Foundational Black American Race Baiter is a journal from world-renowned activist and social influencer Tariq Nasheed and his perspective on race relations

Who exactly is a Foundational Black Native American? What have we contributed to the United States? The world? Why haven't we ever been properly recognized? Even Thanked? Why haven't abolitionists, and other unsung heroes ever been properly thanked and recognized? Foundational Black Native Americans have a very distinct and unique history and heritage here in the United States and deserve a long overdue Thank you for all their contributions and flavor they have given to America and the World. This book pays homage to Native Black Americans. You will learn the true history and heritage of Foundational Native Black Americans. This book gives a synopsis of some of our contributions, including our inventions and all we have had to overcome here in the United States that everyone enjoys. You will also get a review of the many ways we have been "repaid" for all our hard work and suffering. Finally, you get a "shout out" if you will of other unsung heroes here in America and abroad. When done reading this book, you will walk away with a deep reverence for our ancestors and should feel inspired to help move the needle forward for the next generation in the same way our ancestors worked so hard to leave a better world for us. Carolyn Jo Vining is a college graduate and a corporate professional. And now published author. She grew up in America on the Westcoast, coming from humble beginnings in south central L.A and now lives in Atlanta, Ga. Her father was a Vietnam Vet and her grandmother's grandmother was a slave (prisoner of war). Carolyn is as American as it gets. She wrote this book paying homage to her ancestors and HER COUNTRY.

Foundational Black American Race Baiter is a journal from world-renowned activist and social influencer Tariq Nasheed and his perspective on race relations

Barack Obama’s presidential victory naturally led people to believe that the United States might finally be moving into a post-racial era. Obama’s Race—and its eye-opening account of the role played by race in the election—paints a dramatically different picture. The authors argue that the 2008 election was more polarized by racial attitudes than any other presidential election on record—and perhaps more significantly, that there were two sides to this racialization: resentful opposition to and racially liberal support for Obama. As Obama’s campaign was given a boost in the primaries from racial liberals that extended well beyond that usually offered to ideologically similar white candidates, Hillary Clinton lost much of her longstanding support and instead became the preferred candidate of Democratic racial conservatives. Time and again, voters’ racial predispositions trumped their ideological preferences as John McCain—seldom described as conservative in matters of race—became the darling of racial conservatives from both parties. Hard-hitting and sure to be controversial, Obama’s Race will be both praised and criticized—but certainly not ignored.

Film noir_literally 'black cinema'_is the label customarily given to a group of black and white American films, mostly crime thrillers, made between 1940 and 1959. Today there is considerable dispute about what are the shared features that classify a noir film, and therefore which films should be included in this category. These problems are partly caused because film noir is a retrospective label that was not used in the 1940s or 1950s by the film industry as a production category and therefore its existence and features cannot be established through reference to trade documents. The Historical Dictionary of Film Noir is a comprehensive guide that ranges from 1940 to present day neo-noir. It consists of a chronology, an introductory essay, a bibliography, a filmography, and over 400 cross-referenced dictionary entries on every aspect of film noir and neo-noir, including key films, personnel (actors, cinematographers, composers, directors, producers, set designers, and writers), themes, issues, influences, visual style, cycles of films (e.g. amnesiac noirs), the representation of the city and gender, other forms (comics/graphic novels, television, and videogames), and noir's presence in world cinema. It is an essential reference work for all those interested in this important cultural phenomenon.

This oral history collection brings together extended interviews with fifteen women, illuminating the part that gender roles play in ensnaring women in cycles of domestic abuse and homelessness and highlighting the physical stresses. It also challenges liberal myths about homeless people, and homeless women in particular.

After Franz Kafka died in 1924, his novels and short stories were published in ways that downplayed both their author's roots in Prague and his engagement with Jewish tradition and language, so as to secure their place in the German literary canon. Now, nearly a century after Kafka began to create his fictions, Germany, Israel, and the Czech Republic lay claim to his legacy. Kafka's Jewish Languages brings Kafka's stature as a specifically Jewish writer into focus. David Suchoff explores the Yiddish and modern Hebrew that inspired Kafka's vision of tradition. Citing the Jewish sources crucial to the development of Kafka's style, the book demonstrates the intimate relationship between the author's Jewish modes of expression and the larger literary significance of his works. Suchoff shows how "The Judgment" evokes Yiddish as a language of comic curse and examines how Yiddish, African American, and culturally Zionist voices appear in the unfinished novel, Amerika. In his reading of The Trial, Suchoff highlights the black humor Kafka learned from the Yiddish theater, and he interprets The Castle in light of Kafka's involvement with the renewal of the Hebrew language. Finally, he uncovers the Yiddish and Hebrew meanings behind Kafka's "Josephine the Singer, or the Mouse-Folk" and considers the recent legal case in Tel Aviv over the possession of Kafka's missing manuscripts as a parable of the transnational meanings of his writing.