Monday, September 18, 2006

Karla FC Holloway Weighs-in on the Duke Rape Case

Karla FC Holloway is the William R. Kenan Professor of English, Law, and Women's Studies at Duke University. Her research and teaching focus on the intersections of literature, law, gender, and ethics in African American cultural studies. She is the author of six books including Passed On: African American Mourning Stories - A Memorial. Her most recent manuscript, BookMarks: Reading in Black and White - A Memoir will be released this fall. Professor Holloway's recent essay: "Accidental Communities: Race, Emergency Medicine, and the Problem of Polyheme" appears in the most recent issue of the American Journal of Bioethics. Professor Holloway is a core faculty member of Duke University's Institute on the Care at the End of Life, an affiliated faculty of African and African-American Studies and serves on the Greenwall Foundation's Advisory Board in Bioethics; the Center for Documentary Study at Duke University; and the Princeton University Advisory Council: Program in the Study of Women and Gender.

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Special Issue: The Cultural Value of Sport--Title IX and Beyond


Coda: Bodies of Evidence
by Karla FC Holloway

When things go wrong, when sports teams beget bawdy behavior and debasement of other human beings, the bodies left on the line often have little in common with those enclosed in the protective veneer of the world of college athletics. At Duke University this past spring, the bodies left to the trauma of a campus brought to its knees by members of Duke University's Lacrosse team were African American and women. I use the kneeling metaphor with deliberate intent. It was precisely this demeanor towards women and girls that mattered here. The Lacrosse team's notion of who was in service of whom and the presumption of privilege that their elite sports' performance had earned seemed their entitlement as well to behaving badly and without concern for consequence.

Justice inevitably has an attendant social construction. And this parallelism means that despite what may be our desire, the seriousness of the matter cannot be finally or fully adjudicated in the courts. The appropriate presumption of innocence that follows the players, however the legal case is determined, is neither the critical social indicator of the event, nor the final measure of its cultural facts. Judgments about the issues of race and gender that the lacrosse team's sleazy conduct exposed cannot be left to the courtroom. Just as aspects of their conduct that extend into the social realms of character and integrity should not be the parameters of adjudicatory processes, the consequence of that conduct will not be fully resolved within a legal process. Those injured by this affair, including the student and the other young woman who were invited to dance under false pretenses and then racially (at least) abused, as well as Duke's campus and Durham's communities, are bodies left on the line - vulnerable to a social review that has been mixed with insensitive ridicule as well as reasoned empathy. Despite the damaging logic that associates the credibility of a socio-cultural context to the outcome of the legal process, we will find that even as the accusations that might be legally processed are confined to a courtroom, the cultural and social issues excavated in this upheaval linger.

Perhaps the most critical, if not the most sustained response of the campus to the rape allegation and the series of incidents of misconduct and the lack of administrative oversight that it has exposed, has focused on the matter of culture. Duke University's president Richard Brodhead commissioned a series of committees, one of them to review and examine the campus culture. The Campus Culture Initiative has focused on the fault lines - alcohol, gender, race, and athletics - the spaces of university life where problems of community and conduct visibly reside. If athletes with otherwise good grades use alcohol as their reason for laxity, for racial bias and gendered tirade, why is it that public media cultures, and other lay respondents within and outside of campus would elevate good academic performance and subordinate these issues of character? With no blueprint on how to interrogate these broad and deeply entrenched matters of culture, Duke's commission of this investigatory committee arguably indicates its notice of the inequities and imbalances on the campus - where the "culture" of sports seems for some a reasonable displacement for the cultures of moral conduct, ethical citizenship and personal integrity. But "culture" is also the catch-all for the event, one that contains as much potential to replicate our failures as well as for engaging and sustaining a more progressive and democratic campus community. And it is not the first time Duke has positioned an institutional investigation of a problem of culture.

When, in the last year of President Nannerl Keohane's presidency, a report on the status of women at Duke discovered evidence of cultural and social practices that disadvantaged women, a commission of women faculty and administrators, a group of women student scholars, and an alumni group of women (legates of the Duke Women's College) were charged with discovering the "fix" to the problem. This flurry of restructuring and response came after a committee of women faculty, students, and administrators labored to uncover the gendered issues of disparate treatment and its consequences. As if a prelude to the events of spring 2006, the bodies that mattered, those who were the objects of inquiry, were also the bodies whose labor was required to fix the inequity.

