Showing posts with label Kobe Bryant. Show all posts
Showing posts with label Kobe Bryant. Show all posts

Tuesday, May 3, 2011

'Left of Black': Episode #31 featuring Aishah Shahidah Simmons & Zaheer Ali



Left of Black #32 
w/ Aishah Shahidah Simmons & Zaheer Ali
May 2, 2011

Left of Black host and Duke University Professor Mark Anthony Neal is joined via Skype by filmmaker Aishah Shahidah Simmons in a discussion of sexual violence in Black communities, homophobia, and popular culture controversies surrounding Ashley Judd, Kobe Bryant and DJ Mister Cee. Later Neal talks with historian Zaheer Ali, one of the lead researchers on the late Manning Marable’s Malcolm X: A Life of Re-invention.

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→Aishah Shahidah Simmons is an award-winning African-American feminist lesbian independent documentary filmmaker, television and radio producer, published writer, international lecturer, and activist based in Philadelphia, PA. Simmons is the writer, director and producer of NO! the Rape Documentary, a ground-breaking film that explores the issues of sexual violence and rape against Black women and girls.

→Zaheer Ali is a doctoral student in history at Columbia University, where he is focusing his research on twentieth-century African-American history and religion. His dissertation examines the history of the Nation of Islam’s Temple/Mosque No. 7 in Harlem, New York. Under the direction of Dr. Manning Marable, he served as project manager and senior researcher of the Malcolm X Project (MXP) at Columbia University, a multi-year research initiative on the life and legacy of Malcolm X and was a lead researcher for Dr. Marable’s Malcolm X: A Life of Reinvention (2011), a comprehensive biography on Malcolm X.

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Left of Black is a weekly Webcast hosted by Mark Anthony Neal and produced in collaboration with the John Hope Franklin Center at Duke University.

Also Available @ iTunes U

Saturday, April 23, 2011

Another Missed Shot: Kobe Bryant and the Politics of Homophobia
















Another Missed Shot: Kobe Bryant and the Politics of Homophobia 
by David J. Leonard

Whistled four his 4th personal foul and then a technical foul, Kobe Bryant headed to the bench.  With cameras focused on him, he shouted “fucking faggot” in the direction of the referee leading to an avalanche of public condemnation, a fine from the league, and ample debate.  As a Lakers fan, and someone committed to social justice, his choice in words was deeply disappointing.  “Homophobic Slurs Are Always Meant to Offend” writes Mychal Denzel Smith.  “The use of this particular word reveals something deeper. It's the belief that homosexuality is inherently inferior and an undesirable trait; therefore, to refer to someone with slurs usually reserved for gays is an attempt to belittle that person further. The quickest and most efficient way to insult a man has become to call into question his sexual orientation.” 

Yet, as someone committed to social justice, I have also been disappointed by the reaction from both his critics and his defenders.  Not surprisingly, throughout the Internet many have used this as an opportunity to highlight their own anti-gay sentiments.  Others, however, have denounced Kobe Bryant, expressing shock at his comments, while focusing on the necessity of a fine rather than education of not only Bryant but also society at large.

Shortly after Bryant slur became a public story, the Human Rights Council offered the following denunciation of Bryant:

What a disgrace for Kobe Bryant to use such horribly offensive and distasteful language, especially when millions of people are watching.  Hopefully Mr. Bryant will recognize that as a person with such fame and influence, the use of such language not only offends millions of LGBT people around the world, but also perpetuates a culture of discrimination and hate that all of us, most notably Mr. Bryant, should be working to eradicate.  Bryant and the Lakers have a responsibility to speak up on this issue immediately. America is watching.

Others followed suit, demanding apologies, questioning what sort of punishment should be leveled at Bryant, and otherwise condemned not only the slur but also the person in Bryant.  Yet, amid all the shock and self-righteousness, John Amaechi attempted to provide context for incident: “I'm surprised that people are surprised. This is common language when I played. It was an everyday word that I heard. I haven't seen anything new put in place (by the NBA) to tackle homophobia. There's no reason for it to somehow get better.”  Hoping to capitalize on Kobe Bryant’s visibility (and possibly his already negative standing amongst segments of society) GLADD and Human Rights Council emphasized the potential here to educate and inform.

The Human Rights Council called Bryant’s situation a teachable moment.  While correct in a sense, unfortunately effective lessons have not been at the center of this pedagogical exercise.  By excoriating Bryant and demanding an apology, by focusing on his being a role model (the consequences of kids using it in their schools demonstrates that this isn’t an issue specific to role models) the issue of homophobia has been individualized and isolated.  Bryant’s multiple apologies are seen as a resolution as the focus rests with his learning a lesson.  Lesson learned, back to the game.  

