In his signature “shaped speech” style, he creates a narrative of moments and joyous music, from the drums of the ancestors, the red dirt of the plantations, the current of the mighty Mississippi, and the shackles, blood, and tears of slavery. Each chop of the ax is a beat, each lash of the whip fashions another line on the musical staff. But each sound also creates the chords and harmonies that preserve the ancestors and their stories, and sustain life, faith, and hope into our own times.

    In addition to readings from well-known authors in the field, this edition includes pieces from contemporary scholars breaking new ground in superordinate studies. Seventeen carefully selected essays explore the multifaceted aspects of privilege: how race, gender, class, and sexual preference interact in the lives of those who are privileged by one or more of these identities. Written from a variety of viewpoints, personal and analytic, the essays in this volume help students understand that “race” can mean white people, “gender” can mean men, and “sexuality” can mean heterosexuals.I. MAKING PRIVILEGE VISIBLE1. McIntosh, Peggy. “White Privilege and Male Privilege.”2. Woods, Jewel.“Black Male Privilege.” *3. Larew, John, “Why are Droves of Unqualified, Unprepared Kids Getting Into our Top Colleges?”4. Dunbar-Ortiz, Roxanne. “On Being Okie.”5. Messner, Michael A. “Becoming 100% Straight” 6. Rochlin, M. “The Heterosexual Questionnaire.” II. UNDERSTANDING PRIVILEGE7. Johnson, Allan. “Privilege Power and Difference and Us,” from Privilege Power and Difference.*8. Brodkin Sacks, Karen. “How Jews Became White”9. Kimmel, Michael S. “Masculinity as Homophobia.” 10. Wise, Tim. “Anti-Racist Reflections From an Angry White Male.” *11. Kendall, Diana. “Class in the United States: Not Only Alive but Reproducing.” *III. EXAMINING INTERSECTIONS12. Redding, Maureen T. “Invisibility/Hypervisibility: The Paradox of Normative Whiteness.” *13. hooks, bell. “Class and Race: The New Black Elite.”14. Bérubé, Allan. “How Gay Stays White and What Kind of White it Stays.”IV. MOVING FORWARD15. Thompson, Becky. “Subverting Racism From Within.”16. Hill Collins, Patricia. “Toward a New Vision.” 17.Ferber, Abby. “Dismantling Privilege and Becoming an Ally.” *

    What unravels for Tracy D. Sharpley-Whiting is a new, and problematic, politics of gender. In this fascinating and forceful book, Sharpley-Whiting, a feminist writer who is a member of the hip hop generation, interrogates the complexities of young black women's engagement with a culture that is masculinist, misogynistic, and frequently mystifying.Beyond their portrayal in rap lyrics, the display of black women in music videos, television, film, fashion, and on the Internet is indispensable to the mass media engineered appeal of hip hop culture, the author argues. And the commercial trafficking in the images and behaviors associated with hip hop has made them appear normal, acceptable, and entertaining - both in the U.S. and around the world.Sharpley-Whiting questions the impacts of hip hop's increasing alliance with the sex industry, the rise of groupie culture in the hip hop world, the impact of hip hop's compulsory heterosexual culture on young black women, and the permeation of the hip hop ethos into young black women's conceptions of love and romance.The author knows her subject from the inside. Coming of age in the midst of hip hop's evolution in the late 1980s, she mixed her graduate studies with work as a runway and print model in the 1990s. Her book features interviews with exotic dancers, black hip hop groupies, and hip hop generation members Jacklyn "Diva" Bush, rapper Trina, and filmmaker Aishah Simmons, along with the voices of many "everyday" young women.Pimps Up, Ho's Down turns down the volume and amplifies the substance of discussions about hip hop culture and to provide a space for young black women to be heard.2007 Popular Culture Association/American Culture Association Emily Toth Award

    Processes of debate and decision making often marginalize individuals and groups because the norms of political discussion are biased against some forms of expression. Inclusion and Democracy broadens our understanding of democratic communication by reflecting on the positive political functions of narrative, rhetorically situated appeals, and public protest. It reconstructs concepts of civil society and public sphere as enacting such plural forms of communication among debating citizens in large-scale societies. Iris Marion Young thoroughly discusses class, race, and gender bias in democratic processes, and argues that the scope of a polity should extend as wide as the scope of social and economic interactions that raise issues of justice. Today this implies the need for global democratic institutions. Young also contends that due to processes of residential segregation and the design of municipal jurisdictions, metropolitan governments which preserve significant local autonomy may be necessary to promote political equality. This latest work from one of the world's leading political philosophers will appeal to audiences from a variety of fields, including philosophy, political science, women's studies, ethnic studies, sociology, and communications studies.

