Showing posts with label New Orleans. Show all posts
Showing posts with label New Orleans. Show all posts

Monday, March 28, 2011

'Left of Black': Episode #27 featuring NOLA Artist Bruce Davenport, Jr.



Left of Black #27
w/ Bruce Davenport, Jr.
March 21, 2011

In a special episode of Left of Black, featuring a live audience, host Mark Anthony Neal talks with New Orleans artist Bruce Davenport, Jr. about surviving Hurricane Katrina, the cultural significance of New Orleans’ high school marching bands, and using his sketches to keep New Orleans’ culture vibrant.

***

→Born and raised in New Orleans’ Lafitte housing projects, artist Bruce Davenport, Jr. lives and works in the now-infamous Lower Ninth Ward, devoting his time to meticulous graphic reenactments of the local musical culture of junior high and high school marching bands, those that were decimated by the levees breech and those that survive. His current exhibition “All I Need is 1 Pen” at the John Hope Franklin Center at Duke University was curated by Diego Cortez.

***

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

Thursday, March 17, 2011

Trailer: 'The Whole Gritty City'



from thewholegrittycity.com

"Once that band gives you that down beat...just for that brief two or three minutes you forget every problem you had. You have no cares in the world...Yeah it must be nice to live like that with no cares in the world" - Wilbert Rawlins Jr.

Living in a city traumatized by a flood and besieged by street violence, there's a deep longing to have "no cares in the world". But New Orleans is also the birth place of jazz: a community that to this day draws on a deeply rooted musical culture. For thousands of kids in the city's marching bands music is an escape, a refuge and a lifeline.

The Whole Gritty City is a documentary feature film currently in post production, and planned to be released early in 2012. It tells the story of three New Orleans marching bands as they push to prepare for Mardi Gras parades, and three band directors battling for their students' lives and souls. It shows lives stopped in their tracks by the violence of the streets, and the power of music to lift and sustain the survivors.

Tuesday, March 15, 2011

Bruce Davenport Exhibition Opens @ John Hope Franklin Center




March 17 - May 14, 2011


Bruce Davenport Jr. -- All I Need Is 1 Pen
-- An exhibition of Works on Paper --

Exhibition Curator, Diego Cortez

***

Thursday, March 17, 12:00 - 1:00 PM, John Hope Franklin Center

Artist Bruce Davenport Jr. interviewed by professor Mark Anthony Neal on Left of Black, Franklin Center, Room 240

Thursday, March 17, 5:30 - 7:00 PM, John Hope Franklin Center

Opening reception for All I Need Is 1 Pen, an exhibition of works on paper by New Orleans artist, Bruce Davenport Jr.

***

On view at the Franklin Center Gallery will be the exhibition All I Need Is 1 Pen, a show comprised of works on paper by Bruce Davenport Jr. as well as a short video from the upcoming Richard Barber film The Whole Gritty City, which documents both the marching band culture of New Orleans and Davenport Jr.'s artistic work in response to that culture. Davenport Jr.'s work is on the cusp between folk art and contemporary art and seems to undermine the terminology of both worlds.

Bruce Davenport Jr., son of a preacher and community activist, was born in New Orleans in 1972, grew up at the 6th Ward Lafitte Projects, and currently lives in the now infamous Lower 9th Ward of New Orleans. Throughout his schooling he was involved with the junior high and high school marching band cultures which are a major force in Mardi Gras and the overall musical culture of New Orleans. Following Hurricane Katrina, and the devastation to the city and its schools, about half of which remain closed today, Davenport Jr. decided to document the past glory of this unique culture in his drawings. Davenport Jr.'s work has been featured in many exhibitions in the U.S., including at the C.A.C., New Orleans, Dieu Donne Gallery, NYC, Lambent Foundation, NYC, Martin Luther King Jr. Library, New Orleans, Prospect 1.5 and Prospect.2 (Dan Cameron, Curator), New Orleans, AS IF Gallery, NYC and Ballroom Marfa, TX. His work has been collected by major collectors throughout the world. He has donated his works to many of the schools and libraries in New Orleans.

