Reconceptualizing Leadership through the Prism of the Modern Civil Rights Movement: A Grounded Theory Case Study on Ella Baker

Guiding this research inquiry was a constructivist grounded theory case study—though interspersed throughout are various framing characteristics of a biographical study and oral history. Neither a biographical study nor oral history would have been an appropriate research method for achieving the purpose of this study. The purpose of this study was to reconceptualize the leadership of Ella Baker during the modern Civil Rights Movement, to develop a leadership framework in which her community and political activism naturally fits, and to place her leadership style in a broader framework of research. Using a purposeful sampling and criterion-based selection strategy, this study relied on responses of five (n=5) research participants to fifteen open-ended questions using a semi-structured interview protocol. All research participants are SNCC veterans and civil rights activists; each interacted frequently with Ella Baker. Results suggested the liberation leadership framework had the greatest potential for explaining Ella Baker’s leadership philosophy and leader-behaviors. Liberation leadership is a “process in which leaders” do not lead others but rather are “members of a community of practice, i.e. people united in a common enterprise, who share a history and thus certain values, beliefs, ways of talking, and ways of doing things” (O’Donovan, 2007, p. 30). The explanatory nature of this study narrows the gap in current social movement literature on Ella Baker’s leadership

From toothpick legs to dropping vaginas: Gender and sexuality in Joan Rivers' stand-up comedy performance

This is the author's accepted manuscript. The final published article is available from the link below. Copyright @ 2011 Intellect.This article employs sociocultural analysis to examine Joan Rivers’ stand-up comedy performances in order to reveal how she successfully operates in a sphere of artistic expression that has been, and continues to be, male-dominated. The analysis uncovers how Rivers’ stand-up comedy performance involves a complex combination of elements and how it fuses features that are regarded as ‘traditionally masculine’, such as aggression, with features frequently used by other female stand-up comedians, such as self-deprecating comedy and confessional comedy. Furthermore, the analysis exposes the complex ways in which constructions of gender and sexuality are negotiated and re-negotiated in Rivers’ stand-up comedy performance, and illustrates how dominant ideological identity constructions can be simultaneously reinforced and subverted within the same comic moment

Handina Mhosa

For further details refer to ILAM shellac record number: CR102

Makoti

For further details refer to ILAM shellac record number: CR102

Queer Comedians, 1994

Letter from publicists for Out There II promoting media coverage for the show, which features gay and lesbian comedians

Queer Comedians, 1994

Press release announcing Comedy Central's new show featuring gay and lesbian comedians

Whitey on the Moon: Racism's Maintenance of Inequity in Invention & Innovation

The problem of Black exclusion within invention is not new, but now is a great time to address this problem in new ways. The invention and innovation community sits within a space of deep tension, as it calls for greater attention on the contributing factors resulting in a lack of racial and ethnic diversity while not fully reckoning with solutions that have already been proposed. In light of recent events, widespread video recordings of Black people being murdered and disproportionate fatalities during a global pandemic due to longstanding health care inequities, this renewed attention is welcomed but met with skeptical optimism. Building on prior discussions of the barriers constraining Black invention and innovation can help us achieve comprehensive and transformative action. We assert that racial equity within invention requires consideration of sociopolitical issues, such as urban divestment and inequitable schooling, as well as a reexamination of our insistence that invention be defined narrowly. One prophetic articulation of this dissonance is Gil Scott-Heron's (1970) poem "Whitey on the Moon," where Scott-Heron artistically critiques the preoccupation of the United States achieving a moon landing while rampant poverty causes daily suffering for so many on Earth. The invention and innovation community replicates this value structure, where some types of technological advancement are esteemed while technology advancement in the service of human suffering is under-supported. Radical change and vision are needed to welcome and support Black people throughout the invention ecosystem. We offer three ways that education can generate more racial diversity and facilitate equitable practice within invention and innovation.http://deepblue.lib.umich.edu/bitstream/2027.42/191167/2/Holly Jr & Comedy (2022)_Whitey on the Moon- Racisms Maintenance of Inequity in Invention & Innovation.pdfPublished versionDescription of Holly Jr & Comedy (2022)_Whitey on the Moon- Racisms Maintenance of Inequity in Invention & Innovation.pdf : Published versio

The vision of dante Alighieri

Translated by Henry Francis Caryxlv, 578 p.; 19 cm

Honolulu eyes.

Gift of Dr. Mary Jane Esplen.Piano vocal [instrumentation]G major [key]Moderato [tempo]Popular song [form/genre]Flowers, trees; "The Avon Comedy Four" [illustration]Publisher's advertisement on back cover [note

Laughing at you or laughing with you? Humor negotiation in intercultural stand-up comedy

This study focuses on stand-up comedy in English at Rome’s Comedy Club and investigates how the comedians and the audience deal with humor based on stereotypes about Italians and foreigners living in Italy (e.g. culture shock, cultural differences and identity issues). Moreover, this article discusses how comedians and the audience interact (mostly in English and sometimes in Italian) and negotiate humor regarding sensitive topics. The data analysis demonstrates that the comedians consciously exploit the context and ac- commodate to the audience to guarantee a positive response. In turn, the audience’s sense of superiority is fulfilled by the comedian’s general dispar- agement (e.g. of others, celebrities) and self-disparagement (e.g. of comedi- ans in general). Most importantly, the audience shows that it does not take audience-disparagement at face value