An elaborately detailed, darkly surprising, definitive history of the LA gangsta rap era." -- Kirkus, starred reviewA monumental, revealing narrative history about the legendary group of artists at the forefront of West Coast hip-hop: Eazy-E, Dr. Dre, Ice Cube, Snoop Dogg, and Tupac Shakur. Amid rising gang violence, the crack epidemic, and police brutality, a group of unlikely voices cut through the chaos of late 1980s Los Angeles: N.W.A. Led by a drug dealer, a glammed-up producer, and a high school kid, N.W.A gave voice to disenfranchised African Americans across the country. And they quickly redefined pop culture across the world. Their names remain as popular as ever -- Eazy-E, Dr. Dre, and Ice Cube. Dre soon joined forces with Suge Knight to create the combustible Death Row Records, which in turn transformed Snoop Dogg and Tupac Shakur into superstars. Ben Westhoff explores how this group of artists shifted the balance of hip-hop from New York to Los Angeles. He shows how N.W.A.'s shocking success lead to rivalries between members, record labels, and eventually a war between East Coast and West Coast factions. In the process, hip-hop burst into mainstream America at a time of immense social change, and became the most dominant musical movement of the last thirty years. At gangsta rap's peak, two of its biggest names -- Tupac and Biggie Smalls -- were murdered, leaving the surviving artists to forge peace before the genre annihilated itself. Featuring extensive investigative reporting, interviews with the principal players, and dozens of never-before-told stories, Original Gangstas is a groundbreaking addition to the history of popular music.

    Based on eight years of fieldwork at the Fresh Start shelter, Cox shows how the shelter's residents—who range in age from fifteen to twenty-two—employ strategic methods she characterizes as choreography to disrupt the social hierarchies and prescriptive narratives that work to marginalize them. Among these are dance and poetry, which residents learn in shelter workshops. These outlets for performance and self-expression, Cox shows, are key to the residents exercising their agency, while their creation of alternative family structures demands a rethinking of notions of care, protection, and love. Cox also uses these young women's experiences to tell larger stories: of Detroit's history, the Great Migration, deindustrialization, the politics of respectability, and the construction of Black girls and women as social problems. With Shapeshifters Cox gives a voice to young Black women who find creative and non-normative solutions to the problems that come with being young, Black, and female in America.

    These speeches document Malcolm's progression from Black nationalism to internationalism, and are key to both understanding his extraordinary life and illuminating his angry yet uplifting cause.

    He raises the banner of proud black traditional values—self-help, strong families, and belief in God—that sustained black people through generations of oppression and flowered in the exhilarating promise of the modern civil rights movement. Williams asks what happened to keeping our eyes on the prize by proving the case for equality with black excellence and achievement.He takes particular aim at prominent black leaders—from Al Sharpton to Jesse Jackson to Marion Barry. Williams exposes the call for reparations as an act of futility, a detour into self-pity; he condemns the “Stop Snitching” campaign as nothing more than a surrender to criminals; and he decries the glorification of materialism, misogyny, and murder as a corruption of a rich black culture, a tragic turn into pornographic excess that is hurting young black minds, especially among the poor.Reinforcing his incisive observations with solid research and alarming statistical data, Williams offers a concrete plan for overcoming the obstacles that now stand in the way of African Americans’ full participation in the nation’s freedom and prosperity. Certain to be widely discussed and vehemently debated, Enough is a bold, perceptive, solution-based look at African American life, culture, and politics today.

    "A work of art . . . Billy never lets up, not for one minute. . . . magnificent".--New York Daily News.

    His uncle Ricky did not want him trapped by the "invisible chains" of systemic racism, so Ricky schooled him on the necessity of a black man running his own life, controlling his livelihood, and owning property.Embracing these lessons, Campbell discovered his gift for entrepreneurship: He created one of the first hip-hop record companies, Luke Records, which started out of a shed in his mom's backyard and grew into a multimillion-dollar enterprise. As a rapper on his own label, Luke became known as the "King of Dirty Rap" and helped pioneer the worldwide phenomenon of Miami Bass. He went on to become the front man and manager for the rap group 2 Live Crew, and was key to the success of the group's controversial platinum recording As Nasty As They Wanna Be.His hugely popular and provocative music infuriated the Man, and Luke was marked as public enemy number one when hip-hop crossed the color line into white America. Campbell would spend more than a million dollars of his own money fighting cops and prosecutors, and he went all the way to the Supreme Court to protect his—and every other artist's—right to free speech, setting landmark legal precedents that continue to shape the entertainment industry to this day.In Campbell's clear and honest voice, he shares unforgettable stories of his rise to celebrity status, including illicit tales from his raunchy concerts. He also breaks down how he lost his fortune, but in the process gained a better perspective on life. His father taught him to be responsible for his actions and to be proud of himself. Campbell expressed this by being cocky and holding his head up high, but, as he acknowledges, "America has never been an easy place for a black man who doesn't know how to apologize."Touching on some of the most pressing issues of our time, The Book of Luke is a raw and powerful memoir of how one man invented southern hip-hop, saved the First Amendment, and became a role model for the disenfranchised people of the city he calls home.

