Q: How do you see the journal advancing research and teaching at Winston-Salem State University (WSSU)?
A: An important goal of any institution of higher learning is to advance the body of knowledge through research and scholarship. Given its important mission as a Historically Black College and University, WSSU was founded on principles of social justice, and promotes equity intentionally and comprehensively. A journal that addresses the need for a more diverse health professions workforce, therefore is consistent with the university’s mission. This journal has provided an opportunity for faculty to serve as peer reviewers and on publish their research that undergo the peer review process like any other submitted manuscripts. The journal has also provided an opportunity for graduate students to gain experience in working with authors from around the nation, to market the journal to potential subscribers, and to solicit articles for publication. Continue Reading Interview: Dr. Peggy Valentine on the Journal of Best Practices in Health Professions Diversity
These chefs were simultaneously culinary artists, family confidantes and civil rights advocates. The most important contribution aside from their food is that they gave our presidents a window on black life that they would not otherwise have had. Only a handful of presidents chose to open that window, but it was there nonetheless. Continue Reading Interview: Adrian Miller on The President’s Kitchen Cabinet
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. Continue Reading Interview: John W. Troutman on Kīkā Kila
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. Continue Reading Interview: Kenneth Robert Janken on The Wilmington Ten
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. Continue Reading Interview: Patricia Appelbaum on St. Francis of America
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. Continue Reading Interview: Tanisha C. Ford on Black Women, Style, and Politics in the 1960s and ’70s
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. Continue Reading Interview: Sherie M. Randolph on Black Feminist Radical Florynce “Flo” Kennedy
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. Continue Reading Interview: Cecelia Tichi on Jack London’s Fight for a Better America
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. Continue Reading Interview: David Gilbert on the birth of the Manhattan musical marketplace
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. Continue Reading Interview: Kimberly Marlowe Hartnett on Harry Golden, ‘Carolina Israelite’
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. Continue Reading Interview: Charles L. Hughes on Country Soul
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. Continue Reading Interview: Rod Phillips and the world history of alcohol
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. Continue Reading Interview: Fiona Ritchie and Doug Orr on the Music of Appalachia
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. Continue Reading Interview: Marcie Cohen Ferris on The Edible 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. Continue Reading Interview: Christopher Norment on the beauty of the desert ecosystem
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. Continue Reading Interview: Sahar Amer on ‘What Is Veiling?’