Underprivileged schools. Just plain bad schools.”   That’s how Eve L. Ewing opens Ghosts in the Schoolyard: describing Chicago Public Schools from the outside. The way politicians and pundits and parents of kids who attend other schools talk about them, with a mix of pity and contempt.   But Ewing knows Chicago Public Schools from the inside: as a student, then a teacher, and now a scholar who studies them. And that perspective has shown her that public schools are not buildings full of failures—they’re an integral part of their neighborhoods, at the heart of their communities, storehouses of history and memory that bring people together.   Never was that role more apparent than in 2013 when Mayor Rahm Emanuel announced an unprecedented wave of school closings. Pitched simultaneously as a solution to a budget problem, a response to declining enrollments, and a chance to purge bad schools that were dragging down the whole system, the plan was met with a roar of protest from parents, students, and teachers. But if these schools were so bad, why did people care so much about keeping them open, to the point that some would even go on a hunger strike?   Ewing’s answer begins with a story of systemic racism, inequality, bad faith, and distrust that stretches deep into Chicago history. Rooting her exploration in the historic African American neighborhood of Bronzeville, Ewing reveals that this issue is about much more than just schools. Black communities see the closing of their schools—schools that are certainly less than perfect but that are theirs—as one more in a long line of racist policies. The fight to keep them open is yet another front in the ongoing struggle of black people in America to build successful lives and achieve true self-determination.

    . . . Not many scholars will ever be able to achieve the kind of synthesis of 'doing' and 'writing about' their subject matter that Chernoff has achieved, but he has given us an excellent illustration of what is possible."—Chet Creider, Culture"Chernoff develops a brilliant and penetrating musicological essay that is, at the same time, an intensely personal and even touching account of musical and cultural discovery that anyone with an interest in Africa can and should read. . . . No other writing comes close to approaching Chernoff's ability to convey a feeling of how African music 'works'"—James Koetting, Africana Journal"Four stars. One of the few books I know of that talks of the political, social, and spiritual meanings of music. I was moved. It was so nice I read it twice."—David Byrne of "Talking Heads"The companion cassette tape has 44 examples of the music discussed in the book. It consists of field recordings illustrating cross-rhythms, multiple meters, call and response forms, etc.

    In this powerful new work, theologian James H. Cone explores these symbols and their interconnection in the history and souls of black folk. Both the cross and the lynching tree represent the worst in human beings and at the same time a thirst for life that refuses to let the worst determine our final meaning. While the lynching tree symbolized white power and black death, the cross symbolizes divine power and black life, God overcoming the power of sin and death. For African Americans, the image of Jesus, hung on a tree to die, powerfully grounded their faith that God was with them, even in the suffering of the lynching era.In a work that spans social history, theology, and cultural studies, Cone explores the message of the spirituals and the power of the blues; the passion and the engaged vision of Martin Luther King, Jr.; he invokes the spirits of Billie Holiday and Langston Hughes, Fannie Lou Hamer and Ida B. Wells, and the witness of black artists, writers, preachers, and fighters for justice. And he remembers the victims, especially the 5,000 who perished during the lynching period. Through their witness he contemplates the greatest challenge of any Christian theology to explain how life can be made meaningful in the face of death and injustice.

    White knights. The white dove of peace. White lie, white list, white magic. Our language and our culture are suffused, often subconsciously, with positive images of whiteness. Whiteness is so inextricably linked with the status quo that few whites, when asked, even identify themselves as such. And yet when asked what they would have to be paid to live as a black person, whites give figures running into the millions of dollars per year, suggesting just how valuable whiteness is in American society.Exploring the social, and specifically legal origins, of white racial identity, Ian F. Haney Lopez here examines cases in America's past that have been instrumental in forming contemporary conceptions of race, law, and whiteness. In 1790, Congress limited naturalization to white persons. This racial prerequisite for citizenship remained in force for over a century and a half, enduring until 1952. In a series of important cases, including two heard by the United States Supreme Court, judges around the country decided and defined who was white enough to become American.White by Law traces the reasoning employed by the courts in their efforts to justify the whiteness of some and the non- whiteness of others. Did light skin make a Japanese person white? Were Syrians white because they hailed geographically from the birthplace of Christ? Haney Lopez reveals the criteria that were used, often arbitrarily, to determine whiteness, and thus citizenship: skin color, facial features, national origin, language, culture, ancestry, scientific opinion, and, most importantly, popular opinion. Having defined the social and legal origins of whiteness, White by Law turns its attention to white identity today and concludes by calling upon whites to acknowledge and renounce their privileged racial identity.

