Alexander • Baraka • Bellamy • Fordham • Johnson • Kupenda • Pattillo • Tate • Thompson • Tsemo • Wallace • Young
Alexander, Bryant Keith. “Bu(o)ying Condoms: A Prophylactic Performance of Sexuality (or Performance as Prophylactic Agency).” Cultural Studies / Critical Methodologies 4.4 (2004): 501-525.
Alexander, Bryant Keith. “Black Skin/White Masks: The Performative Sustainability of Whiteness (with Apologies to Frantz Fanon)” Qualitative Inquiry 10.5 (2004): 647-672.
Alexander, Bryant Keith. “Passing, Cultural Performance, and Individual Agency: Performative Reflections on Black Masculine Identity.” Cultural Studies / Critical Methodologies 4.3 (February 2004): 377-404.
Alexander, Bryant Keith. “Racializing Identity: Performance, Pedagogy and Regret.” Cultural Studies / Critical Methodologies 4.1 (February 2003): 12-27.
Alexander, Bryant Keith. "Querying Queer Theory Again (Or Queer Theory as Drag Performance).” The Journal of Homosexuality 2/3/4 (2003): 349-352.
Alexander, Bryant Keith. “(Re)Visioning the Ethnographic Site: Interpretive Ethnography as a Method of Pedagogical Reflexivity and Scholarly Production.” Qualitative Inquiry 9.3 (June 2003): 416-441.
Alexander, Bryant Keith. "Fading, Twisting and Weaving: An Interpretive Ethnography of the Black Barbershop as Cultural Space." Qualitative Inquiry 9.1 (February 2003): 101-128.
Alexander, Bryant Keith. “Intimate Engagement: Student Performances as Scholarly Endeavor.” Theatre Topics 12.1 (March 2002): 85-98.
Alexander, Bryant Keith. “Performing Culture and Cultural Performances in Japan: A Critical (Auto)Ethnographic Travelogue.” Theatre Annual: A Journal of Performance Studies 55 (Fall 2002): 1-28.
Alexander, Bryant Keith. “Reflections, Riffs and Remembrances: The Black Queer Studies in the Millennium Conference.” Callaloo 23.4 (Fall 2000): 1285-1305.
Alexander, Bryant Keith. “Performing Culture in the Classroom: An Instructional (Auto)Ethnography.” Text and Performance Quarterly 19 (October 1999): 271- 306.
Alexander, Bryant Keith. Performing Black Masculinity: Race, Culture, and Queer Identity. Lanham, MD: AltaMira Press, 2006.
Alexander, Bryant Keith. Performance Theories in Education: Power, Pedagogy, and the Politics of Identity. Mahwah, N.J.: L. Erlbaum Associates, 2004.
Alexander, Bryant Keith. “Embracing the Teachable Moment: The Black Gay Body in the Classroom as Embodied Text.” Black Queer Studies: A Critical Anthology. Ed. E. Patrick Johnson and Mae G. Henderson. Durham, NC: Duke UP, 2005. 249-65.
Alexander, Bryant Keith. “Performing Culture in the Classroom: An Instructional (Auto)Ethnography.” Philosophies of Research and Criticism in Education and the Social Sciences. Ed. Jim L. Paul. New Jersey: Prentice Hall, 2005. 171-188.
Alexander, Bryant Keith. “Negotiating Cultural Identity in the Classroom.” Communicating Ethnic and Cultural Identity. Ed. Mary Fong and Rueyling Chuang. Lanham, Md.: Rowman and Littlefield, 2003. 329-343.
Alexander, Bryant Keith. “The Outsider (Or Invisible Man All Over Again): Contesting the Absented Black Gay Body in Queer Theory (with Apologies to Ralph Ellison).” The Image of the Outsider in Literature, Media, and Society. Ed. Will Wright and Steven Kaplan. Pueblo, CO: Society for the Interdisciplinary Study of Social Imagery, University of Southern Colorado, 2002. 308-15.
Alexander, Bryant Keith and Paul Leblanc. “Cooking Gumbo – Examining Cultural Dialogue About Family: A Black/White Narrativization of Lived Experience in Southern Louisiana.” Communication, Race, and Family: Exploring Communication in Black, White, and Biracial Families. Ed. Thomas Socha and Rhunette C. Diggs. New Jersey: Lawrence Erlbaum Associates, 1999. 181-208.
Baraka, Amiri. “The Case for Reparations.” Black Collegian 29.1 (Oct 1998): 26-27.
Baraka, Amiri. “From Parks to Marxism: A Political Evolution.” New Crisis 105.6 (Dec 1998): 20-22.
Baraka, Amiri. “Social Change and Poetic Tradition.” Chicago Review 43.4 (Fall 1997): 109-113.
Baraka, Amiri. “Cultural Revolution and the Literary Canon.” Callaloo 14.1 (Winter 1991): 150-156.
Baraka, Amiri. “Afro-American Literature and Class Struggle.” Black American Literature Forum 14.1 (Spring 1980): 5-14.
