Hit Me Fred

With Hit Me, Fred, sensational sideman Fred Wesley Jr. moves front and center to tell his life story. A legendary funk, soul, and jazz musician, Wesley is best known for his work in the late sixties and early seventies with James Brown and as the leader of Brown’s band, Fred Wesley and the JB’s. Having been the band’s music director, arranger, trombone player, and frequent composer, Wesley is one of the original architects of funk music. He describes what it was like working for the Godfather of Soul, revealing the struggle and sometimes stringent discipline behind Brown’s tight, raucous tunes. After leaving Brown and the JB’s, Wesley arranged the horn sections for Parliament, Funkadelic, and Bootsy’s Rubber Band, and led Fred Wesley and the Horny Horns. Adding his signature horn arrangements to the P-Funk mix, Wesley made funk music even funkier. Wesley’s distinctive sound reverberates through rap and hip-hop music today. In Hit Me, Fred, he recalls the many musicians whose influence he absorbed, beginning with his grandmother and father—both music teachers—and including mentors in his southern Alabama hometown and members of the Army band. In addition to the skills he developed working with James Brown, George Clinton, Bootsy Collins, and the many talented musicians in their milieu, Wesley describes the evolution of his trombone playing through stints with the Ike and Tina Turner Revue, Hank Ballard, and Count Basie’s band. He also recounts his education in the music business, particularly through his work in Los Angeles recording sessions. Wesley is a virtuoso storyteller, whether he's describing the electric rush of performances when the whole band is in the groove, the difficulties of trying to make a living as a rhythm and blues musician, or the frustrations often felt by sidemen. Hit Me, Fred is Wesley’s story of music-making in all its grit and glory.

Maceo Parker's signature style became the lynchpin of James Brown's band when he and his brother Melvin joined the Hardest Working Man in Show Business in 1964. That style helped define Brown's brand of funk, and the phrase &“Maceo, I want you to blow!&” became part of the lexicon of black music. He took time off from James Brown to play with George Clinton's P-funk collective and with Bootsy's Rubber Band; he also formed his own band, Maceo and All the King's Men, whose records are cult favorites among funk aficionados. Here Maceo tells his own warm and astonishing story, from his Southern upbringing to his career touring the world and playing to adoring fans. Maceo has long called his approach to the saxophone &“2% jazz, 98% funky stuff.&” Now, on the eve of Maceo's 70th birthday, in prose as lively and funky as his saxophone playing, here is the definitive story of one of the funkiest musicians alive.

Fred Minnick spent more than a year in Iraq as a U.S. Army public affairs photojournalist, covering the good, bad and ugly sides of the conflict. With a Nikon in one hand and an M-16 in the other, he accompanied combat troops on missions ranging from raids on suspected terrorist strongholds to public relations events including the opening of a school for girls. Some of the stories made it back home, most did not.Camera Boy offers an eye-witness account of the Iraq War from a soldier with a different POV--from behind a camera and typewriter. Unfortunately, being assigned to public affairs did not shield Staff Sergeant Minnick from the horrors of war--including the deaths of two close friends--or from the devastating effects of PTSD upon his return home.It is a story of courage, frustration (with both the military and the mainstream media), dedication and redemption. Includes more than 40 black and white photos taken by the author.

At the end of World War II, twenty-year-old Vera is brutally raped by an unknown assailant. From that rape is born a boy named Fred, a misfit who later becomes a talented boxer. Vera’s young son, Barnum, forms a special but bizarre relationship with his half brother, fraught with rivalry and dependence as well as love. “I should have been your father,” Fred tells Barnum, “instead of the fool who says he is.” It is Barnum, who is now a screenwriter with a fondness for lies and alcohol, who narrates his family’s saga. As he shares his family’s history, he chronicles generations of independent women and absent and flawed men whom he calls the Night Men. Among them is his father, Arnold, who bequeaths to Barnum his circus name, his excessively small stature, and a con man’s belief in the power of illusion. Filled with a galaxy of finely etched characters, this prize-winning novel is a tour de force and a literary masterpiece richly deserving of the accolades it has received.

Copiously researched and documented, Hit Men is the highly controversial portrait of the pop music industry in all its wild, ruthless glory: the insatiable greed and ambition; the enormous egos; the fierce struggles for profits and power; the vendettas, rivalries, shakedowns, and payoffs. Chronicling the evolution of America's largest music labels from the Tin Pan Alley days to the present day, Fredric Dannen examines in depth the often venal, sometimes illegal dealings among the assorted hustlers and kingpins who rule over this multi-billion-dollar business. Updated with a new last chapter by the author.

America Indian culture and traditions have survived an unusual amount of oppressive federal and state educational policies intended to assimilate Indian people and destroy their cultures and languages. Yet, Indian culture, traditions, and people often continue to be treated as objects in the classroom and in the curriculum. Using a critical race theory framework and a unique "counternarrative" methodology, American Indian Education explores a host of modern educational issues facing American Indian peoples—from the impact of Indian sports mascots on students and communities, to the uses and abuses of law that often never reach a courtroom, and the intergenerational impacts of American Indian education policy on Indian children today. By interweaving empirical research with accessible composite narratives, Matthew Fletcher breaches the gap between solid educational policy and the on-the-ground reality of Indian students, highlighting the challenges faced by American Indian students and paving the way for an honest discussion about solutions.

“I don’t know why Fred was never a regular on a show. Maybe because he’s annoying . . . just kidding!” —Ray Romano Fred Stoller has played the annoying schnook in just about every sitcom you’ve seen on TV—Friends, Everybody Loves Raymond, Scrubs, Hannah Montana, My Name Is Earl—and was even a staff writer for Seinfeld, but he’s never found a solid gig. When it comes to Hollywood, it’s a case of always the bridesmaid and never the bride, except in his case he’s always the snarky waiter, the mopey cousin, or Man #2. This hilarious and bittersweet rags to rags story of the hardest-working guy in showbiz follows Fred, who started his career as a stand-up comic, from set to set as he tries to find a permanent home for his oddball character. With candor, Fred shares stories of his great adventures pounding the Hollywood pavement, including a humiliating encounter with Billy Crystal, a disastrous one-night stand with Kathy Griffin, and plenty of awkward run-ins at craft service tables. And he always shares his ups and downs with his skeptical, yet loving, mother waiting by the phone in Brooklyn. Everyone can relate to searching for a dream job or waiting for the next big break, and will root for Fred as he weaves his way through the cutthroat world of Tinseltown.

Living in Destruction By: Gloria Leigh Wilhite Living in Destruction is the true story of a woman from a small southern town in Florida. A mother bent on killing her, a father who just didn’t know how to take care of a little child; she encountered molestations, neglect, rape, abuse and attempted murder. Yet, she endured and survived. How did she accomplish that? Find out in Living in Destruction.