Here is an eye-opening look at one of baseball's most intriguing and little known stories: the many-faceted relationship between Jews and black baseball in Jim Crow America. In Out of Left Field, Rebecca Alpert explores how Jewish sports entrepreneurs, political radicals, and a team of black Jews from Belleville, Virginia called the Belleville Grays--the only Jewish team in the history of black baseball--made their mark on the segregated world of the Negro Leagues. Through in-depth research, Alpert tells the stories of the Jewish businessmen who owned and promoted teams as they both acted out and fell victim to pervasive stereotypes of Jews as greedy middlemen and hucksters. Some Jewish owners produced a kind of comedy baseball, akin to basketball's Harlem Globetrotters--indeed, Globetrotters owner Abe Saperstein was very active in black baseball--that reaped financial benefits for both owners and players but also played upon the worst stereotypes of African Americans and prevented these black "showmen" from being taken seriously by the major leagues. But Alpert also shows how Jewish entrepreneurs, motivated in part by the traditional Jewish commitment to social justice, helped grow the business of black baseball in the face of the oppressive Jim Crow restrictions, and how radical journalists writing for the Communist Daily Worker argued passionately for an end to baseball's segregation. In fact, the campaign to convince manager Branch Rickey to integrate the Brooklyn Dodgers was initiated by Daily Worker sports writer Bill Mardo, in an open letter in the paper. Deftly written and meticulously researched, Out of Left Field offers a unique perspective on the economic and social negotiations between blacks and Jews in the first half of the 20th century, shedding new light on the intersection of race, religion, and sports in America.

A profile of Deion Sanders includes summaries of his dual careers as a baseball and football player, reveals his businesslike values that have contributed to his successes, and presents anecdotes about his personal life

Tells the story of how wealthy businessman Julius Rosenwald came to financially support the building of 5,300 schools in rural African-American communities that desperately needed them over the course of twenty years.

FROM THE POET the Chicago Tribune calls the new voice of Chicago, comes L-vis Lives!, a bold new collection of poetry and prose exploring the collision of race, art, and appropriation in American culture. L-vis is an imagined persona, a representation of artists who have used and misused Black music. Like so many others who gained fame and fortune from their sampling, L-vis is as much a sincere artist as he is a thief. In Kevin Coval's poems, L-vis' story is equal parts forgotten history, autobiography, and re-imaginings. We see shades of Elvis Presley, the Beastie Boys, and Eminem, and meet some of history's more obscure whiteboy heroes and anti-heroes: legendary breakdancers, political activists, and music impresarios. A story of both artistic theft and radical invention, L-vis Lives! is a poetic novella on all of the possibilities and problems of post-racial" American culture-where Black art is still at times only fully accepted in a white face, and every once in a while an L-vis" comes along to step in to the void. i am a hero to most. the great hope of something other. a complex back-story. something other than the business of my father. Bland's antonym. jim crow's black sheep. the forgotten son left to rise in the darkness among the dis carded in the wild of working class, single mother hoods. a hero who transcends who translates the dis satisfactions of the plains; kids of kurt cobain, method man amphetamine, the odd Iowan who digs dirt and lights beyond the pig yard, spits nebraskan argot, hero to the heart land, middle brow(n) america "--