Both a basic social relationship and a model for other social hierarchies, gender helped determine the construction of racial categories and the institution of slavery in Virginia. But the rise of racial slavery also transformed gender relations, including ideals of masculinity. In response to the presence of Indians, the shortage of labor, and the insecurity of social rank, Virginia's colonial government tried to reinforce its authority by regulating the labor and sexuality of English servants and by making legal distinctions between English and African women. This practice, along with making slavery hereditary through the mother, contributed to the cultural shift whereby women of African descent assumed from lower-class English women both the burden of fieldwork and the stigma of moral corruption. Brown's analysis extends through Bacon's Rebellion in 1676, an important juncture in consolidating the colony's white male public culture, and into the eighteenth century. She demonstrates that, despite elite planters' dominance, wives, children, free people of color, and enslaved men and women continued to influence the meaning of race and class in colonial Virginia.

    Cinema is full of neurotic personalities, but few things are more transfixing than a woman losing her mind onscreen. Horror as a genre provides the most welcoming platform for these histrionics: crippling paranoia, desperate loneliness, masochistic death-wishes, dangerous obsessiveness, apocalyptic hysteria. Unlike her male counterpart - 'the eccentric' - the female neurotic lives a shamed existence, making these films those rare places where her destructive emotions get to play. Named after the U.S.-retitling of Carlos Aured's The Blue Eyes of the Broken Doll, House of Psychotic Women is an examination of these characters through a daringly personal autobiographical lens. Anecdotes and memories interweave with film history, criticism, trivia and confrontational imagery to create a reflective personal history and an examination of female madness, both onscreen and off. This sharply-designed book with a 32-page full-colour section is packed with rare stills, posters, pressbooks and artwork that combine with family photos and artifacts to form a titillating sensory overload, with a filmography that traverses the acclaimed and the obscure in equal measure. Films covered include The Entity, The Corruption of Chris Miller, Singapore Sling, 3 Women, Toys Are Not for Children, Repulsion, Let's Scare Jessica to Death, The Haunting of Julia, Secret Ceremony, Cutting Moments, Out of the Blue, Mademoiselle, The Piano Teacher, Possession, Antichrist and hundreds more!

    A powerful account of the changing role of American black women in the labor force and in the family.

    Historian Stephanie E. Jones-Rogers draws on a variety of sources to show that slave-owning women were sophisticated economic actors who directly engaged in and benefited from the South’s slave market. Because women typically inherited more slaves than land, enslaved people were often their primary source of wealth. Not only did white women often refuse to cede ownership of their slaves to their husbands, they employed management techniques that were as effective and brutal as those used by slave-owning men. White women actively participated in the slave market, profited from it, and used it for economic and social empowerment. By examining the economically entangled lives of enslaved people and slave-owning women, Jones-Rogers presents a narrative that forces us to rethink the economics and social conventions of slaveholding America.

    In Canada, the Caribbean, and the United States, black women inhabit diasporic locations marked by the legacy of violence and slavery. Analyzing diverse literatures and material geographies, McKittrick reveals how human geographies are a result of racialized connections, and how spaces that are fraught with limitation are underacknowledged but meaningful sites of political opposition. Demonic Grounds moves between past and present, archives and fiction, theory and everyday, to focus on places negotiated by black women during and after the transatlantic slave trade. Specifically, the author addresses the geographic implications of slave auction blocks, Harriet Jacobs’s attic, black Canada and New France, as well as the conceptual spaces of feminism and Sylvia Wynter’s philosophies. Central to McKittrick’s argument are the ways in which black women are not passive recipients of their surroundings and how a sense of place relates to the struggle against domination. Ultimately, McKittrick argues, these complex black geographies are alterable and may provide the opportunity for social and cultural change. Katherine McKittrick is assistant professor of women’s studies at Queen’s University.