Likewise, the decision from Davis Stern to fine Bryant $100,000 further illustrates the ways in which Bryant required disciplining and punishment as part of the education process. Yet, another lesson learned.  In fact, the denunciation of Bryant, the calls for apologies, education, penance, accountability, and punishment is commonplace within the NBA.  The culture of the NBA is one of control, disciplinarity and punishment for intruding, transgressing, and rule-breaking black bodies.  It is a cultural platform where respectability and appropriateness, as defined by the white racial frame, govern the day-to-day operations alongside its cultural reception.  This is especially true for African American players who have a responsibility to demonstrate their respectability, something that Kobe failed at this moment.

For example, GLAAD President Jarrett Barrios stated, “Professional sports players need to set a better example for young people who use words like this on the playground and in our schools, creating a climate of intolerance and hostility. The LA Lakers have a responsibility to educate their fans about why this word is unacceptable.” Likewise, Edward Wyckoff Williams, waxing nostalgically about a better era in sports, further emphasized his failure as a role model:

Older fans will remember the days when sports stars were heroes, admired for their talent and stature. They graced Wheaties and Cheerio boxes, encouraging young people to stay in school and eat a healthy breakfast. Now, in an age where headlines show the growing number of gay and lesbian youth committing suicide, Bryant's rant is both disrespectful and potentially dangerous -- sending the wrong message to young, adoring fans -- who may well take it literally. Members of the NBA and NFL should be governed not just by their professional code of conduct, but with a great sense of obligation -- reflecting the often quoted line -- 'with great power comes great responsibility'.  If our athletic icons use homophobic slurs, how can we expect our children to act any differently on the schoolyards and street corners?

The efforts to link Bryant’s slur to heroes through a paradigm of nostalgia reflects the historic myopia here in that homophobia has always been present within sporting cultures (and the larger culture as well).  In fact, (white) heteronormativity is central to hero worship historically and present nostalgia for it.  Homophobia is not new, nor is it reflective of the a new type of athlete.  

The effort to use Bryant’s offensive remarks to highlight the pervasive problem of homophobia ironically erases the ubiquity and the systemic impact of homophobia inside and OUTSIDE of sports.  In effect, the public condemnation, the fine, and the overall discourse effectively isolated homophobia, linking it to blackness and Kobe’s visible signifier as basketball player.  In other words, Kobe gets constructed as the face of homophobia, evidence of yet another example of homophobia within the NBA and black America rather than society at large.  As evidence by Bryant’s deployed slur and the public criticism, blackness is once again marked as essentially disruptive, uncontrollable, as a source of “cultural degeneracy.”  Rhonada Williams, in “Living at the crossroads: Exploration in race, nationality, sexuality, and gender,” reminds us that blackness exists as “a problematic sign and ontological position” (1998, p. 140).   The ways in which homophobia has been attached onto Kobe’s body is evident in both media discourse and reader comments.  Imagined as evidence of his “immaturity” and “ignorance,” linked to culture of sports and basketball, denounced because of his failures to be a role model to kids, the responses consistently focused on Bryant as the beginning and end to the conversation.

To fully understand this situation, one needs to understand it within a larger history of the NBA. In 2007, after former NBA player John Amaechi announced that he was gay, controversy and debate ensued as to whether or not homophobia was particular to the NBA culture.  Such questions increased after Tim Hardaway, responding to a question about Amaechi’s announcement and the surrounding media coverage, told Dan LeBatard, “You know, I hate gay people, so I let it be known,” Hardaway said. “I don't like gay people and I don't like to be around gay people. I am homophobic. I don't like it. It shouldn't be in the world or in the United States.” Hardaway was quickly banished from the NBA’s All-Star weekend, while David Stern dismissed the controversy arguing that “the question of the NBA is always, “have you got game?’”   (Breton 2007).  While the invocation of meritocracy is both instructive and without much evidence (think Craig Hodges), what was most revealing in terms of race and the ongoing culture was the efforts to isolate homophobia within the NBA, with hip-hop culture functioning as the source of homophobia within America’s basketball arenas. 

Efforts to invoke Allen Iverson’s rap lyrics, where he uttered the phrase “faggot tendencies,” or the reactions of many players, who spoke of discomfort around having a gay teammate, served as the basis of a simple conclusion: Amaechi’s decision to remain “in-the-closet” and the firestorm that resulted from his “coming-out-of-the-closet” demonstrate the heightened level of homophobia within the NBA (Thiel 2007; Whitley 2007).  It was not a societal problem, but an NBA problem; it was not an American thing; it was a black/hip-hop thing (if an NBA thing it’s gotta be a black thing).  LeBron James fueled the controversy, offering the following: “With teammates you have to be trustworthy, and if you're gay and you're not admitting that you are, then you are not trustworthy. So that's like the number one thing as teammates . . . we all trust each other. You've heard of the in-room locker room code. What happens in the locker room stays there. It's a trust factor.”. In response, Michael Wilbon similarly confined the issue to the sphere of basketball

Not to be too cynical, but I don't want to pay too much attention to reactions from a 22-year-old ballplayer with incredibly limited exposure, whose life has been little more than a series of tip-offs from biddy ball to AAU to high school to the pros. LeBron's reaction simply reflects the self-absorption of the day when it comes to young athletic gods whose transition from boyhood to manhood is in too many cases put off until retirement from the pros.
If we're lucky, the men and women who are both enlightened and emboldened will not only be supportive but will drown out the knuckleheads and Neanderthals and everybody who wants to slow the march of progress. Even one step away from tolerance, whether we're talking about race, gender, religious beliefs or sexuality, simply slows the march to the day when none of this stuff matters (2007).

