“Defund the police!” is shouted in the streets. A.C.A.B. is spray painted on precinct buildings. Countless citizens believe all police are racists. In this era of civil unrest and political divide, how do Black cops—or any cops—maintain the motivation and commitment to do their job? Former police officer, co-founder of BLEXIT, and Founder and CEO of The Officer Tatum—Brandon Tatum shares his story and the stories of other police officers in the pages of his new book, Beaten Black and Blue. Read why they joined the force, what it’s really like on the streets, and how they continue to fight the good fight. Forget what you think you know and learn the truth!
In The Black Republic, Brandon R. Byrd explores the ambivalent attitudes that African American leaders in the post-Civil War era held toward Haiti, the first and only black republic in the Western Hemisphere. Following emancipation, African American leaders of all kinds—politicians, journalists, ministers, writers, educators, artists, and diplomats—identified new and urgent connections with Haiti, a nation long understood as an example of black self-determination. They celebrated not only its diplomatic recognition by the United States but also the renewed relevance of the Haitian Revolution. While a number of African American leaders defended the sovereignty of a black republic whose fate they saw as intertwined with their own, others expressed concern over Haiti's fitness as a model black republic, scrutinizing whether the nation truly reflected the "civilized" progress of the black race. Influenced by the imperialist rhetoric of their day, many African Americans across the political spectrum espoused a politics of racial uplift, taking responsibility for the "improvement" of Haitian education, politics, culture, and society. They considered Haiti an uncertain experiment in black self-governance: it might succeed and vindicate the capabilities of African Americans demanding their own right to self-determination or it might fail and condemn the black diasporic population to second-class status for the foreseeable future. When the United States military occupied Haiti in 1915, it created a crisis for W. E. B. Du Bois and other black activists and intellectuals who had long grappled with the meaning of Haitian independence. The resulting demand for and idea of a liberated Haiti became a cornerstone of the anticapitalist, anticolonial, and antiracist radical black internationalism that flourished between World War I and World War II. Spanning the Reconstruction, post-Reconstruction, and Jim Crow eras, The Black Republic recovers a crucial and overlooked chapter of African American internationalism and political thought.
Queering Black Churches explores how open and affirming (ONA) historically Black churches have queered their congregations. Using the lenses of practical theology, ecclesiology, Queer theology, and gender studies, Brandon Thomas Crowley examines the heteronormative histories, theologies, morals, values, and structures of Black churches and how their longstanding assumptions can be challenged to dismantle homophobia within African American congregations and move beyond surface-level allyship toward actual structural renovation.
In The Black Republic, Brandon R. Byrd explores the ambivalent attitudes that African American leaders in the post-Civil War era held toward Haiti, the first and only black republic in the Western Hemisphere. Following emancipation, African American leaders of all kinds—politicians, journalists, ministers, writers, educators, artists, and diplomats—identified new and urgent connections with Haiti, a nation long understood as an example of black self-determination. They celebrated not only its diplomatic recognition by the United States but also the renewed relevance of the Haitian Revolution. While a number of African American leaders defended the sovereignty of a black republic whose fate they saw as intertwined with their own, others expressed concern over Haiti's fitness as a model black republic, scrutinizing whether the nation truly reflected the "civilized" progress of the black race. Influenced by the imperialist rhetoric of their day, many African Americans across the political spectrum espoused a politics of racial uplift, taking responsibility for the "improvement" of Haitian education, politics, culture, and society. They considered Haiti an uncertain experiment in black self-governance: it might succeed and vindicate the capabilities of African Americans demanding their own right to self-determination or it might fail and condemn the black diasporic population to second-class status for the foreseeable future. When the United States military occupied Haiti in 1915, it created a crisis for W. E. B. Du Bois and other black activists and intellectuals who had long grappled with the meaning of Haitian independence. The resulting demand for and idea of a liberated Haiti became a cornerstone of the anticapitalist, anticolonial, and antiracist radical black internationalism that flourished between World War I and World War II. Spanning the Reconstruction, post-Reconstruction, and Jim Crow eras, The Black Republic recovers a crucial and overlooked chapter of African American internationalism and political thought.
