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The legendary cartoon and radio voice man offers a behind-the-scenes chronicl of his many-voiced career, detailing his creation of world-famous voices and his work with the best-loved cartoon characters and radio personalities.
Here is the first comprehensive record of the classic Warner Bros. cartoon studio, wonderfully and richly illustrated in full color. "This comic valentine offers impeccable research, interviews wiuth the animated geniuses who breathed life and laughter into their Looney Tunes, and hundreds of rare illustrations".--Time. 225 full-color illustrations. 100 line drawings.
"Examines animated films in the cultural and historical context of environmental movements"--Provided by publisher.
An authoritative and valuable resource for students and scholars of film animation and African-American history, film buffs, and casual readers. It is the first and only book to detail the history of black images in animated cartoons. Using advertisements, quotes from producers, newspaper reviews, and other sources, Sampson traces stereotypical black images through their transition from the first newspaper comic strips in the late 1890s, to their inclusion in the first silent theatrical cartoons, through the peak of their popularity in 1930s musical cartoons, to their gradual decline in the 1960s. He provides detailed storylines with dialogue, revealing the extensive use of negative caricatures of African Americans. Sampson devotes chapters to cartoon series starring black characters; cartoons burlesquing life on the old slave plantation with "happy" slaves Uncle Tom and Topsy; depictions of the African safari that include the white hunter, his devoted servant, and bloodthirsty black cannibals; and cartoons featuring the music and the widely popular entertainment style of famous 1930s black stars including Cab Calloway, Louis Armstrong, and Fats Waller. That's Enough Folks includes many rare, previously unpublished illustrations and original animation stills and an appendix listing cartoon titles with black characters along with brief descriptions of gags in these cartoons.
A beautifully written, timeless tale by Cao Wenxuan, best-selling Chinese author and 2016 recipient of the prestigious Hans Christian Andersen Award. Sunflower is an only child, and when her father is sent to the rural Cadre School, she has to go with him. Her father is an established artist from the city and finds his new life of physical labor and endless meetings exhausting. Sunflower is lonely and longs to play with the local children in the village across the river. When her father tragically drowns, Sunflower is taken in by the poorest family in the village, a family with a son named Bronze. Until Sunflower joins his family, Bronze was an only child, too, and hasn’t spoken a word since he was traumatized by a terrible fire. Bronze and Sunflower become inseparable, understanding each other as only the closest friends can. Translated from Mandarin, the story meanders gracefully through the challenges that face the family, creating a timeless story of the trials of poverty and the power of love and loyalty to overcome hardship.
In this “urgently relevant”* collection featuring the landmark essay “The Case for Reparations,” the National Book Award–winning author of Between the World and Me “reflects on race, Barack Obama’s presidency and its jarring aftermath”*—including the election of Donald Trump. New York Times Bestseller • Finalist for the PEN/Jean Stein Book Award, the Los Angeles Times Book Prize, and the Dayton Literary Peace Prize Named One of the Best Books of the Year by The New York Times • USA Today • Time • Los Angeles Times • San Francisco Chronicle • Essence • O: The Oprah Magazine • The Week • Kirkus Reviews *Kirkus Reviews (starred review) “We were eight years in power” was the lament of Reconstruction-era black politicians as the American experiment in multiracial democracy ended with the return of white supremacist rule in the South. In this sweeping collection of new and selected essays, Ta-Nehisi Coates explores the tragic echoes of that history in our own time: the unprecedented election of a black president followed by a vicious backlash that fueled the election of the man Coates argues is America’s “first white president.” But the story of these present-day eight years is not just about presidential politics. This book also examines the new voices, ideas, and movements for justice that emerged over this period—and the effects of the persistent, haunting shadow of our nation’s old and unreconciled history. Coates powerfully examines the events of the Obama era from his intimate and revealing perspective—the point of view of a young writer who begins the journey in an unemployment office in Harlem and ends it in the Oval Office, interviewing a president. We Were Eight Years in Power features Coates’s iconic essays first published in The Atlantic, including “Fear of a Black President,” “The Case for Reparations,” and “The Black Family in the Age of Mass Incarceration,” along with eight fresh essays that revisit each year of the Obama administration through Coates’s own experiences, observations, and intellectual development, capped by a bracingly original assessment of the election that fully illuminated the tragedy of the Obama era. We Were Eight Years in Power is a vital account of modern America, from one of the definitive voices of this historic moment.
Based on his widely read columns for The New Yorker, Ian Frazier's uproarious first novel, The Cursing Mommy's Book of Days, centers on a profoundly memorable character, sprung from an impressively fertile imagination. Structured as a daybook of sorts, the book follows the Cursing Mommy—beleaguered wife of Larry and mother of two boys, twelve and eight—as she tries (more or less) valiantly to offer tips on how to do various tasks around the home, only to end up on the ground, cursing, surrounded by broken glass. Her voice is somewhere between Phyllis Diller's and Sylvia Plath's: a hilariously desperate housewife with a taste for swearing and large glasses of red wine, who speaks to the frustrations of everyday life. Frazier has demonstrated an astonishing ability to operate with ease in a variety of registers: from On the Rez, an investigation into the lives of modern day Oglala Sioux written with a mix of humor, compassion, and imagination, to Dating Your Mom, a sidesplitting collection of humorous essays that imagines, among other things, how and why you might begin a romance with your mother. Here, Frazier tackles another genre with his usual grace and aplomb, as well as an extra helping of his trademark wicked wit. The Cursing Mommy's failures and weaknesses are our own—and Frazier gives them a loving, satirical spin that is uniquely his own.
