Blue In Black And White

Blue In Black and White, by Sgt. Pete Thoshinsky, is a dramatic new photographic collection, with narratives, featuring members of the San Francisco Police Department; a chronicle of life and law enforcement on the streets of San Francisco. Sgt. Pete Thoshinsky, a 22-year veteran of the SFPD, is well-known for his dramatic photographic images of San Francisco law enforcement, with a permanent display at the Hall of Justice, 4th Floor. This gorgeous, 10 x 10"" hardbound volume contains nearly 200 pages of clear, easy-to-read text and detailed black and white images ? the perfect gift for all SFPD members, retirees and law enforcement collectors. ""

Like cotton, indigo has defied its humble origins. Left alone it might have been a regional plant with minimal reach, a localized way of dyeing textiles, paper, and other goods with a bit of blue. But when blue became the most popular color for the textiles that Britain turned out in large quantities in the eighteenth century, the South Carolina indigo that colored most of this cloth became a major component in transatlantic commodity chains. In Red, White, and Black Make Blue, Andrea Feeser tells the stories of all the peoples who made indigo a key part of the colonial South Carolina experience as she explores indigo's relationships to land use, slave labor, textile production and use, sartorial expression, and fortune building. In the eighteenth century, indigo played a central role in the development of South Carolina. The popularity of the color blue among the upper and lower classes ensured a high demand for indigo, and the climate in the region proved sound for its cultivation. Cheap labor by slaves—both black and Native American—made commoditization of indigo possible. And due to land grabs by colonists from the enslaved or expelled indigenous peoples, the expansion into the backcountry made plenty of land available on which to cultivate the crop. Feeser recounts specific histories—uncovered for the first time during her research—of how the Native Americans and African slaves made the success of indigo in South Carolina possible. She also emphasizes the material culture around particular objects, including maps, prints, paintings, and clothing. Red, White, and Black Make Blue is a fraught and compelling history of both exploitation and empowerment, revealing the legacy of a modest plant with an outsized impact.

Ruth Tucker recounts a harrowing story of abuse at the hands of her husband—a well-educated, charming preacher no less—in hope that her story would help other women caught in a cycle of domestic violence and offer a balanced biblical approach to counter such abuse for pastors and counselors. Weaving together her shocking story, stories of other women, and powerful stories of husbands who truly have demonstrated Christ’s love to their wives, with reflection on biblical, theological, historical, and contemporary issues surrounding domestic violence, she makes a compelling case for mutuality in marriage and helps women and men become more aware of potential dangers in a doctrine of male headship.

Presents a case study of the murder of police officer James Sackett in 1970, during racially tense times in Saint Paul, Minnesota.

Miles Davis, supremely cool behind his shades. Billie Holiday, eyes closed and head tilted back in full cry. John Coltrane, one hand behind his neck and a finger held pensively to his lips. These iconic images have captivated jazz fans nearly as much as the music has. Jazz photographs are visual landmarks in American history, acting as both a reflection and a vital part of African American culture in a time of immense upheaval, conflict, and celebration. Charting the development of jazz photography from the swing era of the 1930s to the rise of black nationalism in the ’60s, Blue Notes in Black and White is the first of its kind: a fascinating account of the partnership between two of the twentieth century’s most innovative art forms. Benjamin Cawthra introduces us to the great jazz photographers—including Gjon Mili, William Gottlieb, Herman Leonard, Francis Wolff, Roy DeCarava, and William Claxton—and their struggles, hustles, styles, and creative visions. We also meet their legendary subjects, such as Duke Ellington, sweating through a late-night jam session for the troops during World War II, and Dizzy Gillespie, stylish in beret, glasses, and goatee. Cawthra shows us the connections between the photographers, art directors, editors, and record producers who crafted a look for jazz that would sell magazines and albums. And on the other side of the lens, he explores how the musicians shaped their public images to further their own financial and political goals. This mixture of art, commerce, and racial politics resulted in a rich visual legacy that is vividly on display in Blue Notes in Black and White. Beyond illuminating the aesthetic power of these images, Cawthra ultimately shows how jazz and its imagery served a crucial function in the struggle for civil rights, making African Americans proudly, powerfully visible.

Until now, there was no modern history of the pornographic movie available - Black and White and Blue fills that void, with exlusive interviews and confrontational style.

Sorry, everypony, it seems our printer ran out of pink, purple, yellow, green, red—uh, well, all the colors except black, white, and blue! What to do with all this blue? Hmm... OH! Drumroll please...In Misty’s first comic appearance, everypony’s favorite blue pony is in Maretime Bay for a sleepover with the Mane 5! But when everypony wakes up...all the color is gone! It kinda looks like Violette and Skye’s favorite old TV show, Betwitched—at least the years it was in black and white—but everypony can still see blue for some reason. Determined to make the best of a gloomy situation, Vi and Skye put together a plan to spread cheer. Meanwhile, Izzy helps the distraught Misty see the beauty in messy situations using the power of unicycling! Join us for a magical one-shot of color calamity before returning to your regularly scheduled programs.