Levon And Kennedy

Two African American men from poor, rural Mississippi wrongfully convicted for crimes they didn't commit. Lost years of their lives spent in jail and finally released a decade a half later thanks to the Innocence Project and DNA testing. This is their life for all to see. In the early 1990s in a small disadvantaged community in rural Mississippi, Levon Brooks and Kennedy Brewer were wrongfully convicted in separate trials of capital murder. Brooks, despite an alibi, was sentenced to life and was imprisoned for 18 years. A few years later Brewer was convicted and sentenced to death. He was incarcerated for 15. In 2008 the Innocence Project in New York exonerated both men. Vanessa Potkin, longtime attorney at the Innocence Project, along with co-founder of the Innocence Project, Peter Neufeld, spent years investigating the two cases, and discovered a link between them that subsequent DNA testing substantiated. The results of that testing led authorities to the real perpetrator who was responsible for both murders and then to the exonerations of Brooks and Brewer. Without the work of the Innocence Project, Potkin, Neufeld, and a host of others, these photographs-of lives lost, forgotten, and then regained-would not have been possible. The photographs' poignance is made all the more powerful as one contemplates their stark, deeply felt beauty against the haunting realization that they were almost never able to be made or seen at all. The evidence against Brooks and Brewer consisted primarily of bite mark matching evidence. A prosecution expert testified that in both cases multiple bite marks covered the victims' bodies and matched the defendants' teeth impressions. A group of experts retained by the Innocence Project later determined that the marks were not bite marks at all. As a forensic discipline, bite mark matching has come under serious criticism in recent years and led to the exoneration of multiple other prisoners. This same prosecution expert testified not only in Brooks's and Brewer's cases, but a host of others in Mississippi and the region. The extent of the damage is still unknown. In 2012, photographer Isabelle Armand came across an article about these two cases. Such a scenario seemed unbelievable. How, why, and where could this happen? How does one cope with wrongful conviction? For the next five years, she spent several weeks each year documenting Brooks, Brewer, their families and their environment. This intimate photographic essay, akin to looking in a mirror, puts faces on the victims of wrongful convictions. It seeks to raise consciousness, challenge popular perceptions about poverty and inequality in our criminal justice system, and demands that we confront these critical issues.

A shocking and deeply reported account of the persistent plague of institutional racism and junk forensic science in our criminal justice system, and its devastating effect on innocent lives After two three-year-old girls were raped and murdered in rural Mississippi, law enforcement pursued and convicted two innocent men: Kennedy Brewer and Levon Brooks. Together they spent a combined thirty years in prison before finally being exonerated in 2008. Meanwhile, the real killer remained free. The Cadaver King and the Country Dentist recounts the story of how the criminal justice system allowed this to happen, and of how two men, Dr. Steven Hayne and Dr. Michael West, built successful careers on the back of that structure. For nearly two decades, Hayne, a medical examiner, performed the vast majority of Mississippi's autopsies, while his friend Dr. West, a local dentist, pitched himself as a forensic jack-of-all-trades. Together they became the go-to experts for prosecutors and helped put countless Mississippians in prison. But then some of those convictions began to fall apart. Here, Radley Balko and Tucker Carrington tell the haunting story of how the courts and Mississippi's death investigation system -- a relic of the Jim Crow era -- failed to deliver justice for its citizens. The authors argue that bad forensics, structural racism, and institutional failures are at fault, raising sobering questions about our ability and willingness to address these crucial issues.

“Helm lays it all bare in vivid, impassioned prose, adding an earthly, backwoods tone that makes the book read like a Southern novel, like Thomas Wolfe writing about rock ’n’ roll.” —Boston Globe “One of the most insightful and intelligent rock bios in recent memory.” —Entertainment Weekly The Band, who backed Bob Dylan when he went electric in 1965 and then turned out a half-dozen albums of beautifully crafted, image-rich songs, is now regarded as one of the most influential rock groups of the '60s. But while their music evoked a Southern mythology, only their Arkansawyer drummer, Levon Helm, was the genuine article. From the cotton fields to Woodstock, from seeing Sonny Boy Williamson and Elvis Presley to playing for President Clinton, This Wheel’s on Fire replays the tumultuous history of our times in Levon’s own unforgettable folksy drawl. This edition is expanded with a new epilogue covering the last dozen years of Levon's life. Levon Helm (1940-2012) met Ronnie Hawkins at the age of 17 and formed what would soon become The Band. He maintained a successful career as a singer and actor until his death. Stephen Davis is the author of Hammer of the Gods: The Led Zeppelin Saga; More Room in a Broken Heart: The True Adventures of Carly Simon; Old Gods Almost Dead: The 40-Year Odyssey of the Rolling Stones; Jim Morrison: Life, Death, Legend; Walk This Way: The Autobiography of Aerosmith; and others.

In January 2008, Roy went to Cambodia to spearhead Traffik, a project that would expose the grave reality of women trapped in the sex industry. Inspired by Somaly Mam, a former sex-slave who worked at reintegrating these women back into society, Roy began the emotionally taxing work of photographing the victims. With access to both the brothels and rehabilitation centres, Roy captured the powerful stories of rape, girls being sold by their mothers, bartered for, exchanged and sold across borders. These images attempt to give them a voice.

