Sunday, December 31, 2006

BrotherKool


















The Hard Core Of Cool
Confidence, Grace And Underneath It All, the Need to Be Recognized

by Donna Britt, Washington Post Staff Writer

Confidence is cool's most essential element. Perhaps that's why black men -- for whom the appearance of assurance can be a matter of life or death -- so often radiate it. Perhaps that's why in the United States, where men as different as Frank Sinatra, Joe Namath, Bruce Lee, Sean Connery, Benicio Del Toro and Johnny Depp have been deemed cool, black men remain cool's most imitated, consistent arbiters. I mean, there's cool -- and then there's brothercool.

Think of Barack Obama's instantaneous ascension to "coolest man in Congress." Observe Denzel Washington's loping stride. Ponder Dwyane Wade's sweet-as-a-caress ball-handling, Terrence Howard's slumberous gaze and Mos Def's straight-ahead poetry and crooked grin.

Read the Full Essay

Saturday, December 23, 2006

Beyond Beats & Rhymes in the New York Times

CHICAGO — Byron Hurt takes pains to say that he is a fan of hip-hop, but over time, says Mr. Hurt, a 36-year-old filmmaker, dreadlocks hanging below his shoulders, “I began to become very conflicted about the music I love.”

A new documentary by Mr. Hurt, “Hip Hop: Beyond Beats and Rhymes,” questions the violence, degradation of women and homophobia in much of rap music.

Scheduled to go on the air in February as part of the PBS series Independent Lens, the documentary is being shown now at high schools, colleges and Boy’s Clubs, and in other forums, as part of an unusual public campaign sponsored by the Independent Television Service, which is based in San Francisco and helped finance the film.

The intended audiences include young fans, hip-hop artists and music industry executives — black and white — who profit from music and videos that glorify swagger and luxury, portray women as sex objects, and imply, critics say, that education and hard work are for suckers and sissies.

What concerns Mr. Hurt and many black scholars is the domination of the hip-hop market by more violent and sexually demeaning songs and videos — an ascendancy, the critics say, that has coincided with the growth of the white audience for rap and the growing role of large corporations in marketing the music.

MAN on NPR's Rough Cuts with Michel Martin

Grooving to a Different Beat

So we were thinking about the holidays and we started thinking about the whole "white Christmas" thing -- as both a song and a metaphor. That got us to thinking about how and why African-Americans started putting their stamp on the holiday. Which led naturally to thinking about the great holiday songs we all love, from the Jackson 5 to the mighty Temptations.

We started looking around and soon found Mark Anthony Neal, a professor at Duke University who actually studies African-American history and pop culture (that's what's so great about America -- and Google). We got his take on the subject and listened to some great tunes. We were grooving all week long!

Listen to the Segment

Friday, December 22, 2006

A Soul Christmas: The Jackson Five and the Temptations



A Soul Christmas: The Jackson Five & The Temptations
by Mark Anthony Neal

Like most kids who didn't grow up in a house, I guess I was perplexed for much of my childhood, trying to find out how some 300-plus pound man in a red suit -- in the absence of a fireplace and a chimney -- managed to deliver gifts every year to the five-story walk up I lived in. On more than one occasion I asked my mother whether or not Mr. Claus had keys to our apartment and in that classic "shrug -- don't ask me no more questions -- I don't know" mode that I have now perfected for my daughters, my mother dodged yet another life altering question from her budding seven-year-old ghetto existentialist.

I was perhaps also perplexed by the Christmas music that my parents played every Christmas -- music that I never heard in the department stores where we did Christmas shopping, never heard during television commercial breaks and we for damn sure never sang in grade school. In my young mind the Christmas music my parents listened to, didn't venture too far from the down-home, down and out Soul music that they listened to every other time of the year. Somehow the voices of Otis Redding, Joe Tex and Clarence Carter, never seemed to conjure the "White Christmas" dreams I thought I should be having.

My sense of Christmas and Christmas music forever changed when my mother bought me a copy of The Jackson Five's Christmas Album. It was 1972, I was seven, and the Jackson Five were the most important people in my life. And true indeed, more than 30 year later, I can't imagine a Christmas without hearing The J5's Christmas Album or The Temptations's Christmas Card, both recently re-issued as The Best of the Jackson Five: The Christmas Collection and The Best of The Temptations: The Christmas Collection (Universal/Motown).

Released in October of 1970, The Jackson Five Christmas Album remains not only one of the most exciting pop Christmas albums (The J5's "I Saw Mommy Kissing Santa Claus" ranking with Springsteen's "Santa Claus Is Coming to Town" in my mind), but also of the great performances by the J5 in their developing years. The Jackson Five were at the height of their popularity when The Christmas Album was released having dropped three albums from late 1969 through 1970 and achieving four number one pop singles in succession with "I Want You", "ABC", "The Love You Save", and "I'll Be There" and the group didn't disappoint bringing their pop-inflected proto-funk to Rudolph, Frosty, and a host of other melodious icons of holiday cheer.

To this day, the Christmas season begins for me the first time I hear Jermaine's plaintive and still underrated tenor singing "Have Your Self a Merry Little Christmas," the song that opens The Christmas Album. Though the first part song is performed in a fairly traditional mode (the same with Jermaine's reading of "The Christmas Song"), it is the hoot and hollerin' breakdown that begins mid-way through the song that announces that "Christmas Wont Be the Same" after the Jackson Five gets done celebrating it. And make no mistake about that energy had everything to do with the still evolving soul prodigy who would one day become the biggest pop star on the earth.

Throughout The Christmas Album then 11-year-old Michael Jackson captures all of the bright-eyed joy of Christmas. When he yelps "Wow! Mommy's kissing Santa Claus" on the album's closing tune, your heart tugs at the fear, bewilderment and naiveté that only a child could express in that situation. It was a fleeting early glimpse into the world of a young man, who would always perform in his music, the childhood that he was never able have as a pre-pubescent pop star. Michael sounds on the verge of a head explosion as he yelps "Santa Claus is coming to town" turning the always happy holiday tune into a JB-inspired fit of frenzy. And "Up on the House Top," a Motown original, sounds right out of the session that gave the world "ABC." The combination of Michael's earnest vocals and classic J5 funk, makes for a joyous and ebullient holiday recording.

Unlike the Jackson Five, The Temptations were past their commercial prime, when they released Christmas Card in November of 1970. Two years removed from the classic Temptations formation that featured David Ruffin as lead vocalists, the group was still in transition trying to compete in an ever-changing industry, in which the stamp of Motown no longer guaranteed hit records. This partially explains why Christmas Card was the group's first holiday album. If Motown wanted to exploit the J5's immense popularity with The Christmas Album, with Christmas Card they wanted to squeeze what they perceived as the last bit of commercial viability out of the Temps.

Though The Temptations would have its biggest hit in 1972 with the very capable Dennis Edwards at the helm of "Papa Was a Rolling Stone", the essential core of the group would be gone after Eddie Kendricks's departure in 1972 and the death of Paul Williams in 1973. In this regard, Christmas Card represents one of the last sonic glimpses at that core group.

Given that they were The Temptations, the quintet is to be commended, for not phoning it in and actually delivering a project that spoke to why the group was so important in the first place. Given ample and inventive arrangements by producers Clay McMurray and Barrett Strong, on tracks like "Rudolph the Red-Nosed Reindeer" (bottomed by Melvin Franklin, of course) and "Santa Claus Is Coming to Town," it is hard to hear these songs without imagining the Temps up on stage showing the world why the were pop music's greatest dancers. But the clear favorite on Christmas Card has always been the Temptations's rendition of "Little Drummer Boy" which suggest that lil' homie was hearing that Motown back-beat when he rolled up in the manger that night. Eddie Kendricks shines throughout particularly on tracks like "White Christmas" and "My Christmas Tree" (unforgivably left off the Best of… collection)

The history of the Temptations has been rife with debates over which version of the group was the best and it's no different in a discussion of Temptation Christmas albums. A decade after the release of Christmas Card, the Temps (minus all of the originals, except Melvin Franklin and Otis Williams) went back in the studio and recorded Give Love at Christmas. Dennis Edwards' always commanding vocals were on display on tracks like the group's remake (and tribute to) of Donny Hathaway's Christmas standard "This Christmas" and "The Christmas Song". But the highlight of the recording and arguably the best Christmas song ever by the Temps, is their six-minute version of "Silent Night" which draws on Edwards's sanctified riffs, Glenn Leonard's lilting falsetto and the oceanic boom, that could only be the voice of the late Melvin Franklin. Christmas Card may have been the better album, but the later version of "Silent Night" represents the Temps at their best.

