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.