A New York Times Best Seller "Essential reading for all adults who work with black and brown young people...Filled with exceptional intellectual sophistication and necessary wisdom for the future of education."—Imani Perry, National Book Award Winner author of South To America An award-winning educator offers a much-needed antidote to traditional top-down pedagogy and promises to radically reframe the landscape of urban education for the better Drawing on his own experience of feeling undervalued and invisible in classrooms as a young man of color, Dr. Christopher Emdin has merged his experiences with more than a decade of teaching and researching in urban America. He takes to task the perception of urban youth of color as unteachable, and he challenges educators to embrace and respect each student’s culture and to reimagine the classroom as a site where roles are reversed and students become the experts in their own learning. Putting forth his theory of Reality Pedagogy, Emdin provides practical tools to unleash the brilliance and eagerness of youth and educators alike—both of whom have been typecast and stymied by outdated modes of thinking about urban education. With this fresh and engaging new pedagogical vision, Emdin demonstrates the importance of creating a family structure and building communities within the classroom, using culturally relevant strategies like hip-hop music and call-and-response, and connecting the experiences of urban youth to indigenous populations globally. Merging real stories with theory, research, and practice, Emdin demonstrates how by implementing the “Seven Cs” of reality pedagogy in their own classrooms, urban youth of color benefit from truly transformative education.
2022 NATIONAL BOOK AWARD FINALIST ONE OF THE LOS ANGELES TIMES' TOP 5 FICTION BOOKS OF THE YEAR ONE OF TIME AND SLATE'S TOP 10 BOOKS OF THE YEAR Named one of the BEST BOOKS OF 2022 by NPR, Vogue, Vulture, BuzzFeed, Harper's Bazaar, and more “One of the buzziest, most human novels of the year…breathless, dizzying, and completely beautiful.” —Vogue “Dazzling and wholly original...[written] with such mordant wit, insight, and specificity, it feels like watching a new literary star being born in real time.” —Entertainment Weekly From a brilliant new voice comes an electrifying novel of a young immigrant building a life for herself—a warm, dazzling, and profound saga of queer love, friendship, work, and precarity in twenty-first century America Graduating into the long maw of an American recession, Sneha is one of the fortunate ones. She’s moved to Milwaukee for an entry-level corporate job that, grueling as it may be, is the key that unlocks every door: she can pick up the tab at dinner with her new friend Tig, get her college buddy Thom hired alongside her, and send money to her parents back in India. She begins dating women—soon developing a burning crush on Marina, a beguiling and beautiful dancer who always seems just out of reach. But before long, trouble arrives. Painful secrets rear their heads; jobs go off the rails; evictions loom. Sneha struggles to be truly close and open with anybody, even as her friendships deepen, even as she throws herself headlong into a dizzying romance with Marina. It’s then that Tig begins to draw up a radical solution to their problems, hoping to save them all. A beautiful and capacious novel rendered in singular, unforgettable prose, All This Could Be Different is a wise, tender, and riveting group portrait of young people forging love and community amidst struggle, and a moving story of one immigrant’s journey to make her home in the world.
NEW YORK TIMES BESTSELLER • Tarana Burke and Dr. Brené Brown bring together a dynamic group of Black writers, organizers, artists, academics, and cultural figures to discuss the topics the two have dedicated their lives to understanding and teaching: vulnerability and shame resilience. Contributions by Kiese Laymon, Imani Perry, Laverne Cox, Jason Reynolds, Austin Channing Brown, and more NAMED ONE OF THE BEST BOOKS OF THE YEAR BY MARIE CLAIRE AND BOOKRIOT It started as a text between two friends. Tarana Burke, founder of the ‘me too.’ Movement, texted researcher and writer Brené Brown to see if she was free to jump on a call. Brené assumed that Tarana wanted to talk about wallpaper. They had been trading home decorating inspiration boards in their last text conversation so Brené started scrolling to find her latest Pinterest pictures when the phone rang. But it was immediately clear to Brené that the conversation wasn’t going to be about wallpaper. Tarana’s hello was serious and she hesitated for a bit before saying, “Brené, you know your work affected me so deeply, but as a Black woman, I’ve sometimes had to feel like I have to contort myself to fit into some of your words. The core of it rings so true for me, but the application has been harder.” Brené replied, “I’m so glad we’re talking about this. It makes sense to me. Especially in terms of vulnerability. How do you take the armor off in a country where you’re not physically or emotionally safe?” Long pause. “That’s why I’m calling,” said Tarana. “What do you think about working together on a book about the Black experience with vulnerability and shame resilience?” There was no hesitation. Burke and Brown are the perfect pair to usher in this stark, potent collection of essays on Black shame and healing. Along with the anthology contributors, they create a space to recognize and process the trauma of white supremacy, a space to be vulnerable and affirm the fullness of Black love and Black life.