Monday, December 18, 2006

Esther Iverem and MAN on Wisconsin Public Radio














Mark Anthony Neal talks about his book, "New Black Man" with Steve Paulson. Neal considers himself a feminist and thinks that the traditional stereotypes of the Strong Black Man have contributed to the problems that Black men face today.

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Esther Iverem is the author of "We Gotta Have It: Twenty Years of Seeing Black at the Movies, 1986 - 2006." She tells Jim Fleming about the first time she saw Spike Lee's film "She Gotta Have It" and why she thought it marked the start of a new wave of Black cinema. And we hear clips from several of the films she cites.

*

...Edward P.Jones hates on hip-hop and ball players somewhere in-between

*

Listen Here...

Happyness Is...


















Reprinted from SeeingBlack.com


'Pursuit' and Survival
Review By Esther Iverem
SeeingBlack.com Editor and Film Critic

A film based on the true story of Chris Gardner, a struggling Black father who sought a change of career as a stockbroker, could have easily turned into another corny tale of American ambition. Instead, The Pursuit of Happyness, starring Will Smith, is a poignant reminder of the frailty of American families and the so-called American dream.

For its particular meditation on time, place and Black humanity, “The Pursuit of Happyness” is destined to become one of our movie classics, alongside “Claudine,” “Cooley High” “The Color Purple” and “Antwone Fisher.” I can’t think of another film that has so capably captured the social and economic upheaval of the 1980’s, when Reaganomics and “economic restructuring” widened the gap between the very rich and poor, when legions of newly homeless filled the streets of big American cities and the American workforce quickened its daily lock-step in order to survive.

Read More...

***

Esther Iverem is founder of www.SeeingBlack.com and author of a forthcoming book on Black film, We Gotta Have It: Twenty Years of Seeing Black at the Movies, 1986-2006 (Thunder’s Mouth Press, April 2007). Her review of "The Pursuit of Happyness" also appeared on www.BlackAmericaWeb.com

A Gentle Goodnight to John C. Mohawk

I first met John C. Mohawk in the fall of 1993, when I entered the Ph.D. program in American Studies at the University of Buffalo. John co-taught with the late Larry Chisolm the year-long introductory seminar in American Studies. 13 years later that course remains as the most intense intellectual experience of my life. Hopefully John and Larry are someplace sitting around a table, conjuring the spirits for the next generation of scholar warriors.

***

from the University of Buffalo

John C. Mohawk, UB American Studies Professor, 61
BUFFALO, N.Y. -- John C. Mohawk, Ph.D., of Buffalo and the Cattaraugus Indian Reservation, Gowanda, died Sunday (Dec. 10, 2006) in his home in Buffalo. He was 61.

Mohawk was a beloved and highly respected associate professor of American studies in the College of Arts and Sciences at the University at Buffalo and a distinguished author, editor, conflict negotiator and champion of the rights of indigenous peoples.

A member of the Turtle Clan of the Seneca Nation of Indians, Mohawk was widely recognized as a leading scholar of Seneca culture and history. He also was an expert in Native American economic development and cultural survival who emphasized the relationship between the treatment of indigenous groups and the state of the earth's environment.

Read more...

Friday, December 8, 2006

Esther Iverem on Blood Diamond

The violence of “Blood Diamond,’ the new movie starring Leonardo DiCaprio and Djimon Hounsou, is barbarous but cannot be accused of being over-the-top. And much like the Oscar-winning “Crash,” this film asks us to see something good in bigots, to see that they, too, have positive qualities.

Read the Full Review

Thursday, December 7, 2006

A Nation of Millions?

One Mic:
If hip-hop is a nation of millions, then what does it stand for?
By David Swerdlick

Hip-hop is as American as apple pie. It is also materialism, the n-word, and general double-talk. So now that hip-hop has solidified itself as the dominant youth culture of our times (enough that BET and VH1, two networks owned by the same company, both have competing hip-hop broadcasts), the question hip-hop nation must ask itself is if it only wants apple pie, or if it wants to have a meal first?

Read more...

All 'Growed' Up: Rethinking Jay Z

'My Passport Says Shawn'
By Mark Anthony Neal

The Branding of Jay Z: Whereas most hip-hop artists simply adopt alternative personas, often referencing an underground drug lord or fictional Mafioso figures, Jay Z has created a complex hip-hop identity that speaks to concepts such as fluidity, mobility and social capital.

Read the Full Essay

Also...

NPR's News and Notes with Farai Chideya
Jay-Z, Offering Hip-Hop for Grownups
December 6, 2006 ·

Jay-Z's latest album, Kingdom Come may speak more to older listeners than to college students. Commentator and professor Mark Anthony Neal is an associate professor in the Department of African and African American Studies at Duke University.

Listen

Tuesday, December 5, 2006

Minstrel Rap?

Racial Stereotyping in the Music Industry

The use of the N-word and the recent popularity of so-called "Minstrel Rap" songs and VH1's "Flavor of Love 2" show are raising concerns about the depiction of black people in the music industry. The Rev. Jesse Jackson, Duke University professor Mark Anthony Neal, and New York Times pop music critic Kelefa Sanneh weigh in.

Party with a Purpose!

VIBE and VCARES, Karen's Body Beautiful, AKILA WORKSONGS, Inc., S.Lydia & Associates, and allhiphop.com

cordially invite you to
KEVIN POWELL'S 6th ANNUAL HOLIDAY PARTY and CLOTHING DRIVE
Friday, December 8, 2006
7PM-11PM

at TRIBECA CINEMAS54 Varick Street, 1 block below Canal Street
between Avenue of the Americas and Varick Street
AND right near the Holland Tunnel
Downtown Manhattan, in the Tribeca section
NEW YORK CITY
Take A, C, E, or 1 trains to the Canal Street stop

Music by DJs Cosi, Herbert, and Marc Smooth
of THE FREEDOM PARTY

PLEASE RSVP to trueyorkrsvp@aol.com
You MUST be 21 or over with I.D.
DRESS...Fashionable, casual chic, or business attire
CASH BAR

Admission is FREE with the donation of CLEAN CLOTHES ONLY, NEW OR USED, to benefit the SAFE HORIZON STREETWORK PROJECT, a New York City program that annually supports over 7000 homeless young people between the ages of 13 and 23

WE NEED winter coats and jackets, hats, scarves, gloves, ear muffs, thermal underwear, shoes, boots, sneakers, socks, backpacks, jeans, tee shirts, etc...ALL SIZES

For more info on the SAFE HORIZON STREETWORK PROJECT contact Ines Robledo at 212-563-9648

Friday, December 1, 2006

Skin Color, Stereotypes and 'Flavor of Love'

Skin Color, Stereotypes and 'Flavor of Love'
News & Notes, December 1, 2006


How does the hit reality show Flavor of Love play on black America's long war on racial stereotypes? Commentator Mark Anthony Neal is an associate professor in the Department of African and African American Studies at Duke University and author of New Black Man.

Listen Here

Daphne A. Books on Suga Mama "B"

from The Nation

Suga Mama, Politicized
DAPHNE A. BROOKS

The video for Beyoncé Knowles's latest single, "Ring the Alarm," shows the stunning 25-year-old singer, dressed in a caramel-colored trench coat that matches her glistening skin, being dragged away by policemen in riot gear and locked in a padded cell. An "alarmed" Beyoncé struggles and writhes, is brought to her knees and pulled by her arms and legs, in a scene that should ring familiar not only to fans of early Sharon Stone spectacles (the clip pays clear homage to Basic Instinct) but to those who still remember Diana Ross and her image-shattering star turn as a drug-busted and jailed Billie Holiday in 1972's Lady Sings the Blues. (Comparisons between Ross and Beyoncé are in abundance now as the latter jettisons her Supremes-inspired vehicle Destiny's Child for a full-fledged solo career and takes on the Ross-inspired lead of Deena Jones in the upcoming film adaptation of Dreamgirls.) The gloss and glitz of this shock-value video may cause casual viewers to write off Beyoncé's newest album, B'Day, as just another collection of sexed-up club jams. But they'd miss out on listening to one of the oddest, most urgent, dissonant and disruptive R&B releases in recent memory.