Read the Full Essay

Thursday, September 14, 2006

Real Talk in Tulsa


Man Up Connects Black Men
By Maishah English World Staff Writer
9/6/2006

For radio production director Andru Morgan, some of the images of black men in the entertainment industry can be misleading to the general public.

"I get a chance to see firsthand how there are negative images of African-American males that sell," Morgan said. "We might dumb ourselves down to get money and fit a particular image in the music industry and other areas of entertainment business."

Morgan will be a panelists during the Man Up Symposium presented by the Rudisill Regional Library and African-American Resource Center, 9 a.m. Sept. 16 at 1520 N. Hartford Ave.

The event was created by Alicia Latimer, resource center coordinator, to target issues relevant to black men. Sisters Sippin' Tea Literary Group, Friends of Rudisill Library, Tulsa Library Trust and African-American Resource Center will sponsor the event.

Latimer said the symposium will help create a dialogue where speakers can offer suggestions and answers to issues of literacy, dropout rates, masculine images, family, spirituality, sexuality and crime.

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Three authors will visit Tulsa from different parts of the country to share their views during the event.

Mark Anthony Neal, a scholar and National Public Radio commentator, will discuss his book, "New Black Man: Rethinking Black Masculinity," a critique of old ways of discussing and interpreting black masculinity.

"My current work details how we get young black men to be comfortable in the skin that they're in and not the need to perform the notion of what they think black manhood is," Neal said in a telephone interview. "We look at some black men, and if they don't fit our concept of what black men are supposed to be, then they are suspect."

Also attending will be Vincent Alexandria, chairman of Brother-to-Brother Symposium, a program that encourages black men to pursue literacy. Alexandria recently finished the movie script for his first novel, "If Walls Could Talk," and is owner of We Must X-L, a promotional and theatrical company in Kansas City, Mo. Alexandria has also written several novels, including "Black Rain."

William Cooper, coordinator of the Well Reading Group, a Brooklyn, N.Y., based literacy initiative, will also attend. Cooper is the author of "Six Days in January."


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SYMPOSIUM

What: Man Up Symposium

When: 9 a.m. Sept. 16

Where: Rudisill Regional Library, 1520 N. Hartford Ave.

Cost: Free

For more: Call 596-7280

Wednesday, September 13, 2006

Life After Death: The Legacy of Tupac

WNYC--Soundcheck

Life After Death: The Legacy of Tupac
Wednesday, September 13, 2006

On the 10th anniversary of rapper Tupac Shakur’s death, we'll debate what – if anything – has changed in the world of hip hop. Featuring Mark Anthony Neal, Associate Professor of Black Popular Culture in the African & African-American Studies Program at Duke University and Rob Clark of the Dallas Morning News

Farai Takes the Big Chair

NPR TO REDEFINE "NEWS & NOTES" AS MULTIMEDIA PROGRAM

Farai Chideya Named Host, Nicole Childers Named Executive Producer;
New Elements to Bring Online Experience into the Radio Broadcast

Washington, D.C. and Los Angeles, CA; September 12, 2006 - NPR is initiating a series of changes to the daily news and information program News & Notes aimed at incorporating the online experience into the radio show, adding audience participation in shaping the program and creating a community uniting the radio listeners and Internet users.

As part of these plans, News & Notes host/correspondent Farai Chideya has been named host, replacing Ed Gordon. Chideya is a well-known broadcast and digital media journalist, longtime public radio show host and founder of http://www.popandpolitics.com/ an online journal for young Americans which attracts more than 50,000 visitors monthly.

Additionally, Nicole Childers has been named Executive Producer of the program. Childers joined News & Notes in July 2005 as Senior Supervising Producer and, most recently, has served as Acting Executive Producer. The Emmy-winning journalist came to NPR from ABC News, where she had been a producer.

The new elements of News & Notes will reflect the mounting importance of the Internet in how the public seeks news and information, Chideya's proven experience in unifying traditional and new media and NPR's current efforts to extend its presence in digital platforms. The show will feature significant contributions from its online community to identify issues of interest, spot trends, share discoveries, participate in shaping the program and join in News & Notes' dialogue with newsmakers. The show's existing roster of respected experts will contribute regular segments on a wide range of issues relevant to the African American audience. The audience will also be invited to post personal essays on the www.NPR.org website, with some essayists featured on the broadcast.

