Podcasts about mickell carter

Misunderstood, misappropriated, belittled: though the Rastafari feature frequently in media and culture, they have most often been misrepresented, their political and religious significance minimized. But they have not been vanquished. Charles Price's Rastafari: The Evolution of a People and Their Identity (NYU Press, 2022) reclaims the rich history of this relatively new world religion. Charting its humble and rebellious roots in Jamaica's backcountry in the late nineteenth century to the present day, Price explains how Jamaicans' obsession with the Rastafari wavered from campaigns of violence to appeasement and cooptation. Indeed, he argues that the Rastafari as a political, religious, and cultural movement survived the biases and violence they faced through their race consciousness and uncanny ability to ride the waves of anti-colonialism and Black Power. This social movement traveled throughout the Caribbean, Africa, Central America, and the United States, capturing the heart and imagination of much of the African diaspora. Rastafari spans the movement's struggle for autonomy, its multiple campaigns for repatriation to Africa, and its leading role in the Black consciousness movements of the twentieth century. Not satisfied with simply narrating the past, Rastafari also takes on the challenges of gender equality and the commodification of Rastafari culture in the twenty-first century without abandoning its message of equality and empowering the downpressed. Rastafari shows how this cultural and political context helped to shape the development of a Black collective identity, demonstrating how Rastafarians confronted society-wide ridicule and oppression and emerged prouder and more united, steadfast in their conviction that they were a chosen people. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Misunderstood, misappropriated, belittled: though the Rastafari feature frequently in media and culture, they have most often been misrepresented, their political and religious significance minimized. But they have not been vanquished. Charles Price's Rastafari: The Evolution of a People and Their Identity (NYU Press, 2022) reclaims the rich history of this relatively new world religion. Charting its humble and rebellious roots in Jamaica's backcountry in the late nineteenth century to the present day, Price explains how Jamaicans' obsession with the Rastafari wavered from campaigns of violence to appeasement and cooptation. Indeed, he argues that the Rastafari as a political, religious, and cultural movement survived the biases and violence they faced through their race consciousness and uncanny ability to ride the waves of anti-colonialism and Black Power. This social movement traveled throughout the Caribbean, Africa, Central America, and the United States, capturing the heart and imagination of much of the African diaspora. Rastafari spans the movement's struggle for autonomy, its multiple campaigns for repatriation to Africa, and its leading role in the Black consciousness movements of the twentieth century. Not satisfied with simply narrating the past, Rastafari also takes on the challenges of gender equality and the commodification of Rastafari culture in the twenty-first century without abandoning its message of equality and empowering the downpressed. Rastafari shows how this cultural and political context helped to shape the development of a Black collective identity, demonstrating how Rastafarians confronted society-wide ridicule and oppression and emerged prouder and more united, steadfast in their conviction that they were a chosen people. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/religion

Misunderstood, misappropriated, belittled: though the Rastafari feature frequently in media and culture, they have most often been misrepresented, their political and religious significance minimized. But they have not been vanquished. Charles Price's Rastafari: The Evolution of a People and Their Identity (NYU Press, 2022) reclaims the rich history of this relatively new world religion. Charting its humble and rebellious roots in Jamaica's backcountry in the late nineteenth century to the present day, Price explains how Jamaicans' obsession with the Rastafari wavered from campaigns of violence to appeasement and cooptation. Indeed, he argues that the Rastafari as a political, religious, and cultural movement survived the biases and violence they faced through their race consciousness and uncanny ability to ride the waves of anti-colonialism and Black Power. This social movement traveled throughout the Caribbean, Africa, Central America, and the United States, capturing the heart and imagination of much of the African diaspora. Rastafari spans the movement's struggle for autonomy, its multiple campaigns for repatriation to Africa, and its leading role in the Black consciousness movements of the twentieth century. Not satisfied with simply narrating the past, Rastafari also takes on the challenges of gender equality and the commodification of Rastafari culture in the twenty-first century without abandoning its message of equality and empowering the downpressed. Rastafari shows how this cultural and political context helped to shape the development of a Black collective identity, demonstrating how Rastafarians confronted society-wide ridicule and oppression and emerged prouder and more united, steadfast in their conviction that they were a chosen people. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter 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

Misunderstood, misappropriated, belittled: though the Rastafari feature frequently in media and culture, they have most often been misrepresented, their political and religious significance minimized. But they have not been vanquished. Charles Price's Rastafari: The Evolution of a People and Their Identity (NYU Press, 2022) reclaims the rich history of this relatively new world religion. Charting its humble and rebellious roots in Jamaica's backcountry in the late nineteenth century to the present day, Price explains how Jamaicans' obsession with the Rastafari wavered from campaigns of violence to appeasement and cooptation. Indeed, he argues that the Rastafari as a political, religious, and cultural movement survived the biases and violence they faced through their race consciousness and uncanny ability to ride the waves of anti-colonialism and Black Power. This social movement traveled throughout the Caribbean, Africa, Central America, and the United States, capturing the heart and imagination of much of the African diaspora. Rastafari spans the movement's struggle for autonomy, its multiple campaigns for repatriation to Africa, and its leading role in the Black consciousness movements of the twentieth century. Not satisfied with simply narrating the past, Rastafari also takes on the challenges of gender equality and the commodification of Rastafari culture in the twenty-first century without abandoning its message of equality and empowering the downpressed. Rastafari shows how this cultural and political context helped to shape the development of a Black collective identity, demonstrating how Rastafarians confronted society-wide ridicule and oppression and emerged prouder and more united, steadfast in their conviction that they were a chosen people. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Misunderstood, misappropriated, belittled: though the Rastafari feature frequently in media and culture, they have most often been misrepresented, their political and religious significance minimized. But they have not been vanquished. Charles Price's Rastafari: The Evolution of a People and Their Identity (NYU Press, 2022) reclaims the rich history of this relatively new world religion. Charting its humble and rebellious roots in Jamaica's backcountry in the late nineteenth century to the present day, Price explains how Jamaicans' obsession with the Rastafari wavered from campaigns of violence to appeasement and cooptation. Indeed, he argues that the Rastafari as a political, religious, and cultural movement survived the biases and violence they faced through their race consciousness and uncanny ability to ride the waves of anti-colonialism and Black Power. This social movement traveled throughout the Caribbean, Africa, Central America, and the United States, capturing the heart and imagination of much of the African diaspora. Rastafari spans the movement's struggle for autonomy, its multiple campaigns for repatriation to Africa, and its leading role in the Black consciousness movements of the twentieth century. Not satisfied with simply narrating the past, Rastafari also takes on the challenges of gender equality and the commodification of Rastafari culture in the twenty-first century without abandoning its message of equality and empowering the downpressed. Rastafari shows how this cultural and political context helped to shape the development of a Black collective identity, demonstrating how Rastafarians confronted society-wide ridicule and oppression and emerged prouder and more united, steadfast in their conviction that they were a chosen people. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/caribbean-studies

How does it feel to be groomed as the "solution" to a national Black male "problem"? This is the guiding paradox of Respectable: Politics and Paradox in Making the Morehouse Man (U California Press, 2022), an in-depth examination of graduates of Morehouse College, the nation's only historically Black college for men. While Black male collegians are often culturally fetishized for "beating the odds," the image of Black male success that Morehouse assiduously promotes and celebrates is belied by many of the realities that challenge the students on this campus. Saida Grundy offers a unique insider perspective: a graduate of Spelman college and a former "Miss Morehouse," Grundy crafts an incisive feminist and sociological account informed by her personal insights and scholarly expertise. Respectable gathers the experiences of former students and others connected to Morehouse to illustrate the narrow, conservative vision of masculinity molded at a competitive Black institution. The thirty-two men interviewed unveil a culture that forges confining ideas of respectable Black manhood within a context of relentless peer competition and sexual violence, measured against unattainable archetypes of idealized racial leadership. Grundy underlines the high costs of making these men—the experiences of low-income students who navigate class issues at Morehouse, the widespread homophobia laced throughout the college's notions of Black male respectability, and the crushingly conformist expectations of a college that sees itself as making "good" Black men. As Morehouse's problems continue to pour out into national newsfeeds, this book contextualizes these issues not as a defect of Black masculinity, but as a critique of what happens when an institution services an imagination of what Black men should be, at the expense of more fully understanding the many ways these young people see themselves. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter. Learn more about your ad choices. Visit megaphone.fm/adchoices

