Othello; a general in the Venetian army; has married the lovely Desdemona; and Roderigo is not at all happy. He was hoping to woo Desdemona for himself. Roderigos jealousy is all Iago; Roderigos sneaky friend; needs; as he has his own reasons to be angry with Othello. By weaving an intricate web of deceit; infidelity; and envy; Iago is able to plant false suspicions and lead people to commit crimes that will destroy the relationships dearest to them. This is an unabridged version of one of William Shakespeares most famous tragedies; first published in England in 1622.
#664463 in eBooks 2014-10-28 2014-10-28File Name: B00M719Z6U
Review
2 of 2 people found the following review helpful. Far-Ranging Look at Sixties JazzBy Peter BaklavaPeople who are curious about this book should not be misled by the title. One of the things it "aint" is a critical book about free jazz. Instead; its an examination of the links between "hard bop" of the Fifties; Sixties; and Seventies; with the civil rights movement... and the development of a "black aesthetic" in jazz.It begins with a chapter about "hipsterism" that makes references to Cab Calloway and Mezz Mezzrow; and then goes on toward the development of the Newport Jazz Festival. In 1960; there was a riot at Newport Jazz that was largely instigated by white college kids whod found themselves shut out of the upscale event. Poet Langston Hughes was moved to write about it in a book called "Ask Your Mama" in which Hughes adopted an angry tone writing about lack of progress for blacks. The next year; Charles Mingus attempted to run a "counter-festival" at Newport. These were some of the first stirrings of political activism in jazz.Scott Saul enlarges on the "hipster" theme by turning to Oscar Brown; Jr. (a singer who combined his jazz with social activism); who authored a song called "But I Was Cool". He later collaborated with Max Roach in some overtly political jazz ("We Insist: The Freedom Now Suite"); and made some appearances on television promoting progressive jazz.Major jazz figures who are profiled include Mingus; John Coltrane; Jackie McLean; Cannonball Adderley; Max Roach and Abbey Lincoln. There are detailed descriptions of major works that had political significance; including Mingus "Pithecanthropus Erectus"; "Eclipse"; "Fables of Faubus"; and "Black Saint and the Sinner Lady"; and Coltranes " A Love Supreme". In connection with Coltrane; Amiri Barakas critical appreciations are given space; as well as the role of photographer Roy DeCaravas depictions of Coltrane.Coltrane is profiled as a near religious figure; self-effacing and totally dedicated to his work; and equally as important to black lives as was Malcolm X. Charles Mingus is remembered as a jazz revolutionary with a larger than life persona; who remained too individualistic to ever commit to political movements; although he was intrigued by the counterculture.The book tends to drift a bit when Saul tries to tie in that counterculture with examples like playwright Sam Shepard (supposedly influenced by Mingus jazz); and white activist and poet John Sinclair... rather than exploring whether any white jazz musicians were politically involved. Nor will many be familiar with either Betty Carters "Jazz Aint Nothing But Soul" ; Jackie McLeans "Soul" album; or Cannonball Adderleys involvement with Jesse Jacksons "Operation Breadbasket". These examples are offered as proof of the turn towards "soul jazz" in the late Sixties. In parallel to soul jazz; some black musicians began developing artists collectives (such as Chicagos AACM).In trying to be so comprehensive; "Freedom Is; Freedom Aint" at times seems sprawling and diffuse. But jazz fans who are interested in the developments of "musical consciousness-raising" within the 1960s will find that; even with some questionable choices; the book is by and large very stimulating.