    In Auburn, New York, in the mid-nineteenth century, Martha Wright and Frances Seward, inspired by Harriet Tubman’s rescues in the dangerous territory of Eastern Maryland, opened their basement kitchens as stations on the Underground Railroad. Tubman was enslaved, Wright was a middle-class Quaker mother of seven, and Seward was the aristocratic wife and moral conscience of her husband, William H. Seward, who served as Lincoln’s Secretary of State. All three refused to abide by laws that denied them the rights granted to white men, and they supported each other as they worked to overturn slavery and achieve full citizenship for blacks and women. The Agitators opens when Tubman is enslaved and Wright and Seward are young women bridling against their traditional roles. It ends decades later, after Wright’s and Seward’s sons—and Tubman herself—have taken part in three of the defining engagements of the Civil War. Through the sardonic and anguished accounts of the protagonists, reconstructed from their letters, diaries, and public appearances, we see the most explosive debates of the time, and portraits of the men and women whose paths they crossed: Lincoln, Seward, Frederick Douglass, William Lloyd Garrison, John Brown, Elizabeth Cady Stanton, Susan B. Anthony, Harriet Beecher Stowe, and others. Tubman, embraced by Seward and Wright and by the radical network of reformers in western New York State, settled in Auburn and spent the second half of her life there. With extraordinarily compelling storytelling reminiscent of Doris Kearns Goodwin’s No Ordinary Time and David McCullough’s John Adams, The Agitators brings a vivid new perspective to the epic American stories of abolition, the Underground Railroad, women’s rights activism, and the Civil War.

    In a post-civil rights era defined by deindustrialization and globalization, hip-hop crystallized a multiracial, polycultural generation's worldview, and transformed American politics and culture. But that epic story has never been told with this kind of breadth, insight, and style.Based on original interviews with DJs, b-boys, rappers, graffiti writers, activists, and gang members, with unforgettable portraits of many of hip-hop's forebears, founders, and mavericks, including DJ Kool Herc, Afrika Bambaataa, Chuck D, and Ice Cube, Can't Stop Won't Stop chronicles the events, the ideas, the music, and the art that marked the hip-hop generation's rise from the ashes of the 60's into the new millennium.

    Anzaldúa and AnaLouise Keating have brought together an ambitious new collection of over 80 original contributions offering a bold new vision of women-of-color consciousness for the 21st century.Through personal narratives, theoretical essays, textual collage, poetry, letters, artwork and fiction, this bridge we call home examines and extends the discussion of issues at the center of the first Bridge, such as classism, homophobia, racism, identity politics, and community building, while exploring the additional issues of third wave feminism, Native sovereignty, lesbian pregnancy and mothering, transgendered issues, Arab-American stereotyping, Jewish identities, spiritual activism, and surviving academe. Written by women and men---both 'of color' and 'white,' located inside and outside the United States---and motivated by a desire for social justice, this bridge we call home invites feminists of all colors and genders to develop new forms of transcultural dialogues, practices, and alliances.Building on and pushing forward the revolutionary call for transformation announced over two decades ago, this bridge we call home will challenge readers to rethink existing categories and invent new individual and collective identities.

    Attaining feminine perfection meant conforming to a mythical standard, one that would come wrapped in an adorable pink package, if those cunning marketers were to be believed. With wise humor and a savvy eye for curious, absurd, and at times wildly funny period artifacts, Lynn Peril gathers here the memorabilia of the era — from kitschy board games and lunch boxes to outdated advice books and health pamphlets — and reminds us how media messages have long endeavored to shape women's behavior and self-image, with varying degrees of success.Vividly illustrated with photographs of vintage paraphernalia, this entertaining social history revisits the nostalgic past, but only to offer a refreshing message to women who lived through those years as well as those who are coming of age now.

    In this revelatory and deeply personal work, Cleage takes readers back to the 1970s and ’80s, retracing her struggles to hone her craft amid personal and professional tumult. Though born and raised in Detroit, it was in Atlanta that Cleage encountered the forces that would most shape her experience. At the time, married to Michael Lomax, now head of the United Negro College Fund, she worked with Maynard Jackson, Atlanta’s first African-American mayor. Things I Should Have Told My Daughter charts not only the political fights but also the pull she began to feel on her own passions—a pull that led her away from Lomax as she grappled with ideas of feminism and self-fulfillment. This fascinating memoir follows her journey from a columnist for a local weekly to a playwright and Hollywood scriptwriter whose circle came to include luminaries Richard Pryor, Avery Brooks, Phylicia Rashad, Shirley Franklin, and Jesse Jackson. In the tradition of giants such as Susan Sontag, Joan Didion, Nora Ephron, and Maya Angelou, Cleage’s self-portrait raises women’s confessional writing to the level of fine literature.