    Born of extreme racial and class conflicts, the blackface minstrel show sometimes usefully intensified them. Based on the appropriation of black dialect, music, and dance, minstrelsy at once applauded and lampooned black culture, ironically contributing to a "blackening of America." Drawing on recent research in cultural studies and social history, Eric Lott examines the role of the blackface minstrel show in the political struggles of the years leading up to the Civil War. Reading minstrel music, lyrics, jokes, burlesque skits, and illustrations in tandem with working-class racial ideologies and the sex/gender system, Love and Theft argues that blackface minstrelsy both embodied and disrupted the racial tendencies of its largely white, male, working-class audiences. Underwritten by envy as well as repulsion, sympathetic identification as well as fear--a dialectic of "love and theft"--the minstrel show continually transgressed the color line even as it enabled the formation of a self-consciously white working class. Lott exposes minstrelsy as a signifier for multiple breaches: the rift between high and low cultures, the commodification of the dispossessed by the empowered, the attraction mixed with guilt of whites caught in the act of cultural thievery.

    Presenting their case with persuasive eloquence and research, the authors examine cultural forms, art motifs, weapons, scripts, and skeletal evidence to link Asian civilizations to Africa's Nile Valley. Articles detail both the physical and cultural presence of Africans in Asia. Topics covered include the black presence and heavy intermittent influence in Sumer, Elam, and Arabia; contributions of Dravidians and Ethiopian blacks to the Indus Valley civilizations; the history of first Chinese emperor, Fu-Hsi; the origin of martial arts; parallels between Krishna, Guatama Buddha, and Jesus; and the nature of slavery in Arabia and Asia. Five major chapters have been added to this new edition, adding substantially to the range and depth of the original volume.

    Offering an unflinching account of race and representation, Frank B. Wilderson III asks whether such films accurately represent the structure of U.S. racial antagonisms. That structure, he argues, is based on three essential subject positions: that of the White (the “settler,” “master,” and “human”), the Red (the “savage” and “half-human”), and the Black (the “slave” and “non-human”). Wilderson contends that for Blacks, slavery is ontological, an inseparable element of their being. From the beginning of the European slave trade until now, Blacks have had symbolic value as fungible flesh, as the non-human (or anti-human) against which Whites have defined themselves as human. Just as slavery is the existential basis of the Black subject position, genocide is essential to the ontology of the Indian. Both positions are foundational to the existence of (White) humanity.Wilderson provides detailed readings of two films by Black directors, Antwone Fisher (Denzel Washington) and Bush Mama (Haile Gerima); one by an Indian director, Skins (Chris Eyre); and one by a White director, Monster’s Ball (Marc Foster). These films present Red and Black people beleaguered by problems such as homelessness and the repercussions of incarceration. They portray social turmoil in terms of conflict, as problems that can be solved (at least theoretically, if not in the given narratives). Wilderson maintains that at the narrative level, they fail to recognize that the turmoil is based not in conflict, but in fundamentally irreconcilable racial antagonisms. Yet, as he explains, those antagonisms are unintentionally disclosed in the films’ non-narrative strategies, in decisions regarding matters such as lighting, camera angles, and sound.

    This one-of-a-kind encounter with the absurdities, complexities, and nuances of race relations is brought to you by five writers of color whose groundbreaking independent magazine, ego trip, has been called "the world's rawest, stinkiest, funniest magazine" by Spin.Filled with enough testifying and truth to satisfy even the good Reverend Sharpton, ego trip's Big Book of Racism is a riotous and revolutionary look at race and popular culture that's sure to spark controversy and ignite debate.

    The collection will include pre-published essays that have gone viral, like “The White Industrial Savior Complex,” first published in The Atlantic.

