Gina Mahalek: What is Kīkā Kila? What does it sound like?
John W. Troutman: Kīkā Kila is a Hawaiian expression for describing both a type of guitar and a technique for playing it. The instrument, also known as a “steel guitar,” a “lap steel,” a “dobro,” or a “Hawaiian guitar,” among other names and associations, developed in the Islands in the 1880s and 1890s. Players would physically modify a “standard” guitar, add steel strings to it, and fabricate finger picks and a steel bar, about 3” in length (the instrument is named after this bar). After creating new, open tunings for the guitar, players would place the guitar in their laps, pluck the strings with finger picks on one hand, and then, with their other hand, slide the steel bar along the strings, located high above the fretboard. The technique created an entirely new sound for the guitar, one that better mimicked both the gentle rising and falling of a somber human voice as well as the melodic acrobatics that Hawaiian falsetto singers were becoming known for at the time. Hawaiians soon began creating all sorts of other sound effects on the steel guitar, and very quickly, it became the most important accompanying (as well as lead melodic) instrument in Hawaiian music.
Charles Pilkey: The book is intended for families with kids up to middle school age. We hope parents will do the activities together with their children.
Orrin Pilkey: We also think that the activities herein are a goldmine for high school students doing science projects. The activities could give older kids a start, and they can follow up and proceed into the wild blue yonder as far as their imagination will carry them.
Hannah Lohr-Pearson: Who are the Wilmington Ten and why are they important?
Kenneth Robert Janken: The Wilmington Ten were Ben Chavis, Reginald Epps, Jerry Jacobs, James McKoy, Wayne Moore, Marvin Patrick, Ann Shepard, Connie Tindall, Willie Earl Vereen, and Joe Wright. They were nine black men in their teens and early twenties, many of them still in high school, and a white woman in her thirties, who participated in conflict and protests over the desegregation of the public schools in Wilmington, North Carolina, and were punished with the full force of the law for standing against discrimination. The case of the Wilmington Ten amounts to one of the most egregious instances of injustice and political repression from the post-World War II black freedom struggle. It took legions of people working over the course of the 1970s to right the wrong. Like the political killings of George Jackson and Fred Hampton, the legal frame-up of Angela Davis, and the suppression of the Attica Prison rebellion, the Wilmington Ten was a high-profile attempt by federal and North Carolina authorities to stanch the increasingly radical African American freedom movement. The facts of the callous, corrupt, and abusive prosecution of the Wilmington Ten have lost none of their power to shock more than forty years after the fact, even given today’s epidemic of prosecutorial misconduct. Less understood, but just as important, the efforts to free the Wilmington Ten helped define an important moment in African American politics, in which an increasingly variegated movement coordinated its efforts under the leadership of a vital radical Left.
I started out thinking that the garden statue was kind of a cliché. Imagine just going out and buying a mass-produced plastic image and thinking there is something special about it! Commercial statuary seemed to trivialize Francis’s meaning, to make him less challenging. Instead of a figure who calls for drastic change, radical poverty, and absolute devotion—a saint who was active in the wider world—our vision is limited to a pretty statue and birdbath on our private property. But I came to change my views. There’s a real spiritual side to this, and also a cultural critique.
Gina Mahalek: Very briefly, what is Liberated Threads about?
Tanisha C. Ford: Liberated Threads is about how everyday women turned getting dressed into a powerful political act that transformed the cultural and political landscape of the 1960s and 70s around the world. Often, when we study the social movements of the mid-twentieth century, we focus on policy issues, the fight to integrate public spaces, and big events, such as marches and protests. But, in Liberated Threads, I argue that we need to focus on everyday acts such as getting dressed in order to understand how everyday people engaged in movement politics. Most people were not involved in formal political organizing. They were not members of Black Freedom movement organizations. But, they were engaged in the fashion culture of the time. I wanted to explore the various ways that fashion and style connected people to the global movement for black freedom.
