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Winner of the Benjamin L. Hooks National Book Award Winnter of the Michael Nelson Prize of the International Association for Media and History In 1964, Nina Simone sat at a piano in New York's Carnegie Hall to play what she called a "show tune." Then she began to sing: "Alabama's got me so upset/Tennessee made me lose my rest/And everybody knows about Mississippi Goddam!" Simone, and her song, became icons of the civil rights movement. But her confrontational style was not the only path taken by black women entertainers. In How It Feels to Be Free, Ruth Feldstein examines celebrated black women performers, illuminating the risks they took, their roles at home and abroad, and the ways that they raised the issue of gender amid their demands for black liberation. Feldstein focuses on six women who made names for themselves in the music, film, and television industries: Simone, Lena Horne, Miriam Makeba, Abbey Lincoln, Diahann Carroll, and Cicely Tyson. These women did not simply mirror black activism; their performances helped constitute the era's political history. Makeba connected America's struggle for civil rights to the fight against apartheid in South Africa, while Simone sparked high-profile controversy with her incendiary lyrics. Yet Feldstein finds nuance in their careers. In 1968, Hollywood cast the outspoken Lincoln as a maid to a white family in For Love of Ivy, adding a layer of complication to the film. That same year, Diahann Carroll took on the starring role in the television series Julia. Was Julia a landmark for casting a black woman or for treating her race as unimportant? The answer is not clear-cut. Yet audiences gave broader meaning to what sometimes seemed to be apolitical performances. How It Feels to Be Free demonstrates that entertainment was not always just entertainment and that "We Shall Overcome" was not the only soundtrack to the civil rights movement. By putting black women performances at center stage, Feldstein sheds light on the meanings of black womanhood in a revolutionary time.
Do What You Gotta Do examines the role of black female entertainers in the Civil Rights movement.
The long-standing, but unresolved debate of the virtues and values of multilateralism vs. unilateralism in American foreign policy is critically important in today's complicated world. To understand the history of each approach is to understand their opportunities and challenges for the future. The Best Laid Plans answers two central questions. First, why did the United States embrace the principles and practices of liberal multilateralism during World War II? Second, why did it cling to this vision of world order despite the outbreak of the Cold War in the late 1940s, as the 'One World' that had been anticipated by U.S. postwar planners split into two rival global camps? The book contends that neither the U.S. turn to liberal multilateralism nor the persistence of this orientation during the Cold War can be attributed solely or even primarily to the global power structure or crude considerations of material self interest. Rather, Stewart Patrick argues that a combination of enduring identity commitments and new ideas, based on the lessons of recent, cataclysmic events, shaped the policy preferences of American central decision-makers in the Roosevelt and Truman administrations. Although the book is steeped in history, its conclusions have tremendous relevance for the contemporary era, when the United States once again finds itself at the apex of world power, and debates are rife about the role of multilateral cooperation in the realization of U.S. foreign policy objectives.
Includes supplements.