This innovative study of racial upheaval and urban transformation in Baltimore, Maryland investigates the impact of "blockbusting"—a practice in which real estate agents would sell a house on an all-white block to an African American family with the aim of igniting a panic among the other residents. These homeowners would often sell at a loss to move away, and the real estate agents would promote the properties at a drastic markup to African American buyers. In this groundbreaking book, W. Edward Orser examines Edmondson Village, a west Baltimore rowhouse community where an especially acute instance of blockbusting triggered white flight and racial change on a dramatic scale. Between 1955 and 1965, nearly twenty thousand white residents, who saw their secure world changing drastically, were replaced by blacks in search of the American dream. By buying low and selling high, playing on the fears of whites and the needs of African Americans, blockbusters set off a series of events that Orser calls "a collective trauma whose significance for recent American social and cultural history is still insufficiently appreciated and understood." Blockbusting in Baltimore describes a widely experienced but little analyzed phenomenon of recent social history. Orser makes an important contribution to community and urban studies, race relations, and records of the African American experience.

This book examines how the media approached long-standing and long-simmering issues of race, class, violence, and social responsibility in Baltimore during the demonstrations, violence, and public debate in the spring of 2015. Contributors take Baltimore to be an important place, symbol, and marker, though the issues are certainly not unique to Baltimore: they have crucial implications for contemporary journalism in the U.S. These events prompt several questions: How well did journalism do, in Baltimore, nearby and nationally, in explaining the endemic issues besetting Baltimore? What might have been done differently? What is the responsibility of journalists to anticipate and cover these problems? How should they cover social problems in urban areas? What do the answers to such questions suggest about how journalists should in future cover such problems?

Nicknamed both “Mobtown” and “Charm City” and located on the border of the North and South, Baltimore is a city of contradictions. From media depictions in The Wire to the real-life trial of police officers for the murder of Freddie Gray, Baltimore has become a quintessential example of a struggling American city. Yet the truth about Baltimore is far more complicated—and more fascinating. To help untangle these apparent paradoxes, the editors of Baltimore Revisited have assembled a collection of over thirty experts from inside and outside academia. Together, they reveal that Baltimore has been ground zero for a slew of neoliberal policies, a place where inequality has increased as corporate interests have eagerly privatized public goods and services to maximize profits. But they also uncover how community members resist and reveal a long tradition of Baltimoreans who have fought for social justice. The essays in this collection take readers on a tour through the city’s diverse neighborhoods, from the Lumbee Indian community in East Baltimore to the crusade for environmental justice in South Baltimore. Baltimore Revisited examines the city’s past, reflects upon the city’s present, and envisions the city’s future.

"A compelling read about the quest for fame!" —Debbie Allen, star of Fame "Redemption is a heartbeat away." —Guadalupe Garcia McCall, author of the Pura Belpre Award winner Under the Mesquite Beatriz dreams of a life spent dancing--until tragedy on the day of her quinceañera changes everything. Up until her fifteenth birthday, the most important thing in the world to Beatriz Mendez was her dream of becoming a professional dancer and getting herself and her family far from the gang life that defined their days--that and meeting her dance idol Debbie Allen on the set of her favorite TV show, Fame. But after the latest battle in a constant turf war leaves her brother, Junito, dead and her mother grieving, Beatriz has a new set of priorities. How is she supposed to feel the rhythm when her brother's gang needs running, when her mami can't brush her own teeth, and when the last thing she can remember of her old self is dancing with her brother, followed by running and gunshots? When the class brainiac reminds Beatriz of her love of the dance floor, her banished dreams sneak back in. Now the only question is: will the gang let her go? Set in New Jersey in 1984, Beatriz's story is a timeless one of a teenager's navigation of romance, her brother's choices, and her own family's difficult past. A companion novel to the much-lauded Like Vanessa.

These vintage and contemporary images of Baltimore movie palaces explore the changing face of Charm City with stories and commentary by filmmakers. Since the dawn of popular cinema, Baltimore has been home to hundreds of movie theaters, many of which became legendary monuments to popular culture. But by 2016, the number of cinemas had dwindled to only three. Many theaters have been boarded up, burned out, or repurposed. In this volume, Baltimore Sun photojournalist Amy Davis pairs vintage black-and-white images of downtown movie palaces and modest neighborhood theaters with her own contemporary color photos. Flickering Treasures delves into Baltimore’s cultural and cinematic history, from its troubling legacy of racial segregation to the technological changes that have shaped both American cities and the movie exhibition business. Images of Electric Park, the Century, the Hippodrome, and scores of other beloved venues are punctuated by stories and interviews, as well as commentary from celebrated Baltimore filmmakers Barry Levinson and John Waters. A map and timeline reveal the one-time presence of movie houses in every corner of the city, and fact boxes include the years of operation, address, architect, and seating capacity for each of the 72 theaters profiled, along with a brief description of each theater’s distinct character.

