Podcast appearances and mentions of james stancil

Along The Line is a non-profit, education-based podcast that provides listeners with context and analysis about various critical and contemporary issues and topics. Hosted by Dr. Nolan Higdon, Dr. Dreadlocks…

On today’s episode, Nicholas Baham II (Dr. Dreadlocks), Janice Domingo, and Nolan Higdon discuss The Houston Youth P.O.W.E.R. Research & Propwatch Projects with Dr. James Stancil and Mike Gordon. Along…

What is Black Power? Does it still exist in the so-called post-racial 21st Century? How does Black Power relate to similar movements, like Black Lives Matter? There as so many questions, but there may now be a scholar and text to help answer many of them. Mainstreaming Black Power (University of California Press, 2017) upends the narrative that the Black Power movement allowed for a catharsis of black rage but achieved little institutional transformation or black uplift. Retelling the story of the 1960s and 1970s across the United States and focusing on New York, Atlanta, and Los Angeles this book reveals how the War on Poverty cultivated black self-determination politics and demonstrates that federal, state, and local policies during this period bolstered economic, social, and educational institutions for black control. Mainstreaming Black Power shows more convincingly than ever before that white power structures did engage with Black Power in specific ways that tended ultimately to reinforce rather than challenge existing racial, class, and gender hierarchies. The author emphasizes that Black Power’s reach and legacies can be understood only in the context of an ideologically diverse black community. Author Tom Adam Davies is a lecturer and a school visits representative in American History at the University of Sussex. He completed his doctoral studies at the University of Leeds and is a specialist in twentieth-century postwar political and social American history, with a particular focus on the history of race in the United States and the relationship between public policy and mainstream political institutions and movements for social, economic and political change. Davies has also written and recorded a six-part podcast lecture series on the American Civil Rights and Black Power movements for Massolit, a company which produces audio-visual online educational content primarily for A-Level students across the United Kingdom. Mainstreaming Black Power is his first book. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people. Learn more about your ad choices. Visit megaphone.fm/adchoices

What is Black Power? Does it still exist in the so-called post-racial 21st Century? How does Black Power relate to similar movements, like Black Lives Matter? There as so many questions, but there may now be a scholar and text to help answer many of them. Mainstreaming Black Power (University of California Press, 2017) upends the narrative that the Black Power movement allowed for a catharsis of black rage but achieved little institutional transformation or black uplift. Retelling the story of the 1960s and 1970s across the United States and focusing on New York, Atlanta, and Los Angeles this book reveals how the War on Poverty cultivated black self-determination politics and demonstrates that federal, state, and local policies during this period bolstered economic, social, and educational institutions for black control. Mainstreaming Black Power shows more convincingly than ever before that white power structures did engage with Black Power in specific ways that tended ultimately to reinforce rather than challenge existing racial, class, and gender hierarchies. The author emphasizes that Black Power’s reach and legacies can be understood only in the context of an ideologically diverse black community. Author Tom Adam Davies is a lecturer and a school visits representative in American History at the University of Sussex. He completed his doctoral studies at the University of Leeds and is a specialist in twentieth-century postwar political and social American history, with a particular focus on the history of race in the United States and the relationship between public policy and mainstream political institutions and movements for social, economic and political change. Davies has also written and recorded a six-part podcast lecture series on the American Civil Rights and Black Power movements for Massolit, a company which produces audio-visual online educational content primarily for A-Level students across the United Kingdom. Mainstreaming Black Power is his first book. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people. Learn more about your ad choices. Visit megaphone.fm/adchoices

What is Black Power? Does it still exist in the so-called post-racial 21st Century? How does Black Power relate to similar movements, like Black Lives Matter? There as so many questions, but there may now be a scholar and text to help answer many of them. Mainstreaming Black Power (University of California Press, 2017) upends the narrative that the Black Power movement allowed for a catharsis of black rage but achieved little institutional transformation or black uplift. Retelling the story of the 1960s and 1970s across the United States and focusing on New York, Atlanta, and Los Angeles this book reveals how the War on Poverty cultivated black self-determination politics and demonstrates that federal, state, and local policies during this period bolstered economic, social, and educational institutions for black control. Mainstreaming Black Power shows more convincingly than ever before that white power structures did engage with Black Power in specific ways that tended ultimately to reinforce rather than challenge existing racial, class, and gender hierarchies. The author emphasizes that Black Power’s reach and legacies can be understood only in the context of an ideologically diverse black community. Author Tom Adam Davies is a lecturer and a school visits representative in American History at the University of Sussex. He completed his doctoral studies at the University of Leeds and is a specialist in twentieth-century postwar political and social American history, with a particular focus on the history of race in the United States and the relationship between public policy and mainstream political institutions and movements for social, economic and political change. Davies has also written and recorded a six-part podcast lecture series on the American Civil Rights and Black Power movements for Massolit, a company which produces audio-visual online educational content primarily for A-Level students across the United Kingdom. Mainstreaming Black Power is his first book. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people. Learn more about your ad choices. Visit megaphone.fm/adchoices

What is Black Power? Does it still exist in the so-called post-racial 21st Century? How does Black Power relate to similar movements, like Black Lives Matter? There as so many questions, but there may now be a scholar and text to help answer many of them. Mainstreaming Black Power (University of California Press, 2017) upends the narrative that the Black Power movement allowed for a catharsis of black rage but achieved little institutional transformation or black uplift. Retelling the story of the 1960s and 1970s across the United States and focusing on New York, Atlanta, and Los Angeles this book reveals how the War on Poverty cultivated black self-determination politics and demonstrates that federal, state, and local policies during this period bolstered economic, social, and educational institutions for black control. Mainstreaming Black Power shows more convincingly than ever before that white power structures did engage with Black Power in specific ways that tended ultimately to reinforce rather than challenge existing racial, class, and gender hierarchies. The author emphasizes that Black Power’s reach and legacies can be understood only in the context of an ideologically diverse black community. Author Tom Adam Davies is a lecturer and a school visits representative in American History at the University of Sussex. He completed his doctoral studies at the University of Leeds and is a specialist in twentieth-century postwar political and social American history, with a particular focus on the history of race in the United States and the relationship between public policy and mainstream political institutions and movements for social, economic and political change. Davies has also written and recorded a six-part podcast lecture series on the American Civil Rights and Black Power movements for Massolit, a company which produces audio-visual online educational content primarily for A-Level students across the United Kingdom. Mainstreaming Black Power is his first book. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people. Learn more about your ad choices. Visit megaphone.fm/adchoices

What is Black Power? Does it still exist in the so-called post-racial 21st Century? How does Black Power relate to similar movements, like Black Lives Matter? There as so many questions, but there may now be a scholar and text to help answer many of them. Mainstreaming Black Power (University of California Press, 2017) upends the narrative that the Black Power movement allowed for a catharsis of black rage but achieved little institutional transformation or black uplift. Retelling the story of the 1960s and 1970s across the United States and focusing on New York, Atlanta, and Los Angeles this book reveals how the War on Poverty cultivated black self-determination politics and demonstrates that federal, state, and local policies during this period bolstered economic, social, and educational institutions for black control. Mainstreaming Black Power shows more convincingly than ever before that white power structures did engage with Black Power in specific ways that tended ultimately to reinforce rather than challenge existing racial, class, and gender hierarchies. The author emphasizes that Black Power's reach and legacies can be understood only in the context of an ideologically diverse black community. Author Tom Adam Davies is a lecturer and a school visits representative in American History at the University of Sussex. He completed his doctoral studies at the University of Leeds and is a specialist in twentieth-century postwar political and social American history, with a particular focus on the history of race in the United States and the relationship between public policy and mainstream political institutions and movements for social, economic and political change. Davies has also written and recorded a six-part podcast lecture series on the American Civil Rights and Black Power movements for Massolit, a company which produces audio-visual online educational content primarily for A-Level students across the United Kingdom. Mainstreaming Black Power is his first book. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

From the American Revolution to the present day, African Americans have stepped forward in their nation’s defense. Fighting for Uncle Sam: Buffalo Solders in the Frontier Army (Schiffer, 2016) breathes new vitality into a stirring subject, emphasizing the role men who have come to be known as “buffalo soldiers” played in opening the Trans-Mississippi West. This concise overview reveals a cast of characters as big as the land they served. Over 150 images painstakingly gathered nearly a half century from public and private collections enhance the written word as windows to the past. Now 150 years after Congress authorized blacks to serve in the Regular Army, the reader literally can peer into the eyes of formerly enslaved men who bravely bought their freedom on the bloody battlefields of the Civil War, then trekked westward, carried the “Stars and Stripes” to the Caribbean, and pursued Pancho Villa into Mexico with John “Black Jack” Pershing. Growing up in Tucson, Arizona, historian and author John P. Langellier spent four decades working in public history after earning a B.A. and M.A. in history from the University of San Diego and his Ph.D. in military history from Kansas State University. He spent a dozen years with the U.S. Army, helped found California’s Autry Museum of the American West, and served as director for Wyoming State Museum, deputy director of the Ronald Reagan Presidential Library, executive director of Arizona’s Sharlot Hall Museum, and director of Arizona Historical Society’s Central Division. He was also awarded an honorary membership into the 9th and 10th U.S. Horse Calvary Association. He has written dozens of published books, served as a Hollywood film consultant, a Smithsonian Institution fellow, and produced history documentaries for television networks A&E, History, and PBS. Langellier officially “retired” to Tucson in 2015, but still continues his work as one of the preeminent military historians in the United States. After Fighting for Uncle Sam: Blacks in the Frontier Army, one of his current research projects is a book-length work on the connections between the Western art of Frederic Remington and the U.S. Army 10th Calvary (Buffalo Soldiers) in Arizona. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people. Learn more about your ad choices. Visit megaphone.fm/adchoices