Bruce Davenport Jr. is represented by AS IF Gallery in New York (www.asifgallery.com). Diego Cortez is an independent curator based in New York. More information can be found at www.lostobject.org.

Sunday, September 26, 2010

From The Lost Soul Archives: Raymond Miles @ Greater St. Stephens in New Orleans



The Late, Great New Orleans Gospel artist Raymond Myles performing at Bishop Paul Morton's Greater St, Stephens in New Orleans.

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Tuesday, August 31, 2010

'Where Dey At?" Bounce & Gospel in Post-Katrina New Orleans



Music keeps its citizens connected across time, history and place

“Where Dey At?”:
Bounce and the ‘Sanctified Swing’ Post-Katrina
by Mark Anthony Neal | TheLoop21

In the immediate aftermath of Hurricane Katrina and the failure of the levees in New Orleans, there were many high profile efforts to raise awareness about the cultural legacy of New Orleans. Many of those efforts centered on the exaltation of New Orleans Jazz, with many events aimed at providing shelter and support for Jazz musicians dispersed by the tragedy.

New Orleans Jazz seemed the most important resource to be protected in the months after Katrina, more so than the people who made the city such a vital and important, ever evolving cultural outpost. Lost in the focus on New Orleans Jazz—arguably one of the nation’s most important cultural exports—are other forms of musical expression that were and continue to be crucial to the survival and spirituality of New Orleans and its citizens, including those who have yet to return.

Though Jazz was a critical component of Black political discourse and intellectual development throughout the 20th century—jazz musicians like John Coltrane, Billie Holiday, Max Roach and Abbey Lincoln are some of the most resonate examples of creative intellectuals—New Orleans Jazz is often depicted as being tethered to some imagined past, in which race relations and the power dynamics embedded in them were far more simplistic.

Indeed recent films like The Princess and the Frog and The Curious Case of Benjamin Button and the HBO television series Treme (despite it’s progressive political critiques) contribute to a nostalgic view that New Orleans Jazz as a dated, static musical form that offers an “authentic” alternative to more commercially viable forms of popular music like rap and R&B music. Much of this has to do with the relationship between New Orleans Jazz and the leisure and tourist industries that were so vital to the city’s economy. In this context, mainstreams desires to save New Orleans Jazz and to protect its musicians are less about strengthening the links between Jazz and Black cultural resistance—a resistance that historically fermented in New Orleans—but maintaining the economic vitality of what Johari Jabir calls the “theater of tourism” in which Black bodies are rarely thought of as citizens but laborers, servants and performers.

In the introduction to the new book, In the Wake of Hurricane Katrina: New Paradigms and Social Visions, scholar Clyde Woods places New Orleans Jazz in a much broader context, as part of what Woods has famously described as a “Blues tradition of investigation.” As Woods notes in his essay, “Katrina’s World: Blues, Bourbon and the Return to the Source,” historically the city of New Orleans and the region was “latticed with resistance networks that linked enslaved and free blacks with maroon colonies established in the city’s cypress forests swamps.”

Read the Full Essay @ theLoop21

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Saturday, August 28, 2010

Naw'Lins Resistance #3: The Meters--'Sophisticated Cissy' & 'Cissy Strut'



"Sophisticated Cissy" and "Cissy Strut" date back to the late 1960s and a popular New Orleans Dance known as "The Sophisticated Cissy" which dance scholar Katrina Hazzard-Gordon suggest was a call for black men to step forward in the broader political and cultural sense. Gives a another layer of understanding to the contemporary "Sissy Bounce."--MAN






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Tuesday, July 13, 2010

Tales from New Orleans



Tales from New Orleans
by Emily Stokes

In an airy, white-walled classroom in the New Orleans Center for Creative Arts (Nocca), Anne Gisleson, its director of creative writing, is leafing through an anthology produced by her high-school class. It was a scramble getting it together, she tells me cheerfully.