Taylor Humin: This is the first full-length work written about Flo Kennedy; meanwhile, Gloria Steinem, her contemporary and fellow activist, is a household name. Why isn’t Kennedy better known?
Sherie M. Randolph: Despite Kennedy’s willingness to seek the media’s spotlight, the media often ignored her leadership in the women’s movement. She was black and middle-aged, and her image did not fit neatly with the media’s fascination with the “young,” “hip” new women’s movement of the 1960s and 1970s. The media had a bias toward stereotypically attractive women (read white and young) and often preferred to center or elevate in the press those women who fit this category (Gloria Steinem and Ti-Grace Atkinson, for example).
Often the media coverage of Kennedy’s actions did not mention that she was even a member (or an early or founding member) of organizations such as NOW or that she was a feminist. Instead, Kennedy was often portrayed as an organizer who was working alongside NOW or other feminist groups, but not as a leader of these organizations and actions. Some scholars have repeated this bias by ignoring or under-analyzing black feminism and Flo Kennedy.
Kennedy was well known to most radical activists during the 1960s and 1970s because she was a lawyer, fundraiser, and very skilled at drawing media attention to her causes. As a media-savvy activist, she was skillful in gaining the media’s attention for her actions; which ranged from pee-ins to protest Harvard Law School’s lack of bathroom facilities for women to marches down Fifth Avenue to protest the assassination of Martin Luther King. She relied on street theater to draw the notice of the media (and therefore advertisers, etc.) and potential organizers. Yet, until my book, history has forgotten her.
Gina Mahalek: Jack London is well known for his adventure novels, like The Call of the Wild. But apart from tales such as the one about a dog in the Yukon, who was he? And why does he matter today?
Cecelia Tichi: Jack London (1876-1916) was the most popular U.S. writer of the early 20th century, the first to earn $1 million. In a career spanning twenty years, he published fifty books, hundreds of short stories, and numerous essays. His books sold well internationally and have been translated into several languages. He continues to be one of the most famous and esteemed writers in the world—arguably better known and respected abroad than here in the United States.
Gina Mahalek: What was the Manhattan Musical Marketplace that you discuss in your book?
David Gilbert: This is a term that I coined to explain the historical formation of New York City as the center of American popular culture at the turn of the twentieth century. I think that many music fans, musicians, and scholars kind of take for granted that NYC has always been America’s capital of popular entertainment, and I wanted to tell the story about how this came to be. Rather than assume Broadway Theater and Tin Pan Alley song publishing just naturally developed into leading culture industries, I want to call attention to the moment in which these spaces—and their connotations—developed. And I want to emphasize African Americans’ roles in creating both New York’s unique culture markets and important facets of American popular culture.
A favorite trick of Golden’s was to add a well-known author, philanthropist, politician, or actor to the circulation list of the Carolina Israelite without the celebrity’s knowledge, then mention the famous person in print as one of the newspaper’s loyal subscribers. It’s amazing how often this led to real friendship! The famous and powerful liked Golden for the same reasons so many regular folks did—his straight talk, his encyclopedic knowledge on politics and history, and his refreshingly tart humor.
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.
In the video, Feltman shares what initially sparked his interest in the military and social history surrounding prisoners of war during and after World War I and he discusses the psychological impact of captivity on a soldier’s sense of manhood at a time when honor was defined on the battlefield.
Brewsters were female brewers. They were important because during the Middle Ages (and later in the American colonies) women brewed the beer their families needed. Brewing was seen as a woman’s task, like baking. Beer was liquid bread, and very nutritious. But as brewing became more commercialized, women were pushed out. The world of big business was seen as no place for women, and women didn’t have access to the financing needed for a commercial brewery. So brewing became a male occupation, and it’s really only with the rise of craft breweries in the last decade or two that women have started to re-enter the industry.
