family wrote some chapters as to their thoughts!.

    See all 73 customer reviews...

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    Selasa, 10 Juli 2012

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    Soul by Soul: Life Inside the Antebellum Slave Market, by Walter Johnson

    Soul by Soul tells the story of slavery in antebellum America by moving away from the cotton plantations and into the slave market itself, the heart of the domestic slave trade. 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.

    • Sales Rank: #91656 in Books
    • Brand: Brand: Harvard University Press
    • Published on: 1999
    • Released on: 2001-02-02
    • Original language: English
    • Number of items: 1
    • Dimensions: 9.25" h x 6.25" w x .75" l, .81 pounds
    • Binding: Paperback
    • 320 pages
    Features
    • Used Book in Good Condition

    From Publishers Weekly
    Instead of focusing on cotton plantations or broad historical patterns, this extraordinary study is a flesh-and-blood daily history of the slave market. NYU history professor Johnson takes readers inside the Dixie slave pens and traders' coffles (long rows of slaves manacled and chained to one another). His focus is New Orleans, North America's largest slave market, hub of a trade that decimated African-American slave communities by tearing families asunder--destroying marriages and separating children from parents. Using former slave survivors' narratives, letters written by slaveholders, docket records of cases of disputed slave sales and Southern medical and agricultural journals, Johnson interweaves the voices of traders, buyers, auctioneers and the slaves themselves. He shows that, for white Southern slaveholders, buying slaves buoyed a fantasy of manly bourgeois self-control, speculative savvy and economic independence. Slaves, meanwhile, assessed the character of particular buyers and sometimes, at enormous risk, manipulated a sale to their own advantage. The evil business of slavery has seldom been exposed with so much humanity and insight as in this eloquent study, scholarly yet wholly accessible, a compelling cross-sectional microcosm of millions of human tragedies. (Feb.)
    Copyright 1999 Reed Business Information, Inc.

    From Library Journal
    In his first book, Johnson (history, New York Univ.) provides the fullest, most penetrating examination of the antebellum slave market to date. Using slave narratives, court records, planters' letters, and more, Johnson enters the slave pens and showrooms of the New Orleans slave market to observe how slavery turned men and women into merchandise and how slaves resisted such efforts to steal their humanity. He tracks the slaves from their march to the market to the terrifying moments of sale and adaptation to new masters, places, and work. Johnson's original, important, and brilliantly presented book makes a case for the slave market as "best place to see slavery." It was there that self-interest, concepts of race, and the slave "community" came together to reveal how white men traded their own souls for a stake in human property. An essential book for anyone who wants to understand why slavery matters.ARandall M. Miller, St. Joseph's Univ., Philadelphia
    Copyright 1999 Reed Business Information, Inc.

    From Booklist
    The rejuvenation of U.S. slavery from the 1820s onward due to the South's cotton boom is Johnson's starting point for this pellucid study of people, shackles, prices, and society. Cotton induced a mass forced migration of owned people from the tobacco-exhausted Tidewater lands to the fertile Mississippi Valley, about one million of them between the 1820s and 1850s, according to Johnson, an academic historian. A grim sight was common in this period--coffles of slaves walking to the Deep South destined for market, mainly the one at New Orleans. Johnson selects the operations of the market to depict the variegated processes that turned a person into a commodity. Sales could be complicated transactions. Their objects, the enslaved persons, could always ruin value by escape or suicide, and consequently traders and purchasers of people sometimes conceded minimal humanity to placate those in their thrall. Organized with a blessed eschewal of academese, Johnson's work is a superior examination of the speculation in slaves as individuals conducted it. Gilbert Taylor