    Davis' life and work have been dedicated to examining this fundamental question and to ending all forms of oppression that deny people their political, cultural, and sexual freedom. In this collection of twelve searing, previously unpublished speeches, Davis confronts the interconnected issues of power, race, gender, class, incarceration, conservatism, and the ongoing need for social change in the United States.With her characteristic brilliance, historical insight, and penetrating analysis, Davis addresses examples of institutional injustice and explores the radical notion of freedom as a collective striving for real democracy - not something granted or guaranteed through laws, proclamations, or policies, but something that grows from a participatory social process that demands new ways of thinking and being. "The speeches gathered together here are timely and timeless," writes Robin D.G. Kelley in the foreword, "they embody Angela Davis' uniquely radical vision of the society we need to build, and the path to get there."The Meaning of Freedom articulates a bold vision of the society we need to build and the path to get there. This is her only book of speeches."Davis' arguments for justice are formidable. . . . The power of her historical insights and the sweetness of her dream cannot be denied."—The New York Times"One of America's last truly fearless public intellectuals." —Cynthia McKinney, former US Congresswoman"Angela Davis offers a cartography of engagement in oppositional social movements and unwavering commitment to justice." —Chandra Talpade Mohanty, Women's Studies, Hamilton College"Angela Davis deserves credit, not just for the dignity and courage with which she has lived her life, but also for raising important critiques of a for-profit penitentiary system decades before those arguments gained purchase in the mainstream." —Thomas Chatterton Williams, SFGate"Angela Davis's revolutionary spirit is still strong. Still with us, thank goodness!"—Virginian-Pilot"Long before 'race/gender' became the obligatory injunction it is now, Angela Davis was developing an analytical framework that brought all of these factors into play. For readers who only see Angela Davis as a public icon . . . meet the real Angela Davis: perhaps the leading public intellectual of our era." —Robin D. G. Kelley author of Thelonious Monk: The Life and Times of an American Original"There was a time in America when to call a person an 'abolitionist' was the ultimate epithet. It evoked scorn in the North and outrage in the South. Yet they were the harbingers of things to come. They were on the right side of history. Prof. Angela Y. Davis stands in that proud, radical tradition." —Mumia Abu-Jamal, author of Jailhouse Lawyers: Prisoners Defending Prisoners v. the U.S.A."Behold the heart and mind of Angela Davis, open, relentless, and on time!" —June Jordan"Political activist, scholar, and author Angela Davis confronts the interconnected issues of power, race, gender, class, incarceration, conservatism, and the ongoing need for social change in the U.S. in her book, The Meaning of Freedom: And Other Difficult Dialogues." —Travis Smiley RadioAngela Y. Davis is professor emerita at the University of California and author of eight books. She is a much sought after public speaker and an internationally known advocate for social justice.Robin D.G. Kelley is the author of numerous books and a professor at the University of Southern California.

    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.

    Yet false assumptions and controversies still swirl around what it means to speak and sound “black.” In his first book devoted solely to the form, structure, and development of Black English, John McWhorter clearly explains its fundamentals and rich history, while carefully examining the cultural, educational, and political issues that have undermined recognition of this transformative, empowering dialect.

    She shows readers how this civil rights movement radical sought—for more than a half a century—to expose and eradicate the American racial-caste system in jobs, schools, public services, and criminal justice.

    Many black residents were poor sharecroppers, but others owned their own farms and the land on which they’d founded the county’s thriving black churches.But then in September of 1912, three young black laborers were accused of raping and murdering a white girl. One man was dragged from a jail cell and lynched on the town square, two teenagers were hung after a one-day trial, and soon bands of white “night riders” launched a coordinated campaign of arson and terror, driving all 1,098 black citizens out of the county. In the wake of the expulsions, whites harvested the crops and took over the livestock of their former neighbors, and quietly laid claim to “abandoned” land. The charred ruins of homes and churches disappeared into the weeds, until the people and places of black Forsyth were forgotten.National Book Award finalist Patrick Phillips tells Forsyth’s tragic story in vivid detail and traces its long history of racial violence all the way back to antebellum Georgia. Recalling his own childhood in the 1970s and ’80s, Phillips sheds light on the communal crimes of his hometown and the violent means by which locals kept Forsyth “all white” well into the 1990s.Blood at the Root is a sweeping American tale that spans the Cherokee removals of the 1830s, the hope and promise of Reconstruction, and the crushing injustice of Forsyth’s racial cleansing. With bold storytelling and lyrical prose, Phillips breaks a century-long silence and uncovers a history of racial terrorism that continues to shape America in the twenty-first century.

    Scenes of Subjection examines the forms of domination that usually go undetected; in particular, the encroachments of power that take place through notions of humanity, enjoyment, protection, rights, and consent. By looking at slave narratives, plantation diaries, popular theater, slave performance, freedmen's primers, and legal cases, Hartman investigates a wide variety of "scenes" ranging from the auction block and minstrel show to the staging of the self-possessed and rights-bearing individual of freedom.While attentive to the performance of power--the terrible spectacles of slaveholders' dominion and the innocent amusements designed to abase and pacify the enslaved--and the entanglements of pleasure and terror in these displays of mastery, Hartman also examines the possibilities for resistance, redress and transformation embodied in black performance and everyday practice.This important study contends that despite the legal abolition of slavery, emergent notions of individual will and responsibility revealed the tragic continuities between slavery and freedom. Bold and persuasively argued, Scenes of Subjection will engage readers in a broad range of historical, literary, and cultural studies.

