Tuesday, October 24, 2006

Jasmyne Cannick on Murder and Silence

Commentary: The Violent Death of Michael Sandy

News & Notes, October 23, 2006 · A black gay male, Michael Sandy died recently after being robbed and beaten by a gang of white men. Commentator Jasmyne Cannick shares her thoughts on a story that she says should have made big headlines. Cannick is a political and cultural commentator living in Los Angeles.

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Friday, October 20, 2006

Callaloo (Finally) Does Hip-Hop!















*Cover Art by Krista Franklin

After much delay (almost a decade) Callaloo, one of the leading journals of Black Arts & Letters, has finally published its special issue on Hip-Hop. Below is a trunacted table of contents.


CALLALOO
Volume 29, Number 3, Summer 2006
Special Issue: Hip-Hop Music and Culture


CONTENTS

Introduction

Heath, R. Scott.
Hip_Hop Now: An Introduction


Literary and Cultural Criticism

Michael S. Collins
Biggie Envy and the Gangsta Sublime

Scott Heath
True Heads: Historicizing the Hip_Hop "Nation" in Context
Wayne Marshall
Giving up Hip-Hop's Firstborn: A Quest for the Real after the Death of Sampling

Chicano Rap Roots: Black-Brown Cultural Exchange and the Making of a Genre

Edward Pavlic
Rap, Soul, and the Vortex at 33.3 rpm:
Hip-Hop's Implements and African American Modernisms

James Peterson
"Dead Prezence": Money and Mortal Themes in Hip Hop Culture


Visual Art

Iona Rozeal Brown


Interviews and Conversations

H. Samy Alim and Hi-Tek
"The Natti Ain't No Punk City": Emic Views of Hip Hop Cultures

An Interview with Moya Bailey
An Interview with Joan Morgan
An Interview with Gwendolyn D. Pough
(by Faedra Chatard Carpenter)

"Excursions": A Conversation with Yusef Komunyakaa

An Interview with Michael Eric Dyson (w/ Meta Jones)

The Fluoroscope of Brooklyn Hip Hop: Talib Kweli in Conversation (w/James Spady)

An Interview with Jean Grae
An Interview with Touré (by Robert Walsh)


A Special Section with Portfolio Art and Interview

Black on Both Sides: A Conversation with iona rozeal brown

Wednesday, October 18, 2006

Rashod D. Ollison on "PuffyDiddyDaddy"













From the Baltimore Sun

Diddy: more a brand than a musician
But, on his new album, the hip-hop mogul does want to show he's grown

By Rashod D. Ollison , Sun Pop Music Critic
Originally published October 15, 2006

As he slouched in his chair - yawning, eyes bloodshot, looking as if he could fall asleep at any moment - Sean "Diddy" Combs didn't appear to be the super-polished international man of taste, the persona he has cultivated for nearly a decade. Swimming in an oversized black jacket and baggy jeans, the hip-hop impresario looked like a tired workaholic. He had skipped precious hours of sleep to build buzz around his return to pop music.

It was midafternoon barely a month ago, and the entertainment mogul, who looks much slighter in person than he appears in promo shots, sat at a gleaming table inside a dimly lit conference room at downtown Baltimore's Hyatt Regency hotel. He had spoken to pupils at Winston Middle School a few hours earlier. Now he was answering questions about Press Play, his first album in five years, which hits stores Tuesday.

Advance copies of the album were unavailable. But, as with anything Diddy does, it isn't necessarily about the product. It's all about selling. Selling a slice of his high-living image, the packaging for a personality that's an attractive combination of street-corner arrogance and boyish vulnerability. Now, Combs wants to rap about "grown things."

Tuesday, October 17, 2006

Lonnae O'Neal Parker: Why I Gave Up on Hip-hop


















From The Washington post

Why I Gave Up On Hip-Hop
By Lonnae O'Neal Parker
Sunday, October 15, 2006; B01

My 12-year-old daughter, Sydney, and I were in the car not long ago when she turned the radio to a popular urban contemporary station. An unapproved station. A station that might play rap music. "No way, Syd, you know better," I said, so Sydney changed the station, then pouted.

"Mommy, can I just say something?" she asked. "You think every time you hear a black guy's voice it's automatically going to be something bad. Are you against hip-hop?"

Her words slapped me in the face. In a sense, she was right. I haven't listened to radio hip-hop for years. I have no clue who is topping the charts and I can't name a single rap song in play. But I swear it hasn't always been that way. My daughter can't know that hip-hop and I have loved harder and fallen out further than I have with any man I've ever known.

That my decision to end our love affair had come only after years of disappointment and punishing abuse. After I could no longer nod my head to the misogyny or keep time to the vapid materialism of another rap song. After I could no longer sacrifice my self-esteem or that of my two daughters on an altar of dope beats and tight rhymes.

No, darling, I'm not anti-hip-hop, I told her. And it's true, I still love hip-hop. It's just that our relationship has gotten very complicated.

