No Prejudice Here chronicles a heretofore untold story of civil rights in modern America. In embracing the Western urban experience, it relates the struggle for civil rights and school desegregation in Denver, Colorado. It chronicles early legislative and political trends to promote Denver as a racially tolerant city, which encouraged African-Americans to move to the urban center for opportunities unique to communities in the postwar American West while nonetheless trying to maintain segregation by limiting educational and employment opportunities for minorities. Dynamic historian Summer Cherland recounts this tension over six decades, with specific attention to the role of community control efforts, legislative and political strategies, and the importance of youth activism. Her insightful study provides an overview of the seminar 1974 Supreme Court case Keyes v. Denver Public Schools No. 1, and traces the community's reaction to court decisions until the city was released from federal oversight twenty years later. Cherland's book proves that civil rights activism, and the need for it, lasted well beyond the years that typically define the civil rights movement, and illustrates for our contemporary consideration the longstanding struggle in urban communities for justice and equality.

How do Black Americans become serious contenders for the highest office in the United States? "President Clinton was often known as the first Black President, Senator John Kerry of Massachusetts told the American Urban Radio Network. "I wouldn't be upset if I could earn the right to be the second." The 1st Black President, The Race to the White House is about how Black Americans must begin to obtain a serious role in American politics. Statements from Senator John Kerry, 2004 Democrat nominee for the President of the United States, confirms that black political candidates are not taken serious and are overlooked as serious contenders for the presidency.

In early-twentieth-century motion picture houses, offensive stereotypes of African Americans were as predictable as they were prevalent. Watermelon eating, chicken thievery, savages with uncontrollable appetites, Sambo and Zip Coon were all representations associated with African American people. Most of these caricatures were rendered by whites in blackface.

Few people realize that from 1915 through 1929 a number of African American film directors worked diligently to counter such racist definitions of black manhood found in films like D. W. Griffith's The Birth of a Nation, the 1915 epic that glorified the Ku Klux Klan. In the wake of the film's phenomenal success, African American filmmakers sought to defend and redefine black manhood through motion pictures.

Gerald Butters's comprehensive study of the African American cinematic vision in silent film concentrates on works largely ignored by most contemporary film scholars: African American-produced and -directed films and white independent productions of all-black features. Using these "race movies" to explore the construction of masculine identity and the use of race in popular culture, he separates cinematic myth from historical reality: the myth of the Euro American-controlled cinematic portrayal of black men versus the actual black male experience.

Through intense archival research, Butters reconstructs many lost films, expanding the discussion of race and representation beyond the debate about "good" and "bad" imagery to explore the construction of masculine identity and the use of race as device in the context of Western popular culture. He particularly examines the filmmaking of Oscar Micheaux, the most prolific and controversial of all African American silent film directors and creator of the recently rediscovered Within Our Gates-the legendary film that exposed a virtual litany of white abuses toward blacks.

"Black Manhood on the Silent Screen" is unique in that it takes contemporary and original film theory, applies it to the distinctive body of African American independent films in the silent era, and relates the meaning of these films to larger political, social, and intellectual events in American society. By showing how both white and black men have defined their own sense of manhood through cinema, it examines the intersection of race and gender in the movies and offers a deft interweaving of film theory, American history, and film history.

"An important contribution to discussions of identity construction in a globalized world and will be enjoyed and debated by students of ethnic studies."
--"Library Journal"

"I believe Hintzen's work reflects valuable insights."
--"International Migration Review"

As new immigrant communities continue to flourish in U.S. cities, their members continually face challenges of assimilatation in the organization of their ethnic identities. West Indians provide a vibrant example.

In West Indian in the West, Percy Hintzen draws on extensive ethnographic work with the West Indian community in the San Francisco Bay area to illuminate the ways in which social context affects ethnic identity formation. The memories, symbols, and images with which West Indians identify in order to differentiate themselves from the culture which surrounds them are distinct depending on what part of the U.S. they live in. West Indian identity comes to take on different meanings within different locations in the United States.

