New Books In African American Studies

When I think of the name “Billy Wilson” certain things come to mind immediately. I think of his sparkling career as director and choreographer of “Bubbling Brown Sugar” on Broadway. I am still stunned by his ability to shift from Broadway and back again so readily into making master works for the concert dance stage – Wilson’s works are in the repertory today of the Alvin Ailey American Dance Theatre, Dayton Contemporary Dance Company, Philadanco (Philadelphia Dance Company) and the Dance Theater of Harlem. I am all warm inside when I remember seeing the lush, rhythmic and striking choreography he created to the music of Dizzy Gillespie for his last work of concert dance, “The Winter in Lisbon” (1992.)  A tour de force, Wilson was a passionate and celebrated dancer during his time as a soloist with the Dutch National Ballet and was later founder of the Dance Theater of Boston. For me, Billy Wilson is one of those names in dance history that is all too often reduced to a footnote that obfuscates his career and

How were black women manumitted in the Old South, and how did they live their lives in freedom before the Civil War? Historian, Amrita Chakrabarti Myers (Associate Professor in the Department of History at Indiana University in Bloomington) answers this complex question by explaining the precarious nature freedom for African American women in Charleston before the Civil War in Forging Freedom: Black Women and the Pursuit of Liberty in Antebellum Charleston (UNC Press, 2011). In three tightly woven sections, she tells stories that reveal what it meant to glimpse, build and experience freedom from the early national period to the end of the antebellum era. Her beautifully written prose, coupled with thorough research to understand black women’s experiences in antebellum Charleston, makes her work an important contribution to the historical literature. Furthermore, her book has been awarded several prizes, namely the Julia Cherry Spruill Prize (2012) from the Southern Association of Women Historians, the George

If the moniker of the slave ship Amistad brings to mind images of Anthony Hopkins, Djimon Hounsou, and Morgan Freeman you are likely not alone. The monumental success of Steven Spielberg’s cinematic depiction of this antebellum event swept the nation when it hit theaters in 1997. However, the event itself–the insurrection onboard the slaving vessel–made up only a small portion of the film and the tale Spielberg tells, which instead focuses on the courtroom drama. In fact, nearly all of the histories written about the Amistad focus solely on the triumphs of the American legal system, leaving the story of the true protagonists–the Africans–by the wayside. Marcus Rediker‘s The Amistad Rebellion: An Atlantic Odyssey of Slavery and Freedom (Viking, 2012) corrects this historical oversight by peeling back the layers of the often told “top down” history to tell the story of the rebellion from the perspective of the African captives, the story from below. Rediker artfully employs newly discovered evidence to piece t

The Louisiana Purchase was a perfect illustration of the challenges, yet seemingly boundless opportunities that slavery presented statesmen like Thomas Jefferson. Napoleon Bonaparte had been dealt a significant military defeat at the hands of a slave revolt in Haiti, forcing him to reconsider his interests in the Americas and the Caribbean. So, when Jefferson’s emissaries began negotiating to buy the port city of New Orleans, Napoleon instead offered them the entire Louisiana Territory: a deal that essentially doubled the size of the United States at 3 cents an acre and expanded slavery into new regions. Decades earlier Jefferson had argued for ending the slave trade and enfranchising blacks. As a young lawyer he had taken the case of a black indentured servant pro-bono and fought for his freedom. He had included language in the Declaration of Independence denouncing the slave trade. Jefferson wrote the Ordinance of 1784 which would have banned slavery in any new territory in the US, officially ended it in 1

Andrei Williams‘ provocative new book on African American class divisions in Post-Reconstruction and Jim Crow America is sure to spark spirited debate among those interested in how the interplay of economic status and racial identity influence what has been called “the black experience.” Her insightful book is called Dividing Lines: Social Class Anxiety and Postbellum Black Fiction (University of Michigan, 2013). Specifically, the book examines how late-nineteenth-century black authors represent intra-racial stratification and class mobility. Analyzing works by such authors as Frances Harper, Sutton Griggs, Paul L. Dunbar, and Charles Chesnutt, Williams casts doubt on the now two-easy distinction between sell out and black nationalist when it comes to class ascension as she historicizes the moment when blacks were seeking to compete in the mainstream. Her look at representations of class at the turn of the 20th Century is fresh and illuminating. Please, listen in to the discussion. Learn more about your ad c