Baraka, Amiri. “Revolutionary Democratic Art from the Cultural Common Wealth of Afro America.” Souls Grown Deep: African American Vernacular Art of the South, I: The Tree Gave the Dove a Leaf. Ed. Paul Arnett and William Arnett. Atlanta: Tinwood, 2000. 504-525.
Baraka, Amiri. “Black Literature and the Afro-American Nation: The Urban Voice.” Literature & the Urban Experience: Essays on the City and Literature. Ed. Michael C. Jaye and Ann Chalmers Watts. New Brunswick: Rutgers UP, 1981. 139-159.
Baraka, Amiri. Tales of the Out & the Gone. New York: Akashic, 2007.
Baraka, Amiri. Un Poco Low Coups. Berkeley: Ishmael Reed Pub. Co., 2004.
Baraka, Amiri. Somebody Blew Up America: & Other Poems. Philipsburg, St. Martin: House of Nehesi, 2003.
Baraka, Amiri. The Essence of Reparations: Afro-American Self-Determination & Revolutionary Democratic Struggle in the United States of America. St. Martin, Caribbean: House of Nehesi, 2003.
Baraka, Amiri. The Fiction of LeRoi Jones/Amiri Baraka. Chicago: Lawrence Hill Books, 2000.
Baraka, Amiri. Eulogies. New York: Marsilio Publishers, 1996.
Baraka, Amiri. Funk Lore: New Poems, 1984-1995. Los Angeles: Littoral Books, 1996.
Baraka, Amiri. Transbluesency: The Selected Poems of Amiri Baraka/LeRoi Jones (1961- 1995). New York: Marsilio Publishers.
Baraka, Amiri. Wise, Why’s, Y’s. Chicago: Third World Press, 1995.
Baraka, Amiri. Conversations with Amiri Baraka. Jackson: UP of Mississippi, 1994.
Baraka, Amiri. The Music: Reflections on Jazz and Blues. New York: Morrow, 1987.
Baraka, Amiri. Daggers and Javelins: Essays, 1974-1979. New York: W. Morrow, 1984.
Baraka, Amiri. The Autobiography of LeRoi Jones/Amiri Baraka. New York: Freundlich Books, 1984.
Baraka, Amiri. Reggae or Not!: Poems. New York: Contact II Publications, 1981.
Baraka, Amiri. Black Music. Westport, Conn.: Greenwood, 1980.
Baraka, Amiri. Selected Poetry of Amiri Baraka/LeRoi Jones. New York: Morrow, 1979.
Baraka, Amiri. The Sidney Poet Heroical, in 29 Scenes. New York: I. Reed Books, 1979.
Baraka, Amiri. Selected Plays and Prose of Amiri Baraka/LeRoi Jones. New York: Morrow, 1979.
Baraka, Amiri. The Motion of History, and Other Plays. New York: Morrow, 1978.
Baraka, Amiri. Raise, Race, Rays, Raze: Essays Since 1965. New York: Random House, 1971.
Baraka, Amiri. In Our Terribleness (Some Elements and Meaning in Black Style). Indianapolis: Bobbs-Merrill, 1970.
Baraka, Amiri. It’s Nation Time. Chicago: Third World Press, 1970.
Baraka, Amiri. Four Black Revolutionary Plays, all Praise to the Black Man. Indianapolis: Bobbs-Merrill, 1969.
Baraka, Amiri. Black Magic: Sabotage, Target Study, Black Art; Collected Poetry, 1961- 1967. Indianapolis: Bobbs-Merrill, 1969.
Baraka, Amiri. Black Fire: An Anthology of Afro-American Writing. New York: Morrow, 1968.
Baraka, Amiri. The Baptism & the Toilet. New York: Grove Press, 1967.
Baraka, Amiri. Black Music. New York: W. Morrow, 1967.
Baraka, Amiri. Tales. New York: Grove Press 1967
Baraka, Amiri. Home: Social Essays. New York: Morrow, 1966.
Baraka, Amiri. The System of Dante’s Hell. New York: Grove Press, 1965.
Baraka, Amiri. The Moderns: An Anthology of New Writing in America. London: MacGibbon & Kee, 1965.
Baraka, Amiri. The Dead Lecturer: Poems. New York: Grove Press, 1964.
Baraka, Amiri. Dutchman and the Slave, Two Plays. New York: Morrow, 1964.
Baraka, Amiri. Blues People: Negro Music in White America. New York: W. Morrow, 1963.
Baraka, Amiri. Preface to a Twenty Volume Suicide Note. New York: Totem Press, 1961.
Film:
Perfect Alibi. Featured. Directed by Kevin Myer. 1995.
Menace II Society. Featured. Directed by the Hughes Brothers. 1993.
The Five Heartbeats. Supporting. Directed by Robert Townsend. 1991.
Perfume. Featured. Directed by Roland Jefferson. 1991.
The Court Martial of Jackie Robinson. Co-Star. Directed by Larry Peerce. 1990.
I’m Gonna Git You Sucka! Featured. Directed by Keenan Wayans. 1988.
You Can’t Hurry Love. Featured. Directed by Richard Martini. 1988.
