White Soul is an examination of the social, political, and religious foundations that bring rural and urban working-class white people and country music together as a dominant force in 20th century American music. An elitism of the upper class is named, examined, and debunked--with particular focus on the cultural values of working-class people and the "trashy" church that is preferred.

Saundra Johnson is a white-skinned black woman who was born in Little Rock, Arkansas, in l943 during the harsh period of Jim Crow. However, she and other white-skinned family members identified as black and embraced its rich heritage during a period of thriving black communities and businesses. Although having light/white skin had some privileges, the first day that Saundra arrived at Central High School in 1959, it became apparent that her color had no immunity when confronting hardcore racism. She describes in White Skin-Black Soul, her life experiences and the emotions and confusions that it illicit when mistaken for white. She also focuses on family and family stories that are lighthearted and humorous, while others are sorrowful and tragic. Saundra concludes her journey with her opinion of what has changed over seventy-five years and what has stayed the same with optimism that White Skin-Black Soul will provide insight and knowledge for the younger and future generations. Although family members may differ in some areas of politics, social issues, and religion, she still aims for a collective consciousness of the importance of fighting on the side of "justice and integrity" for all people and the power of being a "free and critical thinker," living in a democratic society.

Police officer Ron Ortega is a cop caught in the middle: His wife and new baby want him home. His superiors--and his own naked ambition--want him in Miami. In a test of his faith, he must decide if he will succumb to the challenges and the temptations that surround him or live the life hes always proclaimed.

White people are not literally or symbolically white, yet they are called white. What does this mean? In Western media, whites take up the position of ordinariness, not a particular race, just the human race. How is this achieved? White takes these questions as starting points for an examination of the representation of whiteness by whites in Western visual culture. Dyer places this representation within the contexts of Christianity, 'race' and colonialism. In a series of absorbing case studies, he shows the construction of whiteness in the technology of photography and film as part of a wider 'culture of light', discusses heroic white masculinity in muscle-man action cinema, from Tarzan and Hercules to Conan and Rambo; analyses the stifling role of white women in end-of-empire fictions like The Jewel in the Crown and traces the associations of whiteness with death in Falling Down, horror movies and cult dystopian films such as Blade Runner and the Aliens trilogy.

The weekly source of African American political and entertainment news.

In 1946, the Congress of Industrial Organizations (CIO) undertook Operation Dixie, an initiative to recruit industrial workers in the American South. Elizabeth and Ken Fones-Wolf plumb rarely used archival sources and rich oral histories to explore the CIO's fraught encounter with the evangelical Protestantism and religious culture of southern whites. The authors' nuanced look at working class religion reveals how laborers across the surprisingly wide evangelical spectrum interpreted their lives through their faith. Factors like conscience, community need, and lived experience led individual preachers to become union activists and mill villagers to defy the foreman and minister alike to listen to organizers. As the authors show, however, all sides enlisted belief in the battle. In the end, the inability of northern organizers to overcome the suspicion with which many evangelicals viewed modernity played a key role in Operation Dixie's failure, with repercussions for labor and liberalism that are still being felt today. Identifying the role of the sacred in the struggle for southern economic justice, and placing class as a central aspect in southern religion, Struggle for the Soul of the Postwar South provides new understandings of how whites in the region wrestled with the options available to them during a crucial period of change and possibility.

No other word in the English language is more endemic to contemporary Black American culture and identity than "Soul". Since the 1960s Soul has been frequently used to market and sell music, food, and fashion. However, Soul also refers to a pervasive belief in the capacity of the Black body/spirit to endure the most trying of times in an ongoing struggle for freedom and equality. While some attention has been given to various genre manifestations of Soul-as in Soul music and food-no book has yet fully explored the discursive terrain signified by the term. In this broad-ranging, free-spirited book, a diverse group of writers, artists, and scholars reflect on the ubiquitous but elusive concept of Soul. Topics include: politics and fashion, Blaxploitation films, language, literature, dance, James Brown, and Schoolhouse Rock. Among the contributors are Angela Davis, Manning Marable, Paul Gilroy, Lyle Ashton Harris, Michelle Wallace, Ishmael Reed, Greg Tate, Manthia Diawara, and dream hampton.

Richard cooks from the heart. In this wonderful collection of sumptuous southern recipes, you'll learn how cooking is truly a soul expression...& easy! As a child, he spent hours learning to cook at the knees of many loving & creative cooks. RICHARD'S COLLECTION OF WHITE FOLKS' SOUL FOOD is not a typical cookbook. Instead, it is a personal commentary on cooking, filled with the best recipes ever created. This highly readable cookbook has that rare quality of inspiring people to want to cook, even if they don't consider themselves cooks. Richard is a consulting CPA & has chaired numerous national & international committees, but his true love is cooking. His book reflects it. It is warm, conversational, personal, & humorous. It can be described as a unique blend of "learning to cook at Grandma's knee" & "Poor Richard's Almanac". If you're an inexperienced cook, a cookbook collector, or an experienced cook seeking creative ideas for new recipes, this book is for you. The editors predict it will be the collector's item of the '90s. A 32nd degree KCCH Mason & Shriner, Richard is a past governor of the United States Pony Club, & spends his leisure time at his Diamond T Ranch, where he often entertains with memorable meals. The book features a four-color three ring binder in a Santa Fe type design. To order: 1-800-878-7508, (214) 387-2120, Turtle Creek Press, 6757 Arapaho, Suite 711-135, Dallas, Texas 75248 or Southwest Cookbook Distributors, (903) 583-8898; The Cookbook Collection, Inc.; Dot Gibson Pubs.; Jefferson News; Piedmont News; Anderson News; or Martin News.

In the sound of the 1960s and 1970s, nothing symbolized the rift between black and white America better than the seemingly divided genres of country and soul. Yet the music emerged from the same songwriters, musicians, and producers in the recording studios of Memphis and Nashville, Tennessee, and Muscle Shoals, Alabama--what Charles L. Hughes calls the "country-soul triangle." In legendary studios like Stax and FAME, integrated groups of musicians like Booker T. and the MGs and the Muscle Shoals Rhythm Section produced music that both challenged and reconfirmed racial divisions in the United States. Working with artists from Aretha Franklin to Willie Nelson, these musicians became crucial contributors to the era's popular music and internationally recognized symbols of American racial politics in the turbulent years of civil rights protests, Black Power, and white backlash. Hughes offers a provocative reinterpretation of this key moment in American popular music and challenges the conventional wisdom about the racial politics of southern studios and the music that emerged from them. Drawing on interviews and rarely used archives, Hughes brings to life the daily world of session musicians, producers, and songwriters at the heart of the country and soul scenes. In doing so, he shows how the country-soul triangle gave birth to new ways of thinking about music, race, labor, and the South in this pivotal period.

These papers examine the intellectual legacy of the political psychologist Frantz Fanon.