How does it feel to be groomed as the "solution" to a national Black male "problem"? This is the guiding paradox of Respectable: Politics and Paradox in Making the Morehouse Man (U California Press, 2022), an in-depth examination of graduates of Morehouse College, the nation's only historically Black college for men. While Black male collegians are often culturally fetishized for "beating the odds," the image of Black male success that Morehouse assiduously promotes and celebrates is belied by many of the realities that challenge the students on this campus. Saida Grundy offers a unique insider perspective: a graduate of Spelman college and a former "Miss Morehouse," Grundy crafts an incisive feminist and sociological account informed by her personal insights and scholarly expertise. Respectable gathers the experiences of former students and others connected to Morehouse to illustrate the narrow, conservative vision of masculinity molded at a competitive Black institution. The thirty-two men interviewed unveil a culture that forges confining ideas of respectable Black manhood within a context of relentless peer competition and sexual violence, measured against unattainable archetypes of idealized racial leadership. Grundy underlines the high costs of making these men—the experiences of low-income students who navigate class issues at Morehouse, the widespread homophobia laced throughout the college's notions of Black male respectability, and the crushingly conformist expectations of a college that sees itself as making "good" Black men. As Morehouse's problems continue to pour out into national newsfeeds, this book contextualizes these issues not as a defect of Black masculinity, but as a critique of what happens when an institution services an imagination of what Black men should be, at the expense of more fully understanding the many ways these young people see themselves. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter. 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

How does it feel to be groomed as the "solution" to a national Black male "problem"? This is the guiding paradox of Respectable: Politics and Paradox in Making the Morehouse Man (U California Press, 2022), an in-depth examination of graduates of Morehouse College, the nation's only historically Black college for men. While Black male collegians are often culturally fetishized for "beating the odds," the image of Black male success that Morehouse assiduously promotes and celebrates is belied by many of the realities that challenge the students on this campus. Saida Grundy offers a unique insider perspective: a graduate of Spelman college and a former "Miss Morehouse," Grundy crafts an incisive feminist and sociological account informed by her personal insights and scholarly expertise. Respectable gathers the experiences of former students and others connected to Morehouse to illustrate the narrow, conservative vision of masculinity molded at a competitive Black institution. The thirty-two men interviewed unveil a culture that forges confining ideas of respectable Black manhood within a context of relentless peer competition and sexual violence, measured against unattainable archetypes of idealized racial leadership. Grundy underlines the high costs of making these men—the experiences of low-income students who navigate class issues at Morehouse, the widespread homophobia laced throughout the college's notions of Black male respectability, and the crushingly conformist expectations of a college that sees itself as making "good" Black men. As Morehouse's problems continue to pour out into national newsfeeds, this book contextualizes these issues not as a defect of Black masculinity, but as a critique of what happens when an institution services an imagination of what Black men should be, at the expense of more fully understanding the many ways these young people see themselves. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

How does it feel to be groomed as the "solution" to a national Black male "problem"? This is the guiding paradox of Respectable: Politics and Paradox in Making the Morehouse Man (U California Press, 2022), an in-depth examination of graduates of Morehouse College, the nation's only historically Black college for men. While Black male collegians are often culturally fetishized for "beating the odds," the image of Black male success that Morehouse assiduously promotes and celebrates is belied by many of the realities that challenge the students on this campus. Saida Grundy offers a unique insider perspective: a graduate of Spelman college and a former "Miss Morehouse," Grundy crafts an incisive feminist and sociological account informed by her personal insights and scholarly expertise. Respectable gathers the experiences of former students and others connected to Morehouse to illustrate the narrow, conservative vision of masculinity molded at a competitive Black institution. The thirty-two men interviewed unveil a culture that forges confining ideas of respectable Black manhood within a context of relentless peer competition and sexual violence, measured against unattainable archetypes of idealized racial leadership. Grundy underlines the high costs of making these men—the experiences of low-income students who navigate class issues at Morehouse, the widespread homophobia laced throughout the college's notions of Black male respectability, and the crushingly conformist expectations of a college that sees itself as making "good" Black men. As Morehouse's problems continue to pour out into national newsfeeds, this book contextualizes these issues not as a defect of Black masculinity, but as a critique of what happens when an institution services an imagination of what Black men should be, at the expense of more fully understanding the many ways these young people see themselves. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

How does it feel to be groomed as the "solution" to a national Black male "problem"? This is the guiding paradox of Respectable: Politics and Paradox in Making the Morehouse Man (U California Press, 2022), an in-depth examination of graduates of Morehouse College, the nation's only historically Black college for men. While Black male collegians are often culturally fetishized for "beating the odds," the image of Black male success that Morehouse assiduously promotes and celebrates is belied by many of the realities that challenge the students on this campus. Saida Grundy offers a unique insider perspective: a graduate of Spelman college and a former "Miss Morehouse," Grundy crafts an incisive feminist and sociological account informed by her personal insights and scholarly expertise. Respectable gathers the experiences of former students and others connected to Morehouse to illustrate the narrow, conservative vision of masculinity molded at a competitive Black institution. The thirty-two men interviewed unveil a culture that forges confining ideas of respectable Black manhood within a context of relentless peer competition and sexual violence, measured against unattainable archetypes of idealized racial leadership. Grundy underlines the high costs of making these men—the experiences of low-income students who navigate class issues at Morehouse, the widespread homophobia laced throughout the college's notions of Black male respectability, and the crushingly conformist expectations of a college that sees itself as making "good" Black men. As Morehouse's problems continue to pour out into national newsfeeds, this book contextualizes these issues not as a defect of Black masculinity, but as a critique of what happens when an institution services an imagination of what Black men should be, at the expense of more fully understanding the many ways these young people see themselves. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

How does it feel to be groomed as the "solution" to a national Black male "problem"? This is the guiding paradox of Respectable: Politics and Paradox in Making the Morehouse Man (U California Press, 2022), an in-depth examination of graduates of Morehouse College, the nation's only historically Black college for men. While Black male collegians are often culturally fetishized for "beating the odds," the image of Black male success that Morehouse assiduously promotes and celebrates is belied by many of the realities that challenge the students on this campus. Saida Grundy offers a unique insider perspective: a graduate of Spelman college and a former "Miss Morehouse," Grundy crafts an incisive feminist and sociological account informed by her personal insights and scholarly expertise. Respectable gathers the experiences of former students and others connected to Morehouse to illustrate the narrow, conservative vision of masculinity molded at a competitive Black institution. The thirty-two men interviewed unveil a culture that forges confining ideas of respectable Black manhood within a context of relentless peer competition and sexual violence, measured against unattainable archetypes of idealized racial leadership. Grundy underlines the high costs of making these men—the experiences of low-income students who navigate class issues at Morehouse, the widespread homophobia laced throughout the college's notions of Black male respectability, and the crushingly conformist expectations of a college that sees itself as making "good" Black men. As Morehouse's problems continue to pour out into national newsfeeds, this book contextualizes these issues not as a defect of Black masculinity, but as a critique of what happens when an institution services an imagination of what Black men should be, at the expense of more fully understanding the many ways these young people see themselves. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

How does it feel to be groomed as the "solution" to a national Black male "problem"? This is the guiding paradox of Respectable: Politics and Paradox in Making the Morehouse Man (U California Press, 2022), an in-depth examination of graduates of Morehouse College, the nation's only historically Black college for men. While Black male collegians are often culturally fetishized for "beating the odds," the image of Black male success that Morehouse assiduously promotes and celebrates is belied by many of the realities that challenge the students on this campus. Saida Grundy offers a unique insider perspective: a graduate of Spelman college and a former "Miss Morehouse," Grundy crafts an incisive feminist and sociological account informed by her personal insights and scholarly expertise. Respectable gathers the experiences of former students and others connected to Morehouse to illustrate the narrow, conservative vision of masculinity molded at a competitive Black institution. The thirty-two men interviewed unveil a culture that forges confining ideas of respectable Black manhood within a context of relentless peer competition and sexual violence, measured against unattainable archetypes of idealized racial leadership. Grundy underlines the high costs of making these men—the experiences of low-income students who navigate class issues at Morehouse, the widespread homophobia laced throughout the college's notions of Black male respectability, and the crushingly conformist expectations of a college that sees itself as making "good" Black men. As Morehouse's problems continue to pour out into national newsfeeds, this book contextualizes these issues not as a defect of Black masculinity, but as a critique of what happens when an institution services an imagination of what Black men should be, at the expense of more fully understanding the many ways these young people see themselves. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-south

