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This fascinating selection of photographs traces some of the many ways in which Durham has changed and developed.
In an in-depth community study of women in the civil rights movement, Christina Greene examines how several generations of black and white women, low-income as well as more affluent, shaped the struggle for black freedom in Durham, North Carolina. In the city long known as "the capital of the black middle class," Greene finds that, in fact, low-income African American women were the sustaining force for change. Greene demonstrates that women activists frequently were more organized, more militant, and more numerous than their male counterparts. They brought new approaches and strategies to protest, leadership, and racial politics. Arguing that race was not automatically a unifying force, Greene sheds new light on the class and gender fault lines within Durham's black community. While middle-class black leaders cautiously negotiated with whites in the boardroom, low-income black women were coordinating direct action in hair salons and neighborhood meetings. Greene's analysis challenges scholars and activists to rethink the contours of grassroots activism in the struggle for racial and economic justice in postwar America. She provides fresh insight into the changing nature of southern white liberalism and interracial alliances, the desegregation of schools and public accommodations, and the battle to end employment discrimination and urban poverty.
Fully illustrated description of Durham city’s well-known and lesser-known places that have been lost over the years.
This Companion authoritatively points to the main areas of enquiry within the subject of African American art history. The first section examines how African American art has been constructed over the course of a century of published scholarship. The second section studies how African American art is and has been taught and researched in academia. The third part focuses on how African American art has been reflected in art galleries and museums. The final section opens up understandings of what we mean when we speak of African American art. This book will be of interest to graduate students, researchers, and professors and may be used in American art, African American art, visual culture, and culture classes.
PULITZER PRIZE FINALIST An epic, riveting history of New York City on the edge of disaster—and an anatomy of the austerity politics that continue to shape the world today When the news broke in 1975 that New York City was on the brink of fiscal collapse, few believed it was possible. How could the country’s largest metropolis fail? How could the capital of the financial world go bankrupt? Yet the city was indeed billions of dollars in the red, with no way to pay back its debts. Bankers and politicians alike seized upon the situation as evidence that social liberalism, which New York famously exemplified, was unworkable. The city had to slash services, freeze wages, and fire thousands of workers, they insisted, or financial apocalypse would ensue. In this vivid account, historian Kim Phillips-Fein tells the remarkable story of the crisis that engulfed the city. With unions and ordinary citizens refusing to accept retrenchment, the budget crunch became a struggle over the soul of New York, pitting fundamentally opposing visions of the city against each other. Drawing on never-before-used archival sources and interviews with key players in the crisis, Fear City shows how the brush with bankruptcy permanently transformed New York—and reshaped ideas about government across America. At once a sweeping history of some of the most tumultuous times in New York's past, a gripping narrative of last-minute machinations and backroom deals, and an origin story of the politics of austerity, Fear City is essential reading for anyone seeking to understand the resurgent fiscal conservatism of today.
As the first edited collection dedicated specifically to race, ethnicity and British football, this book brings together a range of academics, comprising both established commentators and up-and-coming voices. Combining theoretical and empirical contributions, the volume addresses a wide variety of topics such as the experiences of Muslims, the recruitment of African players, devolution and national identities, case studies of minority ethnic clubs, "mixed-race" players, multiculturalism and anti-racism, sectarianism, education, and covering the amateur and professional spheres, and focusing on both players and supporters, the book elucidates the linkages between race, ethnicity, gender and masculinity.
Devoted to recording the scope of African American achievement, reference provides biographical and career details on more than 20,000 notable African American individuals, including leaders from sports, the arts, business, religion and more. An obituary section contains fully updated entries for listees who have died since the previous edition.
The Revolution Will Be Improvised: The Intimacy of Cultural Activism traces intimate encounters between activists and local people of the civil rights movement through an archive of Black and Brown avant-gardism. In the 1960s, Student Nonviolent Coordinating Committee (SNCC) activists engaged with people of color working in poor communities to experiment with creative approaches to liberation through theater, media, storytelling, and craft making. With a dearth of resources and an abundance of urgency, SNCC activists improvised new methods of engaging with communities that created possibilities for unexpected encounters through programs such as The Free Southern Theater, El Teatro Campesino, and the Poor People’s Corporation. Reading the output of these programs, Elizabeth Rodriguez Fielder argues that intimacy-making became an extension of participatory democracy. In doing so, Rodriguez Fielder supplants the success-failure binary for understanding social movements, focusing instead on how care work aligns with creative production. The Revolution Will Be Improvised returns to improvisation’s roots in economic and social necessity and locates it as a core tenet of the aesthetics of obligation, where a commitment to others drives the production and result of creative work. Thus, this book puts forward a methodology to explore the improvised, often ephemeral, works of art activism.