From 1968 to 1972, St. Louis was home to the Black Artists' Group (BAG), a seminal arts collective that nurtured African American experimentalists involved with theater, visual arts, dance, poetry, and jazz. Inspired by the reinvigorated black cultural nationalism of the 1960s, artistic collectives had sprung up around the country in a diffuse outgrowth known as the Black Arts Movement. These impulses resonated with BAG's founders, who sought to raise black consciousness and explore the far reaches of interdisciplinary performance--all while struggling to carve out a place within the context of St. Louis history and culture.A generation of innovative artists--Julius Hemphill, Oliver Lake, and Emilio Cruz, to name but a few--created a moment of intense and vibrant cultural life in an abandoned industrial building on Washington Avenue, surrounded by the evisceration that typified that decade's "urban crisis." The 1960s upsurge in political art blurred the lines between political involvement and artistic production, and debates over civil rights, black nationalism, and the role of the arts in political and cultural struggles all found form in BAG. This book narrates the group's development against the backdrop of St. Louis spaces and institutions, examines the work of its major artists, and follows its musicians to Paris and on to New York, where they played a dominant role in Lower Manhattan's 1970s "loft jazz" scene. By fusing social concern and artistic innovation, the group significantly reshaped the St. Louis and, by extension, the American arts landscape.
How do our eyes process and communicate the data needed for us to negotiate the world around us? This book exploits recent technological advances in eye tracking systems to present a state-of-the-art account of human vision. It explores practical implications, for example in driving, playing sports, and ergonomics.
Smart, sublime, and wickedly clever, The Smash-Up captures—then transcends—our current polarized moment “An exhilarating ride . . . hilarious . . . a modern and energetic story about a marriage on the skids.”—The New York Times Ethan has always been one of the good guys, and for years, nobody has appreciated this fact more than his wife, Zo. Until now. Jolted into activism by the 2016 election, Zo’s transformed their home into the headquarters for the local resistance, turning their comfortable decades-long marriage inside-out. Meanwhile, their boisterous daughter, Alex, grows wilder by the day. Ethan’s former business partner needs help saving the media company they’d co-founded. Financial disaster looms. Enter a breezy, blue-haired millennial making her way through the gig economy. Suddenly Ethan faces a choice unlike any he’s ever had to make. Unfolding over fivet urbulent days in 2018, The Smash-Up wrestles shrewdly with some of the biggest questions of our time: What, exactly, does it mean to be a good guy? What will it take for men to break the “bro code”? How does the world respond when a woman demands more? Can we ever understand another's experiences… and what are the consequences of failing to try? Moving, funny, and cathartic, this portrait of a marriage—and a nation—under strain is, ultimately, a magic trick of empathy, one that will make you laugh and squirm until its final, breathless pages.
ZOMBIE, sprinkled with murder, is about a demented chief executive officer extinguishing Kings and Queens and head of nations, anyone in between that gets in his way, and snatching women, detaining them, controlled by a modern type of horror in a shirt and tie, smooth-talking, willing as far as kill to have his way.
Set against the backdrop of twentieth-century America, against the social fabric of segregation and the broad canvas of foreign war, Benjamin O. Davis, Jr.: American tells a compelling story of personal achievement against formidable odds. Born into an era when potential was measured according to race, Davis was determined to be judged by his character and deeds—to succeed as an American, and not to fail because of color. With twelve million citizens —the black population of the United States—pulling for him, Davis entered West Point in 1932, resolved to become an officer even though official military directives stated that blacks were decidedly inferior, lacking in courage, superstitious, and dominated by moral and character weaknesses. “Silenced” by his peers, for four years spoken to only in the line of duty, David did not falter. He graduated 35th in a class of 276 and requested assignment to the Army Air Corps, then closed to blacks. He went on to lead the 99th Pursuit Squadron and the 332nd Fighter Group—units known today as the Tuskegee Airmen—into air combat over North Africa and Italy during World War II. His performance, and that of his men, enabled the Air Force to integrate years before civilian society confronted segregation. Thereafter, in a distinguished career in the Far East, Europe, and the United States, Davis commanded both black and white units. Davis’s story is interwoven with often painful accounts of the discrimination he and his wife, Agatha, endured as a fact of American military and civilian life. Traveling across the country, unable to find food and lodging, they were often forced to make their way nonstop. Once on base, they were denied use of clubs and, in the early days, were never allowed to attend social activities. Though on-base problems were solved by President Truman’s integration of the military in 1949, conditions in the civilian community continued, eased but not erased by enactment of President Johnson’s legislative program in the 1960s. Overseas, however, where relations were unfettered by racism, the Davises enjoyed numerous friendships within the military and with such foreign dignitaries as President and Madame Chiang Kai-shek. Benjamin O. Davis, Jr., retired in 1970 as a three-star general. His autobiography, capturing the fortitude and spirit with which he and his wife met the pettiness of segregation, bears out Davis’s conviction that discrimination—both within the military and in American society—reflects neither this nation’s ideals nor the best use of its human resources.
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