How does it feel to be groomed as the "solution" to a national Black male "problem"? This is the guiding paradox of Respectable: Politics and Paradox in Making the Morehouse Man (U California Press, 2022), an in-depth examination of graduates of Morehouse College, the nation's only historically Black college for men. While Black male collegians are often culturally fetishized for "beating the odds," the image of Black male success that Morehouse assiduously promotes and celebrates is belied by many of the realities that challenge the students on this campus. Saida Grundy offers a unique insider perspective: a graduate of Spelman college and a former "Miss Morehouse," Grundy crafts an incisive feminist and sociological account informed by her personal insights and scholarly expertise. Respectable gathers the experiences of former students and others connected to Morehouse to illustrate the narrow, conservative vision of masculinity molded at a competitive Black institution. The thirty-two men interviewed unveil a culture that forges confining ideas of respectable Black manhood within a context of relentless peer competition and sexual violence, measured against unattainable archetypes of idealized racial leadership. Grundy underlines the high costs of making these men—the experiences of low-income students who navigate class issues at Morehouse, the widespread homophobia laced throughout the college's notions of Black male respectability, and the crushingly conformist expectations of a college that sees itself as making "good" Black men. As Morehouse's problems continue to pour out into national newsfeeds, this book contextualizes these issues not as a defect of Black masculinity, but as a critique of what happens when an institution services an imagination of what Black men should be, at the expense of more fully understanding the many ways these young people see themselves. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/education

According to the 2010 US census, more than seventy percent of Black women in America are unmarried. Black Women, Black Love: America's War on African-American Marriage (Seal Press, 2020) reveals how four centuries of laws, policies, and customs have created that crisis. Dianne Stewart begins in the colonial era, when slave owners denied Blacks the right to marry, divided families, and, in many cases, raped enslaved women and girls. Later, during Reconstruction and the ensuing decades, violence split up couples again as millions embarked on the Great Migration north, where the welfare system mandated that women remain single in order to receive government support. And no institution has forbidden Black love as effectively as the prison-industrial complex, which removes Black men en masse from the pool of marriageable partners. Prodigiously researched and deeply felt, Black Women, Black Love reveals how white supremacy has systematically broken the heart of Black America, and it proposes strategies for dismantling the structural forces that have plagued Black love and marriage for centuries. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/politics-and-polemics

According to the 2010 US census, more than seventy percent of Black women in America are unmarried. Black Women, Black Love: America's War on African-American Marriage (Seal Press, 2020) reveals how four centuries of laws, policies, and customs have created that crisis. Dianne Stewart begins in the colonial era, when slave owners denied Blacks the right to marry, divided families, and, in many cases, raped enslaved women and girls. Later, during Reconstruction and the ensuing decades, violence split up couples again as millions embarked on the Great Migration north, where the welfare system mandated that women remain single in order to receive government support. And no institution has forbidden Black love as effectively as the prison-industrial complex, which removes Black men en masse from the pool of marriageable partners. Prodigiously researched and deeply felt, Black Women, Black Love reveals how white supremacy has systematically broken the heart of Black America, and it proposes strategies for dismantling the structural forces that have plagued Black love and marriage for centuries. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter Learn more about your ad choices. Visit megaphone.fm/adchoices

According to the 2010 US census, more than seventy percent of Black women in America are unmarried. Black Women, Black Love: America's War on African-American Marriage (Seal Press, 2020) reveals how four centuries of laws, policies, and customs have created that crisis. Dianne Stewart begins in the colonial era, when slave owners denied Blacks the right to marry, divided families, and, in many cases, raped enslaved women and girls. Later, during Reconstruction and the ensuing decades, violence split up couples again as millions embarked on the Great Migration north, where the welfare system mandated that women remain single in order to receive government support. And no institution has forbidden Black love as effectively as the prison-industrial complex, which removes Black men en masse from the pool of marriageable partners. Prodigiously researched and deeply felt, Black Women, Black Love reveals how white supremacy has systematically broken the heart of Black America, and it proposes strategies for dismantling the structural forces that have plagued Black love and marriage for centuries. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

According to the 2010 US census, more than seventy percent of Black women in America are unmarried. Black Women, Black Love: America's War on African-American Marriage (Seal Press, 2020) reveals how four centuries of laws, policies, and customs have created that crisis. Dianne Stewart begins in the colonial era, when slave owners denied Blacks the right to marry, divided families, and, in many cases, raped enslaved women and girls. Later, during Reconstruction and the ensuing decades, violence split up couples again as millions embarked on the Great Migration north, where the welfare system mandated that women remain single in order to receive government support. And no institution has forbidden Black love as effectively as the prison-industrial complex, which removes Black men en masse from the pool of marriageable partners. Prodigiously researched and deeply felt, Black Women, Black Love reveals how white supremacy has systematically broken the heart of Black America, and it proposes strategies for dismantling the structural forces that have plagued Black love and marriage for centuries. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

According to the 2010 US census, more than seventy percent of Black women in America are unmarried. Black Women, Black Love: America's War on African-American Marriage (Seal Press, 2020) reveals how four centuries of laws, policies, and customs have created that crisis. Dianne Stewart begins in the colonial era, when slave owners denied Blacks the right to marry, divided families, and, in many cases, raped enslaved women and girls. Later, during Reconstruction and the ensuing decades, violence split up couples again as millions embarked on the Great Migration north, where the welfare system mandated that women remain single in order to receive government support. And no institution has forbidden Black love as effectively as the prison-industrial complex, which removes Black men en masse from the pool of marriageable partners. Prodigiously researched and deeply felt, Black Women, Black Love reveals how white supremacy has systematically broken the heart of Black America, and it proposes strategies for dismantling the structural forces that have plagued Black love and marriage for centuries. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

According to the 2010 US census, more than seventy percent of Black women in America are unmarried. Black Women, Black Love: America's War on African-American Marriage (Seal Press, 2020) reveals how four centuries of laws, policies, and customs have created that crisis. Dianne Stewart begins in the colonial era, when slave owners denied Blacks the right to marry, divided families, and, in many cases, raped enslaved women and girls. Later, during Reconstruction and the ensuing decades, violence split up couples again as millions embarked on the Great Migration north, where the welfare system mandated that women remain single in order to receive government support. And no institution has forbidden Black love as effectively as the prison-industrial complex, which removes Black men en masse from the pool of marriageable partners. Prodigiously researched and deeply felt, Black Women, Black Love reveals how white supremacy has systematically broken the heart of Black America, and it proposes strategies for dismantling the structural forces that have plagued Black love and marriage for centuries. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

According to the 2010 US census, more than seventy percent of Black women in America are unmarried. Black Women, Black Love: America's War on African-American Marriage (Seal Press, 2020) reveals how four centuries of laws, policies, and customs have created that crisis. Dianne Stewart begins in the colonial era, when slave owners denied Blacks the right to marry, divided families, and, in many cases, raped enslaved women and girls. Later, during Reconstruction and the ensuing decades, violence split up couples again as millions embarked on the Great Migration north, where the welfare system mandated that women remain single in order to receive government support. And no institution has forbidden Black love as effectively as the prison-industrial complex, which removes Black men en masse from the pool of marriageable partners. Prodigiously researched and deeply felt, Black Women, Black Love reveals how white supremacy has systematically broken the heart of Black America, and it proposes strategies for dismantling the structural forces that have plagued Black love and marriage for centuries. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

According to the 2010 US census, more than seventy percent of Black women in America are unmarried. Black Women, Black Love: America's War on African-American Marriage (Seal Press, 2020) reveals how four centuries of laws, policies, and customs have created that crisis. Dianne Stewart begins in the colonial era, when slave owners denied Blacks the right to marry, divided families, and, in many cases, raped enslaved women and girls. Later, during Reconstruction and the ensuing decades, violence split up couples again as millions embarked on the Great Migration north, where the welfare system mandated that women remain single in order to receive government support. And no institution has forbidden Black love as effectively as the prison-industrial complex, which removes Black men en masse from the pool of marriageable partners. Prodigiously researched and deeply felt, Black Women, Black Love reveals how white supremacy has systematically broken the heart of Black America, and it proposes strategies for dismantling the structural forces that have plagued Black love and marriage for centuries. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

