Saturday, January 31, 2009

Book Review: La Condition Noire


special to NewBlackMan

Black Studies à la française
by Corey E. Walker

Pap Ndiaye’s La Condition Noire, released in October 2007 in France by Calmann-Lévy, has not been covered by American book reviewers or sparked debate in the Afrosphere. If a lack of commentary in the States proves the off-the-radar status of Black France, Ndiaye’s careful research and variety of sources shows that more than a few French Americanophiles have kept a trained eye toward the US.

On June 17, 2008, the NY Times published, “For Blacks in France, Obama’s Rise Is Reason to Rejoice, and to Hope.” The article sought comment on the presumed Democratic nominee from, among others, Youssoupha, a well known rapper who also holds a degree from the Sorbonne, arguably France’s most prestigious university. Along with politicians commenting on the Obama effect, Léonora Miano, a novelist, remarked that she regretted that she had forgotten to sport her Obama t-shirt.

Enter Pap Ndiaye’s La Condition Noire and his in-depth research tracing black political history from Africa, the Antilles and back to the Republic. Luckily, however, Ndiaye’s work does more than offer lifeless historic recounts; he pays special attention to moments of trans-Atlantic political exchange among people of African decent and, as an activist and sociologist, offers recommendations for the future.

Naturally, Ndiaye devotes pages to the American godfather of panafricanism, W.E.B. DuBois, but he also brings to the foreground DuBois' francophone counterparts-- Aimé Césaire, Léopold Sédar Senghor, and Tiemoko Garan Kouyaté. If you remember these activists and statesmen from a college course on Négritude, Ndiaye goes further in fleshing out their importance in their historic context as well as their contributions to a resurgence in contemporary black French identity. His essay raises the bar by taking to task essentialist afrocentric thinkers, France’s controversial Dieudonné and President Nicolas Sarkozy, while moving towards a fundamental problem in attempting to justify political solidarity among blacks.

La Condition owes a great deal to Tommie Shelby’s We Who Are Dark: the Philosophical Underpinnings of Black Political Solidarity and his argument similarly condemns the tendency to call for black political unity based on an idea of shared culture. This is no simple task. If there exists more than one black America here in the US-- the black America middle class ensconced in suburbia and the black America mired in poverty-- France’s black population may be even more fractured.

Ndiaye points out in great detail that France, as a colonial power, treated black populations that it encountered differently. Blacks in the Antilles enjoyed a higher social status than those from West and Central African colonies; a sizable biracial population further complicated minority dynamics; further, Maghrebians account for another, complex political and social demographic. La Condition also marshals into its arguments a nuanced interpretation of adherence to black identity, delineating through surveys and interviews a fine (literally, thin) and épaisee (thick) identification. The examination gets at the heart of how political solidarity can be found, for example, between a young woman from Martinique, a citizen of the Republic who may be employed in a pharmacy, and a young man recently arrived from Senegal seeking work as a night watchman.

Though the book’s subtitle is “an essay on a French minority,” the depth and research may place it beyond popular interest. The minutia explored, however, is interesting; Ndiaye describes 18th and 19th century France’s black population; laws restricting black presence and behavior; African soldiers’ roles in the first and second world wars; and a bizarre near-equivalent of the US COINTELPRO, the Service de contrôle et d’assistance en France des indigènes des colonies (Control and Assistance Service for Colonial Natives in France). In fact, Ndiaye’s writing is accessible even when it ventures into identity theory. The last two chapters, “The Black Cause: forms of solidarity among blacks” and “Conclusion,” restate some of the statistical facts from which the reader gathers a clear picture of the social costs of being black in the Republic. The black population of France, between 4 and 5 percent of the entire population (the French government does not gather exact numbers on minorities), is younger, more highly represented in working class professions and concentrated in large urban centers-- Paris, Marseille and Lyon. The limited access to social resources resulting from these characteristics and potential remedies form the core of his analysis. La Condition Noire goes some distance in outlining attitudes regarding affirmative action, which the French call discrimination positive, and other social disadvantages shared by blacks on both sides of the Atlantic.