    Blackmon brings to light one of the most shameful chapters in American history—an “Age of Neoslavery” that thrived from the aftermath of the Civil War through the dawn of World War II.Under laws enacted specifically to intimidate blacks, tens of thousands of African Americans were arbitrarily arrested, hit with outrageous fines, and charged for the costs of their own arrests. With no means to pay these ostensible “debts,” prisoners were sold as forced laborers to coal mines, lumber camps, brickyards, railroads, quarries, and farm plantations. Thousands of other African Americans were simply seized by southern landowners and compelled into years of involuntary servitude. Government officials leased falsely imprisoned blacks to small-town entrepreneurs, provincial farmers, and dozens of corporations—including U.S. Steel—looking for cheap and abundant labor. Armies of “free” black men labored without compensation, were repeatedly bought and sold, and were forced through beatings and physical torture to do the bidding of white masters for decades after the official abolition of American slavery.The neoslavery system exploited legal loopholes and federal policies that discouraged prosecution of whites for continuing to hold black workers against their wills. As it poured millions of dollars into southern government treasuries, the new slavery also became a key instrument in the terrorization of African Americans seeking full participation in the U.S. political system.Based on a vast record of original documents and personal narratives, Slavery by Another Name unearths the lost stories of slaves and their descendants who journeyed into freedom after the Emancipation Proclamation and then back into the shadow of involuntary servitude. It also reveals the stories of those who fought unsuccessfully against the re-emergence of human labor trafficking, the modern companies that profited most from neoslavery, and the system’s final demise in the 1940s, partly due to fears of enemy propaganda about American racial abuse at the beginning of World War II.Slavery by Another Name is a moving, sobering account of a little-known crime against African Americans, and the insidious legacy of racism that reverberates today.

    Within those walls, voices were lifted up in song to call forth the best in each other, and to comfort each other when times were at their worst. In this book, his tender and magisterial reckoning with the meaning of the Black church in American history, Gates takes us from his own experience onto a journey across more than four hundred years and spanning the entire country. At road's end, we emerge with a new understanding of the centrality of the Black church to the American story--as a cultural and political force, as the center of resistance to slavery and white supremacy, as an unparalleled incubator of talent, and as a crucible for working through the community's most important issues, down to today.In a country that has historically afforded its citizens from the African diaspora tragically few safe spaces, the Black church has always been more than a sanctuary; it's been a place to nourish the deepest human needs and dreams of the African-American community. This fact was never lost on white supremacists: from the earliest days of slavery, when enslaved people were allowed to worship at all, their meeting houses were subject to surveillance, and often destruction. So it continued, long after slavery's formal eradication; church burnings and church bombings by the Ku Klux Klan and others have always been a hallmark of the violent effort to suppress the struggle for equality for the African-American community. The past often isn't even past--Dylann Roof committed his slaughter in Charleston's Emanuel AME Church 193 years after the church was first burned down by whites following a thwarted slave rebellion.But as Gates brilliantly shows, the Black church has never been only one thing. Its story lies at the vital center of the civil rights movement, and produced many of its leaders, from the Reverend Martin Luther King, Jr. on, but at the same time there have always been churches and sects that eschewed a more activist stance, even eschewed worldly political engagement altogether. That tension can be felt all the way to the Black Lives Matter movement and the work of today. Still and all, as a source of strength and a force for change, the Black church is at the center of the action at every stage of the American story, as this enthralling history makes vividly clear.

    These essays shed light on some of the most perplexing and vexing issues of our day: affirmative action, the disparity between civil rights law and reality, the “racist outbursts” of some black leaders, the temptation toward violent retaliation, and much more.

    Carter G. Woodson shows us the weakness of Euro-centric based curriculums that fail to include African American history and culture. This system mis-educates the African American student, failing to prepare them for success and to give them an adequate sense of who they are within the system that they must live. Woodson provides many strong solutions to the problems he identifies. A must-read for anyone working in the education field.

    It is out of this background that the great critic Theodor Adorno emerged. His finest essays are collected here, offering the reader unparalleled insights into Adorno's thoughts on culture. He argued that the culture industry commodified and standardized all art. In turn this suffocated individuality and destroyed critical thinking. At the time, Adorno was accused of everything from overreaction to deranged hysteria by his many detractors. In today's world, where even the least cynical of consumers is aware of the influence of the media, Adorno's work takes on a more immediate significance. The Culture Industry is an unrivalled indictment of the banality of mass culture.