According to the 2010 US census, more than seventy percent of Black women in America are unmarried. Black Women, Black Love: America's War on African-American Marriage (Seal Press, 2020) reveals how four centuries of laws, policies, and customs have created that crisis. Dianne Stewart begins in the colonial era, when slave owners denied Blacks the right to marry, divided families, and, in many cases, raped enslaved women and girls. Later, during Reconstruction and the ensuing decades, violence split up couples again as millions embarked on the Great Migration north, where the welfare system mandated that women remain single in order to receive government support. And no institution has forbidden Black love as effectively as the prison-industrial complex, which removes Black men en masse from the pool of marriageable partners. Prodigiously researched and deeply felt, Black Women, Black Love reveals how white supremacy has systematically broken the heart of Black America, and it proposes strategies for dismantling the structural forces that have plagued Black love and marriage for centuries. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter 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 Frederick Douglass to Angela Davis, “natural hair” has been associated with the Black freedom struggle. In New Growth: The Art and Texture of Black Hair (Duke UP, 2022), Jasmine Nichole Cobb traces the history of Afro-textured coiffure, exploring it as a visual material through which to reimagine the sensual experience of Blackness. Through close readings of slave narratives, scrapbooks, travel illustrations, documentary films, and photography as well as collage, craft, and sculpture, from the nineteenth century to the present, Cobb shows how the racial distinctions ascribed to people of African descent become simultaneously visible and tactile. Whether examining Soul Train's and Ebony's promotion of the Afro hairstyle alongside styling products or how artists such as Alison Saar and Lorna Simpson underscore the construction of Blackness through the representation of hair, Cobb foregrounds the inseparability of Black hair's look and feel. Demonstrating that Blackness is palpable through appearance and feeling, Cobb reveals the various ways that people of African descent forge new relationships to the body, public space, and visual culture through the embrace of Black hair. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter 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 Frederick Douglass to Angela Davis, “natural hair” has been associated with the Black freedom struggle. In New Growth: The Art and Texture of Black Hair (Duke UP, 2022), Jasmine Nichole Cobb traces the history of Afro-textured coiffure, exploring it as a visual material through which to reimagine the sensual experience of Blackness. Through close readings of slave narratives, scrapbooks, travel illustrations, documentary films, and photography as well as collage, craft, and sculpture, from the nineteenth century to the present, Cobb shows how the racial distinctions ascribed to people of African descent become simultaneously visible and tactile. Whether examining Soul Train's and Ebony's promotion of the Afro hairstyle alongside styling products or how artists such as Alison Saar and Lorna Simpson underscore the construction of Blackness through the representation of hair, Cobb foregrounds the inseparability of Black hair's look and feel. Demonstrating that Blackness is palpable through appearance and feeling, Cobb reveals the various ways that people of African descent forge new relationships to the body, public space, and visual culture through the embrace of Black hair. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

From Frederick Douglass to Angela Davis, “natural hair” has been associated with the Black freedom struggle. In New Growth: The Art and Texture of Black Hair (Duke UP, 2022), Jasmine Nichole Cobb traces the history of Afro-textured coiffure, exploring it as a visual material through which to reimagine the sensual experience of Blackness. Through close readings of slave narratives, scrapbooks, travel illustrations, documentary films, and photography as well as collage, craft, and sculpture, from the nineteenth century to the present, Cobb shows how the racial distinctions ascribed to people of African descent become simultaneously visible and tactile. Whether examining Soul Train's and Ebony's promotion of the Afro hairstyle alongside styling products or how artists such as Alison Saar and Lorna Simpson underscore the construction of Blackness through the representation of hair, Cobb foregrounds the inseparability of Black hair's look and feel. Demonstrating that Blackness is palpable through appearance and feeling, Cobb reveals the various ways that people of African descent forge new relationships to the body, public space, and visual culture through the embrace of Black hair. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

From Frederick Douglass to Angela Davis, “natural hair” has been associated with the Black freedom struggle. In New Growth: The Art and Texture of Black Hair (Duke UP, 2022), Jasmine Nichole Cobb traces the history of Afro-textured coiffure, exploring it as a visual material through which to reimagine the sensual experience of Blackness. Through close readings of slave narratives, scrapbooks, travel illustrations, documentary films, and photography as well as collage, craft, and sculpture, from the nineteenth century to the present, Cobb shows how the racial distinctions ascribed to people of African descent become simultaneously visible and tactile. Whether examining Soul Train's and Ebony's promotion of the Afro hairstyle alongside styling products or how artists such as Alison Saar and Lorna Simpson underscore the construction of Blackness through the representation of hair, Cobb foregrounds the inseparability of Black hair's look and feel. Demonstrating that Blackness is palpable through appearance and feeling, Cobb reveals the various ways that people of African descent forge new relationships to the body, public space, and visual culture through the embrace of Black hair. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

From Frederick Douglass to Angela Davis, “natural hair” has been associated with the Black freedom struggle. In New Growth: The Art and Texture of Black Hair (Duke UP, 2022), Jasmine Nichole Cobb traces the history of Afro-textured coiffure, exploring it as a visual material through which to reimagine the sensual experience of Blackness. Through close readings of slave narratives, scrapbooks, travel illustrations, documentary films, and photography as well as collage, craft, and sculpture, from the nineteenth century to the present, Cobb shows how the racial distinctions ascribed to people of African descent become simultaneously visible and tactile. Whether examining Soul Train's and Ebony's promotion of the Afro hairstyle alongside styling products or how artists such as Alison Saar and Lorna Simpson underscore the construction of Blackness through the representation of hair, Cobb foregrounds the inseparability of Black hair's look and feel. Demonstrating that Blackness is palpable through appearance and feeling, Cobb reveals the various ways that people of African descent forge new relationships to the body, public space, and visual culture through the embrace of Black hair. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In Emancipation's Daughters: Re-Imagining Black Femininity and the National Body (Duke UP, 2020), Riché Richardson examines iconic black women leaders who have contested racial stereotypes and constructed new national narratives of black womanhood in the United States. Drawing on literary texts and cultural representations, Richardson shows how five emblematic black women—Mary McLeod Bethune, Rosa Parks, Condoleezza Rice, Michelle Obama, and Beyoncé—have challenged white-centered definitions of American identity. By using the rhetoric of motherhood and focusing on families and children, these leaders have defied racist images of black women, such as the mammy or the welfare queen, and rewritten scripts of femininity designed to exclude black women from civic participation. Richardson shows that these women's status as national icons was central to reconstructing black womanhood in ways that moved beyond dominant stereotypes. However, these formulations are often premised on heteronormativity and exclude black queer and trans women. Throughout Emancipation's Daughters, Richardson reveals new possibilities for inclusive models of blackness, national femininity, and democracy. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

In Emancipation's Daughters: Re-Imagining Black Femininity and the National Body (Duke UP, 2020), Riché Richardson examines iconic black women leaders who have contested racial stereotypes and constructed new national narratives of black womanhood in the United States. Drawing on literary texts and cultural representations, Richardson shows how five emblematic black women—Mary McLeod Bethune, Rosa Parks, Condoleezza Rice, Michelle Obama, and Beyoncé—have challenged white-centered definitions of American identity. By using the rhetoric of motherhood and focusing on families and children, these leaders have defied racist images of black women, such as the mammy or the welfare queen, and rewritten scripts of femininity designed to exclude black women from civic participation. Richardson shows that these women's status as national icons was central to reconstructing black womanhood in ways that moved beyond dominant stereotypes. However, these formulations are often premised on heteronormativity and exclude black queer and trans women. Throughout Emancipation's Daughters, Richardson reveals new possibilities for inclusive models of blackness, national femininity, and democracy. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

In Emancipation's Daughters: Re-Imagining Black Femininity and the National Body (Duke UP, 2020), Riché Richardson examines iconic black women leaders who have contested racial stereotypes and constructed new national narratives of black womanhood in the United States. Drawing on literary texts and cultural representations, Richardson shows how five emblematic black women—Mary McLeod Bethune, Rosa Parks, Condoleezza Rice, Michelle Obama, and Beyoncé—have challenged white-centered definitions of American identity. By using the rhetoric of motherhood and focusing on families and children, these leaders have defied racist images of black women, such as the mammy or the welfare queen, and rewritten scripts of femininity designed to exclude black women from civic participation. Richardson shows that these women's status as national icons was central to reconstructing black womanhood in ways that moved beyond dominant stereotypes. However, these formulations are often premised on heteronormativity and exclude black queer and trans women. Throughout Emancipation's Daughters, Richardson reveals new possibilities for inclusive models of blackness, national femininity, and democracy. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter Learn more about your ad choices. Visit megaphone.fm/adchoices

