"An illustrated edition of The 1619 Project, with newly commissioned artwork and archival images, The New York Times Magazine's award-winning reframing of the American founding and its contemporary echoes, placing slavery and resistance at the center of the American story. Here, in these pages, Black art provides refuge. The marriage of beautiful, haunting and profound words and imagery creates an experience for the reader, a wanting to reflect, to sit in both the discomfort and the joy, to contemplate what a nation owes a people who have contributed so much and yet received so little, and maybe even, to act. --Nikole Hannah-Jones, from the Preface. Curated by the editors of The New York Times Magazine, led by Pulitzer Prize-winning journalist Nikole Hannah-Jones, this illustrated edition of The 1619 Project features seven chapters from the original book that lend themselves to beautiful, engaging visuals, deepening the experience of the content. The 1619 Project: A Visual Experience offers the same revolutionary idea as the original book, an argument for a new national origin story that begins in late August of 1619, when a cargo ship of enslaved people from Africa arrived on the shores of Jamestown, Virginia. Only by reckoning with this difficult history and understanding its powerful influence on our present can we prepare ourselves for a more just future. Filled with original art by thirteen Black artists like Carrie Mae Weems, Calida Rawles, Vitus Shell, Xaviera Simmons, on the themes of resistance and freedom, a brand-new photo essay about slave auction sites, vivid photos of Black Americans celebrating their own forms of patriotism, and a collection of archival images of Black families by Black photographers, this gorgeous volume offers readers a dynamic new way of experiencing the impact of The 1619 Project. Complete with many of the powerful essays and vignettes from the original edition, written by some of the most brilliant journalists, scholars, and thinkers of our time, The 1619 Project: A Visual Experience brings to life a fuller, more comprehensive understanding of American history and culture"--

Hispanic Heritage Month, running from September 15 to October 15, is a vibrant celebration of the history, culture, and contributions of Hispanic and Latino Americans. This month-long observance honors the rich tapestry of cultures that make up the Hispanic community, from music and art to historical achievements and social progress. Hispanic Heritage Month does not cover one single month but instead begins in the middle of September and ends in the middle of October.

When I was a high school student in the mid-1960s, I used to trek up to the West Wing of UCLA’s Powell Library on Sunday nights.  This was the place to see and be seen in the social scene of …

By Jennifer Mendez What is Latinx (or Hispanic) Heritage Month? Each year, Americans observe National Latinx/Hispanic Heritage Month from September 15 to October 15, by celebrating the histories, c…

(This is a guest post by Catalina Gómez, Curator of the PALABRA Archive in the Latin American, Caribbean and European division) Following its annual National Hispanic Heritage Month tradition, the Hispanic Reading Room in the Latin American, Caribbean and European division (LAC&E) announces the digital release of 50 new streaming audio recordings in the PALABRA …

Celebrate Arab American Heritage Month April is Arab American Heritage Month and all of last month we have been highlighting resources to learn more about Arab American issues. Below we recap those resources. National Arab American Heritage Month (NAAHM) celebrates the heritage, culture, and contributions of Arab Americans. Immigrants with origins from the Arab world

Here at the Daniel F. Cracchiolo Law Library circulation desk, we serve as a home base to the James E. Rogers College of Law students and public patrons. As some of the first faces you see when you walk in, we are the first to answer any questions you may have on course textbooks, locating resources, or most importantly Lost & Found. However, rarely do we get questions about our additional resources and collections here in the library. As an LIS professional and advocate of continual learning, I’m often eager to encourage students to take a moment to explore all that our Libraries has to offer. That is why in recognition and celebration of Hispanic Heritage month, we at the circulation desk are going to take a moment explore the rich history of why we celebrate as well as highlight some of the exciting stories and collections we have available on campus.

Day of the Dead (Día de Muertos) The Day of the Dead (el Día de los Muertos), is a Mexican holiday where families welcome back the souls of their deceased relatives for a brief reunion that includes food, drink and celebration. A blend of Mesoamerican ritual, European religion and Spanish culture. The holiday is celebrated each year from October 31- November 2. While October 31 is Halloween, November 1 is "el Dia de los Inocentes," or the day of the children who have passed away, and All Saints Day. November 2 is All Souls Day or the Day of the Dead. According to tradition, the gates of heaven are open at midnight on October 31 and the spirits of children can rejoin their families for 24 hours. The spirits of adults can do the same on November 2.

