Published by the Newark Museum. Distributed worldwide by Rutgers University Press.
“After twenty-eight years of desire and determination, I have visited Africa, the land of my forefathers.” So wrote Lida Clanton Broner (1895–1982), an African American housekeeper and hairstylist from Newark, New Jersey, upon her return from an extraordinary nine-month journey to South Africa in 1938. This epic trip was motivated not only by Broner’s sense of ancestral heritage, but also a grassroots resolve to connect the socio-political concerns of African Americans with those of black South Africans under the segregationist policies of the time. During her travels, this woman of modest means circulated among South Africa’s Black intellectual elite, including many leaders of South Africa’s freedom struggle. Her lectures at Black schools on “race consciousness and race pride” had a decidedly political bent, even as she was presented as an “American beauty specialist.”
How did Broner—a working class mother—come to be a globally connected activist? What were her experiences as an African American woman in segregated South Africa and how did she further her work after her return? Broner’s remarkable story is the subject of this book, which draws upon a deep visual and documentary record now held in the collection of the Newark Museum of Art. This extraordinary archive includes more than one hundred and fifty objects, ranging from beadwork and pottery to mission school crafts, acquired by Broner in South Africa, along with her diary, correspondence, scrapbooks, and hundreds of photographs with handwritten notations.
Calling upon a wealth of primary sources, Brian Regan describes in a compelling narrative the cathedral’s almost century-long history. He traces the project to its origins in the late 1850s and the great expectations held by the project’s prime movers—all passionate about Gothic architecture and immensely proud of Newark—that never wavered despite numerous setbacks and challenges. Construction did not begin until 1898 and, when completed in 1954, the cathedral became New Jersey’s largest church—and the most expensive Catholic church ever built in America. During Pope John Paul II’s visit to the United States in 1995, he celebrated evening prayer at the Cathedral. On that occasion, the Cathedral of the Sacred Heart was elevated to a basilica to become the Cathedral Basilica of the Sacred Heart.
Meticulously researched, Gothic Pride brings to life the people who built, contributed to, and worshipped in Sacred Heart, recalling such remarkable personalities as George Hobart Doane, Jeremiah O’Rourke, Gonippo Raggi, and Archbishop Thomas Walsh. In many ways, the cathedral’s story is a lens that lets us look at the history of Newark itself—its rise as an industrial city and its urban culture in the nineteenth century; its transformation in the twentieth century; its immigrants and the profound effects of their cultures, especially their religion, on American life; and the power of architecture to serve as a symbol of community values and pride..
How Newark Became Newark is a fresh, unflinching popular history that spans the city's epic transformation from a tiny Puritan village into a manufacturing powerhouse, on to its desperate struggles in the twentieth century and beyond. After World War II, unrest mounted as the minority community was increasingly marginalized, leading to the wrenching civic disturbances of the 1960s. Though much of the city was crippled for years, How Newark Became Newark is also a story of survival and hope. Today, a real estate revival and growing population are signs that Newark is once again in ascendance.
Drawing from almost a decade of ethnographic research in largely Brazilian and Puerto Rican neighborhoods in Newark, New Jersey, Ana Y. Ramos-Zayas, in Street Therapists,examines how affect, emotion, and sentiment serve as waypoints for the navigation of interracial relationships among US-born Latinos, Latin American migrants, blacks, and white ethnics. Tackling a rarely studied dynamic approach to affect, Ramos-Zayas offers a thorough—and sometimes paradoxical—new articulation of race, space, and neoliberalism in US urban communities.
After looking at the historical, political, and economic contexts in which an intensified connection between affect and race has emerged in Newark, New Jersey, Street Therapists engages in detailed examinations of various community sites—including high schools, workplaces, beauty salons, and funeral homes, among others—and secondary sites in Belo Horizonte, Brazil and San Juan to uncover the ways US-born Latinos and Latin American migrants interpret and analyze everyday racial encounters through a language of psychology and emotions. As Ramos-Zayas notes, this emotive approach to race resurrects Latin American and Caribbean ideologies of “racial democracy” in an urban US context—and often leads to new psychological stereotypes and forms of social exclusion. Extensively researched and thoughtfully argued, Street Therapists theorizes the conflictive connection between race, affect, and urban neoliberalism.
When people think of the hottest cities of the Jazz Age and Swing Era, New York, Nashville, New Orleans, Memphis, Kansas City, and Chicago immediately spring to mind. But Newark, New Jersey was just as happening as each of these towns. On any given evening, you could listen to a legendary singer like Sarah Vaughan or laugh at the celebrated comedy of Red Foxx. Newark was a veritable maze of thriving theaters, clubs, and after-hours joints where the sporting folks rambled through the night. There were plenty of jobs for musicians and entertainers, so the city was teaming with musical talent.
Swing City reveals Newark’s role as an undocumented entertainment mecca between 1922 and 1950. The book is based on interviews with musicians, singers, dancers, comedians, bartenders, waitresses, nightclub owners, and their families and is heavily illustrated with rare photographs from the author’s personal collection. Barbara J. Kukla presents a musical tour of the city, covering the vaudeville acts, the musicians who started at Newark’s Orpheum Theater and went on to join famous bands, and the teenage dancers who started as chorus girls and eventually toured with famous tap dancers. She also describes the house rent parties of the 1930s, the “colored only” clubs, the entertainment at Newark’s 1,000 saloons during Prohibition, and the Coleman Hotel where Billie Holiday often stayed. Throughout the book, which concentrates on performers’ lives and personalities, Kukla discusses music and other forms of entertainment as social and economic survival tools in Newark’s Third Ward during a time of ruthless segregation.
Swing City includes several appendixes that provide a virtual “Who’s Who” of 25 years of nightlife activities in Newark. Music and nostalgia buffs, students of African American history, and anyone who’s ever been to Newark will find in this bookfabulous entertainment.
READERS
Browse our collection.
PUBLISHERS
See BiblioVault's publisher services.
STUDENT SERVICES
Files for college accessibility offices.
UChicago Accessibility Resources
home | accessibility | search | about | contact us
BiblioVault ® 2001 - 2024
The University of Chicago Press