From the American Revolution to the present day, African Americans have stepped forward in their nation’s defense. Fighting for Uncle Sam: Buffalo Solders in the Frontier Army (Schiffer, 2016) breathes new vitality into a stirring subject, emphasizing the role men who have come to be known as “buffalo soldiers” played in opening the Trans-Mississippi West. This concise overview reveals a cast of characters as big as the land they served. Over 150 images painstakingly gathered nearly a half century from public and private collections enhance the written word as windows to the past. Now 150 years after Congress authorized blacks to serve in the Regular Army, the reader literally can peer into the eyes of formerly enslaved men who bravely bought their freedom on the bloody battlefields of the Civil War, then trekked westward, carried the “Stars and Stripes” to the Caribbean, and pursued Pancho Villa into Mexico with John “Black Jack” Pershing. Growing up in Tucson, Arizona, historian and author John P. Langellier spent four decades working in public history after earning a B.A. and M.A. in history from the University of San Diego and his Ph.D. in military history from Kansas State University. He spent a dozen years with the U.S. Army, helped found California’s Autry Museum of the American West, and served as director for Wyoming State Museum, deputy director of the Ronald Reagan Presidential Library, executive director of Arizona’s Sharlot Hall Museum, and director of Arizona Historical Society’s Central Division. He was also awarded an honorary membership into the 9th and 10th U.S. Horse Calvary Association. He has written dozens of published books, served as a Hollywood film consultant, a Smithsonian Institution fellow, and produced history documentaries for television networks A&E, History, and PBS. Langellier officially “retired” to Tucson in 2015, but still continues his work as one of the preeminent military historians in the United States. After Fighting for Uncle Sam: Blacks in the Frontier Army, one of his current research projects is a book-length work on the connections between the Western art of Frederic Remington and the U.S. Army 10th Calvary (Buffalo Soldiers) in Arizona. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people. Learn more about your ad choices. Visit megaphone.fm/adchoices

From the American Revolution to the present day, African Americans have stepped forward in their nation’s defense. Fighting for Uncle Sam: Buffalo Solders in the Frontier Army (Schiffer, 2016) breathes new vitality into a stirring subject, emphasizing the role men who have come to be known as “buffalo soldiers” played in opening the Trans-Mississippi West. This concise overview reveals a cast of characters as big as the land they served. Over 150 images painstakingly gathered nearly a half century from public and private collections enhance the written word as windows to the past. Now 150 years after Congress authorized blacks to serve in the Regular Army, the reader literally can peer into the eyes of formerly enslaved men who bravely bought their freedom on the bloody battlefields of the Civil War, then trekked westward, carried the “Stars and Stripes” to the Caribbean, and pursued Pancho Villa into Mexico with John “Black Jack” Pershing. Growing up in Tucson, Arizona, historian and author John P. Langellier spent four decades working in public history after earning a B.A. and M.A. in history from the University of San Diego and his Ph.D. in military history from Kansas State University. He spent a dozen years with the U.S. Army, helped found California’s Autry Museum of the American West, and served as director for Wyoming State Museum, deputy director of the Ronald Reagan Presidential Library, executive director of Arizona’s Sharlot Hall Museum, and director of Arizona Historical Society’s Central Division. He was also awarded an honorary membership into the 9th and 10th U.S. Horse Calvary Association. He has written dozens of published books, served as a Hollywood film consultant, a Smithsonian Institution fellow, and produced history documentaries for television networks A&E, History, and PBS. Langellier officially “retired” to Tucson in 2015, but still continues his work as one of the preeminent military historians in the United States. After Fighting for Uncle Sam: Blacks in the Frontier Army, one of his current research projects is a book-length work on the connections between the Western art of Frederic Remington and the U.S. Army 10th Calvary (Buffalo Soldiers) in Arizona. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people. Learn more about your ad choices. Visit megaphone.fm/adchoices

From the American Revolution to the present day, African Americans have stepped forward in their nation’s defense. Fighting for Uncle Sam: Buffalo Solders in the Frontier Army (Schiffer, 2016) breathes new vitality into a stirring subject, emphasizing the role men who have come to be known as “buffalo soldiers” played in opening the Trans-Mississippi West. This concise overview reveals a cast of characters as big as the land they served. Over 150 images painstakingly gathered nearly a half century from public and private collections enhance the written word as windows to the past. Now 150 years after Congress authorized blacks to serve in the Regular Army, the reader literally can peer into the eyes of formerly enslaved men who bravely bought their freedom on the bloody battlefields of the Civil War, then trekked westward, carried the “Stars and Stripes” to the Caribbean, and pursued Pancho Villa into Mexico with John “Black Jack” Pershing. Growing up in Tucson, Arizona, historian and author John P. Langellier spent four decades working in public history after earning a B.A. and M.A. in history from the University of San Diego and his Ph.D. in military history from Kansas State University. He spent a dozen years with the U.S. Army, helped found California’s Autry Museum of the American West, and served as director for Wyoming State Museum, deputy director of the Ronald Reagan Presidential Library, executive director of Arizona’s Sharlot Hall Museum, and director of Arizona Historical Society’s Central Division. He was also awarded an honorary membership into the 9th and 10th U.S. Horse Calvary Association. He has written dozens of published books, served as a Hollywood film consultant, a Smithsonian Institution fellow, and produced history documentaries for television networks A&E, History, and PBS. Langellier officially “retired” to Tucson in 2015, but still continues his work as one of the preeminent military historians in the United States. After Fighting for Uncle Sam: Blacks in the Frontier Army, one of his current research projects is a book-length work on the connections between the Western art of Frederic Remington and the U.S. Army 10th Calvary (Buffalo Soldiers) in Arizona. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people. Learn more about your ad choices. Visit megaphone.fm/adchoices

From the American Revolution to the present day, African Americans have stepped forward in their nation's defense. Fighting for Uncle Sam: Buffalo Solders in the Frontier Army (Schiffer, 2016) breathes new vitality into a stirring subject, emphasizing the role men who have come to be known as “buffalo soldiers” played in opening the Trans-Mississippi West. This concise overview reveals a cast of characters as big as the land they served. Over 150 images painstakingly gathered nearly a half century from public and private collections enhance the written word as windows to the past. Now 150 years after Congress authorized blacks to serve in the Regular Army, the reader literally can peer into the eyes of formerly enslaved men who bravely bought their freedom on the bloody battlefields of the Civil War, then trekked westward, carried the “Stars and Stripes” to the Caribbean, and pursued Pancho Villa into Mexico with John “Black Jack” Pershing. Growing up in Tucson, Arizona, historian and author John P. Langellier spent four decades working in public history after earning a B.A. and M.A. in history from the University of San Diego and his Ph.D. in military history from Kansas State University. He spent a dozen years with the U.S. Army, helped found California's Autry Museum of the American West, and served as director for Wyoming State Museum, deputy director of the Ronald Reagan Presidential Library, executive director of Arizona's Sharlot Hall Museum, and director of Arizona Historical Society's Central Division. He was also awarded an honorary membership into the 9th and 10th U.S. Horse Calvary Association. He has written dozens of published books, served as a Hollywood film consultant, a Smithsonian Institution fellow, and produced history documentaries for television networks A&E, History, and PBS. Langellier officially “retired” to Tucson in 2015, but still continues his work as one of the preeminent military historians in the United States. After Fighting for Uncle Sam: Blacks in the Frontier Army, one of his current research projects is a book-length work on the connections between the Western art of Frederic Remington and the U.S. Army 10th Calvary (Buffalo Soldiers) in Arizona. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

From the American Revolution to the present day, African Americans have stepped forward in their nation’s defense. Fighting for Uncle Sam: Buffalo Solders in the Frontier Army (Schiffer, 2016) breathes new vitality into a stirring subject, emphasizing the role men who have come to be known as “buffalo soldiers” played in opening the Trans-Mississippi West. This concise overview reveals a cast of characters as big as the land they served. Over 150 images painstakingly gathered nearly a half century from public and private collections enhance the written word as windows to the past. Now 150 years after Congress authorized blacks to serve in the Regular Army, the reader literally can peer into the eyes of formerly enslaved men who bravely bought their freedom on the bloody battlefields of the Civil War, then trekked westward, carried the “Stars and Stripes” to the Caribbean, and pursued Pancho Villa into Mexico with John “Black Jack” Pershing. Growing up in Tucson, Arizona, historian and author John P. Langellier spent four decades working in public history after earning a B.A. and M.A. in history from the University of San Diego and his Ph.D. in military history from Kansas State University. He spent a dozen years with the U.S. Army, helped found California’s Autry Museum of the American West, and served as director for Wyoming State Museum, deputy director of the Ronald Reagan Presidential Library, executive director of Arizona’s Sharlot Hall Museum, and director of Arizona Historical Society’s Central Division. He was also awarded an honorary membership into the 9th and 10th U.S. Horse Calvary Association. He has written dozens of published books, served as a Hollywood film consultant, a Smithsonian Institution fellow, and produced history documentaries for television networks A&E, History, and PBS. Langellier officially “retired” to Tucson in 2015, but still continues his work as one of the preeminent military historians in the United States. After Fighting for Uncle Sam: Blacks in the Frontier Army, one of his current research projects is a book-length work on the connections between the Western art of Frederic Remington and the U.S. Army 10th Calvary (Buffalo Soldiers) in Arizona. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people. Learn more about your ad choices. Visit megaphone.fm/adchoices

The legendary band leader Sun Ra said he came from Saturn. Known on Earth for his inventive music and extravagant stage shows, he pioneered free-form improvisation in an ensemble setting with the devoted band he called the “Arkestra,” Sun Ra took jazz from the inner city to outer space, infusing traditional swing with far-out harmonies, rhythms, and sounds. Described as the father of Afrofuturism, Sun Ra created “space music” as a means of building a better future for American blacks here on earth. A Pure Solar World: Sun Ra and the Birth of Afrofuturism (University of Texas Press, 2016) offers a spirited introduction to the life and works of this legendary but underappreciated musician, composer, and poet. The book explores and assesses Sun R’as wide-ranging creative output–music, public preaching, graphic design, film and stage performance, and poetry–and connects his diverse undertakings to the culture and politics of his times, including the space race, the rise of technocracy, the civil rights movement, and even space-age bachelor-pad music. By thoroughly examining the astro-black mythology that Sun Ra espoused, A Pure Solar World: Sun Ra and the Birth of Afrofuturism masterfully demonstrates that he offered both a holistic response to a planet desperately in need of new visions and vibrations and a new kind of political activism that used popular culture to advance social change. In a nation obsessed with space and confused about race, Sun Ra aimed not just at assimilation for the socially disfranchised but even more at a wholesale transformation of American society and a more creative, egalitarian world. Author Paul Youngquist teaches at the University of Colorado at Boulder and is a professor in the English Department and associate chair of Graduate Studies. His current areas of research focus are British literature, cultural studies, literacy theory, popular culture, film/digital media, and Romanticism. He is the author or editor of six books, including Cyberfiction: After the Future, Monstrosities: Bodies and British Romanticism, and Race, Romanticism, and the Atlantic. Dr. Youngquist now devotes much of his energy to studying the histories written and oral of resistance and creativity in the Caribbean. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people. Learn more about your ad choices. Visit megaphone.fm/adchoices