Hollywood Shuffle. Co-Star. Directed by Robert Townsend. 1987.
Television:
Sparks. Co-Star. Directed by Bob Moloney.
1997
The Late Shift. Co-Star. Directed by Betty Thomas. HBO. 1996.
Second Chances. Co-Star. CBS Television
1995
Young and Restless. Guest Star. CBS Television. 1995
Dark Justice. Co-Star. CBS Television.
1996
Dragnet – The 90s. Also Starring. Arthur Company Television. 1993
Baby Boom. Co-Star. MGM/UA Television.
1993
Santa Barbara. Guest Star. New World Television.
1993
Webster. Co-Star. Paramount Television.
1986
Throb. Featured. NBC.
1988
Robert Townsend Special. Co-Star. HBO Television.
1988
New Love American Style. Featured. ABC. 1984
Theatre:
The Bow Wow Club. Dee. The Stella Adler Theater, 2006 & National Black Theatre Fest, 2007
Passing. Clare. The Towne Street Theatre. (Winner, Best Actress: 1997 NAACP Image Awards.) 2004.
Summers in Suffolk. Edna. The Towne Street Theatre. 2003.
Southern Girls. Wanda Sue. Pacific Resident Theatre.
1995
Flyin’ West. Sophie. St. Louis Black Repertory. (Best Actress Nominee: The Woodies, St. Louis.)
1994
Plumes. Tildy. The Towne Street Theatre.
1994
Life During Wartime. Wanda. Burbage Theatre.
Macbeth. First Witch. Stages Theatre.
1995
Long Journey Home. Lisa. Inner City Cultural Center.
1986
Just Hold On and Suck In. La Donna. Stellar Artists Collective. 1985
No Exit. Inez. Stellar Artists Collective.
1985
Vanities. Joanne. Stellar Artists Collective.
1985
A Good Time. Mandy. Ensemble Studio Theater.
1985
Curse of Dr. Menthu. Rainbow. Main Stage Theater. 1985
Fifth of July. Aunt Sally. American Conservatory Theatre.
1978
Gingham Dog. Gloria. American Conservatory Theatre.
1978
The River Niger. Ann. Bayview Repertory Company. 1978
Family by Haile Ford. Film Short for TST Films. Director/Producer. 2007.
Digital Natives by Barbara White Morgan. Towne Street Theatre, Los Angeles. Director/Producer. 2007.
Madwoman of Chaillot by Jean Giraudoux. Culver City Public Theater, Culver City, California. Director. 2006.
Story in Harlem Slang by Zora Neale Hurston. Company of Angels Theatre, Los Angeles. Director. 2006.
Psychology of Chromosome X by Shontina Vernon. Director/Producer. 2005.
Skinny Little Girl in a Fat Ass World by Anita Taylor. TST Workshop Production. Director/Producer. 2004.
Passing by Sheri Bailey. Towne Street Theater at Stella Adler Theatre, Los Angeles. Executive Producer/Lead Actor. 2004.
Summer Dreams by Sheri Bailey. Film Short. Director/Producer. 2004 Pan African Film Festival Entry, Norfolk, Va. 2003.
ABC Talent Development Program. Multi-Cultural Talent Showcase, Los Angeles. Shadow Director. 2003.
Skinny Little Girl in a Fat Ass World by Anita Taylor. Staged Reading. Robey Theatre Company, Los Angeles. 2003.
Summers in Sufolk by Sheri Bailey. Towne Street Theatre, Los Angeles. Director/Producer. 2003.
Haints, Conjuremen & Leaving by David Lee Lindsey. Towne Street Theatre, Los Angeles. Director/Producer. NAACP Nomination for Best Supporting Actor. 2003.
Joleta by Harriet Dickey. Towne Street Theatre, Los Angeles. Director/Producer. NAACP Nomaination for Best Ensemble; Winner for Best Writer, 2001. 2001-2.
Millennium in Black by Harriet Dickey. Towne Street Theatre, Los Angeles. Director/Producer. 2000.
L.A. Hair Story by Hallie Hobson. Cornerstone Theatre – Festival of Malls Plays – Los Angeles. Director. 1999.
Passing by Sheri Bailey. Towne Street Theatre, Los Angeles. Director/Producer. 1999.
Millennium in Black by Harriet Dickey. Towne Street Theatre, Los Angeles. Director Producer. 1999.
Five on the Black Hand Side by Charlie Russell. Towne Street Theatre, Los Angeles. Director/Producer 1998.
Summers in Suffolk by Sheri Bailey. Old Dominion University, Norfolk, Va. Director/Producer. 1998.
Summers in Suffolk by Sheri Bailey. Wilder Center for the Performing Arts, Norfolk, Va. Director/Producer. 1997.
Theater Noire/Original Imitations by Rickerby Hinds. Cornerstone Theater/A.SK. Theater Projects Reading Series, Los Angeles. Director. 1997.
Executive Producer, Towne Street Theatre (Founding Artistic/Production Director: 1993 to Present)
Fordham, Signithia. “Dissin’ ‘the Standard’: Ebonics as Guerilla Warfare at Capital High.” Anthropology & Education Quarterly 30.3 (September 1999): 272-93.
