It is certainly an interesting time for the creation, selling, and distribution of popular music (not to mention less-popular music, like jazz and classical, which encounter even more drastic dilemmas, as recently pointed out at Salon.com). Many of the artists taking a stand against the new status quo in recorded music allude to the history of music making in the United States, often referring back to earlier eras wherein musicians received unfair deals from recording companies and large majorities of performers struggled to make a living, even as a “top 1%” of musicians dominated sales and marketing. This look back to history makes sense.
Over at the Huffington Post, Martha S. Jones, coeditor of Toward an Intellectual History of Black Women, puts the nomination of Loretta Lynch for Attorney General in historical and political context. Jones begins: Glimpse a preview of dynamics that will shape the 2016 election cycle in the contest over Loretta Lynch’s nomination as Attorney General. …
Musically, there continues to be a deep stylistic overlap between country and soul. Some of the biggest country stars of today utilize the sounds and songs of R&B, while many contemporary soul and hip-hop artists (particularly from the South) bring the characteristics of country onto their records. Then there are the folks in the middle—many of whom, like Jason Isbell or Valerie June, are from the triangle—who draw from both traditions and blend them together in new and interesting ways. It remains one of the deepest wells of American music.
On March 12, a rank-and-file caucus of Branch 36 (Manhattan-Bronx) of the National Association of Letter Carriers (NALC) spearheaded the demand for a branch strike vote. Striking the federal government has been illegal since 1912. But that is exactly what Branch 36 voted to do on March 17. Picket lines went up at midnight all over New York City. Other NALC branches voted to strike, spreading upstate and into New Jersey, Massachusetts, Connecticut, Pennsylvania; then west to Ohio, Illinois, Michigan, Colorado, and California. Together they shut down 671 post offices in dozens of cities and towns across the United States. Clerks, mail handlers, maintenance workers, motor vehicle operators, and other crafts from other postal unions joined what became the largest “wildcat strike ” (one not authorized by a national union) in American labor history. Over 200,000 postal workers struck for eight days. Despite the inconvenience of a total mail stoppage, strikers enjoyed the support of the majority of Americans.
2014 was marked by protests across the nation insisting that Black Lives Matter. Many decry the justice system, which has failed to indict officers and vigilantes who have killed unarmed black children, while girl victims receive little notice in the press. We have an urgent need to tell and listen to deeper, more nuanced stories about these youth and other youth of color who remain either invisible or hyper-visible in marked, stereotyped ways.
The study of African American history is a year-round endeavor for UNC Press, but in honor of African American History Month, we’d like to highlight the great new work we’ve been able to publish in this field recently. Here are books on African American history, culture, and modern society from UNC Press over the past year, plus a few that will be available later this spring and are available for pre-order now.
Do we have a new annual tradition on our hands? Last year over on our CivilWar150 blog, Glenn David Brasher gave us a great roundup of Civil War-related highlights from throughout the year. He’s back at it again with 2014’s big news in Civil War history. You’ll find elections, debates, satire, sincerity, and more.
Contemporary documentary projects such as StoryCorps and Humans of New York thrive today in a spirit similar to that which led the vision of the Federal Writers’ Project and These Are Our Lives. They remind us that every life has a story, and every story matters.
What is the relationship between residential segregation and racial inequality? Scholars have spent decades analyzing data and arguing that residential segregation is the “linchpin” of racial inequality in the United States. The conclusion that many draw, therefore, is that residential integration is the key to reducing racial inequality. Pretty straightforward, right? Well, not quite.
The use of non-White bodies by Whites to designate neighborhood space as distinct from racially segregated suburbia is an important commodifying and classifying practice of this white, urban, middle-class habitus. Important to note here is that in Creekridge Park very few White residents have relationships with their non-White neighbors. Whites did, however, regularly refer to non-Whites during our interviews to signal neighborhood diversity and interracial interactions.
“Black-on-black crime” is not real. It only exists to suggest being black is the true crime, and to deflect attention away from the fact of ongoing inequality. What many have termed “black-on-black crime” tells us more about white supremacy, and the devaluation of black life, than it does about crime. Connecting crime and blackness is central to racial control, as is the link between guns and white supremacy. The true crime is that black lives have less value to society and to even to other black people.
These discoveries have changed the way I teach about Islam even at the introductory level. I now try to put Black people at the center of my course rather than on the margins of it (and by extension, on the margins of Islam).
To celebrate Tobe’s seventy-fifth anniversary, historian Benjamin Filene, director of public history at UNC Greensboro, will moderate a panel called “Voices of Tobe,” featuring special guest appearances by several individuals from Tobe, their descendants, and members of their community.
Yet a closer inspection of the Scottsboro case reveals how complicated was the relationship between African Americans and the Communist Party in the 1930s. The CP championed the working-class and unemployed masses, but these were precisely the people who had terrorized the black boys on the train, falsely accused them of rape, and would have lynched them without the governor’s intervention. Antilynching activists, on one hand, and labor defenders, on the other, relied on diametrically opposed conceptions of the populist masses and the law. Whereas the antilynching movement called for the rule of law to quell mob hysteria, labor defense stood up for workers against a prejudicial legal system. These opposing views posed a challenge to the CP in attracting black members and sympathizers. While communists prophesied a future revolution led by an international proletariat, the most visible form of proletarian collective action in the South, according to some skeptical observers at the time, was the lynch mob.
On the whole, black southern women forged a more intimate—and more active—relationship with the burgeoning world of beauty than did white southern women.
Our America is a product of Muhammad’s America and to know our times is to appreciate the era in which he lived.
Claiming the South as Home was and still is a call to action and for reparations, but it is also an expression of black southern identity.
When I teach students about the history of constitutional law, I usually focus on the substantive legal arguments in Supreme Court decisions, but sometimes I encourage my students to focus on the tone, the emotion, the affect. I try to show my students that this can help us understand what is really going on in these decisions and it can help us consider the underlying issues and the political stakes.
Concerns about adult independence cut to the very heart of what it means to be an American citizen, and indeed, to long-standing assumptions about the proper functioning of democracy itself. Anxieties about coming of age have a history, and this history is not just economic but political.
When it was published in 1852, Harriet Beecher Stowe’s abolitionist novel Uncle Tom’s Cabin quickly became the most inflammatory, explosive, and politically significant literary text of the antebellum period. Adapted to the stage shortly thereafter, Uncle Tom’s Cabin’s moral fervor, emotional power, and iconic characters soon made it a theatrical institution.