OutKast, the Atlanta-based hip-hop duo formed in 1992, is one of the most influential musical groups within American popular culture of the past twenty-five years. Through Grammy-winning albums, music videos, feature films, theatrical performances, and fashion, Andre "Andre 3000" Benjamin and Antwan "Big Boi" Patton have articulated a vision of postmodern, post-civil rights southern identity that combines the roots of funk, psychedelia, haute couture, R&B, faith and spirituality, and Afrofuturism into a style all its own. This postmodern southern aesthetic, largely promulgated and disseminated by OutKast and its collaborators, is now so prevalent in mainstream American culture (neither Beyonce Knowles's "Formation" nor Joss Whedon's sci-fi /western mashup Firefly could exist without OutKast's collage aesthetic) that we rarely consider how challenging and experimental it actually is to create a new southern aesthetic. An OutKast Reader, then, takes the group's aesthetic as a lens through which readers can understand and explore contemporary issues of Blackness, gender, urbanism, southern aesthetics, and southern studies more generally. Divided into sections on regional influences, gender, and visuality, the essays collectively offer a vision of OutKast as a key shaper of conceptions of the twenty-first-century South, expanding that vision beyond long-held archetypes and cultural signifiers. The volume includes a who's who of hip-hop studies and African American studies scholarship, including Charlie Braxton, Susana M. Morris, Howard Ramsby II, Reynaldo Anderson, and Ruth Nicole Brown.

OutKast, the Atlanta-based hip-hop duo formed in 1992, is one of the most influential musical groups within American popular culture of the past twenty-five years. Through Grammy-winning albums, music videos, feature films, theatrical performances, and fashion, Andre "Andre 3000" Benjamin and Antwan "Big Boi" Patton have articulated a vision of postmodern, post-civil rights southern identity that combines the roots of funk, psychedelia, haute couture, R&B, faith and spirituality, and Afrofuturism into a style all its own. This postmodern southern aesthetic, largely promulgated and disseminated by OutKast and its collaborators, is now so prevalent in mainstream American culture (neither Beyonce Knowles's "Formation" nor Joss Whedon's sci-fi /western mashup Firefly could exist without OutKast's collage aesthetic) that we rarely consider how challenging and experimental it actually is to create a new southern aesthetic. An OutKast Reader, then, takes the group's aesthetic as a lens through which readers can understand and explore contemporary issues of Blackness, gender, urbanism, southern aesthetics, and southern studies more generally. Divided into sections on regional influences, gender, and visuality, the essays collectively offer a vision of OutKast as a key shaper of conceptions of the twenty-first-century South, expanding that vision beyond long-held archetypes and cultural signifiers. The volume includes a who's who of hip-hop studies and African American studies scholarship, including Charlie Braxton, Susana M. Morris, Howard Ramsby II, Reynaldo Anderson, and Ruth Nicole Brown.

The Black Speculative Arts Movement: Black Futurity, Art+Design is a 21st century statement on the intersection of the future of African people with art, culture, technology, and politics. This collection enters the global debate on the emerging field of Afrofuturism studies with an international array of scholars and artists contributing to the discussion of Black futurity in the 21st century. The contributors analyze and respond to the invisibility or mischaracterization of Black people in the popular imagination, in science fiction, and in philosophies of history.

This book honors the advocacy of Dr. Wangari Maathai, acclaimed environmentalist and the first African woman to receive the Nobel Prize for Peace. Dr. Maathai was a gifted orator who crafted messages that imagined new possibilities for human agency and social justice and who inspired action to protect our natural habitats. This collection explores the various strategies Maathai employed in her speeches to create memorable images and arguments for audiences in Kenya and around the world. Specifically, authors examine Maathai's use of storytelling, her creative use of metaphor and local cultural knowledge, and her use of sharp social-political analysis. Authors approach Maathai's rhetoric from both African and Western ways of knowing.