In the conclusion, anticipating a summary judgement that his essay is glorifying a social victimization experienced by the black French, Ndiaye aptly points to multiple examples of political agitation. The riots that started in the Parisian suburbs in October of 2005 has not erased itself from the country’s memory even if the wider population and Black France have forgotten about the role blacks played between the world wars and after in red politics of the hammer and sickle variety.

Ndiaye finally appeals to actively increasing the number of minority associations that would, either through a federation or more informal connections, champion their group’s interest. In a striking comment on contemporary black French political organization, Ndiaye relates that foreign academics were not surprised by the creation of the CRAN, Conseil Représentatif des Association Noirs (Representative Council of Black Associations), but that it did not exist earlier. The appeal to blacks to organize politically to address issues of social justice-- equal access to good schooling, employment discrimination, disparities in housing and treatment by law enforcement-- is a nod to American associations like the NAACP and the Urban League. In the French and American context, arguably as well as elsewhere, it is la condition of blackness that Ndiaye points to as a political rallying point.

Admittedly, on placing an emphasis on the power of minority associations, Ndiaye may be looking at American examples through rose-colored lenses. It is currently debated and lamented (by some, anyway) that these organizations have lost touch with the younger generation whose political activity finds, if at all, outlets through blogging, niche media and the subversive power of hip hop culture.

The fact that the US has elected a black president has people of African decent in the Americas and Europe hoping to expand the geographic boundaries of Black Studies. The academic discipline to which La Condition contributes was, like jazz, unquestionably born in the US. Ndiaye’s effort reflects that what others in the Black Atlantic have witnessed has created a double-consciousness whose social expressions and commentary are multilingual and stretch beyond the aftermath of the antebellum South.

***

Corey Elliott Walker is a freelance writer and poet. An Atlanta native, he received his BA from Sarah Lawrence College, focusing on French and Africana Studies. His interests include national and international politics, French history and society, popular music and urban culture. He lives in Chicago where he is pursuing a JD.

Sunday, January 25, 2009

Ain't No Love...Chatting Up THE WIRE



Heart of the City: Black Urban Life on The Wire

Critically acclaimed and nationally syndicated, HBO’s series The Wire depicts a racialized postindustrial cityscape, marred by the brutal provenance of the drug economy. In its five seasons, the series is as much a dramatic achievement as it is a complex portrait of a black urban experience. Featuring a predominantly black cast, The Wire is an exceptional cultural text from which to examine a wide range of urban issues, to be approached from literary, historical, political, and sociological perspectives.

This symposium proposes a critical consideration of The Wire, which treats the show as both a topic and a model of critique. In this sense, The Wire can serve as a common point of discussion, as a viable vehicle of social engagement in its own right and a text worthy of careful and extended investigation.

***

SYMPOSIUM SCHEDULE

Thursday, January 29, 2009
Location: Angell Hall, Auditorium A

435 South State Street, Ann Arbor, MI


Heart of the City: A Conversation about The Wire

Keynote Event
, 5:00 PM
Clark Johnson, Director, Actor ("Gus Haynes")
Sonja Sohn, Actress ("Detective Kima Greggs")


Opening Welcome by Kevin Gaines, Director, Center for Afroamerican and African Studies, University of Michigan
Moderated by Robin R. Means Coleman, Associate Professor of Communications Studies and Afroamerican and African Studies, University of Michigan


Friday, January 30, 2009

Location: Palmer Commons, University of Michigan
100 Washtenaw Avenue, Ann Arbor, MI

Registration opens at 8:30 AM and runs throughout the day. Note: All lectures and panels are free and open to the public; however a registration fee of $10 will be required for lunch on Friday, and will include a welcome packet, souvenirs, and free admittance to the symposium closing reception.

***

Panel 1A, 9:30-11:00 AM
Teaching on The Wire
Moderator: Stephen M. Ward, Assistant Professor of Afroamerican and African Studies, University of Michigan

The papers presented on this panel either look to the series to present and demonstrate the social problems of teaching in our current epoch or use the series itself within teaching practice to confront those dynamics.