In the aftermath of Hurricane Katrina, which hit Louisiana on August 29 2005, Gisleson’s students – many of whose homes had been destroyed – were relocated to other schools across the country. Meanwhile, the old cotton factories and train depots that house Nocca were taken over by Task Force Raven, a division of the National Guard, who used it as army barracks. For a year, Gisleson says, an officer slept under her desk.

A selective state high school that trains students in literature, music, dance, theatre or visual arts, Nocca is one of the cultural hubs of New Orleans. Its teachers are working artists, and its alumni include the actor Wendell Pierce (from The Wire and the New Orleans-set Treme), musicians Wynton and Branford Marsalis and composer Terence Blanchard. Like many teachers in New Orleans, Gisleson – an energetic 41-year-old Nocca alumna who still looks like a student – responded to the storm with a fresh syllabus. She asked her class to explore the literature about New Orleans and to write about their own experiences of the city. “It’s something that everybody was feeling at the time,” she says, perching on a desk, “a near desperation to get across the worth of the city and to validate it. Faced with its loss, we felt a need to examine the culture that we had.”

Katrina, which left more than 1m in the Gulf region displaced and 70 per cent of homes in New Orleans damaged, required an unprecedented urban recovery project in the US. For this reason, historians have compared it to the Lisbon earthquake of 1755, which left 85 per cent of the Portuguese capital in ruins. The aftermath of Katrina is reminiscent of the 18th-century earthquake in other ways. After 1755, contemporary philosophers and writers sought to respond to and make sense of the disaster. Rousseau called for mankind to return to a more natural way of living – for people to take care of the small patch of earth over which they had control; as did Voltaire, if more satirically, in Candide.

Similarly, in the past five years, Hurricane Katrina has spawned an array of artistic responses – from home-grown community storytelling programmes to blockbuster films. Meanwhile, so-called “Katrina Literature” has become its own genre – so popular that the “Katrina memoir” has become almost a cliché.

There is a long history of writing about New Orleans, both by residents of the city and outsiders. Generally, says Gisleson, writers have tended to mythologise New Orleans, reinforcing a “gaudy image of the city as quaint, exotic, slowed down, somewhere where people do nothing but drink beer and talk”. And since Katrina, writing about New Orleans has become not merely a literary but a moral issue.

Read the Full Essay @ The Financial Times

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Friday, July 9, 2010

6-Year Old 1st Grader Handcuffed in School...Twice



School officials shackled Ja'Briel Weston to a chair for being disobedient. Two days later, they did it again. Now his father is suing. Why we should all be concerned.

by Brentin Mock

Six-year-old Ja'Briel Weston was shackled by his ankle to a chair for disobeying his first-grade teacher. Two days later, he was apprehended by an armed security guard, dragged down a hallway and handcuffed to a chair for getting into a shoving match with another student. This didn't happen at some medieval-age boarding school. It happened this year, this May, in New Orleans, at Sarah T. Reed Elementary School.

When Ja'Briel's parents found out about this, his father, Sebastian Weston, met with the school's principal, Daphyne Burnett, who not only confessed to the child cuffing but also said that she'd have it done again if the child got out of line. According to a legal complaint filed by the Southern Poverty Law Center and the Juvenile Justice Project of Louisiana, "When [Ja'Briel's] father implored the school principal to stop these unconstitutional practices, she insisted that school policy required the arrests and seizures at the school."

The juvenile-justice advocacy organizations are helping the father sue not only the school and its security officers but also the Recovery School District, the city's public school system, for allowing the "required" policy to take shape. Since the incident, young Ja'Briel has suffered pain in his wrists and ankles, as well as longer-lasting harm to his emotional and psychological well-being. This is increasingly cruel, but unfortunately not unusual punishment, since New Orleans isn't the only city to cuff a 6-year-old. But if there is a city that could do with less emotional pain, it is New Orleans, whose children in the thousands, displaced as a result of hurricanes Katrina and Rita, have bounced city to city, school to school, ever since.

