Reissued in a new trade paperback format and design, "This richly researched, sensitively edited, annotated volume portrays indelibly, in their own words, the lives of American black women before, during, and immediately after the Civil War. . . ". Following a successful run in New York, an acclaimed stage adaptation of this work is touring nationally in 1997. Photos.

Enslaved peoples were brought to the Americas from many places in Africa, but a large majority came from relatively few ethnic groups. Drawing on a wide range of materials in four languages as well as on her lifetime study of slave groups in the New World, Gwendolyn Midlo Hall explores the persistence of African ethnic identities among the enslaved over four hundred years of the Atlantic slave trade. Hall traces the linguistic, economic, and cultural ties shared by large numbers of enslaved Africans, showing that despite the fragmentation of the diaspora many ethnic groups retained enough cohesion to communicate and to transmit elements of their shared culture. Hall concludes that recognition of the survival and persistence of African ethnic identities can fundamentally reshape how people think about the emergence of identities among enslaved Africans and their descendants in the Americas, about the ways shared identity gave rise to resistance movements, and about the elements of common African ethnic traditions that influenced regional creole cultures throughout the Americas.

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.