Marina Budhos, whose parents came from two different immigrant streams, always listens for the story within the story. Here, in fourteen intimate conversations and many short interviews, teenagers from all over the world reveal their most personal struggles and triumphs. Remix features Muslim girls from traditional families and Guyanese boys who know every hot new club, Hmong athletes, Russians in Disneyland, Central Americans sustained by community and tempted by gangs, Koreans facing extreme pressures to succeed, and many others. Filled with insights about American teenage culture and moving stories about the special challenges immigrants face, Remix shows all the voices of the new America.

With his dynamic on-air personality and his trademark cry of "Burn, baby! BURN!" when spinning the hottest new records, Magnificent Montague was the charismatic voice of soul music in Chicago, New York, and Los Angeles from the mid-1950s to the mid-1960s. In this memoir Montague recounts the events of his momentous radio career, which ran from the era of segregation to that of the civil rights movement; as he does so, he also tells the broader story of a life spent in the passionate pursuit of knowledge, historical and musical. Like many black disc jockeys of his day, Montague played a role in his community beyond simply spreading the music of James Brown, Otis Redding, Aretha Franklin, and other prominent artists. Montague served as an unofficial spokesman for his black listeners, reflecting their beliefs and acting as a sounding board for their concerns. Montague was based in Los Angeles in 1965 when the Watts rioters seized on his incendiary slogan, turning the shout of musical appreciation into a rallying cry for racial violence. In Burn, Baby! BURN! Montague recalls these tumultuous times, including the personal struggle he faced over whether to remain true to his listeners or bend to political pressure and stop shouting his suddenly controversial slogan. Since the mid-1950s Montague had also expressed his passion for African American culture by becoming a zealous collector of artifacts of black history. He has built a monumental collection, taking time out from his collecting to become only the second African American to build his own radio station literally from the ground up. A compelling account of a rich and varied life, Burn, Baby! BURN! gives an insider's view of half a century of black history, told with on-the-air zest by the DJ/historian who was there to see it unfold.

This collection of stories and memories, suitable for adolescents, offers a perspective on both traditional and contemporary ways of California Indians. Some stories are from old reports and books, and some are from people of today. The introduction ties the wide variety of Indians that live in California to the variety of landscape and climate. Before the arrival of outsiders, over 100 languages were spoken in California. Subjects range from descriptive and informational topics, such as how marriages were arranged and how acorns were cooked, to larger concepts, such as the importance of family compared to the insignificance of the individual. The Indian belief that all things are alive in the same way that humans are alive explains why all things are viewed as sacred and why religion is very much a part of everyday life. Leaders were chosen because they were respected, and ruled by getting everyone to agree rather than by strength. Wars were small because winners had to give gifts for the people they had killed. A chapter on growing up Indian discusses family, nonformal learning, childhood games, reminiscences of childhood, toys, teaching-stories, learning to hunt, becoming a woman or man, and getting married. An index, a map of Native California, over 80 photographs, and a list of California Indian resources are included. (TD)

xiv + 114 pages, various documents discussing the issue of the Cherokee Nation from both sides

Beginning in the late nineteenth century, the pueblos of the Southwest frequently inspired Anglo-American visitors to express their sense of wonder and enchantment in biblical references. Frank Hamilton Cushing's first account of Zuni pueblo described a setting that looked like "The Pools of Palestine." Drawn to the Southwest, Mabel Dodge imagined "a garden of Eden, inhabited by an unfallen tribe of men and women." There she was attracted to Tony Luhan, a Taos Indian who looked "like a Biblical figure." When historian Jerold Auerbach first saw Edward S. Curtis's early twentieth-century photograph Taos Water Girls , he realized that "here, indeed, was the biblical Rebecca, relocated to New Mexico from ancient Haran, where Abraham's faithful servant had journeyed to find a suitable wife for Isaac. Rebecca with her water pitcher is as familiar a biblical icon as Noah and his ark or Moses with the stone tablets. Curtis had recast her as the archetypal Pueblo maiden." Explorers in Eden uncovers an intriguing array of diaries, letters, memoirs, photographs, paintings, postcards, advertisements, anthropological field studies, and scholarly monographs. They reveal how Anglo-Americans disenchanted with modern urban industrial society developed a deep and rich fascination with pueblo culture through their biblical associations.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

"[Ernest Gellner] began the association with Morocco and the Berbers of the Central High Atlas that resulted in Saints of the Atlas. It was a study of how holy men kept a fragile and broken peace among the shepherds who moved each spring from the plains of the ante-Atlas into the high pastures, and back again each autumn: a hundred thousand people, a million or so sheep traversing the bottle-necks of the mountain passes twice each year. It was an ideal opportunity for theft and rustling, and the Saints were there to maintain the peace without establishing any acceptable claim to political control. His book, criticised by scholars who have worked in Moroccan archives, remains important reading because it analyses so clearly the ways in which pastoral peoples, who had been in contact with states for a couple of millennia, maintained an ideology of total rejection of the Moroccan state, and a determination not to make anything of the kind themselves. Their practice was more often than not in accord with the ideology."--Http://www.lse.ac.uk/collections/gellner/JDavisObit.html (Feb. 23, 2011.).