The legendary band leader Sun Ra said he came from Saturn. Known on Earth for his inventive music and extravagant stage shows, he pioneered free-form improvisation in an ensemble setting with the devoted band he called the “Arkestra,” Sun Ra took jazz from the inner city to outer space, infusing traditional swing with far-out harmonies, rhythms, and sounds. Described as the father of Afrofuturism, Sun Ra created “space music” as a means of building a better future for American blacks here on earth. A Pure Solar World: Sun Ra and the Birth of Afrofuturism (University of Texas Press, 2016) offers a spirited introduction to the life and works of this legendary but underappreciated musician, composer, and poet. The book explores and assesses Sun R’as wide-ranging creative output–music, public preaching, graphic design, film and stage performance, and poetry–and connects his diverse undertakings to the culture and politics of his times, including the space race, the rise of technocracy, the civil rights movement, and even space-age bachelor-pad music. By thoroughly examining the astro-black mythology that Sun Ra espoused, A Pure Solar World: Sun Ra and the Birth of Afrofuturism masterfully demonstrates that he offered both a holistic response to a planet desperately in need of new visions and vibrations and a new kind of political activism that used popular culture to advance social change. In a nation obsessed with space and confused about race, Sun Ra aimed not just at assimilation for the socially disfranchised but even more at a wholesale transformation of American society and a more creative, egalitarian world. Author Paul Youngquist teaches at the University of Colorado at Boulder and is a professor in the English Department and associate chair of Graduate Studies. His current areas of research focus are British literature, cultural studies, literacy theory, popular culture, film/digital media, and Romanticism. He is the author or editor of six books, including Cyberfiction: After the Future, Monstrosities: Bodies and British Romanticism, and Race, Romanticism, and the Atlantic. Dr. Youngquist now devotes much of his energy to studying the histories written and oral of resistance and creativity in the Caribbean. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people. Learn more about your ad choices. Visit megaphone.fm/adchoices

The legendary band leader Sun Ra said he came from Saturn. Known on Earth for his inventive music and extravagant stage shows, he pioneered free-form improvisation in an ensemble setting with the devoted band he called the “Arkestra,” Sun Ra took jazz from the inner city to outer space, infusing traditional swing with far-out harmonies, rhythms, and sounds. Described as the father of Afrofuturism, Sun Ra created “space music” as a means of building a better future for American blacks here on earth. A Pure Solar World: Sun Ra and the Birth of Afrofuturism (University of Texas Press, 2016) offers a spirited introduction to the life and works of this legendary but underappreciated musician, composer, and poet. The book explores and assesses Sun R’as wide-ranging creative output–music, public preaching, graphic design, film and stage performance, and poetry–and connects his diverse undertakings to the culture and politics of his times, including the space race, the rise of technocracy, the civil rights movement, and even space-age bachelor-pad music. By thoroughly examining the astro-black mythology that Sun Ra espoused, A Pure Solar World: Sun Ra and the Birth of Afrofuturism masterfully demonstrates that he offered both a holistic response to a planet desperately in need of new visions and vibrations and a new kind of political activism that used popular culture to advance social change. In a nation obsessed with space and confused about race, Sun Ra aimed not just at assimilation for the socially disfranchised but even more at a wholesale transformation of American society and a more creative, egalitarian world. Author Paul Youngquist teaches at the University of Colorado at Boulder and is a professor in the English Department and associate chair of Graduate Studies. His current areas of research focus are British literature, cultural studies, literacy theory, popular culture, film/digital media, and Romanticism. He is the author or editor of six books, including Cyberfiction: After the Future, Monstrosities: Bodies and British Romanticism, and Race, Romanticism, and the Atlantic. Dr. Youngquist now devotes much of his energy to studying the histories written and oral of resistance and creativity in the Caribbean. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people. Learn more about your ad choices. Visit megaphone.fm/adchoices

The legendary band leader Sun Ra said he came from Saturn. Known on Earth for his inventive music and extravagant stage shows, he pioneered free-form improvisation in an ensemble setting with the devoted band he called the “Arkestra,” Sun Ra took jazz from the inner city to outer space, infusing traditional swing with far-out harmonies, rhythms, and sounds. Described as the father of Afrofuturism, Sun Ra created “space music” as a means of building a better future for American blacks here on earth. A Pure Solar World: Sun Ra and the Birth of Afrofuturism (University of Texas Press, 2016) offers a spirited introduction to the life and works of this legendary but underappreciated musician, composer, and poet. The book explores and assesses Sun R’as wide-ranging creative output–music, public preaching, graphic design, film and stage performance, and poetry–and connects his diverse undertakings to the culture and politics of his times, including the space race, the rise of technocracy, the civil rights movement, and even space-age bachelor-pad music. By thoroughly examining the astro-black mythology that Sun Ra espoused, A Pure Solar World: Sun Ra and the Birth of Afrofuturism masterfully demonstrates that he offered both a holistic response to a planet desperately in need of new visions and vibrations and a new kind of political activism that used popular culture to advance social change. In a nation obsessed with space and confused about race, Sun Ra aimed not just at assimilation for the socially disfranchised but even more at a wholesale transformation of American society and a more creative, egalitarian world. Author Paul Youngquist teaches at the University of Colorado at Boulder and is a professor in the English Department and associate chair of Graduate Studies. His current areas of research focus are British literature, cultural studies, literacy theory, popular culture, film/digital media, and Romanticism. He is the author or editor of six books, including Cyberfiction: After the Future, Monstrosities: Bodies and British Romanticism, and Race, Romanticism, and the Atlantic. Dr. Youngquist now devotes much of his energy to studying the histories written and oral of resistance and creativity in the Caribbean. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people. Learn more about your ad choices. Visit megaphone.fm/adchoices

The legendary band leader Sun Ra said he came from Saturn. Known on Earth for his inventive music and extravagant stage shows, he pioneered free-form improvisation in an ensemble setting with the devoted band he called the “Arkestra,” Sun Ra took jazz from the inner city to outer space, infusing traditional swing with far-out harmonies, rhythms, and sounds. Described as the father of Afrofuturism, Sun Ra created “space music” as a means of building a better future for American blacks here on earth. A Pure Solar World: Sun Ra and the Birth of Afrofuturism (University of Texas Press, 2016) offers a spirited introduction to the life and works of this legendary but underappreciated musician, composer, and poet. The book explores and assesses Sun R’as wide-ranging creative output–music, public preaching, graphic design, film and stage performance, and poetry–and connects his diverse undertakings to the culture and politics of his times, including the space race, the rise of technocracy, the civil rights movement, and even space-age bachelor-pad music. By thoroughly examining the astro-black mythology that Sun Ra espoused, A Pure Solar World: Sun Ra and the Birth of Afrofuturism masterfully demonstrates that he offered both a holistic response to a planet desperately in need of new visions and vibrations and a new kind of political activism that used popular culture to advance social change. In a nation obsessed with space and confused about race, Sun Ra aimed not just at assimilation for the socially disfranchised but even more at a wholesale transformation of American society and a more creative, egalitarian world. Author Paul Youngquist teaches at the University of Colorado at Boulder and is a professor in the English Department and associate chair of Graduate Studies. His current areas of research focus are British literature, cultural studies, literacy theory, popular culture, film/digital media, and Romanticism. He is the author or editor of six books, including Cyberfiction: After the Future, Monstrosities: Bodies and British Romanticism, and Race, Romanticism, and the Atlantic. Dr. Youngquist now devotes much of his energy to studying the histories written and oral of resistance and creativity in the Caribbean. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people. Learn more about your ad choices. Visit megaphone.fm/adchoices

The legendary band leader Sun Ra said he came from Saturn. Known on Earth for his inventive music and extravagant stage shows, he pioneered free-form improvisation in an ensemble setting with the devoted band he called the “Arkestra,” Sun Ra took jazz from the inner city to outer space, infusing traditional swing with far-out harmonies, rhythms, and sounds. Described as the father of Afrofuturism, Sun Ra created “space music” as a means of building a better future for American blacks here on earth. A Pure Solar World: Sun Ra and the Birth of Afrofuturism (University of Texas Press, 2016) offers a spirited introduction to the life and works of this legendary but underappreciated musician, composer, and poet. The book explores and assesses Sun R'as wide-ranging creative output–music, public preaching, graphic design, film and stage performance, and poetry–and connects his diverse undertakings to the culture and politics of his times, including the space race, the rise of technocracy, the civil rights movement, and even space-age bachelor-pad music. By thoroughly examining the astro-black mythology that Sun Ra espoused, A Pure Solar World: Sun Ra and the Birth of Afrofuturism masterfully demonstrates that he offered both a holistic response to a planet desperately in need of new visions and vibrations and a new kind of political activism that used popular culture to advance social change. In a nation obsessed with space and confused about race, Sun Ra aimed not just at assimilation for the socially disfranchised but even more at a wholesale transformation of American society and a more creative, egalitarian world. Author Paul Youngquist teaches at the University of Colorado at Boulder and is a professor in the English Department and associate chair of Graduate Studies. His current areas of research focus are British literature, cultural studies, literacy theory, popular culture, film/digital media, and Romanticism. He is the author or editor of six books, including Cyberfiction: After the Future, Monstrosities: Bodies and British Romanticism, and Race, Romanticism, and the Atlantic. Dr. Youngquist now devotes much of his energy to studying the histories written and oral of resistance and creativity in the Caribbean. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