John Hervey Wheeler (1908--1978) was one of the civil rights movement's most influential leaders. In articulating a bold vision of regional prosperity grounded in full citizenship and economic power for African Americans, this banker, lawyer, and visionary would play a key role in the fight for racial and economic equality throughout North Carolina. Utilizing previously unexamined sources from the John Hervey Wheeler Collection at the Atlanta University Center Robert W. Woodruff Library, this biography explores the black freedom struggle through the life of North Carolina's most influential black power broker. After graduating from Morehouse College, Wheeler returned to Durham and began a decades-long career at Mechanics and Farmers (M&F) Bank. He started as a teller and rose to become bank president in 1952. In 1961, President Kennedy appointed Wheeler to the President's Committee on Equal Employment Opportunity, a position in which he championed equal rights for African Americans and worked with Vice President Johnson to draft civil rights legislation. One of the first blacks to attain a high position in the state's Democratic Party, Wheeler became the state party's treasurer in 1968, and then its financial director. Wheeler urged North Carolina's white financial advisors to steer the region toward the end of Jim Crow segregation for economic reasons. Straddling the line between confrontation and negotiation, Wheeler pushed for increased economic opportunity for African Americans while reminding the white South that its future was linked to the plight of black southerners.
How do young Black men navigate the transition to adulthood in an era of labor market precarity, an increasing emphasis on personal independence, and gendered racism? In Brotherhood University, Brandon A. Jackson utilizes longitudinal qualitative data to examine the role of emotions and social support among a group of young Black men as they navigate a “structural double bind” as college students and into early adulthood. While prevailing stereotypes portray young Black men as emotionally aloof, Jackson finds that the men invested in an emotion culture characterized by vulnerability, loyalty, and trust, which created a system of mutual social support, or brotherhood, among the group as they navigated college, prepared for the labor market, and experienced romantic relationships. Ten years later, as they managed the early stages of their careers and considered marriage and child-rearing, the men continued to depend on the emotional vulnerability and close relationships they forged in their college years.
Few Black cartoonists have entered national syndication, and before Barbara Brandon-Croft, none of them were women. From 1989 to 2005, she brought Black women’s perspectives to an international audience with her trailblazing comic strip Where I’m Coming From. From diets to day care to debt to dreaded encounters with everyday racism, no issue is off-limits. This remarkable and unapologetically funny career retrospective holds a mirror up to the ways society has changed and all the ways it hasn’t. The magic in Where I’m Coming From is its ability to present an honest image of Black life without sacrificing Black joy, bolstered by unexpected one-liners eliciting much-needed laughter. As the daughter of the mid-century cartoonist Brumsic Brandon Jr.—the creator of Luther, the second nationally syndicated strip to feature a Black lead—Brandon-Croft learned from the best. With supplementary writing by the author and her peers alongside throwback ephemera, this long-overdue collection situates Brandon-Croft as an inimitable cartoonist, humorist, and social commentator, securing her place in the comics canon and allowing her work to inspire new readers at a time when it is most needed.
The fifth book of poetry from StraightJacket Publications, Midnight Forever: The Black Market By: Brandon D. Henry! Poems of my love of ghosts, Death, finding a place to belong, my love of Owls, going drinking with my ghosts, Love, a poem story of a Walking Angel, a poem story of a ghost ship, and more!
In a New Orleans that Never Was and Never Will Be, there are a thousand stories to tell. There are stories of sorrow and triumph, of passion and fury, of love and of revenge. Aloft with cloud and sun, great warrior airships drift silently over the city below, crewed by eager young men and women awaiting the moment they will be called upon to strike against foes with cannon and with sword. Steamboats float down the river bringing travellers from far climes and distant lands unknown to our more mundane world. Lovers ride down the boulevards upon clockwork carriages drawn by mechanical horses. Cheated gamblers decide between making a break for the door or breaking the quiet calm with the staccato beat of revolver gunfire. Ragtime music echoes as fallen women ply the world's oldest trade in the streets of Storyville. Soldiers lead clanking platoons of clockwork automatons through the port on their way to their next deployment and archaeologists, explorers and adventurers set forth aboard airships to find new lands, fortune and glory or perhaps death in the forlorn forsaken corners of the globe. These are the stories of New Orleans By Gaslight.
