The #1 New York Times Bestseller! The extraordinary true story and basis for the Academy Award winning film BlacKkKlansman, written and directed by Spike Lee, produced by Jordan Peele, and starring John David Washington and Adam Driver. When detective Ron Stallworth, the first black detective in the history of the Colorado Springs Police Department, comes across a classified ad in the local paper asking for all those interested in joining the Ku Klux Klan to contact a P.O. box, Detective Stallworth does his job and responds with interest, using his real name while posing as a white man. He figures he’ll receive a few brochures in the mail, maybe even a magazine, and learn more about a growing terrorist threat in his community. A few weeks later the office phone rings, and the caller asks Ron a question he thought he’d never have to answer, “Would you like to join our cause?” This is 1978, and the KKK is on the rise in the United States. Its Grand Wizard, David Duke, has made a name for himself, appearing on talk shows, and major magazine interviews preaching a “kinder” Klan that wants nothing more than to preserve a heritage, and to restore a nation to its former glory. Ron answers the caller’s question that night with a yes, launching what is surely one of the most audacious, and incredible undercover investigations in history. Ron recruits his partner Chuck to play the "white" Ron Stallworth, while Stallworth himself conducts all subsequent phone conversations. During the months-long investigation, Stallworth sabotages cross burnings, exposes white supremacists in the military, and even befriends David Duke himself. Black Klansman is an amazing true story that reads like a crime thriller, and a searing portrait of a divided America and the extraordinary heroes who dare to fight back.
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When Ron Stallworth, the first black detective in the history of the Colorado Springs Police Department, comes across a classified ad in the local paper asking for all those interested in joining the Ku Klux Klan to contact a P.O. box, Detective Stallworth does his job and responds with interest, using his real name while posing as a white man. He figures he'll receive a few brochures in the mail, and learn more about a growing terrorist threat in his community. A few weeks later the office phone rings, and the caller asks Ron a question he thought he'd never have to answer, 'Would you like to join our cause?' This is 1978, and the KKK is on the rise in the United States. Ron answers the caller's question that night with a yes, launching what is surely one of the most audacious, and incredible undercover investigations in history.
American filmmaker Ted V. Mikels holds a unique position as one of the most unconventional directors of exploitation cinema. Famous for his eccentric home life (he once lived with a harem in a castle with secret passage-ways) and promotional gimmicks (he was known for having nurses and ambulances on hand to assist “scared-to-death” movie-goers), Mikels is considered a pioneering master of low-budget movie making. This unique work examines each of Mikels’ 19 major film or video productions, beginning with his first feature Strike Me Deadly (1959). Each entry includes a full list of cast and crew credits, along with a plot synopsis and, frequently, behind-the-scenes anecdotes. Also included are a complete filmography, an overview of Ted V. Mikels memorabilia, and a transcript of the author’s personal interview with Mikels.
Mission: Create distrust for and among the KKK in Caloosa and discourage them from terrorizing colored people! Oceans is a boy growing up in the fictitious town of Caloosa, Mississippi, in the 1920s and 1930s under the Jim Crow system and Ku Klux Klan dominance. He sees his mentor and other colored men face injustice from the system and lynchings by the Klan and determines that one day, he will rid his town of the Klan menace. Somehow, he will find a way to terrorize individual members of the Klan and make them scared to wear the white sheet and hood, much less terrorize the colored population. As a young army volunteer in World War II, he faces all types of discrimination. The colored GIs are segregated as well as undervalued, underestimated, and marginalized. He is assigned as a truck driver even though his testing shows that he is qualified for much more. His truck is blown up, and he is captured by the Germans and sent to a prison camp where he escapes and ends up fighting with the French underground. He returns home after the war to use his skills with weapons and his God-given ability to mimic any voice or accent once he’s heard it to rescue colored men from lynchings by the Klan by disguising himself as a white man and eventually terrorizing the Klan to the point that they’re afraid to show themselves.