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Chideya has worked in print, television online and radio. Before joining News & Notes in February 2005, she was host of Your Call, a daily news and cultural call-in show on NPR Member station KALW in San Francisco. She has also been a correspondent for ABC News; commentator for CNN, Fox, MSNBC and BET, and anchor of the Oxygen cable network primetime program Pure Oxygen. Chideya began her career as a reporter for Newsweek and, in 1997, was chosen one of the magazine's "100 People to Watch." She is the author of three books and has written for such publications as the New York Times, Vibe, O and Essence. For her extensive involvement in digital media, she was named one of Alternet's "New Media Heroes" and PoliticsOnline.com's worldwide "25 Who Are Changing the World of Internet and Politics," and is recipient of a MOBE IT Innovator Award. Other honors include a North Star News Prize from the North Star Fund, recognizing journalists of color who have made significant contributions to the field; a "Young Lion" from the Black Entertainment & Telecommunications Association (BETA), a GLAAD Award and a National Education Reporting Award. Chideya graduated magna cum laude from Harvard University with a B.A. in English.

Before joining News & Notes and NPR in July 2005, Childers spent six years in broadcast and digital journalism at ABC News. There, she worked with Diane Sawyer on the newsmagazine Primetime Live, and then was named Associate Producer for World News Tonight with Peter Jennings. She covered such major stories as 9/11, the Iraq war and the death of Pope John Paul II. She was also producer for the launch of ABC News' digital channel, ABC News Now. Childers has been honored with two Emmys as well as Peabody, DuPont-Columbia and Edward R. Murrow Awards. She graduated from the University of Pennsylvania with a B.A. in Afro-American Studies.

News & Notes made its premiere in January 2005 and is produced at NPR West studios in Los Angeles. It currently airs on 86 stations and has an audience of 875,000 weekly listeners.

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See my profile of Farai Chideya from 2004: Critical Noir: The Hip-Hop Generation's Voice of Hope

Tuesday, September 12, 2006

Ten Years Later: Tupac Remembered

Larger than life
10 years after his death, Tupac Shakur's legacy continues to grow
David Menconi, Staff Writer

Back in July, Comedy Central aired a "Lost Episode" skit by comedian Dave Chappelle called "Tupac Lives." A satire on the stream of "new" Tupac songs that continue to surface a decade after his death, "Tupac Lives" is set in a nightclub. The DJ throws on the new Tupac bootleg, and Chappelle and the rest of the crowd dance, enjoying the beat.

But then the dancers begin to notice that the lyrics (voiced by Chappelle in a passable Tupac imitation) are "ahead of their time" -- references to Blackberry pagers, Eminem and "Grand Theft Auto," all of which came along years after Tupac Shakur died. Then the lyrics zero in on how the people in the club are dressed ("The girl in the miniskirt has bad taste 'cause her shirt don't match") and behave, even anticipating a skip of the record.

"Thug life," it declares. "Hey, Chappelle, that ain't your wife!"

The skit is funny, but also unnerving because it seems so true. Tupac died 10 years ago Wednesday, at age 25, after being shot in a car on the Las Vegas strip, a murder that has never been solved. But it's as if he never left.

MORE:

"Tupac was never the best rapper in terms of flow or lyrics," says Mark Anthony Neal, an author and associate professor of black popular culture in Duke University's African and African-American studies program. "But what enabled him to transcend everybody else in the room was that he had a sense of performance. When Tupac was onstage, in the broad sense, he always knew how to live up to the hype of the crowd -- even if it was being wheeled out of the hospital the first time he was shot. He had that flair for the dramatic, which speaks to his real talent: as an actor."

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"Biggie and Tupac were very different people, but what they had in common was an integrity about their art," says Duke professor Neal. "I'm not saying there aren't hip-hop artists in 2006 with integrity. But it's not expected in the context of the record industry. A lot of artists never even have to answer to those questions."

Even though it's comparatively muted, the positive side of Tupac's legacy lives on, too. Consider Brandon Hudson, a Tupac fan who graduated from Duke in May. He's also a hip-hop artist, but his full-time job now is with the social-service group Americorps. Hudson is spending a year working for a low-income school district outside Sacramento, Calif.

"Tupac had all the potential to make a positive impact on American culture," Hudson says. "Whatever he could've been, hip-hop has missed the positive potential he might have brought to it. One of my favorite lyrics of his is from 'The Ghetto Gospel': 'If I upset you, don't stress/Never forget that God isn't finished with me yet.' I think that kind of sums him up very well."

Read the full deal

Also check out David Menconi's blog On the Beat

Sex & Brazil at Spelman College

This month's Essence magazine features an article on African American men and sex tourism in Brazil by Dr. Jelani Cobb. The piece has generated a huge response. In an effort to address the issue and provide a forum for discussion, the Spelman College History Department and Women's Studies Center is sponsoring a panel discussion on the subject.