Read Full Essay @ The Root.com

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Tuesday, July 6, 2010

Trouble the Water: Film Screening and Discussion



Rights! Camera! Action! Human Rights Film Screening Series

Trouble the Water (2008, 90 minutes)

July 13, 2010 7:00 pm
Duke Gardens

Winner, 2008 Anne Dellinger Grand Jury Award

Nominated for an Academy Award for best feature documentary, TROUBLE THE WATER takes you inside Hurricane Katrina in a way never before seen on screen. It’s a redemptive tale of two self-described street hustlers who become heroes-two unforgettable people who survive the storm and then seize a chance for a new beginning.

The film opens the day before the storm makes landfall-twenty-four year old aspiring rap artist Kimberly Rivers Roberts is turning her new video camera on herself and her 9th Ward neighbors trapped in the city. “It’s going to be a day to remember,” Kim declares. With no means to leave the city and equipped with just a few supplies and her hi 8 camera, she and her husband Scott tape their harrowing ordeal as the storm rages, the nearby levee breaches, and floodwaters fill their home and their community. Shortly after the levees fail, their battery dies.

Seamlessly weaving 15 minutes of this home movie footage shot the day before and the morning of the storm with archival news segments and verite footage shot over the next two years, directors Tia Lessin and Carl Deal tell a story of remarkable people surviving not only failed levees, bungling bureaucrats and armed soldiers, but also their own past.

Directed and produced by Tia Lessin and Carl Deal and Executive Produced by Joslyn Barnes and Danny Glover of Louverture Films, edited and co-produced by T. Woody Richman, with addiitonal editing by Mary Lampson, Trouble the Water features an original musical score by Neil Davidge and Robert Del Naja of Massive Attack, and the music of Dr. John, Mary Mary, Citizen Cope, TK Soul, John Lee Hooker, and the Free Agents Brass Band and introduces the music of Black Kold Madina.

The film will be preceded by a panel discussion featuring Wahneema Lubiano, an associate professor in Duke’s Department of African and African American Studies, and Mark Anthony Neal, a professor in Duke’s Department of African and African American Studies.


Rights! Camera! Action! Human Rights Film Series Screening

This new film series features documentaries about human rights themes that were award winners at the annual FullFrame Documentary Film Festival. Exploring issues as diverse as voting rights, the right to die, the death penalty and access to education, these exceptional works of art move us even as they pose tough questions about whose rights are protected and why. The films are archived at the Duke Library and are part of a rich and expanding collection of human rights materials. The film series is sponsored by the Archives for Human Rights, the Duke Human Rights Center, the Franklin Humanities Institute and the Program in Arts of the Moving Image (AMI).

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Essence vs. Naw'Lins



A corporate event in the struggling city brings stars and money but also creates tensions with the locals.

The Essence Music Festival vs. New Orleans
by Brentin Mock

The Essence Music Festival's Marketplace and Art Expo this past weekend resembled a Monopoly board. Spaces around the perimeter of the Ernest N. Morial Convention Center's conference halls were bought, or rather leased. Instead of houses and hotels marking properties, there were stages and DJ booths popping all over. The area held by carmaker Lincoln featured shiny, silver Navigator SUVs glimmering like updated versions of the tiny, aluminum race car that come with the Monopoly board game.

The massive area was far more marketplace than art, and all the top corporate sponsors -- Coca-Cola, Wal-Mart, McDonald's -- to name a few -- were duly represented, along with prominent placement, curiously, for the U.S. Army. If nothing else, it was an exhibition of capitalism, and the corporations knew how to reach their captive market -- through disc jockeys.