A gritty and thrilling anthology of 30 new short stories in tribute to pulp noir master, Cornell Woolrich, author of 'Rear Window' that inspired Alfred Hitchock's classic film. Featuring Neil Gaiman, Kim Newman, James Sallis, A.K. Benedict, USA Today-bestseller Samantha Lee Howe, Joe R. Lansdale and many more. An anthology of exclusive new short stories in tribute to the master of pulp era crime writing, Cornell Woolrich. Woolrich, also published as William Irish and George Hopley, stands with Raymond Chandler, Erle Stanley Gardner and Dashiell Hammett as a legend in the genre. He is a hugely influential figure for crime writers, and is also remembered through the 50+ films made from his novels and stories, including Alfred Hitchcock’s Rear Window, The Bride Wore Black, I Married a Dead Man, Phantom Lady, Truffaut's La Sirène du Mississippi, and Black Alibi. Collected and edited by one of the most experienced editors in the field, Maxim Jakubowski, features original work from: Neil Gaiman Joel Lane Joe R. Lansdale Vaseem Khan Brandon Barrows Tara Moss Kim Newman Nick Mamatas Mason Cross Martin Edwards Donna Moore James Grady Lavie Tidhar Barry N. Malzberg James Sallis A.K. Benedict Warren Moore Max Décharné Paul Di Filippo M.W. Craven Charles Ardai Susi Holliday Bill Pronzini Kristine Kathryn Rusch Maxim Jakubowski Joseph S. Walker Samantha Lee Howe O'Neil De Noux David Quantick Ana Teresa Pereira William Boyle.
Queering Black Churches provides a systematic approach for dismantling heteronormativity within African American congregations. Using the lenses of practical theology, ecclesiology, Queer theology, and gender studies, Brandon Thomas Crowley examines the heteronormative histories, theologies, morals, values, and structures of Black churches and how their longstanding assumptions can be challenged. Drawing on the experiences of several historically Black churches that became open and affirming (ONA), Queering Black Churches explores how historically Black churches have queered their congregations. Crowley examines the similarities and differences in their approaches and synthesizes them into a methodology called Black ecclesial Queering: a theoretical analysis and a practical method of queering that centers on the lived experiences of Black Queer folks seeking to subvert the puritanical ideologies of Black churches. Crowley argues for a systematic approach to dismantling homophobia within African American congregations that moves beyond surface-level allyship toward actual structural renovation. With its groundbreaking documentation of ONA congregations and its practical proposals for change, this book will be a valuable resource for students, scholars, and clergy alike.
Dating back to the blackface minstrel performances of Bert Williams and the trickster figure of Uncle Julius in Charles Chesnutt’s Conjure Tales, black humorists have negotiated American racial ideologies as they reclaimed the ability to represent themselves in the changing landscape of the early 20th century. Marginalized communities routinely use humor, specifically satire, to subvert the political, social, and cultural realities of race and racism in America. Through contemporary examples in popular culture and politics, including the work of Kendrick Lamar, Key and Peele and the presidency of Barack Obama and many others, in Played Out: The Race Man in 21st Century Satire author Brandon J. Manning examines how Black satirists create vulnerability to highlight the inner emotional lives of Black men. In focusing on vulnerability these satirists attend to America’s most basic assumptions about Black men. Contemporary Black satire is a highly visible and celebrated site of black masculine self-expression. Black satirists leverage this visibility to trouble discourses on race and gender in the Post-Civil Rights era. More specifically, contemporary Black satire uses laughter to decenter Black men from the socio-political tradition of the Race Man.