In Emancipation's Daughters: Re-Imagining Black Femininity and the National Body (Duke UP, 2020), Riché Richardson examines iconic black women leaders who have contested racial stereotypes and constructed new national narratives of black womanhood in the United States. Drawing on literary texts and cultural representations, Richardson shows how five emblematic black women—Mary McLeod Bethune, Rosa Parks, Condoleezza Rice, Michelle Obama, and Beyoncé—have challenged white-centered definitions of American identity. By using the rhetoric of motherhood and focusing on families and children, these leaders have defied racist images of black women, such as the mammy or the welfare queen, and rewritten scripts of femininity designed to exclude black women from civic participation. Richardson shows that these women's status as national icons was central to reconstructing black womanhood in ways that moved beyond dominant stereotypes. However, these formulations are often premised on heteronormativity and exclude black queer and trans women. Throughout Emancipation's Daughters, Richardson reveals new possibilities for inclusive models of blackness, national femininity, and democracy. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

In Emancipation's Daughters: Re-Imagining Black Femininity and the National Body (Duke UP, 2020), Riché Richardson examines iconic black women leaders who have contested racial stereotypes and constructed new national narratives of black womanhood in the United States. Drawing on literary texts and cultural representations, Richardson shows how five emblematic black women—Mary McLeod Bethune, Rosa Parks, Condoleezza Rice, Michelle Obama, and Beyoncé—have challenged white-centered definitions of American identity. By using the rhetoric of motherhood and focusing on families and children, these leaders have defied racist images of black women, such as the mammy or the welfare queen, and rewritten scripts of femininity designed to exclude black women from civic participation. Richardson shows that these women's status as national icons was central to reconstructing black womanhood in ways that moved beyond dominant stereotypes. However, these formulations are often premised on heteronormativity and exclude black queer and trans women. Throughout Emancipation's Daughters, Richardson reveals new possibilities for inclusive models of blackness, national femininity, and democracy. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter 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 Emancipation's Daughters: Re-Imagining Black Femininity and the National Body (Duke UP, 2020), Riché Richardson examines iconic black women leaders who have contested racial stereotypes and constructed new national narratives of black womanhood in the United States. Drawing on literary texts and cultural representations, Richardson shows how five emblematic black women—Mary McLeod Bethune, Rosa Parks, Condoleezza Rice, Michelle Obama, and Beyoncé—have challenged white-centered definitions of American identity. By using the rhetoric of motherhood and focusing on families and children, these leaders have defied racist images of black women, such as the mammy or the welfare queen, and rewritten scripts of femininity designed to exclude black women from civic participation. Richardson shows that these women's status as national icons was central to reconstructing black womanhood in ways that moved beyond dominant stereotypes. However, these formulations are often premised on heteronormativity and exclude black queer and trans women. Throughout Emancipation's Daughters, Richardson reveals new possibilities for inclusive models of blackness, national femininity, and democracy. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

In Emancipation's Daughters: Re-Imagining Black Femininity and the National Body (Duke UP, 2020), Riché Richardson examines iconic black women leaders who have contested racial stereotypes and constructed new national narratives of black womanhood in the United States. Drawing on literary texts and cultural representations, Richardson shows how five emblematic black women—Mary McLeod Bethune, Rosa Parks, Condoleezza Rice, Michelle Obama, and Beyoncé—have challenged white-centered definitions of American identity. By using the rhetoric of motherhood and focusing on families and children, these leaders have defied racist images of black women, such as the mammy or the welfare queen, and rewritten scripts of femininity designed to exclude black women from civic participation. Richardson shows that these women's status as national icons was central to reconstructing black womanhood in ways that moved beyond dominant stereotypes. However, these formulations are often premised on heteronormativity and exclude black queer and trans women. Throughout Emancipation's Daughters, Richardson reveals new possibilities for inclusive models of blackness, national femininity, and democracy. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

In Emancipation's Daughters: Re-Imagining Black Femininity and the National Body (Duke UP, 2020), Riché Richardson examines iconic black women leaders who have contested racial stereotypes and constructed new national narratives of black womanhood in the United States. Drawing on literary texts and cultural representations, Richardson shows how five emblematic black women—Mary McLeod Bethune, Rosa Parks, Condoleezza Rice, Michelle Obama, and Beyoncé—have challenged white-centered definitions of American identity. By using the rhetoric of motherhood and focusing on families and children, these leaders have defied racist images of black women, such as the mammy or the welfare queen, and rewritten scripts of femininity designed to exclude black women from civic participation. Richardson shows that these women's status as national icons was central to reconstructing black womanhood in ways that moved beyond dominant stereotypes. However, these formulations are often premised on heteronormativity and exclude black queer and trans women. Throughout Emancipation's Daughters, Richardson reveals new possibilities for inclusive models of blackness, national femininity, and democracy. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In Emancipation's Daughters: Re-Imagining Black Femininity and the National Body (Duke UP, 2020), Riché Richardson examines iconic black women leaders who have contested racial stereotypes and constructed new national narratives of black womanhood in the United States. Drawing on literary texts and cultural representations, Richardson shows how five emblematic black women—Mary McLeod Bethune, Rosa Parks, Condoleezza Rice, Michelle Obama, and Beyoncé—have challenged white-centered definitions of American identity. By using the rhetoric of motherhood and focusing on families and children, these leaders have defied racist images of black women, such as the mammy or the welfare queen, and rewritten scripts of femininity designed to exclude black women from civic participation. Richardson shows that these women's status as national icons was central to reconstructing black womanhood in ways that moved beyond dominant stereotypes. However, these formulations are often premised on heteronormativity and exclude black queer and trans women. Throughout Emancipation's Daughters, Richardson reveals new possibilities for inclusive models of blackness, national femininity, and democracy. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In Emancipation's Daughters: Re-Imagining Black Femininity and the National Body (Duke UP, 2020), Riché Richardson examines iconic black women leaders who have contested racial stereotypes and constructed new national narratives of black womanhood in the United States. Drawing on literary texts and cultural representations, Richardson shows how five emblematic black women—Mary McLeod Bethune, Rosa Parks, Condoleezza Rice, Michelle Obama, and Beyoncé—have challenged white-centered definitions of American identity. By using the rhetoric of motherhood and focusing on families and children, these leaders have defied racist images of black women, such as the mammy or the welfare queen, and rewritten scripts of femininity designed to exclude black women from civic participation. Richardson shows that these women's status as national icons was central to reconstructing black womanhood in ways that moved beyond dominant stereotypes. However, these formulations are often premised on heteronormativity and exclude black queer and trans women. Throughout Emancipation's Daughters, Richardson reveals new possibilities for inclusive models of blackness, national femininity, and democracy. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Buy Black: How Black Women Transformed US Pop Culture (U Illinois Press, 2022) examines the role American Black women play in Black consumption in the US and worldwide, with a focus on their pivotal role in packaging Black feminine identity since the 1960s. Through an exploration of the dolls, princesses, and rags-to-riches stories that represent Black girlhood and womanhood in everything from haircare to Nicki Minaj's hip-hop, Aria S. Halliday spotlights how the products created by Black women have furthered Black women's position as the moral compass and arbiter of Black racial progress. Buy Black reveals what attitudes inform a contemporary Black sensibility based in representation and consumerism. It also traces the parameters of Black symbolic power, mapping the sites where intraracial ideals of blackness, womanhood, beauty, play, and sexuality meet and mix in consumer and popular culture. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Buy Black: How Black Women Transformed US Pop Culture (U Illinois Press, 2022) examines the role American Black women play in Black consumption in the US and worldwide, with a focus on their pivotal role in packaging Black feminine identity since the 1960s. Through an exploration of the dolls, princesses, and rags-to-riches stories that represent Black girlhood and womanhood in everything from haircare to Nicki Minaj's hip-hop, Aria S. Halliday spotlights how the products created by Black women have furthered Black women's position as the moral compass and arbiter of Black racial progress. Buy Black reveals what attitudes inform a contemporary Black sensibility based in representation and consumerism. It also traces the parameters of Black symbolic power, mapping the sites where intraracial ideals of blackness, womanhood, beauty, play, and sexuality meet and mix in consumer and popular culture. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Buy Black: How Black Women Transformed US Pop Culture (U Illinois Press, 2022) examines the role American Black women play in Black consumption in the US and worldwide, with a focus on their pivotal role in packaging Black feminine identity since the 1960s. Through an exploration of the dolls, princesses, and rags-to-riches stories that represent Black girlhood and womanhood in everything from haircare to Nicki Minaj's hip-hop, Aria S. Halliday spotlights how the products created by Black women have furthered Black women's position as the moral compass and arbiter of Black racial progress. Buy Black reveals what attitudes inform a contemporary Black sensibility based in representation and consumerism. It also traces the parameters of Black symbolic power, mapping the sites where intraracial ideals of blackness, womanhood, beauty, play, and sexuality meet and mix in consumer and popular culture. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Buy Black: How Black Women Transformed US Pop Culture (U Illinois Press, 2022) examines the role American Black women play in Black consumption in the US and worldwide, with a focus on their pivotal role in packaging Black feminine identity since the 1960s. Through an exploration of the dolls, princesses, and rags-to-riches stories that represent Black girlhood and womanhood in everything from haircare to Nicki Minaj's hip-hop, Aria S. Halliday spotlights how the products created by Black women have furthered Black women's position as the moral compass and arbiter of Black racial progress. Buy Black reveals what attitudes inform a contemporary Black sensibility based in representation and consumerism. It also traces the parameters of Black symbolic power, mapping the sites where intraracial ideals of blackness, womanhood, beauty, play, and sexuality meet and mix in consumer and popular culture. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Buy Black: How Black Women Transformed US Pop Culture (U Illinois Press, 2022) examines the role American Black women play in Black consumption in the US and worldwide, with a focus on their pivotal role in packaging Black feminine identity since the 1960s. Through an exploration of the dolls, princesses, and rags-to-riches stories that represent Black girlhood and womanhood in everything from haircare to Nicki Minaj's hip-hop, Aria S. Halliday spotlights how the products created by Black women have furthered Black women's position as the moral compass and arbiter of Black racial progress. Buy Black reveals what attitudes inform a contemporary Black sensibility based in representation and consumerism. It also traces the parameters of Black symbolic power, mapping the sites where intraracial ideals of blackness, womanhood, beauty, play, and sexuality meet and mix in consumer and popular culture. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

