Targeting cultural icons as diverse as Madonna and Spike Lee, Outlaw Culture presents a collection of essays that pulls no punches. As hooks herself notes, interrogations of popular culture can be a 'powerful site for intervention, challenge and change'. And intervene, challenge and change is what hooks does best.

    Alfredo Molano isn’t a novelist or poet, but rather a sociologist who realizes that ‘the way to understand wasn’t to study people but to listen to them.’ The testimonies that Molano collects are a point of departure for a work that knows how to relate, like few others can, Colombia’s pain in a language that has more colors than the rainbow.”—Eduardo Galeano, author of Upside Down and Open Veins of Latin America“The people whose stories Molano tells are not social activists. They do not provide political or structural explanations of their lives; they do not tell stories of coming to consciousness. Yet, together, their stories add up to a powerful analysis of today’s Colombia and should indeed inspire US readers to challenge the US policies that continue to kill, impoverish and displace the people of Colombia.”—From the foreword by Aviva ChomskyHere in their own words are the stories of the desterrados, or “dispossessed”—the thousands of Colombians displaced by years of war and state-backed terrorism, funded in part through US aid to the Colombian government.These gripping stories show the human face of those who suffer the effects of the US “Plan Colombia” and of a state that serves the interests of wealthy landlords instead of the poor.Acclaimed journalist Alfredo Molano is a columnist for the newspaper El Espectador in Colombia. He is a visiting scholar at Stanford University. He is the author of Loyal Soldiers in the Cocaine Kingdom: Tales of Drugs, Mules, and Gunmen.

    Blacks and whites from a variety of backgrounds speak candidly about their lives, their differences, and their battle for viable communities. "The sharpness of his observations and the simple clarity of his prose recommend his book far beyond an academic audience. Vivid, unflinching, finely observed, Streetwise is a powerful and intensely frightening picture of the inner city."—Tamar Jacoby, New York Times Book Review"The book is without peer in the urban sociology literature. . . . A first-rate piece of social science, and a very good read."—Glenn C. Loury, Washington Times

    Prevailing classifications have sometimes assigned Jews to the white race and at other times have created an off-white racial designation for them. Those changes in racial assignment have shaped the ways American Jews of different eras have constructed their ethnoracial identities. Brodkin illustrates these changes through an analysis of her own family's multi-generational experience. She shows how Jews, in her opinion, experience a kind of double vision that comes from racial middleness: on the one hand, marginality with regard to whiteness; on the other, whiteness and belonging with regard to blackness.

    Bonilla-Silva documented how beneath the rhetorical maze of contemporary racial discourse lies a full-blown arsenal of arguments, phrases, and stories that whites use to account for and ultimately justify racial inequities.In the new edition Bonilla-Silva has added a chapter dealing with the future of racial stratification in America that goes beyond the white / black dichotomy. He argues that the U.S. is developing a more complex and apparently "plural" racial order that will mimic Latin American patterns of racial stratification. Another new chapter addresses a variety of questions from readers of the first edition. And he has updated the book throughout with new information, data, and references where appropriate. The book ends with a new Postscript, "What is to be Done (For Real?)". As in the highly acclaimed first edition, Bonilla-Silva continues to challenge color-blind thinking.

    But far more than the riveting account of a break-in, this is a daring exploration of place and the boundaries upon which identities are mapped.As a child growing up in apartheid South Africa, Gevisser becomes obsessed with a street guide called Holmden's Register of Johannesburg, which literally erases entire black townships. Johannesburg, he realizes, is full of divisions between black and white, rich and poor, gay and straight; a place that "draws its energy precisely from its atomization and its edge, its stacking of boundaries against one another." Here, Gevisser embarks on a quest to understand the inner life of his city.Gevisser uses maps, family photographs, shards of memory, newspaper clippings, and courtroom testimony to chart his intimate history of Johannesburg. He begins by tracing his family's journey from the Orthodox world of a Lithuanian shtetl to the white suburban neighborhoods where separate servants' quarters were legally required at every house. Gevisser, who eventually marries a black man, tells stories of others who have learned to define themselves "within, and across, and against," the city's boundaries. He recalls the double lives of gay men like Phil and Edgar, the ever-present housekeepers and gardeners, and the private swimming pools where blacks and whites could be discreetly intimate, even though the laws of apartheid strictly prohibited sex between people of different races. And he explores physical barriers like The Wilds, a large park that divides Johannesburg's affluent Northern Suburbs from two of its poorest neighborhoods. It is this park that the three men who held Gevisser at gunpoint crossed the night of their crime.An ode to both the marked and unmarked landscape of Gevisser's past, Lost and Found in Johannesburg is an existential guide to one of the most complex cities on earth. As Gevisser writes, "Maps would have no purchase on us, no currency at all, if we were not in danger of running aground, of getting lost, of dislocation and even death without them. All maps awaken in me a desire to be lost and to be found . . . [They force] me to remember something I must never allow myself to forget: Johannesburg, my hometown, is not the city I think I know."

    A stimulating analysis of the society and economy in the slave south.

    She explores the importance of women's religious practices along with related themes of family and of social change. Weaving several of her own voices--analytic, descriptive, and personal--with the voices of her subjects in alternate chapters of traditional ethnography and ethnographic fiction, Brown presents herself as a character in Mama Lola's world and allows the reader to evaluate her interactions there. Startlingly original, Brown's work endures as an important experiment in ethnography as a social art form rooted in human relationships. A new preface, epilogue, bibliography, and a collection of family photographs tell the story of the effect of the book's publication on Mama Lola's life.

    From the antebellum practice of shaving the head in an attempt to pass as a "free" person to the 1998 uproar over a White third-grade teacher's reading of the book Nappy Hair, the issues surrounding Black hair linger as we enter the twenty-first century.Tying the personal to the political and the popular, Hair Story takes a chronological look at the culture behind the ever-changing state of Black hair-from fifteenth century Africa to the present-day United States. Hair Story is the book that Black Americans can use as a benchmark for tracing a unique aspect of their history and that people of all races will celebrate as the reference guide for understanding Black hair.