Thursday, March 31, 2011

Soul Cinema!--Duke Summer Session I


Black Popular Culture--Soul Cinema (AAAS 132)
Mark Anthony Neal
Summer Session 1
Perkins LINK 2-060 classroom 1
M/T/TH 12:30-2:35pm

In the late 1960s and 1970s, the term Soul came to represent the essence of "Blackness," particularly within the realms of music and popular culture. One of the places where "Soul" was particularly pronounced was in the film industry, where Black independent film makers and Hollywood (via Blaxploitation) created timeless and controversial moving images of Black life and culture. The course will examine so called "Soul Cinema" of the 1970s and its impact on contemporary American culture. Possible films include Sweet Sweetback´s Badass Song (1971), Killer of Sheep (1977), Ganja and Hess (1973), A Piece of the Action (1977), and The Spook Who Sat By the Door (1973).

Classic Material Thursday: KRS-One--"Love is Gonna Get'cha (Material Love)"

Classic Material Thursday: Eric B & Rakim--"Move the Crowd"


Eric B. & Rakim - Move The Crowd by UniversalMusicGroup

Wednesday, March 30, 2011

"Improvisation as a Way of Life"



from Columbia University

On Monday March 7, Prof. George Lewis, Director of the Center for Jazz Studies and Case Professor of American Music at Columbia University, presented the University Lecture on the subject of "Improvisation as a Way of Life" to an overflow crowd in the Low Library Rotunda.

Improvisation as a Way of Life:
Reflections on Human Interaction


Many musical improvisers have understood their sounds and practices as addressing larger questions of identity and social organization, as well as creating politically inflected, critically imbued aesthetic spaces. Following a 1964 suggestion by Alfred Schutz that a study of the social relationships connected with the musical process may lead to some insights valid for many other forms of social intercourse, the realization that improvisation is not limited to the artistic domain, but is a ubiquitous aspect of everyday life, can lead humanists and scientists toward new models of intelligibility, agency, ethics, technology, and social transformation.

Ebru TV's Footnote: Thabiti Lewis, Ballers of the New School



from Ebru TV

On this episode of Footnote, we discuss the book Ballers of the New School – Race and Sports in America. Author Dr. Thabiti Lewis uses American sports culture to challenge and explore notions of race in America.

William Jelani Cobb: " Cleveland, Texas and Gender Jim Crow"



from The Nation

Cleveland, Texas and Gender Jim Crow
by William Jelani Cobb | March 29, 2011

In the three weeks since the New York Times [1] broke the story [1] of a child’s rape there, the events in Cleveland, Texas, have morphed into a category five media storm. The Times piece, which echoed and amplified currents of victim-blaming in the town, generated a tide of criticism. Yet beneath the outrage was a parable of modern media. Aside from the familiar and incendiary themes it contained, the Times article seemed an object lesson in what happens when cash-strapped newspapers parachute a reporter into a complex situation hoping for coverage on the cheap. In-depth coverage requires resources and the time to do the deliberate, painstaking gathering of facts that were in short supply in James McKinley’s article. “The New York Times,” as one friend put it, “can no longer afford nuance.”

Add to that equation the fact that Twitter-orchestrated protests, web petitions and Facebook posts pushed the Times to apologize (or at least come close to it), and our understanding of the gang rape of an 11-year-old girl becomes yet another front in the battles between old and new media. Even the way the assault became public knowledge—digital images traded around on cellphones—seems to be part of the narrative of modern technology and information.

Yet for all this modernity, the most troubling aspect of the ongoing fallout from Cleveland is the way it resurrects themes of race, sexual violence and provincialism long interred in American history. Some weeks ago I taught students in my civil rights history class about the plague of lynching, which claimed the lives of more than 3,000 African-Americans in the late nineteenth and early twentieth centuries. Beyond the horror of the organized murder of black citizens, students were most troubled by the recreational nature of it all: the images of smiling white citizens, fathers and sons, upstanding Christians gathered in fellowship around the smoldering ruin of a black body—all preserved on postcards.

If you asked any of these people in the abstract if it is right to hang a person, set him on fire and then riddle the body with bullets, they would likely have called those actions illegal and sinful. But there is an asterisk: unless that person was black; unless he had demanded his wages, or been to slow to vacate a sidewalk when a white person walked by, or been “unpopular” (these are all actual reasons cited for lynching). These are actions of people who have been given a moral escape clause, an asterisk in which upstanding Christians can sate the demonic appetites of their collective id. Thus an act of abomination becomes a moment worthy of commemorating with a photograph.

I thought about that discussion of lynching again as news spread that the alleged perpetrators were so utterly secure in the righteousness of their act that some of them snapped pictures or recorded footage on their cellphones. We have, in 2011, reached a point when the public display of charred human remains is no longer acceptable. But the response of some of the citizens of Cleveland, Texas, to this horrific assault has brought us face to face with a kind of gender Jim Crow. Here the asterisk is not failure to conform to racial etiquette but the lax adherence to an equally stringent gender code, one where “innocent” is a relative concept and rape, like lynching, can be elevated nearly to the level of civic responsibility.

Read the Full Essay @ The Nation

Lunch and Lecture: African American Art in the NC Museum of Art Collection



Lunch and Lecture: African American Art in the NCMA Collection

Friday, April 1 | 11 am
East Building, Museum Auditorium
$20 Members
$25 Nonmembers

Richard J. Powell, the John Spencer Bassett Professor of Art and Art History at Duke University, draws on his curatorial experience and extensive research to chat about African American art and culture in the NCMA collection. Powell has written on topics ranging from primitivism to postmodernism, and his insights offer opportunities to reflect on work by African American artists and to place their work within the context of the broader Museum collection.

