“An innovative and original study that sheds light on masculinity, youth culture, performative violence, and the circuit of global imagery.” —Stephan F. Miescher, author of Making Men in Ghana During the 1950s and 60s in the Congo city of Kinshasa, there emerged young urban male gangs known as “Bills” or “Yankees.” Modeling themselves on the images of the iconic American cowboy from Hollywood film, the Bills sought to negotiate lives lived under oppressive economic, social, and political conditions. They developed their own style, subculture, and slang and as Ch. Didier Gondola shows, engaged in a quest for manhood through bodybuilding, marijuana, violent sexual behavior, and other transgressive acts. Gondola argues that this street culture became a backdrop for Congo-Zaire’s emergence as an independent nation and continues to exert powerful influence on the country’s urban youth culture today. “Aligns social banditry with popular cultural formations and subcultures. This has been a longstanding feature of Didier Gondola’s scholarship that is of great interest.” —Peter J. Bloom, University of California, Santa Barbara “Its approach in terms of poverty and unemployment combined with a subtle interest in performance and the creation of an original culture makes this book an eye-opener. Both the dramatic subject and the author’s vivid style make it a pleasure to read and also food for thought regarding issues that haunt not only Africa but also the world at large.” —American Historical Review

There’s “western,” and then there’s “Western”—and where history becomes myth is an evocative question, one of several questions posed by Josh Garrett-Davis in What Is a Western? Region, Genre, Imagination. Part cultural criticism, part history, and wholly entertaining, this series of essays on specific films, books, music, and other cultural texts brings a fresh perspective to long-studied topics. Under Garrett-Davis’s careful observation, cultural objects such as films and literature, art and artifacts, and icons and oddities occupy the terrain of where the West as region meets the Western genre. One crucial through line in the collection is the relationship of regional “western” works to genre “Western” works, and the ways those two categories cannot be cleanly distinguished—most work about the West is tinted by the Western genre, and Westerns depend on the region for their status and power. Garrett-Davis also seeks to answer the question “What is a Western now?” To do so, he brings the Western into dialogue with other frameworks of the “imagined West” such as Indigenous perspectives, the borderlands, and environmental thinking. The book’s mosaic of subject matter includes new perspectives on the classic musical film Oklahoma!, a consideration of Native activism at Standing Rock, and surprises like Pee-wee’s Big Adventure and Dr. Seuss’s The Lorax. The book is influenced by the borderlands theory of Gloria Anzaldúa and the work of the indie rock band Calexico, as well as the author’s own discipline of western cultural history. Richly illustrated, primarily from the collection of the Autry Museum of the American West, Josh Garrett-Davis’s work is as visually interesting as it is enlightening, asking readers to consider the American West in new ways.

Australian Western in the Fifties: Kangaroo, Hopalong Cassidy on Tour, and Whiplash looks at Australian Westerns from three points of view—film, personal appearance, and television at the beginning, middle, and end of the 1950s, the American Western’s golden age. It looks at three significant but “forgotten” cases: (1) Kangaroo: The Australian Story, the first Technicolor film made in Australia, produced by the Hollywood movie studio 20th Century Fox, directed by the Academy Award-winning filmmaker Lewis Milestone, starring Maureen O’Hara, Peter Lawford, and Richard Boone. (2) The successful goodwill tour of Australia by the Hollywood actor William Boyd who played the film, radio, and television cowboy Hopalong Cassidy. (3) The British-American produced black-and-white TV series Whiplash, made in Australia and starring the Hollywood actor Peter Graves. The American filmmakers’ ignorance of Australia meant they learned the hard way there was more to Australian Westerns than simply replacing the prairie with the bush, bison with kangaroos, and Native Americans with Aboriginals. Indeed, the depiction of place and the presentation of Aboriginal culture are two of the most intriguing aspects of Australian Westerns. In retelling the filmmakers’ stories, a unique picture of the Australian film and television industry and everyday life during the 1950s is revealed.

Challenging established views and assumptions about traditions and practices of filmmaking in the African diaspora, this three-volume set offers readers a researched critique on black film. Volume One of this landmark series on African cinema draws together foundational scholarship on its history and evolution. Beginning with the ideological project of colonial film to legitimize the economic exploitation and cultural hegemony of the African continent during imperial rule to its counter-historical formation and theorization. It comprises essays by film scholars and filmmakers alike, among them Roy Armes, Med Hondo, Fèrid Boughedir, Haile Gerima, Oliver Barlet, Teshome Gabriel, and David Murphy, including three distinct dossiers: a timeline of key dates in the history of African cinema; a comprehensive chronicle and account of the contributions by African women in cinema; and a homage and overview of Ousmane Sembène, the "Father" of African cinema.

Metropolises often evoke images of flashy high-rise buildings, permanent background noise, backed-up cars and people moving quickly in all directions in their masses. New York, Tokyo, London, Sao Paulo. But what about Cairo?

Almost 100 recipes celebrating the cowboy lifestyle, plus cooking secrets, photos & stories from real cowboy cooks, ranchers & locals across North America. Life in the saddle, on the trail, and in the outback has forged a style of living that cowboy-turned-chef Grady Spears calls the Cowboy Way. In Cooking the Cowboy Way, he takes you on a journey around the country to amazing places full of food, history, and people who have an appreciation for the land. These places where life and living (and that always includes cooking and eating) come alive in the spirit of the cowboy. In Cooking the Cowboy Way, you’ll have a ringside seat at the rodeo as Grady wrestles down new recipes from some incredible cowboy cooks and kitchen wranglers who know what hungry cow folks want to eat. And in the process, you’ll be carried away by the magic of starry nights by the campfire and seduced by the heritage of the chuck wagon and ranch kitchens, where the menus are still stoked by the traditions of the Old West just as they have been for a century or more. Cowboys live life by a simple code that is shared through their rustic lifestyles and the delicious recipes found in Cooking the Cowboy Way. Cowboy cooks, ranchers, and locals from across North America share their recipes, cooking secrets, photos, and stories about their unique and proud way of life. From the Lone Star State to the Grand Canyon State, and from Florida to Alberta, Canada, cowboys have a way with the land and the food that comes form it. Each chapter focuses on a different location, including the Wildcatter Cattle Ranch in Graham, Texas; the Bellamy Brothers Ranch in Darby, Florida; the Homeplace Ranch in Alberta, Canada; Rancho de la Osa in Tucson, Arizona; and more. Praise for Cooking the Cowboy Way “Cooking the Cowboy Way is not a guide to old-fashioned ranch and trail grub. And that’s a good thing. The book is an homage to the cowboy legacy, which Spears finds evolving on the nation’s ranches.” —Dallas Morning News “[Grady Spears and June Naylor] went all over the country, with a heavy emphasis on Texas, of course, drawing inspiration from cooks on and around ranches large and small. They then took these recipes and adapted them for regular kitchens and modern uses (i.e., dinner parties and backyard cooking). The results sound great.” —Texas Monthly

This book is about the impact of literature upon cities world-wide, and cities upon literature. It examines why the city matters so much to contemporary critical theory, and why it has inspired so many forms of writing which have attempted to deal with its challenges to think about it and to represent it. Gathering together 40 contributors who look at different modes of writing and film-making in throughout the world, this handbook asks how the modern city has engendered so much theoretical consideration, and looks at cities and their literature from China to Peru, from New York to Paris, from London to Kinshasa. It looks at some of the ways in which modern cities – whether capitals, shanty-towns, industrial or ‘rust-belt’ – have forced themselves on people’s ways of thinking and writing.