"Jukin' the Stats: Education and Inequality in the Fourth Season of The Wire"

Jonathan Gayles, Assistant Professor of African American Studies, Georgia State University

"Sorting Out the Bad Apples: Public Schools and the Code of the Street in the Fourth Season of The Wire"
Shavon Holcomb, Sociology Undergraduate UM-Dearborn, Paul Draus, Assistant Professor of Sociology, UM Dearborn, and anonymous student at Ryan Correctional Facility

"Lambs to the Slaughter": Pedgagogy at Edward Tillman Middle School"
Dirk C. Wendthorf, Professor of Humanities and German, Florida Community College at Jacksonville

***
Panel 1B, 9:30-11:00 AM
Race, Labor, and Affect in the Neoliberal City
Moderator: Angela Dillard, Associate Professor of Afroamerican and African Studies, University of Michigan

These are all papers which find in 'The Wire' an address to the modes of neoliberal politics/economics and their structural effects on a global community.

"A Precarious Lunch": Bodie, McNulty and the (Im)possibilities of Post-Ford Affinity in The Wire's Fourth Season"
Robert LeVertis Bell, Graduate Student in American Culture, University of Michigan

"'It's Nice here, Huh?': Affective Labor and Dispossession in West Baltimore"
Robert Choflet, Graduate Student in American Studies, University of Maryland

"'Pussy in a Can': Sexual Trafficking, Neoliberal Institutions and the Place of Labor and Race in The Wire"
Kimberly Lamm, Assistant Professor of English and Humanities, Pratt Institute

***
Panel 2A, 11:10-12:40 pm
Sex and Sexuality in the City
Moderator: Matthew Blanton, Graduate Student in American Culture, University of Michigan

These are all papers that address black sexuality in The Wire.

"Mainstreaming Omar: The 'Homo-Thug' Representation in The Wire
Robin R. Means Coleman, Associate Professor of Communications Studies and Afroamerican and African Studies, University of Michigan

"Lesbian Cop Butch Killer: Black Female Masculinities in HBO’s The Wire"
Jennifer DeClue, Graduate Student in Interdisciplinary Studies, California State University, Los Angeles

(Title Forthcoming)
Saida Grundy, Graduate Student in Sociology, University of Michigan

***
Panel 2B, 11:10-12:40 pm
Reading The Wire: The Politics of Authenticity in Season Five
Moderator: Paul Farber, Graduate Student in American Culture, University of Michigan

These papers all address the fifth season, its focus on the Baltimore Sun, and the contrasting logics of televisual and journalistic representation.

"A Hidden City on Display: The Language Ideology of H.L. Mencken and the (Un)Making of Authenticity on The Wire"
Joshua B. Friedman, Graduate Student in Anthropology, University of Michigan

"Race, Representation and Serial Form: The Fifth Season of The Wire"
Leigh Claire La Berge, Assistant Professor of Humanities, University of Chicago

"Watching the Fire Burn": Urban Representation and Popular Discourse
Jacob Scobey-Thal, Undergraduate in Urban Studies, University of Pennsylvania

***
Lunch, 12:40-2:00 AM
Registration required.
***
Panel 3A, 2:15-3:45 PM
Do Right Woman, Do Right Man
Moderator: Sherie Randolph, Assistant Professor of History & Afroamerican and African Studies, University of Michigan

These papers all address constructions and performances of femininity and masculinity on The Wire.

