Thursday, January 26, 2006

Rosa Clemente on Jesus, Hip Hop and Kanye West

WHAT DOES JESUS LOOK LIKE?
by Rosa Clemente


I was raised in the Catholic Church. From the moment I was placed under this religious institution, I was put in a situation where my savior would never look like me. For me Jesus Christ was a white men with blond hair and blue eyes. Much of my high-school years were spent going to church and confessing my teenage sins to a white man who would absolve me of those sins and tell me to pray to a white women(virgin mary) who in turn would save my soul. By the time I was 14 I thought all white men and women did was save people, the only man of color I saw in an position of authority was my dad, and papi did not look like Jesus and neither did mami.

While for many our spiritual path gives us strength the Catholic Church robbed me of my strength; it made me question why Jesus, God and the Holy Spirit(also known as the trinity) did not look like me. One day after school I went to my best friend’s house and noticed a picture on the wall; a picture of Jesus Christ, but unlike in my house, Jesus in this picture was Black. I stared at the picture and that image seared into my consciousness, that sunday when I went to church I was so conflicted, it didn't make sense, when you are brainwashed by a religious institution and contradictions arise that conflict with your spirituality its hard to see the truth. That sunday would be my last as a member of the catholic religion. Although this decision caused some family schisms I realize now that it was one of the best personal decisions i could have ever made to save my spirit, my soul, the essence of who I am.

As a search for spiritual lessons for my daughter, I have committed myself to focus on the readings of different religions. While reading the teachings of Jesus Christ, not the King James version of the Bible, I have learned what I believe is the truth of this person. and understand the fullness of him as a man in a specific historical time. An African revolutionary, whom walked with the dispossessed.

So today when, a spokersperson for the Catholic League condemned Kanye West for portraying Jesus Christ on the cover of Rolling Stone, and preceded to call him and the magazine “moronic” I ask him, was it wrong for Jesus to be portrayed by Charlton Heston, a gun-touting member of the National Rifle Association, or what about the hoopla surrounding the Mel Gibson movie The Passion of the Christ, I do not recall similar outrage from the Catholic League when the actor, Jim Caviezel was on every cover of every major magazine and what about the many 1000s of white men portray Jesus Christ in the last 100 years of cinema and television.

But I am not naive, it is not about seeing Jesus in a contemporary light, renderings of what people believe to be Jesus Christ have been around forever, the problem for the Catholic League and many white christians whom will start coming out of the woodwork to also condemn Kanye and begin to attack Hip Hop is that Kanye West as a Black man does not represent their revisionist history of whom Jesus was. This week the South African Film "Son of man" which premiered at the Sundance Film festival this week portrays Christ as a modern African revolutionary. I am hoping that we as a Hip Hop community will support this movie, Hip Hop as a tool of cultural resistance has the power to not only fight the images and words of those who would seek to oppress us but also has the power to use imagery to liberate million of minds who everyday see the lord and savior as a white boy, here and internationally.

So once again brother Kanye West has used the mainstream media to shake up white America, score 2 for Hip-Hop culture. It may seem small and insignificant to many folks but as someone who believed for years that white men were my spiritual saviors, seeing the cover of Rolling Stone was a reaffirmation of my decision when I was a teenager, so late last night as I was walking in my 'hood Flatbush, I was singing in my head, “To the hustlers, killers, murderers, drug dealers even the strippers, (Jesus walks with them), To the victims of welfare feel we living in hell here, hell yea(Jesus walks with them)(Jesus Walks)God show me the way because the Devil try to break me down(Jesus Walks with me)” when I walked into my house and picked up my baby girl Alicia, I showed her the picture of Kanye on the cover of Rolling Stone, she looked and smiled, I laid her down in her crib and she stared at the picture of Kanye that I just put above her crib, she fell asleep knowing that not only does Jesus walk with her but Jesus looks like her too.


Rosa Clemente is a Hip Jop Activist, member of the Malcolm X Grassroots Movement and a journalist with Pacifica Radio, WBAI 99.5FM NYC and Air America Radio.

