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Traces the history of black men in America using a tough-guy image to obscure their anger and disappointment over their roles in society back to their origins in Africa and the slave era.
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Kimmel's history of men in America demonstrates that manhood has meant very different things in different eras.
"You have to bear in mind that [Questlove] is one of the smartest motherf*****s on the planet. His musical knowledge, for all practical purposes, is limitless." --Robert Christgau A punch-drunk memoir in which Everyone's Favorite Questlove tells his own story while tackling some of the lates, the greats, the fakes, the philosophers, the heavyweights, and the true originals of the music world. He digs deep into the album cuts of his life and unearths some pivotal moments in black art, hip hop, and pop culture. Ahmir "Questlove" Thompson is many things: virtuoso drummer, producer, arranger, Late Night with Jimmy Fallon bandleader, DJ, composer, and tireless Tweeter. He is one of our most ubiquitous cultural tastemakers, and in this, his first book, he reveals his own formative experiences--from growing up in 1970s West Philly as the son of a 1950s doo-wop singer, to finding his own way through the music world and ultimately co-founding and rising up with the Roots, a.k.a., the last hip hop band on Earth. Mo' Meta Blues also has some (many) random (or not) musings about the state of hip hop, the state of music criticism, the state of statements, as well as a plethora of run-ins with celebrities, idols, and fellow artists, from Stevie Wonder to KISS to D'Angelo to Jay-Z to Dave Chappelle to...you ever seen Prince roller-skate?!? But Mo' Meta Blues isn't just a memoir. It's a dialogue about the nature of memory and the idea of a post-modern black man saddled with some post-modern blues. It's a book that questions what a book like Mo' Meta Bluesreally is. It's the side wind of a one-of-a-kind mind. It's a rare gift that gives as well as takes. It's a record that keeps going around and around.
Sixteen contributions cover topics such as African American culture and sport, the representation of O.J. Simpson, the impact of Tiger Woods' success, a physiological review of race and athletic performance, the case against NCAA Proposition 48, racism and discrimination in sport, and African American male head coaches. Annotation copyrighted by Book News, Inc., Portland, OR
Running barefoot isn't as natural as we're led to believe. Recent studies have shown that up to 85% of runners get injured every year, how natural is that? The most important question that running "barefoot" or "naturally" doesn't address is how we should run. Repetitive ground impact forces are at the root of most running injuries. A 30 minute jog can log more than 5,000 foot strikes; its because of this volume of movement that efficient
Research on African American athletes generally fo-cuses on negative stereotypes of physical prowess, and socially controversial themes. Most studies in-vestigate racism, prejudice, discrimination, and ex-ploitation experienced by African American athletes. Many studies contrast African American and white athletes on a number of variables that support pre-vailing elitist stereotypes and denigrate African Ameri-can athletes. But few studies investigate the diverse and complex cultural dichotomies within the infrastruc-ture of sport in the African American community. Gary Sailes maintains that it is crucial to develop a more eclectic and immersed cultural approach when investigating African American involvement in com-petitive sports. The contributors to 'African Americans in Sports' show that there are also intrinsic cultural paradigms that are evident, presenting an informa-tive and interesting narrative regarding African American athletes. The chapters that make up this volume were written by noted scholars who were selected based on their expertise in their specific academic areas. They write about different components of the experience of African American male athletes. Chapters and contributors include: "Race and Athletic Performance: A Physiological Review" by David W. Hunter; "The Athletic Dominance of African Americans--Is There a Genetic Basis?" by Vinay Harpalani; "African American Player Codes on Celebration, Taunting, and Sportsmanlike Conduct" by Vernon L. Andrews; and "Stacking in Major League Baseball" by Earl Smith and C. Keith Harrison. Many chapters were originally published as a special issue of the 'Journal of African American Men.' This volume should be read by all those involved in athletics, as well as by sports sociologists and African American studies scholars.
Cool. It was a new word and a new way to be, and in a single generation, it became the supreme compliment of American culture. The Origins of Cool in Postwar America uncovers the hidden history of this concept and its new set of codes that came to define a global attitude and style. As Joel Dinerstein reveals in this dynamic book, cool began as a stylish defiance of racism, a challenge to suppressed sexuality, a philosophy of individual rebellion, and a youthful search for social change. Through eye-opening portraits of iconic figures, Dinerstein illuminates the cultural connections and artistic innovations among Lester Young, Humphrey Bogart, Robert Mitchum, Billie Holiday, Frank Sinatra, Jack Kerouac, Albert Camus, Marlon Brando, and James Dean, among others. We eavesdrop on conversations among Jean-Paul Sartre, Simone de Beauvoir, and Miles Davis, and on a forgotten debate between Lorraine Hansberry and Norman Mailer over the "white Negro" and black cool. We come to understand how the cool worlds of Beat writers and Method actors emerged from the intersections of film noir, jazz, and existentialism. Out of this mix, Dinerstein sketches nuanced definitions of cool that unite concepts from African-American and Euro-American culture: the stylish stoicism of the ethical rebel loner; the relaxed intensity of the improvising jazz musician; the effortless, physical grace of the Method actor. To be cool is not to be hip and to be hot is definitely not to be cool. This is the first work to trace the history of cool during the Cold War by exploring the intersections of film noir, jazz, existential literature, Method acting, blues, and rock and roll. Dinerstein reveals that they came together to create something completely new—and that something is cool.