Discussion continues over a lunch catered by Iris, the Museum Restaurant. To register, for more information, or for special dietary requests, call (919) 664-6785. Registration and payment required by 4 pm on Wednesday, March 30.

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.

Sunday, March 27, 2011

TEDxDuke: Just Imagine



April 2 conference puts a clock on Duke faculty to wow audience on their favorite topics

TEDx Ideas Worth Spreading
by Susan Kauffman

Sam Wells, Dean of Duke Chapel, regularly delivers compelling Sunday sermons from the pulpit. On April 2, he's been given free rein to speak on a topic of his choice, with the caveat that it cannot exceed 12 minutes.

Wells is participating in "Just Imagine," a university-wide Tedx conference in the Bryan Center's Griffith Theater. It features selected Duke students and some professorial stars including Mark Anthony Neal, an expert in African-American culture, and behavioral economist Dan Ariely.

TEDx is a college version of the popular TED (Technology Entertainment and Design) international conferences started by the nonprofit Sapling Foundation to disseminate "ideas worth spreading."

"The thing about TED is that it brings people from so many disciplines and backgrounds together," said Chelsea Ursaner, the junior who started Duke's "Just Imagine" TEDx. "It's really about the attendees. We're going encourage people to mingle as much as possible. You discover things you didn't think you were interested in."

The public and the larger Duke community are invited to the conference, which will also include some musical performances and a step show. Each segment will be streamed live. Not only are the talks a bit shorter than the TED conference - cut from 18 down to 12 minutes -- but the day is as well, from 10:30 a.m. to 4 p.m. "The shorter length of the talks appeals to a large audience, even if you might not read a book on quantum mechanics or take a class in it," Ursaner said.

Ursaner, president of the Public Policy Majors Union, applied for a TEDx license after hearing about the program last year. "I knew this was going to catch on," she said. "It's important for Duke to do this because Duke is a leader that has so much talent to showcase. It will be a unifying event across the entire campus."

She then recruited other students to create a new student group, replete with adviser Mike Schoenfeld, vice president for public affairs and government relations. Half of the $20,000 budget will come from the Office of Student Activities and Facilities. Organizers kept travel costs down by inviting local speakers.

Matt Nash, executive director of Duke's Center for the Advancement of Social Entrepreneurship (CASE), said the TEDx format works well in university settings. CASE hosted a national TEDx conference on social entrepreneurship education in February. The Ashoka U Exchange included prominent social entrepreneurs and innovative educators from around the world and attracted more than 300 people from more than 75 universities.

Steve Nowicki, dean and vice provost for undergraduate education, said he hoped Ursaner's TEDx would become an annual event. "Showcasing some of the interesting ideas of our faculty and students in this format is a great idea," Nowicki said. "Universities are all about building intellectual communities and TED talks bring people together in creative ways both online and in person."

© 2011 Office of News & Communications

Office Hours with Margaret Gayle and William 'Sandy' Darity



Two Duke education experts involved in a 10-year-old project called "Bright IDEA" that has been implemented in some North Carolina schools with great success discuss education reform during a live "Office Hours" webcast March 25, 2011.

Margaret Gayle is director of the American Association for Gifted Children at Duke. William "Sandy" Darity is a professor of public policy, economics and Chair of the African & African-American Studies Department at Duke.

Treating Students as Gifted Yields Impressive Academic Results, Study Finds


from Duke News & Communication

Students in project developed by Duke researchers and state educators are much more likely to actually perform at a gifted level

Treating Students as Gifted Yields Impressive Academic Results, Study Finds
By Camille Jackson

DURHAM, N.C. -- Schools that seek to help students who are underrepresented in advanced programs should treat them as gifted young scholars, an approach that can result in many of them actually performing at a gifted level within a few years, according to a U.S. Dept. of Education study of a North Carolina program.

Developed by researchers at Duke University with state educators, the five-year study of 10,000 kindergarteners and first- and second-graders suggests that raising expectations could be a key to enhancing the academic performance of at-risk students nationwide.

“All students should get a gifted education, even if they are not subsequently identified as gifted,” said William “Sandy” Darity, chair of African and African American studies and a professor at the Sanford School of Public Policy at Duke University. “It’s not about who is in the class, but the quality of instruction.”

Darity’s research showing black and Latino students to be underrepresented in advanced and gifted classes helped lead the State of North Carolina to establish Project Bright Idea, the program analyzed in the Department of Education study. Co-designed more than 10 years ago by Margaret Gayle, director of the American Association for Gifted Children at Duke, the program trains teachers to treat all students as if they are gifted. Darity and Gayle say the project works because it nurtures students regardless of their race, socioeconomic status, gender or learning ability.

The new independent evaluation supports their claim. Its primary author calculates “on the safe side” that 15-20 percent of students taught with techniques usually reserved for gifted classrooms are identified within three years by their districts as being academically and intellectually gifted. Only 10 percent of a control group of similar students taught in regular classrooms met their district’s “gifted” criteria during the same period.

By comparison, in 2004 19 percent of all third-grade students were identified as gifted in the three North Carolina counties (Cabarrus, Watagua and Wake) with the highest numbers. Not a single third-grade student in 2004 from the Title 1 schools involved in the study had previously been identified as gifted.

The pilot ran from 2004 to 2009 and included K-2 classrooms in Title 1 schools in 11 school districts with cohorts of more than 5,000 students in Bright Idea and 5,000 students in the control groups. As each cohort completed the research, the project was expanded to other classes and schools in the districts, including middle and high schools.