Fordham, Signithia. “‘Those Loud Black Girls’: (Black) Women, Silence, and Gender ‘Passing’ in the Academy.” Anthropology and Education Quarterly 24:1 (1994).
Fordham, Signithia. “The Color of Strangers, The Color of Friends: The Play of Ethnicity in School and Community.” Teachers College Record 95.2 (Winter 1993): 287- 291.
Fordham, Signithia and John U. Ogbu. “Black Students’ School Success: Coping with the ‘Burden of Acting White.’” The Urban Review 18.3 (1986): 176-206.
Fordham, Signithia. Blacked Out: Dilemmas of Race, Identity, and Success at Capital High. Chicago: U of Chicago P, 1996.
Fordham, Signithia. Appropriate(d) Identities: Acting White, ‘Book-Black’ Blacks and Dilemmas of School Success at Capital High. Chicago: U of Chicago P, 1996.
Forthcoming: Fordham, Signithia. Passin' for Black: Performing Kinship, Race and Identity in the Imagined Black Community.
Fordham, Signithia. Help!! My Girl Friends Are My Enemies: On Relational Aggression and the PO MO (Post Modern [Black]) Girl's Academic Performance).
Fordham, Signithia. Acting White After Capital High.
Fordham, Signithia. “Why Can’t Sonya (and Kwame) Fail Math?” Race and Education: The Roles of History and Society in Educating African-American Students. Ed. William Watkins, James Lewis, and Victoria Chou. Boston: Allyn and Bacon, 2001.
Fordham, Signithia. “Speaking Standard English from Nine to Three: Language Usage as Guerilla Warfare at Capital High.” Kids Talk: Strategic Language Use in Later Childhood. Ed. Susan Hoyle and Carolyn Temple Adger. New York: Oxford UP, 1998.
Fordham, Signithia. “‘Those Loud Black Girls’: (Black) Women, Silence, and Gender ‘Passing’ in the Academy.” Beyond Black and White: New Faces and Voices in U.S. Schools. Ed. Maxine Seller and Lois Weis. Albany: State University of New York P, 1997.
Johnson, E. Patrick. “Strange Fruit: A Performance about Identity Politics.” TDR: The Drama Review: A Journal of Performance Studies 47.2 (Summer 2003): 88-93.
Johnson, E. Patrick. “The Specter of the Black Fag: Parody, Blackness, and Hetero/Homosexual B(r)Others.” Journal of Homosexuality 45.2/4 (2003): 217- 34.
Johnson, E. Patrick. “Feeling the Spirit in the Dark: Expanding Notions of the Sacred in the Africa-American Gay Community.” Callaloo 21.2 (Spring 1998): 399-416.
Johnson, E. Patrick and Mae G. Henderson, eds. Black Queer Studies: A Critical Anthology. Durham, NC: Duke UP, 2005.
Johnson, E. Patrick. Appropriating Blackness: Performance and the Politics of Authenticity. Durham, NC: Duke UP, 2003.
Johnson, E. Patrick. “‘Quare’ Studies, or (Almost) Everything I Know About Queer Studies I Learned from my Grandmother (parts 1 & 2).” Sexualities and Communication in Everyday Life. Eds. Karen Lovaas and Mercilee M. Jenkins. Thousand Oaks: SAGE Publications, 2007.
Johnson, E. Patrick. “Black Performance Studies: Genealogies, Politics, Futures.” The Sage Handbook of Performance Studies. Eds. D. Soyini Madison and Judith Hamera. Thousand Oaks: SAGE Publications, 2006.
Johnson, E. Patrick. “Performing Blackness Down Under: Gospel Music in Australia.” Black Cultural Traffic: Crossroads in Global Performance and Popular Culture. Eds. Harry Justin Elam and Kennell A. Jackson. Ann Arbor: U of Michigan P, 2005.
Johnson, E. Patrick. “Mother Knows Best: Black Gay Vernacular and Transgressive Domestic Space.” Speaking in Queer Tongues: Globalization and Gay Language. Eds. William Leap and Tom Boellstorff. Urbana: U of Illinois P, 2004.
Johnson, E. Patrick. “Feeling the Spirit in the Dark: Expanding Notions of the Sacred in the African American Gay Community.” The Greatest Taboo: Homosexuality in Black Communities. Ed. Delroy Constantine-Simms. Los Angeles: Alyson Books, 2001.
Kupenda, Angela. “Seeking Different Treatment, or Seeking the Same Regard: Remarketing the Transracial Adoption Debate.” Boston College Third World Law Journal 26 (2006): 97.
Kupenda, Angela. “To Whom this May Concern: Re: Brown III.” North Carolina Central University Law Journal 27 (2005): 216.
Kupenda, Angela. “After the Election, Where do we go from here?” The Jackson Advocate 11 November 2004: A4.
Kupenda, Angela. “Unchaining Ourselves from Chronic Illnesses ... and Other New Slaveries.” The Reporter Newspaper 10 July 2004: B1.