The last six words in the Pledge of Allegiance, “With liberty and justice for all,” continue to ring hollow for many Americans and will continue to do so until it becomes clear to all Americans that it is as difficult for the African American community to see justice in the continued murders of unarmed black men at the hands of men and women in blue as it was for white America to see justice in the acquittal of O. J. Simpson in the murder of Nicole Brown Simpson twenty-plus years ago. Silent Terrorism, A Look at American Racism and Hypocrisy was written in hopes of opening dialogue and stimulating conversation about race in America. I have been blessed to travel to many countries outside the United States of America, giving me a very good understanding and appreciation of the benefits of being born a citizen of the greatest country in the world. As great as this nation is as a whole, as honorable as its ideals are, the founding fathers left huge holes in its foundation related to race and racism which continue to divide our nation today. The tactics, techniques, and procedures (TTPs) used by racist men in our society today differ from those of their forefathers. Their TTPs continue to evolve, change and are embedded in every facet of our lives, our justice system and our government which, from its inception, has been a state sponsor of terrorism (racism) within its borders. One can argue that many of the atrocities committed by the founding fathers and other immigrants from Great Britain were necessary to establish and build this nation; that excuse cannot be used to explain the continued racism, voter disenfranchisement, repealing of the Voting Rights Act, many of today’s laws, and a grand jury system that continues to allow for the murders of unarmed black Americans. Supreme Court Justice Antonin Scalia, said “most of the black scientists in this country do not come from the most advanced schools” and black students do better at “slower tracked schools.” Scalia continued to express his racist views from the bench when he said students of color are being “pushed into schools that are too advanced for them” due to race-conscious affirmative action policies.
In the decades immediately following the Civil War, the United States expanded rapidly. As the nation grew, so too did federal law, moving into areas of citizens’ lives previously regulated by local custom and state and territorial statutes. Drawing on contemporary accounts and the letters that flowed between the Washington office of the Justice Department and its attorneys and marshals throughout the states and territories, Cresswell uses a case-study approach to explore the enforcement of federal law in four regions. In northern Mississippi, the rights of freedmen to vote clashed with established rules of relations between blacks and whites. In Utah Territory, Mormon polygamy and economic dominance challenged the aspirations of non-Mormon settlers. In eastern Tennessee, desperate poverty lent enchantment to the easy money of moonshining. In Arizona Territory, frontier greed and violence threatened the lives of people and the chances of early admission to the Union of states. Mormons and Cowboys, Moonshiners and Klansmen moves beyond these local case studies to illuminate larger questions, including the evolution of the American criminal justice system, the relationship of the South and the West to the rest of the nation, the workings of the 19th-century American bureaucracy, and conflict of the local, state, and federal governments. Out of the efforts of these early federal marshals came the modern federal justice system, with its firm policy guidelines, its Federal Bureau of Investigation, and its broader powers over the country as a whole.
Exploitation filmmakers played a significant role in revolutionizing American cinema during the 1960s and early 1970s, churning out a string of independent Westerns, biker films, nudie-cuties and horror flicks in record times and often on shoestring budgets. With titles like Horror of the Blood Monsters, Cycle Savages and The Incredible 2-Headed Transplant, these films pushed the boundaries of acceptable on-screen violence and nudity and kept the American theater industry afloat as several major studios teetered on the brink of financial collapse. This work tells the story of that “other” Hollywood through interviews with 16 directors, performers, screenwriters, and stuntmen who helped bring these zero-budget films to the screen against incredible odds. The interviews give insights into exploitation filmmaking from the perspectives of pioneering directors Al Adamson and Jack Hill, actors Jenifer Bishop and Robert Dix, and stuntmen Gary Kent and Gary Littlejohn, and others. The work includes more than 50 photographs, including many rare behind-the-scenes images of the filmmakers on set.
From the late 1960s on, there has been one highly profitable movie genre that has received little or no critical attention or documentation--black action pictures. These are very popular, slam-bang, heavy-duty, ethnic action feature films like Beverly Hills Cop, Blacula, Cleopatra Jones, Foxy Brown, Greased Lightning, Shaft, and Superfly. Here the genre is given its due in this comprehensive compilation of four filmmaking decades. For each of the 235 films, there are detailed filmographic data and full cast and credits listings, plus an essay interweaving a synopsis, contemporary critical quotes, production information, and an analysis of the film and its stars.
New methodologies from social theory, cultural anthropology, and gender studies have emerged which take religion and cultural values into perspective. Particular light shed on social transformations, religious practices and theological perspectives.