Real Black

New York's urban neighborhoods are full of young would-be emcees who aspire to "keep it real" and restaurants like Sylvia's famous soul food eatery that offer a taste of "authentic" black culture. In these and other venues, authenticity is considered the best way to distinguish the real from the phony, the genuine from the fake. But in Real Black, John L. Jackson Jr. proposes a new model for thinking about these issues--racial sincerity. Jackson argues that authenticity caricatures identity as something imposed on people, imprisoning them within stereotypes--turning them into racial objects and inanimate things, instead of living, breathing human beings. Contending that such assumptions deny people agency--not to mention humanity--in their search for identity, Jackson counterposes sincerity, an internal and more productive analytical model for thinking about race. Moving in and around Harlem and Brooklyn, Jackson offers a kaleidoscope of subjects and stories that directly and indirectly address how race is negotiated in today's world--including tales of name-changing hip-hop emcees, book-vending numerologists, urban conspiracy theorists, corrupt police officers, mixed-race neo-Nazis, and high-school gospel choirs forbidden to catch the Holy Ghost. Enlisting "Anthroman," his cape-crusading critical alter ego, Jackson records and retells these interconnected sagas in virtuosic detail and, in the process, shows us how race is defined and debated, imposed and confounded every single day.

New York's urban neighborhoods are full of young would-be emcees who aspire to "keep it real" and restaurants like Sylvia's famous soul food eatery that offer a taste of "authentic" black culture. In these and other venues, authenticity is considered the best way to distinguish the real from the phony, the genuine from the fake. But in Real Black, John L. Jackson Jr. proposes a new model for thinking about these issues--racial sincerity. Jackson argues that authenticity caricatures identity as something imposed on people, imprisoning them within stereotypes--turning them into racial objects and inanimate things, instead of living, breathing human beings. Contending that such assumptions deny people agency--not to mention humanity--in their search for identity, Jackson counterposes sincerity, an internal and more productive analytical model for thinking about race. Moving in and around Harlem and Brooklyn, Jackson offers a kaleidoscope of subjects and stories that directly and indirectly address how race is negotiated in today's world--including tales of name-changing hip-hop emcees, book-vending numerologists, urban conspiracy theorists, corrupt police officers, mixed-race neo-Nazis, and high-school gospel choirs forbidden to catch the Holy Ghost. Enlisting "Anthroman," his cape-crusading critical alter ego, Jackson records and retells these interconnected sagas in virtuosic detail and, in the process, shows us how race is defined and debated, imposed and confounded every single day.

The first scholarly study of John Lewis and the Third Stream music of the Modern Jazz Quartet

Shocking! Breath taking! This is one that will shake your soul. Maurice Black A.K.A Scooby is a Washington D.C Thug and Hustler with the gift of gab of a Gemini. It seems like he can control everything but time. One way or another he finds a way to get what he wants in life. However his life in the fast lane is causing him to overlook his unique girlfriend Christina. A spontaneous flirt with death causes him to move his life in another direction. An eye opening experience, A Real Black Woman is The Closest thing to God is a straight forward and mesmerizing novel that A Blessing in Disguise has managed to puzzle together in ways that are multidimensional. Any life, no matter how long and complex it may be, is made up of a single moment in which a man finds out, once and for all, who he is - Jorge Luis Borges

Discusses what black males fear most, their longing for intimacy, the pitfalls of patriarchy, and the destruction of oppression through redemption and love.

Reflections of a “revolutionary whore” and champion of sexual freedom and prostitutes' rights. They have to come back to us, because we know every detail of their orgasms, their little caprices, their little weaknesses and strengths. We know all of them. I mean, where do you expect them to go? They'll be disappointed anywhere else. Except for with us, because we know them like the back of our hand. As soon as they get in the door, it's like we'd made them ourselves. We know all the right things to say, all the gestures, there're no surprises. —from The Little Black Book of Grisélidis Réal The Little Black Book of Grisélidis Réal is the portrait of a true humanist who made a career out of compassion. Hailed as a virtuoso writer and a “revolutionary whore,” Grisélidis Réal (1929–2005) chanced into prostitution at thirty-one after an upper-class upbringing in Switzerland. Serving clients from all walks of life, Réal applied the anarcho-Marxist dictum “from each according to his abilities, to each according to his needs” to her profession, charging sliding-scale fees determined by her client's incomes and complexity of their sexual tastes. Réal went on to become a militant champion of sexual freedom and prostitutes' rights. She has described prostitution as “an art, and a humanist science,” noting that “the only authentic prostitution is that mastered by great technical artists...who practice this form of native craft with intelligence, respect, imagination, heart...” This volume includes lengthy dialogues from 1979–1981 with Réal conducted by journalist and author Jean-Luc Henning, in which she eloquently discusses the theoretical implications of sex-positive whoring and relates her experiences both inside and outside the profession: from her lengthy love affair with the “Berber” to such “psychological” and “special” clients as the “moldy rhinoceros.” The “Little Black Book” that rounds out this book is drawn from the logs in which Réal kept track of her many clients, from “Pedro, hilarious fat Spaniard, devoted, simple, honest, fat peasant face, 70F” to “Pierre 8 (from Basel), blue eyes, fifties, slightly balding, cultivated, sweet-violent...licks my finger after I remove it from his anus...100–400F.” It is a journal that not only chronicles Réal's working life, but offers a clinically direct, investigative sociological analysis of the sexual subcultures of her time.

Rubin Carter was in and out of reformatories and prisons from the age of twelve. At twenty-four, he became a winning professional boxer and was turning his life around. But Carter was also very vocal about racism in the local New Jersey police force. In 1966, local policemen arrested Carter and a friend for a triple murder. The two were convicted and sent to jail for life. Carter spent nearly twenty years in jail, proclaiming his innocence. A teen from Brooklyn, Lesra Martin, heard Carter's story and believed he was innocent. He and a small group of Canadians contacted Carter and began working with Carter's lawyers in New York to get the boxer exonerated. In 1985, a judge released Carter, ruling that Carter's conviction had been based not on evidence, but on racism. Carter moved to Canada in 1985, where until his death in 2014 he worked helping others prove that they had been wrongfully convicted.

"The Men in Black were elevated to superstar status in 1997 in the hit movie of the same name. Although the Hollywood blockbuster was fiction, the real Men in Black have consistently attempted to silence the witnesses of UFO and paranormal phenomena since the 1950s. In True Stories of the Real Men in Black, author Nick Redfern delves deep into the mysterious world of these mysterious operatives. He reveals their origins and discusses classic cases, previously unknown reports, secret government files, and the many theories that have been presented to explain the mystery."--