The Street Is My Pulpit

To some, Christianity and hip hop seem antithetical. Not so in Kenya. There, the music of Julius Owino, aka Juliani, blends faith and beats into a potent hip hop gospel aimed at a youth culture hungry for answers spiritual, material, and otherwise. Mwenda Ntarangwi explores the Kenyan hip hop scene through the lens of Juliani's life and career. A born-again Christian, Juliani produces work highlighting the tensions between hip hop's forceful self-expression and a pious approach to public life, even while contesting the basic presumptions of both. In The Street Is My Pulpit, Ntarangwi forges an uncommon collaboration with his subject that offers insights into Juliani's art and goals even as Ntarangwi explores his own religious experience and subjective identity as an ethnographer. What emerges is an original contribution to the scholarship on hip hop's global impact and a passionate study of the music's role in shaping new ways of being Christian in Africa.

To some, Christianity and hip hop seem antithetical. Not so in Kenya. There, the music of Julius Owino, aka Juliani, blends faith and beats into a potent hip hop gospel aimed at a youth culture hungry for answers spiritual, material, and otherwise. Mwenda Ntarangwi explores the Kenyan hip hop scene through the lens of Juliani's life and career. A born-again Christian, Juliani produces work highlighting the tensions between hip hop's forceful self-expression and a pious approach to public life, even while contesting the basic presumptions of both. In The Street Is My Pulpit, Ntarangwi forges an uncommon collaboration with his subject that offers insights into Juliani's art and goals even as Ntarangwi explores his own religious experience and subjective identity as an ethnographer. What emerges is an original contribution to the scholarship on hip hop's global impact and a passionate study of the music's role in shaping new ways of being Christian in Africa.

"The Digital Hustle When we met in the middle of a rare snowstorm in Washington, DC, in January, Charlie was bundled up against the cold in his Carhartt jacket, thick socks, and sturdy work boots, with a knit cap pulled down over his ears. As he peeled off his many layers in our booth at a Dunkin' Donuts, he apologized for smelling like cigarette smoke, saying that bad winter weather always makes him think a little harder about quitting for good. Charlie explained that smoking was a small comfort in what he felt were uncertain times. "It's like, every day you just you walk out your door and you're already stressed. Because we never know, even these days, you never know what the next day is going to be like. You have no idea. I'm just trying to keep my guys busy." Charlie's "guys" are a small crew of two or three manual workers he tried to keep in regular work through a patchwork of contracting, demolition gigs, and moving jobs. Looking older than his forty-seven years, Charlie told me about how he came to start his own home contracting and moving business after he left his union construction job when his boss was replaced by someone much younger than him. He enjoyed the freedom and independence that came with "being his own boss": being my own boss, I don't have to deal with nobody. And for me, because I'm forty-seven, I can't deal with a twenty- or thirty-year-old, some young kid like you being my boss."--

Hip hop music that empowers and engages youth in East Africa

Features word pictures and applications that models for communicating God's Word.

Deftly illustrating how life circumstances can influence ethnographic fieldwork, Mwenda Ntarangwi focuses on his experiences as a Kenyan anthropology student and professional anthropologist practicing in the United States and Africa. Whereas Western anthropologists often study non-Western cultures, Mwenda Ntarangwi reverses these common roles and studies the Western culture of anthropology from an outsider's viewpoint while considering larger debates about race, class, power, and the representation of the "other." Tracing his own immersion into American anthropology, Ntarangwi identifies textbooks, ethnographies, coursework, professional meetings, and feedback from colleagues and mentors that were key to his development. Reversed Gaze enters into a growing anthropological conversation on representation and self-reflexivity that ethnographers have come to regard as standard anthropological practice, opening up new dialogues in the field by allowing anthropologists to see the role played by subjective positions in shaping knowledge production and consumption. Recognizing the cultural and racial biases that shape anthropological study, this book reveals the potential for diverse participation and more democratic decision making in the identity and process of the profession.

"Pimps in the pulpit.is a satirical essay that analyzes the role of the clack church as an institution that pervades many aspects of the lives of the African American community. The book focuses on the embodiment of the church through the clergy whose influence is paramount in shaping the beliefs and perceptions of the parishioners"--P [4] of cover.

This was my private war. The streets were a battlefield. We were fighting over drugs and risking death. The syringes we used were filthy, we would get infected by diseases, but we didn’t care. I was tired from running, hiding, hustling, and stealing. So I escaped and signed up for the Army. But, the Army gave me orders to Fort Campbell, Kentucky, which was close to Clarksville; I was back to the streets, back to my private hell. The junky, however, was excited, “We are going back to the crib; you are going to have a paycheck twice a month; that’s enough money to go have fun in the hood all over again!” he screamed. I had come full circle; I desperately wanted to get cured but couldn’t get the cure. I was so close to getting better, yet I was so far from the cure.

In the stories and anecdotes that make up this book, the reader will discover the invincible power that resides in every human being to survive vicissitudes and reach a renaissance of peace. Ann and Joel Klein write their history from their personal perspectives and follow the time-honored story-telling tradition of their people that celebrates joy and sorrow with the eternal hope that life is beautiful. This powerful meaning of their own and their extended family's lives on two continents under four divergent political systems breaks through their words. The stories tell a couple's private and professional life in one particular setting. Their significance lies in the inescapable recognition that every man and woman in any setting will find relevance to his or her life in them.

Pulitzer Prize–winning author and presidential historian Doris Kearns Goodwin’s dynamic history of Theodore Roosevelt, William H. Taft and the first decade of the Progressive era, that tumultuous time when the nation was coming unseamed and reform was in the air. Winner of the Carnegie Medal. Doris Kearns Goodwin’s The Bully Pulpit is a dynamic history of the first decade of the Progressive era, that tumultuous time when the nation was coming unseamed and reform was in the air. The story is told through the intense friendship of Theodore Roosevelt and William Howard Taft—a close relationship that strengthens both men before it ruptures in 1912, when they engage in a brutal fight for the presidential nomination that divides their wives, their children, and their closest friends, while crippling the progressive wing of the Republican Party, causing Democrat Woodrow Wilson to be elected, and changing the country’s history. The Bully Pulpit is also the story of the muckraking press, which arouses the spirit of reform that helps Roosevelt push the government to shed its laissez-faire attitude toward robber barons, corrupt politicians, and corporate exploiters of our natural resources. The muckrakers are portrayed through the greatest group of journalists ever assembled at one magazine—Ida Tarbell, Ray Stannard Baker, Lincoln Steffens, and William Allen White—teamed under the mercurial genius of publisher S.S. McClure. Goodwin’s narrative is founded upon a wealth of primary materials. The correspondence of more than four hundred letters between Roosevelt and Taft begins in their early thirties and ends only months before Roosevelt’s death. Edith Roosevelt and Nellie Taft kept diaries. The muckrakers wrote hundreds of letters to one another, kept journals, and wrote their memoirs. The letters of Captain Archie Butt, who served as a personal aide to both Roosevelt and Taft, provide an intimate view of both men. The Bully Pulpit, like Goodwin’s brilliant chronicles of the Civil War and World War II, exquisitely demonstrates her distinctive ability to combine scholarly rigor with accessibility. It is a major work of history—an examination of leadership in a rare moment of activism and reform that brought the country closer to its founding ideals.