social science / ethnic studies / african american studies

"For the Crunk Feminist Collective, their academic day jobs were lacking in conversations they actually wanted-relevant, real conversations about how race and gender politics intersect with pop culture and current events. To address this void, they started a blog. Now with an annual readership of nearly one million, their posts foster dialogue about activist methods, intersectionality, and sisterhood. And the writers' personal identities-as black women; as sisters, daughters, and lovers; and as television watchers, sports fans, and music lovers-are never far from the discussion at hand. These essays explore "Sex and Power in the Black Church," discuss how "Clair Huxtable is Dead," list "Five Ways Talib Kweli Can Become a Better Ally to Women in Hip Hop," and dwell on "Dating with a Doctorate (She Got a Big Ego?)." Self-described as "critical homegirls," the authors tackle life stuck between loving hip hop and ratchet culture while hating patriarchy, misogyny, and sexism. Brittney Cooper is an assistant professor at Rutgers University. In addition to a weekly column in Salon.com, her words have appeared in the New York Times, the Washington Post, Cosmo.com, and many others. In 2013 and 2014, she was named to the Root.com's Root 100, an annual list of Top Black Influencers. Susana M. Morris received her Ph.D. from Emory University and is currently an associate professor of English at Auburn University. Robin M. Boylorn is assistant professor at the University of Alabama. She is the author of the award-winning monograph Sweetwater: Black Women and Narratives of Resilience (Peter Lang, 2013)"--.

"Black Power burst onto the world scene in 1966 with ideas, politics, and fashion that opened the eyes of millions of people across the globe. In the United States, the movement spread like wildfire: high school and college youth organized black student unions; educators created black studies programs; Black Power conventions gathered thousands of people from all walks of life; and books, journals, bookstores, and publishing companies spread Black Power messages and imagery throughout the country and abroad. Black Power aesthetics of natural hair and African-inspired fashion, ornaments, and home decor--and the concept that black was beautiful--resonated throughout the country. The black arts movement inspired the creation of some eight hundred black theaters and cultural centers, where a generation of writers and artists forged a new and enduring cultural vision. Published in conjunction with a major 2016 exhibit at New York's Schomburg Center for Research in Black Culture, Black Power 50 includes original interviews with key figures from the movement, essays from today's leading Black Power scholars, and more than one hundred stunning images from the Schomburg's celebrated archives, offering a beautiful and compelling introduction to the history and meaning of this pivotal movement. "--.

"'Standing on the stage, I felt exposed and like an intruder. In these professional settings, my personal experiences with hunger, poverty, and episodic homelessness, often go undetected. I had worked hard to learn the rules and disguise my beginning in life...' So begins C. Nicole Mason's powerful memoir, a story of reconciliation, constrained choices and life on the other side of the tracks. Born in the 1970s in Los Angeles, California, Mason was raised by a beautiful, but volatile16-year-old single mother. Early on, she learned to navigate between an unpredictable home life and school where she excelled. By high school, Mason was seamlessly straddling two worlds. The first, a cocoon of familiarity where street smarts, toughness and the ability to survive won the day. The other, foreign and unfamiliar with its own set of rules, not designed for her success. In her Advanced Placement classes and outside of her neighborhood, she felt unwelcomed and judged because of the way she talked, dressed and wore her hair. After moving to Las Vegas to live with her paternal grandmother, she worked nights at a food court in one of the Mega Casinos while finishing school. Having figured out the college application process by eavesdropping on the few white kids in her predominantly Black and Latino school along with the help of a long ago high school counselor, Mason eventually boarded a plane for Howard University, alone and with $200 in her pocket. While showing us her own path out of poverty, Mason examines the conditions that make it nearly impossible to escape and exposes the presumption harbored by many--that the poor don't help themselves enough"--.

"Explores the literature of the Harlem Renaissance, reviewing classic works in the context of the history, society, and culture of its time"--Provided by publisher.

Examines the six autobiographical volumes of Maya Angelou. Although distinct in style and narration, these books are united through a number of repeated themes and through the developing character of the narrator. In scope they stretch over time and place from Arkansas to Africa to California to New York City and from confused child to accomplished adult.

Traces African American history from 1513-2008, focusing on defining events, debates, and controversies, covering history, society, politics, and culture, and including eight hundred images.

Features African American biographies, misunderstood historical facts, essays on significant legislation and movements, and 150 photographs and illustrations.

"Addresses the people, times, and events that influenced and changed African American history. An overview of major biographical figures and history-making events is followed by a deeper look at the development in the arts, entertainment, business, civil rights, music, government, journalism, religion, science, sports, and more"--Provided by publisher.

"The story of Christgau's 1968 season coaching lightweight basketball in California"--.

"In Harlem Nocturne, eminent scholar Farah Jasmine Griffin tells the stories of three black female artists who emerged during this period of unprecedented openness, flourishing professionally while also making enormous political strides for their fellow women and African Americans. Novelist Ann Petry, choreographer and dancer Pearl Primus, and composer and pianist Mary Lou Williams all achieved great fame during the 1940s. Like many African Americans in New York at the time, they weren't native to the city; Petry, a fourth generation New Englander, was born in Connecticut and arrived in Harlem as a newlywed, while Williams was born in Atlanta and only settled in Harlem after years on the road. Primus, for her part, was born in Trinidad and emigrated to New York when she was three years old. All three of these women would make significant contributions to their fields. Petry joined Richard Wright as a major new literary voice; through her work, especially her acclaimed novel The Street, she wrote about the complexities of life for working class black women. Mary Lou Williams became a major figure in the emergence of Be-Bop, and as a keyboardist and composer defied the notion that women could only contribute to jazz as vocalists. Pearl Primus, meanwhile, was a favorite of New York Times dance critic John Martin and performed across the globe and in front of enormous crowds, including at the 1943 Negro Freedom Rally at Madison Square Garden to an audience of 20,000"--.