WHAT HAPPENS IN RIO:
African American Men
& Sex Tourism in Brazil

A provocative discussion of the new
sexual politics, led by Dr. Jelani Cobb
assistant professor of history at Spelman college; cultural critic;
contributing writer, essence magazine.

OTHER PANELISTS INCLUDE
JEWEL WOODS, New Voices Fellow, University of Michigan
JUDITH MORRISON, Executive Director, Interagency Dialogue on Latin America

This Thursday!
September 14, 2006
6:30 PM
Spelman College
(Cosby Auditorium)
Atlanta, GA

the panel will be preceded by a screening of the documentary

"Programas: Prostitution in Rio de Janiero"
by Parrish Smith

4:00 PM
Spelman College
(Cosby Auditorium)
Atlanta, GA

Sponsored by the Department of History,
The Office of the Provost and
the Women’s Research and Resource Center

Monday, September 11, 2006

Five Years Later

"Four Movements and a Coda" was intially published at Popmatters.com shortly after the 9/11 attacks. Five years later, I am struck by how much my thinking about the attacks and the issue of terrorism--including State terror--has not radically changed.

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Four Movements and a Coda: Perspectives on a National Tragedy
[with a nod to Amiri Baraka (Leroi Jones)]
by Mark Anthony Neal


It was the usual beginning of my day. Sitting at Starbucks, sipping an Americano, reading Danzy Senna's Caucasia, eagerly awaiting my first listen of an advance copy of Macy Gray's Id -- as usual as the beginnings of the thousands of folks who would normally populate New York City's World Trade Center Towers. My wife called via cell phone to check in and in passing mentioned that a plane hit one of the towers. I went back to work. In a later call she confirmed that both towers had been hit in an apparent terrorist attack.

A young woman, also on a cell phone, asked if I had also been just informed of the drama. It struck me that cell phone technology had truly changed the world. Only hours later would most of the nation truly understand how dramatically important the privilege of owning a cell phone would be. Within minutes I was in the car headed for my office, hoping to get more information from my campus computer. On the car radio I listened to the audio broadcast of Peter Jennings on ABC News. I was barely out of the parking lot when I heard that the second tower had fallen. For the rest of my life I will remember the pain, reservation, and despair in Jennings' voice. His emotions reminded me of the broadcasts of the late ABC anchor Frank Reynolds, in the aftermath of the Reagan assassination attempt in 1981. It would be hours later before I would sit in front of the television and get detailed visuals of the attacks, but none of the various visual narratives moved me in the way that Jennings' audio narration did earlier in the day.

After three days of looping visuals, interchangeable talking heads, sloganistic banners like, "America Under Attack", and scrawling print, it has struck me that Americans had been thoroughly sensitized and even prepared for the inevitability of such an attack. Movies like The Seige, starring Annette Bening and Denzel Washington, introduced Americans to the concept of terrorist "cells", the CIA's collusion with such organizations, and the possibility of martial law in American cities. Independence Day made the logic of the attacks—at least in the symbols that were chosen—seem more clear. Also, the recurring images of the plane crashes and collapse of the buildings and the fires at the Pentagon recalled the looping visuals of Reagan's shooting 20 years ago. This style of news presentation was parodied in Saturday Night Live's "Buck Wheat", a skit on the attempted assassination of President Reagan. As I and so many Americans have remained glued to our televisions the last few days, it has struck me that there is no "new" information; there is only the consistent rehashing of the already known, and a repetitive reminder of what is unknown.

* * *

With the exception of network and local news reporters, I can only recall two or three black faces on TV during this ordeal; an African-American man described as a former commercial pilot, Colin Powell, and Harlem Congressman Charles Rangel. In their book, The Black Image in the White Mind: Media and Race in America, Andrew Rojecki and Robert Entman suggest that black commentators are rarely used to comment on national and international issues unless they are specifically related to issues of Race. The next day I would hear a steady flow of black commentators on the Tom Joyner in the Morning Show: former UN ambassador Andrew Young, Congresswoman Maxine Waters, and Jesse Jackson would all appear on the program within a one-hour span.