The project now continues as Project Bright Tomorrow at Northeast Elementary in Kinston and Town Creek Elementary in Winnabow, both in North Carolina. The two schools opened in 2009 and were modeled on Bright Idea.

“We are giving teachers concepts based on the latest and best research in the classroom. Then we provide support and mentorship to help them work through obstacles,” Gayle said.

The project requires teachers to undergo regular and intensive training, energizing their profession and their classrooms by weaving together teaching strategies based on the work of national education experts, including Art Costa and Bena Kallick’s work on “habits of mind,” Mary Frasier’s on “traits, attributes and behaviors” and Howard Gardner’s on “multiple intelligences.”

“We are literally changing the knowledge, skills and dispositions of teachers so they believe children can learn. It is a lot about teacher expectation and belief,” said Mary N. Watson, the director of the exceptional children division of the N.C. Department of Public Instruction, who helped develop the project.

In workshops and week-long summer institutes, teachers in the project are taught by national and state-level experts on how to develop students’ thinking and skills such as controlling impulsivity, posing questions and taking responsible risks.

“We are teaching students how to think, not what to think,” Gayle said.

Bright Idea teacher Dawn Miller of Thomasville Elementary School in Thomasville, N.C., agrees.

“In college we learned about the multiple intelligences theory; it’s nothing new. But Bright Idea had the research that provided a model to incorporate all the things we know that are right for kids,” Miller said.

After training, Bright Idea teachers are asked to design curriculum customized for their classrooms.

Incorporating the project’s concepts does not extend the work day, week or school year, nor does it require extensive tutoring for students to achieve success. But it does require support from principals and administrators, Darity said.

Edward McFarland, principal of Fuquay-Varina High School in Fuquay-Varina, N.C., was first introduced to Project Bright Idea as an elementary school principal. Since 2006 he has applied components of the project at the high school level, allowing teachers extra time each week to design curricula.

“Staff development is the key, but it takes time to retrain,” McFarland said. “Many times we’re looking for easy fixes but hard work is what gets you the results. You can throw in a new program. You may be committed for a year or so, take a few workshops and hand out a few lessons. But we really want to focus on planning lessons that go deeper than that.”

By using some components of Bright Idea, McFarland watched the achievement gap at Fuquay Varina decrease by 4-6 percent from 2006 to 2010. Testing and graduation rates surpassed the county average within the same time period.

Project Bright Idea works best when it is applied comprehensively, changing the entire school atmosphere, said Ron Tzur, faculty chair at the School of Education at the University of Colorado, Denver, who evaluated the research for the Department of Education.

“It’s very difficult to argue with the outcome,” said Tzur, who said more research is needed, particularly on math and science scores. “Most projects have two teachers in one school. With Bright Idea, we are talking about hundreds of teachers and thousands of students. Most projects run out of steam when the funding runs out. But with high expectations, there is a change in teacher practices and more willingness and interest on their part. Teachers are saying they want more.”

Project Bright Idea was funded by the U.S. Department of Education’s Jacob K. Javits Gifted and Talented Students Education Program and the North Carolina Department of Public Instruction.

© 2011 Office of News & Communications

Friday, March 25, 2011

Thursday, March 24, 2011

Jay Smooth: 'A History Lesson for Chris Brown"



A brilliant commentary by Jay Smooth on Breezy aka Chris Brown

dream hampton: 'The Problem with Chris Brown'



Are we witnessing a meltdown or can the young singer truly move past his past?

The Problem With Chris Brown
By dream hampton

In lieu of therapy, Chris Brown has Twitter. His small army of fans uses the hashtag #teambreezy to avoid forcing the still young, imploding star to seek the therapy he so desperately needs to not become his stepfather. It is tragic. He's young enough to be saved. Imagine what a true public healing would do for young Black teenagers entangled in the deadly dance that is domestic violence.

Read the Full Essay @ BET.com

Wednesday, March 23, 2011

'Three Little Girls'--a New Video by Jasiri X



from Jasiri X

For Woman's History Month we wanted to shed light on how violent this society is especially towards woman and girls. "Three Little Girls" tells the stories of the senseless murders of Christina Taylor Green who was killed during the shooting of Congresswoman Gabrielle Giffords, Brisenia Flores who was gunned down by anti-immigrant militia intent on starting a race war, and Aiyana Jones who shot to death while asleep in her home, by the Detroit Police Department, while they were filming a reality TV show.

I realize these are sad stories, but how can we not be moved to action by the cold-blooded killings of innocent little girls? We have to begin to take an unflinching look at a culture that continues to glorify guns, bombs, and war and sees violence and aggression as the only solutions to its problems.

Written by Jasiri X and featuring 10 year old Hadiyah Yates, "Three Little Girls" was produced by GM3 and directed by Paradise Gray.


LYRICS

Verse 1
Born on 911
In that dark time as a blessing
A face of hope like she was a sign from the heavens
Kindness and reverence
She grew into a scholar kid
Became class president with a love for politics
Only nine and wants to find where the congress is
Meet her representative
Get involved with the processes
That morning she was so hyper
wanted to meet Ms Giffords by just like her
even though she was young she was much wiser
Until that automatic weapon was just fired.
People falling from getting hit
He kept shooting cause his gun had an extended clip like it had no end to it
And of the victims hit she was the youngest
The mother of her own child she'll never become it
The value for life just plummets
In this sick society that deserves judgment
Rest in peace youngin

Verse 2
A little girl with her mommy and daddy
on her knees saying a prayer thanking God for her family
so happy her whole life ahead of her
But outside her door was a hoard of vicious predators
Racists sycophants with hatred for immigrants
Got with other militias and called them selves the minutemen
We know where they got drugs and cash lets go get it then
knock knock the little girl wonders whose visiting
They never found drugs but they was of brown blood
So they cock back and fired round after round of slugs
The little girl saw her families bodies on the rug
And cried what did we do why did you come to kill us
he raised up his gun and shot her twice in the face
cause she was only nine but wasn't the right race
and that's the reason that we didn't see it in the media
so even in death discrimination still reaches her.