Read the full article

***

Daphne A. Brooks, an associate professor of English and African-American studies at Princeton University, is the author of Bodies in Dissent: Spectacular Performances of Race and Freedom, 1850-1910 (Duke) and Jeff Buckley's Grace (Continuum).

Wednesday, November 29, 2006

SEEINGBLACK.COM: Oh Brother, 2006

SeeingBlack.com: The Oh Brother Issue, 2006
Guest edited by Mark Anthony Neal

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Oh Brother 2006: 'My Passport Says Shawn'
By Mark Anthony Neal--SeeingBlack.com Contributing Editor

Whereas most hip-hop artists simply adopt alternative personas, often referencing an underground drug lord or fictional Mafioso figures, Jay Z has created a complex “hip-hop” identity that speaks to concepts such as fluidity, mobility, social capital and cosmopolitanism.


Oh Brother 2006: You'd Better Call Tyrone...
By A. H. Bugg—Special to SeeingBlack.com

Deconstructing Tyrone: A New Look at Black Masculinity in the Hip-Hop Generation by Natalie Hopkinson and Natalie Y. Moore provides a point of entry to discuss our collective amen to Ms. Badu.


Oh Brother 2006: Remembering Gerald Levert
By Mark Anthony Neal--SeeingBlack.com Contributing Editor

Gerald Levert defined the possibilities of R&B for his generation by making longevity and not crossover appeal the goal. Levert unabashedly embraced the “shouter and honker” aesthetic that was the hallmark of classic performers.


Oh Brother 2006: Black Panther Redux
By Eddie B. Allen Jr.—Special to SeeingBlack.com

Forty years after the founding of the Black Panther Party for Self Defense, the organization's history and legacy is still misunderstood and devalued.








Monday, November 27, 2006

Bebe Moore Campbell Goes Home

Bebe Moore Campbell, who penned several best-sellers including "Brothers and Sisters" and "What You Owe Me" as well as articles for The New York Times and The Washington Post, died Monday. She was 56.

Campbell died at home in Los Angeles from complications due to brain cancer, said publicist Linda Wharton Boyd. She was diagnosed with the disease in February.

"My wife was a phenomenal woman who did it her way," husband Ellis Gordon Jr. said in a statement. "She loved her family and her career as a writer.

Her books, most of which were fiction based on real-life stories, touched on racial and social divides while including the perspective of many ethnic groups.

Read more...

CFP: The Spike Lee Reader

Call for Proposals for Edited Volume
THE SPIKE LEE READER

Janice D. Hamlet, Ph.D., co-editor Department of Communication Northern Illinois University

Robin Means-Coleman, Ph.D., co-editor Department of Communication and the Center for AfroAmerican and African Studies University of Michigan

Shelton Jackson “Spike” Lee has established himself as one of Hollywood’s most influential, productive and controversial filmmakers in the past two decades. As a screenwriter, director, actor, producer, author, artistic director, teacher, advertising executive, and entrepreneur, Lee has revolutionized the role of black talent in Hollywood, tearing away decades of stereotypes and marginalized portrayals to establish a new arena for African American voices to be heard. His movies have been a series of provocative socio-political critiques informed by an unwavering commitment toward challenging cultural assumptions not only about race, but also class and gender identity. Along the way, he has both solidified his own standing as one of contemporary cinema’s most influential figures and entertained the world. Film critic Roger Ebert has described Spike Lee as one of the greatest filmmakers in America today. Film scholar, Mark Reid regards Lee as having a unique “personal visual style” and a challenging “moral vision.”

Book Project:
The Spike Lee Reader will present critical examinations of the multidimensional aspects of Spike Lee. The Spike Lee Reader will focus on this important cultural producer, bringing together the most seminal writings (both classic scholarship and new research) to explore crucial contemporary questions of race, politics, sexuality, gender roles, class, economics and media impacts. The Spike Lee Reader seeks to stimulate discussion by examining Lee’s various socio-political claims and their ideological impacts. The editors are interested in carefully conceived proposals for manuscripts which critically examine Lee as either filmmaker, producer, director, actor, author, marketing executive, social critic, or entrepreneur. All methodological and theoretical approaches are welcome.

The editors are particularly interested in proposed papers that addresses the following aspects of Lee:
 Public persona
 Speaking tours/socio-cultural critic
 Film aesthetics
 Documentaries
 Production company
 Advertising/marketing projects
 Children books
 Popular films

Submission of Extended Abstracts:
Potential authors should submit four (4) copies of a preliminary proposal in the form of an extended abstract of approximately three (3) pages prepared in APA style, 5th edition. Proposals should include (a) a discussion of the specific focus of Spike Lee along with a compelling rationale for this focus; (b) the theoretical and methodological frameworks that will be used in critiquing Lee; (c) a preliminary sketch of what claims the author expects to make; (d) A brief author biography. The title page must be submitted as a separate page and should include all contact information (i.e. name, mailing address, email address, telephone number, fax number). Abstract submissions will be peer reviewed.

Authors should propose papers that are accessible and relevant not only to an interdisciplinary audience but also a diverse audience --undergraduates, graduates, researchers, non-specialists.

Authors whose proposals are accepted for inclusion will be invited to submit a full paper of roughly 6,000-8,000 words. Authors of selected proposals will receive a manuscript guideline sheet .

Deadlines:
Proposals due: Dec. 29, 2006
Decision on abstracts: no later than Feb. 2, 2007
Full papers due (for those proposals accepted): May 25, 2007

Potential authors should submit a proposal to: Prof. Janice D. Hamlet, Department of Communication, 1425 W. Lincoln Highway, Northern Illinois University, Dekalb, IL 60115 (jhamlet@niu.edu).

The book proposal is available upon request.

Sunday, November 26, 2006

Remembering Fred Hampton; Remembering the Black Panthers

December 4, 1969 was the date that Black Panther Party members Fred Hampton and Mark Clark were assassinated by members of the Chicago Police department (in concert with the FBI). Poet Haki Madhubuti (Don L. Lee) immortalized their murders in his poem "One-Sided Shoot-Out". At 20-years of age at the time of his death, Fred Hampton was very much the template for the next generation of youth activists--black or otherwise. In this conversation with journalist and author Eddie B. Allen, Jr., historian Craig Ciccone recounts the life that was Fred Hampton and the legacy he left behind.

***

Remembering Fred Hampton
By Eddie B. Allen Jr.

Outside of Oakland, California where the organization was born on Oct. 22, 1966, relatively few media outlets or community observers paid attention to the Black Panther Party for Self Defense’s 40th anniversary reunion. Reasons vary, but among them is the lingering misconception that the Black Panthers – first beleaguered by politically motivated frame-ups, imprisonment and even murder of its members, and later a victim of weakness to drug abuse, infighting and exploitative behavior – are hardly worth remembering. So firmly emblazoned onto the nation’s selective memory are the myths contributing to Panther prejudice that I had a conversation with one editor of a so-called “alternative” weekly newspaper, having pitched to him the idea of a 40th anniversary piece, and he replied without hesitation: “Beyond the rhetoric, the Panthers were really sort of a criminal organization. I’d be more interested in a piece that examines the sort of revisionist history of the Panthers.” This was a black editor at a tabloid more known for its investigative, enlightening perspectives in journalism, but his response to my offer was one I might’ve expected from a conservative, right-wing daily paper. Like, I’m certain, much of America, he’d disregarded the free breakfast program founded by the Panthers to help feed poor schoolchildren, the voluntary monitoring of arrests to help prevent police brutality, the rigorous studying of freedom movements throughout the world and other selfless acts. The militancy and gun-bearing images still seen today on posters and t-shirts are all he considered, apparently seeing little he regarded as “criminal” in the way the government often responded to the Panthers assertion of the right to defend and protect black communities. One such response was the murder of Fred Hampton, a young rising star in the Chicago chapter of the Party, who was poised for national leadership when he was killed in a police “raid” as he slept, defenseless, in bed. In my hopes to create an item for readers that recognizes the more complete aspects of Black Panther Party history and relevancy 40 years after its birth, I contacted the leading scholar in the life and contributions of “Chairman Fred,” as Hampton was called. Historian Craig Ciccone, who I consider a friend, not only agreed to this exclusive interview for Newblackman to discuss Hampton; he also shared insights about why perceptions of the Panthers have changed so little.