Traversing the archives of early African American literature, performance, and visual culture, Fugitive Science: Empiricism and Freedom in Early African American Culture (New York University Press, 2017), uncovers the dynamic experiments of a group of black writers, artists, and performers. The author chronicles a little-known story about race and science in America. While the history of scientific racism in the nineteenth century has been well-documented, there was also a counter-movement of African Americans who worked to refute its claims. Far from rejecting science, these figures were careful readers of antebellum science who linked diverse fields–from astronomy to physiology–to both on-the-ground activism and more speculative forms of knowledge creation. Routinely excluded from institutions of scientific learning and training, they transformed cultural spaces like the page, the stage, the parlor, and even the pulpit into laboratories of knowledge and experimentation. From the recovery of neglected figures like Robert Benjamin Lewis, Hosea Easton, and Sarah Mapps Douglass, to new accounts of Martin Delany, Henry Box Brown, and Frederick Douglass, Fugitive Science makes natural science central to how we understand the origins and development of African American literature and culture. Britt Rusert received her Ph.D. in English and certificate in Feminist Studies from Duke University. Her research and teaching focus on African American literature, American literatures to 1900, speculative fiction, the history of race and science, U.S. print cultures, and critical theory. She is currently working on a book-length research study of William J. Wilson's “Afric-American Picture Gallery,” a text that imagines the first museum of black art in the United States. She is also editing W.E.B. Du Bois short genre fiction with scholar Adrienne Brown. Their edition of W.E.B. Du Bois' fantasy story, “The Princess Steel,” was recently published in PMLA, the journal of Modern Language Association of America. Fugitive Science: Empiricism and Freedom in Early African American Culture is her first book. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Traversing the archives of early African American literature, performance, and visual culture, Fugitive Science: Empiricism and Freedom in Early African American Culture (New York University Press, 2017), uncovers the dynamic experiments of a group of black writers, artists, and performers. The author chronicles a little-known story about race and science in America. While the history of scientific racism in the nineteenth century has been well-documented, there was also a counter-movement of African Americans who worked to refute its claims. Far from rejecting science, these figures were careful readers of antebellum science who linked diverse fields–from astronomy to physiology–to both on-the-ground activism and more speculative forms of knowledge creation. Routinely excluded from institutions of scientific learning and training, they transformed cultural spaces like the page, the stage, the parlor, and even the pulpit into laboratories of knowledge and experimentation. From the recovery of neglected figures like Robert Benjamin Lewis, Hosea Easton, and Sarah Mapps Douglass, to new accounts of Martin Delany, Henry Box Brown, and Frederick Douglass, Fugitive Science makes natural science central to how we understand the origins and development of African American literature and culture. Britt Rusert received her Ph.D. in English and certificate in Feminist Studies from Duke University. Her research and teaching focus on African American literature, American literatures to 1900, speculative fiction, the history of race and science, U.S. print cultures, and critical theory. She is currently working on a book-length research study of William J. Wilson’s “Afric-American Picture Gallery,” a text that imagines the first museum of black art in the United States. She is also editing W.E.B. Du Bois short genre fiction with scholar Adrienne Brown. Their edition of W.E.B. Du Bois’ fantasy story, “The Princess Steel,” was recently published in PMLA, the journal of Modern Language Association of America. Fugitive Science: Empiricism and Freedom in Early African American Culture is her first book. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Traversing the archives of early African American literature, performance, and visual culture, Fugitive Science: Empiricism and Freedom in Early African American Culture (New York University Press, 2017), uncovers the dynamic experiments of a group of black writers, artists, and performers. The author chronicles a little-known story about race and science in America. While the history of scientific racism in the nineteenth century has been well-documented, there was also a counter-movement of African Americans who worked to refute its claims. Far from rejecting science, these figures were careful readers of antebellum science who linked diverse fields–from astronomy to physiology–to both on-the-ground activism and more speculative forms of knowledge creation. Routinely excluded from institutions of scientific learning and training, they transformed cultural spaces like the page, the stage, the parlor, and even the pulpit into laboratories of knowledge and experimentation. From the recovery of neglected figures like Robert Benjamin Lewis, Hosea Easton, and Sarah Mapps Douglass, to new accounts of Martin Delany, Henry Box Brown, and Frederick Douglass, Fugitive Science makes natural science central to how we understand the origins and development of African American literature and culture. Britt Rusert received her Ph.D. in English and certificate in Feminist Studies from Duke University. Her research and teaching focus on African American literature, American literatures to 1900, speculative fiction, the history of race and science, U.S. print cultures, and critical theory. She is currently working on a book-length research study of William J. Wilson’s “Afric-American Picture Gallery,” a text that imagines the first museum of black art in the United States. She is also editing W.E.B. Du Bois short genre fiction with scholar Adrienne Brown. Their edition of W.E.B. Du Bois’ fantasy story, “The Princess Steel,” was recently published in PMLA, the journal of Modern Language Association of America. Fugitive Science: Empiricism and Freedom in Early African American Culture is her first book. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Traversing the archives of early African American literature, performance, and visual culture, Fugitive Science: Empiricism and Freedom in Early African American Culture (New York University Press, 2017), uncovers the dynamic experiments of a group of black writers, artists, and performers. The author chronicles a little-known story about race and science in America. While the history of scientific racism in the nineteenth century has been well-documented, there was also a counter-movement of African Americans who worked to refute its claims. Far from rejecting science, these figures were careful readers of antebellum science who linked diverse fields–from astronomy to physiology–to both on-the-ground activism and more speculative forms of knowledge creation. Routinely excluded from institutions of scientific learning and training, they transformed cultural spaces like the page, the stage, the parlor, and even the pulpit into laboratories of knowledge and experimentation. From the recovery of neglected figures like Robert Benjamin Lewis, Hosea Easton, and Sarah Mapps Douglass, to new accounts of Martin Delany, Henry Box Brown, and Frederick Douglass, Fugitive Science makes natural science central to how we understand the origins and development of African American literature and culture. Britt Rusert received her Ph.D. in English and certificate in Feminist Studies from Duke University. Her research and teaching focus on African American literature, American literatures to 1900, speculative fiction, the history of race and science, U.S. print cultures, and critical theory. She is currently working on a book-length research study of William J. Wilson’s “Afric-American Picture Gallery,” a text that imagines the first museum of black art in the United States. She is also editing W.E.B. Du Bois short genre fiction with scholar Adrienne Brown. Their edition of W.E.B. Du Bois’ fantasy story, “The Princess Steel,” was recently published in PMLA, the journal of Modern Language Association of America. Fugitive Science: Empiricism and Freedom in Early African American Culture is her first book. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Traversing the archives of early African American literature, performance, and visual culture, Fugitive Science: Empiricism and Freedom in Early African American Culture (New York University Press, 2017), uncovers the dynamic experiments of a group of black writers, artists, and performers. The author chronicles a little-known story about race and science in America. While the history of scientific racism in the nineteenth century has been well-documented, there was also a counter-movement of African Americans who worked to refute its claims. Far from rejecting science, these figures were careful readers of antebellum science who linked diverse fields–from astronomy to physiology–to both on-the-ground activism and more speculative forms of knowledge creation. Routinely excluded from institutions of scientific learning and training, they transformed cultural spaces like the page, the stage, the parlor, and even the pulpit into laboratories of knowledge and experimentation. From the recovery of neglected figures like Robert Benjamin Lewis, Hosea Easton, and Sarah Mapps Douglass, to new accounts of Martin Delany, Henry Box Brown, and Frederick Douglass, Fugitive Science makes natural science central to how we understand the origins and development of African American literature and culture. Britt Rusert received her Ph.D. in English and certificate in Feminist Studies from Duke University. Her research and teaching focus on African American literature, American literatures to 1900, speculative fiction, the history of race and science, U.S. print cultures, and critical theory. She is currently working on a book-length research study of William J. Wilson’s “Afric-American Picture Gallery,” a text that imagines the first museum of black art in the United States. She is also editing W.E.B. Du Bois short genre fiction with scholar Adrienne Brown. Their edition of W.E.B. Du Bois’ fantasy story, “The Princess Steel,” was recently published in PMLA, the journal of Modern Language Association of America. Fugitive Science: Empiricism and Freedom in Early African American Culture is her first book. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Traversing the archives of early African American literature, performance, and visual culture, Fugitive Science: Empiricism and Freedom in Early African American Culture (New York University Press, 2017), uncovers the dynamic experiments of a group of black writers, artists, and performers. The author chronicles a little-known story about race and science in America. While the history of scientific racism in the nineteenth century has been well-documented, there was also a counter-movement of African Americans who worked to refute its claims. Far from rejecting science, these figures were careful readers of antebellum science who linked diverse fields–from astronomy to physiology–to both on-the-ground activism and more speculative forms of knowledge creation. Routinely excluded from institutions of scientific learning and training, they transformed cultural spaces like the page, the stage, the parlor, and even the pulpit into laboratories of knowledge and experimentation. From the recovery of neglected figures like Robert Benjamin Lewis, Hosea Easton, and Sarah Mapps Douglass, to new accounts of Martin Delany, Henry Box Brown, and Frederick Douglass, Fugitive Science makes natural science central to how we understand the origins and development of African American literature and culture. Britt Rusert received her Ph.D. in English and certificate in Feminist Studies from Duke University. Her research and teaching focus on African American literature, American literatures to 1900, speculative fiction, the history of race and science, U.S. print cultures, and critical theory. She is currently working on a book-length research study of William J. Wilson's “Afric-American Picture Gallery,” a text that imagines the first museum of black art in the United States. She is also editing W.E.B. Du Bois short genre fiction with scholar Adrienne Brown. Their edition of W.E.B. Du Bois' fantasy story, “The Princess Steel,” was recently published in PMLA, the journal of Modern Language Association of America. Fugitive Science: Empiricism and Freedom in Early African American Culture is her first book. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people.   Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