"Three Bad Mothers: Black Motherhood and Personal Responsibility in The Wire"
Elizabeth Ault, Graduate Student in American Studies, University of Minnesota

(Title Forthcoming)
Aime Ellis, Associate Professor of English, Michigan State University

"Building Blocks to Blocks With Buildings That Make a Killing: Reassessing Policy, Procedure, & Protocol in Urban Living"
Wilfredo Gomez, Graduate Student in English, Bucknell University

"'Be The Man of the Family": Black Mothers and Sons in The Wire"
Sidra Smith Wahaltere, Graduate Student in English, University of Denver

***

Panel 3B, 2:15-3:45 PM
Hermeneutics of Strategy and Surveillance
Moderator: Robert Bell, Graduate Student in American Culture, University of Michigan

"The Game is the Game"
Paul Anderson, Associate Professor of American Culture and Afroamerican and African Studies, University of Michigan

"Greek Gods in Baltimore: Ancient Tragedy and the Post-industrial American City"
Chris Love, Lecturer, Comparative Literature, University of Michigan

"Parallax Viewing, or Throwing Rocks at the Panoptic Lens"
Robert R. Maclean, Graduate Student in History, University of Michigan

***
Closing Roundtable, 4:00 PM
The Wire in an Obama America
Panelists:
Mark Anthony Neal - Professor of African and African American Studies, Duke University

Hua Hsu - Assistant Professor of English, Vassar College

James Peterson - Assistant Professor of English, Bucknell University

Salamishah Tillet -
Assistant Professor of English, University of Pennsylvania

Moderated by:
Jonathan Metzl - Associate Professor in Psychiatry and Women's Studies, University of Michigan

***
Reception
7:00 PM-10:00 PM
Reception to follow Closing Roundtable at The Gallery Project (215 South Fourth Avenue, Ann Arbor, MI). Free for symposium attendees; $5 donation at the door without symposium registration.

Bakari Kitwana: Decent jobs and an end to war


from New York Newsday

Decent jobs and an end to war
by Bakari Kitwana
January 25, 2009

Bakari Kitwana is author of "The Hip-Hop Generation" and CEO of Rap Sessions.


***

Two-thirds of the 23 million 18- to 29-year-old Americans who voted in November supported Barack Obama. Now that the last Champagne bottles have popped, the administration needs to stay focused on what the younger generation expects from the new president.

On his first day at work, Obama was in meetings with top advisers about the Iraq war. This is good news for the hip-hop voting bloc, as this group is often called, because they told pollsters shortly before the election that ending the war is their No. 1 issue. This finding came in a nationwide Internet survey of roughly equal numbers of white, black and Latino 18- to 45-year-olds, commissioned by rapsessions.org, which conducts town hall meetings across the country focusing on the hip-hop agenda. More than half of the 1,000 young people surveyed had friends, relatives or associates who were in or had been involved in the military conflicts in Afghanistan or Iraq.

The other huge priority for this generation is creating living-wage jobs. With an economic stimulus plan in hand and a campaign promise to end the war within 16 months, at least the two foremost priorities for young voters are in synch with the president's list. The question is this: Will Obama go far enough?

Read Full Article HERE

Thursday, January 22, 2009

Stephane Dunn: The Muslim/Christian Divide


special to NewBlackMan

The Bridge Between: The Muslim/Christian Divide
By Stephane Dunn

Inauguration morning I awoke thinking about how racial unity and racial understanding have been so much a part of the public discourse throughout the past election year and in the days and hours leading up to the historic inaugural ceremony. But my thoughts turned to how critical this moment should and could be for discussing religious understanding and peace. Maybe this is one of the benefits of working out a personal relationship with a person of a different faith; there is a lot of necessary work towards arriving at mutual peace and respect in the face of some passionate debates and divergent beliefs. This is certainly apropos for America; part of our global PR problem lies in the estrangement from the Muslim world and erroneous popular perceptions of Islam in this age of heightened of terrorism. Ironically, shortly after becoming the Commander and Chief, President Obama suggested that this was something he was pondering as well. In one of the most memorable lines of his Address, Obama began first not with a reminder that we are a nation of blacks and whites but of ‘Christians and Muslims, Hindus, and nonbelievers’. At another point, he referenced his late African father – a Muslim - and addressed the Muslim world, inviting a ‘new’ era of mutual respect and understanding.