Tuesday, December 27, 2005

The Best of Critical Noir--2005

In a year marked by what I didn’t write about—The death of Luther Vandross, Kanye West's Late Registration and the murder of Stanley “Tookie Williams” among them—these are the best of the pieces that did make it to “print”. Also not included are any of the essays blogged at NewBlackMan–I still very much consider my blog writing as an examples of me “thinking out loud”.

***

1. Rhythm and Bullshit? (Parts One, Two, Three)

The inspiration for this series on contemporary R&B was the commentary I provided for two documentaries—John Akomfrah’s Urban Soul (2004) and part 6 of the BBC’s Soul Deep (2005) series. There are folk who do a great job discussing the aesthetics of black music and others who do well discussing the business of black music. This was attempt to do both.

Rhythm and Bullshit?: The Slow Decline of R&B, Part Two
New Jack Swing, Mary J. Blige and the Coming Hegemony of Hip-Hop

Rhythm and Bullshit?: The Slow Decline of R&B, Part Three
Media Conglomeration, Label Consolidation, and Payola


2. Critical Noir: Songs of the Sad Minstrel

This was attempt to put the legacy of me like Bert Williams and Lincoln Perry (Stepin’ Fechit) in conversation with hip-hop. Despite my comments about John Smith (Lil’ Jon), I firmly believe that we need to look past the surface of the stereotypes so often react to.


3. Can Hip-Hop BE?: A Review of Common’s Be

This is a now forty-year-old father of two little girls coming to terms with his relationship with hip-hop culture and rap music.


4. Freedom Summer Remembered: A Conversation with Denise Nicholas

I’ve been a fan of Denise Nichols since I was seven—a school-boy crush derived from repeats of Room 222. Not only beautiful, this brilliant woman was part of the swirl that changed the world during the Civil Rights movement. Her fictionalized account of those days brings that era to life for the hip-hop generation.


5. A Nigger Un-Reconstructed: The Legacy of Richard Pryor

I really wanted to make plain the genius of this man and to attempt, to give another view of Pryor’s relationship to the word “nigger”


6. Critical Noir: Daughters of Sister Outsider
&
Critical Noir: Can Hip-Hop Be Feminist?

These are the final two columns that I wrote for AOL Black Voices, before they dropped my column. The pieces are symbolic of the disconnect between my work as a public intellectual and corporate-styled on-line magazines, solely designed to deliver “black” consumers to advertisers.


7. The Next Great "...(Whatever)" : John Legend
&
A Change Done Come: Leela James Sidesteps the Rhythm & Bull

I had very little chance to do pure music criticism, after logging nearly 200 reviews over the past five years for Popmatters.com and SeeingBlack.com. These are the best of music reviews that I did this year.


8. Critical Noir: A Hustler's Legacy

There are so many of our genius that deserved to be given a full form analysis—Phyllis Hyman, Etheridge Knight, Donny Hathaway are just the one that come to mind at the moment. Much praise to Eddie B. Allen for bringing Donald Goines to life.

Saturday, December 24, 2005

The Soul Christmas Mix-Tape



The Soul Christmas Mix-Tape
by Mark Anthony Neal

As a child growing up in the “boogie down” Bronx in the early 1970s, there was very little illusion that Christmas Day would bring the snowy white scenes that were so often depicted on holiday greeting cards. I always understood that the toys and things that I peeped in the Sears and Spiegel catalogs were not gonna make it to my apartment come Christmas morning. Instead, so much of the joy I took from Christmas came from the music.

Now on the other side of childhood, calls for “joy” and “peace on earth” ring hollow when coming from some department store chain only a week after the beginning of autumn. But like my childhood, I never fail to become overtaken by the Christmas spirit the first time I hear Jermaine Jackson sing the opening lines of the Jackson 5’s version of ‘Have Yourself a Merry Little Christmas.’ For those of you also suffering the doldrums of another disenchanted holiday season, here’s a soulful Christmas music roundup to lift your spirits.