In the San Francisco Bay area, West Indians negotiate their identity within a system of race relations that is shaped by the social and political power of African Americans. By asserting their racial identity as black, West Indians make legal and official claims to resources reserved exclusively for African Americans. At the same time, the West Indian community insulates itself from the problems of the black/white dichotomy in the U.S. by setting itself apart.

Hintzen examines how West Indians publicly assert their identity by making use of the stereotypic understandings of West Indians which exist in the larger culture. He shows how ethnic communities negotiate spaces forthemselves within the broader contexts in which they live.

View the Table of Contents. Read the Introduction.

"The New H.N.I.C. brilliantly observes pivotal moments in hip hop and black culture as a whole... provocative[ly] raises the level of the hip hop discussion."
--"Black Issues Book Review"

"It was naive for Todd Boyd to subtitle his book "The Death of Civil Rights and the Birth of Hip Hop," and not to expect people to wig out."
--"Punk Planet"

"Stand back! Todd Boyd brings the ruckus in this provocative look at how hip hop changed everything from the jailhouse to the White House--and why it truly became the voice of a new generation."
--Alan Light, Editor-in-Chief, "Spin Magazine"

aElegantly script[s] the fall of the previous generation alongside the rise of a new hip-hop ethosa]. ["The New H.N.I.C"] is built on the provocative premise that this generation's hip-hop culture has come to supersede the previous one's paradigm of civil rights. Highlighting various moments in recent rap historyathe controversy over OutKast's naming a single after Rosa Parks; the white negro-isms of EminemaBoyd offers hip-hop as the most suitable access point for understanding the social, political, and cultural experiences of African Americans born after the civil rights period.a
--"Village Voice"

"Those who are hip have always known that Black music is about more than simply nodding your head, snapping your fingers, and patting your feet. Like the proverbial Dude, back on the block, Dr. Todd Boyd, in his groundbreaking book The New H.N.I.C., tells us that like the best of this oral tradition, hip hop is a philosophy and worldview rooted in history and at the same time firmly of the moment. Dr. Boyd's improvisational flow is onpoint like be bop Stacy Adams and The New H.N.I.C., in both style and substance, breaks down how this monumental cultural shift has come to redefine the globe. With mad props and much love, Dr. Boyd's The New H.N.I.C. is the voice of a generation and stands poised at the vanguard of our future."
--Quincy Jones

"A convincing and entertaining case that hip-hop matters, Boyd's reading [of hip hop] is nothing less than inspired."
--"Mother Jones"

"If you want to understand the direction of music today, read this book. Boyd expertly chronicles the birth of Hip Hop, its impact on all music and how the language and music defines a generation."
--Tom Freston, CEO, MTV Networks

"Boyd's main observation is simple and mostly true: "Hip-hop has rejected and now replaced the pious, sanctimonious nature of civil rights as the defining moment of Blackness."
--"Los Angeles Times"

When Lauryn Hill stepped forward to accept her fifth Grammy Award in 1999, she paused as she collected the last trophy, and seeming somewhat startled said, "This is crazy, 'cause this is hip hop music.'" Hill's astonishment at receiving mainstream acclaim for music once deemed insignificant testifies to the explosion of this truly revolutionary art form. Hip hop music and the culture that surrounds it--film, fashion, sports, and a whole way of being--has become the defining ethos for a generation. Its influence has spread from the state's capital to the nation's capital, from the Pineapple to the Big Apple, from 'Frisco to Maine, and then on to Spain.

But moving far beyond the music, hip hop has emerged as a social and cultural movement, displacing the ideas of the Civil Rights era. Todd Boydmaintains that a new generation, having grown up in the aftermath of both Civil Rights and Black Power, rejects these old school models and is instead asserting its own values and ideas. Hip hop is distinguished in this regard because it never attempted to go mainstream, but instead the mainstream came to hip hop.