An "erudite, comprehensive" analysis of Latinx identity in the United States as it relates to American culture, society, and politics (Eduardo Bonilla-Silva, author of Racism Without Racists) "Latinx" (pronounced "La-teen-ex") is the gender-neutral term that covers one of the largest and fastest growing minorities in the United States, accounting for 17 percent of the country. Over 58 million Americans belong to the category, including a sizable part of the country's working class, both foreign and native-born. Their political empowerment is altering the balance of forces in a growing number of states. And yet Latinx barely figure in America's ongoing conversation about race and ethnicity. Remarkably, the US census does not even have a racial category for "Latino." In this groundbreaking discussion, Ed Morales explains how Latinx political identities are tied to a long Latin American history of mestizaje--"mixedness" or "hybridity"--and that this border thinking is both a key to understanding bilingual, bicultural Latin cultures and politics and a challenge to America's infamously black-white racial regime. This searching and long-overdue exploration of the meaning of race in American life reimagines Cornel West's bestselling Race Matters with a unique Latinx inflection.

In Compton, California, ten black riders on horseback cut an unusual profile, their cowboy hats tilted against the hot Los Angeles sun. They are the Compton Cowboys, their small ranch one of the very last in a formerly semirural area of the city that has been home to African-American horse riders for decades. To most people, Compton is known only as the home of rap greats NWA and Kendrick Lamar, hyped in the media for its seemingly intractable gang violence. But in 1988 Mayisha Akbar founded The Compton Jr. Posse to provide local youth with a safe alternative to the streets, one that connected them with the rich legacy of black cowboys in American culture. From Mayisha's youth organization came the Cowboys of today: black men and women from Compton for whom the ranch and the horses provide camaraderie, respite from violence, healing from trauma, and recovery from incarceration. The Cowboys include Randy, Mayisha's nephew, faced with the daunting task of remaking the Cowboys for a new generation; Anthony, former drug dealer and inmate, now a family man and mentor, Keiara, a single mother pursuing her dream of winning a national rodeo championship, and a tight clan of twentysomethings--Kenneth, Keenan, Charles, and Tre--for whom horses bring the freedom, protection, and status that often elude the young black men of Compton. The Compton Cowboys is a story about trauma and transformation, race and identity, compassion, and ultimately, belonging. Walter Thompson-Hernandez paints a unique and unexpected portrait of this city, pushing back against stereotypes to reveal an urban community in all its complexity, tragedy, and triumph.

Listen to this episode from Resistance on Spotify. In the low country of South Carolina the Gullah Geechee are engaged in a fight to preserve their land and determine their destiny. You can find the transcript for this episode here. Learn more about your ad choices. Visit podcastchoices.com/adchoices

NPR'S partnership with the race card project explores a different kind of conversation about race.

"Our goal is simple—educate white people on black history. The highest calling of humanity is to love. Whether you know it or not, the racial disparities in our country hurt us."

A compelling study of a subtle and insidious form of racial inequality in American law and culture. Why does racial equality continue to elude African Americans even after the election of a black president? Liberals blame white racism while conservatives blame black behavior. Both define the race problem in socioeconomic terms, mainly citing jobs, education, and policing. Roy Brooks, a distinguished legal scholar, argues that the reality is more complex. He defines the race problem African Americans face today as a three-headed hydra involving socioeconomic, judicial, and cultural conditions. Focusing on law and culture, Brooks defines the problem largely as racial subordination-"the act of impeding racial progress in pursuit of nonracist interests." Racial subordination is little understood and underacknowledged, yet it produces devastating and even deadly racial consequences that affect both poor and socioeconomically successful African Americans. Brooks addresses a serious problem, in many ways more dangerous than overt racism, and offers a well-reasoned solution that draws upon the strongest virtues America has exhibited to the world.