Verse 3
Little Aiyana Jones chillin in her father's home
In Detroit Michigan playing toys with her sisters and
doing all the things that make you wish you were a kid again
before you understood what a violet world that were living in
all played out sleeping on the same couch
that she did every night when they turn the lights out
But outside the house they had cameras and mic out
Reality TV brutality for a fee
The first 48 hours on A & E
where a officer can play a celebrity
distracted by all the action they chose the wrong house
flash grenade through the window went crash on the couch
Aiyana's on fire now flames getting wider now
the first officer through the door pulls out and fired down
shot through the neck bleed to death she's expired now
I pray she's resting on higher ground
we love you

An Open Letter to Chris Brown


special to NewBlackMan

Open Letter to Chris Brown
by Kevin Powell

Dear Chris:

I really did not want to write this open letter, and would have preferred to speak to you in person, in private. Indeed, ever since the domestic violence incident with Rihanna two years ago there have been attempts, by some of the women currently or formerly in your circle, women who love and care deeply about you, to bring you and I together, as they felt my own life story, my own life experiences, might be of some help in your journey. For whatever reasons, that never happened. By pure coincidence, I wound up in a Harlem recording studio with you about three months ago, as I was meeting up with R&B singer Olivia and her manager. You were hosting a listening session for your album-in-progress and the room was filled with gushing supporters, with a very large security guard outside the studio door. I was allowed in, as I assume you knew my name, and my long relationship to the music industry. I greeted you and said I would love to have a talk with you, but I am not even sure you heard a single word I said above the loud music. I gave your security person my card when I left, asked him to ask you to phone me, but you never did, for whatever reasons. And that is fine.

But I have thought of you long and hard as I've watched you, from a distance, as you dealt with the charges of physical violence against your then-girlfriend Rihanna, as you were being pummeled by the media and abandoned by many fans, admirers, and endorsers, and ridiculed on the social networks. You were 19 when the altercation with Rihanna occurred, and you are only 21 now. Yes, you've achieved both international fame and success in a way most people your age, or any age, could never imagine. But you also are at a very serious crossroads because of the dishonor of your persona derived from your beating Rihanna. There is no way to get around this, Chris. You must deal with it, as a man, now and forever. For our past can both be a prison we are locked in permanently or it can be the key to our freedom if we glean the lessons from it, and deal with it directly. All the external pressures and forces will be there, Chris, but no one can free us but ourselves. And it must start in our minds and in our souls.

That is why I was very saddened to hear about your recent appearance on ABC's "Good Morning America," to promote your new cd "F.A.M.E." The interview was embarrassing, to say the least, you slouched through the entire episode, and you were so clearly defensive as Robin Roberts, the interviewer, threw you what I thought were very easy questions about the Rihanna saga. I get that you want to move past it. But that is not going to happen, Chris, until people see real humility, real redemption, and real changes in how you conduct yourself both publicly and privately.

Whether the interview and what happened at ABC studios were a publicity stunt to push your album sales is not the point (as has been suggested in some online blogs). It has been spread across the internet, and throughout the world, that you ripped off your shirt following that interview, got in the face of one of the show's producers in a threatening manner, and that somehow the window in your dressing room was smashed with a chair. And then there are the photos of you, shirtless, walking outside the ABC studios looking, well, pissed off, immediately after. Finally, you tweeted, somewhere in the midst of that morning, Chris, "I'm so over people bring this past s**t up!! Yet we praise Charlie Sheen and other celebs for [their] bullsh**t."

Yes, that tweet was taken down very quickly, but not before it was spread near and far also, Chris. And it was a tweet written with raw honesty and, for sure, raw emotion. Very clear to me, as it is to so many of us watching your life unfold in public, that you are deeply wounded, that you are hurt by what you have experienced the past two years. That you've never actually healed from what you witnessed as a child, either, of your mother being beaten savagely by your stepfather, and how that must've made you feel, in your bones. You've said in interviews, long before the Rihanna incident happened, that it made you scared, timid, and that you wet the bed because of the wild, untamed emotions that swirled in your being. I am certain you felt powerless, just as powerless as I felt as a boy when my mother, who I love dearly and have forgiven these many years later, viciously beat me, physically and emotionally, in an effort to discipline me, to prepare me, a Black man-child, for what she, a rural South Carolina-born and bred working-class woman, perceived to be a crude and racist world.

But the fact is, Chris, we cannot afford to teach children, directly or indirectly, that violence and anger in any form are the solutions for our frustrations, disagreements, or pain, and not expect that violence and anger to penetrate the psyche of that child. To be with that child as he, you, me, and countless other American males in our nation, grow from boy to teenager to early adulthood. Ultimately it will come out in some channel, either inwardly on themselves in the manner of serious self-repression, self-loathing, and fear. Or outwardly in the shape of blind rage and violence, against themselves, against others, including women and girls.

You see, Chris, I know much about you because I was you in previous chapters of my life. I am presently in my 40s, a practitioner of yoga, and someone who has spent much of the past 20 years in therapy and counseling sessions. I shudder to think who I would be today had I not made a commitment to constant self-reflection and healing. Yes, like most human beings I do get angry at times, but it is in a very different kind of way, I think long and hard about my words and actions, and if I do make a mistake and offend someone in some way verbally or emotionally, I apologize as quickly as I can. And I am proud to say I have not been involved in a violent incident in many years, that I am about love, peace, and nonviolence now, and this is my path for the rest of my life. I am not willing to go backwards, nor am I going to permit anyone or any scenario to take me backwards, either.