Monday, October 16, 2006

A Rage in Philly













Good "Game Theory"
By Mark Anthony Neal
SeeingBlack.com Contributing Editor

This is not a popular view, but I’m thinking that much of the exoticism that we all have scripted on to the body of work that is The Roots, has everything to do with how unimaginative the commercial hip-hop landscape had become over the last decade. Read any of the group’s best work against Greg Osby’s 3D Lifestyles (1993), any of Steve Coleman’s collaborations with The Metrics or even Guru’s three Jazzmatazz projects and it becomes clear just how tame and safe the band has been. It’s not the band’s fault though, that after a steady diet of puffydiddydaddy, that we all thought that Things Fall Apart (1999) was manna (or some digital Achebe) for the desert nation. The disappointment we all registered after more-than-a-few listens of The Tipping Point (2004) was simply reality settling in—It didn’t really matter no more. Sure a few folk got antsy about the group’s move to Island/Def Jam as if they really believed The Roots were an underground group. Most so-called underground acts don’t grace the covers of mainstream magazines and don’t have the kind of promotional support that Okayplayer affords The Roots. Just because you don’t move units don’t mean you underground.

And perhaps it is here that we could place the blame on the band’s front-man, who is about as everyday-man as they come. In a world populated with nigga9s (a nigger shot nine times), rapping CEOs hawking Hewlett Packard laptops, and the great white hope, Black Thought was a lunch-pail cat. Like CL Smooth, MC Ren, and DMC before him, Black Thought simply put in a day’s work on the mic. In some strange way, this is why Game Theory is the most important Roots’ recording since Things Fall Apart. If we could imagine the lunch-pail cat as a barometer for what’s happening in America—I’m talking about the cats who simply punch the clock, do their work, retire to the crib and do it all over again the next day without even a hint of reservation—then it should not be a surprise, given the Iraqi theater (as they correctly described war before television), (un)rising gas prices, corporate downsizing, voter fraud, rising healthcare cost, the Nancy-Gracing of corporate media and the like, that the lunch pail cat is on the brink of rage. Black Thought is the embodiment of that rage in commercial hip-hop, as Game Theory is a sonic assault on the status quo. And assault is not too fine a term; the opening tracks of Game Theory—“False Media,” “Game Theory,” “Don’t Feel Right” and “In the Music”—are like waking up from a street fight that you lost.

Read the Full Essay at SeeingBlack.com

Sunday, October 15, 2006

Gunning Down Women: Jackson Katz Speaks










From COUNTERPUNCH

Coverage of "School Shootings" Avoids the Central Issue

Gunning Down Women
By JACKSON KATZ

In the many hours devoted to analyzing the recent school shootings, once again we see that as a society we seem constitutionally unable, or unwilling, to acknowledge a simple but disturbing fact: these shootings are an extreme manifestation of one of contemporary American society's biggest problems -- the ongoing crisis of men's violence against women.

October is Domestic Violence Awareness Month, so let's take a good hard look at these latest horrific cases of violence on the domestic front. On September 27, a heavily armed 53-year-old man walked into a Colorado high school classroom, forced male students to leave, and took a group of girls hostage. He then proceeded to terrorize the girls for several hours, killing one and allegedly sexually assaulting some or all of the others before killing himself.

Less than a week later, a heavily armed 32-year-old man walked into an Amish schoolhouse in Pennsylvania and ordered about 15 boys to leave the room, along with a pregnant woman and three women with infants. He forced the remaining girls, aged 6 to 13, to line up against a blackboard, where he tied their feet together.

He then methodically executed five of the girls with shots to the head and critically wounded several others before taking his own life.

Just after the Amish schoolhouse massacre, Pennsylvania Police Commissioner Jeffrey B. Miller said in an emotional press conference, "It seems as though (the perpetrator) wanted to attack young, female victims." How did mainstream media cover these unspeakable acts of gender violence? The New York Times ran an editorial that identified the "most important" cause as the easy access to guns in our society.

NPR did a show which focused on problems in rural America. Forensic psychologists and criminal profilers filled the airwaves with talk about how difficult it is to predict when a "person" will snap. And countless exasperated commentators -- from fundamentalist preachers to secular social critics -- abandoned any pretense toward logic and reason in their rush to weigh in with metaphysical musings on the incomprehensibility of "evil."

Incredibly, few if any prominent voices in the broadcast or print media have called the incidents what they are: hate crimes perpetrated by angry white men against defenseless young girls, who -- whatever the twisted motives of the shooters -- were targeted for sexual assault and murder precisely because they are girls.
***

Jackson Katz, Ed.M. is one of America's leading anti-sexist male activists. An educator, author and filmmaker, he is internationally recognized for his groundbreaking work in the field of gender violence prevention education with men and boys, particularly in the sports culture and the military. He is also the creator and co-creator of educational videos for college and high school students, including Tough Guise: Violence, Media, and the Crisis in Masculinity (2000), Wrestling With Manhood (2002) and Spin the Bottle: Sex, Lies and Alcohol (2004). His new book, The Macho Paradox: Why Some Men Hurt Women and How All Men Can Help, was published by Sourcebooks in 2006.

Saturday, October 14, 2006

Looking for Leroy: HomoThugs, ThugNiggaIntellectuals and "Queer" Black Masculinities

















Looking for Leroy" HomoThugs,
ThugNiggaIntellectuals and ‘Queer’ Black Masculinities

A Lecture by

Mark Anthony Neal
Associate Professor of Black Popular Culture
African and African-American Studies
Duke University

Williams College
Williamstown, MA
4:15 p.m.
Thurs, Oct. 19, 2006
Griffin Hall, Room 6


Introductory Lecture to “Revisiting Black Power” Film Forum, Oct 19-21

Sponsored by Africana Studies