Concluding that homophobia and ignorance concerning the GLBT community reflects the culture of basketball, Wilbon unknowingly constructs homophobia as exception, as a problem specific to the NBA.  Even Dave Zirin, often a source of progressive sports commentary, concludes that sports are unique concerning homophobia: “Sports is one of the last grand hamlets of homophobia. Amaechi poses a real challenge to the realities of the locker room, the press box and the owner's box: all places where I have heard homophobic comments used as casually as a comma. I give no credit to Stern's pretension that it just doesn't matter” (2007).  Others similarly wondered if hip-hop contributed to homophobia (Moore 2007; Amaechi 2007) or if other issues – violence, locker rooms – were at work as well.  In a league that regularly reduces women to sexual objects, that celebrates the hyper masculinity of its NBA players evident in the use of gendered/sexualized language (“Pau Gasol is soft”; “Sacramento Queens”), the hypocrisy here is endless.  Within sports culture that works to recode the WNBA as a heterosexual league as a counter narrative to assumptions about its lesbian presence, it is hard to accept the righteousness evident here.

Notwithstanding, the culture and the blackness of the league became a subtextual source of inquiry for the debate about homophobia within the NBA, ultimately exonerating whiteness/American through a scapegoating discourse.  While writing about Don Imus, Michael Awkward is particularly instructive in this case: “Put Simply,” Kobe Bryant “was made to stand in for millions of well-known and faceless” homophobes and other who tacitly protect their heterosexual privilege who GLBT communities and their allies “want desperately to identity, put on trial, and excoriate because of incontrovertible – but to this point often easily dismissed – ‘evidence’ of centuries of anti-gay violence, heterosexism, and homophobia.  With Kobe Bryant, we get a similar reductionist formula, where Bryant and all of his past experiences provide a supposed explanation for his use of this slur. 

The ease to which Bryant was condemned and the perceived self-righteousness reflect the hegemony of the white racial frame.  Bryant’s homophobic slur, his perceived homophobia, his emotional outbursts, and his evidence “childishness” here fit a larger script about black male bodies.  This instance and the claims about uber homophobia within sports culture (usually linked to basketball and football and not say hockey and baseball) and homophobia within the black community thus fit a larger narrative about black dysfunction, pathology and otherness.  “The casual sexism and homophobia reproduce the oppression of straight black men, providing a justification for ‘the denial of manhood to black men within a racialized society,” writes Michael Kimmel in “Toward a Pedagogy of the Oppressor.”  “‘You see,’ one can almost hear the establishment saying ‘those black men are like animals.  Look at how they treat their women!  They don’t deserve to be treated with respect.”  In other words, “the very mechanism that black men thought would restore manhood” – demonizing homosexuals, using anti-gay slurs, asserting and demonstrating traditional male values – “ends up being the pretext on which it is denied.” 

bell hooks takes up this issue with “Homophobia in Black Communities” arguing that “black communities may be perceived as more homophobic than other communities because there is a tendency for individuals in black communities to express in an outspoken way anti-gay sentiment.”  Furthering the distinction between black and white homophobia she writes, “yet a distinction must be made between black people overtly expressing prejudice toward homosexuals and white people who never make homophobic comments but who have the power to actively exploit and oppress gay people in areas of housing, employing, etc.”  Echoing the criticism offered by Dwight McBride in Why I hate Abercrombie and Fitch, I find myself dissatisfied and uncomfortable with the binaries constructed here as well as the tacit acceptance/privileging of one form of bigotry over the other. 

Yet, hooks challenges readers to think about how and why a public discourse around homophobia relies and focuses on the uttererances of Kobe Bryant, Isaiah Washington or Chris Brown, and not the ways in which homophobia is ingrained in our culture, language, and institutions.  Why do these black men become the moments for public righteousness and concerns about bigotry and not the ubiquity of anti-gay slurs at American schools, anti-gay hate crimes, or any number of examples?  Similarly, these spectacle serve not as a means to interrogate homophobia, heterosexism, and anti-gay violence as manifested in a myriad of spaces but as a moment to celebrate “us” (“the normal) as accepting and progressive in the demonization of the other.  It becomes a missed opportunity to interrogate our own language and prejudices for the sake of imagining the Other as the Other. 