Audible's Best of the Year in Well-Being YOU ARE ENOUGH EXACTLY AS YOU ARE. From the time we’re born, a litany of do’s and don’ts are placed on us by our families, our communities, and society. We’re required to fit into boxes based on our race, gender, sexuality, and other parts of our identities, being told by others how we should behave, who we should date, or what we should be interested in. For so many of us, those boxes begin to feel like shackles when we realize they don’t fit our unique shape, yet we keep trying because we crave acceptance and validation. But is “fitting in” worth the time, energy, and suffering? Actor, writer, and activist Brandon Kyle Goodman says, Hell no it ain’t! As a Black nonbinary, queer person in a dark-skinned 6’1”, 180-pound male body born into a religious immigrant household, Brandon knows the pain of having to hide one’s true self, the work of learning to love that true self, and the freedom of finally being your true self. In You Gotta Be You, Brandon affectionately challenges you to consider, “Who would I be if society never got its hands on me?” This question set Brandon on a mission to dropkick societal shackles by unlearning all the things he was told he should be in order to step into who he really is. It required him to reexamine messy but ultimately defining moments in his life—his first time being followed in a store, navigating his mother’s born-again Christianity, and regretfully using soap as lube (yes, you read that right!)—to find the lessons that would guide him to his most authentic self. Compassionate and soulful, funny and revealing, You Gotta Be You is an unapologetic call to self-freedom. It’s about turning rejection (from others and yourself) into a roadmap to self-love. It’s a guide to setting boundaries and fostering self-growth. And most importantly, it’s an affirmation that we are enough exactly as we are.
Through empowering words, motivating experiences, and insightful quotes of wisdom, this journal will put you on a path of evolution. TheBlackManCan Presents Define Yourself, Redefine the World: A Guided Journal for Black Boys and Men is a one-of-a-kind proactive tool that will help to propel any man, young or otherwise, to actively question the man he desires to be. It is a journal that will open your mind, strengthen your heart, and provide you with an outlet to release your thoughts. There is no other journal specifically designed for black boys and men, and this one takes a life-changing approach. Every quote and essential question will leave you feeling closer to your destiny. It explores topics related to education, spirituality, purpose, passion, career, leadership, culture, and fatherhood, all of which are vital concepts for your development.TheBlackManCan Presents Define Yourself, Redefine the World: A Guided Journal for Black Boys and Men can be used as a parent-child workbook, teenage journal, or even given as a Father's Day gift.
Throughout the Jim Crow era, southern police departments played a vital role in the maintenance of white supremacy. Police targeted African Americans through an array of actions, including violent interactions, unjust arrests, and the enforcement of segregation laws and customs. Scholars have devoted much attention to law enforcement’s use of aggression and brutality as a means of maintaining African American subordination. While these interpretations are vital to the broader understanding of police and minority relations, Black citizens have often come off as powerless in their encounters with law enforcement. Brandon T. Jett’s Race, Crime, and Policing in the Jim Crow South, by contrast, reveals previously unrecognized efforts by African Americans to use, manage, and exploit policing. In the process, Jett exposes a much more complex relationship, suggesting that while violence or the threat of violence shaped police and minority relations, it did not define all interactions. Black residents of southern cities repeatedly complained about violent policing strategies and law enforcement’s seeming lack of interest in crimes committed against African Americans. These criticisms notwithstanding, Blacks also voiced a desire for the police to become more involved in their communities to reduce the seemingly intractable problem of crime, much of which resulted from racial discrimination and other structural factors related to Jim Crow. Although the actions of the police were problematic, African Americans nonetheless believed that law enforcement could play a role in reducing crime in their communities. During the first half of the twentieth century, Black citizens repeatedly demanded better policing and engaged in behaviors designed to extract services from law enforcement officers in Black neighborhoods as part of a broader strategy to make their communities safer. By examining the myriad ways in which African Americans influenced the police to serve the interests of the Black community, Jett adds a new layer to our understanding of race relations in the urban South in the Jim Crow era and contributes to current debates around the relationship between the police and minorities in the United States.
What does the Witches' Black Mirror have in store for you? Learn how to gaze into the Witches' Black Mirror, to gain future insight, meet your personal spirit guide, and to even get a glimpse of your future soulmate! Includes simple techniques from Firewolf, (Kyle Brandon Leite) and a few simple Magickal Spells for Love, Communicating with one's Spirit Guides, and even a charm to cast a Witches' Glamour. Embrace your own psychic power, by hand-blending your own personal spell oils and potions, with simple recipes! Learn Herbal Lore and Charms; to Heighten Psychic Ability, How to Create and Magickally Cleanse a Black Mirror, and how to use the Witches' Black Mirror as a window into the Otherworld.