This is quite striking since last summer and early fall, Obama found himself defending his Christian identity and having to fend off charges that he was really a Muslim rather than a ‘Christian.’ He typically avoided discussing the anti-Muslim sentiment and religious divide heavily or engaging his father’s Islamic religious identity in the many televised speeches and bios of his family roots. Nevertheless, the right wing attack on the authenticity of his faith and Americanism was disturbing on two major levels. First, it was an overtly ugly strategy designed to destroy Obama’s image and stir up fear that he was not truly either Christian, American, or patriotic. It was, of course, untrue. But this highlighted the larger problem: the not so invisible underlying implication, as a few brave Op Ed writers noted at the time, was that there was something wrong with being a Muslim and that Islam was synonymous with terrorism, anti-Americanism and so forth. Of course this also underscored the very well known fact that US Presidents have been white, male, and Christian with the exception of the Catholic president. The now infamous July 2008 New Yorker cover featuring Barack and Michelle Obama drenched in stereotypical Western notions of Muslim identity made folks uncomfortable because it perfectly captured the extreme representations that people have too widely nursed and clung to since September 11, 2001.

Since that cataclysmic moment and despite the wars in Afghanistan and Iraq, little progress has been made in transforming Americans’ general perceptions and understanding of Islam, the diversity of Muslim identity, nor the Muslim world’s antagonism towards the West’s, primarily the US’s, narrow categorization of Muslims. Indeed, racial profiling has extended to ‘ethnic’ and religious profiling in the wake of the Bush Administration and Homeland’s Security determination to make ‘America safe.’ But safety is elusive in the midst of exclusivity, alienation, religious ignorance and intolerance, especially in an increasingly smaller and volatile global community.

On a recent Air Tran flight, nine Muslim passengers were removed from their flight for a ‘remark’ that ‘scared’ some other listening passengers. The airline apologized later but said that it had acted in accordance with the guidelines. Undoubtedly, it did act accordingly, that is to the extremism and fear that have shaped many of the official and unofficial travel procedures and social codes that have evolved since 2001. Undoubtedly, the listeners too reacted out of the instant fear of terrorism that has become so attached to perceived visibly Middle Eastern and Islamic folk. As one who has spent enough time standing in security lines and chatting with fellow passengers on planes post 2001, I can attest to the fact that lots of off color security questions, scenarios, and so forth get tossed around that could be considered questionable to a listener if the talk was flowing from folks who ‘looked’ Muslim or Middle Eastern.

Both the Christian-oriented United States and the Islamic oriented Middle East must grapple with some serious dilemmas in relation to one another. The non-western Muslim world includes within it practices with disturbing gender, ethnic, and class politics that are not intrinsically rooted in the Qur’an but which have developed over generations in deeply hierarchal contexts. It also confronts cultural migration and Western cultural influences while wanting to retain the purity of its distinctive cultural mores, religious practices and values, and religious freedom. And yet, for the Muslim world too, the global community grows smaller. In the United States, where much lip service is given to diversity and where there is indeed a great religious mix, much more education, public dialogue, conscious raising, and everyday practice is needed to offset America’s flawed either/or tendency towards religious difference particularly at the level of political power and voice. We might not know we’ve made the most dramatic progress on this until there is a serious Muslim contender for the White House or at least for Secretary of State. It would be short-sighted to say never. After Iowa, New Hampshire, and Hilary Clinton’s concession, my Muslim love said that Obama would still never actually become president of the United States – probably no black person would in our life time. But January 20, 2009 proves - never is inconclusive.

***

Stephane Dunn, Ph.D, MFA, is currently an Assistant Professor in the English Department at Morehouse College. She has also taught at Ohio State University. A scholarly and creative writer, she specializes in film, popular culture, literature and African American studies. She is the author of articles and commentaries and the book, Baad Bitches & Sassy Supermamas: Black Power Action Films (University of Illinois Press 2008).