    Most helpful customer reviews

    5 of 5 people found the following review helpful.
    Insightful look into the antebellum slave market
    By Shawn M. Warswick
    Walter Johnson’s award winning book, published in 1999, takes a cultural history approach to his study, arguing that the slave market, not the plantation, is the defining feature of slavery in the south. Johnson notes the contradictory nature of the system: the bodies of slaves are assigned a value, but those same bodies are people, not things. Furthermore, in order to do this, slave-sellers use a system of categorization based on physical attributes (skin color, gender, stature). This paradoxical process necessitates the acknowledgement of their individuality as human beings, while, at the same time, it turns them into commodities and property. (Johnson, 5-8) The author also noted that a central piece of his complex argument is slaveholders “often represented themselves to one another by reference to their slaves.” (13) Lastly, Johnson argues that the slaves had some agency in the process by attempting to glean information about their potential owner and in the way they present themselves and answer questions during the sales process.
    While the historiography on slavery is often written from the vantage point of the plantation or the slave community, Johnson is the first to insist that the purchasing of slaves was fundamental to what slavery was. In this, he differs from historians such as Eugene D. Genovese whose focus is on the community the slaves create. Having said that, Johnson covers some of the same ground as Genovese (paternalism) and influences other historians such as Stephanie Smallwood whose more recent work also talks about the violence of slavery in Saltwater Slavery: A Middle Passage from Africa to American Diaspora, 2009.
    Moreover, when it comes to evidence, Johnson primarily relies upon slave narratives. The author does acknowledge that while there are problems with these (amongst which are their obvious use by abolitionists of the day as political propaganda against the system), by using sources produced by slaveholders and visitors to the south along with the narratives, it is possible to interrogate and authenticate the latter. (Johnson, 11) Johnson also relies upon two hundred court cases of disputed slave sales that went before the Supreme Court of Louisiana, letters by slaveholders, and the sales records generated by the slave trade itself. (Johnson, 12-14) In other words, he has a plethora of primary sources, some of which historians in the past had been wary of using.
    Historiographically speaking, Johnson is following in the footsteps of historian Kenneth Stamp and his highly influential The Peculiar Institution: Slavery in the Antebellum South. Stamp argues that slavery was an institution based on profit, not on paternalism (an argument put forward by U.B. Phillips in 1908). However, Johnson was not simply indebted to Stamp; he builds on that argument by showing the importance of the domestic slave trade and arguing (as noted above) that it was the heart of slavery in America by the nineteenth century.
    Finally, the book has a number of strengths and very few weaknesses. One of the strengths was the books dialectical approach in which the author moves back and forth between the viewpoint of the slave buyer and seller. As Johnson himself notes, he was attempting “to understand a slave sale from the contingent perspective of each of its participants.” (9) As the narrative advances, it spirals around evidence and analysis used earlier, reinforcing the argument. Another area of strength was the fact that Johnson looks at a subject, which has certainly not suffered from a lack of study, but he does so from a radically different vantage point. It is this uniqueness which makes the book compelling and enjoyable.
    Historian Bertram Wyatt Brown, of the University of Florida, criticizes the author of not supporting his conclusions with his evidence. The reviewer then goes on to say the weaknesses do not outweigh the strengths, thereby undercutting his own criticism. In fact, the evidence Johnson brings to his argument is formidable and does support his conclusions. I find it hard to criticize anything in Johnson’s work. In my opinion, it was a masterpiece that stands the test of time and, fifteen years later, continues to influence how historians view the antebellum south and the “peculiar institution.”

    3 of 3 people found the following review helpful.
    The two-sided Racial Holocaust finally explained
    By Herbert L Calhoun
    Until this book, in all my readings, it never once occurred to me that the template for white justification for the continued unequal racist structure of contemporary American society, was already provided for by the justifications used to cover-up white complicity in the slave trade and in constructing a social structure and ideology based on that complicity.

    It has always been self-evident to me that racism in America is and has always been a two-sided human tragedy: a white tragedy first and then a black one afterwards. Yet, since whites always have been able to use their power to cover up their own complicity in a greatly discredited cultural system in which only they benefit, the only narratives we are ever allowed to see are the ones with one side remaining invisible, "white-washed," or "bleached away," and the other side standing-in as the full story of racism in America.

    Invariably, the side that we are allowed to see as the singular "stand-in" for the complete racist narrative is that seen only through the victim's eyes. That narrative waxes on in great detail about the color-coded water fountain signs, the seats on the back of the bus, etc., ad infinitum as if these activities occurred from out of the ether without a cause or a causal "agent?"