Newblackman: Why do you suppose Chairman Fred is viewed differently in popular culture than the other leaders, like Huey Newton and Bobby Seale.

Craig Ciccone: Well, certainly Bobby Seale is more widely known, having had more exposure, especially at the national level. But to try and compare Seale’s position as chairman and Hampton’s position as deputy chairman is kind of unfair for obvious reasons. Seale held his post from the party’s inception in 1966 until Elaine Brown took over the chairmanship in 1974, while Hampton served as Illinois’ deputy chairman for little over a year until his assassination in December of 1969. In fact, Seale was incarcerated for much of 1969, stemming from his alleged complicity in the torture-murder of a Connecticut BPP member, as well as being a defendant in the infamous Chicago Eight conspiracy trial. Consequently, many of Hampton’s activities were geared towards freeing Bobby Seale, holding weekly “Free Bobby” rallies in front of the federal court house where the trial was being held. One of the reasons Fred Hampton was chosen to take on national leadership was because so many of the national leaders were in jail. Eldridge (Cleaver) was in Algiers in exile, Huey was in prison since ‘67, accused of murdering a police officer, by the time Hampton traveled to California in early November 1969, David Hilliard, the party’s chief of staff, was considering joining Eldridge in Algiers. It was decided that he would take over the Party's national leadership, if David Hilliard also had to go into exile. Hampton was certainly marked for ascendancy to the Party's leadership.

Newblackman: Was he assassinated to prevent his ascendancy, or because of his mobilizing efforts, or both?

CC: Both. Hampton forged a local reputation at the grassroots level, in fact, while he was still in high school. Where a lot of us are involved in band and sports, he was taking on the problems of his community. He was a student of the late Kwame Ture (Stokley Carmichael) and black nationalism before he joined the Black Panther Party. And it wasn't that he was a disenfranchised urban youth, like so many of the party recruits. He came up from a relatively middle-class upbringing. They lived in a completely integrated neighborhood outside of Chicago in Maywood – I think it was 50 percent white and 50 percent black. It wasn't as if he was from a poor or a broken home, so he wasn't operating in that context, but he went out of his way to understand people's problems and worked towards their solutions. He was able to organize at a grassroots level. He was the president of the local youth branch of the NAACP, which had been floundering, and under his leadership its membership rose astronomically. He in essence became the fall guy for any charges that the police were able to levy—unlawful assembly, conspiracy to incite. He was the one person many local organizations and leaders turned to when there were community problems to be faced, including student relations and labor. This, of course, quickly brought him to the attention of the authorities. A police file was opened in 1966, followed by an FBI file in late 1967. In other words, he was monitored by local, state, and federal authorities every day of his life from the time he was eighteen years old until his assassination in 1969.

Newblackman: Is that what made him so successful in rising through the ranks, compared with others who weren’t part of the national leadership?

CC: He attracted a lot of attention very quickly because of his success, and because he was such a great orator. He could speak in front of any audience at any time. Malcolm X had that same ability. Fred Hampton could speak to a white suburban audience and then come down to Chicago and speak to urban audiences in the right diction and tone, and that made him immensely popular. First he became chairman of the Illinois Panthers and what a lot of people don’t realize is that part of his job was to coordinate all of the Midwest chapters of the BPP, so he was traveling to Indiana, Detroit, New York and various chapters east of Chicago.

Newblackman: What led up to his assassination?

CC: Two things took place in 1969 that made his assassination absolutely necessary (in the eyes of authorities). One was that, like Malcolm X did and like Huey Newton and Bobby Seale did, he was trying to take the issues and the plight of black America to an international stage. Hampton did that in an unlikely place, and that was Canada. He went on an extensive tour of Canadian universities in late November 1969. He packed whatever room or auditorium he was speaking with faculty and students in lily-white Canada, then met with local leaders of one of Canada’s oppressed and marginalized groups of natives, the Métis. The second reason—which I’ve already mentioned—being that the national leadership was about to shine a national spotlight on Hampton. He had to be “neutralized,” using the FBI’s own euphemistic term. One of the reasons that Huey Newton, Eldridge Cleaver – you look on the list and I think it's about 39 Panthers in a less than 10-year span who were killed – none of them were national leaders. The threat was on the local level because on the local level the organizing was most effective. (To neutralize a threat) it's quieter that way, and it became absolutely necessary that he be taken out in a manner that was fitting of the Black Panther Party's media image. If you concentrate on the fact that they’re loud, that they’re violent, that they carried guns, then you get people saying, “Oh, the Black Panther Party, they got what was coming. They deserved it." If Fred Hampton had gotten into the national spotlight, he would've been untouchable.

Newblackman: But how was there not more of an outcry, given that he was asleep when they shot him to death? Did those details not get out to most of the public?

CC: There was an incredible amount of public outcry, at least locally. Nationally, it goes back to the media image of the BPP—“Oh, another Panther shot in a police shoot-out? What a shock.” And one of the reasons there was such public outcry was because it was charged from very early on that Hampton was drugged, which was established by the second of three autopsies Hampton would undergo over the span of three months following his assassination, the last one conducted after he'd already been buried. High concentrations of barbiturates rendered him sluggish and unresponsive. Three people tried to shake him violently to get him to take cover, and he didn't move. The BPP in Chicago and even local politicians called for investigations of the killing. Not to mention the fact that the BPP began conducting public walk through tours of Hampton’s apartment just hours after the shooting. So there was certainly plenty of local outcry. And despite the efforts of elected officials for more thorough investigation, officially, it was marginalized at the coroner’s inquest and subsequent proceedings when it was ruled a justifiable homicide and none of the officers in the Special Prosecutions Unit – made up of Chicago police recruits who did the raid on behalf of the Cook County State’s Attorney – were ever prosecuted.

Newblackman: You’ve done about a dozen years of research and a lot of things still haven’t come out about Fred Hampton’s life or death. What needs to happen in order for more research to be made available?

CC: It's usually only in connection with his assassination that Hampton’s name is mentioned, and it was largely exploited by the Black Panther Party. But a primary step in retrieving information is getting documentation from the FBI, with the redactions (withheld portions of records) included. We've just scratched the surface and will continue to be scratching the surface until we can make a concerted effort to get these files released.


***

Many thanks to Eddie B. Allen for allowing NewBlackMan to publish this conversation. Photos courtesy of Craig Ciccone.
















Monday, November 20, 2006

Beyond Beats & Rhymes @ Duke


















Byron Hurt and Tim'm West @ Duke


Beyond Beats and Rhymes (Tuesday, November 7 2006 )
WUNC--The State of Things

One could easily argue that hip-hop's aggressive lyrics and bass-filled beats make it the music of machismo, but filmmaker Byron Hurt portrays a different view of masculinity and rap culture in his documentary, "Beyond Beats and Rhymes." Hurt explores gender roles in mainstream music with host Frank Stasio, Tracy Sharpley-Whiting, the director of African and Diaspora Studies at Vanderbilt University, North Carolina Central University Assistant Director for Continuing Education Brett Chambers and Mark Anthony Neal, associate professor of Black Popular Culture at Duke University.

Listen Here

A Conversation with Aishah Shahidah Simmons















The Myth of Black Women's Progress:
A Conversation with Activist and Filmmaker Aishah Shahidah Simmons
by Tamara K. Nopper

Aishah Shahidah Simmons is the director of NO!, a feature length documentary that unveils the reality of intra-racial rape, other forms of sexual violence, and healing in African-American communities. It has taken Simmons eleven years to complete NO! because of a lack of support from various funders and mixed responses, including those from the Black community. But because of consistent support from some and a growing amount of support from both Blacks and non-Blacks, NO! was finally completed in 2005. Now Simmons is putting her efforts into getting the film out there. She sits down with writer Tamara K. Nopper to talk about how Black women are situated in the contemporary conversation of the “crisis facing Black men,” and how this informs how Black women’s experiences of rape and sexual assault are addressed.