Kupenda, Angela. “Unchaining Ourselves from Chronic Illnesses, Part I and II.” The Jackson Advocate 24 June 2004 at A12, and 1 July 2004 at A12.
Kupenda, Angela. “Why I Teach?” The Law Teacher (Fall 2003): 12.
Kupenda, Angela. “Where Do We Go From Here? Indirect Affirmative Action and Direct Positive Action-the Way out of the New Slavery?” The Reporter Newspaper 12 July 2003: A2.
Kupenda, Angela. “Diversity: Do You Really Want It?” Law & Inequality Journal 21 (2003): 415.
Kupenda, Angela. “On Teaching Constitutional Law When my Race is in their Face.” Law & Inequality Journal 21 (2003): 215.
Kupenda, Angela. “For White Women: ‘Your Blues Ain't Like Mine,’ But We All Hide Our Faces and Cry: Literary Illumination and Questioning for Black and White Sister/Friends.” Boston College Third World Law Journal 22 (2002): 67.
Kupenda, Angela. “Law School Professors Comment on the Campus Boycott of Justice Clarence Thomas: Did they Do the Right Thing?, Remarks, Journal of Blacks in Higher Education.” Risking Collaborative Learning, The Law Teacher 37 (Autumn 2002): 115. http://www.law.gonzaga.edu/ILST/newsletters/spring02/kupenda.htm
Kupenda, Angela. “Aren’t Two Parents Better than None, Part II: Contractual and Statutory Basics for a ‘New’ African American Coparenting and Joint Adoption Model (with former students A. Wallace, J. Travis, B. Dorsey and B. Guy.”Temple’s Political and Civil Rights Law Review 9 (1999): 59.
Kupenda, Angela. “Law, Life and Literature: A Critical Reflection of Life and Literature to Illuminate How Laws of Domestic Violence, Race, and class Bind Black Women; A Critical Reflection of Alice Walker’s Book The Third Life of Grange Copeland.” Howard Law Journal 42 (1998).
Kupenda, Angela. “Law, Life and Literature: Using Literature and life to Expose Transracial Adoption Laws as Adoption on a One Way Street (with former students A. Thrash, J. Riley Collins, L. Dukes, S. Lewis, and R. Dixon).” Buffalo Public Interest Law Journal 17 (1998): 43.
Kupenda, Angela. “A New Standing Requirement for First Amendment Litigants?: Bar Owners Resting on Their own Bottoms or Still Resting on the Bare Bottoms of Nude Dancers (with former students L. Barry and M. Fijman).” Boston University Public Interest Law Journal 8 (1998): 81.
Kupenda, Angela. “Remand Law: An Unfair Burden (with Judge W.L. Kidd).” Trial Lawyers Quarterly 28.4 (Summer/Fall 1998): 14.
Kupenda, Angela. “Aren’t Two Parents Better Than None: Whether Two Single African American Adults (Who Are Not in a Traditional Marriage or a Romantic or Sexual Relationship with Each Other) Should Be Allowed to Jointly Adopt and Coparent African American Children.” University of Louisville Journal of Family Law 35 (Fall 1997): 703.
Kupenda, Angela. “Making Traditional Courses more Inclusive: Confessions of an African American Female Professor who Attempted to Crash All the Barriers at Once.” University of San Francisco Law Review 31 (Summer 1997): 975.
Kupenda, Angela. “Why Isn't What's Good for the Goose, Also Good for the Gander?: Confronting the Truth and Reframing the Affirmative Action Question.” Southern University Law Review 24 (1997): 141.
Kupenda, Angela. “Establishing Federal Appellate Jurisdiction by Filing a Timely and Effective Notice of Appeal or Petition (with Attorney L.T. Munford).” Fifth Circuit Reporter 11 (March 1994): 313.
Kupenda, Angela. Moving from Fear to Courage, and Replacing Preaching with Reaching. Center for the Study of Race and Race Relations, University of Florida Levin College of Law, 2006.
Kupenda, Angela. “Loss of Innocence.” Essay, publication forthcoming in Voices of the Brown Generation. Nashville: Vanderbilt UP.
Kupenda, Angela. “Voices and Choices: On Choosing to Stir from the Bottom (Marginalized Citizens and Globalization).” Democracy and Globalization, Symposia on Democracy Series #4. Ed. Charles L. Nieman (2005). http://upress.kent.edu/books/Nieman.htm.
Heflin, Colleen M. and Mary. Pattillo. “Poverty in the Family: Race, Siblings and Socioeconomic Heterogeneity.” Social Science Research (forthcoming).
Pattillo, Mary. “Black Middle-Class Neighborhoods.” Annual Review of Sociology 31 (2005): 305-29.
Pattillo, Mary. “Extending the Boundaries and Definition of the Ghetto.” Ethnic and Racial Studies 26 (2003): 1046-57.
Pattillo, Mary. “Negotiating Blackness, For Richer or for Poorer.” Ethnography 4 (2003): 61-93.
Heflin, Colleen M. and Mary Pattillo. “Kin Effects on Black-White Account and Home Ownership.” Sociological Inquiry 72.2 (2002): 220-239.