The New H.N.I.C., like hip hop itself, attempts to keep it real, and challenges conventional wisdom on a range of issues, from debates over use of the "N-word," the comedy of Chris Rock, and the "get money" ethos of hip hop moguls like Sean "P. Diddy" Combs and Russell Simmons, to hip hop's impact on a diverse array of figures from Bill Clinton and Eminem to Jennifer Lopez.

Maintaining that Martin Luther King, Jr.'s "I Have a Dream" speech is less important today than DMX's "It's Dark and Hell is Hot," Boyd argues that Civil Rights as a cultural force is dead, confined to a series of media images frozen in another time. Hip hop, on the other hand, represents the vanguard, and is the best way to grasp both our present and future.

Former residents of the town of Christiansted on the island of St. Croix, U.S. Virgin Islands reflect on their childhood days growing up in neighborhoods that were nurturing and teeming with traditions and cultural. The participants' stories tell of childhood friends, games, foods, prominent merchants, historical figures, masquerades, and colorful characters who lived in Watergut, Free Gut, Gallows Bay, and other neighborhoods. The stories are about life in a Caribbean town that had Danish and English influences and after 1917 an American influence. The photographs reflect the time period 1910-1960, and in addition, several cultural artifacts are depicted in the stories.

Enter most African American congregations and you are likely to see the century-old pattern of a predominantly female audience led by a male pastor. How do we explain the dedication of African American women to the church, particularly when the church's regard for women has been questioned?

Following in the footsteps of Evelyn Brooks Higginbotham's pathbreaking work, "Righteous Discontent," Daphne Wiggins takes a contemporary look at the religiosity of black women. Her ethnographic work explores what is behind black women's intense loyalty to the church, bringing to the fore the voices of the female membership of black churches as few have done. Wiggins illuminates the spiritual sustenance the church provides black women, uncovers their critical assessment of the church's ministry, and interprets the consequences of their limited collective activism.

Wiggins paints a vivid portrait of what lived religion is like in black women's lives today.

Detailed profiles bring stories of African American heroism in the U.S. armed forces to life, from the American Revolution through the conflict in Afghanistan. African American war heroes remain largely unsung, their courage and valor relegated to the less traveled corners of history. This work seeks out those heroes-soldiers, sailors, flyers, and marines-who earned their nation's highest medals in defense of freedom and equality. Some of these men and women died on the battlefield. Others returned to civilian life in a segregated country. What they share across time and circumstance is devotion to duty and to the country they defended, even in the face of personal and racial prejudice. Entries profile decorated African Americans from all of the U.S. conflicts since the Revolutionary War. In addition to providing basic biographical data, each profile offers a detailed account of the individual's heroic actions. The book also offers sidebars on events and topics relevant to African Americans in the U.S. armed forces, such as histories of the 54th Massachusetts and the Tuskegee Airmen. Shares 80 detailed biographies of African Americans who earned their nation's highest medals for valor Covers both well-known and more obscure individuals throughout U.S. military history Offers 10 sidebars on important African American segregated units and critical events pertaining to African American participation in the military Includes an introductory essay to provide a conceptual framework for students Features a fact box at the top of each entry to provide at-a-glance information about the recipient and his/her award(s)

During the Cold War, Ellis Island no longer served as the largest port of entry for immigrants, but as a prison for holding aliens the state wished to deport. The government criminalized those it considered un-assimilable (from left-wing intellectuals and black radicals to racialized migrant laborers) through the denial, annulment, and curtailment of citizenship and its rights. The island, ceasing to represent the iconic ideal of immigrant America, came to symbolize its very limits. Unbecoming Americans sets out to recover the shadow narratives of un-American writers forged out of the racial and political limits of citizenship. In this collection of Afro-Caribbean, Filipino, and African-American writers-C.L.R. James, Carlos Bulosan, Claudia Jones, and Richard Wright-Joseph Keith examines how they used their exclusion from the nation, a condition he terms "alienage," as a standpoint from which to imagine alternative global solidarities and to interrogate the contradictions of the United States as a country, a republic, and an empire at the dawn of "The American Century." Building on scholarship linking the forms of the novel to those of the nation, the book explores how these writers employed alternative aesthetic forms, including memoir, cultural criticism, and travel narrative, to contest prevailing notions of race, nation, and citizenship. Ultimately they produced a vital counter-discourse of freedom in opposition to the new formations of empire emerging in the years after World War II, forms that continue to shape our world today.

