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African American theater buildings were theaters owned or managed by blacks or whites and serving an African American audience. Nearly 2,000 such theaters, including nickelodeons, vaudeville houses, storefronts, drive-ins, opera houses and neighborhood movie theaters, existed in the 20th century, yet very little has been written about them. In this book the African American theater buildings from 1900 through 1955 are arranged by state, then by city, and then alphabetically under the name by which they were known. The street address, dates of operation, number of seats, architect, whether it was a member of TOBA (Theater Owners Booking Association), type of theater (nickelodeon, vaudeville, musical, drama or picture), alternate name(s), race and name of manager or owner, whether the audience was mixed, and the fate of the theater are given where known. Commentary by theater historians is also provided.

African American Lives offers up-to-date, authoritative biographies of some 600 noteworthy African Americans. These 1,000-3,000 word biographies, selected from over five thousand entries in the forthcoming eight-volume African American National Biography, illuminate African-American history through the immediacy of individual experience. From Esteban, the earliest known African to set foot in North America in 1528, right up to the continuing careers of Venus and Serena Williams, these stories of the renowned and the near forgotten give us a new view of American history. Our past is revealed from personal perspectives that in turn inspire, move, entertain, and even infuriate the reader. Subjects include slaves and abolitionists, writers, politicians, and business people, musicians and dancers, artists and athletes, victims of injustice and the lawyers, journalists, and civil rights leaders who gave them a voice. Their experiences and accomplishments combine to expose the complexity of race as an overriding issue in America's past and present. African American Lives features frequent cross-references among related entries, over 300 illustrations, and a general index, supplemented by indexes organized by chronology, occupation or area of renown, and winners of particular honors such as the Spingarn Medal, Nobel Prize, and Pulitzer Prize.

Violence has marked relations between blacks and whites in America for nearly four hundred years. In The Lineaments of Wrath, James W. Clarke draws upon behavioral science theory and primary historical evidence to examine and explain its causes and enduring consequences. Beginning with slavery and concluding with the present, Clarke describes how the combined effects of state-sanctioned mob violence and the discriminatory administration of "race-blind" criminal and contract labor laws terrorized and immobilized the black population in the post-emancipation South. In this fashion an agricultural system, based on debt peonage and convict labor, quickly replaced slavery and remained the back-bone of the region's economy well into the twentieth century. Quoting the actual words of victims and witnesses from former slaves to "gangsta" rappers Clarke documents the erosion of black confidence in American criminal justice. In so doing, he also traces the evolution, across many generations, of a black subculture of violence, in which disputes are settled personally, and without recourse to the legal system. That subculture, the author concludes, accounts for historically high rates of black-on-black violence which now threatens to destroy the black inner city from within. The Lineaments of Wrath puts America's race issues into a completely original historical perspective. Those in the fields of political science, sociology, history, psychology, public policy, race relations, and law will find Clarke's work of profound importance.

A gripping exploration of the joys, hardships, and truths of Black students through intimate, honest dialogues and stunning photography, author of Heavy “A radical, reverential, and restorative document of community.”—Rebecca Bengal, author of Strange Hours: Photography, Memory, and the Lives of Artists When photographer Adraint Bereal graduated from the University of Texas, he self-published an impressive volume of portraits, personal statements, and interviews that explored UT's campus culture and offered an intimate look at the lives of Black students matriculating within a majority white space. Bereal's work was inspired by his first photo exhibition at the George Washington Carver Museum in Austin, entitled 1.7, that unearthed the experiences of the 925 Black men that made up just 1.7% of UT's total 52,000 student body. Now Bereal expands the scope of his original project and visits colleges nationwide, from Historically Black Colleges and Universities (HBCUs) to predominantly white institutions to trade schools and more. Rather than dwelling on the monolith of trauma often associated with Black narratives, Bereal is dedicated to using honest dialogue to share stories of true joy and triumph amidst the hardships, prejudices, and internal struggles. Using an exciting and eclectic design approach to accompany the portraits and stories, each individual profile effectively conveys the interviewee's unique voice, tone, and background. The Black Yearbook reframes society's stereotypical perception of higher education by representing and celebrating the wide range of Black experiences on campuses.

This landmark book presents the contributions of African Americans past and present to understanding crime, criminological theory, and the administration of justice. The authors devote individual chapters to African American pioneers Ida B. Wells-Barnett, W. E. B. Du Bois, E. Franklin Frazier, and Monroe N. Work, and contemporary scholars Lee P. Brown, Daniel Georges-Abeyie, Darnell F. Hawkins, Coramae Richey Mann, William Julius Wilson, and Vernetta D. Young. Included for each individual are a biography, information on their contributions to criminological thought, and a list of selected references. A wide range of issues are covered such as lynching, the convict lease system, homicide, female crime and delinquency, terrorism, community policing, the black ethnic monolith paradigm, and explanations of criminality.

On Black cinema