Buy Black: How Black Women Transformed US Pop Culture (U Illinois Press, 2022) examines the role American Black women play in Black consumption in the US and worldwide, with a focus on their pivotal role in packaging Black feminine identity since the 1960s. Through an exploration of the dolls, princesses, and rags-to-riches stories that represent Black girlhood and womanhood in everything from haircare to Nicki Minaj's hip-hop, Aria S. Halliday spotlights how the products created by Black women have furthered Black women's position as the moral compass and arbiter of Black racial progress. Buy Black reveals what attitudes inform a contemporary Black sensibility based in representation and consumerism. It also traces the parameters of Black symbolic power, mapping the sites where intraracial ideals of blackness, womanhood, beauty, play, and sexuality meet and mix in consumer and popular culture. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter. 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

Buy Black: How Black Women Transformed US Pop Culture (U Illinois Press, 2022) examines the role American Black women play in Black consumption in the US and worldwide, with a focus on their pivotal role in packaging Black feminine identity since the 1960s. Through an exploration of the dolls, princesses, and rags-to-riches stories that represent Black girlhood and womanhood in everything from haircare to Nicki Minaj's hip-hop, Aria S. Halliday spotlights how the products created by Black women have furthered Black women's position as the moral compass and arbiter of Black racial progress. Buy Black reveals what attitudes inform a contemporary Black sensibility based in representation and consumerism. It also traces the parameters of Black symbolic power, mapping the sites where intraracial ideals of blackness, womanhood, beauty, play, and sexuality meet and mix in consumer and popular culture. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter. Learn more about your ad choices. Visit megaphone.fm/adchoices

“Freedom, Now!” This rallying cry became the most iconic phrase of the Civil Rights Movement, challenging the persistent command that Black people wait—in the holds of slave ships and on auction blocks, in segregated bus stops and schoolyards—for their long-deferred liberation. In Black Patience: Performance, Civil Rights, and the Unfinished Project of Emancipation (NYU Press, 2022), Julius B. Fleming Jr. argues that, during the Civil Rights Movement, Black artists and activists used theater to energize this radical refusal to wait. Participating in a vibrant culture of embodied political performance that ranged from marches and sit-ins to jail-ins and speeches, these artists turned to theater to unsettle a violent racial project that Fleming refers to as “Black patience.” Inviting the likes of James Baldwin, Lorraine Hansberry, Alice Childress, Douglas Turner Ward, Duke Ellington, and Oscar Brown Jr. to the stage, Black Patience illuminates how Black artists and activists of the Civil Rights era used theater to expose, critique, and repurpose structures of white supremacy. In this bold rethinking of the Civil Rights Movement, Fleming contends that Black theatrical performance was a vital technology of civil rights activism, and a crucial site of Black artistic and cultural production. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter. 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

“Freedom, Now!” This rallying cry became the most iconic phrase of the Civil Rights Movement, challenging the persistent command that Black people wait—in the holds of slave ships and on auction blocks, in segregated bus stops and schoolyards—for their long-deferred liberation. In Black Patience: Performance, Civil Rights, and the Unfinished Project of Emancipation (NYU Press, 2022), Julius B. Fleming Jr. argues that, during the Civil Rights Movement, Black artists and activists used theater to energize this radical refusal to wait. Participating in a vibrant culture of embodied political performance that ranged from marches and sit-ins to jail-ins and speeches, these artists turned to theater to unsettle a violent racial project that Fleming refers to as “Black patience.” Inviting the likes of James Baldwin, Lorraine Hansberry, Alice Childress, Douglas Turner Ward, Duke Ellington, and Oscar Brown Jr. to the stage, Black Patience illuminates how Black artists and activists of the Civil Rights era used theater to expose, critique, and repurpose structures of white supremacy. In this bold rethinking of the Civil Rights Movement, Fleming contends that Black theatrical performance was a vital technology of civil rights activism, and a crucial site of Black artistic and cultural production. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

“Freedom, Now!” This rallying cry became the most iconic phrase of the Civil Rights Movement, challenging the persistent command that Black people wait—in the holds of slave ships and on auction blocks, in segregated bus stops and schoolyards—for their long-deferred liberation. In Black Patience: Performance, Civil Rights, and the Unfinished Project of Emancipation (NYU Press, 2022), Julius B. Fleming Jr. argues that, during the Civil Rights Movement, Black artists and activists used theater to energize this radical refusal to wait. Participating in a vibrant culture of embodied political performance that ranged from marches and sit-ins to jail-ins and speeches, these artists turned to theater to unsettle a violent racial project that Fleming refers to as “Black patience.” Inviting the likes of James Baldwin, Lorraine Hansberry, Alice Childress, Douglas Turner Ward, Duke Ellington, and Oscar Brown Jr. to the stage, Black Patience illuminates how Black artists and activists of the Civil Rights era used theater to expose, critique, and repurpose structures of white supremacy. In this bold rethinking of the Civil Rights Movement, Fleming contends that Black theatrical performance was a vital technology of civil rights activism, and a crucial site of Black artistic and cultural production. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

“Freedom, Now!” This rallying cry became the most iconic phrase of the Civil Rights Movement, challenging the persistent command that Black people wait—in the holds of slave ships and on auction blocks, in segregated bus stops and schoolyards—for their long-deferred liberation. In Black Patience: Performance, Civil Rights, and the Unfinished Project of Emancipation (NYU Press, 2022), Julius B. Fleming Jr. argues that, during the Civil Rights Movement, Black artists and activists used theater to energize this radical refusal to wait. Participating in a vibrant culture of embodied political performance that ranged from marches and sit-ins to jail-ins and speeches, these artists turned to theater to unsettle a violent racial project that Fleming refers to as “Black patience.” Inviting the likes of James Baldwin, Lorraine Hansberry, Alice Childress, Douglas Turner Ward, Duke Ellington, and Oscar Brown Jr. to the stage, Black Patience illuminates how Black artists and activists of the Civil Rights era used theater to expose, critique, and repurpose structures of white supremacy. In this bold rethinking of the Civil Rights Movement, Fleming contends that Black theatrical performance was a vital technology of civil rights activism, and a crucial site of Black artistic and cultural production. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