David "Fathead" Newman Makes His Transition


from The Los Angeles Times

David 'Fathead' Newman dies at 75; jazz saxophonist
By Jon Thurber
January 23, 2009

David "Fathead" Newman, a jazz saxophonist who was a key member of Ray Charles' band for a dozen years and later became a high-profile session player, has died. He was 75.

Newman died Tuesday of pancreatic cancer at a hospital in Kingston, N.Y., according to his wife and manager, Karen Newman.

Newman's saxophone can be heard on many of Charles' landmark hits, including "I Got a Woman," "What'd I Say" and "Lonely Avenue." And it was Charles who helped Newman get his first album as a leader with the 1958 Atlantic Records release "Fathead: Ray Charles Presents David Newman."

Read the Full Obituary Here

Wednesday, January 21, 2009

Solid as Barack


from McClatchy

Solid as Barack: How 1980s hit song became Obama tribute
by William Douglas | McClatchy Newspapers

WASHINGTON — Some may call it a case of life imitating art, or a dose of excessive political enthusiasm, but singer-songwriters Ashford & Simpson call it a labor of love.

After hearing audiences change the lyrics to their 1984 hit song "Solid (as a Rock)" to "Solid (as Barack)" — and watching "Saturday Night Live" perform a skit in with cast members did the same thing — the performing duo went back into the studio, retooled the lyrics to honor Obama, and intend to release it via digital download on Inauguration Day.

"We were amazed that it went from a concert in California to New York to 'Saturday Night Live,'" Valerie Simpson told McClatchy in an interview. "It really started out as a people thing and snowballed from there."

Ashford & Simpson said they never thought about recording a song for Obama, though they're staunch supporters of the president-elect. They were running through a medley of their hits during a show in Los Angeles in August when they turned the microphone towards the audience to have it join them in singing "Solid."

Instead of singing "solid as a rock," many in the crowd of 3,000 belted out "solid as Barack." An audience in New York did the same thing several nights later, and it caught the attention of a newspaper concert reviewer.

Read the Full Article @

Listen to "Solid As Barack" Here

Daughters, Your President is Black!


from Vibe.com

CRITICAL NOIR
Letter to My Daughters: Your President is Black
by Mark Anthony Neal

Dear Daughters,

Your president is Black.

I never thought that I'd ever say those words to you; in fact I can't say that I even imagined what it would be like to say those words to you. For so many of us, a Black president was just some far off wish, but no more far off than those once and always proud New World Africans who dreamed of freedom by "climbing into their heads" as the late Sekou Sundiata once described it. Perhaps that is why so many little black boys and girls have been told over the years, that they too might grow up to become President. And guess what babies--one of us did.

When I was your age, the world was in transition, but filled with the promise of a "new day" ("can you feel it, it's a brand new day" as they sang in the Emerald Cities of Chocolate Lands all across the nation). Two of our great soothsayers (so many of whom we so wish were earthbound to experience this day) captured the expectations of that era with a song called "To Be Young, Gifted, and Black" (and I know, you've heard it many times. When I was your age though, the song was one of the great gifts given to those of us who were expected to most benefit from the struggles of that moment. Years before on-line social networks existed, it was the music that was our social network, and Ms. Simone and Mr. Irvine's "Young Gifted and Black" went viral, finding resonance throughout the culture. As a testament to the song's power, so many of our worldly geniuses paid tribute to it, including the late Donny Hathaway, Les McCann (who years before asked the question "Compared to What?"), and Ms. Aretha Franklin, who was simply regal singing "My Country Tis of Thee" on this great day. It was like there was collective desire for my generation to always be reminded of our birthright: "You are Young, Gifted, and Black."

Read the Full Article @

Tuesday, January 13, 2009

The Best African-American Essays, 2009


from Random House

Best African American Essays 2009
Edited by Debra J. Dickerson and Gerald Early

This exciting collection introduces the first-ever annual anthology of writing solely by African Americans. Here are remarkable essays on a variety of subjects informed by—but not necessarily about—the experience of blackness as seen through the eyes of some of our finest writers.

