For decades, scholars have conceived of the coastal city of New Orleans as a remarkable outlier, an exception to nearly every “rule” of accepted U.S. historiography. A frontier town of the circum-Caribbean, the popular image of New Orleans has remained a vestige of North America’s European colonial era rather than an Atlantic city on the southern coast of the United States. Beginning with the French founding of New Orleans in 1718 and concluding with the outbreak of the American Civil War in 1861, An American Color seeks to correct this vision. By tracing the impact of racial science, law, and personal reputation and identity through multiple colonial and territorial regimes, it shows how locally born mulâtres in French New Orleans became part of a self-conscious, identifiable community of Creoles of color in the United States. An American Color places this local history in the wider context of the North American continent and the Atlantic world. This book shows that New Orleans and its free population of color did not develop in a cultural, legal, or intellectual vacuum. More than just a study of race and law, this work tells a story of humanity in the Atlantic world, a story of how a people on the French colonial frontier in the mid-eighteenth century became unlikely, accepted parts of a vast political, social, and racial United States without ever leaving home.

"Many persons having suggested that it would greatly subserve the Anti-slavery Cause in this country, to present to the public a concise narrative of my recent narrow escape from death, at the hands of an armed mob in America, a mob armed with tar, feathers, poles, and an empty barrel spiked with shingle nails, together with the reasons which induced that mob, I propose to give it. I cannot promise however, to write such a book as ought to be written to illustrate fully the bitterness, malignity, and cruelty, of American prejudice against color, and to show its terrible power in grinding into the dust of social and political bondage, the hundreds of thousands of so-called free men and women of color of the North. This bondage is, in many of its aspects, far more dreadful than that of the bona fide Southern Slavery, since its victims—many of them having emerged out of, and some of them never having been into, the darkness of personal slavery—have acquired a development of mind, heart, and character, not at all inferior to the foremost of their oppressors." William G. Allen (1820–1888) was an African-American academic, intellectual, and lecturer. For a time he co-edited The National Watchman, an abolitionist newspaper. While studying law in Boston he lectured widely on abolition, equality, and integration. He was then appointed a professor of rhetoric and Greek at New-York Central College. Meeting and falling in love with a white student, Mary King, the couple married in secret in 1853. This was the first legal marriage between a "colored" man and a Caucasian woman to take place in the United States.

A history of color and commerce from haute couture to automobile showrooms to interior design. When the fashion industry declares that lime green is the new black, or instructs us to “think pink!,” it is not the result of a backroom deal forged by a secretive cabal of fashion journalists, designers, manufacturers, and the editor of Vogue. It is the latest development of a color revolution that has been unfolding for more than a century. In this book, the award-winning historian Regina Lee Blaszczyk traces the relationship of color and commerce, from haute couture to automobile showrooms to interior design, describing the often unrecognized role of the color profession in consumer culture. Blaszczyk examines the evolution of the color profession from 1850 to 1970, telling the stories of innovators who managed the color cornucopia that modern artificial dyes and pigments made possible. These “color stylists,” “color forecasters,” and “color engineers” helped corporations understand the art of illusion and the psychology of color. Blaszczyk describes the strategic burst of color that took place in the 1920s, when General Motors introduced a bright blue sedan to compete with Ford's all-black Model T and when housewares became available in a range of brilliant hues. She explains the process of color forecasting—not a conspiracy to manipulate hapless consumers but a careful reading of cultural trends and consumer taste. And she shows how color information flowed from the fashion houses of Paris to textile mills in New Jersey. Today professional colorists are part of design management teams at such global corporations as Hilton, Disney, and Toyota. The Color Revolution tells the history of how colorists help industry capture the hearts and dollars of consumers.