“Freedom, Now!” This rallying cry became the most iconic phrase of the Civil Rights Movement, challenging the persistent command that Black people wait—in the holds of slave ships and on auction blocks, in segregated bus stops and schoolyards—for their long-deferred liberation. In Black Patience: Performance, Civil Rights, and the Unfinished Project of Emancipation (NYU Press, 2022), Julius B. Fleming Jr. argues that, during the Civil Rights Movement, Black artists and activists used theater to energize this radical refusal to wait. Participating in a vibrant culture of embodied political performance that ranged from marches and sit-ins to jail-ins and speeches, these artists turned to theater to unsettle a violent racial project that Fleming refers to as “Black patience.” Inviting the likes of James Baldwin, Lorraine Hansberry, Alice Childress, Douglas Turner Ward, Duke Ellington, and Oscar Brown Jr. to the stage, Black Patience illuminates how Black artists and activists of the Civil Rights era used theater to expose, critique, and repurpose structures of white supremacy. In this bold rethinking of the Civil Rights Movement, Fleming contends that Black theatrical performance was a vital technology of civil rights activism, and a crucial site of Black artistic and cultural production. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

“Freedom, Now!” This rallying cry became the most iconic phrase of the Civil Rights Movement, challenging the persistent command that Black people wait—in the holds of slave ships and on auction blocks, in segregated bus stops and schoolyards—for their long-deferred liberation. In Black Patience: Performance, Civil Rights, and the Unfinished Project of Emancipation (NYU Press, 2022), Julius B. Fleming Jr. argues that, during the Civil Rights Movement, Black artists and activists used theater to energize this radical refusal to wait. Participating in a vibrant culture of embodied political performance that ranged from marches and sit-ins to jail-ins and speeches, these artists turned to theater to unsettle a violent racial project that Fleming refers to as “Black patience.” Inviting the likes of James Baldwin, Lorraine Hansberry, Alice Childress, Douglas Turner Ward, Duke Ellington, and Oscar Brown Jr. to the stage, Black Patience illuminates how Black artists and activists of the Civil Rights era used theater to expose, critique, and repurpose structures of white supremacy. In this bold rethinking of the Civil Rights Movement, Fleming contends that Black theatrical performance was a vital technology of civil rights activism, and a crucial site of Black artistic and cultural production. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Academic Apartheid: Race and the Criminalization of Failure in an American Suburb (U California Press, 2022), sociologist Sean J. Drake addresses long-standing problems of educational inequality from a nuanced perspective, looking at how race and class intersect to affect modern school segregation. Drawing on more than two years of ethnographic observation and dozens of interviews at two distinct high schools in a racially diverse Southern California suburb, Drake unveils hidden institutional mechanisms that lead to the overt segregation and symbolic criminalization of Black, Latinx, and lower-income students who struggle academically. His work illuminates how institutional definitions of success contribute to school segregation, how institutional actors leverage those definitions to justify inequality, and the ways in which local immigrant groups use their ethnic resources to succeed. Academic Apartheid represents a new way forward for scholars whose work sits at the intersection of education, race and ethnicity, class, and immigration. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/anthropology

In Academic Apartheid: Race and the Criminalization of Failure in an American Suburb (U California Press, 2022), sociologist Sean J. Drake addresses long-standing problems of educational inequality from a nuanced perspective, looking at how race and class intersect to affect modern school segregation. Drawing on more than two years of ethnographic observation and dozens of interviews at two distinct high schools in a racially diverse Southern California suburb, Drake unveils hidden institutional mechanisms that lead to the overt segregation and symbolic criminalization of Black, Latinx, and lower-income students who struggle academically. His work illuminates how institutional definitions of success contribute to school segregation, how institutional actors leverage those definitions to justify inequality, and the ways in which local immigrant groups use their ethnic resources to succeed. Academic Apartheid represents a new way forward for scholars whose work sits at the intersection of education, race and ethnicity, class, and immigration. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter. 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 Academic Apartheid: Race and the Criminalization of Failure in an American Suburb (U California Press, 2022), sociologist Sean J. Drake addresses long-standing problems of educational inequality from a nuanced perspective, looking at how race and class intersect to affect modern school segregation. Drawing on more than two years of ethnographic observation and dozens of interviews at two distinct high schools in a racially diverse Southern California suburb, Drake unveils hidden institutional mechanisms that lead to the overt segregation and symbolic criminalization of Black, Latinx, and lower-income students who struggle academically. His work illuminates how institutional definitions of success contribute to school segregation, how institutional actors leverage those definitions to justify inequality, and the ways in which local immigrant groups use their ethnic resources to succeed. Academic Apartheid represents a new way forward for scholars whose work sits at the intersection of education, race and ethnicity, class, and immigration. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/latino-studies

In Academic Apartheid: Race and the Criminalization of Failure in an American Suburb (U California Press, 2022), sociologist Sean J. Drake addresses long-standing problems of educational inequality from a nuanced perspective, looking at how race and class intersect to affect modern school segregation. Drawing on more than two years of ethnographic observation and dozens of interviews at two distinct high schools in a racially diverse Southern California suburb, Drake unveils hidden institutional mechanisms that lead to the overt segregation and symbolic criminalization of Black, Latinx, and lower-income students who struggle academically. His work illuminates how institutional definitions of success contribute to school segregation, how institutional actors leverage those definitions to justify inequality, and the ways in which local immigrant groups use their ethnic resources to succeed. Academic Apartheid represents a new way forward for scholars whose work sits at the intersection of education, race and ethnicity, class, and immigration. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In Academic Apartheid: Race and the Criminalization of Failure in an American Suburb (U California Press, 2022), sociologist Sean J. Drake addresses long-standing problems of educational inequality from a nuanced perspective, looking at how race and class intersect to affect modern school segregation. Drawing on more than two years of ethnographic observation and dozens of interviews at two distinct high schools in a racially diverse Southern California suburb, Drake unveils hidden institutional mechanisms that lead to the overt segregation and symbolic criminalization of Black, Latinx, and lower-income students who struggle academically. His work illuminates how institutional definitions of success contribute to school segregation, how institutional actors leverage those definitions to justify inequality, and the ways in which local immigrant groups use their ethnic resources to succeed. Academic Apartheid represents a new way forward for scholars whose work sits at the intersection of education, race and ethnicity, class, and immigration. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Academic Apartheid: Race and the Criminalization of Failure in an American Suburb (U California Press, 2022), sociologist Sean J. Drake addresses long-standing problems of educational inequality from a nuanced perspective, looking at how race and class intersect to affect modern school segregation. Drawing on more than two years of ethnographic observation and dozens of interviews at two distinct high schools in a racially diverse Southern California suburb, Drake unveils hidden institutional mechanisms that lead to the overt segregation and symbolic criminalization of Black, Latinx, and lower-income students who struggle academically. His work illuminates how institutional definitions of success contribute to school segregation, how institutional actors leverage those definitions to justify inequality, and the ways in which local immigrant groups use their ethnic resources to succeed. Academic Apartheid represents a new way forward for scholars whose work sits at the intersection of education, race and ethnicity, class, and immigration. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

In Academic Apartheid: Race and the Criminalization of Failure in an American Suburb (U California Press, 2022), sociologist Sean J. Drake addresses long-standing problems of educational inequality from a nuanced perspective, looking at how race and class intersect to affect modern school segregation. Drawing on more than two years of ethnographic observation and dozens of interviews at two distinct high schools in a racially diverse Southern California suburb, Drake unveils hidden institutional mechanisms that lead to the overt segregation and symbolic criminalization of Black, Latinx, and lower-income students who struggle academically. His work illuminates how institutional definitions of success contribute to school segregation, how institutional actors leverage those definitions to justify inequality, and the ways in which local immigrant groups use their ethnic resources to succeed. Academic Apartheid represents a new way forward for scholars whose work sits at the intersection of education, race and ethnicity, class, and immigration. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

In Academic Apartheid: Race and the Criminalization of Failure in an American Suburb (U California Press, 2022), sociologist Sean J. Drake addresses long-standing problems of educational inequality from a nuanced perspective, looking at how race and class intersect to affect modern school segregation. Drawing on more than two years of ethnographic observation and dozens of interviews at two distinct high schools in a racially diverse Southern California suburb, Drake unveils hidden institutional mechanisms that lead to the overt segregation and symbolic criminalization of Black, Latinx, and lower-income students who struggle academically. His work illuminates how institutional definitions of success contribute to school segregation, how institutional actors leverage those definitions to justify inequality, and the ways in which local immigrant groups use their ethnic resources to succeed. Academic Apartheid represents a new way forward for scholars whose work sits at the intersection of education, race and ethnicity, class, and immigration. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-west