From art, entertainment, and science to technology, sexuality, and current events—including the battle for the Democratic nomination for the presidency—the essays in this inaugural anthology offer the compelling perspectives of a number of well-known, distinguished writers, including Malcolm Gladwell, Jamaica Kincaid, James McBride, and Walter Mosley, and a number of other writers who are just beginning to be heard.

Selected from an array of respected publications such as the New Yorker, the Virginia Quarterly Review, and National Geographic, the essays gathered here are about making history, living everyday life—and everything in between. In “Fired,” author and professor Emily Bernard wrestles with the pain of a friendship inexplicably ended. Kenneth McClane writes hauntingly of the last days of his parents’ lives in “Driving.” Journalist Brian Palmers shares “The Last Thoughts of an Iraq War Embed.” In “Jamaica Girl,” author Lori Cullen illustrates the struggle of immigrant blacks to become American without losing hold of their cultural roots, and writer Hawa Allan depicts the forces of race and rivalry as two catwalk icons face off in “When Tyra Met Naomi.” A venue in which African American writers can branch out from traditionally “black” subjects, The Best African American Essays features a range of gifted voices exploring the many issues and experiences, joys and trials, that, as human beings, we all share.


Table of Contents


Introduction/By Gerald Early, Series Editor
Introduction/By Debra J. Dickerson, Guest Editor

Friends, Family
Fired: Can a Friendship Really End for no Good Reason?/By Emily Bernard
Gray Shawl/By Walter Mosley
Real Food/By Chimamanda Ngozi Adichie

Entertainment, Sports, the Arts
Hip Hop Planet/By James McBride
Writers Like Me/By Martha Southgate
Dances with Daffodils/By Jamaica Kincaid
The Coincidental Cousins: A Night Out with Artist Kara Walker/By James Hannaham
Music: Bodies in Pain/By Mark Anthony Neal
When Tyra Met Naomi: Race, Fashion, and Rivalry/By Hawa Allen
Dancing in the Dark: Race, Sex, the South, and Exploitative Cinema/By Gerald Early
Modern-Day Mammy?/By Jill Nelson
Broken Dreams/By Michael A. Gonzales

Sciences, Technology, Education

None of the Above: What I.Q. Doesn’t Tell You About Race/By Malcolm Gladwell
Driving/By Kenneth A. McClane
Part I: I Had a Dream/By Bill Maxwell
Part II: A Dream Lay Dying/By Bill Maxwell
Part III: The Once and Future Promise/By Bill Maxwell

Gay
Get Out of My Closet: Can You Be White and “On the Down Low”?/By Benoit Denizet-Lewis
Girls to Men: Young Lesbians in Brooklyn Find That a Thug’s Life Gets Them More Women/By Chloé A. Hilliard

Internationally Black
A Slow Emancipation/By Kwame Anthony Appiah
Searching for Zion/By Emily Raboteau
Last Thoughts of an Iraq “Embed”/By Brian Palmer
Stop Trying to “Save” Africa/By Uzodinma Iweala
We Are Americans/By Jerald Walker

Activism/ Political Thought
Jena, O.J. and the Jailing of Black America/By Orlando Patterson
One Nation…Under God?/By Sen. Barack Obama
Americans Without Americanness: Is Our Nation Nothing More Than an Address?/By John McWhorter
Barack Obama/By Michael Eric Dyson
Standing Up for “Bad” Words/By Stephane Dunn
Debunking “Driving While Black” Myth/By Thomas Sowell
Goodbye to All That: Why Obama Matters/By Andrew Sullivan
The High Ground/By Stanley Crouch

***

Monday, January 12, 2009

Motown @ 50!


from The Root

Half a century later, the Motown sound is still the soundtrack of American life.


Happy Birthday! Motown Turns 50

by Mark Anthony Neal

In the months leading up to the presidential election, much was made about the size of the crowds and the energy level at Obama rallies. For clues, some looked to the Obama playlist—the songs that served as the soundtrack for those frenzied events. True to his overall political strategy, Obama’s playlist cut across various popular genres—country music stalwarts Brooks and Dunn were as likely to be heard as much as the McFadden and Whitehead disco-era classic “Ain’t No Stoppin’ Us Now.”