In a far back corner was a bookstore run by the local vendor Community Book Center, whose bookstore in New Orleans' Seventh Ward is an essential ingredient of the city. For 25 years, it's nourished families with books, educational seminars, art expos and its own musical festivals. When Essence visits, though, the Community's owners and operators Vera Warren-Williams and "Mama Jen" are in the Marketplace every year, greeting and rewarding the city's guests in a way that neither the mega-corporates nor the Army could. The Book Center is this event's version of Monopoly's "Community Chest."

However, the scene outside the convention center, beyond the Superdome where the nighttime concerts are held, is a city that's been failed by markets and the Army alike. When disasters such as oil spills and hurricanes have arisen, Louisiana has been left vulnerable by the Army Corps of Engineers' failure to build adequate levees and protective barrier islands. And when public housing was demolished, wiping away the few homes still standing for low-income families that the breached-levee floods didn't destroy, markets were supposed to chip in to help erect replacement affordable housing. That hasn't happened yet.

With Essence Fest, there's a legitimate question whether the 40-year-old women's magazine has a special obligation to provide more prominent placement to local businesses and artists. The expo is free -- a great service -- but the cost to attend the concerts can be prohibitive ($53 for nosebleed seats; $180 for the floor; as high as $3,000 for VIP access) in a city where close to a quarter live below poverty level (23 percent) and the median household income is $37,047 -- both 2008, pre-recession figures.

Read the Full Essay @ The Root

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Monday, January 11, 2010

To the Left, To The Left: A Feminist 'Princess & The Frog'?



To the Left
by Tanji Gilliam

“Every mother deserves a daughter.”
- Melissa Harris-Lacewell


I had already heard some of the criticisms, feminist and otherwise. “Why does the princess have to turn into a frog?,” “Why do the character’s sound like that?,” and my personal favorite, “Where is her magical kingdom?” If any little black girls deserve their own hometown princess, Post-Katrina New Orleans black girls do.

Read the Full Essay @ CocoaMamas

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Thursday, February 26, 2009

NOLA Lovesong


from The Root.com

With the help of its Oscar nod, the Katrina doc Trouble the Water has brazenly summoned the voices and spirits of those-who by force or choice-have not returned since the hurricane.


***

Katrina's Second Line
by Mark Anthony Neal

...Trouble the Water serves as tribute to those who were lost in the storm. In that way, the film serves as a kind of “second line” performance—the parade of dancing, shuffling bodies that occurs, often after a funeral. According to musician Michael White, “at the time of their origin, these parades offered the black community an euphoric transformation into a temporary world characterized by free open participation and self expression through sound, movement and symbolic visual statements.”

White adds that in the moment, the second line obliterates social class and status. “...one could be or become things not generally open to blacks in the normal world: competitive, victorious, defiant, equal, unique, hostile, humorous, aloof, beautiful, brilliant, wild, sensual, and even majestic.”

Indeed, Trouble the Water serves as a triumphant and critical reminder to a nation that would rather ignore the dead bodies that were sacrificed and cultural gifts that New Orleans gave our country. And that in itself is troubling.

Read the Full Essay HERE

Monday, September 12, 2005

Wahneema Lubiano on Race, Class and Katrina



'Killing Them Softly': Race, Class and Hurricane Katrina
by Wahneema Lubiano
September 6, 2005

“Accompanying her husband, former President George H.W. Bush, on a tour of hurricane relief centers in Houston, Barbara Bush said today, referring to the poor who had lost everything back home and evacuated, “This is working very well for them. And so many of the people in the arena here, you know were underprivileged anyway, so this–this (she chuckles slightly) is working very well for them.”

