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There are no simple answers, only oversimplified ones. But the cure to all social ills lies in uncovering the truth. In this unflinching, timely, wide-ranging collection of essays, professor William Cobb lays bare the black experience of the past decade using cinema, music, literature, politics, and pop culture. "On the Stroll: The Pimping of Three 6 Mafia" is a fascinating take on the first hip-hop group ever to win an Oscar. Cobb lambastes the group for flaunting onstage every stereotype that the movie they performed in (Hustle and Flow) so carefully and brilliantly avoided. In "The Trouble with Harry," Cobb argues that Harry Belafonte's absence from the funeral of forty-year friend Coretta Scott King is a tragedy, and Martin Luther King's children should be ashamed of themselves. In "The Devil and Dave Chappelle" Cobb discusses Chappelle's decision to walk away from a $50 million contract as not just a comedic choice but also as a social and political choice. Chappelle's humor was largely an "inside joke" shared among blacks. When his audience grew, he felt that a line had been crossed. This new audience was laughing at him. Not with him. Chappelle realized that one wrong laugh could put him on the wrong side of the line between genius and Uncle Tom. From the "too smart" irony of Dave Chappelle to the cultural relocation of Bessemer, Alabama; from the gift and curse of the first generation of black prosperity to the failure of history to act as a guide for the present; Cobb reflects on the post--civil rights era with fondness and hope, concern and caution.
NATIONAL BOOK AWARD FINALIST • A sweeping, genre-bending “masterpiece” (Minneapolis Star Tribune) exploring Black art, music, and culture in all their glory and complexity—from Soul Train, Aretha Franklin, and James Brown to The Fresh Prince of Bel-Air, Whitney Houston, and Beyoncé ONE OF THE TEN BEST BOOKS OF THE YEAR: Chicago Tribune, The Philadelphia Inquirer, The Dallas Morning News, Publishers Weekly “Gorgeous essays that reveal the resilience, heartbreak, and joy within Black performance.”—Brit Bennett, #1 New York Times bestselling author of The Vanishing Half “I was a devil in other countries, and I was a little devil in America, too.” Inspired by these few words, spoken by Josephine Baker at the 1963 March on Washington, MacArthur “Genius Grant” Fellow and bestselling author Hanif Abdurraqib has written a profound and lasting reflection on how Black performance is inextricably woven into the fabric of American culture. Each moment in every performance he examines—whether it’s the twenty-seven seconds in “Gimme Shelter” in which Merry Clayton wails the words “rape, murder,” a schoolyard fistfight, a dance marathon, or the instant in a game of spades right after the cards are dealt—has layers of resonance in Black and white cultures, the politics of American empire, and Abdurraqib’s own personal history of love, grief, and performance. Touching on Michael Jackson, Patti LaBelle, Billy Dee Williams, the Wu-Tan Clan, Dave Chappelle, and more, Abdurraqib writes prose brimming with jubilation and pain. With care and generosity, he explains the poignancy of performances big and small, each one feeling intensely familiar and vital, both timeless and desperately urgent. Filled with sharp insight, humor, and heart, A Little Devil in America exalts the Black performance that unfolds in specific moments in time and space—from midcentury Paris to the moon, and back down again to a cramped living room in Columbus, Ohio. WINNER OF THE ANDREW CARNEGIE MEDAL AND THE GORDON BURN PRIZE • FINALIST FOR THE NATIONAL BOOK CRITICS CIRCLE AWARD AND THE PEN/DIAMONSTEIN-SPIELVOGEL AWARD ONE OF THE BEST BOOKS OF THE YEAR: The New York Times Book Review, Time, The Boston Globe, NPR, Rolling Stone, Esquire, BuzzFeed, Thrillist, She Reads, BookRiot, BookPage, Electric Lit, The Rumpus, LitHub, Library Journal, Booklist
For acclaimed historian William Jelani Cobb, the historic election of Barack Obama to the presidency is not the most remarkable development of the 2008 election; even more so is the fact that Obama won some 90 percent of the black vote in the primaries across America despite the fact that the established black leadership since the civil rights era-men like Jesse Jackson, John Lewis, Andrew Young, who paved the way for his candidacy-all openly supported Hillary Clinton. Clearly a sea change has occurred among black voters, ironically pushing the architects of the civil rights movement toward the periphery at the moment when their political dreams were most fully realized. How this has happened, and the powerful implications it holds for America's politics and social landscape, is the focus of The Substance of Hope, a deeply insightful, paradigm-shifting examination of a new generation of voters that has not been shaped by the raw memory of Jim Crow and has a different range of imperatives. Cobb sees Obama's ascendancy as "a reality that has been taking shape in tiny increments for the past four decades," and examines thorny issues such as the paradox and contradictions embodied in race and patriotism, identity and citizenship; how the civil rights leadership became a political machine; why the term "postracial" is as iniquitous as it is inaccurate; and whether our society has really changed with Obama's election. Elegantly written and powerfully argued, The Substance of Hope challenges conventional wisdom as it offers original insight into America's future.
Perhaps best known for his highly acclaimed, short-lived Comedy Central program Chappelle's Show, Dave Chappelle is widely regarded as one of today's most culturally significant comedians. Through the sketch comedy show and his stand-up act, Chappelle has offered truly memorable commentary on racial and ethnic tensions in American society. This book assembles 13 essays that examine motifs common in Chappelle's comedy, including technology and digital culture; race, gender, and ethnicity; economics and politics; music, television, film, and performance; and memory, language, and identity.