But, Chris, it was not always like this for me. The hurt and pain I felt as a child led to arguments and fights in my grade and high schools: arguments with teachers and principals and physical fights with my classmates. This in spite of the fact I possessed, very early on, the same kind of talents you had coming up. Mine is writing and yours is music. And because we both had gifts that people recognized, the more problematic sides of our personas were often overlooked, or ignored completely. In reality, Chris, I attended four grade schools and three high schools partly because my single mother and I (I am an only child) were very poor, and forced to move a lot; and partly because of my behavioral issues at various schools. Many adults could not understand it because I was routinely a straight-A student breezing through everything from math and science to English.

Yet I was no different than countless American children terrorized by their environments, with no true outlets to understand, and heal, what we were experiencing. That is why, Chris, I eventually was kicked out of Rutgers University, why I got into arguments with my cast mates on the first season of MTV's "The Real World," and why I often had beef with my co-workers, as a twenty something hot shot writer at Quincy Jones' Vibe magazine. And why I was eventually fired from Vibe, Chris, in spite of writing more cover stories than any other writer in the magazine's history. There was always a darkness in my life, Chris, a heavy sadness, born of years of wounds piled one on top of the other. And I did not begin to grasp this until a fateful day in July 1991 when I pushed my girlfriend at the time into a bathroom door in the middle of an argument. As I have written in other spaces, Chris, when she ran from the apartment, barefoot, it was only then that I recognized the magnitude of what I had done. Just like you I had to deal with public embarrassment and court and a restraining order. But the big difference, Chris, is that a community of people, both women and men, saw potential in me, the boy struggling to be a man, in the early 1990s, and rather than shun me or push me aside or write me off completely, they instead opted to help me.

The first step was returning to therapy, as I had done briefly in 1988 after being suspended from Rutgers for threatening a female student. The next step was my struggling to take ownership for every aspect of my life, and not just that bathroom door incident. That meant, Chris, I had to go very far into my own soul, and return, time and again, to being that little boy who had been violated and abused, and meet him, on his terms. I assure you, Chris, it was extremely difficult to do that, and I put off many issues for months, even years, unwilling or unable to look myself in the mirror. Add to that the sudden celebrity of my life on MTV and at Vibe, and I found myself around many other people who were living escapist lives, who were not bothering to deal with their demons, either. That, Chris, is a recipe for disaster, for a life stuck in a state of arrested development. The worst thing we could ever do is only be in circles of people who are wallowing in their own miseries, too, yet covering it up with fame, money, material things, sex, drugs, alcohol, and an addiction to acting out because that is much easier than actually growing up.

As a matter of fact, as I watched your "Good Morning America" interview, and read the accounts of what happened after, I thought a good deal about the late Tupac Shakur, who I interviewed more than any other journalist when he was alive. Tupac was, Chris, without question, equally the most brilliant and the most frustrating interview subject I'd ever encountered. Brilliant because his abilities as an actor (imagine what he could have been had he lived) were towering, and his writing skills instantly connected him with the man-child in so many American males, especially those of us who grew up as he did, without a consistent and available father figure or mentor, and with some form of turmoil in our lives. But, Chris, I could see the writing on the wall from the very beginning, of Tupac's downfall, because he willingly participated in it, encouraged it, openly advertised it every single time he rhymed about dying, or spoke about a short shelf life in one of his interviews. I do believe each and every one of us human beings is given a certain amount of time on this planet. I for one feel very blessed to be here as long as I have been, especially given my past destructive paths. But I also believe, Chris, that so many of us participate in what I call self-sabotage, or slow suicide. That is, because we do not have the emotional and spiritual tools to process the many angles of our lives, we instead resort to predictable behavior that may feel empowering or liberating on the surface, but is actually damaging to us, and doing even more harm to us.

For an instance when I looked at the photo of you, shirtless, with the shiny tattoos across your chest, I saw myself, I saw Tupac Shakur, I saw all us American Black boys who so badly want to be free, who so badly want to be understood, who feel life unfair for labeling us "angry," "difficult," "violent," "abusive," "criminals," or "cocky" or "arrogant." Yes, Chris Brown, in spite of Barack Obama being president of the United States, America still very much has a very serious problem with race and racism, which means it still has a very serious problem with Black males who act out or behave badly, who speak their minds, who assert themselves in some way or another. I know that is what you are reacting to, Chris.

And you are not wrong in tweeting that Charlie Sheen is catching a break in a way that you are not. I am very clear that Charlie Sheen's father is Latino and his mother is White. But Charlie Sheen operates in a space of White male privilege because of his White skin and his access to White power, and thus he is given a pass for his violent, abusive, mean-spirited, and drug-addicted outbursts in a way you or I never will, Chris. Charlie Sheen, as insane as it appears, is even celebrated in many circles because of how American male (read, White male) privilege can exist while ignoring the concerns of those he has harmed, including women. That is why, Chris, I rarely discuss in public the chapter of my life that is MTV's "The Real World." In spite of who I am as a whole human being, my numerous interests and skill sets, the one thing that was played up were the arguments I had with my White cast mates. So I was labeled, for years and years, Chris, as "the angry Black man," something that troubled me as deeply as you were bothered on "Good Morning America" by the Rihanna questions. And how certain media folks, including Joy Behar on "The View," must bother you calling you a "thug," in spite of the obvious racial overtones of such a loaded word. If you are a thug, then what is Charlie Sheen, or Mel Gibson, or John Mayer, or Jude Law, or any other famous White male who has engaged in bad behavior the past few years? Why are they often forgiven, given a pass, allowed to clean themselves up and to redeem themselves in a way Black males simply cannot, Chris? It is because, to paraphrase Tupac, we were given this world, we did not make it. And it is because of power, Chris, plain and simple. Whoever has the power to put forth images and words, to put forth definitions, to determine what is right and what is wrong, can just as easily label you a star one day and a thug and a has-been the very next day. Or make you, a Black male, the poster child, for every single bad behavior that exists in America.