In this captivating novel, New York Times bestselling author Fiona Davis takes readers into the glamorous lost art school within Grand Central Terminal, where two very different women, fifty years apart, strive to make their mark on a world set against them. For most New Yorkers, Grand Central Terminal is a crown jewel, a masterpiece of design. But for Clara Darden and Virginia Clay, it represents something quite different. For Clara, the terminal is the stepping stone to her future. It is 1928, and Clara is teaching at the lauded Grand Central School of Art. Though not even the prestige of the school can override the public's disdain for a "woman artist," fiery Clara is single-minded in her quest to achieve every creative success—even while juggling the affections of two very different men. But she and her bohemian friends have no idea that they'll soon be blindsided by the looming Great Depression...and that even poverty and hunger will do little to prepare Clara for the greater tragedy yet to come. By 1974, the terminal has declined almost as sharply as Virginia Clay's life. Dilapidated and dangerous, Grand Central is at the center of a fierce lawsuit: Is the once-grand building a landmark to be preserved, or a cancer to be demolished? For Virginia, it is simply her last resort. Recently divorced, she has just accepted a job in the information booth in order to support herself and her college-age daughter, Ruby. But when Virginia stumbles upon an abandoned art school within the terminal and discovers a striking watercolor, her eyes are opened to the elegance beneath the decay. She embarks on a quest to find the artist of the unsigned masterpiece—an impassioned chase that draws Virginia not only into the battle to save Grand Central but deep into the mystery of Clara Darden, the famed 1920s illustrator who disappeared from history in 1931.

Aboard a long-range research vessel, in the vast reaches of the South Pacific, the cast and crew of the reality show Sealife believe they have found a ratings bonanza. For a director dying for drama, a distress call from Henders Island—a mere blip on any radar—might be just the ticket. Until the first scientist sets foot on Henders—and the ultimate test of survival begins. For when they reach the island’s shores, the scientists are utterly unprepared for what they find—creatures unlike any ever recorded in natural history. This is not a lost world frozen in time; this is Earth as it might have looked after evolving on a separate path for half a billion years—a fragment of a lost continent, with an ecosystem that could topple ours like a house of cards.

In the 1970s and 80s New York was internationally renowned for its seedy underbelly; the world capital of leisure, luxury, and sin. And the epicenter of New York vice, hands down, was 42nd Street-Times Square-a.k.a. the Forty-Deuce. On any given night on the Forty-Deuce you could take in the latest blockbuster, B-movie, or skin flick; cop drugs or cop a feel. A playground for the perverse, as well as a destination for thrill-seekers and partiers from every borough of New York City and beyond, Times Square was the electric heart of the city that refused to sleep. The Forty-Deuce: The Times Square Photographs of Bill Butterworth, 1983-1984 is a series of photographs capturing a gritty, glamorous, and authentic old-school New York, well before Mickey Mouse took over Times Square and scrubbed it clean. Curators and editors Beatriz and Hilton Arial Ruiz have collected and preserved the work of local street photographer Bill Butterworth, and have drawn from his work to create a revealing portrait of the Forty-Deuce, inside and out-capturing the unique street life and street style of the era, but also drawing us deeper in, to the peep shows, sex shops, backroom brothels, dimly lit arcades, and low-budget theatres where the action happened. In the tradition of Jamel Shabazz's classic, Back in the Days, The Forty-Deuce showcases the early-80s style of New York's first b-boys, out on the town and dressed to impress, but it adds some sin to the mix, with the Deuce's own slick pimps, strung out hustlers, and the spandex and leather clad prostitutes, strippers, and trannies that worked 42nd Street nightly, and defined it for years.

The life of the legendary drummer and singer is explored through extensive research and personal interviews with family, friends, and fellow musicians. In the Arkansas Delta, a young Levon Helm witnessed “blues, country, and gospel hit in a head-on collision,” as he put it. The result was rock 'n' roll. As a teenager, he joined the raucous Ronnie Hawkins and the Hawks, then helped merge a hard-driving electric sound with Bob Dylan's folk roots, and revolutionized American rock with the Band. Helm not only provided perfect “in the pocket” rhythm and unforgettable vocals, he was the soul of The Band. Levon traces a rebellious life on the road, from being booed with Bob Dylan to the creative cauldron of Big Pink, the Woodstock Festival, world tours, The Last Waltz, and beyond with the man Dylan called “one of the last true great spirits of my or any other generation.” Author Sandra B. Tooze digs deep into what Helm saw as a devastating betrayal by his closest friend, Band guitarist Robbie Robertson—and Levon’s career collapse, his near bankruptcy, and the loss of his voice due to throat cancer in 1997. Yet Helm found success in an acting career that included roles in Coal Miner’s Daughter and The Right Stuff. Regaining his singing voice, he made his last decade a triumph, opening his barn to the Midnight Rambles and earning three Grammys.

From the best-selling author of How To Write an Autobiographical Novel, Alexander Chee's award-winning debut is "One of the great queer novels . . . of our time."—Brandon Taylor, GQ Twelve-year-old Fee is a shy Korean-American boy growing up in Maine whose powerful soprano voice wins him a place as section leader of the first sopranos in his local boys choir. But when, on a retreat, Fee discovers how the director treats the boys he makes section leader, he is so ashamed, he says nothing of the abuse, not even when Peter, Fee’s best friend, is in line to be next. The director is eventually arrested, and Fee tries to forgive himself for his silence. But when Peter takes his own life, Fee blames only himself. Years later, after he has carefully pieced a new life together, Fee takes a job at a private school near his hometown. There he meets a young student, Arden, who, to his shock, is the picture of Peter—and the son of his old choir director. Told with “the force of a dream and the heft of a life” (Annie Dillard), this is a haunting, lyrically written debut novel that marked Chee “as a major talent whose career will bear watching” (Publisher’s Weekly).

Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.