Part one: The roots of black humor -- Part two: The fruits of black humor -- Part three: Black comedy, social identity and user-generated content -- Part four: Black humor and politics -- Appendix A. Noteworthy African American men in comedy (both stand-up and screen) -- Appendix B. Notable African American women in comedy (both screen and stand up)
Exposes and explores the prevalence of racist restaurant branding in the United States Aunt Jemima is the face of pancake mix. Uncle Ben sells rice. Chef Rastus shills for Cream of Wheat. Stereotyped Black faces and bodies have long promoted retail food products that are household names. Much less visible to the public are the numerous restaurants that deploy unapologetically racist logos, themes, and architecture. These marketing concepts, which center nostalgia for a racist past and commemoration of our racist present, reveal the deeply entrenched American investment in anti-blackness. Drawing on wide-ranging sources from the late 1800s to the present, Burgers in Blackface gives a powerful account, and rebuke, of historical and contemporary racism in restaurant branding. Forerunners: Ideas First Short books of thought-in-process scholarship, where intense analysis, questioning, and speculation take the lead
A furious, queer debut novel about embracing the monster within and unleashing its power against your oppressors. “A long, sustained scream to the various strains of anti-transgender legislation multiplying around the world like, well, a virus." —The New York Times INSTANT NEW YORK TIMES BESTSELLER Sixteen-year-old trans boy Benji is on the run from the cult that raised him—the fundamentalist sect that unleashed Armageddon and decimated the world’s population. Desperately, he searches for a place where the cult can’t get their hands on him, or more importantly, on the bioweapon they infected him with. But when cornered by monsters born from the destruction, Benji is rescued by a group of teens from the local Acheson LGBTQ+ Center, affectionately known as the ALC. The ALC’s leader, Nick, is gorgeous, autistic, and a deadly shot, and he knows Benji’s darkest secret: the cult’s bioweapon is mutating him into a monster deadly enough to wipe humanity from the earth once and for all. Still, Nick offers Benji shelter among his ragtag group of queer teens, as long as Benji can control the monster and use its power to defend the ALC. Eager to belong, Benji accepts Nick’s terms…until he discovers the ALC’s mysterious leader has a hidden agenda, and more than a few secrets of his own. Perfect for fans of Gideon the Ninth and Annihilation. A New York Public Library Best Book of the Year "A defining voice of our generation." –H.E. Edgmon, author of The Witch King "Hands down the best YA horror book I've read." –Aden Polydoros, author of The City Beautiful "A chimera of horror, romance, and something stranger." –Rose Szabo, author of What Big Teeth "A timely and riveting tale." –Ray Stoeve, author of Between Perfect and Real
"P. G. Wodehouse wrote the best English comic novels of the century." —Sebastian Faulks Bertram Wooster’s interminable banjolele playing has driven Jeeves, his otherwise steadfast gentleman's gentleman, to give notice. The foppish aristocrat cannot survive for long without his Shakespeare-quoting and problem-solving valet, however, and after a narrowly escaped forced marriage, a cottage fire, and a great butter theft, the celebrated literary odd couple are happy to return to the way things were.
In 1948, journalist Ray Sprigle traded his whiteness to live as a black man for four weeks. A little over a decade later, John Howard Griffin famously "became" black as well, traveling the American South in search of a certain kind of racial understanding. Contemporary history is littered with the surprisingly complex stories of white people passing as black, and here Alisha Gaines constructs a unique genealogy of "empathetic racial impersonation--white liberals walking in the fantasy of black skin under the alibi of cross-racial empathy. At the end of their experiments in "blackness," Gaines argues, these debatably well-meaning white impersonators arrived at little more than false consciousness. Complicating the histories of black-to-white passing and blackface minstrelsy, Gaines uses an interdisciplinary approach rooted in literary studies, race theory, and cultural studies to reveal these sometimes maddening, and often absurd, experiments of racial impersonation. By examining this history of modern racial impersonation, Gaines shows that there was, and still is, a faulty cultural logic that places enormous faith in the idea that empathy is all that white Americans need to make a significant difference in how to racially navigate our society.
The perfect girls' weekend turns deadly in this twisty unforgettable thriller that is perfect for fans of Shari Lapena and Riley Sager. A girls' weekend to die for. New friends Sam, Margaret and Diana are thrilled to be getting out of the city for a girls’ weekend—they’ve bonded over their messy divorces, and every mile on the odometer feels like another step towards putting their exes in the past. But when car trouble halfway into their trip strands them in the most unlikely of mountain towns, they come face-to-face with the hurts and betrayals they were so desperate to leave behind. When Diana doesn't return home after a night out, Sam and Margaret's search for her reveals just how little they know about their friend. As eerie coincidences and secrets begin to pile up, and an ex-boyfriend arrives in the tiny town, the women realize that their detour may not have been a mistake...and that someone wants to guarantee that they never make it out.
The advent of the internet and the availability of social media and digital downloads have expanded the creation, distribution, and consumption of Black cultural production as never before. At the same time, a new generation of Black public intellectuals who speak to the relationship between race, politics, and popular culture has come into national prominence. The contributors to Are You Entertained? address these trends to consider what culture and blackness mean in the twenty-first century's digital consumer economy. In this collection of essays, interviews, visual art, and an artist statement the contributors examine a range of topics and issues, from music, white consumerism, cartoons, and the rise of Black Twitter to the NBA's dress code, dance, and Moonlight. Analyzing the myriad ways in which people perform, avow, politicize, own, and love blackness, this volume charts the shifting debates in Black popular culture scholarship over the past quarter century while offering new avenues for future scholarship. Contributors. Takiyah Nur Amin, Patricia Hill Collins, Kelly Jo Fulkerson-Dikuua, Simone C. Drake, Dwan K. Henderson, Imani Kai Johnson, Ralina L. Joseph, David J. Leonard, Emily J. Lordi, Nina Angela Mercer, Mark Anthony Neal, H. Ike Okafor-Newsum, Kinohi Nishikawa, Eric Darnell Pritchard, Richard Schur, Tracy Sharpley-Whiting, Vincent Stephens, Lisa B. Thompson, Sheneese Thompson
A New Statesman essential non-fiction book of 2021 Featured in Book Riot's 12 best nonfiction books about Black identity and history A Times Higher Education Book of the Week 2022 Finalist for the Prose Awards (Media and Cultural Studies category) Why are there so many examples of public figures, entertainers, and normal, everyday people in blackface? And why aren't there as many examples of people of color in whiteface? This book explains what blackface is, why it occurred, and what its legacies are in the 21st century. There is a filthy and vile thread-sometimes it's tied into a noose-that connects the first performances of Blackness on English stages, the birth of blackface minstrelsy, contemporary performances of Blackness, and anti-Black racism. Blackface examines that history and provides hope for a future with new performance paradigms. Object Lessons is published in partnership with an essay series in The Atlantic.
