Cutting Along The Color Line

Examines the history of black-owned barber shops in the United States, from pre-Civil War Era through today.

Today, black-owned barber shops play a central role in African American public life. The intimacy of commercial grooming encourages both confidentiality and camaraderie, which make the barber shop an important gathering place for African American men to talk freely. But for many years preceding and even after the Civil War, black barbers endured a measure of social stigma for perpetuating inequality: though the profession offered economic mobility to black entrepreneurs, black barbers were obliged by custom to serve an exclusively white clientele. Quincy T. Mills traces the lineage from these nineteenth-century barbers to the bustling enterprises of today, demonstrating that the livelihood offered by the service economy was crucial to the development of a black commercial sphere and the barber shop as a democratic social space. Cutting Along the Color Line chronicles the cultural history of black barber shops as businesses and civic institutions. Through several generations of barbers, Mills examines the transition from slavery to freedom in the nineteenth century, the early twentieth-century expansion of black consumerism, and the challenges of professionalization, licensing laws, and competition from white barbers. He finds that the profession played a significant though complicated role in twentieth-century racial politics: while the services of shaving and grooming were instrumental in the creation of socially acceptable black masculinity, barbering permitted the financial independence to maintain public spaces that fostered civil rights politics. This sweeping, engaging history of an iconic cultural establishment shows that black entrepreneurship was intimately linked to the struggle for equality.

In a largely previously untold story, from 1865 to 1950, black litigants throughout the South took on white southerners in civil suits. Drawing on almost a thousand cases, Milewski shows how African Americans negotiated the southern legal system and won suits against whites after the Civil War and before the Civil Rights struggle

They advocated economic independence from whites and founded insurance companies that became some of the largest black-owned corporations.--L. Diane Barnes "Alabama Review"

The term “emerging market” refers to a country where incomes are currently low but that is likely to experience rapid growth and increasing economic competitiveness. Identifying emerging markets is important for international development, and for investors they represent intriguing opportunities to reap uncommon gains. Yet many of the characteristics of emerging markets—including demographic shifts, rising educational attainment, and growing urbanization—are also found closer to home, in communities that have been underserved by the existing financial-services system. Gregory Fairchild introduces readers to the rising set of entrepreneurs whose efforts to reach marginalized groups are reshaping the emerging markets of the United States. He explores how minority-owned and community-development institutions are achieving innovations in consumer- and small-business-targeted financial services to further economic development and reduce inequality. Fairchild illustrates these transformative models through compelling narratives: the decision by a Chinese-ethnic credit union to open a branch in a new neighborhood, investment by a minority-led private equity firm in satellite radio for the developing world, and efforts by a community-development-loan fund to bring fresh foods into a food desert in Philadelphia. He analyzes the models of these organizations, measures their successes and failures, and provides suggestions for sustainable growth of similar organizations. Bringing together quantitative research, powerful stories of real-world entrepreneurs, and nuanced insights on public policy, Emerging Domestic Markets offers a vital set of prescriptions for inclusive financial development.

The author of "Crowns" returns with an unforgettable collection of narratives, quotes, and photographs from the most sacred of spacesQthe black barber shop.

Beards and Masculinity in American Literature is a pioneering study of the symbolic power of the beard in the history of American writing. This book covers the entire breadth of American writing – from 18th century American newspapers and periodicals through the 19th and 20th centuries to recent contemporary engagements with the beard and masculinity. With chapters focused on the barber and the barbershop in American writing, the "need for a shave" in Ernest Hemingway’s fiction, Whitman’s beard as a sanctuary for poets reaching out to the bearded bard, and the contemporary re-engagement with the beard as a symbol of Otherness in post-9/11 fiction, Beards and Masculinity in American Literature underlines the symbolic power of facial hair in key works of American writing.

A richly illustrated history of self-taught artists and how they changed American art Artists without formal training, who learned from family, community, and personal journeys, have long been a presence in American art. But it wasn’t until the 1980s, with the help of trailblazing advocates, that the collective force of their creative vision and bold self-definition permanently changed the mainstream art world. In We Are Made of Stories, Leslie Umberger traces the rise of self-taught artists in the twentieth century and examines how, despite wide-ranging societal, racial, and gender-based obstacles, they redefined who could be rightfully seen as an artist and revealed a much more diverse community of American makers. Lavishly illustrated throughout, We Are Made of Stories features more than one hundred drawings, paintings, and sculptures, ranging from the narrative to the abstract, by forty-three artists—including James Castle, Thornton Dial, William Edmondson, Howard Finster, Bessie Harvey, Dan Miller, Sister Gertrude Morgan, the Philadelphia Wireman, Nellie Mae Rowe, Judith Scott, and Bill Traylor. The book centralizes the personal stories behind the art, and explores enduring themes, including self-definition, cultural heritage, struggle and joy, and inequity and achievement. At the same time, it offers a sweeping history of self-taught artists, the critical debates surrounding their art, and how museums have gradually diversified their collections across lines of race, gender, class, and ability. Recasting American art history to embrace artists who have been excluded for too long, We Are Made of Stories vividly captures the power of art to show us the world through the eyes of another. Published in association with the Smithsonian American Art Museum Exhibition Schedule Smithsonian American Art Museum, Washington, DC July 1, 2022–March 26, 2023