hooks’ comments also mirror the hegemonic belief that black males are likely to express and hold onto homophobic beliefs, a fact that is complicated at best and patently without basis in another sense.   In “A Comparison of African American Men and White College Students Affective and Attitudinal Reactions to Lesbian, Gay and Bisexual Individuals,” Charles Negy and Russell Eiseman found that blacks were only slightly more accepting of anti-gay sentiments.  These differences, however, disappear when accounting for religiosity.  Noting, “that most ethnic groups are not very accepting of homosexuality,” the authors conclude, “for both African Americans and whites, gender and religious commitment predicted homophobia.”  Despite these findings and ample evidence about societal homophobia, the reaction to Bryant’s comments and commonplace discussions about homophobia within the black community erases the larger issues at hand.  A CNN poll recently found that 48% thought homosexuality was morally wrong.  In 2001, Human Rights Watch reported that 2 million American teenagers suffered because of anti-gay slurs and taunts.  Similarly, according to one study, “Gay students hear anti-gay slurs as often as 26 times each day; faculty intervention occurs in only about 3% of those cases” while another found that 97% of high school students “regularly hear homophobic remarks from their peers.”

Yet, these sort of spectacles that imagine homophobia as unique to the black community, as particular to basketball culture, as reflecting the values and ethos of hip-hop not only furthers the demonization of blackness but in term safely confines homophobia to the dysfunctional Other in need of education and punishment.  By scapegoating homophobia as a sports thing, a black thing, a hip-hop thing, or a Kobe thing, the discourse lets a lot of people and institutions off the hook.

Responding to increasing criticism directed at the African American community in lead up to the November 2008, which put the issue of gay marriage on the ballot with Proposition 8, Ta-Nehisi Coates succinctly highlighted the danger in ignoring or defending in instances of homophobia, yet not using it as a moment to scapegoat and demonize African Americans:

I don't like the idea of being an apologists for homophobes--least of all black homophobes. Also, I'm concerned that my defense not make black folks think that this isn't an issue worth our attention. But sweeping statements like "no ethnic community [is] as homophobic in America as African-Americans" should induce some serious pangs of skepticism. Are African-Americans really more homophobic than, say, Italian-Americans? Are we really more homophobic than Hasidic Jews? Than Caribbean Americans? Than Puerto-Ricans?

As a teachable moment, we must ask what are we being taught and why?  What is it teaching us about society, others, and our self? Does it teach us about a larger issue of prejudice, homophobia or bigotry?  Did it teach us about language and the normalization of heterosexism and homophobia in our everyday life? Does it push us to think about language constructs “normal” and “Other” and the impact/consequences of language as everyday violence?  When a person (Kobe or otherwise) “hurls that antigay slur at a referee or anyone else — let’s call it the F-word — he is telling boys, men and anyone watching that when you are frustrated, when you are as angry as can be, the best way to demean and denigrate a person, even one in a position of power, is to make it clear that you think he is not a real man, but something less,” writes John Amaechi. “It is an indication of the power of that word, and others like it, to brutalize and dehumanize. This F-word, which so many people seem to think is no big deal, is the postscript to too many of those lives cut short.”  Did we learn this lesson or have we been too focused on what Kobe did and not what Kobe reveals?

Amaechi efforts to contextualize, to move beyond the individual, to reflect on the consequences have been unique to the discussion.  Unfortunately, much of the public rancor has “become another spectacle, evidence of ‘deviance’ for a mainstream public condition to think of black people and black men in particular as such”   (Neal, 2005, p. 81).  By focusing on intent, on sports, on Kobe, and the larger discourse about black homophobia, we have missed an opportunity, creating another moment where the wrong lessons are being taught and learned.   Homophobia, anti-gay bigotry and harmful slurs directed at the GLBT community are not a black, hip-hop, or sports thing, but an American thing.  A me and you thing.  

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David J. Leonard is an associate professor in the Department of Comparative Ethnic Studies at Washington State University at Pullman. His next book (SUNY Press) is on the NBA after the November 2004 brawl during a Pacers-Pistons game at the The Palace of Auburn Hills He has written on sport, video games, film, and social movements, appearing in both popular and academic mediums.

Saturday, April 16, 2011

Homophobic Slurs Are Always Meant to Offend



Kobe Bryant's recent use of an anti-gay slur is a prime example of how we need to directly address homophobia -- by re-examining what it means to be a man.

Homophobic Slurs Are Always Meant to Offend
by Mychal Denzel Smith | The Root

A few years ago, during an awkward attempt at father-son bonding, I found out my father was a homophobe. It was right after the Academy Awards, and there was a lot of discussion about the film Brokeback Mountain being snubbed for best picture. My father and I were watching television together, and he said to me, with a chuckle, "I've watched Westerns all my life, and never once did I think cowboys were faggots."

I don't know that he recognized how visibly uncomfortable I was with his word choice, because he used it again before I left the room. I never thought my father had particularly warm feelings about gays before that moment, but the open-air homophobia was jarring.

