In Listen, Whitey! The Sounds of Black Power 1965-1975 author Pat Thomas examines rare recordings of speeches, interviews, and music from the Black Power Party, by noted activists Huey Newton, Bobby Seale, Eldridge Cleaver, Elaine Brown, The Lumpen and many others. He also chronicles the forgotten history of Motown Records: from 1970 to 1973, Motown's Black Power subsidiary label, Black Forum, released politically charged albums by Stokely Carmichael, Amiri Baraka, Langston Hughes, Bill Cosby & Ossie Davis, and many others. Listen, Whitey! also spotlights obscure recordings produced by SNCC, Ron Karenga's US, the Tribe and other African-American sociopolitical organizations of the late 1960s and early '70s, Black Consciousness poetry, and inspired religious recordings that infused god and Black Nationalism.

From the bestselling authors of Black Mass comes the definitive biography of Whitey Bulger, the most brutal and sadistic crime boss since Al Capone. Drawing on a trove of sealed files and previously classified material, Whitey digs deep into the mind of James J. “Whitey” Bulger, the crime boss and killer who brought the FBI to its knees. He is an American original --a psychopath who fostered a following with a frightening mix of terror, deadly intimidation and the deft touch of a politician who often helped a family in need meet their monthly rent. But the history shows that despite the early false myths portraying him as a Robin Hood figure, Whitey was a supreme narcissist, and everything--every interaction with family and his politician brother Bill Bulger, with underworld cohorts, with law enforcement, with his South Boston neighbors, and with his victims--was always about him. In an Irish-American neighborhood where loyalty has always been rule one, the Bulger brand was loyalty to oneself. Whitey deconstructs Bulger's insatiable hunger for power and control. Building on their years of reporting and uncovering new Bulger family records, letters and prison files, Dick Lehr and Gerard O'Neill examine and reveal the factors and forces that created the monster. It's a deeply rendered portrait of evil that spans nearly a century, taking Whitey from the streets of his boyhood Southie in the 1940s to his cell in Alcatraz in the 1950s to his cunning, corrupt pact with the FBI in the 1970s and, finally, to Santa Monica, California where for fifteen years he was hiding in plain sight as one of the FBI's Ten Most Wanted. In a lifetime of crime and murder that ended with his arrest in June 2011, Whitey Bulger became one of the most powerful and deadly crime bosses of the twentieth century. This is his story.

From the concert stage to the dressing room, from the recording studio to the digital realm, SPIN surveys the modern musical landscape and the culture around it with authoritative reporting, provocative interviews, and a discerning critical ear. With dynamic photography, bold graphic design, and informed irreverence, the pages of SPIN pulsate with the energy of today's most innovative sounds. Whether covering what's new or what's next, SPIN is your monthly VIP pass to all that rocks.

Combining biography, history, and literary theory, this work looks at three of the most significant women writers to emerge from American radicalism of the 1930s. Le Sueur, Olsen, and Herbst were influenced by the Communist movement of the time, but each also forged an independent vision of feminist socialist literary milieu. Drawing on Marxist and post-Marxist theory, and addressing the challenge of such new feminist theorists as Jean Bethke Elshtain, Roberts takes a theoretical approach that encompasses the social vision and feminist practice of the writers and places them in their historical, cultural, and social contexts. The study covers their lives from the turn of the century to the 1970s, with an emphasis on the 1930s; examines their views of the Cold War; links the three to the Progressive tradition; and analyzes their key literary works. Resources for analysis include historical and contemporary theory; excerpts from the radical press of the 1920s and 1930s; and primary materials from the writers themselves, including journals, notes, and unpublished archival materials.

Black Power Music! Protest Songs, Message Music, and the Black Power Movement critically explores the soundtracks of the Black Power Movement as forms of "movement music." That is to say, much of classic Motown, soul, and funk music often mirrored and served as mouthpieces for the views and values, as well as the aspirations and frustrations, of the Black Power Movement. Black Power Music! is also about the intense interconnections between Black popular culture and Black political culture, both before and after the Black Power Movement, and the ways in which the Black Power Movement in many senses symbolizes the culmination of centuries of African American politics creatively combined with, and ingeniously conveyed through, African American music. Consequently, the term "Black Power music" can be seen as a code word for African American protest songs and message music between 1965 and 1975. "Black Power music" is a new concept that captures and conveys the fact that the majority of the messages in Black popular music between 1965 and 1975 seem to have been missed by most people who were not actively involved in, or in some significant way associated with, the Black Power Movement.

A provocative cultural retrospective features transcripts of rare recordings of speeches, interviews, and music by a wide range of activists, and explores musical connections between famous performance artists and the Black Power movement.

A century after her birth, Tillie Olsen’s writing is as relevant as when it first appeared; indeed, the clarity and passion of her vision and style have, if anything, become even more striking over time. Collected here for the first time are several of Olsen’s nonfiction pieces about the 1930s, early journalism pieces, and short fiction, including the four beautifully crafted, highly celebrated stories originally published as Tell Me a Riddle: “I Stand Here Ironing,” “Hey Sailor, What Ship?,” “O Yes,” and “Tell Me a Riddle.” Also included, for the first time since it appeared in the 1971 Best American Short Stories, is “Requa I.” In these stories, as in all of her work, Olsen set a new standard for the treatment of women and the poor and for the depiction of their lives and circumstances. In her hands, the hard truths about motherhood and marriage, domestic life, labor, and political conviction found expression in language of such poetic intensity and depth that its influence continues to be felt today. An introduction by Olsen’s granddaughter, the poet Rebekah Edwards, and a foreword by her daughter Laurie Olsen provide a personal and generational context for the author’s work.