Shawan M. Worsley analyzes black cultural representations that appropriate anti-black stereotypes. Her examination furthers our understanding of the historical circumstances that are influencing contemporary representations of black subjects that are purposefully derogatory and documents the consequences of these images.

Audience, Agency and Identity in Black Popular Culture analyses black cultural representations that appropriate anti-black stereotypes. Using examples from literature, media, and art, Worsley examines how these cultural products do not rework anti-black stereotypes into seemingly positive images. Rather, they present anti-black stereotypes in their original forms and encourage audiences not to ignore, but to explore them. Shifting critical commentary from a need to censor these questionable images, Worsley offers a complex consideration of the value of and problems with these alternative anti-racist strategies in light of stereotypes’ persistence. This book furthers our understanding of the historical circumstances that are influencing contemporary representations of black subjects that are purposefully derogatory and documents the consequences of these images.

"Explores African American cultural products that pose competing narratives of black identities that work through the historical trauma of slavery and its legacy, manifested in systematic and institutional racism. Through the analysis and comparison of Alice Randall's novel, The wind done gone, the visual art of Kara Walker, and the hip-hop magazine The source: magazine of hip-hop music and culture, this project highlights the ways in which some cultural producers, in the 1990s, redefine narratives of black identity and subjectivity."--Abstract.

Drawing on personal insights and research-based knowledge, this important work facilitates understanding of the psychological struggles of young African American males and offers ameliorative strategies. Despite examples set by successful black men in all walks of life, the truth remains that a disproportionate number of black boys and young men underperform at school, suffer from PTSD, and, too often, find themselves on a pathway to jail. The two-volume The Psychology of Black Boys and Adolescents marks the first attempt to catalog the many psychological influences that can stack the deck against black male children—and to suggest interventions. Bringing together an expansive collection of new and classic research from a wide variety of disciplines, this set sheds light on the complex circumstances faced by young black men in the United States. Contributions by authors Kirkland Vaughans and Warren Spielberg contain insights from the groundbreaking "Brotherman" study, conducted over a ten-year period to report on the lives and psychological challenges of over a hundred African American boys and their families. Among the myriad issues studied in this set are the often-negative expectations of society, the influence of gangs, and the impact of racism and poverty. Of equal importance, the work explores culturally specific ways to engage families, youths, communities, and policymakers in the development of healthy, safe, educated boys who will become whole and successful adults.

This innovative volume presents twenty comparative case studies of important global questions, such as 'Where should our food come from?' 'What should we do about climate change?' and 'Where should innovation come from?' A variety of solutions are proposed and compared, including market-based, economic, and neoliberal approaches, as well as those determined by humane values and ethical and socially responsible perspectives. Drawing on original research, its chapters show that more responsible solutions are very often both more effective and better aligned with human values. Providing an important counterpoint to the standard capitalist thinking propounded in business school education, People Before Markets reveals the problematic assumptions of incumbent frameworks for solving global problems and inspires the next generation of business and social science students to pursue more effective and human-centered solutions.

Wilma Rudolph was born black in Jim Crow Tennessee. The twentieth of 22 children, she spent most of her childhood in bed suffering from whooping cough, scarlet fever, and pneumonia. She lost the use of her left leg due to polio and wore leg braces. With dedication and hard work, she became a gifted runner, earning a track and field scholarship to Tennessee State. In 1960, she became the first American woman to win three gold medals in a single Olympic Games. Her underdog story made her into a media darling, and she was the subject of countless articles, a television movie, children’s books, biographies, and she even featured on a U.S. postage stamp. In this work, Smith and Liberti consider not only Rudolph’s achievements, but also the ways in which those achievements are interpreted and presented as historical fact. Theories of gender, race, class, and disability collide in the story of Wilma Rudolph, and Smith and Liberti examine this collision in an effort to more fully understand how history is shaped by the cultural concerns of the present. In doing so, the authors engage with the metanarratives which define the American experience and encourage more complex and nuanced interrogations of contemporary heroic legacy.

