John Lee Johnson


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The Astrochimps


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Meet Ham, Minnie, Enos, Roscoe, Tiger, and Rocky. When the United States was scrambling to catch up to the Soviets after their successful launch of Sputnik, they didn't turn to Mercury Seven astronauts Alan Shepard and John Glenn. Rather, they began bringing chimpanzees to Holloman Air Force Base in New Mexico for a top-secret program. The goal? To do everything America needed to make space travel safe for humans and beat the Soviets. Based on extensive research and interviews with living members of the team of veterinarians, handlers, and psychologists who worked with the animals, The Astrochimps offers a fresh perspective on animal intelligence and the rise of the space age. Detailed back matter provides resources, space mission stats, and calls to action for young readers to honor the astrochimps' legacy and advocate for the humane treatment of chimpanzees today. Vividly depicted at work, at play, in and out of spacecrafts, these chimps played an under-appreciated part in helping the United States win the Space Race.




A Directory of Oral History Interviews Related to the Federal Courts


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This work was produced in furtherance of the Center's statutory mandate to conduct, coordinate, and encourage programs relating to the history of the judicial branch ...




Breaking the Color Barrier


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The African-American Community's Battle to Combat the U.S. Naval Academy's Legacy of Racism







John Lee "Sonny Boy" Williamson


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John Lee "Sonny Boy" Williamson was one of the most popular blues harmonica players and singers from the late 1930s through the 1940s. Recording for the Bluebird Records and RCA Victor labels, Sonny Boy shaped Chicago's music scene with an innovative style that gave structure and speed to blues harmonica performance. His recording in 1937 of "Good Morning, School Girl," followed by others made him a hit with Southern black audiences who had migrated north. Unfortunately, his popularity and recording career ended on June 1, 1948, when he was robbed and murdered in Chicago, Illinois. In 1980, he was inducted into the Blues Foundation Hall of Fame. Mitsutoshi Inaba offers the first full-length biography of this key figure in the evolution of the Chicago blues. Taking readers through Sonny Boy's career, Inaba illustrates how Sonny Boy lived through the lineage of blues harmonica performance, drawing on established traditions and setting out a blueprint for the growing electric blues scene. Interviews with Sonny Boy's family members and his last harmonica student provide new insights into the character of the man as well as the techniques of the musician. John Lee "Sonny Boy" Williamson: The Blues Harmonica of Chicago's Bronzeville provides fans and musicians alike an invaluable exploration of the life and legacy of one the Chicago blues' founding figures.




St. Philip's College


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In 1898, St. Philip’s Normal and Industrial School opened its doors in San Antonio, offering sewing classes for black girls. It was the inaugural effort in a program, founded by the West Texas diocese of the Episcopal Church, to educate and train former slaves and other African Americans in that city. Originally tied to St. Philip’s Church, about three miles east of the downtown center, the school grew to offer high school and then junior college courses and eventually affiliated with the San Antonio Independent School District and San Antonio College. One of the few remaining historically black junior colleges in the country, St. Philip’s, whose student body is no longer predominantly black, has also been designated a Hispanic-serving institution, one of few schools to bear both designations. Known by many as “the school that love built,” St. Philip’s College claimed in its 1932 catalog, “There is perhaps as much romance surrounding the development of St. Philip’s Junior College as there is of the ‘Alamo City’ in which it is located.” That love story, also containing dominant strains of sacrifice, scarcity, creativity, determination, and pride, finds its full expression in this history by Marie Pannell Thurston. Based on archival research and extensive interviews with current and former alumni, faculty, and friends, St. Philip’s College presents the heartwarming and inspiring record of a school, the community that nurtures it, and the collective pride in what the institution and its graduates have accomplished.




Predicting the Presidency


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Millions of Americans—including many experienced politicians—viewed Barack Obama through a prism of high expectations, based on a belief in the power of presidential persuasion. Yet many who were inspired by candidate Obama were disappointed in what he was able to accomplish once in the White House. They could not understand why he often was unable to leverage his position and political skills to move the public and Congress to support his initiatives. Predicting the Presidency explains why Obama had such difficulty bringing about the change he promised, and challenges the conventional wisdom about presidential leadership. In this incisive book, George Edwards shows how we can ask a few fundamental questions about the context of a presidency—the president's strategic position or opportunity structure—and use the answers to predict a president's success in winning support for his initiatives. If presidential success is largely determined by a president's strategic position, what role does persuasion play? Almost every president finds that a significant segment of the public and his fellow partisans in Congress are predisposed to follow his lead. Others may support the White House out of self-interest. Edwards explores the possibilities of the president exploiting such support, providing a more realistic view of the potential of presidential persuasion. Written by a leading presidential scholar, Predicting the Presidency sheds new light on the limitations and opportunities of presidential leadership.




Deep Inside the Blues


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Deep Inside the Blues collects thirty-four of Margo Cooper’s interviews with blues artists and is illustrated with over 160 of her photographs, many published here for the first time. For thirty years, Cooper has been documenting the lives of blues musicians, their families and homes, neighborhoods, festivals, and gigs. Her photographic work combines iconic late-career images of many legendary figures including Bo Diddley, Honeyboy Edwards, B. B. King, Pinetop Perkins, and Hubert Sumlin with youthful shots of Cedric Burnside, Shemekia Copeland, and Sharde Thomas, themselves now in their thirties and forties. During this time, the Burnside and Turner families and other Mississippi artists such as T-Model Ford, James “Super Chikan” Johnson, and L. C. Ulmer entered the national and international spotlight, ensuring the powerful connection between authentic Delta, Hill Country, and Piney Woods blues musicians and their audience continues. In 1993, Cooper began photographing in the clubs around New England, then in Chicago, and before long in Mississippi and Helena, Arkansas. On her very first trips to Mississippi in 1997 and 1998, Cooper had the good fortune to photograph Sam Carr, Frank Frost, Bobby Rush, and Otha Turner, among others. “The blues come out of the field,” Ulmer told Cooper. Seeing those fields, as well as the old juke joints, country churches, and people’s homes, inspired her. She began recording interviews with the musicians, sometimes over a period of years, listening and asking questions as their narratives unfolded. Many of the key blues players of the period have already passed, making their stories and Cooper’s photographs of them all the more poignant and valuable.