The most creative moments of African American culture have always emanated from a lower class or "ghetto" perspective. In contemporary society, this ghetto aesthetic has informed a large segment of the popular marketplace from the incendiary nature of gangsta rap, through the choreographed violence of films like Menace II Society, to recurrent debates around the use of the word "nigga," and even the assertion of this perspective in professional basketball. In each case, most of the discussion around these cultural circumstances tends to be dismissive, if not completely uninformed. In analyzing the ranges of images from the O. J. Simpson trial to Snoop Doggy Dogg, Am I Black Enough for You looks at the way in which the nuances of ghetto life get translated into the politics of popular culture, and especially the way these politics have become such a profitable venture, for both the entertainment industry and the actual producers of these topical narratives. The book follows the widening generation gap represented by Bill Cosby's pristine "race man" image in the mid-80's, culminating in the proliferation of the hard-core sentiments associated with the nigga in the 1990's. The book argues for a historical understanding of these contemporary examples, which is rooted in the social policies of the Reagan/Bush era, the declining industrial base of urban communities and the increasing significance of the drug trade and gang culture. In addition, the book follows the evolution of gangster culture in twentieth century American popular culture and the shift from ethnicity to race that slowly begins to emerge over this time period. Contrary to mainstream conservative sentiment, Am I Black Enough for You suggests that the criticism of gangsta culture is a misguided attempt which reaffirms traditional views about Black culture. This criticism is articulated across race, so that in many cases, African Americans articulate the same sentiments as their white conservative counterparts. Am I Black Enough for You offers astute analysis of the liberating possibilities of representation that lie at the core of contemporary black popular culture.

The story of an urban-based high achieving Wiradyuri woman working to break down stereotypes and build bridges between black and white Australia. I'm Aboriginal. I'm just not the Aboriginal person a lot of people want or expect me to be. What does it mean to be Aboriginal? Why is Australia so obsessed with notions of identity? Anita Heiss, successful author and passionate advocate for Aboriginal literacy, rights and representation, was born a member of the Wiradyuri nation of central New South Wales but was raised in the suburbs of Sydney and educated at the local Catholic school. In this heartfelt and revealing memoir, told in her distinctive, wry style, with large doses of humour, Anita Heiss gives a firsthand account of her experiences as a woman with a Wiradyuri mother and Austrian father. Anita explains the development of her activist consciousness, how she strives to be happy and healthy, and the work she undertakes every day to ensure the world she leaves behind will be more equitable and understanding than it is today.

"If You Don't Know Me By Now," "The Love I Lost," "The Soul Train Theme," "Then Came You," "Ain't No Stoppin' Us Now"--the distinctive music that became known as Philly Soul dominated the pop music charts in the 1970s. In A House on Fire, John A. Jackson takes us inside the musical empire created by Kenny Gamble, Leon Huff, and Thom Bell, the three men who put Philadelphia Soul on the map. Here is the eye-opening story of three of the most influential and successful music producers of the seventies. Jackson shows how Gamble, Huff, and Bell developed a black recording empire second only to Berry Gordy's Motown, pumping out a string of chart-toppers from Harold Melvin & the Blue Notes, the Spinners, the O'Jays, the Stylistics, and many others. The author underscores the endemic racism of the music business at that time, revealing how the three men were blocked from the major record companies and outlets in Philadelphia because they were black, forcing them to create their own label, sign their own artists, and create their own sound. The sound they created--a sophisticated and glossy form of rhythm and blues, characterized by crisp, melodious harmonies backed by lush, string-laden orchestration and a hard-driving rhythm section--was a glorious success, producing at least twenty-eight gold or platinum albums and thirty-one gold or platinum singles. But after their meteoric rise and years of unstoppable success, their production company finally failed, brought down by payola, competition, a tough economy, and changing popular tastes. Funky, groovy, soulful--Philly Soul was the classic seventies sound. A House on Fire tells the inside story of this remarkable musical phenomenon.

Mark Anthony Neal reads the story of black communities through the black tradition in popular music. His history challenges the view that hip-hop was the first black cultural movement to speak truth to power.

In Young, Black, Rich, and Famous, Todd Boyd chronicles how basketball and hip hop have gone from being reviled by the American mainstream in the 1970s to being embraced and imitated globally today. For young black men, he argues, they represent a new version of the American dream, one embodying the hopes and desires of those excluded from the original version. Shedding light on both perception and reality, Boyd shows that the NBA has been at the forefront of recognizing and incorporating cultural shifts?from the initial image of 1970s basketball players as overpaid black drug addicts, to Michael Jordan?s spectacular rise as a universally admired icon, to the 1990s, when the hip hop aesthetic (for example, Allen Iverson?s cornrows, multiple tattoos, and defiant, in-your-face attitude) appeared on the basketball court. Hip hop lyrics, with their emphasis on ?keepin? it real? and marked by a colossal indifference to mainstream taste, became an equally powerful influence on young black men. These two influences have created a brand-new, brand-name generation that refuses to assimilate but is nonetheless an important part of mainstream American culture. This Bison Books edition includes a new introduction by the author.