Traversing the archives of early African American literature, performance, and visual culture, Fugitive Science: Empiricism and Freedom in Early African American Culture (New York University Press, 2017), uncovers the dynamic experiments of a group of black writers, artists, and performers. The author chronicles a little-known story about race and science in America. While the history of scientific racism in the nineteenth century has been well-documented, there was also a counter-movement of African Americans who worked to refute its claims. Far from rejecting science, these figures were careful readers of antebellum science who linked diverse fields–from astronomy to physiology–to both on-the-ground activism and more speculative forms of knowledge creation. Routinely excluded from institutions of scientific learning and training, they transformed cultural spaces like the page, the stage, the parlor, and even the pulpit into laboratories of knowledge and experimentation. From the recovery of neglected figures like Robert Benjamin Lewis, Hosea Easton, and Sarah Mapps Douglass, to new accounts of Martin Delany, Henry Box Brown, and Frederick Douglass, Fugitive Science makes natural science central to how we understand the origins and development of African American literature and culture. Britt Rusert received her Ph.D. in English and certificate in Feminist Studies from Duke University. Her research and teaching focus on African American literature, American literatures to 1900, speculative fiction, the history of race and science, U.S. print cultures, and critical theory. She is currently working on a book-length research study of William J. Wilson’s “Afric-American Picture Gallery,” a text that imagines the first museum of black art in the United States. She is also editing W.E.B. Du Bois short genre fiction with scholar Adrienne Brown. Their edition of W.E.B. Du Bois’ fantasy story, “The Princess Steel,” was recently published in PMLA, the journal of Modern Language Association of America. Fugitive Science: Empiricism and Freedom in Early African American Culture is her first book. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Making Gullah: A History of Sapelo Islanders, Race, and the American Imagination (University of North Carolina Press, 2017) is a wide-ranging history that upends a long tradition of scrutinizing the Low Country blacks of Sapelo Island by outsiders. The book promotes a refocusing, and the observational lens is instead focused on those white and black scholars who the Gullah of Sapelo Island during the early 20th Century. The author uses a wide variety of sources to unmask the connections between the rise of the social sciences, the voodoo craze during the interwar years, the black studies movement, and black land loss and land struggles in coastal black communities in the Low Country. What emerges is a fascinating examination of Gullah people's heritage, and how it was reimagined and transformed to serve vastly divergent ends over the decades. During the 1920s and 1930s, anthropologists and folklorists became obsessed with uncovering connections between African Americans and their African roots. At the same time, popular print media and artistic productions tapped the new appeal of black folk life, highlighting African-styled voodoo as an essential element of black folk culture. A number of researchers converged on one site in particular, Sapelo Island, Georgia, to seek support for their theories about “African survivals,” bringing with them a curious mix of both influences. The legacy of that body of research is the area's contemporary identification as a Gullah community. Melissa L. Cooper is an assistant professor of history at Rutgers University-Newark. She specializes in African American cultural and intellectual history, and the history of the African Diaspora. In addition to Making Gullah: A History of Sapelo Islanders, Race, and the American Imagination Cooper is also the author of Instructor's Resource Manual Freedom on My Mind: A History of African Americans with Documents and a contributing writer to Race and Retail: Consumption Across the Color Line. Her current research concerns the connections between Afrocentricism and its portrayals in mass media and popular culture. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people.

Making Gullah: A History of Sapelo Islanders, Race, and the American Imagination (University of North Carolina Press, 2017) is a wide-ranging history that upends a long tradition of scrutinizing the Low Country blacks of Sapelo Island by outsiders. The book promotes a refocusing, and the observational lens is instead focused on those white and black scholars who the Gullah of Sapelo Island during the early 20th Century. The author uses a wide variety of sources to unmask the connections between the rise of the social sciences, the voodoo craze during the interwar years, the black studies movement, and black land loss and land struggles in coastal black communities in the Low Country. What emerges is a fascinating examination of Gullah people’s heritage, and how it was reimagined and transformed to serve vastly divergent ends over the decades. During the 1920s and 1930s, anthropologists and folklorists became obsessed with uncovering connections between African Americans and their African roots. At the same time, popular print media and artistic productions tapped the new appeal of black folk life, highlighting African-styled voodoo as an essential element of black folk culture. A number of researchers converged on one site in particular, Sapelo Island, Georgia, to seek support for their theories about “African survivals,” bringing with them a curious mix of both influences. The legacy of that body of research is the area’s contemporary identification as a Gullah community. Melissa L. Cooper is an assistant professor of history at Rutgers University-Newark. She specializes in African American cultural and intellectual history, and the history of the African Diaspora. In addition to Making Gullah: A History of Sapelo Islanders, Race, and the American Imagination Cooper is also the author of Instructor’s Resource Manual Freedom on My Mind: A History of African Americans with Documents and a contributing writer to Race and Retail: Consumption Across the Color Line. Her current research concerns the connections between Afrocentricism and its portrayals in mass media and popular culture. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people. Learn more about your ad choices. Visit megaphone.fm/adchoices

Making Gullah: A History of Sapelo Islanders, Race, and the American Imagination (University of North Carolina Press, 2017) is a wide-ranging history that upends a long tradition of scrutinizing the Low Country blacks of Sapelo Island by outsiders. The book promotes a refocusing, and the observational lens is instead focused on those white and black scholars who the Gullah of Sapelo Island during the early 20th Century. The author uses a wide variety of sources to unmask the connections between the rise of the social sciences, the voodoo craze during the interwar years, the black studies movement, and black land loss and land struggles in coastal black communities in the Low Country. What emerges is a fascinating examination of Gullah people’s heritage, and how it was reimagined and transformed to serve vastly divergent ends over the decades. During the 1920s and 1930s, anthropologists and folklorists became obsessed with uncovering connections between African Americans and their African roots. At the same time, popular print media and artistic productions tapped the new appeal of black folk life, highlighting African-styled voodoo as an essential element of black folk culture. A number of researchers converged on one site in particular, Sapelo Island, Georgia, to seek support for their theories about “African survivals,” bringing with them a curious mix of both influences. The legacy of that body of research is the area’s contemporary identification as a Gullah community. Melissa L. Cooper is an assistant professor of history at Rutgers University-Newark. She specializes in African American cultural and intellectual history, and the history of the African Diaspora. In addition to Making Gullah: A History of Sapelo Islanders, Race, and the American Imagination Cooper is also the author of Instructor’s Resource Manual Freedom on My Mind: A History of African Americans with Documents and a contributing writer to Race and Retail: Consumption Across the Color Line. Her current research concerns the connections between Afrocentricism and its portrayals in mass media and popular culture. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people. Learn more about your ad choices. Visit megaphone.fm/adchoices

Making Gullah: A History of Sapelo Islanders, Race, and the American Imagination (University of North Carolina Press, 2017) is a wide-ranging history that upends a long tradition of scrutinizing the Low Country blacks of Sapelo Island by outsiders. The book promotes a refocusing, and the observational lens is instead focused on those white and black scholars who the Gullah of Sapelo Island during the early 20th Century. The author uses a wide variety of sources to unmask the connections between the rise of the social sciences, the voodoo craze during the interwar years, the black studies movement, and black land loss and land struggles in coastal black communities in the Low Country. What emerges is a fascinating examination of Gullah people’s heritage, and how it was reimagined and transformed to serve vastly divergent ends over the decades. During the 1920s and 1930s, anthropologists and folklorists became obsessed with uncovering connections between African Americans and their African roots. At the same time, popular print media and artistic productions tapped the new appeal of black folk life, highlighting African-styled voodoo as an essential element of black folk culture. A number of researchers converged on one site in particular, Sapelo Island, Georgia, to seek support for their theories about “African survivals,” bringing with them a curious mix of both influences. The legacy of that body of research is the area’s contemporary identification as a Gullah community. Melissa L. Cooper is an assistant professor of history at Rutgers University-Newark. She specializes in African American cultural and intellectual history, and the history of the African Diaspora. In addition to Making Gullah: A History of Sapelo Islanders, Race, and the American Imagination Cooper is also the author of Instructor’s Resource Manual Freedom on My Mind: A History of African Americans with Documents and a contributing writer to Race and Retail: Consumption Across the Color Line. Her current research concerns the connections between Afrocentricism and its portrayals in mass media and popular culture. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people. Learn more about your ad choices. Visit megaphone.fm/adchoices

Making Gullah: A History of Sapelo Islanders, Race, and the American Imagination (University of North Carolina Press, 2017) is a wide-ranging history that upends a long tradition of scrutinizing the Low Country blacks of Sapelo Island by outsiders. The book promotes a refocusing, and the observational lens is instead focused on those white and black scholars who the Gullah of Sapelo Island during the early 20th Century. The author uses a wide variety of sources to unmask the connections between the rise of the social sciences, the voodoo craze during the interwar years, the black studies movement, and black land loss and land struggles in coastal black communities in the Low Country. What emerges is a fascinating examination of Gullah people’s heritage, and how it was reimagined and transformed to serve vastly divergent ends over the decades. During the 1920s and 1930s, anthropologists and folklorists became obsessed with uncovering connections between African Americans and their African roots. At the same time, popular print media and artistic productions tapped the new appeal of black folk life, highlighting African-styled voodoo as an essential element of black folk culture. A number of researchers converged on one site in particular, Sapelo Island, Georgia, to seek support for their theories about “African survivals,” bringing with them a curious mix of both influences. The legacy of that body of research is the area’s contemporary identification as a Gullah community. Melissa L. Cooper is an assistant professor of history at Rutgers University-Newark. She specializes in African American cultural and intellectual history, and the history of the African Diaspora. In addition to Making Gullah: A History of Sapelo Islanders, Race, and the American Imagination Cooper is also the author of Instructor’s Resource Manual Freedom on My Mind: A History of African Americans with Documents and a contributing writer to Race and Retail: Consumption Across the Color Line. Her current research concerns the connections between Afrocentricism and its portrayals in mass media and popular culture. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people. Learn more about your ad choices. Visit megaphone.fm/adchoices

Making Gullah: A History of Sapelo Islanders, Race, and the American Imagination (University of North Carolina Press, 2017) is a wide-ranging history that upends a long tradition of scrutinizing the Low Country blacks of Sapelo Island by outsiders. The book promotes a refocusing, and the observational lens is instead focused on those white and black scholars who the Gullah of Sapelo Island during the early 20th Century. The author uses a wide variety of sources to unmask the connections between the rise of the social sciences, the voodoo craze during the interwar years, the black studies movement, and black land loss and land struggles in coastal black communities in the Low Country. What emerges is a fascinating examination of Gullah people’s heritage, and how it was reimagined and transformed to serve vastly divergent ends over the decades. During the 1920s and 1930s, anthropologists and folklorists became obsessed with uncovering connections between African Americans and their African roots. At the same time, popular print media and artistic productions tapped the new appeal of black folk life, highlighting African-styled voodoo as an essential element of black folk culture. A number of researchers converged on one site in particular, Sapelo Island, Georgia, to seek support for their theories about “African survivals,” bringing with them a curious mix of both influences. The legacy of that body of research is the area’s contemporary identification as a Gullah community. Melissa L. Cooper is an assistant professor of history at Rutgers University-Newark. She specializes in African American cultural and intellectual history, and the history of the African Diaspora. In addition to Making Gullah: A History of Sapelo Islanders, Race, and the American Imagination Cooper is also the author of Instructor’s Resource Manual Freedom on My Mind: A History of African Americans with Documents and a contributing writer to Race and Retail: Consumption Across the Color Line. Her current research concerns the connections between Afrocentricism and its portrayals in mass media and popular culture. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people. Learn more about your ad choices. Visit megaphone.fm/adchoices