In Scotland, Ulster and Appalachia, the songs have always been viewed as more important than any one individual singer. The anonymous authorship of much of the repertoire meant that no one questioned the fact that people often had their own family versions of ballads, or that they varied in different geographical areas. The tradition of singing and passing songs on has had an unbroken momentum across time and place. In fact, the urge to make music and share it has been even more vital than the repertoire itself. Like any good story, a good song (and the ballads are all stories after all) will live on. It’s the same with strong melodies: they also often have independent lives and may be paired up with many songs and different dances. No one owns this stuff. It belongs to everyone.
Southern cuisine was a key component in historic preservation efforts in the early twentieth century to promote and sell the South and its racial mores to both tourists and locals. Through constructed memories of southern food from the plantation to the mountain South, sophisticated campaigns were launched to promote the “taste” of the Old South in Williamsburg, Virginia, the Lowcountry flavors of Savannah and Charleston, the fashionable Creole cuisine of New Orleans, and the “authentic” “hillbilly” and “Highlands” foods of the mountain South.
The amount of surface water in the Basin and Range country of California and Nevada, where my book is set, has fluctuated tremendously over the last several million years and the fortunes of the salamanders, toads, and pupfishes have waxed and waned with the advance and retreat of these waters. Imagine standing above Death Valley 150,000 years ago and looking out over ancient Lake Manly, which was six hundred feet deep and eighty miles long. Lake Manly—and Searles Lake, Panamint Lake, and Tecopa Lake, on and on—would have been stunningly beautiful, part of a widespread Pleistocene “sea.” The fishes and amphibians that lived in or near these lakes, or along feeder streams, must have prospered. Now these waters have been replaced by desert and salt pan playas, and “my” species have retreated into refugia, where they persevere, sometimes against great odds.
Lee A. Craig, author of Josephus Daniels: His Life and Times, talks to Publicity Director Gina Mahalek about his reaction to the portrayal of Josephus Daniels (who was, at the time, one of the most influential men in the world) in the latest Ken Burns PBS documentary series The Roosevelts: An Intimate History.
The greatest misunderstanding about veiling is that it is imposed by an outside party, not willingly adopted by women. To be sure, some women are forced to veil because of parental pressures or because of the government of the country in which they live. But they are the minority, not the majority, as much of the media wants us to believe.
Recently, I took (and passed) my citizenship test, and the interviewer asked me if I had a middle name. When I said no, she asked if I wanted to change my name. Hmm, I thought, am I supposed to, to become an American? For many Americans, including those born and raised here, there’s an assumption that they must prove just how American they are. My research participants felt that way much of the time, but those who practiced certain kinds of behaviors—drinking, dating, dressing in mainstream Western fashion—felt the pressure less. Diya was relatively indistinguishable from her White American friends in terms of lifestyle, but then she came under question for just how Muslim she was. If she didn’t wear hijab, was she a nominal Muslim? Amber, a hijabi, was on the other hand perpetually being required to speak up for Muslims in classroom discussions on Islam and terrorism, or Islam and gender. Almost all of my research participants felt that because of the pervasive nature of Muslim stereotypes, they were always or often having to prove that they were really American, normal, empowered, peaceful Muslims.
The stories of these young Latinos reveal them as ordinary young Americans with many of the same experiences and hopes and aspirations as other young Americans of other ethnic backgrounds. Latinos are no different and perhaps here is what I want to convey in this book. Latinos are us and we are they. There should be no basis for irrational fears or hysteria that Latinos will fundamentally change American life and culture. Yes, they will add to it and the country will become to some extent Latinized but not in a way that fundamentally changes the culture. All ethnic groups contribute to what we mean by being “American” and the same has been true of Latinos. They change and we change and that is the process of social life.
I’m targeting the person who has dreamed of diving a sunken U-boat, or mountain biking a twisty trail in the Pisgah National Forest, or paddling his or her way down a mountain creek, but thought, “Nah. I could never do that.” My goal is to tell you that you can. All the reader needs is a spark of adventurous spirit. The book will, hopefully, ignite that spirit and push the reader into action.