This book was the first to provide a comprehensive survey of linguistic research into African-American English and is widely recognised as a classic in the field. It covers both the main linguistic features, in particular the grammar, phonology, and lexicon as well as the sociological, political and educational issues connected with African-American English. The editors have played key roles in the development of African-American English and Black Linguistics as overlapping academic fields of study. Along with other leading figures, notably Geneva Smitherman, William Labov and Walt Wolfram, they provide an authoritative diverse guide to these vitally important subject areas. Drawing on key moments of cultural significance from the Ebonics controversy to the rap of Ice-T, the contributors cover the state of the art in scholarship on African-American English, and actively dispel misconceptions, address new questions and explore new approaches. This classic edition has a new foreword by Sonja Lanehart, setting the book in context and celebrating its influence. This is an essential text for courses on African-American English, key reading for Varieties of English and World Englishes modules and an important reference for students of linguistics, black studies and anthropology at both undergraduate and postgraduate level.

Rap and hip hop, the music and culture rooted in African American urban life, bloomed in the late 1970s on the streets and in the playgrounds of New York City. This critical collection serves as a historical guide to rap and hip hop from its beginnings to the evolution of its many forms and frequent controversies, including violence and misogyny. These wide-ranging essays discuss white crossover, women in rap, gangsta rap, message rap, raunch rap, Latino rap, black nationalism, and other elements of rap and hip hop culture like dance and fashion. An extensive bibliography and pictorial profiles by Ernie Pannicolli enhance this collection that brings together the foremost experts on the pop culture explosion of rap and hip hop. Author note: William Eric Perkins is a Faculty Fellow at the W.E.B. DuBois House at the University of Pennsylvania, and an Adjunct Professor of Communications at Hunter College, City University of New York.

Applying contemporary pragmatism to the crucial question of how philosophy can help us live better, Shusterman develops his distinctive aesthetic model of philosophical living that includes politics, somatics, and ethnicity, while critically engaging the rival views of Dewey, Wittgenstein, and Foucault, as well as Rorty, Putnam, Goodman, Habermas, and Cavell.

How does the therapist begin psychotherapy? How, that is, does she conceptualize the needs of the patient while simultaneously enlisting him or her as an active partner in formulating an individualized working plan? And how should supervisors teach the skills needed to make the intake procedure truly the beginning of treatment? In Beginnings: The Art and Science of Planning Psychotherapy Mary Jo Peebles-Kleiger tackles these and other questions in an authoritative manner that draws on the cumulative experience of the outpatient department of the Menninger Psychiatric Clinic. Peebles-Kleiger outlines an approach that gives equal weight to the need for a diagnostic case formulation with specific treatment recommendations and the need to make the patient an active partner in the process right from the start. Clinicians of every persuasion will appreciate her sensitive, discerning grasp of the dyadic interaction of the inital sessions, when the therapist must refine preliminary hypotheses and simultaneously engage the patient in a process of discovery and self-reflection that lays the groundwork for the therapeutic alliance. Peebles-Kleiger's elegant synoptic discussions of the major categories of psychological dysfunction and the different treatment strategies appropriate to them are carefully calibrated, with actual examples, to the limits and opportunities of the first sessions. Of particular value is her unusual capacity to articulate patients' various difficulties in forming and maintaining an alliance, and then to show how such difficulties feed back into the clinician's interventions in the first few sessions. In this manner, she illustrates how potential treatment obstacles-- difficulties in affect regulation, in reality testing, in conscience formation, among others--can be assessed and subjected to trial interventions from the very start. Skilled in various psychodynamic and behavioral approaches, from psychoanalysis to hypnotherapy, Peebles-Kleiger consistently advances an integrative approach that cuts across specific modalities and combines sophisticated psychodynamic understanding with the fruits of empirical research. Both primer and sourcebook, Beginnings: The Art and Science of Planning Psychotherapy fills a niche in the literature so admirably that clinicians will find it indispensible in planning humanely responsive treatment in an increasingly complex therapeutic world.

The Hip Hop Movement offers a critical theory and alternative history of rap music and hip hop culture by examining their roots in the popular musics and popular cultures of the Civil Rights Movement and Black Power Movement. Connecting classic rhythm & blues and rock & roll to the Civil Rights Movement, and classic soul and funk to the Black Power Movement, The Hip Hop Movement explores what each of these musics and movements contributed to rap, neo-soul, hip hop culture, and the broader Hip Hop Movement. Ultimately, this book’s remixes (as opposed to chapters) reveal that black popular music and black popular culture have always been more than merely “popular music” and “popular culture” in the conventional sense and reflect a broader social, political, and cultural movement. With this in mind, sociologist and musicologist Reiland Rabaka critically reinterprets rap and neo-soul as popular expressions of the politics, social visions, and cultural values of a contemporary multi-issue movement: the Hip Hop Movement. Rabaka argues that rap music, hip hop culture, and the Hip Hop Movement are as deserving of critical scholarly inquiry as previous black popular musics, such as the spirituals, blues, ragtime, jazz, rhythm & blues, rock & roll, soul, and funk, and previous black popular movements, such as the Black Women’s Club Movement, New Negro Movement, Harlem Renaissance, Civil Rights Movement, Black Power Movement, Black Arts Movement, and Black Women’s Liberation Movement. This volume, equal parts alternative history of hip hop and critical theory of hip hop, challenges those scholars, critics, and fans of hip hop who lopsidedly over-focus on commercial rap, pop rap, and gangsta rap while failing to acknowledge that there are more than three dozen genres of rap music and many other socially and politically progressive forms of hip hop culture beyond DJing, MCing, rapping, beat-making, break-dancing, and graffiti-writing.