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Once one of the wealthiest cities in America, Charleston, South Carolina, established a society built on the racial hierarchies of slavery and segregation. By the 1970s, the legal structures behind these racial divisions had broken down and the wealth built upon them faded. Like many southern cities, Charleston had to construct a new public image. In this important book, Steve Estes chronicles the rise and fall of black political empowerment and examines the ways Charleston responded to the civil rights movement, embracing some changes and resisting others. Based on detailed archival research and more than fifty oral history interviews, Charleston in Black and White addresses the complex roles played not only by race but also by politics, labor relations, criminal justice, education, religion, tourism, economics, and the military in shaping a modern southern city. Despite the advances and opportunities that have come to the city since the 1960s, Charleston (like much of the South) has not fully reckoned with its troubled racial past, which still influences the present and will continue to shape the future.
An unflinching look at a beautiful, endangered, tourist-pummeled, and history-filled American city. At least thirteen million Americans will have to move away from American coasts in the coming decades, as rising sea levels and increasingly severe storms put lives at risk and cause billions of dollars in damages. In Charleston, South Carolina, denial, boosterism, widespread development, and public complacency about racial issues compound; the city, like our country, has no plan to protect its most vulnerable. In these pages, Susan Crawford tells the story of a city that has played a central role in America's painful racial history for centuries and now, as the waters rise, stands at the intersection of climate and race. Unbeknownst to the seven million mostly white tourists who visit the charming streets of the lower peninsula each year, the Holy City is in a deeply precarious position. Weaving science, narrative history, and the family stories of Black Charlestonians, Charleston chronicles the tumultuous recent past in the life of the city—from protests to hurricanes—while revealing the escalating risk in its future. A bellwether for other towns and cities, Charleston is emblematic of vast portions of the American coast, with a future of inundation juxtaposed against little planning to ensure a thriving future for all residents. In Charleston, we meet Rev. Joseph Darby, a well-regarded Black minister with a powerful voice across the city and region who has an acute sense of the city's shortcomings when it comes to matters of race and water. We also hear from Michelle Mapp, one of the city's most promising Black leaders, and Quinetha Frasier, a charismatic young Black entrepreneur with Gullah-Geechee roots who fears her people’s displacement. And there is Jacob Lindsey, a young white city planner charged with running the city’s ten-year “comprehensive plan” efforts who ends up working for a private developer. These and others give voice to the extraordinary risks the city is facing. The city of Charleston, with its explosive gentrification over the last thirty years, crystallizes a human tendency to value development above all else. At the same time, Charleston stands for our need to change our ways—and the need to build higher, drier, more densely-connected places where all citizens can live safely. Illuminating and vividly rendered, Charleston is a clarion call and filled with characters who will stay in the reader’s mind long after the final page.
On August 31, 1886, a massive earthquake centered near Charleston, South Carolina, sent shock waves as far north as Maine, down into Florida, and west to the Mississippi River. When the dust settled, residents of the old port city were devastated by the death and destruction. Upheaval in Charleston is a gripping account of natural disaster and turbulent social change in a city known as the cradle of secession. Weaving together the emotionally charged stories of Confederate veterans and former slaves, Susan Millar Williams and Stephen G. Hoffius portray a South where whites and blacks struggled to determine how they would coexist a generation after the end of the Civil War. This is also the story of Francis Warrington Dawson, a British expatriate drawn to the South by the romance of the Confederacy. As editor of Charleston’s News and Courier, Dawson walked a lonely and dangerous path, risking his life and reputation to find common ground between the races. Hailed as a hero in the aftermath of the earthquake, Dawson was denounced by white supremacists and murdered less than three years after the disaster. His killer was acquitted after a sensational trial that unmasked a Charleston underworld of decadence and corruption. Combining careful research with suspenseful storytelling, Upheaval in Charleston offers a vivid portrait of a volatile time and an anguished place. A Friends Fund Publication
Insiders' Guide to Charleston is the essential source for in-depth travel and relocation information to this charming southern city. Written by locals (and true insiders), it offers a personal and practical perspective of Charleston and its surrounding environs. Fully revised and updated, the 13th edition also features a new two-color interior design.
Million Dollar Quartet’ is the name given to recordings made on Tuesday December 4, 1956 in the Sun Record Studios in Memphis, Tennessee. The recordings were of an impromptu jam session among Elvis Presley, Jerry Lee Lewis, Carl Perkins, and Johnny Cash.The events of the session. Very few participants survive. Includes interviews with the drummer and the sound engineer. A detailed analysis of the music played – and its relevance to subsequent popular music. The early lives and careers of the quartet – where they were in 1956. Relevant social and economic factors which meant that a massive audience of young people were keenly looking for a new kind of music they could call their own. The “reunions” of surviving members of the quartet. The emergence of the tapes, first on bootleg and then on legitimate CDs. The genesis of the stage show and its reception – the enduring appeal of the music.