This subtle, unusual book explores the many, often overlapping ways in which the Russian Jewish past has been remembered in history, in literature, and in popular culture. Drawing on a wide range of sources?including novels, plays, and archival material? Imagining Russian Jewry is a reflection on reading, collective memory, and the often uneasy, and also uncomfortably intimate, relationships that exist between seemingly incompatible ways of seeing the past. The book also explores what it means to produce scholarship on topics that are deeply personal: its anxieties, its evasions, and its pleasures. Zipperstein, a leading expert in modern Jewish history, explores the imprint left by the Russian Jewish past on American Jews starting from the turn of the twentieth century, considering literature ranging from immigrant novels to Fiddler on the Roof . In Russia, he finds nostalgia in turn-of-the-century East European Jewry itself, in novels contrasting Jewish life in acculturated Odessa with the more traditional shtetls. The book closes with a provocative call for a greater awareness regarding how the Holocaust has influenced scholarship produced since the Shoah.

Why I Left America and Other Essays by Oliver W. Harrington edited, with an introduction, by M. Thomas Inge To American black newspapers of the 1930s and 1940s "Ollie" Harrington was a prolific contributor of humorous and editorial cartoons. He emerged as an artist during the Harlem Renaissance and created Bootsie, the popular cartoon figure that became a fixture in black newspapers. Langston Hughes praised Harrington as America's greatest black cartoonist. After serving as a war correspondent in Italy, he returned to his homeland and the impediment of racism that pervaded American life. As director of public relations for the NAACP, he crusaded against America's policies of institutionalized racism, openly supporting leftist reform leaders. Upon hearing in this era of "red-baiting" that he was targeted for investigation, Harrington left America. In the culturally rich American community on the Left Bank in Paris that would come to include Chester Himes, James Baldwin, and Richard Wright, he became a fixture. In 1961 he found himself trapped behind the Berlin Wall, but he chose to remain in East Germany. His cartoons appeared in East German magazines and in the American Communist newspaper The Daily World. Although he became a favorite with Eastern Bloc students and intellectuals, in America Harrington was mainly forgotten. The autobiographical pieces included in Why I Left America and Other Essays, written mainly during the 1960s and 1970s, detail Oliver W. Harrington's experiences as an African American artist in exile. One theme that persists in these writings and his cartoons is his intolerance of racism. Hence, as an artist, he has found it impossible not to be political. One essay, from Ebony magazine, fuels speculation about the mysterious circumstances in the death of his friend Richard Wright. In another piece Harrington details how he created the celebrated Bootsie. He writes in others of his life in New York during the Harlem Renaissance and in Paris with fellow black expatriate figures. Why did this African American choose to live in exile for over forty years? In an affectionate foreword to this volume Richard Wright's daughter Julia gives clues to the answer. Her insights, along with M. Thomas Inge's introductory essay about Harrington's life and achievements, bring special focus to the experiences of an outstanding African American artist and social critic who has been virtually without recognition in his homeland. Oliver W. Harrington (1912-1995), cartoonist and political satirist, was an outspoken advocate for civil rights. He lived in exile in East Berlin for many years. M. Thomas Inge is the Robert Emory Blackwell Professor of Humanities at Randolph-Macon College.

No detailed description available for "The American Jews".

A study of black peoples of the Americas which is part of a history series covering the required Study Units at Key Stage 3. Using a wide range of primary and secondary sources, the series aims to create a picture of what life was like in the past

Alexander Lesser shows how the Ghost Dance brought about a partial revival of traditional Pawnee culture and its dances and songs. The ancient guessing hand game, remembered best by a tribe starved for the joy of play, became an important part of the Ghost Dance ritual. What had been a gambling game, a representation of warfare played by men, was transformed into a sacred game played by both sexes as an expression of faith or 'good fortune.'

Eureka! Rummaging in Greece

This collection of essays and reviews represents the most significant and comprehensive writing on Shakespeare's A Comedy of Errors. Miola's edited work also features a comprehensive critical history, coupled with a full bibliography and photographs of major productions of the play from around the world. In the collection, there are five previously unpublished essays. The topics covered in these new essays are women in the play, the play's debt to contemporary theater, its critical and performance histories in Germany and Japan, the metrical variety of the play, and the distinctly modern perspective on the play as containing dark and disturbing elements. To compliment these new essays, the collection features significant scholarship and commentary on The Comedy of Errors that is published in obscure and difficulty accessible journals, newspapers, and other sources. This collection brings together these essays for the first time.

Written in the Ojibwe language, these delightful short stories bring to life the tales and traditions of the Ojibwe people while providing essential tools for language learning. Awesiinyensag presents original stories, told by Anishinaabe elders and written in Ojibwe, that delight readers and language learners with the antics of animals who playfully deal with situations familiar to children in all cultures. Suitable for all ages, this book can be read aloud, assigned to classes, shared at language tables, gifted to elders, and enjoyed by those curious about the language and Ojibwe culture. Authored by a team of twelve Ojibwe language speakers and richly illustrated by Ojibwe artist Wesley Ballinger, Awesiinyensag was created to encourage learning Anishinaabemowin, the language of Ojibwe people. It is a monolingual text presented only in Anishinaabemowin.