“We can never talk about the rape of Black women. Black women’s issues can’t ever be central.”

Tuesday, November 14, 2006

Soul Patrol's Bob Davis on Ed Bradley














The "60 Minute Man"
by Bob Davis


Back in the 1980's from a musical perspective, I was totally consumed by a wonderful discovery that I had made in the early in the decade. I was living at that time in Houston Texas, a 23 year old "Mr. Know It All" from NYC with a big fro' and a "disco groove", who still had quite a bit to learn about life. You see I was a transplanted northerner who was about to be taken to school with respect to the culture and lifestyle of the American South. You see I had started hanging out with some older Black me, and they introduced me to Blues music, and I fell in love with it.

At around the same time in Washington DC another "Older Black man" was about to make history. Ed Bradley was appointed as Chief White House Correspondent at CBS News in 1981. Now by the time we get to 1981, there had already been many "Black firsts", but this one was a little different. During the 1970's we had seen Ed Bradley covering events like the Vietnam War, Political Conventions, etc, so he was already a familiar face. But Ed Bradley was different from other "Black firsts". We knew that he was from the ghetto in Philly and that he didn't start off wanting to be on television. We knew that he had started his professional life as a school teacher in the Philadelphia School District. You could look at Ed Bradley and tell that he was a "real brotha". He was tough, he was articulate, articulate and could handle himself in any situation and now he was going to be highly visible right where the real power of the government was, the White House. As the years passed and we observed Ed Bradley we could see that he was quite comfortable in these situations and he himself began to acquire the "aura of power" around him.

In Houston, I became immersed in Blues music by attending as many live concerts and club performances as I could. I began to do so after being introduced to it older Black men, the same age or older than my own father. These were the type of men who rode around in pick up trucks, with pint bottles of Jack Daniels, Jim Beam, etc. under the front seat of the vehicle. They always had extra paper cups in the truck in case they ran into a friend to offer a drink. They told me stories of what it was like to live in the segregated south in both East Texas and Houston during the 1940's and 1950's. Some of these stories were sad, but most were about the good times that they had just trying to survive.

All of these conversations were accompanied by the sounds of Blues music, courtesy of the 8-track player installed in the truck. In NYC most homeowners have finished basements where they entertain their friends with watching football games, friendly card games, telling stories and having a drink or two. However in Houston Texas houses don't have basements because the city itself is below sea level and if you had a basement it would flood every time it rained. So since they didn't have finished basements, working class Black men in Houston used their trucks in the same way that working class people in NYC use their finished basements.

These men taught me (a NYC "disco kid") all about Blues music, the good stuff (as they put it). John Lee Hooker, Jimmy Reed, Muddy Waters and more. I was fascinated by it all. The music itself had much in common with the "hardcore funk music" that I had been a fan of in the early 70's, so I liked that. But more importantly the Blues had a history and a culture (hoodoo) associated with it that was over 100 years old. The lyrics of the songs spoke to that history and the life stories of the performers is what provided the content for those lyrics. So in order to be a fan of the Blues it was important to not only learn about the songs, but it was also as important to understand the lives of the men who wrote the songs. In that way you could understand not just what the songs were, but also why they were important. Once you understood why they were important, then connecting the lives of the artists with the songs and making the connection to other events that were transpiring during the same time that the songs were originally composed, really meant that by understanding the Blues, it really gives one an understanding of a kind of "parallel history of the united states". I felt that gaining an understanding of the Blues, it's culture and it's history would put me closer to understanding a history of Black folks that had been constructed by people completely outside of the mainstream. It was yet another way to view Black history, perhaps in a way that was much closer to the "truth" than could be found in any textbook.

However, as I began to venture out to concerts, festivals, clubs, etc. I discovered that the "truth" about Blues music that I had been taught by these older Black men, was quite a bit different from the reality of actually attending a Blues concert, festival or club. What I found was that most of the time the attendees of these events were not only uninterested in this "parallel history of the united states", but that most of them were white. This was an environment that was far removed from the "juke joints" and "rib shacks" that the older Black men had told me about. This was a totally different scene and it was a scene in which I often found myself as the "only Black person there, besides the performers".

Somewhere along the way during the 1980's I read in a magazine article that Ed Bradley was a Blues fan. I thought to myself that he's just like me, probably the only brotha in the joint, if it's not a problem for Ed Bradley, then it shouldn't be a problem for me.

Fast forward into the 1990's. I'm now in Philadelphia and of course I am still attending Blues festivals and there are still very few Black people in attendance. At this particular festival The Neville Brothers are scheduled to perform and they turn in their usual brilliant set mixing a New Orleans gumbo of Funk, Blues and Rock. They are about to play the last song of the set, announced as "60 Minute Man", a song which had been a hit way back in 1950 for Billy Ward and his Dominoes. And as the song starts, I notice a tall, slender Black man on the stage joining Aaron Neville at the microphone. He looks familiar, but at first I can't place him. And then I recognize him. I turn to my wife and say.....

"YO THERE'S ED BRADLEY UP THERE SINGING 60 MINUTE MAN WITH THE NEVILLE BROTHERS".

It made me smile. There he was" Mr. 60 Minutes" On stage singing "60 Minute Man" along with the Neville Brothers, at a lily white Blues concert, right in the middle of the city of Philadelphia.

As Don King would say: "Only In America". Over the years I would actually see Ed Bradley quite often at many different kinds of music events. I've seen him at concerts, at the Rock n' Roll Hall of Fame Inductions, the R&B Foundation Awards, etc. I've even been introduced to him several times. Not that we ever had a conversation of substance with him. But he did give me "that look". It's a look that is a part of the "secret negro (booyah) language". It means that....

"I know that you are here and you know that I am here. We both know that we are surrounded by white people. We both know that if something goes off here, that we have each others back. However nothing is going to go off here, so lets just relax and enjoy ourselves..."

I believe that history is really just the sum total of the biographies of individual people. The intersection of their lives are what we call "events". We tend to remember the events more than we do the people, because we usually have much more knowledge about the "event" than we do
about the people. Ed Bradley was a man who was the walking/talking example of a "black first" and most importantly a "black first" who wasn't ever perceived as being an "uncle tom". It's a hard and narrow line to walk, because the navigation is not always clear. That accomplishment is an event that will be duly noted in history. However my feeling about Ed Bradley will always be that it was his interest in being a "student of the Blues" and his understanding of how those
cultural, musical and historical dots were all connected, somehow helped him to navigate what surely must have been a difficult path.

I'm sure that tonight there are "older Black men" sitting in their pick up trucks, drinking Jack Daniels from paper cups hoisting a few in the name of Ed Bradley. I'm sure that they are talking about the fact that Ed Bradley was a fan of Blues music, they are smiling and they are proud, because they know that it's part of what made Ed Bradley a "60 Minute Man". Because he was a "60 Minute Man", he could "go the distance". And if Ed Bradley, a kid from the Philadelphia ghetto could "go the distance", then the rest of us don't really have any excuses.

(and that is what a "role model" is)

R.I.P. Ed Bradley
***

Bob Davis is co-owner/creator (with his brother Mike) of the award winning Soul-Patrol.com website. He is also the web master/moderator/editor/radio program director of Soul-Patrol

Wednesday, November 1, 2006

Stephane Dunn on Tamara Dobson



















“Tamara Dobson: ‘Cleopatra Jones’ on My Mind
by Stephane Dunn

Over a year ago, when I finished my book about the representation of women in 1970s black action films, I ended a chapter about model and actress Tamara Dobson with a footnote about her ‘disappearing’ from the pop culture limelight with the end of the blaxploitation film fad. While I was in the midst of wondering where she was and lamenting my futile attempts to locate her, she was fighting the battle of her life. On October 2, at age 59, Dobson, who became the karate kicking Cleopatra Jones on the big screen, died from complications of pneumonia and multiple sclerosis. On screen, she was larger than life or reality.