Pattillo-McCoy, Mary. “The Limits of Out-Migration for the Black Middle Class.” Journal of Urban Affairs 22.3 (2000): 225-242.
May, Reuben A.B. and Mary Pattillo-McCoy. “Do You See What I See: Examining a Collaborative Ethnography.” Qualitative Inquiry 6.1 (2000): 65-87.
Pattillo-McCoy, Mary. “Consumer Culture Among Cuban and Black American Youth.” Souls: A Critical Journal of Black Politics, Culture and Society 1.2 (1999): 58-63.
Pattillo-McCoy, Mary. “Church Culture as a Strategy of Action in the Black Community.” American Sociological Review 63.6 (1998): 767-84.
Pattillo, Mary E. “Sweet Mothers and Gangbangers: Managing Crime in a Black Middle Class Neighborhood.” Social Forces 76.3 (1998): 747-774.
Pattillo, Mary. Black on the Block: The Politics of Race and Class in the City. Chicago: U of Chicago P, 2007.
Wright, David J., Mary Patillo, and Lisa Montiel. The Flip Side of the Underclass: Unexpected Images of Social Capital in Majority-African American Neighborhoods. Albany: Rockefeller Institute, 2007.
Pattillo, Mary, David Weiman, and Bruce Western, eds. Imprisoning America: The Social Effects of Mass Incarceration. New York: Russell Sage Foundation, 2004.
Pattillo, Mary. Black Picket Fences: Privilege and Peril Among the Black Middle Class. Chicago: U of Chicago P, 1999.
Pattillo, Mary. There Goes the Neighborhood: Racial, Ethnic, and Class Tensions in Four Chicago Neighborhoods and Their Meaning for America. Ed. William Julius Wilson and Richard Taub. New York: Knopf. (forthcoming)
Kalil, Ariel, Mary Pattillo, and Monique Payne. “Intergenerational Assets and the Black/White Test Score Gap.” Family Background and Educational Success: After the Bell. Ed. Dalton Conley and Karen Albright. New York: Routledge: 2003.
Pattillo-McCoy, Mary. “Negotiating Adolescence in a Black Middle Class Neighborhood.” Coping with Poverty: The Social Contexts of Neighborhood, Work, and Family in the African-American Community. Ed. Sheldon Danziger and Ann Chih Lin. Ann Arbor: U of Michigan P, 2000.
Tate, Greg. “Eulogy for Black Caesar: James Brown, 1933-2006.” Village Voice (2 Jan 2007).
Tate, Greg. “The Color of Money.” Nation 282.8 (27 Feb 2006): 23-26.
Tate, Greg. “Richard Pryor, 1940-2005: Used to be a Genius, I Ain’t Lying, Booked the Numbers Didn’t Need Paper or Pencil.” Village Voice (12 Dec 2005).
Tate, Greg. “Visible Man.” Nation 280.8 (28 Feb 2005): 34-36.
Tate, Greg. “Hiphop Turns 30: Whatcha Celebratin’ For?” Village Voice (4 Jan 2005).
Tate, Greg. “Mississippi Yearning.” Essence 34.8 (Dec 2003): 142.
Tate, Greg. “Blues Guru Taj Mahal.” Essence 34.7 (Nov 2003): 136.
Tate, Greg. “said jill scott.” Essence 34.6 (Oct 2003): 250.
Tate, Greg. “The New Blues Rules.” Rolling Stone 896 (23 May 2002): 81.
Tate, Greg. “Bamboozled: White Supremacy and a Black Way of Being Human.” Cineaste 26.2 (2001): 15.
Tate, Greg. “How We Talk About Race.” American Theatre 17.5 (May/Jun 2000): 44-46.
Tate, Greg. “The Time of His Life.” Rolling Stone 824 (28 Oct 1999): 100.
Tate, Greg. “Raje.” New Crisis 105.2 (Apr/May 1998): 34-36.
Tate, Greg. “Generation Next, or the Future of Bad Hair (Text for a Film by Greg Tate and Arthur Jafa).” African American Review 31.4 (Winter 1997): 629-31.
Tate, Greg. “Moon Daughter.” Essence 27.3 (Jul 1996): 60-63.
Tate, Greg. “Above and Beyond Rap’s Decibels.” New York Times 143.49627 (6 Mar 1994): Section 2 p 1.
Tate, Greg. Everything but the Burden: What White People are Taking from Black Culture. New York: Broadway Books, 2003.
Tate, Greg. Midnight Lightning: Jimi Hendrix and the Black Experience. Chicago: Lawrence Hill Books, 2003.
Tate, Greg and Martin Dixon. Brooklyn Kings: New York City’s Black Bikers. New York: Powerhouse Books, 2000.
Tate, Greg. Flyboy in the Buttermilk: Essays on Contemporary America. New York: Simon & Schuster, 1992.
Tate, Greg. “Diatribe.” And it Doesn’t Stop: The Best American Hip-Hop Journalism of the Last 25 Years. Ed. Raquel Cepeda. New York: Faber and Faber, 2004.