Just ask Black males as diverse as Tiger Woods, Kobe Bryant, Mike Tyson, O.J. Simpson, or Kanye West. No apologies being made by me for these men or their actions, but the chatter, always, in Black male circles is how we are treated when we do wrong as opposed to how our White brothers are treated when they do wrong. Call it racial or cultural paranoia if you'd like. We Black brothers call it a ridiculously oppressive double standard. And that is because America has historically had a very complicated and twisted relationship with Black men, ranging from slavery to the first heavyweight boxing champion Jack Johnson to Malcolm X and Dr. King both, and including men like Louis Armstrong, Chuck Berry, Michael Jackson, Prince, and, yes, Barack Obama. Sometimes we feel incredible love and affection, and sometimes we feel as if we are unwanted, armed, and dangerous. It is a schizophrenic existence, to say the least, and it is akin to how the character Bigger Thomas, in Richard Wright's classic but controversial novel "Native Son," saw his life reduced to the metaphor of a cornered black rat. Thus so many of us spend our entire lives, as Black males, navigating this tricky terrain, so few of us with the proper emotional and spiritual tools to balance our coolness with a righteous defiance that, well, will not get us killed, literally and figuratively, by each other or the police, or by the American mass media culture.

I am telling you the truth, Chris Brown, man-to-man, Black man to Black man, because you need to hear it, straight up, no chaser. If you really believe that because you are famous and successful that the same rules apply to you, you are deceiving yourself. Like many, I love people, regardless of race, gender, class, sexual orientation, disability, religion, any of that, and I believe deeply in the humanity and equality of us all. But until we have a nation, and a world, where the media places the same energy and excitement in documenting a Black man who is engaging in, say, mentoring work, as it does in a Black man smashing a window at a television station, then we are sadly fooling ourselves, Chris, that things are fair and equal in this universe. They are not. And sometimes it will be big things, like what you just experienced, Chris, at "Good Morning America," and sometimes it will be quieter moments, far off the radar, where we Black men have to think on the fly about who we are, what we represent, how others perceive us or may want to perceive us, how we say things to people, particularly our White sisters and brothers, for fear or worry of being misunderstood and being pegged as "problematic" or a "troublemaker," and magically navigate best we can to assert our humanity, our dignity, our leadership, our visions and ideas and dreams, and, yes, our definitions of manhood rooted in our very unique cultural journeys. Complete insanity, this emotional and spiritual juggling act, no question, and our harsh reality in this world, my friend.

So what you have to understand, Chris, and what I had to grapple with for years, is there is no escaping your past, especially if we engage in angry or violent behavior. If we do not confront it, probe and understand it, heal and learn from it, and use what we've learned to teach others to go a different way, then it dogs us forever, Chris, and we unwittingly become the entertainment, nonstop, for others. And that simply does not have to be the case for you, Chris. You are too much of a genius to allow this to destroy you, but your self-destruction is exactly what many of us are witnessing. I have no idea who is around you at this point, or what kind of men, specifically, are advising you, but the worst possible thing you could do is act as if what happened with Rihanna was no big deal. It was and is a major deal because women and girls, in America, and on this earth, are beaten, stabbed, shot, murdered, raped, molested, every single day.

Because of your fame you have become, unfortunately, a poster child for this destructive behavior in spite of your proclaiming just a few years before, in a magazine interview, you would never do to a woman what had happened to your mother. What I gathered, very quickly, Chris, after I pushed that girlfriend back in 1991, was that I could not hide from my demons or myself. That is why I wrote an essay in Essence magazine in September 1992 entitled "The Sexist in Me." That is why I made it a point to listen to women and girls in my travels, in my community, even within my family, tell stories of how they had been violated or abused by one man or another. And that is why, Chris, nearly twenty years later, so much of my work as a leader, as an activist, as a public speaker, is dedicated to ending violence against women and girls. In other words, I took what was a very negative and hurtful experience, for that girlfriend, and for myself, and transformed it into a life of teaching other males how to deal with their hurts without hurting others, particularly women and girls.

Tupac Shakur, Chris, never got to turn the corner, as you well know, because he was gunned down at age 25. I do not know if he actually raped or sexually assaulted the woman in that hotel room as he was charged. But one thing he did admit to me, Chris, in that famous Rikers Island interview, was that he could have stopped his male friends from coming into his hotel room and sexually exploiting his female companion that night. And he did not. You, Chris Brown, cannot turn back the hands of time to February 2009. We have seen the photos of Rihanna's battered and bruised face. Yes, you've apologized, yes, you've done your time in court and your hours of community service, and yes, and you have been tried and convicted in the court of public opinion.