Weiss explores the dynamic relation of specific local, regional, and global understandings of value as manifested in the coffee of rural Haya communities. His investigation offers critical insight into the significance of colonial and postcolonial encounters in this region of Africa. In Northwest Tanzania, coffee is much more than a drink. Colonial and postcolonial relations have long been intertwined with coffee. The medium of coffee tangibly connects Haya men and women to the wider world of international markets and commodity exchanges. Efforts to develop and expand production in the region's Haya communities have been a major concern of international and local agencies, from turn-of-the-century missionaries who introduced new varieties of coffee to Haya farmers, to contemporary Field Extension Officers who promulgate new cultivation techniques.

This one-volume reference work examines a broad range of topics related to the establishment, maintenance, and eventual dismantling of the discriminatory system known as Jim Crow. Many Americans imagine that African Americans' struggle to achieve equal rights has advanced in a linear fashion from the end of slavery until the present. In reality, for more than six decades, African Americans had their civil rights and basic human rights systematically denied in much of the nation. Jim Crow: A Historical Encyclopedia of the American Mosaic sheds new light on how the systematic denigration of African Americans after slavery-known collectively as "Jim Crow"-was established, maintained, and eventually dismantled. Written in a manner appropriate for high school and junior high students as well as undergraduate readers, this book examines the period of Jim Crow after slavery that is often overlooked in American history curricula. An introductory essay frames the work and explains the significance and scope of this regrettable period in American history. Written by experts in their fields, the accessible entries will enable readers to understand the long hard road before the inception of the Civil Rights Movement in the 20th century while also gaining a better understanding of the experiences of minorities in the United States-African Americans, in particular. Provides a one-stop source of information for students researching the period of American history dominated by the discriminatory system of Jim Crow laws Puts phenomena such as "Sundown towns" within a larger framework of official discrimination Documents the methods used to create, maintain, and dismantle Jim Crow

Treating broad themes as well as specific topics, this guide to the Great Black Migration will introduce high school students to a touchstone critical to shaping the history of African Americans in the United States. The movement of Southern blacks to the urban North and West over the course of the 20th century had a profound impact on black life, affecting everything from politics and labor to literature and the popular arts. This encyclopedia provides readers and researchers with a comprehensive reference work on this central topic of African American history, exploring the breadth of the black migration experience from its origins in the agricultural economy of the post-Civil War South to the return migration of the late 20th century. Entries cover such topics as the destinations that attracted black migrants, the impact of the Great Migration on black religion, the relationship between migration and black politics, and the patterns of discrimination and racial violence migrants encountered. Unlike more general reference works on African American history, each entry in the encyclopedia situates its subject within the context of black migration and articulates connections between the subject of the entry and the overall history of the migration. Provides students with essential information about key people, places, organizations, and events that defined the movement of Southern African Americans to the urban North and West Covers the first major migration between the advent of World War I and the Great Depression and the second, smaller wave from 1940 to 1970 Devotes considerable space to the social, cultural, and political world of black migrant communities of the urban North and West Includes primary sources to promote critical thinking and interpretive reading underscored in the Common Core Standards Features contributions from a wide range of disciplines, including art and music history, demography, economics, journalism, history, literary criticism, political science, and sociology