Making Gullah: A History of Sapelo Islanders, Race, and the American Imagination (University of North Carolina Press, 2017) is a wide-ranging history that upends a long tradition of scrutinizing the Low Country blacks of Sapelo Island by outsiders. The book promotes a refocusing, and the observational lens is instead focused on those white and black scholars who the Gullah of Sapelo Island during the early 20th Century. The author uses a wide variety of sources to unmask the connections between the rise of the social sciences, the voodoo craze during the interwar years, the black studies movement, and black land loss and land struggles in coastal black communities in the Low Country. What emerges is a fascinating examination of Gullah people's heritage, and how it was reimagined and transformed to serve vastly divergent ends over the decades. During the 1920s and 1930s, anthropologists and folklorists became obsessed with uncovering connections between African Americans and their African roots. At the same time, popular print media and artistic productions tapped the new appeal of black folk life, highlighting African-styled voodoo as an essential element of black folk culture. A number of researchers converged on one site in particular, Sapelo Island, Georgia, to seek support for their theories about “African survivals,” bringing with them a curious mix of both influences. The legacy of that body of research is the area's contemporary identification as a Gullah community. Melissa L. Cooper is an assistant professor of history at Rutgers University-Newark. She specializes in African American cultural and intellectual history, and the history of the African Diaspora. In addition to Making Gullah: A History of Sapelo Islanders, Race, and the American Imagination Cooper is also the author of Instructor's Resource Manual Freedom on My Mind: A History of African Americans with Documents and a contributing writer to Race and Retail: Consumption Across the Color Line. Her current research concerns the connections between Afrocentricism and its portrayals in mass media and popular culture. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

Critically acclaimed as one of the best television shows ever produced, the HBO series The Wire (2002-2008) is a landmark event in television history, offering a raw and dramatically compelling vision of the teeming drug trade and the vitality of life in the abandoned spaces of the postindustrial United States. With a sprawling narrative that dramatizes the intersections of race, urban history, and the neoliberal moment, The Wire offers an intricate critique of a society ravaged by racism and inequality. In Connecting The Wire: Race, Space, and Postindustrial Baltimore (University of Texas Press, 2017), The author presents the first comprehensive, season-by-season analysis of the entire series. Focusing on the show's depictions of the built environment of the city of Baltimore and the geographic dimensions of race and class, he analyzes how The Wire's creator and showrunner, David Simon, uses the show to develop a social vision of its historical moment, as well as a device for critiquing many social givens. In The Wire's gritty portrayals of drug dealers, cops, longshoremen, school officials and students, and members of the judicial system, Stanley Corkin maps a web of relationships and forces that define urban social life and the lives of the urban underclass in particular, in the early twenty-first century. He makes a compelling case that, with its embedded history of race and race relations in the United States, The Wire is perhaps the most sustained and articulate exploration of urban life in contemporary popular culture. Author Stanley Corkin is Charles Phelps Taft Professor and Niehoff Professor of Film and Media Studies in the Departments of History and English at the University of Cincinnati. His research and pedagogical interests include history and urban geography, cinema and the city, and the intersections of literature, film, and history in American Studies. His previous book-length projects include Starring New York: Filming the Grime and Glamour of the Long 1970s, Cowboys as Cold Warriors: The Western and U.S. History, and Realism and the Birth of the Modern United States: Cinema, Literature, and Culture. He is currently working on a research project relating to race and space in the city of Boston. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Critically acclaimed as one of the best television shows ever produced, the HBO series The Wire (2002-2008) is a landmark event in television history, offering a raw and dramatically compelling vision of the teeming drug trade and the vitality of life in the abandoned spaces of the postindustrial United States. With a sprawling narrative that dramatizes the intersections of race, urban history, and the neoliberal moment, The Wire offers an intricate critique of a society ravaged by racism and inequality. In Connecting The Wire: Race, Space, and Postindustrial Baltimore (University of Texas Press, 2017), The author presents the first comprehensive, season-by-season analysis of the entire series. Focusing on the show's depictions of the built environment of the city of Baltimore and the geographic dimensions of race and class, he analyzes how The Wire's creator and showrunner, David Simon, uses the show to develop a social vision of its historical moment, as well as a device for critiquing many social givens. In The Wire's gritty portrayals of drug dealers, cops, longshoremen, school officials and students, and members of the judicial system, Stanley Corkin maps a web of relationships and forces that define urban social life and the lives of the urban underclass in particular, in the early twenty-first century. He makes a compelling case that, with its embedded history of race and race relations in the United States, The Wire is perhaps the most sustained and articulate exploration of urban life in contemporary popular culture. Author Stanley Corkin is Charles Phelps Taft Professor and Niehoff Professor of Film and Media Studies in the Departments of History and English at the University of Cincinnati. His research and pedagogical interests include history and urban geography, cinema and the city, and the intersections of literature, film, and history in American Studies. His previous book-length projects include Starring New York: Filming the Grime and Glamour of the Long 1970s, Cowboys as Cold Warriors: The Western and U.S. History, and Realism and the Birth of the Modern United States: Cinema, Literature, and Culture. He is currently working on a research project relating to race and space in the city of Boston. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people.   Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

Critically acclaimed as one of the best television shows ever produced, the HBO series The Wire (2002-2008) is a landmark event in television history, offering a raw and dramatically compelling vision of the teeming drug trade and the vitality of life in the abandoned spaces of the postindustrial United States. With a sprawling narrative that dramatizes the intersections of race, urban history, and the neoliberal moment, The Wire offers an intricate critique of a society ravaged by racism and inequality. In Connecting The Wire: Race, Space, and Postindustrial Baltimore (University of Texas Press, 2017), The author presents the first comprehensive, season-by-season analysis of the entire series. Focusing on the show’s depictions of the built environment of the city of Baltimore and the geographic dimensions of race and class, he analyzes how The Wire’s creator and showrunner, David Simon, uses the show to develop a social vision of its historical moment, as well as a device for critiquing many social givens. In The Wire’s gritty portrayals of drug dealers, cops, longshoremen, school officials and students, and members of the judicial system, Stanley Corkin maps a web of relationships and forces that define urban social life and the lives of the urban underclass in particular, in the early twenty-first century. He makes a compelling case that, with its embedded history of race and race relations in the United States, The Wire is perhaps the most sustained and articulate exploration of urban life in contemporary popular culture. Author Stanley Corkin is Charles Phelps Taft Professor and Niehoff Professor of Film and Media Studies in the Departments of History and English at the University of Cincinnati. His research and pedagogical interests include history and urban geography, cinema and the city, and the intersections of literature, film, and history in American Studies. His previous book-length projects include Starring New York: Filming the Grime and Glamour of the Long 1970s, Cowboys as Cold Warriors: The Western and U.S. History, and Realism and the Birth of the Modern United States: Cinema, Literature, and Culture. He is currently working on a research project relating to race and space in the city of Boston. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Critically acclaimed as one of the best television shows ever produced, the HBO series The Wire (2002-2008) is a landmark event in television history, offering a raw and dramatically compelling vision of the teeming drug trade and the vitality of life in the abandoned spaces of the postindustrial United States. With a sprawling narrative that dramatizes the intersections of race, urban history, and the neoliberal moment, The Wire offers an intricate critique of a society ravaged by racism and inequality. In Connecting The Wire: Race, Space, and Postindustrial Baltimore (University of Texas Press, 2017), The author presents the first comprehensive, season-by-season analysis of the entire series. Focusing on the show’s depictions of the built environment of the city of Baltimore and the geographic dimensions of race and class, he analyzes how The Wire’s creator and showrunner, David Simon, uses the show to develop a social vision of its historical moment, as well as a device for critiquing many social givens. In The Wire’s gritty portrayals of drug dealers, cops, longshoremen, school officials and students, and members of the judicial system, Stanley Corkin maps a web of relationships and forces that define urban social life and the lives of the urban underclass in particular, in the early twenty-first century. He makes a compelling case that, with its embedded history of race and race relations in the United States, The Wire is perhaps the most sustained and articulate exploration of urban life in contemporary popular culture. Author Stanley Corkin is Charles Phelps Taft Professor and Niehoff Professor of Film and Media Studies in the Departments of History and English at the University of Cincinnati. His research and pedagogical interests include history and urban geography, cinema and the city, and the intersections of literature, film, and history in American Studies. His previous book-length projects include Starring New York: Filming the Grime and Glamour of the Long 1970s, Cowboys as Cold Warriors: The Western and U.S. History, and Realism and the Birth of the Modern United States: Cinema, Literature, and Culture. He is currently working on a research project relating to race and space in the city of Boston. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Critically acclaimed as one of the best television shows ever produced, the HBO series The Wire (2002-2008) is a landmark event in television history, offering a raw and dramatically compelling vision of the teeming drug trade and the vitality of life in the abandoned spaces of the postindustrial United States. With a sprawling narrative that dramatizes the intersections of race, urban history, and the neoliberal moment, The Wire offers an intricate critique of a society ravaged by racism and inequality. In Connecting The Wire: Race, Space, and Postindustrial Baltimore (University of Texas Press, 2017), The author presents the first comprehensive, season-by-season analysis of the entire series. Focusing on the show’s depictions of the built environment of the city of Baltimore and the geographic dimensions of race and class, he analyzes how The Wire’s creator and showrunner, David Simon, uses the show to develop a social vision of its historical moment, as well as a device for critiquing many social givens. In The Wire’s gritty portrayals of drug dealers, cops, longshoremen, school officials and students, and members of the judicial system, Stanley Corkin maps a web of relationships and forces that define urban social life and the lives of the urban underclass in particular, in the early twenty-first century. He makes a compelling case that, with its embedded history of race and race relations in the United States, The Wire is perhaps the most sustained and articulate exploration of urban life in contemporary popular culture. Author Stanley Corkin is Charles Phelps Taft Professor and Niehoff Professor of Film and Media Studies in the Departments of History and English at the University of Cincinnati. His research and pedagogical interests include history and urban geography, cinema and the city, and the intersections of literature, film, and history in American Studies. His previous book-length projects include Starring New York: Filming the Grime and Glamour of the Long 1970s, Cowboys as Cold Warriors: The Western and U.S. History, and Realism and the Birth of the Modern United States: Cinema, Literature, and Culture. He is currently working on a research project relating to race and space in the city of Boston. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Critically acclaimed as one of the best television shows ever produced, the HBO series The Wire (2002-2008) is a landmark event in television history, offering a raw and dramatically compelling vision of the teeming drug trade and the vitality of life in the abandoned spaces of the postindustrial United States. With a sprawling narrative that dramatizes the intersections of race, urban history, and the neoliberal moment, The Wire offers an intricate critique of a society ravaged by racism and inequality. In Connecting The Wire: Race, Space, and Postindustrial Baltimore (University of Texas Press, 2017), The author presents the first comprehensive, season-by-season analysis of the entire series. Focusing on the show’s depictions of the built environment of the city of Baltimore and the geographic dimensions of race and class, he analyzes how The Wire’s creator and showrunner, David Simon, uses the show to develop a social vision of its historical moment, as well as a device for critiquing many social givens. In The Wire’s gritty portrayals of drug dealers, cops, longshoremen, school officials and students, and members of the judicial system, Stanley Corkin maps a web of relationships and forces that define urban social life and the lives of the urban underclass in particular, in the early twenty-first century. He makes a compelling case that, with its embedded history of race and race relations in the United States, The Wire is perhaps the most sustained and articulate exploration of urban life in contemporary popular culture. Author Stanley Corkin is Charles Phelps Taft Professor and Niehoff Professor of Film and Media Studies in the Departments of History and English at the University of Cincinnati. His research and pedagogical interests include history and urban geography, cinema and the city, and the intersections of literature, film, and history in American Studies. His previous book-length projects include Starring New York: Filming the Grime and Glamour of the Long 1970s, Cowboys as Cold Warriors: The Western and U.S. History, and Realism and the Birth of the Modern United States: Cinema, Literature, and Culture. He is currently working on a research project relating to race and space in the city of Boston. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Critically acclaimed as one of the best television shows ever produced, the HBO series The Wire (2002-2008) is a landmark event in television history, offering a raw and dramatically compelling vision of the teeming drug trade and the vitality of life in the abandoned spaces of the postindustrial United States. With a sprawling narrative that dramatizes the intersections of race, urban history, and the neoliberal moment, The Wire offers an intricate critique of a society ravaged by racism and inequality. In Connecting The Wire: Race, Space, and Postindustrial Baltimore (University of Texas Press, 2017), The author presents the first comprehensive, season-by-season analysis of the entire series. Focusing on the show’s depictions of the built environment of the city of Baltimore and the geographic dimensions of race and class, he analyzes how The Wire’s creator and showrunner, David Simon, uses the show to develop a social vision of its historical moment, as well as a device for critiquing many social givens. In The Wire’s gritty portrayals of drug dealers, cops, longshoremen, school officials and students, and members of the judicial system, Stanley Corkin maps a web of relationships and forces that define urban social life and the lives of the urban underclass in particular, in the early twenty-first century. He makes a compelling case that, with its embedded history of race and race relations in the United States, The Wire is perhaps the most sustained and articulate exploration of urban life in contemporary popular culture. Author Stanley Corkin is Charles Phelps Taft Professor and Niehoff Professor of Film and Media Studies in the Departments of History and English at the University of Cincinnati. His research and pedagogical interests include history and urban geography, cinema and the city, and the intersections of literature, film, and history in American Studies. His previous book-length projects include Starring New York: Filming the Grime and Glamour of the Long 1970s, Cowboys as Cold Warriors: The Western and U.S. History, and Realism and the Birth of the Modern United States: Cinema, Literature, and Culture. He is currently working on a research project relating to race and space in the city of Boston. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people.   Learn more about your ad choices. Visit megaphone.fm/adchoices

