SKU: 14698746007

"Josephine The Hungry Heart" 1993 BAKER, Jean-Claude (INSCRIBED)

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"Josephine The Hungry Heart" 1993 BAKER, Jean-Claude (INSCRIBED)BAKER, Jean Claude[531] pp. Random House19939 1 2" x 6 1 2"w postcard from Chez Josephine on Theater Row card laid inWarmly inscribed sincerely J Claude Baker dated 9 24 98 Fine FineJosephine Baker (born Freda Josephine McDonald, naturalised French Josphine Baker; 3 June 1906 12 April 1975) was an American born French entertainer, French Resistance agent and civil rights activist. Her career was centered primarily in Europe, mostly in her adopted

BAKER, Jean-Claude

[531] pp.

Random House

1993

9 1/2" x 6 1/2"

w/ postcard from Chez Josephine on Theater Row card laid-in

Warmly inscribed sincerely J-Claude Baker dated 9/24/98

Fine/ Fine

Josephine Baker (born Freda Josephine McDonald, naturalised French Joséphine Baker; 3 June 1906 – 12 April 1975) was an American-born French entertainer, French Resistance agent and civil rights activist. Her career was centered primarily in Europe, mostly in her adopted France. She was the first black woman to star in a major motion picture, the 1927 silent film Siren of the Tropics, directed by Mario Nalpas and Henri Étiévant.

During her early career, Baker was among the most celebrated performers to headline the revues of the Folies Bergère in Paris. Her performance in the revue Un vent de folie in 1927 caused a sensation in the city. Her costume, consisting of only a short skirt of artificial bananas and a beaded necklace, became an iconic image and a symbol both of the Jazz Age and the Roaring Twenties.

Baker was celebrated by artists and intellectuals of the era, who variously dubbed her the "Black Venus", the "Black Pearl", the "Bronze Venus", and the "Creole Goddess".[citation needed] Born in St. Louis, Missouri, she renounced her U.S. citizenship and became a French national after her marriage to French industrialist Jean Lion in 1937. She raised her children in France.

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SKU: 14698746007

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4.3 ★★★★★
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Terry L.
Grantham, US
★★★★★ 5
Recommend
Tells the other side of the story you didn't get in U.S. History class. Good read.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on May 15, 2015
G
Verified Purchase
George Vargas
Fort Morgan, US
★★★★★ 5
Five Stars
Outstanding book on the general history of European barbarism.
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Reviewed in the United States on December 26, 2017
H
Verified Purchase
Howard
Belleville, US
★★★★★ 5
By far, the best book of many I have read on this subject. Must read for anyone interested in this subject.
Format: Paperback
Best book I have yet read on the subject, and I have read many in research for the writing of my second novel. It relentlessly examines specific cases of lynching over time, but it is not a mere narrative of specific lynchings. It is an excellent analysis of the social, historical and cultural forces behind this horrendous practice. The book's discussion of the movie, Birth of a Nation, would by itself make this a valuable book, but the book's central theme is even more important. Its central theme, the public's desire for spectacle as fuel for lynchings, particularly after the abolition of legal public executions, is even more revealing. Also a good look at the social and cultural forces that over time led to the gradual demise of lynching as a phenomenon. A page turner for history readers. Warning -- man's inhumanity to man will make you simultaneously angry and sad.
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Reviewed in the United States on July 24, 2015
A
Verified Purchase
AlanWarner
Natrona Heights, US
★★★★★ 5
WHITE MOB JUSTICE
Format: Paperback
More black men were hanged in America in the twentieth century than were hanged during slavery, the author of this book Miss Amy Louise Wood does an excellent job of revealing who and what group of Americans did this whole scale hanging of black men. Many white people who participated and witnessed these hangings were your everyday run of the mill American citizens as stated on page 80-81 "As visual extensions of the lynching itself, photographs could at times assuage crowds that had missed the opportunity to witness and participate in the violence. In 1934, the posse that captured Claude Neal, accused of raping and killing a young white woman named Lola Cannidy, chose to lynch him in the woods outside Marianna, Florida, rather than bringing him to the Cannidy home, where a large crowd had gathered in anticipation of the lynching. When the waiting crowd had discovered that the mob had lynched Neal privately, they were reportedly outraged. The mob finally arrived with Neal's body in tow, and the crowd, which included Cannidy's family, took out their vengeance on the corpse, kicking and shooting it, tearing it apart, and even driving their cars over it. Neal's mutilated, nude body was then hanged on the courthouse lawn in the center of the town, and hundreds of photographs were taken. he next day, as people congregated in the square to see the body, the photographs were sold to those purportedly still incensed that the posse who lynched Neal had denied them the satisfaction and pleasure of witnessing Neal's lynching. The images acted as visual replications of the actual spectacle, offering them vicarious access to the missed thrill of the lynching. The gratification local viewers derived from the images of Neal's lynched body was directly attached to their outrage over Cannidy's rape and murder, their fears of black criminality, and their desires to assert their racial power and superiority in the face of these threats." Another interesting aspect of these mobs is the role religion played in their actions as stated on pages 67 "The performance of a lynching thus created a symbolic representation of white supremacy-a spectacle of demonic and wicked black men against a united and pure white community. That those images coincided with evangelicals' impassioned exhortations against sin gave lynching sacred force and justification. Indeed, the imprint of Protestant language and tropes on lynching rituals and defenses imbued the violence with divine sanction and made it appear familiar and recognizable to a people immersed in Christian beliefs and values. Mobs could thus conspicuously flout the law and perpetrate what otherwise would be considered aberrant and grotesque acts of sadism while considering themselves to be righteous and moral citizens." In the twentieth century the hanging of black men was a major festive event for many on looking white people as can be seen in the pictures on page 32 and also on pages 78 and 79, on page 79 you can see a young white man smiling, on pages 95 and 102 there are more pictures of gleeful white spectators, on page 192 there is crowd participation in this picture of a hanging and burning black man I thank this author for writing this very much needed book.
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Reviewed in the United States on July 6, 2015
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Carole T Emberton
Pawtucket, US
★★★★★ 5
A fresh take on lynching and its place in American culture.
Format: Paperback
A path-breaking study of lynching as spectacle and the meanings such events produced for the masses who attended them as well as for those who saw the photos and postcards afterwards. Wood's visual analysis of these images is impressive and cogent. Her writing is clear and accessible to a wide audience. This is cultural history at its finest!
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on April 17, 2018

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