When she appeared in 1973’s Cleopatra Jones, Dobson’s 6’2 inch agile frame, striking dark brown face, and ultra glam 70s wardrobe complete with animal print furs, turbans, wide brimmed hats, and silk pantsuits certainly made her a visually arresting super heroine and a Black Power and feminist era diva worthy of the big screen. Yet, it was the way Dobson imbued super agent Cleopatra Jones with poise, class, and toughness that forever seals her as a cultural icon of the 70s’ ‘new woman’ as significant as television’s Charlie’s Angels and Policewoman. At the time, black feminist organizer Magaret Sloan condemned the bevy of sexually and racially exploitive images of black women and women in general in the prevalent ‘superfly’ themed black action vehicles of the time. Cleopatra Jones, to paraphrase her, gave black women a fantasy film character they could watch with more pride than shame.

My own writing of a book about the film era came out of childhood remembrances of watching Pam Grier and Dobson on screen and seeing how much affection they invoked from the grown up women and men around me. Over the years, a bevy of films from Austin Powers to Set It Off clearly demonstrate the cultural nostalgia that continues to exist for ‘Foxy Brown’, ‘Cleoptra Jones’ and their super baad brothers. My book pays homage too even as it critiques the politics of race and gender that define the historically narrow presence and absence of black women within the genre and popular film culture generally. It is a critical tribute to an era of black film imagery that was both radical and conservative and as time has proven, just as rare as it was exciting and problematic.

To reflect on the end of the super athletic Dobson’s struggle with multiple sclerosis dramatizes the impact of the disease and our need to be involved in the research and fight against it as much as the disease’s highly visible physical toll on the late Richard Pryor. To reflect on Dobson’s ‘Cleopatra Jones’ legacy is significantly relevant during this time of ongoing criticism and debate about the proliferation of misogynistic and sexist representations in hip hop rap music culture, a culture with striking parallels to ‘blaxploitation.’ Even in death, Dobson has been referred to as that 'Amazonian' beauty of Cleopatra Jones fame. But Dobson’s passing should provoke a genuine moment of reflection, consideration, and respect too because the invisibility, the neglect, the too precursory glimpse of her role in black and American popular film history personified by the barely noticeable footnote of her passing is a metaphor for too many lost, big screen sisters. So shouts out for the most majestic kick butt diva of all time.

***
Stephane Dunn's Baad ‘Bitches’ and Sassy Supermamas: Race, Gender & Sexuality in Black Power Action Fantasies will be published next year by The University of Illinois Press.

Monday, October 30, 2006

Hip-Hop Studies Week @ Duke

Hip-Hop Studies Week @ Duke
November 7-9, 2006

“Teach the Bourgeois and Rock the Boulevard”:
Hip-Hop Studies and the Academy


Tuesday, November 7, 2006
White Lecture Hall, Room 107
7:00 PM
Screening:
Beyond Beats and Rhymes: Masculinity and Hip-Hop
A film by
Byron Hurt.
Discussion and Q&A with Filmmaker


Wednesday, November 8, 2006
John Hope Franklin Center, Room 240
12:00 noon
(Wednesday at the Center)
A Conversation with
Joan Morgan, journalist and author of
When Chickenheads Come Home to Roost: My Life as a Hip-Hop Feminist


Wednesday, November 8, 2006
Giles Common Room (East Campus)
5:30 PM
Reception for Hip-Hop Studies Week @ Duke


Wednesday, November 8, 2006
White Lecture Hall, Room 107
7:00 PM
Panel Discussion
Drop It Like it's Hot: Sex, Race, Gender and Hip-Hop

Byron Hurt, Joan Morgan,
Tim'm West (Duke '97) & Treva Lindsey

***

The purpose of “Teach the Bourgeois and Rock the Boulevard”: Hip-Hop Studies and the Academy is to critically examine the emergence of Hip-Hop Studies as a legitimate field of study. There are more than 150 colleges and universities that currently offer courses with significant content related to hip-hop culture and with the creation of a Hip-Hop Archive, founded at Harvard by anthropologist Marcylina Morgan and currently residing at Stanford University, combined with the Smithsonian's recent announcement that it intends to mount an exhibit on Hip-Hop culture, this conference could not be better timed.

While the development of hip-hop as a musical genre and cultural phenomenon has been researched and written about extensively, our interest is in using “Teach the Bourgeois and Rock the Boulevard” to examine issues critical to everyday life in contemporary American society, with a particular focus on the intersections a sex, race, gender, class and sexual preference in contemporary popular culture.

***

Sponsors: John Hope Franklin Center, Institute for Critical US Studies, Franklin Humanities Institute, Cultural Anthropology, Women's Studies at Duke,Office of the Provost, Division of Student Affairs, English Department,Duke University Center for International Studies, African and AfricanAmerican Studies, Film/Video/Digital Program

Tuesday, October 24, 2006

William Jelani Cobb on Juan Williams (and some cat named Cosby)








From the Atlanta Journal-Constitution

Cosby, Williams must dig deeper to address ills
By WILLIAM JELANI COBB

A few months ago, a black professional friend spoke of wanting to sink through the floor while riding on a busy train with a young black man who was spewing profanity-laced rap lyrics at the top of his lungs. My friend's concern was not so much about that young man's future as it was that he, master's degree or not, could still be tainted by association in a society that is still largely organized around skin color.

My friend's comments came to mind recently when journalist and Fox News commentator Juan Williams came to the Atlanta History Center to discuss his new book, "Enough: The Phony Leaders, Dead-End Movements and Culture of Failure That are Undermining Black America — and What We Can Do About It." For the better part of an hour, Williams delivered a shotgun-blast critique of the black poor, charging them with lapses that result in criminality and disregard for education among other moral failings.

In many ways, Williams' talk echoed the brand of fiery condemnation that Bill Cosby has become famous for in the past two years. Williams' book (like Cosby's town hall tirades) has gained a degree of credibility in some circles simply because the author is voicing sentiments that are widely held but seldom spoken in public. But the fact that these are seldom-spoken views does not establish them as accurate or true.

Read Full Commentary

Jasmyne Cannick on Murder and Silence

Commentary: The Violent Death of Michael Sandy

News & Notes, October 23, 2006 · A black gay male, Michael Sandy died recently after being robbed and beaten by a gang of white men. Commentator Jasmyne Cannick shares her thoughts on a story that she says should have made big headlines. Cannick is a political and cultural commentator living in Los Angeles.

Listen Here:

Friday, October 20, 2006

Callaloo (Finally) Does Hip-Hop!















*Cover Art by Krista Franklin

After much delay (almost a decade) Callaloo, one of the leading journals of Black Arts & Letters, has finally published its special issue on Hip-Hop. Below is a trunacted table of contents.


CALLALOO
Volume 29, Number 3, Summer 2006
Special Issue: Hip-Hop Music and Culture


CONTENTS

Introduction

Heath, R. Scott.
Hip_Hop Now: An Introduction


Literary and Cultural Criticism

Michael S. Collins
Biggie Envy and the Gangsta Sublime

Scott Heath
True Heads: Historicizing the Hip_Hop "Nation" in Context
Wayne Marshall
Giving up Hip-Hop's Firstborn: A Quest for the Real after the Death of Sampling

Chicano Rap Roots: Black-Brown Cultural Exchange and the Making of a Genre

Edward Pavlic
Rap, Soul, and the Vortex at 33.3 rpm:
Hip-Hop's Implements and African American Modernisms

James Peterson
"Dead Prezence": Money and Mortal Themes in Hip Hop Culture


Visual Art

Iona Rozeal Brown


Interviews and Conversations

H. Samy Alim and Hi-Tek
"The Natti Ain't No Punk City": Emic Views of Hip Hop Cultures

An Interview with Moya Bailey
An Interview with Joan Morgan
An Interview with Gwendolyn D. Pough
(by Faedra Chatard Carpenter)

"Excursions": A Conversation with Yusef Komunyakaa

An Interview with Michael Eric Dyson (w/ Meta Jones)

The Fluoroscope of Brooklyn Hip Hop: Talib Kweli in Conversation (w/James Spady)

An Interview with Jean Grae
An Interview with Touré (by Robert Walsh)


A Special Section with Portfolio Art and Interview

Black on Both Sides: A Conversation with iona rozeal brown

Wednesday, October 18, 2006

Rashod D. Ollison on "PuffyDiddyDaddy"













From the Baltimore Sun

Diddy: more a brand than a musician
But, on his new album, the hip-hop mogul does want to show he's grown

By Rashod D. Ollison , Sun Pop Music Critic
Originally published October 15, 2006

As he slouched in his chair - yawning, eyes bloodshot, looking as if he could fall asleep at any moment - Sean "Diddy" Combs didn't appear to be the super-polished international man of taste, the persona he has cultivated for nearly a decade. Swimming in an oversized black jacket and baggy jeans, the hip-hop impresario looked like a tired workaholic. He had skipped precious hours of sleep to build buzz around his return to pop music.