The politics of life and death are articulated in public and private conversations, in allusions to past and present history, in unacknowledged desires and fears, as well as in the movements and undertakings of the powerful. In these private and public conversations, allusions, desires and fears, movements, and undertakings, race is not only race, class is not only class. And as people talk in this moment they don’t always express or even know what they want or fear as they’re wanting something or terrified by something. And always, always, power is directing our attention to something other than itself–unless, of course, it needs to show itself as something that comforts. The disaster (both natural and unnatural), the responses to this disaster, and the huge public conversation about the disaster is revealing and heightening the contradictions already present in our social order. And the history of those contradictions.

Many things have gone on in the response to Katrina:

Things including war on the poor, which is business as usual for this social order. Those who were already poor (employed or not) when Katrina hit are certainly poorer in the wake of the disaster.

Things including both the dynamics of racism in movements and undertakings and the expressions of racism in the large conversation.

Things including the fierce and generally unacknowledged messiness of the dynamics of racism and classism and the entangling of race and class concepts that live both in those confusions and in material life. Racism treats all racialized others (regardless of class position) as if they are the lower class, the dangerous class, made visible. And if race is the uneasily but still recognizable (to the general public understanding) social determination, class, of course, is the social ordering and determination that is most often treated as simply a limitor of consumer choices.

What it is possible to see and hear in the vicious, or stumbling, or confused, or simply inarticulate expressions from various people [archive: newspaper reportages, opinion, and letters to the editor, media, online discussion fora, conversations] about what was and is happening along the Gulf Coast is the imagination run wild and fearful. Many members of the U.S. public were unable to “see” Latinos/Latinas, Asian-Americans and Asians–members, for example, of a Vietnamese congregation trapped in their church, poor white people, abandoned foreign tourists – the vision of complexity is wiped out by the “darkness” so thoroughly on display, so thoroughly and simplistically discussed.

Racism side-swipes the usually non-raced (poor white people), or the lightly-raced (Latinos/Latinas, Asians and Asian Americans, etc.), or the accidentally and transiently raced (foreign tourists trapped by the disaster). The heterogeneity of the trapped is matched by the multiplicity of the forms of entrappment., by what was already in place, or, more to the point, by what wasn’t already in place–but the complexities are covered by the shadow cast by the people so multiply black.

Among those things that were devastatingly in place were plans and responsibility for a New Orleans evacuation that were privatized--controlled by a private contractor, IEM, that is a consultant to FEMA. But what was most devastatingly already in place was the softest of soft targets–the already poor. One discussant on the Left Business Observer list-serv referred to the criminal negligence of the U.S. government’s response as “killing them softly.” What wasn’t in place: an economic safety net for the poor to begin with, and regard for what that lack means in the midst of a disaster.

But the middle classes and much of the upper classes –in short, anyone whose assets stop short of helicopter or private jet ownership or access to same and who might someday need to get out of town or might need to have help in a disaster or crisis ought to be a little anxious right now. (I’m talking about all of us right now.) What many see as the criminal negligence of FEMA’s [archive: FEMA guideslines, FEMA regulations, various newspaper articles, government documents, letter from Louisiana governor to the President via Homeland Security, etc.] operations is also, I think, a form of disciplining aimed at the not-poor and/or the not-black as well who are not part of this disaster but are consuming it and its lessons from afar. Black poor people, and other poor or event just temporarily poor people, are the canaries in the coal mine. This government is in the process of abandoning us all to varying degrees. And it is that variance that is malleable and mitigated by the specifics of class and/or race.

Whether you are hitchhiking out of a disaster, driving out in a Honda or a Porsche, the structural horrors (material, economic, political) of the devastation of the Gulf Coast now will stretch out its tendrils to all of us. While the thickness and shape of the tendrils of a disaster will be affected by mitigating factors, what we will increasingly have in common is our rotting infrastructures and the abandonment of a sense of common good materially manifested by our government. (And the material consequences of the destruction of that region will hit us all even if unequally so.)

