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Winner of the Benjamin L. Hooks National Book Award
Winnter of the Michael Nelson Prize of the International Association for Media and History

In 1964, Nina Simone sat at a piano in New York's Carnegie Hall to play what she called a "show tune." Then she began to sing: "Alabama's got me so upset/Tennessee made me lose my rest/And everybody knows about Mississippi Goddam " Simone, and her song, became icons of the civil rights movement. But her confrontational style was not the only path taken by black women entertainers.

In How It Feels to Be Free, Ruth...

Winner of the Benjamin L. Hooks National Book Award
Winnter of the Michael Nelson Prize of the International Association for Media and History

In 1964, Nina Simone sat at a piano in New York's Carnegie Hall to play what she called a "show tune." Then she began to sing: "Alabama's got me so upset/Tennessee made me lose my rest/And everybody knows about Mississippi Goddam " Simone, and her song, became icons of the civil rights movement. But her confrontational style was not the only path taken by black women entertainers.

In How It Feels to Be Free, Ruth...

The apron-clad, white, stay-at-home mother. Black bus boycotters in Montgomery, Alabama. Ruth Feldstein explains that these two enduring, yet very different, images of the 1950s did not run parallel merely by ironic coincidence, but were in fact intimately connected. What she calls "gender conservatism" and "racial liberalism" intersected in central, yet overlooked, ways in mid-twentieth-century American liberalism.Motherhood in Black and White analyzes the widespread assumption within liberalism that social problems ranging from unemployment to racial prejudice could be traced to bad...