    Somewhere between the exhilarating rise of Girl Power in the 1990s and today, the pursuit of physical perfection has been recast as the source of female empowerment. And commercialization has spread the message faster and farther, reaching girls at ever-younger ages. But how dangerous is pink and pretty, anyway? Being a princess is just make-believe; eventually they grow out of it . . . or do they?In search of answers, Peggy Orenstein visited Disneyland, trolled American Girl Place, and met parents of beauty-pageant preschoolers tricked out like Vegas showgirls. The stakes turn out to be higher than she ever imagined. From premature sexualization to the risk of depression to rising rates of narcissism, the potential negative impact of this new girlie-girl culture is undeniable—yet armed with awareness and recognition, parents can effectively counterbalance its influence in their daughters' lives.

    Only recently have historians begun to recognize the central role women played in the battle for racial equality.In Sisters in the Struggle, we hear about the unsung heroes of the civil rights movements such as Ella Baker, who helped found the Student Non-Violent Coordinating Committee, Fannie Lou Hamer, a sharecropper who took on segregation in the Democratic party (and won), and Septima Clark, who created a network of "Citizenship Schools" to teach poor Black men and women to read and write and help them to register to vote. We learn of Black women's activism in the Black Panther Party where they fought the police, as well as the entrenched male leadership, and the Southern Christian Leadership Conference, where the behind-the-scenes work of women kept the organization afloat when it was under siege. It also includes first-person testimonials from the women who made headlines with their courageous resistance to segregation--Rosa Parks, Charlayne Hunter-Gault, and Dorothy Height.This collection represents the coming of age of African-American women's history and presents new stories that point the way to future study.Contributors: Bettye Collier-Thomas, Vicki Crawford, Cynthia Griggs Fleming, V. P. Franklin, Charlayne Hunter-Gault, Farah Jasmine Griffin, Duchess Harris, Sharon Harley, Dorothy I. Height, Chana Kai Lee, Tracye Matthews, Genna Rae McNeil, Rosa Parks, Barbara Ransby, Jacqueline A. Rouse, Elaine Moore Smith, and Linda Faye Williams.

     The early 1980s were an exciting time for music. Hair metal bands were selling out stadiums, while clubs and house parties in New York City has spawned a new genre of music. At the time, though, hip hop's reach was limited, an artform largely ignored by mainstream radio deejays and the rock-obsessed MTV network.But in 1986, the music world was irrevocably changed when Run-DMC covered Aerosmith's hit "Walk This Way" in the first rock-hip hop collaboration. Other had tried melding styles. This was different, as a pair of iconic arena rockers and the young kings of hip hop shared a studio and started a revolution. The result: Something totally new and instantly popular. Most importantly, "Walk This Way" would be the first rap song to be played on mainstream rock radio.In Walk This Way, Geoff Edgers sets the scene for this unlikely union of rockers and MCs, a mashup that both revived Aerosmith and catapulted hip hop into the mainstream. He tracks the paths of the main artists--Steven Tyler, Joe Perry, Joseph "Run" Simmons, and Darryl "DMC" McDaniels--along with other major players on the scene across their lives and careers, illustrating the long road to the revolutionary marriage of rock and hip hop. Deeply researched and written in cinematic style, this music history is a must-read for fans of hip hop, rock, and everything in between.

    At the close of the 19th century, a black woman of the South presents womanhood as a vital element in the regeneration and progress of her race.

    Originally sung in New York's Cafe Society, these revolutionary lyrics take on a life of their own in this revealing account of the song and the struggle it personified. Strange Fruit not only chronicles the civil rights movement from the '30s on, it examines the lives of the beleaguered Billie Holiday and Abel Meeropol, the white Jewish schoolteacher and communist sympathizer who wrote the song that would have an impact on generations of fans, black and white, unknown and famous, including performers Lena Horne, Eartha Kitt, and Sting.