That abandonment of some notion of a common good has shown up for decades in the public acceptance of U.S. disregard for the outside world. Disregard isn’t containable–it travels out to the world and comes back home too. What we’ve been willing to support in the spread of this and past governments’ brutalizing of other countries, other people, has brutalized our own imaginations of what we are as a social order.

The present hyper-visibilities – the plight of specific kinds of people in this moment as well as the specifics of expressions of racism directed at black Americans, in addition to what I call the flickering visibilities – the plight of poor white people, of temporarily poor people (displaced tourists; medical professionals, other helpers), could be a goad to constituting an alternative to the idea of everyone for him or her individual self.

But there’s noise that interferes with that signal. When George Bush was talking about rebuilding the house of Trent Lott and sitting on the porch with Lott, this language acted as a shout-out to the racist part of this administration’s base because, whatever the complexities of the actually existing Trent Lott, he resonates across the white supremacist U.S. as a defender of segregation [archive: newspapers, magazines, online fora (eg. The Free Republic.com), everyday discussions, etc.]. The resounding noise of that shout-out helps provide cover for the privatization of reconstruction (Hello Halliburton) [archive: government documents, newspaper accounts, official correspondence, etc.] and disaster management (Hello IEM) [IEM Press Release, New Orleans Times-Picayune article], and a reward to the refiners via the lifting of environmental protections [various newspaper articles, White House Press Release] – an enrichment that is a shoutout to the richest part of Bush’s base.

The casual throwaway racist language of “savages running wild”, of “people who should be grateful that the disaster will provide them with a better life” in the Astrodome; the cliches about black welfare dependency and the bad behavior of “those people” showing that they can’t really be saved [archive: huge volume of newspaper letters to the editor, online fora, everyday conversations], and the willingness of those in charge of recovery simply throwing food and water [archive: newspapers, television footage; online fora] at victims of this storm–all of these things and more provide cover for other forms of class warfare on the part of the powerful and cover for the work of dismantling, one disaster or crisis at a time if necessary, the idea that our social order can expect its government [archive: conservative position papers; conservative magazines (eg. The American Spectator), online fora] to do more for its citizenry than to usher public money to what it sees as that money’s “rightful” owners, the corporations that paid for the heads of that government’s election.

The response to this disaster does not have to be actually racist; racism is so much a part of our culture that it is always available as a simple tool of convenience. It can be called onto duty and then dismissed. One of the jobs that it does terrifically well, again and again, is to divert attention from what else is happening. The public imagination was focused on the scary blackness of people massed at the Superdome or the Convention Center, standing on the highway, standing on roofs. That vivid visibility also pushes the other people (in their heterogeneity) also there out of the picture frame until they are pulled into the picture as representations of the not-black and scary “properly” behaving fictions. I am describing a relay of framing movement as these “proper” victims are contrasted to those people spectacularly on display as visible contrasts to the “lawless” and the “looters” of New Orleans.

Late last night I was taking a break from obsessing on the internet and saw Tucker Carlson on CNN doing up a follow-up interview with Andre Broussard (president of Jefferson Parish ) who, on Sunday, had broken down crying after criticizing the federal government on “Meet the Press.” Carlson asked Broussard to comment on the awfulness of the looting in New Orleans (cue pictures of burning buildings in NO), and Broussard said, “well, some of that is going on here too. Our shopping center burned on Wednesday.” Broussard went on to describe what the police and national guard were having to contend with in his area.

It was a moment when the possibility of bad non-black actors was at least alluded to. It was also a moment that passed really quickly.

The comfortably well-off U.S. (and/or those who simply want comfort and aren’t too particular about what it costs in other people) – can have that desire for comfort fed by the disciplining of the visible poor – the dangerous classes.

I want to be clear, so I’m going to say this as directly as I can. I’m bringing together four areas of concern: (1) the presence of racism does not mean the absence of class warfare against the poor and working class; (2) a war on the poor does not mean that people of considerable color aren’talso the easier targets; (3) the analytic insufficiency of a U.S. black/white binary around racial thinking does not mean that other “others” can’t be thought about; and (4) the attention being paid to particular subsets of objects of governmental criminal negligence does not mean we shouldn’t all be terrified of the closing down of idea of a common good.