It's a big part of the heterosexual-male bonding experience: In an effort to prove a sense of collective manhood, some heterosexual men trade homophobic barbs with one another, denounce and deride being gay and vehemently defend their own heterosexual credentials. It starts pretty early in the socialization process, with "gay" being used as a derogatory term on the playground before most even know what "gay" means, and eventually it makes its way into other spaces that tend to be perceived as havens for heterosexual manhood (e.g., locker rooms, basketball courts, rap music).

This is what Kobe Bryant was doing when he shouted "f---ing faggot" at a referee during Tuesday's Los Angeles Lakers-San Antonio Spurs game. Bryant says his use of the homophobic slur was not intended to offend anyone, which hardly seems plausible.

He is well aware that "faggot" is a homophobic slur, or else he would have felt no need to apologize for his comments; he would have claimed ignorance. Given that he was visibly angry when he blurted out the slur, any comment that he made toward the referee at that point was clearly intended to offend him. But the use of this particular word reveals something deeper.

It's the belief that homosexuality is inherently inferior and an undesirable trait; therefore, to refer to someone with slurs usually reserved for gays is an attempt to belittle that person further. The quickest and most efficient way to insult a man has become to call into question his sexual orientation, and the easiest way to bond with one another comes through sharing a mutual homophobia (regrettably, these are things that I have personally done in the past but now recognize their idiocy).

And no one questions this. Sure, Bryant had to pay a fine and meet with LGBT activists, but apologists for his behavior abound. Society teaches us that manhood, in part, is defined by an ability to impregnate a woman and subsequently provide for the mother and child financially, while exercising control over their livelihoods through the threat of physical domination. For some, gay men and women represent a threat, an attack on the very concept of manhood.

Read the Full Essay @ The Root

Friday, December 10, 2010

Call of Duty? Kobe and Virtual Warfare


special to NewBlackMan

Call of Duty? Kobe and Virtual Warfare
by David Leonard

Kobe Bryant has done it again. He has supplanted LeBron James. Whereas James’ decision to “take his talents to South Beach,” ESPN’s “The Decision,” his appearance on Larry King, and his recent Nike advertisement have elicited widespread debate, discussion, and consternation, Kobe Bryant, despite winning his second straight title with the NBA has been out of the spotlight. Yet, his appearance in a commercial for Activision’s Call of Duty: Black Ops has not only surely allowed for the commercial to naturally appear on ESPN and during NBA games but also has resulted in ample discussion about the meaning and appropriateness of his appearance within the advertisement.

The commercial, like other games in the genre, imagines war as a space of play, as a space of excitement, as space of harmless fun, and one without consequence. It likewise imagines a warzone as a space of unity, where irrespective class, race, ethnicity, gender, sexuality, politics, or celebrity, people can and need to come together to defeat a common enemy. Promoting the game with the tag line, “There’s a solider in all of us,” Kobe Bryant makes an appearance as to illustrate that war, and the game is a place where superstar basketball stars can play alongside of waiters, Jimmy Kimmel, and others.

Not surprisingly, his appearance in the commercial prompted ample chatter. Mark Medina, on The LA Times blog who noted that he didn’t find the commercial “enjoyable,” wrote “I think the commercial featuring a happy-go lucky vibe with ordinary citizens pretending to be in combat downplays the seriousness that real combat entails.” Similarly, Sam Machkovech commented on The Atlantic.com that the "troubling mélange of gun, grenade, and rocket combat acted out by blue-collar workers, children, and celebs like Kobe Bryant and Jimmy Kimmel" resulted in a “disappointing game-related ad" . . .that equips people with real guns and simulates real-life, no-CGI combat . . .. The only things missing are the dead bodies on the receiving ends of each bullet and blast.” Others took the debate, given Kobe Bryant’s celebrity, and cultural meaning in a different direction.

In his blog post “In the crosshairs,” Paul Jones links Bryant’s decision to his responsibility as a role model, one who shouldn’t be promoting violence: “Like it or not, Bryant is a role model. Maybe I'm old fashioned but anything that promotes or glorifies that kind of violence doesn't float my boat. I know it's just a video game but it's not my cup of tea.” Likewise, Tim Keown
uses the commercial as a way to talk about gun violence in Berkeley, California, linking the deaths and murders of young (African American – the article doesn’t say but also the rhetoric, images, and narrative leads one to belief as such) boys to Kobe’s appearance in this commercial.

Writing through Todd Walker, a football coach and funeral home worker in Northern California, Keown focuses on the destruction facing Walker’s community and how the glorification of violence within this advertisement is part of the problem. He describes Walker’s reaction to the commercial in the following way:


He was already disgusted, but about halfway through the spot, Walker did a double take: Wait! Wasn't that Kobe Bryant? Seriously, is that really Kobe Bryant carrying an assault weapon with the word "MAMBA" on the barrel? Did Kobe Bryant, the highest-paid player in the NBA, take money not only to advertise a shooting game but actually shoot -- or simulate shooting -- an automatic weapon while doing it? None of his people, not his wife or his agent or someone in the NBA offices, advised him against this?

"I couldn't believe it was him," Walker says. "What's wrong with him?"


