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Here's what is going to happen. At some point, and it would be fine with me if it was the Twit podcast probably the most listened-to podcast as of now , one of these things is going to get a million listeners. Nielsen will notice and real numbers will evolve for the whole scene. Then big media will be asking, "How did this happen? How did this sneak up on us?"

This is a study of the history of the ways in which modern and contemporary African American artists have drawn, through their art, from Yoruba culture to express their feelings and reactions to their lives in the United States. To do this, Okediji employs two main concepts: counter-hegemony, the artistic reaction to the oppression of African Americans, the active resistance to white domination and racism; and auto-hegemony, art which is oriented towards healing and self-development. For the African American artist, counter-hegemony largely arose in the post-World War II period of racial tensions in the United States; auto-hegemony has had a more recent artistic flourishing, though Okediji sees overlapping trends in individual African American artists. Other concepts that work their way through this volume are amnesia and anamesis, the forgetting of the past in this case Africa , and its recollection. Re-membering, in the author's usage, essentially represents African Americans' learning of Africa for the first time, in contrast to dis-membering, a term Okediji employs for the process of forgetting about Africa.

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