'Merry Christmas Baby' -- Otis Redding

'Merry Christmas Baby' is a song that is forever linked to legendary rhythm-and-blues (not R&B) artist Charles Brown, but Otis Redding brought his own take on “down-home” soul to his 1967 version of the song.



‘White Christmas’ -- The Drifters

Perhaps lead bass Bill Pinkens was signifyin’ on Bing Crosby in his opening verses to The Drifters’ 1954 version of ‘White Christmas,’ but by the time the incomparable Clyde McPhatter literally soars in with that third verse -- “I, I, I, I, I’m dreamin’ of a white Christmas …” -- it’s clear The Drifters had made the song their own. A whole new generation of folk were introduced to this version of the song when it was featured in the film ‘Home Alone.’



‘Back Door Santa’ -- Clarence Carter

Clarence Carter is as nasty as they come -- his chitlin’ circuit favorite ‘Strokin’’ is a great example. With ‘Back Door Santa’ Carter made Christmas nasty, too. Years later, Run-DMC would sample the song for ‘Christmas in Hollis.’



‘Gee Whiz It’s Christmas’ -- Carla Thomas

The daughter of Rufus Thomas (he of ‘Funky Chicken’ fame), Carla Thomas was the first lady of the Stax label. ‘Gee Whiz It’s Christmas,’ a sweet little ditty about running into a long lost love, was co-written by Thomas with Steve Cropper of Booker T. and the MGs. The song was a riff off of Thomas best-selling ‘Gee Whiz (Look at His Eyes).’



‘O Holy Night’ -- Vanessa Bell Armstrong

Arguably the most talented female gospel vocalist of the past 20 years, Vanessa Bell Armstrong brought us a sanctified Christmas on her 1990 album ‘The Truth About Christmas.’ The highlight was a God-fearing, heart-stopping rendition of ‘O Holy Night.’



‘Silent Night’ -- The Temptations

In 1970, the Temptations recorded ‘Christmas Card,’ which was one of the last albums that featured the most classic Temptations lineup. A decade later they recorded ‘Give Love on Christmas’ with Dennis Edwards, Glenn Leonard and Melvin Franklin’s booming bass giving ‘Silent Night’ a much needed Temptations update.



‘Let It Snow’ -- Boyz II Men

At the peak of their fame and artistry, Boyz II Men teamed with Brian McKnight on an original version of ‘Let it Snow’ that was penned by McKnight and Wanya Morris. The album it appeared on, ‘Christmas Interpretations,’ may be the best holiday album recorded by any contemporary R&B act.



‘At Christmas Time’ -- Luther Vandross

Years before Luther Vandross became Luther Vandross, the emerging soul singer recorded ‘At Christmas Time’ (1976). Given Vandross’ reputation as the greatest soul vocalist of his generation, that means that ‘At Christmas Time’ is indeed something special.



‘Hallelujah’ -- Handel’s Messiah

In 1992, Mervyn Warren and Quincy Jones brought together a veritable who’s who of black music to record ‘Handel’s Messiah: A Soulful Celebration.’ Included among them were Al Jarreau, Chaka Khan, Take 6, Jeffrey Osborne, Gladys Knight, Andre Crouch, Dianne Reeves, Stevie Wonder, The Boys Choir of Harlem, Vanessa Williams, as well as actors Clifton Davis, Charles S. Dutton, Phylicia Rashad and Kim Fields, many of whom appear on the album’s closing rendition of ‘The Hallelujah Chorus.’ Handel ain’t never sound so funky.



‘The Christmas Song’ -- Nat King Cole

In all honesty, you haven’t really experienced the Christmas season if you haven’t heard Nat King Cole doing his thing. Arguably Cole’s version of ‘The Christmas Song’ has surpassed even Bing Crosby’s ‘White Christmas’ as the quintessential American Christmas song.



‘This Christmas’ -- Donny Hathaway

Donny Hathaway is so deserving of the tag “genius” that it is somewhat ironic that ‘This Christmas” might be his most well known song. Nevertheless if black America has a clear-cut holiday anthem, it’s this Hathaway original. Like the man said, “Shake a hand, shake hand.”