Walker gives funeral-home tours to every team he coaches. He tries to hammer home the reality of death by putting kids in cardboard cremation boxes. He shows them the tools he uses to drain bodily fluids and the chemicals he uses to prepare bodies. It probably wouldn't play in the suburbs, but Walker's trying to fight a culture that glamorizes death with tattoos, airbrushed T-shirts and roadside memorials. He's fighting a culture that has desensitized death to the point where fantasy has overtaken reality. In the process, the permanence of death -- "That person is gone," Walker tells the kids when he closes someone inside the box -- is often lost.
Beyond the scapegoating, and the ways in which the article rehashes culture of poverty arguments alongside those that blame violence on choice and decision-making amongst those victimized by state violence, Keown does little to distinguish between the types of violence being displayed within virtual warfare (as glorious; as justifiable) with those images and narratives that consistently use the violence associated with and attached to the ghettocentric imagination to rationalize, justify, and otherwise imprison black bodies. The efforts to link virtual warfare and urban violence through Kobe Bryant, one of the more recognizable black bodies, demonstrates how blackness is circulated as threat, danger, and object of derision. Others, however, used Bryant’s presence, and the NBA’s non-response as evidence for the acceptability of virtual warfare.

On the
“Grumpy Sociologist” Dave Mayeda asks the following about the commercial: “Should society be glamorizing war to make money, and turning to celebrities to peddle these products?” He further argues that these games (and by extension their commercials that promote and encourage play in/of these games) naturalize a war culture, erasing the cost and consequence of war. This argument merely echoes longstanding questions about the significance of war games. “What I find really frightening is that in our playtime – in our leisure time, we’re engaging in fictional conflicts that are based on a terrorist threat and never asking questions,” notes Nina Huntemann. Richard King and myself argued similarly in “Wargames as a New Frontier Securing American Empire in Virtual Space” (from Joystick Soldiers: The Politics of Play in Military Video Games edited by Nina B. Huntemann and Matthew Thomas Payne):

“US efforts to establish neoliberal policies in Afghanistan, Iraq and throughout the globe, coupled with the overall movement to legitimize US global hegemony, have come through much ideological work from television and Hollywood, to news media and virtual reality. In fact, in a post 9/11 America, video games have become a crucial space of articulating American empire, providing a vehicle of interactive dissemination that allows for the transportation of citizen bodies from their homes onto battle fields, into political struggles, and into a global theater where US efforts to secure power is normalized and justified. We must therefore understand virtual warfare and the popularity of war games by developing a spatial understanding or a critical pedagogy that illustrates the connections, dialectics of warfare, and violence within virtual and real-time spaces.
Mayda’s and others discussion of the commercial as an entry point into the larger issue of the militarization of everyday life is important, especially as the defense of the commercial deployed the clichéd argument, “It is just game” and “a commercial.” Given the ways in which these games have proliferated over the last ten years, the ways in which militarization is evident in all forms of popular culture (and in toy stores), and how sports, from its language to its efforts to put military hardware on display during pregame festivities, and its ideological offerings, one has to wonder why a commercial featuring Kobe Bryant offers the only moment of intervention.

The specificity of race, Kobe, the NBA, and the commercial are evident as Mayeda goes on to argue, in response to the debate between Skip Bayless and Bomani Jones on ESPN’s First Take.


“Bomani Jones hits the nail on the head. With approximately 1 minute left in the video, Jones points out that if Bryant was re-enacting what's portrayed in the video game, Grand Theft Auto (e.g., murder, assaults, prostitution), he would be reprimanded by Commissioner Stern. However, because Bryant, Kimmel and the other actors are re-enacting war against each other, and presumably against American enemies in the game, the portrayed violence is at the very least permissible, and more likely glorified as a kind of American patriotism.
Jones, who uses the moment to talk about NBA "hypocrisy" given the league’s reticence notwithstanding David Stern’s propensity to control player image, arguing that had Kobe Bryant appeared in a commercial for Grand Theft Auto 57, it "would have [been] pulled [...] off the air” because the violence associated with war “doesn't scare people. Street violence scares the NBA's fanbase, or the ones that David Stern is trying to appease by stopping guys from arguing with refs."

In other words, Kobe, as a black NBA star, can exist inside the virtual theater of overseas warfare, but his presence in another context would elicit a far different reaction because his blackness, as signifier, as cultural symbol, and as cultural frame is inherently disruptive and problematic. In another context, his visible blackness would function as essentially disruptive, uncontrollable, as a source of “cultural degeneracy.” Blackness exists as “a problematic sign and ontological position” (Williams 1998, p. 140). The fact that Kobe appears in a war game ad and not a ghettocentric commercial says nothing about the relative acceptability or contempt for particular types of violence but rather where and how blackness can enter into the white imagination.