It was midafternoon barely a month ago, and the entertainment mogul, who looks much slighter in person than he appears in promo shots, sat at a gleaming table inside a dimly lit conference room at downtown Baltimore's Hyatt Regency hotel. He had spoken to pupils at Winston Middle School a few hours earlier. Now he was answering questions about Press Play, his first album in five years, which hits stores Tuesday.

Advance copies of the album were unavailable. But, as with anything Diddy does, it isn't necessarily about the product. It's all about selling. Selling a slice of his high-living image, the packaging for a personality that's an attractive combination of street-corner arrogance and boyish vulnerability. Now, Combs wants to rap about "grown things."

Tuesday, October 17, 2006

Lonnae O'Neal Parker: Why I Gave Up on Hip-hop


















From The Washington post

Why I Gave Up On Hip-Hop
By Lonnae O'Neal Parker
Sunday, October 15, 2006; B01

My 12-year-old daughter, Sydney, and I were in the car not long ago when she turned the radio to a popular urban contemporary station. An unapproved station. A station that might play rap music. "No way, Syd, you know better," I said, so Sydney changed the station, then pouted.

"Mommy, can I just say something?" she asked. "You think every time you hear a black guy's voice it's automatically going to be something bad. Are you against hip-hop?"

Her words slapped me in the face. In a sense, she was right. I haven't listened to radio hip-hop for years. I have no clue who is topping the charts and I can't name a single rap song in play. But I swear it hasn't always been that way. My daughter can't know that hip-hop and I have loved harder and fallen out further than I have with any man I've ever known.

That my decision to end our love affair had come only after years of disappointment and punishing abuse. After I could no longer nod my head to the misogyny or keep time to the vapid materialism of another rap song. After I could no longer sacrifice my self-esteem or that of my two daughters on an altar of dope beats and tight rhymes.

No, darling, I'm not anti-hip-hop, I told her. And it's true, I still love hip-hop. It's just that our relationship has gotten very complicated.

Monday, October 16, 2006

A Rage in Philly













Good "Game Theory"
By Mark Anthony Neal
SeeingBlack.com Contributing Editor

This is not a popular view, but I’m thinking that much of the exoticism that we all have scripted on to the body of work that is The Roots, has everything to do with how unimaginative the commercial hip-hop landscape had become over the last decade. Read any of the group’s best work against Greg Osby’s 3D Lifestyles (1993), any of Steve Coleman’s collaborations with The Metrics or even Guru’s three Jazzmatazz projects and it becomes clear just how tame and safe the band has been. It’s not the band’s fault though, that after a steady diet of puffydiddydaddy, that we all thought that Things Fall Apart (1999) was manna (or some digital Achebe) for the desert nation. The disappointment we all registered after more-than-a-few listens of The Tipping Point (2004) was simply reality settling in—It didn’t really matter no more. Sure a few folk got antsy about the group’s move to Island/Def Jam as if they really believed The Roots were an underground group. Most so-called underground acts don’t grace the covers of mainstream magazines and don’t have the kind of promotional support that Okayplayer affords The Roots. Just because you don’t move units don’t mean you underground.

And perhaps it is here that we could place the blame on the band’s front-man, who is about as everyday-man as they come. In a world populated with nigga9s (a nigger shot nine times), rapping CEOs hawking Hewlett Packard laptops, and the great white hope, Black Thought was a lunch-pail cat. Like CL Smooth, MC Ren, and DMC before him, Black Thought simply put in a day’s work on the mic. In some strange way, this is why Game Theory is the most important Roots’ recording since Things Fall Apart. If we could imagine the lunch-pail cat as a barometer for what’s happening in America—I’m talking about the cats who simply punch the clock, do their work, retire to the crib and do it all over again the next day without even a hint of reservation—then it should not be a surprise, given the Iraqi theater (as they correctly described war before television), (un)rising gas prices, corporate downsizing, voter fraud, rising healthcare cost, the Nancy-Gracing of corporate media and the like, that the lunch pail cat is on the brink of rage. Black Thought is the embodiment of that rage in commercial hip-hop, as Game Theory is a sonic assault on the status quo. And assault is not too fine a term; the opening tracks of Game Theory—“False Media,” “Game Theory,” “Don’t Feel Right” and “In the Music”—are like waking up from a street fight that you lost.

Read the Full Essay at SeeingBlack.com

Sunday, October 15, 2006

Gunning Down Women: Jackson Katz Speaks










From COUNTERPUNCH

Coverage of "School Shootings" Avoids the Central Issue

Gunning Down Women
By JACKSON KATZ

In the many hours devoted to analyzing the recent school shootings, once again we see that as a society we seem constitutionally unable, or unwilling, to acknowledge a simple but disturbing fact: these shootings are an extreme manifestation of one of contemporary American society's biggest problems -- the ongoing crisis of men's violence against women.

October is Domestic Violence Awareness Month, so let's take a good hard look at these latest horrific cases of violence on the domestic front. On September 27, a heavily armed 53-year-old man walked into a Colorado high school classroom, forced male students to leave, and took a group of girls hostage. He then proceeded to terrorize the girls for several hours, killing one and allegedly sexually assaulting some or all of the others before killing himself.

Less than a week later, a heavily armed 32-year-old man walked into an Amish schoolhouse in Pennsylvania and ordered about 15 boys to leave the room, along with a pregnant woman and three women with infants. He forced the remaining girls, aged 6 to 13, to line up against a blackboard, where he tied their feet together.

He then methodically executed five of the girls with shots to the head and critically wounded several others before taking his own life.

Just after the Amish schoolhouse massacre, Pennsylvania Police Commissioner Jeffrey B. Miller said in an emotional press conference, "It seems as though (the perpetrator) wanted to attack young, female victims." How did mainstream media cover these unspeakable acts of gender violence? The New York Times ran an editorial that identified the "most important" cause as the easy access to guns in our society.

NPR did a show which focused on problems in rural America. Forensic psychologists and criminal profilers filled the airwaves with talk about how difficult it is to predict when a "person" will snap. And countless exasperated commentators -- from fundamentalist preachers to secular social critics -- abandoned any pretense toward logic and reason in their rush to weigh in with metaphysical musings on the incomprehensibility of "evil."

Incredibly, few if any prominent voices in the broadcast or print media have called the incidents what they are: hate crimes perpetrated by angry white men against defenseless young girls, who -- whatever the twisted motives of the shooters -- were targeted for sexual assault and murder precisely because they are girls.
***

Jackson Katz, Ed.M. is one of America's leading anti-sexist male activists. An educator, author and filmmaker, he is internationally recognized for his groundbreaking work in the field of gender violence prevention education with men and boys, particularly in the sports culture and the military. He is also the creator and co-creator of educational videos for college and high school students, including Tough Guise: Violence, Media, and the Crisis in Masculinity (2000), Wrestling With Manhood (2002) and Spin the Bottle: Sex, Lies and Alcohol (2004). His new book, The Macho Paradox: Why Some Men Hurt Women and How All Men Can Help, was published by Sourcebooks in 2006.