In the Name of the Mother: Italian Americans, African Americans, and Modernity from Booker T. Washington to Bruce Springsteen (Dartmouth, 2017) emphasizes the racial “in-betweenness” of Italian Americans rearticulated as “invisible blackness,” a view that enlarges and complicates the color-based dimensions of American racial discourse. This strikingly original work will interest a wide spectrum of scholars in American Studies and the humanities. The author examines the cultural relationship between African American intellectuals and Italian American writers and artists, and how it relates to American blackness in the twentieth century. He also explores the links between African American literature and the Mediterranean tradition of Italian immigrants, and then examines both against the white intellectual discourse that defines modernism in the West. This previously unexamined encounter offers a hybrid, transnational model of modernity capable of producing democratic forms of aesthetics, social consciousness, and political economy. Sameule F. S. Pardini is the coordinator of the American Studies Program and Faculty-in-Residence of the Honors Pavilion at Elon University. He holds a Laurea degree in Letters and Philosophy from the Universita’ degli Studi di Pisa, Italy, and an M.A. and a Ph.D in Comparative Literature from the State University of New York (SUNY) at Buffalo. Dr. Pardini’s teaching and research interests focus on 20th century Italian studies, Italian American studies, American studies, cinema and literary criticism. Prior to this work, Pardini edited and translated into Italian two collections of writings of the famed critic Leslie Fiedler titled Vacanze Romane: Un critico americano a spasso nell’Italia letteraria and Arrivederci alle armi. He also edited The Devil Gets His Due: The Uncollected Essays of Leslie Fiedler. Pardini is currently pursuing a new book-length research project called Modernity on Wheels: Speed and Automobile Culture from Futurism to Fascism and the New Deal, which examines the theme of speed in automobile culture of the first half of the 20th century in Italy and the United States. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the Name of the Mother: Italian Americans, African Americans, and Modernity from Booker T. Washington to Bruce Springsteen (Dartmouth, 2017) emphasizes the racial “in-betweenness” of Italian Americans rearticulated as “invisible blackness,” a view that enlarges and complicates the color-based dimensions of American racial discourse. This strikingly original work will interest a wide spectrum of scholars in American Studies and the humanities. The author examines the cultural relationship between African American intellectuals and Italian American writers and artists, and how it relates to American blackness in the twentieth century. He also explores the links between African American literature and the Mediterranean tradition of Italian immigrants, and then examines both against the white intellectual discourse that defines modernism in the West. This previously unexamined encounter offers a hybrid, transnational model of modernity capable of producing democratic forms of aesthetics, social consciousness, and political economy. Sameule F. S. Pardini is the coordinator of the American Studies Program and Faculty-in-Residence of the Honors Pavilion at Elon University. He holds a Laurea degree in Letters and Philosophy from the Universita’ degli Studi di Pisa, Italy, and an M.A. and a Ph.D in Comparative Literature from the State University of New York (SUNY) at Buffalo. Dr. Pardini’s teaching and research interests focus on 20th century Italian studies, Italian American studies, American studies, cinema and literary criticism. Prior to this work, Pardini edited and translated into Italian two collections of writings of the famed critic Leslie Fiedler titled Vacanze Romane: Un critico americano a spasso nell’Italia letteraria and Arrivederci alle armi. He also edited The Devil Gets His Due: The Uncollected Essays of Leslie Fiedler. Pardini is currently pursuing a new book-length research project called Modernity on Wheels: Speed and Automobile Culture from Futurism to Fascism and the New Deal, which examines the theme of speed in automobile culture of the first half of the 20th century in Italy and the United States.   James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people.

In the Name of the Mother: Italian Americans, African Americans, and Modernity from Booker T. Washington to Bruce Springsteen (Dartmouth, 2017) emphasizes the racial “in-betweenness” of Italian Americans rearticulated as “invisible blackness,” a view that enlarges and complicates the color-based dimensions of American racial discourse. This strikingly original work will interest a wide spectrum of scholars in American Studies and the humanities. The author examines the cultural relationship between African American intellectuals and Italian American writers and artists, and how it relates to American blackness in the twentieth century. He also explores the links between African American literature and the Mediterranean tradition of Italian immigrants, and then examines both against the white intellectual discourse that defines modernism in the West. This previously unexamined encounter offers a hybrid, transnational model of modernity capable of producing democratic forms of aesthetics, social consciousness, and political economy. Sameule F. S. Pardini is the coordinator of the American Studies Program and Faculty-in-Residence of the Honors Pavilion at Elon University. He holds a Laurea degree in Letters and Philosophy from the Universita’ degli Studi di Pisa, Italy, and an M.A. and a Ph.D in Comparative Literature from the State University of New York (SUNY) at Buffalo. Dr. Pardini’s teaching and research interests focus on 20th century Italian studies, Italian American studies, American studies, cinema and literary criticism. Prior to this work, Pardini edited and translated into Italian two collections of writings of the famed critic Leslie Fiedler titled Vacanze Romane: Un critico americano a spasso nell’Italia letteraria and Arrivederci alle armi. He also edited The Devil Gets His Due: The Uncollected Essays of Leslie Fiedler. Pardini is currently pursuing a new book-length research project called Modernity on Wheels: Speed and Automobile Culture from Futurism to Fascism and the New Deal, which examines the theme of speed in automobile culture of the first half of the 20th century in Italy and the United States. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the Name of the Mother: Italian Americans, African Americans, and Modernity from Booker T. Washington to Bruce Springsteen (Dartmouth, 2017) emphasizes the racial “in-betweenness” of Italian Americans rearticulated as “invisible blackness,” a view that enlarges and complicates the color-based dimensions of American racial discourse. This strikingly original work will interest a wide spectrum of scholars in American Studies and the humanities. The author examines the cultural relationship between African American intellectuals and Italian American writers and artists, and how it relates to American blackness in the twentieth century. He also explores the links between African American literature and the Mediterranean tradition of Italian immigrants, and then examines both against the white intellectual discourse that defines modernism in the West. This previously unexamined encounter offers a hybrid, transnational model of modernity capable of producing democratic forms of aesthetics, social consciousness, and political economy. Sameule F. S. Pardini is the coordinator of the American Studies Program and Faculty-in-Residence of the Honors Pavilion at Elon University. He holds a Laurea degree in Letters and Philosophy from the Universita' degli Studi di Pisa, Italy, and an M.A. and a Ph.D in Comparative Literature from the State University of New York (SUNY) at Buffalo. Dr. Pardini's teaching and research interests focus on 20th century Italian studies, Italian American studies, American studies, cinema and literary criticism. Prior to this work, Pardini edited and translated into Italian two collections of writings of the famed critic Leslie Fiedler titled Vacanze Romane: Un critico americano a spasso nell'Italia letteraria and Arrivederci alle armi. He also edited The Devil Gets His Due: The Uncollected Essays of Leslie Fiedler. Pardini is currently pursuing a new book-length research project called Modernity on Wheels: Speed and Automobile Culture from Futurism to Fascism and the New Deal, which examines the theme of speed in automobile culture of the first half of the 20th century in Italy and the United States. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