* * * * *

I’m going to finish here with some attention to “looting” – both the idea and the activity. All you have to do is tell them they are being attacked, and denounce the pacifists for lack of patriotism, and exposing the country to greater danger." -- Herman Goering at the Nuremberg trials.

The September 2nd - 5th weekend edition of USA Today (online) ran as one of its sub- headline (in the online edition, it was to the right of the main headline): “Lawlessness Fosters Fear.” A word here about lawlessness and its class belonging. If we are not a lawless nation from the very top of our government’s hierarchy, I don’t know what we are. (Actually existing criminals ought to be indignant at the expressions of hypocrisy.) We are up to our noses in a lawless war gerry-rigged by lies; we are led by an administration for whom laws and regulations that get in the way of the good of corporations are routinely ground under its wheels; the engine of help that took its time getting to the disaster region is a product of that lawlessness and disregard for its people. Our attention is being directed to the lawlessness of individuals, and we respond with fear: “that could happen here, that could happen to me.” And we are gratified when “order” is talked about and seems to have been restored. Sometimes all that is required for the achievement of that satisfaction is to see a black male lying on the ground with his hands cuffed behind his back [archive: newspapers, television, online fora, conversation].

In the meantime, we are at the mercy of a lawless over-class that is looting the state and a state that is looting itself for its friends (yet another Hello to Halliburton) and that is invisible to us. The reek of sanctimoniousness and self-righteousness that is drifting outward from the haves of the Bush administration and condemning not only looters, people who “didn’t have the sense to leave,” the local governments, and the poor–the poor , who Barbara Bush tells us are better off now that they’re in the Astrodome than they’ve ever been in their lives–well, the stench of that self-righteousness rivals for noxiousness the smell of shit from the NO Superdome and Convention Center that people there had to breathe for almost a week.

In the U.S. state we seem to be really particular about our tolerance of looters. In fact, we have a tiered system for even thinking about them. Within this community of thought, the absolute bottom is occupied by people who steal TVs. The lowest of that low are those who might barter the TVs for drugs; slightly above them (but still lower than a snake’s belt buckle) are those who steal TVs and might barter them for water, money, clothing, etc.; rising above them are those who are looting food, water, shoes, clothing for their own use or that of others’ close to them (who nonetheless, President Bush told us, should be included in the most dire penalty for looting).

By contrast, occupying the very top tier of looters would be the big state actors, like the Bush administration, looting the national budget for its illegal war and accompanied by the war and disaster profiteers who are engorging themselves and will continue to do so for the foreseeable future but who, I admit, aren’t often photographed carrying away their billions in plastic garbage bags while running down the street.

When people start talking about a shoot-to-kill policy for looters, aren’t they in danger of committing the crime of threatening the life of the President of the U.S.?

We might want to think about why it is the petty thief who gets shot while these other looters simply get richer (Hello Dick Cheney–I wanted a break from saying Halliburton).

Finally, to those who have said and continue to say that this isn’t about race or class, you simply aren’t paying attention. What is happening is, of course, about more than those social facts, but the existence of those social realities within a nation that allows itself to accommodate those realities will be rewarded with all the horrors brought on by the public’s inability to see what has been and continues to be made within the terms of that accommodation. We accept living within a world of unequal division of resources. We accept living in a state that is intent upon re-making the world to its accommodation. We accept the tearing down of a material fabric of governmental responsibility for which we pay with our taxes. And we accept this in some significant part because class inequality and racial inequality are as American as apple pie. The politics of death are articulated in the life we deny the most vulnerable of our people. And the life that is increasingly going to be denied to more and more of us.

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Wahneema Lubiano is Associate Professor of Literature and African and African American Studies at Duke University