After his incendiary performance at the 1967 Monterey International Pop Festival, Jimi Hendrix almost immediately went from obscure musician to pop superstar in America. But as Steven Roby and Brad Schreiber reveal in Becoming Jimi Hendrix: From Southern Crossroads to Psychedelic London, the Untold Story of a Musical Genius, Hendrix was far from an overnight sensation. Drawing on an impressive research base, the authors have unearthed the early 1960s prehistory of Hendrix’s well-known but all-too-short life in the spotlight. They show that before his artistic and cultural breakthrough Hendrix had worked as a guitar-playing sideman for some of the biggest R & B acts of the 1960s, including Ike and Tina Turner, the Isley Brothers, and the incomparable Little Richard. In doing so, they paint a vivid and compelling portrait of a massively influential musician whose genius did not suddenly emerge after he formed the Jimi Hendrix Experience in 1966, but rather evolved during endless nights of gigging in backwater j

The moral arguments in defense of slavery hinged on the claim that it was the best arrangement for all parties involved, especially the slaves. Thomas Jefferson, for example, argued that the differences between black slaves and white masters were ‘fixed in nature’, with blacks being condemned to an existence driven more by ‘sensation than reflection’, thus making them incapable of comprehending the full weight of their predicament, let alone improving it. Freedom, according to John C. Calhoun, was the enemy of the black slave and would condemn him or her to the miserable life of a ‘pauper in the poor house’, rather than the ‘superintending’ care of masters and mistresses. When Jefferson returned from long trips, according to some biographers, he would have to wade through a throng of slaves eager to touch him, to thank him, to celebrate their master’s return. The minstrel, to many African Americans, is the physical embodiment of these arguments: the word made flesh. The minstrel stalks our collective imagina

German military theorist Carl Von Clausewitz observed that many of the important variables in war exist in ‘clouds of great uncertainty’ which create disconnects and confusion that persist even after the fighting has ended. The conflict between the Black Panther Party and the United States government is in ways illustrative of this phenomenon–or ‘the fog of war’ as it has come to be called–and helps explain why the Party is so well known yet misunderstood. For many, the Black Panther Party exists in image fragments: bullet-pocked storefronts, raised fists, drawings of mutant-pig policemen, Huey P. Newton on a wicker throne. For others, it exists in biographies of its leaders: Revolutionary Suicide, Seize the Time, This Side of Glory, A Taste of Power, just to name a few. Historians and political theorists have weighed in as well exploring the excesses of COINTELPRO, the failures of party leaders, gender inequity, missed opportunities, failed alliances, and endless betrayals. Yet there is still much to learn.

Vladimir Alexandrov‘s new book The Black Russian (Atlantic Monthly Press, 2013) tells the epic and often tragic story of Fredrick Bruce Thomas, an African American born to recently freed slaves, who would go on to make a fortune in Russia as a club owner and entrepreneur. Mr. Thomas was a pioneer in many respects. He migrated North in search of opportunity decades before the Great Migration. He fled the states in pursuit of greater prospects in Europe before it was fashionable for blacks to do so. He confronted and combated many of the forces that would shape the 20th century – racism, classism, and nativism – yet his story was little known to us until now. Learn more about your ad choices. Visit megaphone.fm/adchoices

Who is Motown’s first real star? The answer, of course, is Mary Wells, singer of such classics as “My Guy,” “Bye Bye Baby,” “The One Who Really Loves You,” “You Beat Me to the Punch,” and “Two Lovers,” among others. All of these hits were released in just four years between 1960 and 1969. In Mary Wells: The Tumultuous Life of Motown’s First Superstar (Chicago Review Press, 2012) author Peter Benjaminson chronicles the life of this singular performer from her early days as a young rock ‘n’ roll diva to her last years struggling with cancer. Along the way we learn that Wells was a tireless performer. She never stopped touring, never stopped reaching for the brass ring of financial success that eluded her for much of her career. It seems she never did receive the money she felt she deserved for the songs she released for Motown, while the record company appeared to rake in a handsome profit. She left Motown in 1964, released records with a number of different labels over the next twenty-six years, and finally re

