This Atlantic world history centers on the life of Juan Nepomuceno Prieto (c. 1773–c. 1835), a member of the West African Yoruba people enslaved and taken to Havana during the era of the Atlantic slave trade. Richly situating Prieto's story within the context of colonial Cuba, Henry B. Lovejoy illuminates the vast process by which thousands of Yoruba speakers were forced into life-and-death struggles in a strange land. In Havana, Prieto and most of the people of the Yoruba diaspora were identified by the colonial authorities as Lucumi. Prieto's evolving identity becomes the fascinating fulcrum of the book. Drafted as an enslaved soldier for Spain, Prieto achieved self-manumission while still in the military. Rising steadily in his dangerous new world, he became the religious leader of Havana's most famous Lucumi cabildo, where he contributed to the development of the Afro-Cuban religion of Santeria. Then he was arrested on suspicion of fomenting slave rebellion. Trial testimony shows that he fell ill, but his ultimate fate is unknown. Despite the silences and contradictions that will never be fully resolved, Prieto's life opens a window onto how Africans creatively developed multiple forms of identity and resistance in Cuba and in the Atlantic world more broadly.

Individual and Collective Rhythmic Skills. A rhythm course for none drummers

The most successful business leaders always have their own compelling philosophies, but all too often the thoughts and ideologies of high-profile African American leaders are forgotten or passed over. This exciting new study reflects on some of the leading black business pioneers of the late 19th and early 20th century.

This book includes biographical information on Carlos Prieto, his contributions to music, as well as a detailed catalog of 72 pieces commissioned and/or dedicated to him. A graduate of MIT and a former director of Fundidora, the biggest steel company in Mexico, Carlos Prieto decided at the age of 38 to abandon his career as a business man and become a full time professional cellist. Since then he has premiered over 90 pieces, most of them commissioned and/or dedicated to him by Latin-American composers. These commissions and dedications represent about 50 percent of the music written for the cello by Latin-American composers. This is the first time a study has been conducted on this body of music.

"What part of illegal don’t you understand?" This oft-repeated slogan from immigration restrictionists illustrates the contentious quality of the immigration reform debate in the United States: a debate that has raged on unresolved since at least 1986 when our immigration system was last reformed. This impasse is due, in large part, to widespread misinformation about immigration. This short and accessible textbook takes a critical perspective on immigration law and policy, arguing that immigrant "illegality" is itself produced by law, with tremendous consequences for individuals and families. Across six chapters that examine the conceptual, historical, economic, global, legal, and racial dimensions of immigration to the United States, Prieto argues that illegal immigration is a problem of policy, not people. History and cutting-edge social science data guide an analysis of the actual, empirical impact of immigration on U.S. society. By debunking myths about immigration, the reader is invited to form their own opinion on the basis of fact and in light of the unequal treatment different immigrant groups have received since the nation’s founding. Myth and Reality in the U.S. Immigration Debate synthesizes key lessons from the fields of sociology, law and society, history, economics and critical race studies in a digestible and engaging format. This text will serve as an introduction to the study of immigration and a primer for those who wish to engage in a sober and compassionate conversation about immigrants and immigration in the United States.

Everyday life as an immigrant in a deportation nation is fraught with risk, but everywhere immigrants confront repression and dispossession, they also manifest resistance in ways big and small. Immigrants Under Threat shifts the conversation from what has been done to Mexican immigrants to what they do in response. From private strategies of avoidance, to public displays of protest, immigrant resistance is animated by the massive demographic shifts that started in 1965 and an immigration enforcement regime whose unprecedented scope and intensity has made daily life increasingly perilous. Immigrants Under Threat focuses on the way the material needs of everyday life both enable and constrain participation in immigrant resistance movements.

In 1720, Antonio Stradivari crafted an exquisite work of art—a cello known as the Piatti. Over the next three centuries of its life, the Piatti cello left its birthplace of Cremona, Italy, and resided in Spain, Ireland, England, Italy, Germany, and the United States. In 1978, the Piatti became the musical soul mate of world-renowned cellist Carlos Prieto, with whom it has given concerts around the world. In this delightful book, Mr. Prieto recounts the adventurous life of his beloved "Cello Prieto," tracing its history through each of its previous owners from Stradivari in 1720 to himself. He then describes his noteworthy experiences of playing the Piatti cello, with which he has premiered some eighty compositions. In this part of their mutual story, Prieto gives a concise summary of his own remarkable career and his relationships with many illustrious personalities, including Igor Stravinsky, Dmitry Shostakovich, Pablo Casals, Mstislav Rostropovich, Yo-Yo Ma, and Gabriel García Márquez. A new epilogue, in which he describes recent concert tours in Moscow, Siberia, and China and briefer visits to South Korea, Taiwan, and Venezuela, as well as recent recitals with Yo-Yo Ma, brings the story up to 2009. To make the story of his cello complete, Mr. Prieto also provides a brief history of violin making and a succinct review of cello music from Stradivari to the present. He highlights the work of composers from Latin America, Spain, and Portugal, for whose music he has long been an advocate and principal performer.

Now in paperback, Nocturnal Butterflies of the Russian Empire was acclaimed by The Hartford Courant as "a thrilling discovery ... a reversal of the letters [of] Saul Bellow's Herzog ... [with] a Nabokovian delight in words and texts." J. is a smuggler living in Russia, making his living fencing the flotsam of communism's collapse. In Istanbul he takes a commission to trap an endangered Russian butterfly and decides to use it as an opportunity to smuggle V., his Russian lover who has no papers, back into her homeland. In the port of Odessa, she disappears, and J. continues alone to a small village on the Black Sea. Letters from V. begin to arrive, and as J. hunts the butterfly, he seeks a way to lure V. back into his life. Equal parts bittersweet love story, international intrigue, and one man's quest to write the perfect love letter, Nocturnal Butterflies of the Russian Empire, wrote The Tennessean, is "an amazing jewel of a story ... that winks with wit [and] wears its astonishing craftsmanship lightly." "An aesthetically blissful reading experience ... Nabokov's spirit, alive and kind, has touched [Prieto] with its butterfly wings." -- Aleksandar Hemon, The Village Voice Literary Supplement "...Nocturnal Butterflies is an impressive performance by a writer whose gifts are clearly abundant." -- Richard Bernstein, The New York Times "A beautiful, lavish, seedy, poetic, and magical book.... Pure pleasure for the literary mind." -- Chris Kridler, The Baltimore Sun

To escape the choking heat of deep summer, Sky and his family survive on stories of the dead in an underground darkness at the end of the world.

Picture of the prospects and constraints faced by women sculptors in the United States from the late eighteenth century throught the 1930s and the emerging of a professional identity for women artists. Thanks to their success as neoclassicists, women sculptors were able to cross over into nationalistic and political subjects that were unavailable to women painters.