Having written extensively about video games, both international and domestic war games (Grand Theft Auto and other ghettocentric games exist in imagining domestic warfare), I am struck by Dave Mayeda’s analysis of the game and Bomani Jones’ analysis. Jones isn’t simply pointing to the acceptability of “ghettocentric violence,” that violence against a foreign other is more acceptable and permissible than games that imagine gang and inner city violence. Rather, both forms of violence, evidence in the popularity of games like Call of Duty and Grand Theft Auto: San Andreas, war films and those concerned with “Boyz” and “Menaces,” and the ubiquity of war and violence on the nightly news and in public discourse at large.


Violence, when directed at a foreign other, and when reifying dominant white racial framing about violent, dangerous youth of color, is quite permissible and acceptable within American media culture. Given the criticism directed at Bryant, Mayeda’s argument about “permissibility” leaves some pause. Kobe’s visibility within the commercial, his presence as a “role model,” as a black man enjoying warfare, and as a member of “Us” results in a commercial less permissible and thus more susceptible to critique. Moreover, Jones’ point doesn’t seem to be that displays of militaristic warfare are more acceptable than “ghetto violence.” Rather he is arguing that in the context of the NBA, given the constant fears about the blackness of the league, Bryant’s presence in a commercial reifying his blackness and the stereotypes associated with the white racial framing of hip-hop/urbanness, would prompt far greater outrage and likely intervention from the league office. In fact, the commercial with its emphasis on “shared nationalism,” and shared identity as “soldiers” within a larger war effort, irrespective of class, race, gender, celebrity, and physicality mirrors the efforts of the NBA to deemphasize the racial identities of its players, promoting a neoliberal, market-driven notion of identity.


Moreover, it is crucial to understand how fear plays out within the context of this commercial and how Bryant’s presence in a militarized zone doesn’t elicit the same sort of fears as his presence might in another context. Within war games, and in the commercial, there is an effort to emphasize the multiracialness of the nation as to imagine a national body coming together to battle, wage war, and otherwise destroy a foreign other. In other words,
video games, whether set in the old West, the new Iraq, or the post-civil rights ghetto, offers a space to rehearse the central tenets of American imperialism, law and order, manifest destiny, and the benevolence of (white masculine) American Democracy.

Call of Duty: Black Ops
, as evident by the commercial, replicates this mission. It assuages fear. However, Kobe’s hypothetical presence in Grand Theft Auto commercial would aggravate fear as a black body within a post-civil rights ghetto context.
Beyond abstract connections and the links of fear, the surrounding discourse of reception -- the celebration of violence within war games (one manifesting through state powers) and demonization of violence when performed by state enemies (criminals and terrorists), Jones points to the ways in which symbolic (virtual) violence and these games in general distort, reify, and dehumanize, bodies of color in justification of state violence.

These games turn on dehumanizing racialized violence directed at bodies of color, pivot around a rhetoric of danger on insecure frontiers, and encourage a reworking of the contours of fear and victimization so that white consumers can occupy them. It isn’t that one violence is more permissible than the Other, it is that black bodies (evident by Kobe Bryant) can be visible as a cog within a larger state power but cannot exist inside a space where blackness is defined as a threat to domestic safety.


Moreover, the reaction demonstrates the limitations of redemption for bodies rendered as inherently suspect and dangerous. The fact that Skip Bayless offered the following illustrates the limited possibilities for redemptive black bodies: “He was smiling while holding an assault rifle in combat while we have troops overseas at this moment doing the same thing for real in combat.


It's completely out of bounds for Kobe Bryant, who I thought had completely rehabilitated his image after Eagle, Colo., but even the great Kobe Bryant is not that, so to speak, bulletproof.” The reaction to this commercial demonstrates that no matter how many successful years Kobe Bryant has on the court and no matter what he does off the court, he will always be viewed with skepticism and derision.


The media and commentary, discourse irrespective of the argument (condemnation/celebration of Bryant), focused much of discussion about the commercial on the NBA’s star and not the issue of virtual warfare. Just last year, I wrote about controversy surrounding a NIKE advertisement featuring Kobe Bryant with the tagline “Prepared for Combat”
in Journal of Sport of Social Issues, amid the arrest and suspension of Gilbert Arenas:

The backlash and the legislating by the NBA, when read alongside those scholars who have argued that the structural and culture locality experienced by blacks renders them to be noncitizens in the national imagination, the encouraged and supported denial of their rights as citizens, whether in terms of guns, the right to earn a living straight out of high school, or the right of free speech/expression, fits their perpetual place outside the American citizenry. The centrality of black NBA ballers as dangerous criminals—abject noncitizens—is clear through the discursive logic: Criminals shouldn’t have access to guns. If Stern is discouraging players from carrying guns, it must because they are dangerous, irresponsible, pathological, criminal noncitizens.

This is made clear by this commercial and the various commentaries that Bryant’s presence as a “soldier” within a U.S. military context is acceptable because the location is one of control and disciplinarity, whereas blackness in other contexts continues to exist as Other, object, scapegoat, and abject noncitizen. It is all matter of what combat is being prepared for and who the imagined victim might be that determines whether or not violence, real or virtual, is acceptable.

