Through the story of a thirteen-year-old black boy condemned to life in prison, Elaine Brown exposes the 'New Age' racism that effectively condemns millions of poor African-Americans to a third world life. The story of 'Little B' is riveting, a stunning example of the particular burden racism imposes on black youths. Most astonishing, almost all of the officials involved in bringing him to 'justice' are black. Michael Lewis was officially declared a ward of the state at age eleven, and then systematically ignored until his arrest for murder. Brown wondered how this boy could possibly have aroused so much public resentment, why he was being tried (and roundly condemned, labeled a 'super-predator') in the press. Then she met Michael and began investigating his case on her own. Brown adeptly builds a convincing case that the prosecution railroaded Michael, looking for a quick, symbolic conviction. His innocence is almost incidental to the overwhelming evidence that the case was unfit for trial. Little B was convicted long before he came to court, and effectively sentenced years before, when the 'safety net' allowed him to slip silently down. Brown cites studies and cases from all over America that reveal how much more likely youth of color are to be convicted of crimes and to serve long-even life-sentences, and how deeply the new black middle class is implicated in this devastating reality.

Through the story of a thirteen-year-old black boy condemned to life in prison, Elaine Brown exposes the 'New Age' racism that effectively condemns millions of poor African-Americans to a third world life. The story of 'Little B' is riveting, a stunning example of the particular burden racism imposes on black youths. Most astonishing, almost all of the officials involved in bringing him to 'justice' are black. Michael Lewis was officially declared a ward of the state at age eleven, and then systematically ignored until his arrest for murder. Brown wondered how this boy could possibly have aroused so much public resentment, why he was being tried (and roundly condemned, labeled a 'super-predator') in the press. Then she met Michael and began investigating his case on her own. Brown adeptly builds a convincing case that the prosecution railroaded Michael, looking for a quick, symbolic conviction. His innocence is almost incidental to the overwhelming evidence that the case was unfit for trial. Little B was convicted long before he came to court, and effectively sentenced years before, when the 'safety net' allowed him to slip silently down. Brown cites studies and cases from all over America that reveal how much more likely youth of color are to be convicted of crimes and to serve long-even life-sentences, and how deeply the new black middle class is implicated in this devastating reality.

The Little Way of Ruthie Leming follows Rod Dreher, a Philadelphia journalist, back to his hometown of St. Francisville, Louisiana (pop. 1,700) in the wake of his younger sister Ruthie's death. When she was diagnosed at age 40 with a virulent form of cancer in 2010, Dreher was moved by the way the community he had left behind rallied around his dying sister, a schoolteacher. He was also struck by the grace and courage with which his sister dealt with the disease that eventually took her life. In Louisiana for Ruthie's funeral in the fall of 2011, Dreher began to wonder whether the ordinary life Ruthie led in their country town was in fact a path of hidden grandeur, even spiritual greatness, concealed within the modest life of a mother and teacher. In order to explore this revelation, Dreher and his wife decided to leave Philadelphia, move home to help with family responsibilities and have their three children grow up amidst the rituals that had defined his family for five generations-Mardi Gras, L.S.U. football games, and deer hunting. As David Brooks poignantly described Dreher's journey homeward in a recent New York Times column, Dreher and his wife Julie "decided to accept the limitations of small-town life in exchange for the privilege of being part of a community."

First Published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.

Anti-black racism is a stark presence in Chicago, a fact illustrated by significant racial inequality in and around contemporary "global" city. Drawing his work as a civil rights advocate and investigator in Chicago, Street explains this neo-liberal apartheid and its resulting disparity in terms of persistently and deeply racist societal and institutional practices and policies. Racial Oppression in the Black Metropolis uses the highly relevant historical and sociological laboratory that is Chicago in order to explain the racist societal and institutional practices and policies which still typify the United States. Street challenges dominant neoconservative explanations of the black urban crisis that emphasize personal irresponsibility and cultural failure. Looking to the other side of the ideological isle, he criticizes liberal and social democratic approaches that elevate class over race and challenges many observers' sharp distinction between present and so-called past racism. In questioning the supposedly inevitable reign of urban-neoliberaism, Street also investigates the real, racial politics of the United States and finds that parties and ideologies matter little on matters of race. This innovative work in urban history and cultural criticism will inform contemporary social science and policy debates for years to come.

While he was still in his twenties, Horace Tapscott gave up a successful career in Lionel Hampton’s band and returned to his home in Los Angeles to found the Pan Afrikan Peoples Arkestra, a community arts group that focused on providing affordable, community-oriented jazz and jazz training. Over the course of almost forty years, the Arkestra, together with the related Union of God’s Musicians and Artists Ascension (UGMAA) Foundation, were at the forefront of the vital community-based arts movements in black Los Angeles. Some three hundred artists—musicians, vocalists, poets, playwrights, painters, sculptors, and graphic artists—passed through these organizations, many ultimately remaining within the community and others moving on to achieve international fame. Based primarily on one hundred in-depth interviews with current and former participants, The Dark Tree is the first history of the important and largely overlooked community arts movement of African American Los Angeles. Brought to life by the passionate voices of the men and women who worked to make the arts integral to everyday community life, this engrossing book completes the account began in the highly acclaimed Central Avenue Sounds, which documented the secular music history of the first half of the twentieth century and which the San Francisco Examiner called "one of the best jazz books ever compiled."

An extended study of the writings of Lil' Kim, the multi-platinum selling Hip Hop artist. Examines Lil' Kim's anti-sexist, gender-defiant and ultra-erotic verse alongside issues of race and the politics of imprisonment. This is the first study to apply the tools of literary criticism to Hip Hop's lyrical writings.