A chronicle of the rich history of Blacks in the state through careful analysis of census and housing records, newspaper records, and first-person accounts.
In Voices of Rondo, real-life stories illuminate the northern urban Black experience during the first half of the twentieth century, through the memories and reflections of residents of Saint Paul’s historic Rondo community. We glimpse the challenges of racism and poverty and share the victories of a community that educated its children to become strong, to find personal pride, and to become the next generation of leaders in Saint Paul and beyond.
Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically changing the movies themselves. The development in the United States of an appreciation of film as an art was, Baumann shows, the product of large changes in Hollywood and American society as a whole. With the postwar rise of television, American movie audiences shrank dramatically and Hollywood responded by appealing to richer and more educated viewers. Around the same time, European ideas about the director as artist, an easing of censorship, and the development of art-house cinemas, film festivals, and the academic field of film studies encouraged the idea that some American movies--and not just European ones--deserved to be considered art.
A discussion of contemporary Buddhist-Christian dialogue between process theologians and Pure Land Buddhists, this study analyzes their transformation and theological structures in the post-Christian era of religious and secular pluralism.
Dear Black Girls is a letter to all Black girls. Every day poet and educator Shanice Nicole is reminded of how special Black girls are and of how lucky she is to be one. Illustrations by Kezna Dalz support the book's message that no two Black girls are the same but they are all special--that to be a Black girl is a true gift. In this celebratory poem, Kezna and Shanice remind young readers that despite differences, they all deserve to be loved just the way they are.
A landmark work by twelve leading critics and community leaders—essential reading for anyone interested in the history of American race relations. Ignited by the infamous shooting of Amadou Diallo, unarmed and innocent, at the hands of New York City police officers, journalist Jill Nelson was moved to assemble this landmark anthology on the topic of police violence and brutality: an indispensable collection of twelve "groundbreaking" (Ebony) essays by a range of contributors—among them academics, historians, social critics, a congressman, and an ex-New York City police detective. This "important and valuable book" (Emerge) places a centuries-old issue in much-needed historical and intellectual context, and underscores the profound influence police brutality has had in shaping the American identity. "[S]hould be read by anyone concerned about ending brutality, and should be required reading in police academies throughout America!"—Charles J. Ogletree, Jr., Harvard Law School "Without hysteria or hyperbole, [Nelson] examines the issue of police abuse in literary form."—Emerge "A memorable and useful contribution to an increasingly volatile national dialogue."—Publishers Weekly "[N]ot only timely, but explores and exposes the sickness of this unbalanced, uncivilized Western pastime thoroughly."—Chuck D of Public Enemy, author of Fight the Power: Rap, Race, and Reality