The New York Times best-selling book exploring the counterproductive reactions white people have when their assumptions about race are challenged, and how these reactions maintain racial inequality. In this “vital, necessary, and beautiful book” (Michael Eric Dyson), antiracist educator Robin DiAngelo deftly illuminates the phenomenon of white fragility and “allows us to understand racism as a practice not restricted to ‘bad people’ (Claudia Rankine). Referring to the defensive moves that white people make when challenged racially, white fragility is characterized by emotions such as anger, fear, and guilt, and by behaviors including argumentation and silence. These behaviors, in turn, function to reinstate white racial equilibrium and prevent any meaningful cross-racial dialogue. In this in-depth exploration, DiAngelo examines how white fragility develops, how it protects racial inequality, and what we can do to engage more constructively.

'I Had a Black Dog says with wit, insight, economy and complete understanding what other books take 300 pages to say. Brilliant and indispensable.' - Stephen Fry 'Finally, a book about depression that isn't a prescriptive self-help manual. Johnston's deftly expresses how lonely and isolating depression can be for sufferers. Poignant and humorous in equal measure.' Sunday Times There are many different breeds of Black Dog affecting millions of people from all walks of life. The Black Dog is an equal opportunity mongrel. It was Winston Churchill who popularized the phrase Black Dog to describe the bouts of depression he experienced for much of his life. Matthew Johnstone, a sufferer himself, has written and illustrated this moving and uplifting insight into what it is like to have a Black Dog as a companion and how he learned to tame it and bring it to heel.

This is the first book to define and explore Black fatigue, the intergenerational impact of systemic racism on the physical and psychological health of Black people—and explain why and how society needs to collectively do more to combat its pernicious effects. Black people, young and old, are fatigued, says award-winning diversity and inclusion leader Mary-Frances Winters. It is physically, mentally, and emotionally draining to continue to experience inequities and even atrocities, day after day, when justice is a God-given and legislated right. And it is exhausting to have to constantly explain this to white people, even—and especially—well-meaning white people, who fall prey to white fragility and too often are unwittingly complicit in upholding the very systems they say they want dismantled. This book, designed to illuminate the myriad dire consequences of “living while Black,” came at the urging of Winters's Black friends and colleagues. Winters describes how in every aspect of life—from economics to education, work, criminal justice, and, very importantly, health outcomes—for the most part, the trajectory for Black people is not improving. It is paradoxical that, with all the attention focused over the last fifty years on social justice and diversity and inclusion, little progress has been made in actualizing the vision of an equitable society. Black people are quite literally sickand tired of being sick and tired. Winters writes that “my hope for this book is that it will provide a comprehensive summary of the consequences of Black fatigue, and awaken activism in those who care about equity and justice—those who care that intergenerational fatigue is tearing at the very core of a whole race of people who are simply asking for what they deserve.”

'Every voice raised against racism chips away at its power. We can't afford to stay silent. This book is an attempt to speak' The book that sparked a national conversation. Exploring everything from eradicated black history to the inextricable link between class and race, Why I'm No Longer Talking to White People About Race is the essential handbook for anyone who wants to understand race relations in Britain today. THE NO.1 SUNDAY TIMES BESTSELLER WINNER OF THE BRITISH BOOK AWARDS NON-FICTION NARRATIVE BOOK OF THE YEAR 2018 FOYLES NON-FICTION BOOK OF THE YEAR BLACKWELL'S NON-FICTION BOOK OF THE YEAR WINNER OF THE JHALAK PRIZE LONGLISTED FOR THE BAILLIE GIFFORD PRIZE FOR NON-FICTION LONGLISTED FOR THE ORWELL PRIZE SHORTLISTED FOR A BOOKS ARE MY BAG READERS AWARD

People from all over the world took to Twitter to criticize and reject Rachael Malonson after she was crowned the 2017 Miss Black University of Texas because they didn't feel her biracial makeup was "Black Enough" for the title. Her story of rejection began to spread virally throughout the internet and eventually provided a platform for her to stand up for others who have been criticized, rejected or were simply told they were not "enough.". The rejection she experienced from the pageant led to a deeper rooting of her identity in Jesus Christ.. In Crowned, Rachael opens up about her personal struggles with comparison, people pleasing, singleness and the battle to fully surrender to the will of God. She takes us on a symbolic journey as she uses the different stages of a pageant to help readers stop striving to please the world and start finding joy, hope, peace and confidence in Christ alone.