This book explores a profoundly negative narrative about legally segregated schools in the United States being "inherently inferior" compared to their white counterparts. However, there are overwhelmingly positive counter-memories of these schools as "good and valued" among former students, teachers, and community members. Using interview data with 44 former teachers in three North Carolina counties, college and university archival materials, and secondary historical sources, the author argues that "Jim Crow’s teachers" remember from hidden transcripts—latent reports of the social world created and lived in all-black schools and communities—which reveal hidden social relations and practices that were constructed away from powerful white educational authorities. The author concludes that the national memory of "inherently inferior" all-black schools does not tell the whole story about legally segregated education; the collective remembering of Jim Crow’s teachers reveal a critique of power and a fight for respectability that shaped teachers’ work in the Age of Segregation.

In Consuming Stories, Rebecca Peabody uses the work of contemporary American artist Kara Walker to investigate a range of popular storytelling traditions with roots in the nineteenth century and ramifications in the present. Focusing on a few key pieces that range from a wall-size installation to a reworked photocopy in an artist’s book and from a theater curtain to a monumental sculpture, Peabody explores a significant yet neglected aspect of Walker’s production: her commitment to examining narrative depictions of race, gender, power, and desire. Consuming Stories considers Walker’s sustained visual engagement with literary genres such as the romance novel, the neo-slave narrative, and the fairy tale and with internationally known stories including Roots, Beloved, and Uncle Tom’s Cabin. Walker’s interruption of these familiar works , along with her generative use of the familiar in unexpected and destabilizing ways, reveals the extent to which genre-based narrative conventions depend on specific representations of race, especially when aligned with power and desire. Breaking these implicit rules makes them visible—and, in turn, highlights viewers’ reliance on them for narrative legibility. As this study reveals, Walker’s engagement with narrative continues beyond her early silhouette work as she moves into media such as film, video, and sculpture. Peabody also shows how Walker uses her tools and strategies to unsettle cultural histories abroad when she works outside the United States. These stories, Peabody reminds us, not only change the way people remember history but also shape the entertainment industry. Ultimately, Consuming Stories shifts the critical conversation away from the visual legacy of historical racism toward the present-day role of the entertainment industry—and its consumers—in processes of racialization.

The war industries associated with World War II brought unparalleled employment opportunities for African Americans in San Francisco, a city whose African American population grew by over 650% between 1940 and 1945. With this population increase came an increase in racial discrimination directed at African Americans, primarily in the employment and housing sectors. In San Francisco, most African Americans were effectively barred from renting or buying homes in all but a few neighborhoods and, except for the well-educated and lucky, employment opportunities were open in near-entry levels for white-collar positions or in unskilled and semi-skilled blue-collar positions. As San Francisco's African American population expanded, civil rights groups formed coalitions to picket and protest, thereby effectively expanding job opportunities and opening the housing market for African American San Franciscans. This book describes and explains some of the obstacles and triumphs faced and achieved in areas such as housing, employment, education and civil rights. It reaches across disciplines from African American studies and history into urban studies and sociology.

News media, film, and the music industry have become powerful sources of misrepresentation of Black male life in the social imagination of white society. The pedagogy of popular culture has important implications for educators and youth advocates who desire to challenge the myths and distortions that ultimately harm youth. This volume raises awareness of the media war on Black male youth in popular culture, and the impact this image battle has on the discriminatory treatment of the population in urban educational settings. Citing the recent controversial deaths of Trayvon Martin and Jordan Davis, the portrayal of black males in contemporary films, and the locus of hip-hop masculinities, this volume offers a unique framework for analyzing how contemporary image-making practices affect Black male youth in urban education. It also offers ethical considerations for educators in their critique, consumption and reading of Black male subjectivity in media, and provides avenues for practical applications of critical media literacy on the ground.