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What accounts for the persistence of the figure of the black criminal in popular culture created by African Americans? Unearthing the overlooked history of art that has often seemed at odds with the politics of civil rights and racial advancement, Under a Bad Sign explores the rationale behind this tradition of criminal self-representation from the Harlem Renaissance to contemporary gangsta culture.

In this lively exploration, Jonathan Munby takes a uniquely broad view, laying bare the way the criminal appears within and moves among literary, musical, and visual arts. Munby traces the legacy of badness in Rudolph Fisher and Chester Himes’s detective fiction and in Claude McKay, Julian Mayfield, and Donald Goines’s urban experience writing. Ranging from Peetie Wheatstraw’s gangster blues to gangsta rap, he also examines criminals in popular songs. Turning to the screen, the underworld films of Oscar Micheaux and Ralph Cooper, the 1970s blaxploitation cycle, and the 1990s hood movie come under his microscope as well. Ultimately, Munby concludes that this tradition has been a misunderstood aspect of African American civic life and that, rather than undermining black culture, it forms a rich and enduring response to being outcast in America.

Uncovering the spirit of freedom and self-determination in New Orleans

In Under a Black Star, Amari Johnson explores what he defines as the “maroon impulse” among the BlackStar Community in the Algiers neighborhood of New Orleans. This community sought autonomy for Black people facing systemic marginalization through denied employment, insufficient education, and a housing crisis following Hurricane Katrina, establishing initiatives such as Kamali Academy, a homeschool collective, and BlackStar Books and Caffé, a bookstore and gathering place. Instead of appealing to the city, they built the community they desired by employing legacies of marronage: disengagement, flight, and reengagement.

An active participant in the physical and ideological development of these autonomous spaces, Johnson provides nuanced insights into the community’s work toward liberation and self-determination. Demonstrating that marronage is a cultural tradition throughout the African Diaspora, he focuses on the transtemporal maroon process to show how it is central to the pursuit of autonomy, community, and freedom.

From the swamps of southeastern Louisiana, across urban obstacles, and into BlackStar’s creative spaces, Johnson’s path leads him to ask: How did the New Orleans community mobilize the tradition of marronage to create autonomous spaces amid gentrification? What forms might the maroon impulse take in the twenty-first century? This dynamic ethnographic memoir ultimately illuminates marronage as a potent form of liberatory potential, offering strategies for similar communities across the country and around the world.

Western democracy is currently under attack by a resurgent Russia, weaponizing new technologies and social media. How to respond? During the Cold War, the West fought off similar Soviet propaganda assaults with shortwave radio broadcasts. Founded in 1949, the US-funded Radio Free Europe/Radio Liberty broadcast uncensored information to the Soviet republics in their own languages. About one-third of Soviet urban adults listened to Western radio. The broadcasts played a key role in ending the Cold War and eroding the communist empire.

R. Eugene Parta was for many years the director of Soviet Area Audience Research at RFE/RL, charged among others with gathering listener feedback. In this book he relates a remarkable Cold War operation to assess the impact of Western radio broadcasts on Soviet listeners by using a novel survey research approach. Given the impossibility of interviewing Soviet citizens in their own country, it pioneered audacious interview methods in order to fly under the radar and talk to Soviets traveling abroad, ultimately creating a database of 51,000 interviews which offered unparalleled insights into the media habits and mindset of the Soviet public. By recounting how the “impossible” mission was carried out, Under the Radar also shows how the lessons of the past can help counter the threat from a once and current adversary.

This ethnographic study of the Panare Indians of Venezuela is the first extensive look at a tribe of this region of the Amazonia. It is an important book not only because it delves into the myth-filled Panare culture, but also because the author has used a modified version of the structural analysis of Claude Lévi-Strauss in examining the Panare.

Lévi-Strauss applied his method of structural analysis to the mythology of many societies in Amazonia, but never to any single society. Jean-Paul Dumont has filled that gap and has shown how the approach works in practice when applied to the intensive study of a single, small-scale culture. His book significantly expands the discussion of the strengths and weaknesses of the method.

The work deals specifically with the implicit mythology of the Panare and is concerned with the symbolic activities manifested in the daily behavior of this group. The analysis of the symbolism, explains Dumont, allows for the discovery of the conceptual system through which the Panare conceive of themselves.

The study is organized into two parts: a presentation of the data and an analysis. The presentation includes a geographical and historical account of the Panare and a general ethnological profile. The analysis is organized into the conceptual categories of inhabited space, time, astrosexuality, hearing, and taste. A concluding chapter summarizes the analysis.

Under the Rainbow will be of interest and of value not only to anthropologists but also to linguists, philosophers, psychologists, and others interested in the general intellectual movement represented by French structuralism. The fieldwork for Under the Rainbow was conducted in Venezuelan Guiana from September 1967 to July 1969.

False hair can reveal honest truths—about the past, gender, identity, and the stories men tell about themselves.

History has seen its share of famous toupees. John Wayne’s. Frank Sinatra’s. Humphrey Bogart’s. Hairpieces can reveal a wearer’s inner motivations, reinforce gender norms, cause embarrassment, and even provoke disgust. Although false, they can create real meaning.

In Wendy A. Woloson’s hands, the toupee helps us see how men have understood themselves and fashioned their identities over time. Starting in the late eighteenth century, when men stopped wearing white powdered wigs, and moving to the 1920s, when toupees could be easily mass-produced, Woloson tells the story of the “Toupee Age.” She investigates why balding was considered such a problem in the first place, how hair became entangled with anxieties about aging, and the ways that looking old posed a threat to manhood. She details the bear’s grease pomades, brush-on dyes, elixirs, false whiskers, and hairpieces that were created to meet shifting notions of masculinity and style. Under the Rug also introduces readers to the people who styled and traded hair, made wigs, and hawked baldness cures. Drawing on business records, advertisements, graphic images, and a host of other primary sources, Woloson incisively explains how such trades seeded fears about thinning hair and sold men solutions. This vanity project continues today, as hair transplants, medications to stimulate hair growth, and Toupee TikTok encourage people to reinvent the way they’re seen—by others and themselves.

A determined journalist’s account of rising to Pulitzer Prize–winning heights

Under the Sun: A Black Journalist’s Journey is Harold Jackson’s powerful memoir that chronicles his path from a Birmingham, Alabama, housing project in the 1950s and ’60s to becoming a Pulitzer Prize–winning journalist. Growing up in the segregated South, Jackson didn’t see a writing career as feasible, especially with the financial struggles his family faced after his father’s death. However, his freshman English teacher’s encouragement set him on a course that would change his life.

Jackson’s journey began in high school, where he became one of the first Black students in the University of Alabama’s summer journalism workshop. It was there that he discovered his unique voice as a writer, setting the stage for a remarkable forty-five-year career as a newspaper writer and editor. Despite the pervasive racial prejudices of the time, Jackson learned to navigate the complexities of being Black in a predominantly white profession. He reflects on the duality of living as a Black person in America, a concept W. E. B. Du Bois described as “double consciousness,” and the ways journalism allowed Jackson to connect with people from all walks of life.

Through his work at prominent news venues such as the Birmingham Post-Herald, United Press International, the Philadelphia Inquirer, the Birmingham News, the Baltimore Sun, and the Houston Chronicle, Jackson’s story is not just one of professional success but also of personal growth and understanding. Under the Sun is a testament to his resilience, his ability to see past racial barriers, and his unwavering commitment to giving a voice to those who need it most.