The ideas and practices related to afrofuturism have existed for most of the 20th century, especially in the north American African diaspora community. After Mark Dery coined the word "afrofuturism" in 1993, Alondra Nelson as a member of an online forum, along with other participants, began to explore the initial terrain and intellectual underpinnings of the concept noting that "AfroFuturism has emerged as a term of convenience to describe analysis, criticism and cultural production that addresses the intersections between race and technology." Afrofuturism 2.0: The Rise of Astroblackness represents a transition from previous ideas related to afrofuturism that were formed in the late 20th century around issues of the digital divide, music and literature. Afrofuturism 2.0 expands and broadens the discussion around the concept to include religion, architecture, communications, visual art, philosophy and reflects its current growth as an emerging global Pan African creative phenomenon.

As we approach twenty years since the end of the 1980s, we have the opportunity to see the decade in perspective, and are in a position to question the glib assumption that the 1980s were a mere conservative foil to the 1960s. The 1980s: A Critical and Transitional Decade, edited by Kimberly R. Moffitt and Duncan A. Campbell, places its topics within the context of a decade described as both critical and transitional because the 1980s, in many respects, marked the end of one era and the beginning of another. For example, the Reagan presidency, the end of the Cold War, MTV, and the appearance of the personal computer all reflect a legacy of political, cultural, and social transformation of the United States and the world, and took place specifically within the 1980s. The function of this interdisciplinary volume is not to simply highlight the significant phenomena of the period, but rather demonstrate how so many apparently disparate events were, in fact, closely inter-related and also products of their age. The 1980s is a holistic analysis of the decade that focuses on major turning points, developments in literature, art, entertainment, politics, and social experimentation. The 1980s: A Critical and Transitional Decade, edited by Kimberly R. Moffitt and Duncan A. Campbell is a groundbreaking and stand-alone introductory volume that is unapologetically interdisciplinary in nature and encourages students to explore topics of the decade often overlooked or grouped together with other, more memorable decades such as the 1920s or 1960s.

As we approach twenty years since the end of the 1980s, we have the opportunity to see the decade in perspective, and are in a position to question the glib assumption that the 1980s were a mere conservative foil to the 1960s. The 1980s: A Critical and Transitional Decade, edited by Kimberly R. Moffitt and Duncan A. Campbell, places its topics within the context of a decade described as both critical and transitional because the 1980s, in many respects, marked the end of one era and the beginning of another. For example, the Reagan presidency, the end of the Cold War, MTV, and the appearance of the personal computer all reflect a legacy of political, cultural, and social transformation of the United States and the world, and took place specifically within the 1980s. The function of this interdisciplinary volume is not to simply highlight the significant phenomena of the period, but rather demonstrate how so many apparently disparate events were, in fact, closely inter-related and also products of their age. The 1980s is a holistic analysis of the decade that focuses on major turning points, developments in literature, art, entertainment, politics, and social experimentation. The 1980s: A Critical and Transitional Decade, edited by Kimberly R. Moffitt and Duncan A. Campbell is a groundbreaking and stand-alone introductory volume that is unapologetically interdisciplinary in nature and encourages students to explore topics of the decade often overlooked or grouped together with other, more memorable decades such as the 1920s or 1960s.

The ideas and practices related to afrofuturism have existed for most of the 20th century, especially in the north American African diaspora community. After Mark Dery coined the word "afrofuturism" in 1993, Alondra Nelson as a member of an online forum, along with other participants, began to explore the initial terrain and intellectual underpinnings of the concept noting that "AfroFuturism has emerged as a term of convenience to describe analysis, criticism and cultural production that addresses the intersections between race and technology." Afrofuturism 2.0: The Rise of Astroblackness represents a transition from previous ideas related to afrofuturism that were formed in the late 20th century around issues of the digital divide, music and literature. Afrofuturism 2.0 expands and broadens the discussion around the concept to include religion, architecture, communications, visual art, philosophy and reflects its current growth as an emerging global Pan African creative phenomenon.

The Black Speculative Arts Movement: Black Futurity, Art+Design is a 21st century statement on the intersection of the future of African people with art, culture, technology, and politics. This collection enters the global debate on the emerging field of Afrofuturism studies with an international array of scholars and artists contributing to the discussion of Black futurity in the 21st century. The contributors analyze and respond to the invisibility or mischaracterization of Black people in the popular imagination, in science fiction, and in philosophies of history.