Saturday, October 14, 2006

Looking for Leroy: HomoThugs, ThugNiggaIntellectuals and "Queer" Black Masculinities

















Looking for Leroy" HomoThugs,
ThugNiggaIntellectuals and ‘Queer’ Black Masculinities

A Lecture by

Mark Anthony Neal
Associate Professor of Black Popular Culture
African and African-American Studies
Duke University

Williams College
Williamstown, MA
4:15 p.m.
Thurs, Oct. 19, 2006
Griffin Hall, Room 6


Introductory Lecture to “Revisiting Black Power” Film Forum, Oct 19-21

Sponsored by Africana Studies

Friday, October 13, 2006

Ok, What's Up with THIS Woman?













So Monica Peters hosted a 20th Anniversary screening of Spike Lee's She Gotta Have It at Morehouse College. That any relevant critic and commentator of black popular culture can admit that they haven't seen She's Gotta Have It is one thing, but homegirl's reaction to the "rape scene" strikes me as incredibly disturbing.

Last night I hosted the 20 year anniversary party of Spike Lee's film "She's Gotta Have It." It was a classic moment watching the film as it is not available on DVD here in the United States. Cast member John Canada Terrell who played Greer Childs in the film was on the post screening panel.

This was the first time I had ever seen Spike's classic film. But my comments in the post film discussion had women in the audience OUTRAGED.

There was a scene in the film where Nola Darling (played by Tracy Camila Johns) is engaging in an emotionally detached, rough, brief love making session with her boyfriend whom she invited over to have sex. In the next scene, Nola is describing the act to her boyfriend as rape. This is where I got confused, especially since she consented to having sex with her boyfriend and never told him "no", "stop", or tried to fight him off. She willingly had sex with her boyfriend by choice, not by force. Remember that's why she invited him over in the first place.

During the post discussion women kept referring to it as "the rape scene." Even actor John Canada Terrell referred to it as the rape scene. I whispered to John and told him that was consensual sex, not rape. He agreed with me, but did not feel comfortable saying that it wasn't date rape in the name of being "politically correct."

Well, I broke the ice and asked the women and men in the audience, "How was this date rape?" Well, that's when women in the audience become extremely upset. Apparently some women associate rough sex with rape. They felt like I was a trader for not seeing the act as rape. The issue of "rape" took up most the dialogue time of the post film panel discussion. But I had to stand my ground on this issue.

In the "rape scene" Nola said, "Your hurting me", nevertheless she gladly stayed in assumed position and took it like a pro. This was not date rape, but an emotional violation. Nola called her boyfriend over to make tender sweet love to her but instead as her boyfriend Jamie (played by Tommy Redmond Hicks) stated so bluntly in the film she got "fuc*ed"

Spike Lee reportedly regrets filming this rape scene in "She's Gotta Have It." While I respect Spike's opinion and his being sensitive to women's feelings by calling this "the rape scene", rough consensual sex does not constitute rape. It just represents what some people would call a good fuc*....(well you can fill in the rest that word).

Damn.

Wednesday, October 11, 2006

Book Review: Kevin Powell's Someday We'll All be Free

Speaking Truth in Love

As an award winning writer, compelling public speaker, and ardent social activist, Kevin Powell continues to prick the conscious of American society with his latest book.

In the three essays that comprise Someday We’ll All Be Free the author candidly provides personal reflections on the volatile political and cultural climate of 21st century America. “Looking for America” addresses the Republican victory in the 2004 presidential election. “September 11th” offers Powell’s heart-felt laments in the wake of the horrific terrorist attacks on the World Trade Center and Pentagon. And a “Psalm for New Orleans” expresses Powell’s intellectual and spiritual insight on and physical response to the natural and unnatural disasters of Hurricane Katrina. But despite the individuality of topics and even literary style of the essays, there is a common theme that strings these poetically expressed pearls of wisdom together—Kevin Powell has a deep disdain for injustice and intolerance.

There are a few significant attributes of Someday worth note. First, Powell strikes the right balance between erudition and accessibility. Sure, the text is well-researched. Powell’s understanding of history is thorough and complex. And his political analysis is keen. For example, in the second essay the author engages the theme of terrorism from a historical and global perspective to decode the use of the term as a political power move and direct the reader’s attention toward those innocent victims --across ethnic lines—for which the term is not rhetoric but reality. Yet the author takes the reader from 19th century China, to 20th century Auschwitz, to 21st century Newark with a straightforward, rhythmic style of writing of which most professional academics, unfortunately, are incapable. Thus, Powell successfully addresses both ivory tower and armchair intellectuals in a clear and compelling manner.

Second, in contrast to the vast majority of the public/print discourse surrounding such highly-charged topics, Powell does not join the clamoring tongues of personal attack, visceral condemnation and performative displays of polemical grandstanding. Though an unabashed political leftist, Powell’s essays are self-reflective as opposed to accusatory and more concerned with fostering dialogue than playing the dozens. In the spirit of Martin Luther King, Jr. it appears that Powell does not desire to “wrestle against flesh and blood.” This is to say, no one particular person or group of people should be demonized as the enemy but all persons ought to raise a voice against and do what one can to alleviate human suffering. By distinguishing between a passion for true democracy and a milquetoast Democratic Party in American politics, in delineating patriotism from blind nationalism by holding the hawks of war accountable, and by disqualifying charity from the language of justice in seeking to rebuild the Gulf Coast region, Powell provides the sort of moral suasion that has proven effective at varying epochs in this nation’s history.

Finally, Powell’s reflections are morally clear and consistent. Powell’s vision of beloved community is not rooted in a utopian dream or a fool’s paradise. It is simply grounded in the wisdom of a 1st century Nazarene philosopher that taught us to “do unto others as you would do unto yourselves.” In this regard, unlike many in the hip-hop community, Powell resists a parochial black nationalism and a truncated heterosexism. The “all” in the title of this book means ALL. From the dispossessed black and brown youth of Brooklyn, to the gay suburban teenager, to the struggling farmer in middle America, simply put, “injustice anywhere is a threat to justice anywhere.” Thus, the author’s compassion looms large enough to cloak a vast cross section of humanity. This, in itself, makes the book a worthwhile read.

To be sure, there are a few aspects of this text that select readers might find off-putting. For instance, at times Powell’s rhythmic style of writing becomes overly repetitive. Rather than a lyrical genius in flow the prose reads more like a broken record. However, I am confident that these sections would sound much better pouring out of Powell’s mouth than they do when read from a page. Also, there are moments that Powell’s thoughts on the matters of presidential politics, 9/11, and Hurricane Katrina may appear somewhat fractious, borderline self-righteous and even an exercise of performed ululation. Powell’s constant professions of weeping, bouts of depression, vomiting, and overall blues tone of the essays weigh down the author’s buoyant spirit. This is not to say that a weeping prophet is an ineffective prophet. But the sense of hope that Powell teases out of his pain—which is readily transmitted in the author’s public lectures and addresses—gets enshrouded in Powell’s penned expressions of melancholy. Like a great balladeer, playwright or preacher that can take us down to lift us up, there are moments when the author leaves the reader in the valley of despair. To the extent that this is the case, the arduous task of descriptive writing, of which even the best writers must struggle, betrays Powell’s otherwise positivist spirit.

Yet overall Someday is an exemplary model of parrhesia. The author demonstrates moral courage, clarity and consistency to articulate his understanding of the truth from below. These insightful essays, then, force the reader to wrestle with our understanding of truth. In this regard, Powell has done a beautiful thing. For all we know it is the truth that just may set us free!

— 6 October 2006

Tuesday, October 3, 2006

Breaking Bread at Spelman

TOWN HALL MEETING: Anti-Rape Forum
(CALLING ALL WOMEN AND MEN WHO ARE AGAINST VIOLENCE AGAINST WOMEN)

In the aftermath of the alleged rapes of Spelman students over the past two weeks and the backlash against the organizers of the anti-rape student protest spearheaded by FMLA, there will be a town hall meeting on Friday, October 6 in Cosby Auditorium (place could change) to engage in dialogue about how we can stop violence against women in the AUC and around the globe. This is forum for a consciousness raising and a call to action.

Panelists will include: Mark Anthony Neal (Duke University professor/wrirter/critic), Beverly Guy Sheftall (Women's Center), Sulaiman Nuriddin (Men Stopping Violence), Patricia McFadden (Cosby Chair in the Humanities) and will be moderated by M. Bahati Kuumba (Spelman, scholar/activist).