But the common denominator at so many of those rallies was the sound of Motown, the once fledgling and once black-owned record label founded in Detroit 50 years ago today. The campaign’s embrace of the Motown Sound was likely not happenstance nor simply inspired by the president-elect’s fondness for soul music from the 1960s. More probably, it is the result of the campaign’s legendary attention to minute details and the understanding that the Motown catalogue was uniquely suited to bring together a nation of disparate opinions, concerns and beliefs. As Suzanne Smith writes in Dancing in the Street: Motown and the Cultural Politics of Detroit, “Motown’s music symbolized the possibility of amicable racial integration through popular culture. But as a company Motown represented the possibilities of black economic independence.”

Read the Full Essay @

Sunday, January 11, 2009

InnerVision


from Vibe.com


CRITICAL NOIR:
Elizabeth Alexander's INNERVISION
by Mark Anthony Neal

In a cultural and commercial world largely defined by the myopic pretensions of a largely invisible white male elite (the more visible they are, the less powerful they be), the contours of blackness--that amorphous, stasis-bending "giant" that is always in the room--can rarely be deciphered. In her book, The Black Interior (2004) Elizabeth Alexander--the recently tapped Inaugural Poet--observes that blacks are "too often prisoners of the real trapped in fantasies of 'Negro authenticity' that dictate the only way we truly exist for a mainstream audience is in their fantasies of our authentic-ness." (7) Alexander's observations seem perfectly pitched for a historical moment, that she will be largely remembered, for helping to frame for the American body politic. Throughout The Black Interior, Elizabeth Alexander posits a "dream space"--"the black interior"--where African Americans and others of African descent counter the debilitating and truncating affects of "mainstream constructions of our 'real'." (5) Alexander describes "the black interior" as "black life and creativity behind the public face of stereotype and limited imagination." (x)

Within black everyday life Alexander finds the black interior most powerfully expressed in the living room--the "literal 'black interiors,' inside the homes of that black people live in." [9] She extends this metaphor in examining the careers of poets Langston Hughes, Gwendolyn Brooks, Michael S. Harper and the 19th-century intellectual Anna Julia Cooper, as well as in considering black masculinity and Jet magazine (still ghetto-fabulous after all these years). She cites the latter, the largest circulating weekly aimed at black readers and the sister journal of the popular monthly Ebony Magazine, for its role in constructing and circulating "race pride"--a "handbook for a logic that understands the primacy of race, the primacy of blackness," observing the ways that the weekly pamphlet was "important for me to understand as I grew up in an era in which the happy rhetoric of integration was gospel." (95)

"Race Pride" is a term that Alexander also applies to Hughes, noting that his work presents a " 'race-pride' moment par excellence. He is 'our' poet laureate, our 'Shakespeare in Harlem'." (21) The essay on Hughes examines the poet's role in creating a canon of African-American poetry, notably through his editing of the anthology New Negro Poets: USA ( 1964). As published, the anthology was very different from the one that Hughes had originally envisioned. Whereas Hughes envisioned a collection that captured the embryonic energies of the still unnamed Black Arts Movement of the early 1960, his publishers were more interested in a collection that catered more to the taste sensibilities of mainstream readers. In Alexander's view the book was an example of how the "best of intentions can also be thwarted by the very real exigencies of the publishing companies--almost always white--that enable words to make their way to us." (40) Ironically Hughes is also a figure that also exemplifies Alexander's observation that the "black interior" is also a space "that black people ourselves have policed at various historical moments"--the space where race pride collides with Hughes's sexuality and the "troublesome" identities of so many other black bodies. (x) One of the best examples of this dynamics are the difficulties filmmaker Isaac Julien experienced during the making of Looking for Langston, where Hughes's estate denied the filmmaker use of Hughes poetry, because the film explicitly addressed the poet's sexuality.

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Tuesday, January 6, 2009