    Telling the story from the victim's perspective is a conscious act itself that kills two birds with one stone: It garners sympathy for the black victims, at the same time that it shields the white perpetrator from complicity as the cause of the evil deeds requiring the sympathy in the first place.

    If and when a scapegoat is needed, then, the general all-purpose justification: "the South did it" is often served-up as the sole responsible agent. And even today that "trope" has remained quite sufficient to explain away any and all other white complicity. After all, it is well-known that white southerners are a bunch of "low-lifes" who have sex with their relatives, whose ancestors were emptied from England's jails; and oh, by the way, they did secede from the Union and did lose the Civil War didn't they?

    Beyond the southern scapegoat, we are suppose to get the general idea that racism is "just the natural order of things," right?

    In this book, for the first time we are able to piece together a narrative of the racial holocaust from the white side of the American cultural ledger as well as from the black, or victim's side. Through recorded testimonies, letters, court records, etc., we get to see how whites trembled with moral fear even as they calculated down to the cent the value of their moral compromises in the dollar value of their slaves; how they made the slave traders the scapegoats for the evil that was the inhuman society that they alone had created. For the first time we get a glimpse at the real "agency" and "agents" of a societal structure that remains in a steady-state even today. And while the South still gets the bulk of the blame, the ideology of justification is global and applies to all whites as well as to the racist system as a whole. All who embrace it and live under its umbrella of racist protection are culpable. There are no whites in America who are innocent of the causes of two centuries of racism, even with a mulatto in the "White" House.

    Through the structure of this book, which gives the complete human story during slavery, we do indeed see that the story of America's racial tragedy is indeed a two-sided narrative: On one side of the human ledger is the "impotent but moral" black side, the intended victims of the racial holocaust, the chattel slaves, who since have been allowed to rise to second-class citizenship -- even with a "token" mulatto family in the "White" House.

    On the other side of the ledger is the "powerful but always immoral" white side, the slave drivers, the buyers and sellers of human flesh, the perennial resisters of racial equality, a whole race of people identified best by the compromises they have made throughout American history with their religion, with their Constitution and Declaration of Independence, and with their feigned search for freedom: but who are known most of all for the repeated compromises they make everyday with their own consciences to keep America's racist social order in a steady-state.

    The "training wheels" for the practices of evading moral responsibility for the racial holocaust, and their narratives of justification, all began with slavery. These powerful, but always invisible perpetrators, following Adolph Hitler, call themselves "superior people" and see themselves as the "Alpha males" of the known universe, and even though they have created a world that "objectifies" this lie, somehow this book makes them seem a lot smaller. A hellava read! 100 stars

    61 of 67 people found the following review helpful.
    New Paradigm for Slave/Owner Relations in the Old South
    By Christina K. Miller
    "Soul by Soul" is required reading for anyone interested in the history of the American South.
    Anyone familiar with the historiography of the antebellum South is familiar with discussions of slaves and owners and "the worlds they made." Genovese, Fox-Genovese, and Sobel, among others, make various arguments about how slaves and owners worked together or in opposition to create the world of the Antebellum South.
    Johnson convincingly molds this trope into a new paradigm for discussing the relationships of slaves and owners. He argues that the buying and selling of slaves was central to antebullum white culture -- it was through the buying and selling of slaves that white people sought upward mobility and gentility and it was in discussions of these sales (successful and unsuccessful) that whites judged one another.
    In the end, Johnson reformulates the long-standing trope of "worlds made," arguing that slave owners were "made of slaves": their self-image (and, as important in a pre-modern society, their pubic image) was made of their ability to make shrewd decisions both about the purchase and management of slaves.
    He also presents convincing evidence that far from being passive victims in the domestic slave trade, African-Americans did, sometimes at great personal risk, influence the terms of their own sale.
    Johnson's arguments will shape discussions of slaves and slave owners for many years to come. "Soul by Soul" is required reading for anyone who studies the American South.

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