Covington is the seat of St. Tammany Parish government and sits north of Lake Pontchartrain in the New Orleans metropolitan area. Records from 1727 show 11 Africans on the north shore. One person of African descent was present at the founding of Covington on July 4, 1813. Most African Americans in antebellum Covington were slaves, with a modest number of free people, all of whom covered nearly every occupation needed for the development and sustenance of a heavily forested region. For more than 200 years in Covington, African Americans transformed their second-class status by grounding themselves in shared religious and social values. They organized churches, schools, civic organizations, benevolent societies, athletic associations, and businesses to address their needs and to celebrate their joys.

Covington is the seat of St. Tammany Parish government and sits north of Lake Pontchartrain in the New Orleans metropolitan area. Records from 1727 show 11 Africans on the north shore. One person of African descent was present at the founding of Covington on July 4, 1813. Most African Americans in antebellum Covington were slaves, with a modest number of free people, all of whom covered nearly every occupation needed for the development and sustenance of a heavily forested region. For more than 200 years in Covington, African Americans transformed their second-class status by grounding themselves in shared religious and social values. They organized churches, schools, civic organizations, benevolent societies, athletic associations, and businesses to address their needs and to celebrate their joys.

Henry E. Frye came of age just as the South was beginning a transformational change. When he graduated from college in 1953, African Americans like him could only hope that the future would be different from the past. At the close of his public career in 2001, he was chief justice of the North Carolina Supreme Court--the head of the state's third branch of government. Throughout their lives, Frye and his wife, Shirley, were in the vanguard of the advances that shaped the lives of African Americans. His election to the state legislature in 1968 was the beginning of steady, determined efforts to expand opportunities for African Americans in politics, business and society at large. This book traces, along with his career, the growing participation of African Americans in the civic, political and social life of North Carolina.

Describing her struggle as a black woman with an eating disorder that is consistently portrayed as a white woman's problem, this insightful and moving narrative traces the background and factors that caused her bulimia. Moving coast to coast, she tries to escape her self-hatred and obsession by never slowing down, unaware that she is caught in downward spiral emotionally, spiritually, and physically. Finally she can no longer deny that she will die if she doesn't get help, overcome her shame, and conquer her addiction. But seeking help only reinforces her negative self-image, and she discovers her race makes her an oddity in the all-white programs for eating disorders. This memoir of her experiences answers many questions about why black women often do not seek traditional therapy for emotional problems.

The contributors to Embodying Black Religions in Africa and Its Diasporas investigate the complex intersections between the body, religious expression, and the construction and transformation of social relationships and political and economic power. Among other topics, the essays examine the dynamics of religious and racial identity among Brazilian Neo-Pentecostals; the significance of cloth coverings in Islamic practice in northern Nigeria; the ethics of socially engaged hip-hop lyrics by Black Muslim artists in Britain; ritual dance performances among Mama Tchamba devotees in Togo; and how Ifá practitioners from Mexico, Colombia, Venezuela, Trinidad, and the United States join together in a shared spiritual ethnicity. From possession and spirit-induced trembling to dance, the contributors outline how embodied religious practices are central to expressing and shaping interiority and spiritual lives, national and ethnic belonging, ways of knowing and techniques of healing, and sexual and gender politics. In this way, the body is a crucial site of religiously motivated social action for people of African descent. Contributors. Rachel Cantave, Youssef Carter, N. Fadeke Castor, Yolanda Covington-Ward, Casey Golomski, Elyan Jeanine Hill, Nathanael J. Homewood, Jeanette S. Jouili, Bertin M. Louis Jr., Camee Maddox-Wingfield, Aaron Montoya, Jacob K. Olupona, Elisha P. Renne

The story of African Americans in Kentucky is as diverse and vibrant as the state's general history. The work of more than 150 writers, The Kentucky African American Encyclopedia is an essential guide to the black experience in the Commonwealth. The encyclopedia includes biographical sketches of politicians and community leaders as well as pioneers in art, science, and industry. Kentucky's impact on the national scene is registered in an array of notable figures, such as writers William Wells Brown and bell hooks, reformers Bessie Lucas Allen and Shelby Lanier Jr., sports icons Muhammad Ali and Isaac Murphy, civil rights leaders Whitney Young Jr. and Georgia Powers, and entertainers Ernest Hogan, Helen Humes, and the Nappy Roots. Featuring entries on the individuals, events, places, organizations, movements, and institutions that have shaped the state's history since its origins, the volume also includes topical essays on the civil rights movement, Eastern Kentucky coalfields, business, education, and women. For researchers, students, and all who cherish local history, The Kentucky African American Encyclopedia is an indispensable reference that highlights the diversity of the state's culture and history.

In 1929 and 1930, during the Hollywood studios' conversion to synchronized-sound film production, white-controlled trade magazines and African American newspapers celebrated a "vogue" for "Negro films." "Hollywood's African American Films" argues that the movie business turned to black musical performance to both resolve technological and aesthetic problems introduced by the medium of "talking pictures" and, at the same time, to appeal to the white "Broadway" audience that patronized their most lucrative first-run theaters. Capitalizing on highbrow associations with white "slumming" in African American cabarets and on the cultural linkage between popular black musical styles and "natural" acoustics, studios produced a series of African American-cast and white-cast films featuring African American sequences. Ryan Jay Friedman asserts that these transitional films reflect contradictions within prevailing racial ideologies--arising most clearly in the movies' treatment of African American characters' decisions to migrate. Regardless of how the films represent these choices, they all prompt elaborate visual and narrative structures of containment that tend to highlight rather than suppress historical tensions surrounding African American social mobility, Jim Crow codes, and white exploitation of black labor.