    And then seventeen-year-old Trayvon Martin was shot by a wannabe cop in Florida; and then eighteen-year-old Michael Brown in Ferguson, Missouri; and then Baltimore blew up; and then gunfire shattered a prayer meeting at a church in Charleston, South Carolina. Suddenly the entire country awakened to a stark fact: African Americans—particularly young black men—are an endangered species.Now the country’s urban war zone is brought powerfully to life by a rising young literary talent, D. Watkins. The author fought his way up on the east side (the “beast side”) of Baltimore, Maryland—or “Bodymore, Murderland,” as his friends call it—surviving murderous business rivals in the drug trade and equally predatory lawmen. Throughout it all, he pursued his education, earning a master’s degree from Johns Hopkins University, while staying rooted in his community.When black residents of Baltimore finally decided they had had enough—after the brutal killing of twenty-five-year-old Freddie Gray while in police custody—Watkins was on the streets when the city erupted. He writes about his bleeding hometown with the razor-sharp insights of someone who bleeds along with it. Here are true dispatches from the other side of America.

    This journey to truth begins in the small town of Moncks Corner, South Carolina, and leads to New York and headline-grabbing interviews and insights from celebrities like Kanye West, Kevin Hart, Malcolm Gladwell, Lena Dunham, Jay Z, and Hillary Clinton. Black Privilege lays out all the great wisdom Charlamagne’s been given from many mentors, and tells the uncensored story of how he turned around his troubled early life by owning his (many) mistakes and refusing to give up on his dreams, even after his controversial opinions got him fired from several on-air jobs. These life-learned principles include: -There are no losses in life, only lessons -Give people the credit they deserve for being stupid—starting with yourself -It’s not the size of the pond but the hustle in the fish -When you live your truth, no one can use it against you -We all have privilege, we just need to access it By combining his own story with bold advice and his signature commitment to honesty no matter the cost, Charlamagne hopes Black Privilege will empower you to live your own truth.

    It is about the death of physical film in the digital era and about a paranoid, secretive, eccentric, and sometimes obsessive group of film-mad collectors who made movies and their projection a private religion in the time before DVDs and Blu-rays.The book includes the stories of film historian/critic Leonard Maltin, TCM host Robert Osborne discussing Rock Hudson's secret 1970s film vault, RoboCop producer Jon Davison dropping acid and screening King Kong with Jefferson Airplane at the Fillmore East, and Academy Award-winning film historian Kevin Brownlow recounting his decades-long quest to restore the 1927 Napoleon. Other lesser-known but equally fascinating subjects include one-legged former Broadway dancer Tony Turano, who lives in a Norma Desmond-like world of decaying movie memories, and notorious film pirate Al Beardsley, one of the men responsible for putting O. J. Simpson behind bars.Authors Dennis Bartok and Jeff Joseph examine one of the least-known episodes in modern legal history: the FBI's and Justice Department's campaign to harass, intimidate, and arrest film dealers and collectors in the early 1970s. Many of those persecuted were gay men. Victims included Planet of the Apes star Roddy McDowall, who was arrested in 1974 for film collecting and forced to name names of fellow collectors, including Rock Hudson and Mel Torm�.A Thousand Cuts explores the obsessions of the colorful individuals who created their own screening rooms, spent vast sums, negotiated underground networks, and even risked legal jeopardy to pursue their passion for real, physical film.

    ” —Complex“A cautionary tale that ends in triumph.” —GQ“A revelation and a welcome addition to hip-hop’s literary legacy.” —All Hip Hop The highly anticipated memoir from Gucci Mane, “one of hip-hop’s most prolific and admired artists” (The New York Times).For the first time Gucci Mane tells his story in his own words. It is the captivating life of an artist who forged an unlikely path to stardom and personal rebirth. Gucci Mane began writing his memoir in a maximum-security federal prison. Released in 2016, he emerged radically transformed. He was sober, smiling, focused, and positive—a far cry from the Gucci Mane of years past.Born in rural Bessemer, Alabama, Radric Delantic Davis became Gucci Mane in East Atlanta, where the rap scene is as vibrant as the dope game. His name was made as a drug dealer first, rapper second. His influential mixtapes and street anthems pioneered the sound of trap music. He inspired and mentored a new generation of artists and producers: Migos, Young Thug, Nicki Minaj, Zaytoven, Mike Will Made-It, Metro Boomin.Yet every success was followed by setback. Too often, his erratic behavior threatened to end it all. Incarceration, violence, rap beefs, drug addiction. But Gucci Mane has changed, and he’s decided to tell his story.In his extraordinary autobiography, the legend takes us to his roots in Alabama, the streets of East Atlanta, the trap house, and the studio where he found his voice as a peerless rapper. He reflects on his inimitable career and in the process confronts his dark past—years behind bars, the murder charge, drug addiction, career highs and lows—the making of a trap god. It is one of the greatest comeback stories in the history of music.The Autobiography of Gucci Mane is a blunt and candid account—an instant classic.