Denver, Colorado–based photographer Duncan (A Defining Moment, 2010) got a front-row seat to history when she began documenting then U.S. Sen. Obama’s journey to the White House for local African American newspapers in 2006. She photographed the candidate and his supporters at numerous events in the Rocky Mountain state, including the 2008 Democratic National Convention in Denver. After his election, she continued to document his career nationwide. In this handsome coffee-table book, she couples striking, full-color photos with the full text of many of Obama’s most notable speeches, including his famous 2008 speech on race, his victory-night speech that same year in Chicago, his 2009 and 2013 inaugural addresses, and his 2017 farewell address. Because the book focuses heavily on Obama’s many visits to Colorado, it sometimes neglects other important events. Two Air Force Academy commencement addresses are included, for example, while his remarks on the school shooting in Newtown, Connecticut, in 2010 and on the 50th anniversary of the Selma-to-Montgomery civil rights march are notably absent. Some speeches by other political figures are included as well, such as Hillary Clinton’s acceptance of the 2016 Democratic presidential nomination and U.S. Rep. John Lewis’ speech at the 2008 Democratic convention. Supplementary material includes a list of Obama’s accomplishments; information on the presidential limousine, nicknamed “The Beast,” and Air Force One; and Electoral College maps. But it’s the numerous, revealing photos that are the main draw, including one image of a smiling Obama walking onstage to accept his party’s nomination and another of the jubilant faces of his supporters on election night in 2008. The book even provides an inside look at the White House, as Duncan shares photos that she took during the 2014 Holiday Reception, during which she got a few candid shots of the Obamas’ dogs Bo and Sunny. The author’s sincere admiration for Obama shines through in this collection, which effectively commemorates a historic presidency.
Readers who are nostalgic for the Obama years will appreciate this unique tribute.
Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").
Noted jazz and pop record producer Thiele offers a chatty autobiography. Aided by record-business colleague Golden, Thiele traces his career from his start as a ``pubescent, novice jazz record producer'' in the 1940s through the '50s, when he headed Coral, Dot, and Roulette Records, and the '60s, when he worked for ABC and ran the famous Impulse! jazz label. At Coral, Thiele championed the work of ``hillbilly'' singer Buddy Holly, although the only sessions he produced with Holly were marred by saccharine strings. The producer specialized in more mainstream popsters like the irrepressibly perky Teresa Brewer (who later became his fourth wife) and the bubble-machine muzak-meister Lawrence Welk. At Dot, Thiele was instrumental in recording Jack Kerouac's famous beat- generation ramblings to jazz accompaniment (recordings that Dot's president found ``pornographic''), while also overseeing a steady stream of pop hits. He then moved to the Mafia-controlled Roulette label, where he observed the ``silk-suited, pinky-ringed'' entourage who frequented the label's offices. Incredibly, however, Thiele remembers the famously hard-nosed Morris Levy, who ran the label and was eventually convicted of extortion, as ``one of the kindest, most warm-hearted, and classiest music men I have ever known.'' At ABC/Impulse!, Thiele oversaw the classic recordings of John Coltrane, although he is the first to admit that Coltrane essentially produced his own sessions. Like many producers of the day, Thiele participated in the ownership of publishing rights to some of the songs he recorded; he makes no apology for this practice, which he calls ``entirely appropriate and without any ethical conflicts.'' A pleasant, if not exactly riveting, memoir that will be of most interest to those with a thirst for cocktail-hour stories of the record biz. (25 halftones, not seen)