A kaleidoscopic account of five days in the life of a city on the edge, told through seven characters on the frontlines of the uprising that overtook Baltimore and riveted the world, from the New York Times bestselling author of The Other Wes Moore. When Freddie Gray was arrested for possessing an "illegal knife" in April 2015, he was, by eyewitness accounts that video evidence later confirmed, treated "roughly" as police loaded him into a vehicle. By the end of his trip in the police van, Gray was in a coma he would never recover from. In the wake of a long history of police abuse in Baltimore, this killing felt like a final straw--it led to a week of protests and then five days described alternately as a riot or an uprising that set the entire city on edge, and caught the nation's attention. Wes Moore is one of Baltimore's most famous sons--a Rhodes Scholar, bestselling author, decorated combat veteran, White House fellow, and current President of the Robin Hood Foundation. While attending Gray's funeral, he saw every strata of the city come together: grieving mothers; members of the city's wealthy elite; activists; and the long-suffering citizens of Baltimore--all looking to comfort each other, but also looking for answers. Knowing that when they left the church, these factions would spread out to their own corners, but that the answers they were all looking for could only be found in the city as a whole, Moore--along with Pulitzer-winning coauthor Erica Green--tells the story of the Baltimore uprising. Through both his own observations, and through the eyes of other Baltimoreans: Partee, a conflicted black captain of the Baltimore Police Department; Jenny, a young white public defender who's drawn into the violent center of the uprising herself; Tawanda, a young black woman who'd spent a lonely year protesting the killing of her own brother by police; and John DeAngelo, scion of the city's most powerful family and owner of the Baltimore Orioles, who has to make choices of conscience he'd never before confronted. Each shifting point of view contributes to an engrossing, cacophonous account of one of the most consequential moments in our recent history--but also an essential cri de coeur about the deeper causes of the violence and the small seeds of hope planted in its aftermath.

The definitive and “utterly absorbing” biography of America’s first news media baron based on newly released private and business documents (Vanity Fair). William Randolph Hearst, known to his staff as the Chief, was a brilliant business strategist and a man of prodigious appetites. By the 1930s, he controlled the largest publishing empire in the United States, including twenty-eight newspapers, the Cosmopolitan Picture Studio, radio stations, and thirteen magazines. He quickly learned how to use this media stronghold to achieve unprecedented political power. The son of a gold miner, Hearst underwent a public metamorphosis from Harvard dropout to political kingmaker; from outspoken populist to opponent of the New Deal; and from citizen to congressman. In The Chief, David Nasaw presents an intimate portrait of the man famously characterized in the classic film Citizen Kane. With unprecedented access to Hearst’s personal and business papers, Nasaw details Heart’s relationship with his wife Millicent and his romance with Marion Davies; his interactions with Hitler, Mussolini, Churchill, and every American president from Grover Cleveland to Franklin Roosevelt; and his acquaintance with movie giants such as Louis B. Mayer, Jack Warner, and Irving Thalberg. An “absorbing, sympathetic portrait of an American original,” The Chief sheds light on the private life of a very public man (Chicago Tribune).

A riveting profile of William Randolph Hearst's astonishing rise in the golden age of newspaper journalism. ''Exhaustively researched and elegantly written . . . brims with charming characters and stories. It deftly captures the bygone era of Gilded Age new papering . valuable contribution to the literature of Hearst and the history of journalism.''

"The original prose novel featuring multiple illustrations by Hellboy artist Mike Mignola, plus the one-shot comic The Widow and the Tank"--Dark Horse website.

Once she was Sofia Valk, living in a village overrun by evil. In time she became Lord Baltimore's most trusted ally. Now, more than a decade after his death, Europe has erupted with the early battles of World War 2 and dark forces are rising again. With witches, vampires, and Nazis on the march, Sofia must embrace the title of Lady Baltimore! But can she fight monsters without becoming a monster herself? Horror genius writing team Mike Mignola and Christopher Golden reunite, with stellar art by Bridgit Connell and colors by Michelle Madsen as they return readers to the world of Baltimore. ''Witches, monsters, magic, and adventure abound in Lady Baltimore, the exciting new series from Dark Horse Comics, rich in story and art that brings it all to life. What's not to like!''–Cat Staggs