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Few were more qualified than Dempsey Travis to write the history of African Americans in Chicago, and none would be able to do it with the same command of firsthand sources. This seminal paperback reissue, An Autobiography of Black Chicago, emulates the best works of Studs Terkel — portraying the African American Chicago community through the personal experiences of Dempsey Travis, his family, and his fellow Chicagoans. Through his family's and his own experiences, plus those of the book's numerous well-respected contributors, Travis tells a comprehensive, intimate story of African Americans in Chicago. Starting with John Baptiste Point du Sable, who was the first non–Native American to settle on the mouth of the Chicago River, and ending with Travis's successes providing equal housing opportunities for Chicago African Americans, An Autobiography of Black Chicago acquaints the reader with the city's most prominent African American figures — told through their own words.
Few were more qualified than Dempsey Travis to write the history of African Americans in Chicago, and none would be able to do it with the same command of firsthand sources. This seminal paperback reissue of Travis's best-known work, An Autobiography of Black Chicago, depicts Chicago's African-American community through the personal experiences of Dempsey Travis, his family, and his circle. Starting with John Baptiste Point du Sable, who was the first non-Native American to settle on the mouth of the Chicago River, and ending with Travis's own successes leading the city's NAACP chapter, organizing Martin Luther King's first march in the city, and providing equal housing opportunities for black Chicagoans, An Autobiography of Black Chicago is a comprehensive yet intimate history of African Americans in 20th-century Chicago.
In Black Chicago’s First Century, Christopher Robert Reed provides the first comprehensive study of an African American population in a nineteenth-century northern city beyond the eastern seaboard. Reed’s study covers the first one hundred years of African American settlement and achievements in the Windy City, encompassing a range of activities and events that span the antebellum, Civil War, Reconstruction, and post-Reconstruction periods. The author takes us from a time when black Chicago provided both workers and soldiers for the Union cause to the ensuing decades that saw the rise and development of a stratified class structure and growth in employment, politics, and culture. Just as the city was transformed in its first century of existence, so were its black inhabitants. Methodologically relying on the federal pension records of Civil War soldiers at the National Archives, as well as previously neglected photographic evidence, manuscripts, contemporary newspapers, and secondary sources, Reed captures the lives of Chicago’s vast army of ordinary black men and women. He places black Chicagoans within the context of northern urban history, providing a better understanding of the similarities and differences among them. We learn of the conditions African Americans faced before and after Emancipation. We learn how the black community changed and developed over time: we learn how these people endured—how they educated their children, how they worked, organized, and played. Black Chicago’s First Century is a balanced and coherent work. Anyone with an interest in urban history or African American studies will find much value in this book.
Not as famous as Al Capone, but perhaps even more vicious, are John 'Mushmouth' Johnson, Jeff Fort and Larry Hoover from the Chicago underworld. Ron Chepesiuk reveals, for the first time, the stories of these African-American gangsters who were every bit as powerful, intriguing and colourful as the Windy City's more famous gangsters of the mid-to-late 20th Century. Each page is more exciting than the previous as Chepesiuk exposes never-before-known facts about the black gangsters who once ruled Chicago streets.
"Black autobiographical discourses, from the earliest slave narratives to the most contemporary urban raps, have each in their own way gauged and confronted the character of white society." Sartwell analyses these African American writings and gains a unique perspective on and picture of white identity.--Back cover.
Anti-black racism is a stark presence in Chicago, a fact illustrated by significant racial inequality in and around contemporary "global" city. Drawing his work as a civil rights advocate and investigator in Chicago, Street explains this neo-liberal apartheid and its resulting disparity in terms of persistently and deeply racist societal and institutional practices and policies. Racial Oppression in the Black Metropolis uses the highly relevant historical and sociological laboratory that is Chicago in order to explain the racist societal and institutional practices and policies which still typify the United States. Street challenges dominant neoconservative explanations of the black urban crisis that emphasize personal irresponsibility and cultural failure. Looking to the other side of the ideological isle, he criticizes liberal and social democratic approaches that elevate class over race and challenges many observers' sharp distinction between present and so-called past racism. In questioning the supposedly inevitable reign of urban-neoliberaism, Street also investigates the real, racial politics of the United States and finds that parties and ideologies matter little on matters of race. This innovative work in urban history and cultural criticism will inform contemporary social science and policy debates for years to come.
"The "New Negro" consciousness with its roots in the generation born in the last and opening decades of the 19th and 20th centuries replenished and nurtured by migration, resulted in the Harlem Renaissance in the 1920s then reemerged transformed in the 1930s as the Black Chicago Renaissance. The authors in this volume argue that beginning in the 1930s and lasting into the 1950s, Black Chicago experienced a cultural renaissance that rivaled the cultural outpouring in Harlem. The Black Chicago Renaissance, however, has not received its full due. This book addresses that neglect. Like Harlem, Chicago had become a major destination for black southern migrants. Unlike Harlem, it was also an urban industrial center that gave a unique working class and internationalist perspective to the cultural work that took place here. The contributors to Black Chicago Renaissance analyze a prolific period of African American creativity in music, performance art, social science scholarship, and visual and literary artistic expression. Each author discusses forces that distinguished and link the Black Chicago Renaissance to the Harlem Renaissance as well as placing the development of black culture in a national and international context by probing the histories of multiple (sequential and overlapping--Philadelphia, Cleveland, Detroit, Los Angeles, Memphis) black renaissances. Among the topics discussed in this volume are Chicago writers Gwendolyn Brooks and Richard Wright, The Chicago Defender and Tivoli Theater, African American music and visual arts, as well as the American Negro Exposition of 1940"--
Black Chicagoans were at the centre of a national movement in the 1940s and '50s, when African Americans across the country first started to see themselves as part of a single culture. Green argues that this period engendered a unique cultural and commercial consciousness, fostering ideas of racial identity that remain influential.