"Through the oils of [West Fraser's] mature style ... he has achieved a level of spontaneity in the plein air tradition that captures the essence of the lowcountry." So concludes the essay by Angela D. Mack that leads everyone from connoisseurs to those who simply enjoy the artistic images of the South Carolina lowcountry into a visual feast to stir the senses. The first book of its kind dedicated to the work of this plein air impressionist, Charleston in My Time: The Paintings of West Fraser celebrates the passion and independence West Fraser exhibits in his work, his amazing eye for natural light and landscapes, and his love of Charleston and the lowcountry.
#1 NEW YORK TIMES BESTSELLER • “A big sweeping novel of friendship and marriage” (The Washington Post) by the celebrated author of The Prince of Tides and The Great Santini Leopold Bloom King has been raised in a family shattered—and shadowed—by tragedy. Lonely and adrift, he searches for something to sustain him and finds it among a tightly knit group of outsiders. Surviving marriages happy and troubled, unrequited loves and unspoken longings, hard-won successes and devastating breakdowns, as well as Charleston, South Carolina’s dark legacy of racism and class divisions, these friends will endure until a final test forces them to face something none of them are prepared for. Spanning two turbulent decades, South of Broad is Pat Conroy at his finest: a masterpiece from a great American writer whose passion for life and language knows no bounds. Praise for South of Broad “Vintage Pat Conroy . . . a big sweeping novel of friendship and marriage.”—The Washington Post “Conroy remains a magician of the page.”—The New York Times Book Review “Richly imagined . . . These characters are gallant in the grand old-fashioned sense, devoted to one another and to home. That siren song of place has never sounded so sweet.”—New Orleans Times-Picayune “A lavish, no-holds-barred performance.”—The Atlanta Journal-Constitution “A lovely, often thrilling story.”—The Dallas Morning News “A pleasure to read . . . a must for Conroy’s fans.”—Associated Press
Charleston, South Carolina, today enjoys a reputation as a destination city for cultural and heritage tourism. In A Golden Haze of Memory, Stephanie E. Yuhl looks back to the crucial period between 1920 and 1940, when local leaders developed Charleston's trademark image as "America's Most Historic City." Eager to assert the national value of their regional cultural traditions and to situate Charleston as a bulwark against the chaos of modern America, these descendants of old-line families downplayed Confederate associations and emphasized the city's colonial and early national prominence. They created a vibrant network of individual artists, literary figures, and organizations--such as the all-white Society for the Preservation of Negro Spirituals--that nurtured architectural preservation, art, literature, and tourism while appropriating African American folk culture. In the process, they translated their selective and idiosyncratic personal, familial, and class memories into a collective identity for the city. The Charleston this group built, Yuhl argues, presented a sanitized yet highly marketable version of the American past. Their efforts invited attention and praise from outsiders while protecting social hierarchies and preserving the political and economic power of whites. Through the example of this colorful southern city, Yuhl posits a larger critique about the use of heritage and demonstrates how something as intangible as the recalled past can be transformed into real political, economic, and social power.
Often problematically labeled as “Brutalist” architecture, the concrete buildings that transformed Boston during 1960s and 1970s were conceived with progressive-minded intentions by some of the world’s most influential designers, including Marcel Breuer, Le Corbusier, I. M. Pei, Henry Cobb, Araldo Cossutta, Gerhard Kallmann and Michael McKinnell, Paul Rudolph, Josep Lluís Sert, and The Architects Collaborative. As a worldwide phenomenon, building with concrete represents one of the major architectural movements of the postwar years, but in Boston it was deployed in more numerous and diverse civic, cultural, and academic projects than in any other major U.S. city. After decades of stagnation and corrupt leadership, public investment in Boston in the 1960s catalyzed enormous growth, resulting in a generation of bold buildings that shared a vocabulary of concrete modernism. The period from the 1960 arrival of Edward J. Logue as the powerful and often controversial director of the Boston Redevelopment Authority to the reopening of Quincy Market in 1976 saw Boston as an urban laboratory for the exploration of concrete’s structural and sculptural qualities. What emerged was a vision for the city’s widespread revitalization often referred to as the “New Boston.” Today, when concrete buildings across the nation are in danger of insensitive renovation or demolition, Heroic presents the concrete structures that defined Boston during this remarkable period—from the well-known (Boston City Hall, New England Aquarium, and cornerstones of the Massachusetts Institute of Technology and Harvard University) to the already lost (Mary Otis Stevens and Thomas F. McNulty’s concrete Lincoln House and Studio; Sert, Jackson & Associates’ Martin Luther King Jr. Elementary School)—with hundreds of images; essays by architectural historians Joan Ockman, Lizabeth Cohen, Keith N. Morgan, and Douglass Shand-Tucci; and interviews with a number of the architects themselves. The product of 8 years of research and advocacy, Heroic surveys the intentions and aspirations of this period and considers anew its legacies—both troubled and inspired.