In Academic Apartheid: Race and the Criminalization of Failure in an American Suburb (U California Press, 2022), sociologist Sean J. Drake addresses long-standing problems of educational inequality from a nuanced perspective, looking at how race and class intersect to affect modern school segregation. Drawing on more than two years of ethnographic observation and dozens of interviews at two distinct high schools in a racially diverse Southern California suburb, Drake unveils hidden institutional mechanisms that lead to the overt segregation and symbolic criminalization of Black, Latinx, and lower-income students who struggle academically. His work illuminates how institutional definitions of success contribute to school segregation, how institutional actors leverage those definitions to justify inequality, and the ways in which local immigrant groups use their ethnic resources to succeed. Academic Apartheid represents a new way forward for scholars whose work sits at the intersection of education, race and ethnicity, class, and immigration. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/education

In Academic Apartheid: Race and the Criminalization of Failure in an American Suburb (U California Press, 2022), sociologist Sean J. Drake addresses long-standing problems of educational inequality from a nuanced perspective, looking at how race and class intersect to affect modern school segregation. Drawing on more than two years of ethnographic observation and dozens of interviews at two distinct high schools in a racially diverse Southern California suburb, Drake unveils hidden institutional mechanisms that lead to the overt segregation and symbolic criminalization of Black, Latinx, and lower-income students who struggle academically. His work illuminates how institutional definitions of success contribute to school segregation, how institutional actors leverage those definitions to justify inequality, and the ways in which local immigrant groups use their ethnic resources to succeed. Academic Apartheid represents a new way forward for scholars whose work sits at the intersection of education, race and ethnicity, class, and immigration. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/public-policy

Brazil markets itself as a racially mixed utopia. The United States prefers the term melting pot. Both nations have long used the image of the mulatta to push skewed cultural narratives. Highlighting the prevalence of mixed race women of African and European descent, the two countries claim to have perfected racial representation-all the while ignoring the racialization, hypersexualization, and white supremacy that the mulatta narrative creates. In Imagining the Mulatta: Blackness in U. S. and Brazilian Media (U Illinois Press, 2020), Jasmine Mitchell investigates the development and exploitation of the mulatta figure in Brazilian and U.S. popular culture. Drawing on a wide range of case studies, she analyzes policy debates and reveals the use of mixed-Black female celebrities as subjects of racial and gendered discussions. Mitchell also unveils the ways the media moralizes about the mulatta figure and uses her as an example of an "acceptable" version of blackness that at once dreams of erasing undesirable blackness while maintaining the qualities that serve as outlets for interracial desire. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Brazil markets itself as a racially mixed utopia. The United States prefers the term melting pot. Both nations have long used the image of the mulatta to push skewed cultural narratives. Highlighting the prevalence of mixed race women of African and European descent, the two countries claim to have perfected racial representation-all the while ignoring the racialization, hypersexualization, and white supremacy that the mulatta narrative creates. In Imagining the Mulatta: Blackness in U. S. and Brazilian Media (U Illinois Press, 2020), Jasmine Mitchell investigates the development and exploitation of the mulatta figure in Brazilian and U.S. popular culture. Drawing on a wide range of case studies, she analyzes policy debates and reveals the use of mixed-Black female celebrities as subjects of racial and gendered discussions. Mitchell also unveils the ways the media moralizes about the mulatta figure and uses her as an example of an "acceptable" version of blackness that at once dreams of erasing undesirable blackness while maintaining the qualities that serve as outlets for interracial desire. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

Brazil markets itself as a racially mixed utopia. The United States prefers the term melting pot. Both nations have long used the image of the mulatta to push skewed cultural narratives. Highlighting the prevalence of mixed race women of African and European descent, the two countries claim to have perfected racial representation-all the while ignoring the racialization, hypersexualization, and white supremacy that the mulatta narrative creates. In Imagining the Mulatta: Blackness in U. S. and Brazilian Media (U Illinois Press, 2020), Jasmine Mitchell investigates the development and exploitation of the mulatta figure in Brazilian and U.S. popular culture. Drawing on a wide range of case studies, she analyzes policy debates and reveals the use of mixed-Black female celebrities as subjects of racial and gendered discussions. Mitchell also unveils the ways the media moralizes about the mulatta figure and uses her as an example of an "acceptable" version of blackness that at once dreams of erasing undesirable blackness while maintaining the qualities that serve as outlets for interracial desire. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

Brazil markets itself as a racially mixed utopia. The United States prefers the term melting pot. Both nations have long used the image of the mulatta to push skewed cultural narratives. Highlighting the prevalence of mixed race women of African and European descent, the two countries claim to have perfected racial representation-all the while ignoring the racialization, hypersexualization, and white supremacy that the mulatta narrative creates. In Imagining the Mulatta: Blackness in U. S. and Brazilian Media (U Illinois Press, 2020), Jasmine Mitchell investigates the development and exploitation of the mulatta figure in Brazilian and U.S. popular culture. Drawing on a wide range of case studies, she analyzes policy debates and reveals the use of mixed-Black female celebrities as subjects of racial and gendered discussions. Mitchell also unveils the ways the media moralizes about the mulatta figure and uses her as an example of an "acceptable" version of blackness that at once dreams of erasing undesirable blackness while maintaining the qualities that serve as outlets for interracial desire. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

Brazil markets itself as a racially mixed utopia. The United States prefers the term melting pot. Both nations have long used the image of the mulatta to push skewed cultural narratives. Highlighting the prevalence of mixed race women of African and European descent, the two countries claim to have perfected racial representation-all the while ignoring the racialization, hypersexualization, and white supremacy that the mulatta narrative creates. In Imagining the Mulatta: Blackness in U. S. and Brazilian Media (U Illinois Press, 2020), Jasmine Mitchell investigates the development and exploitation of the mulatta figure in Brazilian and U.S. popular culture. Drawing on a wide range of case studies, she analyzes policy debates and reveals the use of mixed-Black female celebrities as subjects of racial and gendered discussions. Mitchell also unveils the ways the media moralizes about the mulatta figure and uses her as an example of an "acceptable" version of blackness that at once dreams of erasing undesirable blackness while maintaining the qualities that serve as outlets for interracial desire. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/latin-american-studies

Brazil markets itself as a racially mixed utopia. The United States prefers the term melting pot. Both nations have long used the image of the mulatta to push skewed cultural narratives. Highlighting the prevalence of mixed race women of African and European descent, the two countries claim to have perfected racial representation-all the while ignoring the racialization, hypersexualization, and white supremacy that the mulatta narrative creates. In Imagining the Mulatta: Blackness in U. S. and Brazilian Media (U Illinois Press, 2020), Jasmine Mitchell investigates the development and exploitation of the mulatta figure in Brazilian and U.S. popular culture. Drawing on a wide range of case studies, she analyzes policy debates and reveals the use of mixed-Black female celebrities as subjects of racial and gendered discussions. Mitchell also unveils the ways the media moralizes about the mulatta figure and uses her as an example of an "acceptable" version of blackness that at once dreams of erasing undesirable blackness while maintaining the qualities that serve as outlets for interracial desire. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Brazil markets itself as a racially mixed utopia. The United States prefers the term melting pot. Both nations have long used the image of the mulatta to push skewed cultural narratives. Highlighting the prevalence of mixed race women of African and European descent, the two countries claim to have perfected racial representation-all the while ignoring the racialization, hypersexualization, and white supremacy that the mulatta narrative creates. In Imagining the Mulatta: Blackness in U. S. and Brazilian Media (U Illinois Press, 2020), Jasmine Mitchell investigates the development and exploitation of the mulatta figure in Brazilian and U.S. popular culture. Drawing on a wide range of case studies, she analyzes policy debates and reveals the use of mixed-Black female celebrities as subjects of racial and gendered discussions. Mitchell also unveils the ways the media moralizes about the mulatta figure and uses her as an example of an "acceptable" version of blackness that at once dreams of erasing undesirable blackness while maintaining the qualities that serve as outlets for interracial desire. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter 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