In Hip Hop’s Amnesia: From Blues and the Black Women’s Club Movement to Rap and the Hip Hop Movement (Lexington Books, 2012), the second installment of his hip hop trilogy, Reiland Rabaka again discusses, in great detail, many of the essential historical, musical, aesthetical, political, and cultural movements and moments of nineteenth, twentieth and twenty-first African America. Building on his overtly Africana, feminist, and queer critical theoretical analyses of black movements in Hip Hop’s Inheritance (the first installment), Rabaka uses a more comparative historical eye in this book to show how (A) there are many aspects of early blues, jazz, bebop, and soul musical movements, especially as they related to other political and cultural movements of their times, that can inform us as to the place of modern rap and neo-soul movements and their relationships with other modern cultural and political movements, and (B) the modern hip hop movement (musical and otherwise) can benefit from an understanding of the

Over the last year, this podcast has featured several authors who’ve examined the presidency of Barack Obama. John Sides, Daniel Kriess, and Enid Logan each wrote about the election campaign of the President. Michael P. Jeffries steps back and places the President into a larger theoretical conversation about race and language. Jeffries is an Assistant Professor of American Studies at Welleseley College and also writes for The Atlantic magazine and The Guardian newspaper. He is the author of Paint the White House Black: Barack Obama and the Meaning of Race in America (Stanford University Press, 2013) and published his first book, Thug Life: Race, Gender, and the Meaning of Hip-Hop in 2011. Jeffries peels back the debate over exactly “post-racial” life in America really is in 2013. Using the presidency of Barack Obama as a focal point, he draws from sociology, feminist theory, and political science to situate the president in long-standing debates about the state of race in America. The book is provocative, tim

Andra Gillespie is the author of The New Black Politician: Cory Booker, Newark, and Post-Racial America (NYU Press, 2012). She is an Associate Professor of Political Science at Emory University and earned her Ph.D. from Yale University. Her new book focuses on the rise of one of the most well-known mayors in the country, Cory Booker. Gillespie tracks Booker’s rise through the complex politics of the city of Newark, NJ. As one of the few US cities with a history of African American mayors, Booker’s story is unique, but also illustrative. By challenging long-time Mayor Sharpe James, Booker — a newcomer to the city — confronted a deep and protective political establishment. The strategies Booker used, some effective, others less so, help Gillespie explain a larger phenomenon of the “post-racial America”. The book’s clear and personal writing make this an engaging read for political scientists and those interested in urban politics. Learn more about your ad choices. Visit megaphone.fm/adchoices

Historian Stephen Hall passionately engages in the history of nineteenth-century African American intellectual life in his first monograph, A Faithful Account of the Race: African American Historical Writing in Nineteenth-Century America (University of North Carolina Press, 2009). This work traces the long nineteenth-century and how black historical writers evoked various themes at different moments, including ancient African history, biblical history, the paradox of American slavery, and challenges to black citizenship during the Reconstruction era. He unearths of a plethora of black historical sources in the nineteenth century in various forms, including speeches, sermons, newspapers, and literary texts, which each serve as precursors to the black historical writing of the twentieth century. His work reveals the complexities of African American intellectual history, and would be a great inclusion for undergraduate or graduate course, or for a general audience of readers who would be interested in learning m

The Will of a People: A Critical Anthology of Great African American Speeches (Southern Illinois University Press, 2012) is a compendium of 22 orations delivered by African Americans over a span of over 265 years. Co-edited by frequent collaborators Richard Leeman and Bernard Duffy, both professors of communication studies, both interested in the American tradition of public address, have spotlighted the African American oral tradition in public testimonies, speeches, declarations, and jeremiads, among other possible categories of purpose in black oratory. Limited by such constraints as space and copy right law, the speeches included are those considered great, either because the speech itself is considered “famous,” like Sojourner Truth’s “A’n’t I a Woman?,” or because it is considered “the finest speech delivered by a an influential orator,” like Henry Turner’s “I Claim the Rights as a Man.” Whatever the reason for their inclusion, it’s no doubt the speeches collected are inspirational, informative, and wor