Tate, Greg. “Major’s League.” Conversations with Clarence Major. Ed. Clarence Major and Nancy L. Bunge. Jackson: UP of Mississippi, 2002.
Tate, Greg. “Born to Dyke.” To be Real: Telling the Truth and Changing the Face of Feminism. Ed. Rebecca Walker. New York: Anchor, 1995.
Tate, Greg. “He is Truly Free who is Free From the Need to be Free: A Survey and Consideration of Black Male Genius.” Black Male: Representations of Masculinity in Contemporary American Art. Ed. Thelma Golden. New York: Whitney Museum of American Art, 1994.
Tate, Greg. “Excerpt from Altered Spade: Readings in Race-Mutation Theory.” Microphone Fiends: Youth Music & Youth Culture. Ed. Andrew Ross and Tricia Rose. New York: Routledge, 1994.
Tate, Greg. “Can this be the End for Cyclops and Professor X?” Malcolm X: In Our Own Image. Ed. Joe Wood. New York: St. Martin’s, 1992.
Tate, Greg. “Preface to a One-Hundred-and-Eighty Volume Patricide Note: Yet Another Few Thousand Words on the Death of Miles Davis and the Problem of the Black Male Genius.” Black Popular Culture. Ed. Michele Wallace. New York: New Press, 1998, 1983.
Underground. Staged reading. New York State Writers Institute—Author's Theatre, February 2007.
Single Black Female. Off-Broadway premiere. Produced by the New Professional Theatre. Directed by Colman Domingo. Peter Jay Sharpe Theatre, New York City. June 15-June 25, 2006.
Single Black Female. Los Angeles premiere. Produced by the Cassandra Project. Directed by Colman Domingo, Flight Theatre at the Complex, Hollywood, California. March 26-April 18, 2004. Nominated for 2005 LA Weekly Theater Award for Best Comedy Playwriting.
Single Black Female. World premiere. Directed by Colman Domingo. Theater Rhinoceros, San Francisco, California. March 10-April 10, 1999.
Single Black Female. Staged reading. Directed by Arturo Catricala. Festival of New Plays, BRAVA! Theatre for Women in the Arts, San Francisco, California. January 28, 1998.
Monroe. Staged reading. Directed by Cherríe Moraga. BRAVA! Theatre for Women in the Arts, San Francisco, California. June 12, 1997.
Watermelon. World premiere. Co-written and directed by Maurice Lee. New Langston Arts, San Francisco, California. August 22-31 1997.
Dreadtime Stories: One Sista’s Hair. Inner City Cultural Center Talent Festival Finalist, Playwright's Division. Directed by E. Fatima Washington. Ivar Theater, Hollywood, California. August 1993.
Beyond the Black Lady: Sexuality and the New African American Middle Class (book manuscript), University of Illinois Press, New Black Studies Series edited by Dwight A. McBride and Darlene Clark Hine, forthcoming.
Forthcoming (Southern Literary Journal): “The Politics of Self-Identity in Paul Laurence Dunbar’s Sport of the Gods.” 25 pages.
“Gwendolyn Brooks.” African American Women Writers: An A-Z Guide. Ed, Yolanda Williams Page. Greenwood Press, 2006: 49-55.
Book Review on Black Venus: Sexualized Savages, Primal Fears, and Primitive Narratives in French by T. Denean Sharpley-Whiting in: African American Review, Vol. 35, No. 2 (Summer, 2001), pp. 314-315
"CultureWise: Narrative as Research, Research as Narrative" with Jennifer Cohen, Paula Mathieu, Erec Smith, Bridget Harris Tsemo, and Vershawn Young. Works and Days, Ed. Gian S. Pagnucci, Nicholas Mauriello. V.17-18, 1999-2000 (425-452).
Monograph titled Our Unwashed America: The Black Middle-Class Confronting Politics at the Turn of the 19th and 20th Century
Edited Collection: From Bourgeois to Boojie: Black Middle Class Performances with Vershawn Ashanti Young
Wallace, Michele. “Black Feminism 101.” Women’s Review of Books 21.1 (Oct 2003): 26-7.
Wallace, Michele. “Auntie Mom.” Essence 33.6 (Oct 2002): 244.
Wallace, Michele. “Magicians of Soul.” Women’s Review of Books 18.3 (Dec 2000): 11.
Wallace. Michele. “Uncle Tom's Cabin: Before and after the Jim Crow Era.” TDR: The Drama Review: A Journal of Performance Studies 44.1 (Spring 2000): 137-56.
Wallace, Michele. “Who Dat Say Who Dat When I Say Who Dat?” Village Voice 33.15 (12 Apr 1998).
Wallace, Michele. “Out of Step with the Million Man March.” Ms. 6.4 (1996).
Wallace, Michele. “Panther: The Hollywood Version of Black Power.” Ms. 5.6 (1995).
Wallace, Michele. “Multiculturalism and Oppositionality (An Analysis of Three Contemporary Instances of Multicultural Programming and Artwork).” Afterimage 19 (Oct 1991).