Though the show leaves a lot to be desired and falls short in many areas, its power as the "digitized chitlin' circuit" for the black masses was never more apparent than during the days following the attack. The Tom Joyner in the Morning Show in many ways recalls the powerful role of the independent black press throughout the 20th century. It was in the pages of press organs such as The Pittsburgh Courier, and The Chicago Defender, and magazines like The Crisis (under Du Bois's leadership) and Opportunity that black intellectuals and commentators measured the rising tide of radical American nationalism against the realities of labor exploitation, poverty, racism, and fundamental social inequities. Though we are far removed from the "Double-V" campaigns of World War II, where African-Americans hoped for victories at home and abroad—and Tom Joyner in the Morning is far from an independent voice in the media -- it is important to remember that various racial and ethnic groups experience America is very different ways, even as we are all affected and challenged by the tragedies of September 11th.

* * *

Among a host of artists who have recently gravitated to political rap, including Dead Prez, Black Star (Mos Def and Talib Kweli) and Mystic, The Coup remains one of the most politically sophisticated acts to emerge in the last decade or so. The group's three releases, Kill My Landlord (1993), Genocide & Juice (1994) and Steal This Album (1998) feature decidedly anti-capitalist tracks like "Fat Cats, Bigga Fish" and "Kill My Landlord". Their forthcoming release, Party Music, was set to drop in November, but the group was recently thrust into the spotlight because of the project's cover art. The artwork, which was done two months ago, prophetically captures a bomb explosion at the top of the World Trade Towers; primary lyricist Boots Riley is shown doing the deed by flicking the remote control. The image of the cover art was pulled from their label's website (Ark 75) within hours after the actual attacks.

Coincidences aside, the cover art on Party Music raises the question as to why two hip-hop artists would see the metaphorical collapsing of the World Trade Towers as symbolically important. Few in "the hood" have read Gramsci, and likely fewer have ever heard the word "hegemony". But clearly many of these people — forced to struggle day-to-day in a capitalist society where the profit margins of shareholders are often deemed more important than the health benefits of they who guarantee such margins with their own labor — would find value in such a symbolic gesture. In this regard, Americans must also ask why apparent terrorists would find value in destroying such icons of a thriving capitalist society as well as the lives that labored within them. The idea that these suspected terrorists — who some deemed "freedom fighters" just two decades ago — are now enemies of Democracy is an insult to the intelligence of the American public.

As the father of a young daughter, I am often faced with the task of disciplining her. When I do, without fail she will run to my wife and announce that I had punished her, to which my wife responds, "Well what did you do to make daddy discipline you?" It would do the American public well to ask such simple questions of its leadership.

* * *

No doubt in the days prior to the attack there were a significant amount of "hip hop heads" preparing to mark the fifth anniversary of the death of Tupac Shakur. The prophetic nature of Tupac's Mackevelli recording, which seemed to foretell his death, has led to the on-going belief among some that the late hip hop artists is still alive. Many of these same hip hop heads were probably unaware of the "symmetry of violence" that the attack on the twin towers represented as the week of September 11th also marked the 30th anniversary of the slaughter at Attica State Prison in September of 1971. On that date, a multi-racial collective of prisoners had taken over the prison to protest its inhumane conditions. Over thirty people were killed, including eight New York State Correction officers. Though the yard of the prison represented a legitimate crime scene, in the days after the prison was retaken, the yard was bulldozed, effectively destroying the crime scene.

One can only hope that U.S. response to the September 11th attacks is not as haphazard as those of the Attica State Prison protest 30 years ago, when New York Governor Nelson Rockefeller and the NewYork State Troopers indiscriminately shot at people in the prison's courtyard. A measured, thoughtful, and cautious response is the very least that this country's leadership owes the victims and their families of these unprecedented tragedies.

Coda

We spent the weekend after the attack in the Catskill mountains, on a trip that we had planned months ago. This trip allowed us to insulate our young daughter from the unfolding dramas. During the our stay we participated in a late night prayer vigil which allowed me my first opportunity to really mourn those who died on September 11th. Though we are usually some of the few African-American faces on these twice yearly sojourns, we fit comfortably in with a crowd of folks who were also impacted by the recent events. As I dutifully followed the crowd in a rousing rendition of the Star Spangled Banner (which I hadn't sung in close to 15 years) and listened intently, though bemused, at Lee Greenwood's "God Bless the USA", the event ended with chants of "USA, USA". At best, this made me uncomfortable. Hearing that chant was a reminder that for some Americans the sight of waving American flags has rarely been inviting, if only because many of the folks who display these flags have been less than inviting to those who can not easily be identified as "quintessential" Americans.

I have been deeply conflicted by the events of the last week and the prayer vigil allowed me to finally understand that mourning the dead and valorizing American imperialism are two radically different concepts. The differences in these concepts will, unfortunately be will lost on some Americans.