    Adilifu Nama sees the value—and finds new avenues for exploring racial identity—in black superheroes who are often dismissed as sidekicks, imitators of established white heroes, or are accused of having no role outside of blaxploitation film contexts.Nama examines seminal black comic book superheroes such as Black Panther, Black Lightning, Storm, Luke Cage, Blade, the Falcon, Nubia, and others, some of whom also appear on the small and large screens, as well as how the imaginary black superhero has come to life in the image of President Barack Obama. Super Black explores how black superheroes are a powerful source of racial meaning, narrative, and imagination in American society that express a myriad of racial assumptions, political perspectives, and fantastic (re)imaginings of black identity. The book also demonstrates how these figures overtly represent or implicitly signify social discourse and accepted wisdom concerning notions of racial reciprocity, equality, forgiveness, and ultimately, racial justice.

    Nikhil Pal Singh asks what happened to the worldly and radical visions of equality that animated black intellectual activists from W. E. B. Du Bois in the 1930s to Martin Luther King, Jr. in the 1960s. In so doing, he constructs an alternative history of civil rights in the twentieth century, a long civil rights era, in which radical hopes and global dreams are recognized as central to the history of black struggle.It is through the words and thought of key black intellectuals, like Du Bois, Ralph Bunche, C. L. R. James, Richard Wright, Ralph Ellison, Langston Hughes, and others, as well as movement activists like Malcolm X and Black Panthers, that vital new ideas emerged and circulated. Their most important achievement was to create and sustain a vibrant, black public sphere broadly critical of U.S. social, political, and civic inequality.Finding racism hidden within the universalizing tones of reform-minded liberalism at home and global democratic imperatives abroad, race radicals alienated many who saw them as dangerous and separatist. Few wanted to hear their message then, or even now, and yet, as Singh argues, their passionate skepticism about the limits of U.S. democracy remains as indispensable to a meaningful reconstruction of racial equality and universal political ideals today as it ever was.

    His long, intimate piece on the tour, The Rolling Stones Discover America, captures the highs and lows of the grueling tour and has become a classic of rock ‘n’ roll journalism—one that the Maysles brothers studied to guide the editing of their film, Gimme Shelter.

    Stephen Greenblatt examines the structure of selfhood as evidenced in major literary figures of the English Renaissance—More, Tyndale, Wyatt, Spenser, Marlowe, and Shakespeare—and finds that in the early modern period new questions surrounding the nature of identity heavily influenced the literature of the era. Now a classic text in literary studies, Renaissance Self-Fashioning continues to be of interest to students of the Renaissance, English literature, and the new historicist tradition, and this new edition includes a preface by the author on the book's creation and influence. "No one who has read [Greenblatt's] accounts of More, Tyndale, Wyatt, and others can fail to be moved, as well as enlightened, by an interpretive mode which is as humane and sympathetic as it is analytical. These portraits are poignantly, subtly, and minutely rendered in a beautifully lucid prose alive in every sentence to the ambivalences and complexities of its subjects."—Harry Berger Jr., University of California, Santa Cruz

    Bohemians is the graphic history of this movement and its illustrious figures, recovering the utopian ideas behind millennial communities, and covering the rise of Greenwich Village, the multiracial and radical jazz world, and West Coast and Midwest bohemians, among other scenes.Drawn by an all-star cast of comics artists, including rising figures like Sabrina Jones, Lance Tooks, and Summer McClinton, alongside established artists like Peter Kuper and Spain Rodriguez, Bohemians is a broad and entertaining account of the rebel impulse in American cultural history.featuring work bySpain Rodriguez,Sharon Rudahl,Peter Kuper, Sabrina Jones, David Lasky, Afua Richardson,Lance Tooks,Milton Knight, and others.The ebook edition is expanded from the paperback edition, andincludes additional chapters on the swing music scene,La Bohemeandmidwest bohemians, as well as expanded material on the Greenwich Village intellectuals, Walt Whitman and Harlem jazz club Mintons Playhouse.

    A role model for generations of writers and performers, Doc was renowned for his mastery of virtually every popular style, from the gutbucket rhythm and blues of “Lonely Avenue” to the symphonic soul of “Save the Last Dance for Me” to the pure pop of “Viva Las Vegas.” His songs-“This Magic Moment,” “A Teenager in Love,” “Hushabye,” “Little Sister,” “Turn Me Loose,” and many others-have been recorded by everyone from Ray Charles, Elvis Presley, and B. B. King to Bob Dylan, Led Zeppelin, and Bruce Springsteen, with sales exceeding $100 million. Doc was ready-made for literature. His collaborator Mort Shuman once described him as an “entire rollicking soul neighborhood rolled into one man.” Garrulous, profane, hilarious, and Rabelaisian, Doc was never inhibited about offering his opinions and his friendship. His confidants, collaborators, and discoveries included Duke Ellington, John Lennon, Dr. John, Jimmy Scott, Bette Midler, and Lou Reed. In the words of renowned producer Jerry Wexler, “If the music industry had a heart, it would be Doc Pomus.” Despite, or more likely because of, his successes, few acquaintances knew that this writer of jukebox hits led one of the most dramatic and unlikely lives of his time. Spanning extravagant wealth and desperate poverty, suburban domesticity and the depths of New York’s underworld, worldwide fame and near-total obscurity, enduring love and persistent loneliness, Doc’s story remains one of the great untold American lives. Its chapters comprise a back-room history of rock ’n’ roll, touching on more than a half-century of American popular music-from the blues Doc performed with Lester Young to his collaborations with the luminaries of New York’s punk scene, shot through with vivid portraits of virtually every major player. Lonely Avenue is the first biography of this American original, so elegantly rendered that it reads like a novel, and fortified by full, exclusive access to Doc Pomus’s family, friends, voluminous journals, and archives.