But it is really up to you, Chris, to decide in these tense moments, as you approach your 22nd birthday on May 5th, if you want to be a boy forever locked in the time capsule of your own battered and bruised life, or if you want to be the man so many of us are rooting for you to be, one who will take responsibility for all his actions, who will sit up in interviews and answer all questions, even the uncomfortable ones. And the kind of man who will admit, once and for all, publicly, privately, however you must do it, that you need help, that you need love, that you need to love yourself in a very different kind of way, that you no longer will hide behind an album release, music videos, dyed hair, tattoos, or even your twitter account, Chris Brown. That you will make a life-long commitment to counseling, to therapy, to healing, to alternative definitions of manhood rooted in nonviolence, love, and peace, that you will become a loud and consistent voice against all forms of violence against women and girls, wherever you go, as I do, for the rest of your life. All eyes are on you because you've brought the world to your doorstep, my friend. The question alas, Chris, is do you want to go forward or not? And if yes to going forward, then you must know it means going to the deepest and darkest parts of your past to heal what ails you, once and for all, for the good of yourself, and for the good of those who are watching you very closely and who may learn something from what you do. Or what you do not do. The choice is yours, Chris Brown. The choice is yours-


Godspeed,
Kevin Powell


Kevin Powell is an activist, public speaker, and award-winning author or editor of 10 books, including Open Letters to America (essays) and No Sleep Till Brooklyn (poetry). Kevin lives in Brooklyn, New York. Email him at kevin@kevinpowell.net or follow him on Twitter @kevin_powell

Tuesday, March 22, 2011

New Book! Private Bodies, Public Texts: Race, Gender, and a Cultural Bioethics



Private Bodies, Public Texts: Race, Gender, and a Cultural Bioethics
by Karla FC Holloway
Duke University Press
248 Pages

Description

In Private Bodies, Public Texts, Karla FC Holloway examines instances where medical issues and information that would usually be seen as intimate, private matters are forced into the public sphere. As she demonstrates, the resulting social dramas often play out on the bodies of women and African Americans. Holloway discusses the spectacle of the Terri Schiavo right-to-die case and the injustice of medical researchers’ use of Henrietta Lacks’s cell line without her or her family’s knowledge or permission. She offers a provocative reading of the Tuskegee syphilis study and a haunting account of the ethical dilemmas that confronted physicians, patients, and families when a hospital became a space for dying rather than healing during Hurricane Katrina; even at that dire moment, race mattered. Private Bodies, Public Texts is a compelling call for a cultural bioethics that attends to the historical and social factors that render some populations more vulnerable than others in medical and legal contexts. Holloway proposes literature as a conceptual anchor for discussions of race, gender, bioethics, and the right to privacy. Literary narratives can accommodate thick description, multiple subjectivities, contradiction, and complexity.

Table of Contents

Preface xv
Acknowledgements xxi
Introduction. The Law of the Body 1
1. Bloodchild 25
2. Cartographies of Desire 67
3. Who's Got the Body? 101
4. Immortality in Cultures 137
Notes 173
Bibliography 199
Index 211

Endorsements

Private Bodies/Public Texts is as powerful as it is beautifully written. Karla FC Holloway’s is a very different kind of bioethics, one that challenges us to think both more broadly and more specifically about what privacy and justice mean. And she reminds us, with sometimes piercing insight, just how critical gender and race can be in making meaning out of both.”
Ruth R. Faden, Director, Johns Hopkins Berman Institute of Bioethics

Private Bodies/Public Texts is an illuminating meditation on the social construction of personal identity, with special focus on gender and racial categorizations in biomedical ethics. Drawing on diverse sources from medicine, law and literature, Karla FC Holloway shows how devalued gender and racial identities not only set the stage for past biomedical abuses but are ironically replicated in the paradigmatic examples that contemporary bioethics invokes in the supposed service of correcting those abuses. This is a subtle, challenging book.”
Robert A. Burt, Alexander M. Bickel Professor of Law, Yale University

“Karla FC Holloway has written an important book that challenges the objectification of patients’ stories that is so common in the practice of bioethics. She persuasively argues for a cultural ethics, an ethics which gives constitutive weight to the cultural context of those stories, especially the cultural contexts of race and gender identity. Using this approach, she presents crucial new insights into issues of reproduction, clinical trials, genomics and death and dying. Her discussion of the events at Memorial Medical Center after Katrina will become a classic in the field. But most importantly, she shows us that the practice of bioethics must change if it is to successfully relate to the issues raised by the thick narratives of reality.”
Baruch A. Brody, Baylor College of Medicine

About The Author

Karla FC Holloway is James B. Duke Professor of English at Duke University, where she also holds appointments in the Law School, Women’s Studies, and African & African American Studies, and is an affiliated faculty with the Institute on Care at the End of Life and the Trent Center for Bioethics, Humanities & History of Medicine. She serves on the Greenwall Foundation’s Advisory Board in Bioethics, was recently elected to the Hastings Center Fellows Association, and is the author of many books, including Bookmarks: Reading in Black and White; Passed On: African-American Mourning Stories, also published by Duke University Press; and Codes of Conduct: Race, Ethics, and the Color of Our Character.

Monday, March 21, 2011

'Left of Black': Episode #26 featuring Professor Ebony Utley and Jasiri X



Left of Black #26
w/ Ebony Utley and Jasiri X
March 21, 2011

Left of Black host Mark Anthony Neal is joined via Skype by Professor Ebony Utley, who examines the proliferation of religious conspiracy theories about prominent hip-hop artists. Later Neal is joined by activist and hip-hop artist Jasiri X, in wide ranging conversation about socially conscious hip-hop in the age of Social Media.

***

Ebony Utley, an assistant professor of Communication Studies at California State University, Long Beach author of the forthcoming book Rap and Religion: Understanding The Gangsta’s God (Praeger 2012) as well as the co-editor of Hip Hop’s Languages of Love (2009). She has published in several journals including Black Women Gender & Families, Critical Studies in Media Communication, Rhetoric and Public Affairs, The Western Journal of Black Studies, and Women and Language. Follow her on Twitter @U_Experience.