* 2018 "12 best books to give this holiday season" —TODAY (Elizabeth Acevedo) * A "Best Book of 2017" —Rolling Stone (2018), NPR, Buzzfeed, Paste Magazine, Esquire, Chicago Tribune, Vol. 1 Brooklyn, CBC, Stereogum, National Post, Entropy, Heavy, Book Riot, Chicago Review of Books, The Los Angeles Review, Michigan Daily * American Booksellers Association (ABA) 'December 2017 Indie Next List Great Reads' * Midwest Indie Bestseller In an age of confusion, fear, and loss, Hanif Abdurraqib's is a voice that matters. Whether he's attending a Bruce Springsteen concert the day after visiting Michael Brown's grave, or discussing public displays of affection at a Carly Rae Jepsen show, he writes with a poignancy and magnetism that resonates profoundly. In the wake of the nightclub attacks in Paris, he recalls how he sought refuge as a teenager in music, at shows, and wonders whether the next generation of young Muslims will not be afforded that opportunity now. While discussing the everyday threat to the lives of Black Americans, Abdurraqib recounts the first time he was ordered to the ground by police officers: for attempting to enter his own car. In essays that have been published by the New York Times, MTV, and Pitchfork, among others—along with original, previously unreleased essays—Abdurraqib uses music and culture as a lens through which to view our world, so that we might better understand ourselves, and in so doing proves himself a bellwether for our times.
With roots that stretch from West Africa through the black pulpit, hip hop emerged in the streets of the South Bronx in the 1970s and has spread to the farthest corners of the earth. "To the Break of Dawn" uniquely examines this freestyle verbal artistry on its own terms. A kid from Queens who spent his youth at the epicenter of this new art form, music critic William Jelani Cobb takes readers inside the beats, the lyrics, and the flow of hip hop, separating mere corporate rappers from the creative MCs that forged the art in the crucible of the street jam.The four pillars of hip hop - break dancing, graffiti art, deejaying, and rapping - find their origins in traditions as diverse as the Afro-Brazilian martial art Capoeira and Caribbean immigrants' turnstile artistry.
In this information overloaded twenty-first century, it seems impossible to fully discern or explain how we know about the past. But two things are certain. Whether we are conscious of it or not, we all think historically on a routine basis. And our perceptions of history, including African American history, have not necessarily been shaped by professional historians. In this wide-reaching and timely book, Pero Gaglo Dagbovie argues that public knowledge and understanding of black history, including its historical icons, has been shaped by institutions and individuals outside academic ivory towers. Drawing on a range of compelling examples, Dagbovie explores how, in the twenty-first century, African American history is regarded, depicted, and juggled by diverse and contesting interpreters-from museum curators to film-makers, entertainers, politicians, journalists, and bloggers. Underscoring the ubiquitous nature of African American history in contemporary American thought and culture, each chapter unpacks how black history has been represented and remembered primarily during the "Age of Obama," the so-called era of "post-racial" American society. Reclaiming the Black Past: The Use and Misuse of African American History in the 21st Century is Dagbovie's contribution to expanding how we understand African American history during the new millennium.
A New York Times Best Seller 2019 National Book Award Longlist, Nonfiction 2019 Kirkus Book Prize Finalist, Nonfiction A February IndieNext Pick Named A Most Anticipated Book of 2019 by Buzzfeed, Nylon, The A. V. Club, CBC Books, and The Rumpus, and a Winter's Most Anticipated Book by Vanity Fair and The Week Starred Reviews: Kirkus and Booklist "Warm, immediate and intensely personal."—New York Times How does one pay homage to A Tribe Called Quest? The seminal rap group brought jazz into the genre, resurrecting timeless rhythms to create masterpieces such as The Low End Theory and Midnight Marauders. Seventeen years after their last album, they resurrected themselves with an intense, socially conscious record, We Got It from Here . . . Thank You 4 Your Service, which arrived when fans needed it most, in the aftermath of the 2016 election. Poet and essayist Hanif Abdurraqib digs into the group’s history and draws from his own experience to reflect on how its distinctive sound resonated among fans like himself. The result is as ambitious and genre-bending as the rap group itself. Abdurraqib traces the Tribe's creative career, from their early days as part of the Afrocentric rap collective known as the Native Tongues, through their first three classic albums, to their eventual breakup and long hiatus. Their work is placed in the context of the broader rap landscape of the 1990s, one upended by sampling laws that forced a reinvention in production methods, the East Coast–West Coast rivalry that threatened to destroy the genre, and some record labels’ shift from focusing on groups to individual MCs. Throughout the narrative Abdurraqib connects the music and cultural history to their street-level impact. Whether he’s remembering The Source magazine cover announcing the Tribe’s 1998 breakup or writing personal letters to the group after bandmate Phife Dawg’s death, Abdurraqib seeks the deeper truths of A Tribe Called Quest; truths that—like the low end, the bass—are not simply heard in the head, but felt in the chest.
"For more than forty years...Paul Mooney has been provocative, incisive- and absolutely hilarious. His comedy has always been indisputably real and raw, reflecting race issues in America... As head writer for The Richard Pryor Show, he helped tear down racial barriers and change the course of comedy. He helped Robin Williams and Sarah Bernhard break into show business. He paved the way for superstars like Eddie Murphy. Few have witnessed as much comedy history as Mooney; even fewer could recount it with such riotous honesty and depth of insight"--from back cover.
Ross, one of the meanest men in comedy, offers anecdotes and deconstructs themakings of a great roast.