***

David J. Leonard is an associate professor in the Department of Comparative Ethnic Studies at Washington State University at Pullman. His next book (SUNY Press) is on the NBA after the November 2004 brawl during a Pacers-Pistons game at the The Palace of Auburn Hills He has written on sport, video games, film, and social movements, appearing in both popular and academic mediums.

Wednesday, January 20, 2010

Get Your Mind Right: NBA Puppets



Get Your Mind Right: NBA Puppets
by Brian Sims

"Dunkin’ on that Reindeer" is the latest commercial in Nike’s MVPuppets ad campaign, starring Kobe Bryant and Lebron James puppets, with holiday themes, and the voice of KRS-One.

The premise itself is a riot: Blitzen, a rogue reindeer in Santa’s stable, is overtaken by jealousy at the thought of Santa hanging out with Kobe and Lebron. He records the equivalent of a reindeer diss-track, challenging Santa (played by KRS) and the two MVPs to a game of basketball; which prompts Santa to drop a response track chronicling the ensuring battle.

"...in the kitchen cookin: eggs & hash / got a call from Blitzen, talkin trash / Ol' Saint Nicky, can't you see / You and your boy's you'll neva beat me… You can tell Kobe you can tell Lebron / and they can meet me on the court it'll be uh uh on..."

Humor aside for one second, the track itself is produced well-enough for Top 40 radio. The beat is actually a hybrid of multiple Rap genres, sporting an old school boom-bap cadence over Death Row-era piano basslines, highlighted by clever Young Jeezy-esque punchlines. And, the cinematography in the video would make Hype Williams himself proud - as it clearly borrows from some of his late '90s conventions.

Once upon a time, I would have been outraged at the clear, in your face, “exploitation” of Hip Hop by corporate America, in this case: billion dollar athletic apparel giant Nike. I would have seen this commercial as another in the long list of co-opted, commodified renderings of black art; what Duke professor and author Dr. Mark Anthony Neal has referred to as the “corporate annexation of black popular music.” Or better yet, in the words of Dr. Christopher Johnson: Danceable capitalism.

After all, the video is “shot” on the playground in the hood (despite the fact that James, Bryant (and ostensibly, Santa) are multi-millionaires). And there’s the nagging but all-too-familiar caricature of black masculinity (remember Lil Penny?). Not to mention the uber-clever colloquial parodies used in the song…for example… Santa is in the kitchen cookin ("hoodspeak" for preparing crack to be sold); and Blitzen is shortened to “Blitz” which sounds virtually identical to another b-word stereotypically associated with Rap music.

But before we scream foul… let’s consider this: Hip Hop marketing has been around almost as long as Hip Hop itself. Life in our monetary society necessitates persuasion of others, and Hip Hop is far from an exception. If you have a problem with Nike leveraging Hip Hop to sell sneakers to “urban youth” than you also have to have a problem with Pfizer selling pharmaceuticals to the sick, CNN selling “news” to the uniformed, Walmart selling food to the hungry, Hollywood selling movies to the bored, Covergirl selling makeup to those with low self-esteem, and universities selling education to the ignorant.

Read the Full Essay @ HipHopDX
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Friday, June 27, 2008

Shaq's Rant?: Some Perspective from Stephane Dunn







Shaq’s Bad Rap
By Stephane Dunn | TheRoot.com

Was The Big Man's Youtube rant against Kobe so wrong?

June 27, 2008--Truthfully, when one considers the art of the rap diss and remembers some legendary signifying, say, between Tupac andBiggie, Jay-Z and Nas, and more recent I-am-the-best-you-can't-touch-me rap bragging (Ne-Yo and Chris Brown, for example), Shaq's recent attack on his rival and former Lakers teammate Kobe Bryant, was, well, pretty amateurish.

And yet, the fall-out over his recent performance at a New York nightclub, captured on YouTube for all to see, continues. Shaq unhurled a few choice words that have probably been simmering since his controversial Kobe fall-out and exit from the Lakers. He sent a shout out to his ex-teammate, "Kobe can't do without me," and instigated a little call and response chant: "Kobe, tell me how my ass tastes."

Instead of verbal whippings for the weak rap (sorry Shaq), the Big Man's being skewered for ego-tripping and speaking a bit too much truth. ESPN commentators actually put him on blast for so-called racialized comments that dissed poor Kobe—the same guy who helped facilitate Shaq's departure. It derailed a potential dynasty and forced me to suspend my long-time Lakers love.

Nevermind that Kobe actually hasn't come up with a ring since Shaq left for the Heat where he won ring No. 4 and recently went off to the Phoenix Suns. The gleeful debate and condemnation over Shaq's rap completely overlooks the nuances of hip-hop and rap-music culture.

Read the Full Essay @


Stephane Dunn is a writer and author of (gulp) "Baad Bitches & Sassy Supermamas: Black Power Action Films" (August 2008). She is also an assistant professor at Morehouse College.