Wallace, Michele. “Beyond Assimilation.” Village Voice 36.38 (17 Sept 1991).
Wallace, Michele. “Variations on Negation and the Heresy of Black Feminist Creativity.” Heresies: A Feminist Publication on Art and Politics 6:4 (1989): 69-75.
Wallace, Michele. Dark Designs and Visual Culture. Durham, NC: Duke UP, 2004.
Wallace, Michele. Invisibility Blues: From Pop to Theory. London: Verso, 1990.
Wallace, Michele. All the Women are White, all the Blacks are Men, But Some of Us Are Brave: Black Women’s Studies. Old Westbury, NY: Feminist Press, 1982.
Wallace, Michele and Arthur E. Thomas. Teachers’ Guide: Like It Is: Arthur E. Thomas Interviews Leaders on Black America. New York: Central State University; E. P. Dutton, 1981.
Wallace, Michele. Black Macho and the Myth of the Superwoman. New York: Dial Press, 1979.
Wallace, Michele. “The Prison House of Culture: Why African Art? Why the Guggenheim? Why Now?” The Visual Culture Reader. Ed. Nicholas Mirzoeff. London: Routledge, 2002. 371-82.
Wallace, Michele. “Oscar Micheaux's Within Our Gates: The Possibilities for Alternative Visions.” Oscar Micheaux and His Circle: African-American Filmmaking and Race Cinema of the Silent Era. Ed. Pearl Bowser, Jane Gaines, Charles Musser. Bloomington, IN: Indiana UP, 2001. 53-66.
Wallace. Michele. “Female Troubles: Ishmael Reed's Tunnel Vision.” The Critical Response to Ishmael Reed. Ed. Bruce Allen Dick. Westport, CT: Greenwood, 1999. 183-91.
Wallace, Michele. “Michael Jackson, Black Modernisms, and ‘The Ecstasy of Communication.” Global Television. Cambridge: MIT, 1998.
Wallace, Michele. “Variations on Negation and the Heresy of Black Feminist Creativity.” Women, Creativity, and the Arts: Critical and Autobiographical Perspectives. Ed. Diane Apostolos-Cappadona and Lucinda Ebersole. New York: Continuum, 1997. 124-38.
Wallace, Michele. “Black Female Spectatorship and the Dilemma of Tokenism.” Generations: Academic Feminists in Dialogue. Ed. Devoney Looser and E. Ann Kaplan. Minneapolis: U of Minnesota P, 1997. 88-102.
Wallace, Michele. “Masculinity in Black Popular Culture: Could it be that Political Correctness is the Problem?” Constructing Masculinity. Ed. Maurice Berger. New York: Routledge, 1995.
Wallace, Michele. “The Search for the ‘Good Enough’ Mammy: Multiculturalism, Popular Culture, and Psychoanalysis.” Multiculturalism: A Critical Reader. Ed. David Theo Goldberg. Oxford: Blackwell, 1994.
Wallace, Michele. “Race, Gender and Psychoanalysis in Forties Films: Lost Boundaries, Home of the Brave, and The Quiet One.” Black American Cinema. Ed. Diawara Manthia. London: Routledge, 1993.
Wallace, Michele. “Race, Identity, and Representation in Education.” Multiculturalism and Oppositionality. New York: Routledge, 1993.
Wallace, Michele. “Negative Images: Toward a Black Feminist Cultural Criticism.” The Cultural Studies Reader. Ed. E. Simon During. New York: Routledge, 1993.
Wallace, Michele. “Modernism, Postmodernism, and the Problem of the Visual in Afro- American Culture.” Aesthetics in Feminist Perspective. Ed. Hilde Hein and Carolyn Korsmeyer. Bloomington: Indiana UP, 1993.
Wallace, Michele. “Whose Town? Questioning Community and Identity.” Our Town. New York: Aperture, 1992.
Wallace, Michele. “Modernism, Postmodernism, and the Problem of the Visual in Afro- American Culture.” Out There: Marginalization and Contemporary Culture. Eds. Russell Ferguson, Martha Gever, Trinh T. Minh-Ha, and Cornel West. Cambridge: MIT, 1990.
Young, Vershawn Ashanti. “A Review of Real Black: Adventures in Racial Sincerity by John L. Jackson.” Souls: A Critical Journal of Black Politics, Culture & Society 8.3 (Summer 2006): 204-206.
Young, Vershawn Ashanti. “Your Average Nigga.” College Composition and Communication 55.4 (Jun 2004): 693-715.
Young, Vershawn Ashanti. “So Black I’m Blue.” Minnesota Review: A Journal of Committed Writing 58-60 (2003): 207-17.
Young, Vershawn Ashanti. Your Average Nigga: Performing Race, Literacy, and Masculinity. Detroit: Wayne State UP, 2007.
Fall of the Black Middle Class: From Jim Crow to the Down Low
From Bourgeois to Boojie: Black Middle Class Performances, edited collection with Bridget Harris Tsemo
Mended Tongues: Code Meshing as a New Paradigm for Writing, edited collection
The Resurrection of Nigger, edited collection
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