In the Name of the Mother: Italian Americans, African Americans, and Modernity from Booker T. Washington to Bruce Springsteen (Dartmouth, 2017) emphasizes the racial “in-betweenness” of Italian Americans rearticulated as “invisible blackness,” a view that enlarges and complicates the color-based dimensions of American racial discourse. This strikingly original work will interest a wide spectrum of scholars in American Studies and the humanities. The author examines the cultural relationship between African American intellectuals and Italian American writers and artists, and how it relates to American blackness in the twentieth century. He also explores the links between African American literature and the Mediterranean tradition of Italian immigrants, and then examines both against the white intellectual discourse that defines modernism in the West. This previously unexamined encounter offers a hybrid, transnational model of modernity capable of producing democratic forms of aesthetics, social consciousness, and political economy. Sameule F. S. Pardini is the coordinator of the American Studies Program and Faculty-in-Residence of the Honors Pavilion at Elon University. He holds a Laurea degree in Letters and Philosophy from the Universita’ degli Studi di Pisa, Italy, and an M.A. and a Ph.D in Comparative Literature from the State University of New York (SUNY) at Buffalo. Dr. Pardini’s teaching and research interests focus on 20th century Italian studies, Italian American studies, American studies, cinema and literary criticism. Prior to this work, Pardini edited and translated into Italian two collections of writings of the famed critic Leslie Fiedler titled Vacanze Romane: Un critico americano a spasso nell’Italia letteraria and Arrivederci alle armi. He also edited The Devil Gets His Due: The Uncollected Essays of Leslie Fiedler. Pardini is currently pursuing a new book-length research project called Modernity on Wheels: Speed and Automobile Culture from Futurism to Fascism and the New Deal, which examines the theme of speed in automobile culture of the first half of the 20th century in Italy and the United States. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the Name of the Mother: Italian Americans, African Americans, and Modernity from Booker T. Washington to Bruce Springsteen (Dartmouth, 2017) emphasizes the racial “in-betweenness” of Italian Americans rearticulated as “invisible blackness,” a view that enlarges and complicates the color-based dimensions of American racial discourse. This strikingly original work will interest a wide spectrum of scholars in American Studies and the humanities. The author examines the cultural relationship between African American intellectuals and Italian American writers and artists, and how it relates to American blackness in the twentieth century. He also explores the links between African American literature and the Mediterranean tradition of Italian immigrants, and then examines both against the white intellectual discourse that defines modernism in the West. This previously unexamined encounter offers a hybrid, transnational model of modernity capable of producing democratic forms of aesthetics, social consciousness, and political economy. Sameule F. S. Pardini is the coordinator of the American Studies Program and Faculty-in-Residence of the Honors Pavilion at Elon University. He holds a Laurea degree in Letters and Philosophy from the Universita’ degli Studi di Pisa, Italy, and an M.A. and a Ph.D in Comparative Literature from the State University of New York (SUNY) at Buffalo. Dr. Pardini’s teaching and research interests focus on 20th century Italian studies, Italian American studies, American studies, cinema and literary criticism. Prior to this work, Pardini edited and translated into Italian two collections of writings of the famed critic Leslie Fiedler titled Vacanze Romane: Un critico americano a spasso nell’Italia letteraria and Arrivederci alle armi. He also edited The Devil Gets His Due: The Uncollected Essays of Leslie Fiedler. Pardini is currently pursuing a new book-length research project called Modernity on Wheels: Speed and Automobile Culture from Futurism to Fascism and the New Deal, which examines the theme of speed in automobile culture of the first half of the 20th century in Italy and the United States. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people. Learn more about your ad choices. Visit megaphone.fm/adchoices

What do you know about Houston, Texas? That Houston is the fourth largest city in the United States? That Houston was the home of the 2016 NCAA Final Four in basketball and the home of the NFL's Super Bowl LI in 2017? That Houston is the home of the world's largest medical center and is also the hub of the American energy industry? All of the above are true, and even more Houston is noted for its rich diversity of people and blending of cultures. Beginning after World War I, Houston was transformed from a black-and-white frontier town into one of the most ethnically and racially diverse urban areas in the United States. Houston Bound: Culture and Color in a Jim Crow City (University of California Press, 2015) draws on social and cultural history to show how, despite Anglo attempts to fix racial categories through Jim Crow laws, converging migrations particularly those of Mexicans from across the border and Creoles from Louisiana complicated ideas of blackness and whiteness and introduced different understandings about race. This migration history also uses music and sound to examine these racial complexities, tracing the emergence of Houston's blues and jazz scenes in the 1920s as well as the hybrid forms of these genres that arose when migrants forged shared social space and carved out new communities and politics. Houston Bound is both an innovative historiography about migration and immigration in the twentieth century as well as a critical examination of a city located in the former Confederacy. Author Tyina L. Steptoe is Assistant Professor of History at the University of Arizona. Her work focuses on the cultural and social history of the United States especially race, ethnicity, and gender. After Houston Bound, her current research concerns how rhythm and blues performers Willie Mae “Big Mama” Thornton and Little Richard subverted and challenged gender norms in the 1950s. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Pinkster King and the King of Kongo: The Forgotten History of America's Dutch-Owned Slaves (University Press of Mississippi, 2016) presents the history of the nation's forgotten Dutch slave community and free Dutch-speaking African Americans from seventeenth-century New Amsterdam to nineteenth-century New York and New Jersey and also develops a provocative new interpretation of one of America's most intriguing black folkloric traditions, Pinkster. The author rejects the usual interpretation of this celebration of a “slave king” as a form of carnival. Instead, he shows that it is a ritual rooted in mutual-aid and slave brotherhood traditions. By placing these traditions in an Atlantic context, he identifies striking parallels to royal election rituals in slave communities elsewhere in the Americas, and traces these rituals to the ancient Kingdom of Kongo and the impact of Portuguese culture in West-Central Africa. The Pinkster King and the King of Kongo: The Forgotten History of America's Dutch-Owned Slaves also suggests the necessity for an increased focus on the substantial contact that many Africans had with European primarily Portuguese cultures before they were shipped as slaves to the Americas. The book has already garnered honors as the winner of the Richard O. Collins Award in African Studies, the New Netherland Institute Hendricks Award, and the Clague and Carol Van Slyke Prize. Jeroen Dewulf is associate professor of Dutch studies at the University of California at Berkeley, and director of the school's Institute of European Studies. In addition to The Pinkster King and the King of Kongo: The Forgotten History of America's Dutch-Owned Slaves, he is also the author of Spirit of Resistance: Dutch Clandestine Literature during the Nazi Occupation and co-editor of Shifting the Compass: Pluricontinental Connections in Dutch Colonial and Postcolonial Literature. His current research focuses on the connections between African-American culture in New Orleans and West African traditions, and will also soon be published in book form. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people. Learn more about your ad choices. Visit megaphone.fm/adchoices

There has been much talk in the news recently about funding for public education, the emergence of charter schools, and the potential of school vouchers. How much does competition for financing in urban public schools depend on marketing and perpetuating poverty in order to thrive? Are the actors in this drama deliberately playing up stereotypes of race and class? A Good Investment? Philanthropy and the Marketing of Race in an Urban Public School (University of Minnesota Press, 2015) offers a firsthand look behind the scenes of the philanthropic approach to funding public education a process in which social change in education policy and practice is aligned with social entrepreneurship. The appearance of success, equity, or justice in education, the author argues, might actually serve to maintain stark inequalities and inhibit democracy. A Good Investment? Philanthropy and the Marketing of Race in an Urban Public School shows that models of corporate or philanthropic charity in education may in fact reinforce the race and class hierarchies that they purport to alleviate. As their voices reveal, the teachers and students on the receiving end of such a system can be critically conscious and ambivalent participants in a school's racialized marketing and image management. Timely and provocative, this nuanced work exposes the unintended consequences of an education marketplace where charity masquerades as justice. Amy Brown is an educational anthropologist and a faculty member in the Critical Writing Program at the University of Pennsylvania. In her research she often explores how the increasing privatization of public education affects teaching and learning practices. Another area of focus for Brown is how “philanthrocapitalism” and reliance on private sector funding influence constructions of gender, class and race as well as distribution of power and resources. A Good Investment? Philanthropy and the Marketing of Race in an Urban Public School is her first book. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people. Learn more about your ad choices. Visit megaphone.fm/adchoices

Runaway slave Sojourner Truth gained fame in the nineteenth century as an abolitionist, feminist, and orator and earned a living partly by selling photographic carte de visite portraits of herself at lectures and by mail. Cartes de visite, similar in format to calling cards, were relatively inexpensive collectibles that quickly became a new mode of mass communication. Despite being illiterate, Truth copyrighted her photographs in her name and added the caption “I Sell the Shadow to Support the Substance. Sojourner Truth.” Featuring the largest collection of Truth's photographs ever published, Enduring Truths: Sojourners Shadows and Substance (University of Chicago Press, 2015) is the first book to explore how she used her image, the press, the postal service, and copyright laws to support her activism and herself. A Goldman Distinguished Professor in the Arts and Humanities at the University of California at Berkeley, the book's author, Dr. Darcy Grimaldo Grigsby, specializes in 18th- through early 20th-century French and American art, visual and material culture, particularly in relation to the politics of race and colonialism. Dr. Grigsby writes on painting, sculpture, photography and engineering as well as the relationships among reproductive media and new technologies from the 18th to the early 20th centuries. Dr. Grigsby is also the recipient of numerous fellowships and awards, including two Andrew W. Mellon New Directions Fellowships, a grant from the Graham Foundation for Advanced Studies in the Fine Arts, a History of Art Undergraduate Association Award for Outstanding Contribution to Art Historical Education, and The Distinguished Teaching Award at the University of California at Berkeley. Some of Dr. Grigsby's previous works include Extremities: Painting Empire in Post-Revolutionary France and Colossal: Engineering the Suez Canal, Statue of Liberty, Eiffel Tower and Panama Canal. In addition to her teaching, Dr. Grigsby is currently conducting research for a book project tentatively titled Creole Looking: Portraying France's Foreign Relations in the Nineteenth Century, which will examine France's relationship to the Caribbean and Americas. James Stancil is an independent scholar, freelance journalist, and the President and CEO of Intellect U Well, Inc. a Houston-area non-profit dedicated to increasing the joy of reading and media literacy in young people. Learn more about your ad choices. Visit megaphone.fm/adchoices