Memories of Africa: Home and Abroad in the United States suggests a new lens for viewing African diaspora studies: the experiences of African memoirists who live in the United States. The book shows how African diaspora memoirs beautifully and grippingly depict the experiences of African migrants over time through political, social, and cultural spheres. In reading African diaspora memoirs from the transatlantic slave trade period to the present, a reader can understand the complexity of the African migrant legacy and evolution. Author Toyin Falola argues that memoirs are significant not only in their interpretation of events conveyed by the memoirists but also in demonstrating how interpersonal and human the stories told can be. Memoirs are powerful because they are emotionally captivating and because important themes and events circulate around a particular person (in this case, the memoirist). Undoubtedly, a memoir is significant because it can teach anyone about a part of the human experience, even if the "facts" are not described without bias. Through this sort of narrative, the reader cannot help but enter into the memoirist's mind and, therefore, feel more empathy for them. In doing so, the reader can "feel" what the memoirist feels and "see" what the memoirist sees as clearly as is humanly possible. In this way, the historical events and life lessons become tangible and poignantly real to the reader.

Historical accounts of racial discrimination in transportation have focused until now on trains, buses, and streetcars and their respective depots, terminals, stops, and other public accommodations. It is essential to add airplanes and airports to this narrative, says Anke Ortlepp. Air travel stands at the center of the twentieth century's transportation revolution, and airports embodied the rapidly mobilizing, increasingly prosperous, and cosmopolitan character of the postwar United States. When segregationists inscribed local definitions of whiteness and blackness onto sites of interstate and even international transit, they not only brought the incongruities of racial separation into sharp relief but also obligated the federal government to intervene. Ortlepp looks at African American passengers; civil rights organizations; the federal government and judiciary; and airport planners, architects, and managers as actors in shaping aviation's legal, cultural, and built environments. She relates the struggles of black travelers-to enjoy the same freedoms on the airport grounds that they enjoyed in the aircraft cabin-in the context of larger shifts in the postwar social, economic, and political order. Jim Crow terminals, Ortlepp shows us, were both spatial expressions of sweeping change and sites of confrontation over the re-negotiation of racial identities. Hence, this new study situates itself in the scholarly debate over the multifaceted entanglements of "race" and "space."

James Weldon Johnson (1871-1938) exemplified the ideal of the American public intellectual as a writer, educator, songwriter, diplomat, key figure of the Harlem Renaissance, and first African American executive of the NAACP. Originally published anonymously in 1912, Johnson's novel The Autobiography of an Ex-Colored Man is considered one of the foundational works of twentieth-century African American literature, and its themes and forms have been taken up by other writers, from Ralph Ellison to Teju Cole. Johnson's novel provocatively engages with political and cultural strains still prevalent in American discourse today, and it remains in print over a century after its initial publication. New Perspectives contains fresh essays that analyze the book's reverberations, the contexts within which it was created and received, the aesthetic and intellectual developments of its author, and its continuing influence on American literature and global culture.

The story of white flight and the neglect of black urban neighborhoods has been well told by urban historians in recent decades. Yet much of this scholarship has downplayed black agency and tended to portray African Americans as victims of structural forces beyond their control. In this history of Cleveland's black middle class, Todd Michney uncovers the creative ways that a nascent community established footholds in areas outside the overcrowded, inner-city neighborhoods to which most African Americans were consigned. In asserting their right to these outer-city spaces, African Americans appealed to city officials, allied with politically progressive whites, and relied upon both black and white developers and real estate agents to expand these ""surrogate suburbs"" and maintain their livability until the bona fide suburbs became more accessible. By tracking the trajectories of those who, in spite of racism, were able to succeed, Michney offers a valuable counterweight to histories that have focused on racial conflict and black poverty and tells the neglected story of the black middle class in America's cities prior to the 1960s.

Reflects what traditional proverbs used in Christian catechetical, liturgical, and ritual contexts reveal about Tanzanian appropriations of and interpretations of Christianity.

The lead singer on Supercell's eponymous first album is Hatsune Miku-a Vocaloid character created by Crypton Future Media with voice synthesizers. A virtual superstar, over 100,000 songs, uploaded mostly by fans, are attributed to her. Supercell is a Japanese creator music group with the composer Ryo leading ten artists, who design album illustrations and make music videos. These videos are uploaded onto Niconico and other video-sharing sites. By the time Supercell was released in March 2009, the group's Vocaloid works were already well-known to Niconico users and fans. This book explores the Vocaloid and DTM (desktop music) phenomena through the lenses of media and fan studies, looking closely at online social media platforms, the new technology for composing, avid fans of the Vocaloid character, and these fans' performative practices. It provides a sense of how interactive new media and an empowered fan base combine to engage in the creation processes and enhance the circulation of DTM works. 33 1/3 Global, a series related to but independent from 33 1/3, takes the format of the original series of short, music-basedbooks and brings the focus to music throughout the world. With initial volumes focusing on Japanese and Brazilian music, the series will also include volumes on the popular music of Australia/Oceania, Europe, Africa, the Middle East, and more.

Original and far-reaching, this book shows the resources for Black theology within the living tradition of African-American religion and culture. Beginning with the slave narratives, Hopkins tells how slaves received their masters' faith and transformed it into a gospel of liberation. Resources include the works of W.E.B. Du Bois, Toni Morrison, Martin Luther King, Jr., and Malcolm X.

As news spread that more women died from breast and cervical cancer in India than anywhere else in the world in the early twenty-first century, global public health planners accelerated efforts to prevent, screen, and treat these reproductive cancers in low-income Indian communities. Cancer and the Kali Yuga reveals that women who are the targets of these interventions in Tamil Nadu, South India, hold views about cancer causality, late diagnosis, and challenges to accessing treatment that differ from the public health discourse. Cecilia Coale Van Hollen's critical feminist ethnography centers and amplifies the voices of Dalit Tamil women who situate cancer within the nexus of their class, caste, and gender positions. Dalit women's narratives about their experiences with cancer present a powerful and poignant critique of the sociocultural and political-economic conditions that marginalize them and jeopardize their health and well-being in twenty-first-century India.