Stephen Caliendo and Charlton McIlwain are the authors of Race Appeal: How Candidates Invoke Race in US Political Campaigns (Temple University Press 2011). Caliendo is Professor of Political Science at North Central College and McIlwain is Associate Professor of Media, Culture and Communications at New York University. The two present a complicated portrait of the way race has played a part in recent elections. They utilize a multi-method approach combining content analysis and experiments to analyze how race is presented in campaign advertisements and comment on the verbal and visual dimensions of race in advertising. The book can help make sense of past elections and also the way race may play a part in campaigns in the future. Learn more about your ad choices. Visit megaphone.fm/adchoices

Digging up our roots seems to be the thing these days.  There are a host of genealogy resources available for anyone who cares to (re)discover their familial past.  Still, in the Americas people of African descent who want to take part in this digging encounter barriers; often there are gaps in the family histories of those whose members were bought and sold on a whim.   As she takes readers on a remarkable historical journey, Carla Peterson, author of Black Gotham:  A Family History of African Americans in Nineteenth-Century New York City (Yale University Press, 2011), illuminates the challenges of (re)discovering family histories and along the way, readers glean much about US national history. Armed with determination, patience beyond measure, and with several doses of serendipity, Peterson, Professor of English at the University of Maryland, College Park, takes her desire to return and find elements of her past to the archives of the Schomburg Center for Research in Black Culture.  Her persistence reveals

Where does rock ‘n’ roll begin? In The Chitlin’ Circuit and the Road to Rock ‘n’ Roll (W. W. Norton, 2011), Preston Lauterbach makes a strong case for its beginnings in the backwoods and small-town juke joints, fed by big-city racketeering, of the black American South. It begins, possibly, on Indianapolis’s Indiana Avenue where Denver Fergusun ran numbers, paid-off cops, and operated the Sunset Terrace. It begins, maybe, in Houston where Don Robey was the proprietor of the Bronze Peacock, oversaw a network of bars and taverns throughout Texas, Oklahoma, and Louisiana, and was a founder of the seminal Peacock Records. Maybe it began in Memphis, home of W.C. Handy, Beale Street, and the Mitchell Hotel. Or maybe it was the multitude of juke joints that littered the American South from Texas to Florida, Georgia to Chicago, in the 1930s and 40s that afforded artists such as Walter Barnes, Louis Jordan, Little Richard, and Roy Brown a series of non-stop one-nighters to ply their raunchy jumped-up versions of swing

Performance queen RuPaul once famously quipped that “we’re born naked; the rest is drag”–meaning everyone dons identity, performs one’s concept of self within our social networks, e.g., family, community, work. Marcia Alesan Dawkins takes RuPaul’s theory further in her new book, Clearly Invisible: Racial Passing and the Color of Cultural Identity (Baylor University Press, 2012). In it, she discusses (racial) passing as a performance that everyone, even social institutions, at one time or another, enact. In fact, she contends that we understand passing because we all might be required to do it, but also because we participate in rhetoric, ways of communicating and comprehending identity. Dawkins defines passing as “the phenomenon in which a person gains acceptance as a member of social groups other than his or her own, usually in terms of race, ethnicity, class, gender, sexuality, religion, citizenship, or disability status” (xii). She connects this to communication by discussing “passing as a series of rheto

What does it mean for a contemporary scholar to be trusted with the unfinished autobiography of a dance legend? How does one ensure that the integrity of their research matches the depth of life experience embodied in their subject’s narrative? Who is best served by the sharing of the untold stories of those whose narratives have been historically marginalized? And what does it mean for today’s dancers to learn about those who have paved the way for them under harsh and unjust circumstances? These were the questions I had in mind when I was lucky enough to interview historian and dancer Yael Tamar Lewin, author of Night’s Dancer, The Life of Janet Collins (Wesleyan University Press, 2011), a soaring work that includes Ms. Collin’s unfinished autobiography. Born in 1917, Janet Collins was raised in Los Angeles and has the historic distinction of being the first African – American prima ballerina at the Metropolitan Opera. A dancer with demonstrable skill in both ballet and modern dance vocabularies, Janet’s c