"In bold and beautifully crafted close readings, Reid-Pharr challenges many of the structuring absences that have shaped the fields of African-American literary studies, queer studies, and American Studies. His provocative arguments about sexuality, race, and masculinity are unsettling, in the best sense of that word."
--Siobhan B. Somerville, University of Illinois, Urbana-Champaign

aProvocatively and often brilliantly, this book disturbs some of our most fundamental thinking about the role of choice, literary influence, collective identity, and the racial erotic in African American letters. Reid-Pharr engages these questions--sometimes with the subtler edge of his wit and other times with the sharpness of cutting-edge theory--but always with an eye to re-orienting us as readers toward what it means to inhabit, or refuse, the skin of identity.a
--Marlon Ross, author of "Manning the Race"

aA deeply local and deeply ethical book and Reid-Pharr is willing to risk the misunderstanding in order to insist on the importance of black political agency. There is a refreshing honesty in the way Reid-Pharr directs his comments toward readers.a--"GC Advocate"

Richard Wright. Ralph Ellison. James Baldwin. Literary and cultural critic Robert Reid-Pharr asserts that these and other post-World War II intellectuals announced the very themes of race, gender, and sexuality with which so many contemporary critics are now engaged. While at its most elemental Once You Go Black is an homage to these thinkers, it is at the same time a reconsideration of black Americans as agents, and not simply products, of history. Reid-Pharr contends that our current notions of black American identity are notinevitable, nor have they simply been forced onto the black community. Instead, he argues, black American intellectuals have actively chosen the identity schemes that seem to us so natural today.

Turning first to the late and relatively obscure novels of Wright, Ellison, and Baldwin, Reid-Pharr suggests that each of these authors rejects the idea of the black as innocent. Instead they insisted upon the responsibility of all citizens-even the most oppressed-within modern society. Reid-Pharr then examines a number of responses to this presumed erosion of black innocence, paying particular attention to articulations of black masculinity by Huey Newton, one of the two founders of the Black Panther Party, and Melvin Van Peebles, director of the classic film "Sweet Sweetback's Baadasssss Song,"

Shuttling between queer theory, intellectual history, literary close readings, and autobiography, Once You Go Black is an impassioned, eloquent, and elegant call to bring the language of choice into the study of black American literature and culture. At the same time, it represents a hard-headed rejection of the presumed inevitability of what Reid-Pharr names racial desire in the production of either culture or cultural studies.

In the summer of 1928, William Alexander Scott began a small four-page weekly with the help of his brother Cornelius. In 1930 his Atlanta World became a semiweekly, and the following year W. A. began to implement his vision for a massive newspaper chain based out of Atlanta: the Southern Newspaper Syndicate, later dubbed the Scott Newspaper Syndicate. In April 1931 the World had become a triweekly, and its reach began drifting beyond the South. With The Grapevine of the Black South, Thomas Aiello offers the first critical history of this influential newspaper syndicate, from its roots in the 1930s through its end in the 1950s. At its heyday, more than 240 papers were associated with the Syndicate, making it one of the biggest organs of the black press during the period leading up to the classic civil rights era (1955-68). In the generation that followed, the Syndicate helped formalize knowledge among the African American population in the South. As the civil rights movement exploded throughout the region, black southerners found a collective identity in that struggle built on the commonality of the news and the subsequent interpretation of that news. Or as Gunnar Myrdal explained, the press was "the chief agency of group control. It [told] the individual how he should think and feel as an American Negro and create[d] a tremendous power of suggestion by implying that all other Negroes think and feel in this manner." It didn't create a complete homogeneity in black southern thinking, but it gave thinkers a similar set of tools from which to draw.

This book discussed the causes of suicide and provides recommendations on how to reduce suicide. It provides suicide solutions that have eluded health and public policy experts for decades. It is a practical book that provides practical solutions to convoluted public problem of suicide. It is a good book for public policy experts, public sector administrators, scholars of management studies, politicians who want to create and add values, sociologists, law enforcement officials, health officials, public policy advocates, and various other decision makers. It is also a good book for social science scholars and researchers.