Saturday, November 26, 2005

Words to Our Now: Thomas Glave on Tour


















Fiction writer and essayist Thomas Glave is on tour in support of his new book Words to Our Now: Imagination and Dissent (University of Minnesota Press). Glave is also the author of the short story collection Whose Song? And Other Songs. Glave’s work is, in a word, provocative—he aims to provoke real change in a world increasingly given to real forms of terror. And Glave has known terror first hand, given his work as a founding member of Jamaica Forum of Lesbians, All-Sexuals, and Gays(J-FLAG).

One of the most provocative essays in Words to Our Now is “Regarding a Black Male Monica Lewinsky, Anal Penetration, and Bill Clinton’s Sacred White Anus.” I was fortunate to be on a panel with Glave a few years ago when he presented an earlier version of this essay, to an audience that was stunned silent. All of Glave’s work has that kind of power.

Here’s a recent conversation between Glave and Masani Alexis De Veaux. Glave’s West Coast tour stops are below.


LOS ANGELES, CA:
Lucy Florence Coffee House, Nov 26, 2005
6:00 PM
3351 West 43rd Street
Los Angeles
Tel. 323 293 1256

LOS ANGELES, CA:
A Different Light Bookstore, Nov 27, 2005
7:00 PM
8853 Santa Monica Blvd.
West Hollywood/Los Angeles
Tel. 310 854 6601
www.ADLbooks.com

SAN FRANCISCO, CA:
City Lights Bookstore, NOV 29, 2005
7:00 PM
261 Columbus Avenue
Tel 415 362 8193
San Francisco
www.citylights.com
CONTACT: Peter Taravalis, peter@citylights.com

SAN FRANCISCO, CA:
Alexander Book Company, NOV 30, 2005
12:30 PM
50 Second Street
San Francisco
Tel: 415 495 2992
http://alexanderbook.booksense.com
CONTACT: Bernard Henderson

SAN FRANCISCO, CA:
A Different Light Bookstore, NOV 30, 2005
7:00 PM
489 Castro Street
San Francisco
Tel 415 431 0891
CONTACT: Scott LaForce, ADLSFEvents@aol.com

STANFORD, CA:
Stanford University Bookstore, DEC 1, 2005
6:00 PM
White Plaza, Stanford
Tel 650 329 1217
Tel 800 533 2670
CONTACT: Michelle Carson, m.Carson@bookstore.stanford.org
www.stanfordbookstore.com

OAKLAND, CA:
Marcus Books, DEC 2, 2005
6:30 PM
3900 Martin Luther King, Jr. Way
Oakland
Tel: 510 652 2344
CONTACT: Blanche Richardson, blancherich@aol.com

Tuesday, November 22, 2005

Warrior Poet: A Biography of Audre Lorde Wins 2005 Hurston/Wright LEGACY Award for Non-Fiction


















Zami originated a new discursive space for more complex renderings of black women’s lives…With this reframed identity at its center…Zami posed Lorde’s identity and sexuality as fluid aspects of her transnational blackness, rooted both in migration between ‘there’ and ‘here’ and in the ‘there.
—Alexis De Veaux


Alexis De Veaux’s book Warrior Poet: A Biography of Audre Lorde just recently won the Hurston/Wright Legacy Award for Non-Fiction. Other winners include Maryse Conde who won the award for fiction for Who Slashed Celanire's Throat?, Chris Abani who one the award for best fiction debut (Graceland) and Tracey Price-Thompson who won for contemporary fiction. The awards are handed out every year by the Hurston/Wright Foundation whose mission is to “develop, nurture and sustain the world community of writers of African descent.”

I’ve known Alexis for 13 years—she was my dissertation director—but even more importantly she has been an incredible role model for me and has largely been responsible for any claims I make on a black feminist manhood. I am so happy that she is getting all the recognition she deserves for her thoughtful, loving, and critical examination of Audre Lorde.