    Such experiences are best understood not only through the straightforward acquisition of facts but through a process of discovering where and why conscious understanding and memory fail. Literature, according to Cathy Caruth and others, opens a window on traumatic experience because it teaches readers to listen to what can be told only in indirect and surprising ways. Sociology, film, and political activism can also provide new ways of thinking about and responding to the experience of trauma.In Trauma and Memory, a distinguished group of analysts and critics offer a compelling look at what literature and the new approaches of a variety of clinical and theoretical disciplines bring to the understanding of traumatic experience. Combining two highly-acclaimed special issues of American Imago edited by Caruth, this interdisciplinary collection of essays and interviews will be of interest to analysts and critics concerned with the notion of trauma and the problem of interpretation and, more generally, to those interested in current discussions of subjects such as child abuse, AIDS, and the effects of historical atrocities such as the Holocaust.Contributions by: Georges Bataille, Harold Bloom, Laura Brown, Cathy Caruth, Kai Erikson, Shoshana Felman, Henry Krystal, Claude Lanzmann, Dori Laub, Kevin Newmark, Onno van der Hart, and Bessel van der Kolk. Interviews with: Robert Jay Lifton, Gregg Bordowitz, Douglas Crimp, and Laura Pinsky

    In The Altar of My Soul, Marta Moreno Vega recounts the compelling true story of her journey from ignorance and skepticism to initiation as a Yoruba priestess in the Santería religion. This unforgettable spiritual memoir reveals the long-hidden roots and traditions of a centuries-old faith that originated on the shores of West Africa.As an Afro-Puerto Rican child in the New York barrio, Marta paid little heed to the storefront botanicas full of spiritual paraphernalia or to the Catholic saints with foreign names: Yemayá, Ellegua, Shangó. As an adult, in search of a religion that would reflect her racial and cultural heritage, Marta was led to the Way of the Saints. She came to know Santería intimately through its prayers and rituals, drumming and dancing, trances and divination that spark sacred healing energy for family, spiritual growth, and service to others. Written by one who is a professor and a santera priestess, The Altar of My Soul lays before us an electrifying and inspiring faith–one passed down from generation to generation that vitalizes the sacred energy necessary to build a family, a community, and a strong, loving society.

    Then he meets Sylvia, a beautiful magazine editor who keeps her passions under lock and key. Together they must choose between the love in their lives and the love of their lives. From the galleries of Soho to the brownstones of Brooklyn, from the nightclubs of London to the streets of Kingston, Jamaica, Colin Channer takes us on a wild, soul-searching ride as Fire and Sylvia try to connect, disconnect, and reconnect amid conflicting desires and wounds from the past. But through intricate love triangles and crushing personal tragedies, Fire, Sylvia, and their friends must learn that some things in life are worth fighting for. If not, you’re simply waiting in vain.

    Jackson notes that no one has offered a convincing explanation of why Islam spread among Blackamericans (a coinage he explains and defends) but not among white Americans or Hispanics. The assumption has been that there is an African connection. In fact, Jackson shows, none of the distinctive features of African Islam appear in the proto-Islamic, black nationalist movements of the early 20th century. Instead, he argues, Islam owes its momentum to the distinctively American phenomenon of Black Religion, a God-centered holy protest against anti-black racism.Islam in Black America begins as part of a communal search for tools with which to combat racism and redefine American blackness. The 1965 repeal of the National Origins Quota System led to a massive influx of foreign Muslims, who soon greatly outnumbered the blacks whom they found here practicing an indigenous form of Islam. Immigrant Muslims would come to exercise a virtual monopoly over the definition of a properly constituted Islamic life in America. For these Muslims, the nemesis was not white supremacy, but the West. In their eyes, the West was not a racial, but a religious and civilizational threat. American blacks soon learned that opposition to the West and opposition to white supremacy were not synonymous. Indeed, says Jackson, one cannot be anti-Western without also being on some level anti-Blackamerican. Like the Black Christians of an earlier era struggling to find their voice in the context of Western Christianity, Black Muslims now began to strive to find their black, American voice in the context of the super-tradition of historical Islam. Jackson argues that Muslim tradition itself contains the resources to reconcile blackness, American-ness, and adherence to Islam. It is essential, he contends, to preserve within Islam the legitimate aspects of Black Religion, in order to avoid what Stephen Carter calls the domestication of religion, whereby religion is rendered incapable of resisting the state and the dominant culture. At the same time, Jackson says, it is essential for Blackamerican Muslims to reject an exclusive focus on the public square and the secular goal of subverting white supremacy (and Arab/immigrant supremacy) and to develop a tradition of personal piety and spirituality attuned to distinctive Blackamerican needs and idiosyncrasies.