When weird things happening on Eastern Shore, creepy mystery writer Brandon James must take on the creepiest capers in a creepy beginning. Witness Brandon & the Rat Pack as they takes on the spookiest cases in 11 short stories to die for.
There is a crisis in Wakanda. The sacred Mound is being attacked by an evil cult and Wakandans are growing angry with their new king, T'Challa, aka the Super Hero Black Panther. So it's bad timing when Black Panther receives a call from the Avengers. There is strong evidence that the king has stolen a highly classified weapon. But how? Black Panther has been in Wakanda the entire time. With help from some familiar faces in S.H.I.E.L.D and some new ones like the Dora Milaje, Black Panther will battle the greatest threats Wakanda has ever faced.
A resentful pack, a suspicious alpha and a looming threat… After ten long years, desperation has forced Luna Sinclair back to Los Lobos, but nothing in her experience has prepared her for the heat that Pack Protector Gunnar Redmond unleashes. Her wolf is clawing to break free and run straight for the hulking beast; but what wolf in his right mind would want to be tied to her family tree? Not everyone is happy about welcoming the daughter of one of the old alpha’s henchmen home. Old wounds and secrets are exposed and, to make matters worse, Drew Tao, the new alpha, has reason to suspect she might have revealed the pack’s most closely guarded secret when she escaped the crazed survivalist who had been keeping her prisoner. None of that matters to Gunnar. He’s known Luna was his mate since finding her naked and shivering on pack land, and he’ll do anything to keep her. With their wolves clawing to mate and danger closing in, anyone who wants to hurt her will have to go through him first.
Brooklyn bookstore owner Darla Pettistone and her oversized black cat, Hamlet, have solved a few complicated capers. But after a recent brush with danger, Darla needs to get Hamlet out of a feline funk… Lately, Hamlet hasn’t been chasing customers or being his obnoxious self—something Darla surprisingly misses. Concerned, she hires a cat whisperer to probe Hamlet’s feline psyche and then decides to get out of her own funk by taking up karate to learn how to defend herself in case the need arises again. But when Darla finds her sensei dead at the dojo, it seems that even a master can be felled by foul play. Darla decides to investigate the matter herself, and the promise of a mystery snaps Hamlet out of his bad mood. After all, Darla may be the sleuth, but Hamlet’s got a black belt in detection…
Dessa's life is changing...mostly because the life of her best friend, Kat, is changing. Kat has started dating a girl, Arwen, and she's trying to keep it on the down-low. Dessa is happy to keep the secret, but she starts hanging out with Kat's theater friends, hoping to learn more about Kat's new relationship. Everything's going great until Dessa accidentally lets Kat's secret slip. Some other students quickly make Kat a target—and Dessa takes steps to defend her friend that leave her suspended. Suddenly Dessa has to find ways to support her friend—and rebuild Kat's trust—while keeping off of school grounds.
While on the bus to elementary school in a small New England town, Brandon Shimoda—the offspring of a Japanese American father and white mother—was taunted for being “Portuguese.” Shimoda’s latest collection returns the author to a moment he felt challenged to become what he was being called, however falsely, and despite feeling confused, flushed, and afraid. The poems themselves began to form in adulthood while Shimoda—again riding the bus—took in his fellow passengers: their voices, minds, faces, and bodies; their exuberances and infirmities, the ways they both enlivened and darkened the days. It was within these people that poetry seemed most alive. At the same time, the poems in Portuguese are a response to the words of visual artists whom Shimoda was reading while riding the bus—Etel Adnan, Eugène Delacroix, Alberto Giacometti, Paul Klee, and Joan Mitchell, all of whom appear in the book. It was within these people, too, that poetry seemed most alive. The presiding struggle in this collection is with poetry itself—the form and its impulses, and the act of writing. But Portuguese is more than all these things. It was—and is—an act of preservation, giving form to the energy that makes up some part of our memory.
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