Jasiri X is a Pittsburgh based hip-hop artist, activist and entrepreneur, who burst on the national and international Hip-Hop scene with the controversial “Free the Jena 6″ which was named “Hip-hop Political Song of the Year,” and won “Single of the Year” at the Pittsburgh Hip-Hop Awards. His recent videos include “What if the Tea Party was Black?,” “American Workers Vs Multi-Billionaires,” and “Wandering Strangers.” Follow him on Twitter @Jasiri_X

***

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

Is Hip-Hop Feminism Alive in 2011?



Joan Morgan coined the phrase back in 1999, but what does hip-hop feminism look like today? Is it Queen Latifah? Nicki Minaj? Or the 10-year-old girl calling out Lil Wayne?

***

Is Hip-Hop Feminism Alive in 2011?
by Akoto Ofori-Atta |The Root.com

In 1992 Dr. Dre released his single "Bitches Ain't Sh--," complete with a chorus that emphatically reduces women to nothing but "hoes and tricks." In 1996 Akinyele famously sang "Put It In Your Mouth," a song that flooded radio airwaves and clubs across the country.

Fast-forward to 2003, and Nelly releases a video for his single "Tip Drill," in which he famously slides a credit card between the cheeks of a video vixen's bottom. And then there was, of course, the Don Imus incident, when he justified his "nappy-headed ho" comment by arguing that black men regularly call their women out of their names in hip-hop songs.

There is no shortage of these cringe-inducing moments that have made women question their relationship to hip-hop. But these moments don't go completely uncontested. From Queen Latifah's "U.N.I.T.Y." ("Who you callin' a bitch?") to a 10-year-old's heartfelt plea to Lil Wayne urging him to speak highly of women, hip-hop feminism has almost always been just as audible as the crass catcalls. While one might be hard-pressed to find a song of the "Put It In Your Mouth" variety in heavy rotation today, hip-hop feminists still have a job to do in railing against a male-dominated culture.

Hip-hop feminists are like other feminists in that they advocate for gender equality. Where they part ways from other feminist groups is that they operate in and identify as part of hip-hop culture, as expressed in their choices in music, dance, art and politics.

Leaving Behind Rap's Misogyny

For some, the term "hip-hop feminism" offers up quite the enigma. Critics position misogyny as hip-hop's cardinal sin, which raises the obvious question: How do women actively participate in a culture that seems to hate them so vehemently? For self-described hip-hop feminists, attempting to answer that question is not their only task, since understanding what hip-hop feminism is and isn't goes far beyond responding to women-bashing sentiment.

"I could care less about what these boys are expressing in their lyrics, whether it's misogynistic or sexist or not, because we've had that conversation," says Joan Morgan, author of the seminal book When Chickenheads Come Home to Roost: My Life as a Hip-Hop Feminist. Today's hip-hop feminists, she says, should be focused on addressing other critical issues, like challenging the "respectability politics" that keep black women from freely expressing their sexuality.

Read the Full Essay @ the Root.com

Rap Sessions: Nicki Minaj And Images Of Black Women In Media



from NewsOne.com

Rap Sessions: Nicki Minaj And Images Of Black Women In Media

Bakari Kitwana interviews Mark Anthony Neal about the Nicki Minaj’s recent appearance on Saturday Night Live as “The Bride of Blackenstein,” which interestingly generated very little serious media critique.

Listen Here

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***

Mark Anthony Neal is Professor of Black Popular Culture at Duke University, host of the internet TV show Left of Black, and the author five books, and co-editor the forthcoming That’s The Joint: The Hip-Hop Studies Reader (2nd Edition).

Bakari Kitwana is CEO of Rap Sessions, Editor at Large of Newsone.com and author of the forthcoming Hip-Hop Activism in the Obama Era. (Third World Press, 2011)

Friday, March 18, 2011

Trailer--Take a Look: Complete Aretha Franklin on Columbia



Description

Take a Look demonstrates how Aretha was born the “Queen of Soul,” paying loving care and attention to every facet of her years at Columbia.

The package includes CDs of Aretha's seven full-length albums for Columbia; two CDs reflecting her collaborations with producers Bobby Scott (in 1963) and Clyde Otis (in 1964); and a bonus CD of singles produced by Bob Johnston and rarities that were "sweetened" and released after Aretha left the label.

The set will also includes a DVD featuring Aretha, at the piano, performing several songs on The Steve Allen Show in 1964.

Among the highlights of Take a Look is a previously unreleased version of Yeah!!! In Person With Her Quartet which strips away the artificial club ambience that was added to the album's studio performances, revealing Aretha at the peak of her powers.

Another high point is an unreleased album called A Bit of Soul. Though it contains previously released material, the original album is presented here for the first time in its master form.

Other revelations include riveting studio conversation between Aretha, John Hammond and pianist Ray Bryant during the making of Aretha's debut album in the summer of 1960.

The lavish set will include a 48-page booklet, designed by Michael Boland, with never-before-seen photos by Columbia staff photographer Don Hunstein; an excerpt from John Hammond's 1977 autobiography, On Record, in which he reflects on the joy of discovering a singular talent and the heartbreak of losing her to Atlantic; and a newly commissioned essay by Daphne Brooks, a Professor of English & African American Studies at Princeton University and the author of Grace, about the making of the classic Jeff Buckley album, for the acclaimed 33 1/3 series (published by Continuum).

The booklet will also include a complete discography of albums and singles, and tribute quotes from Aretha's soul sisters (including Gladys Knight, Patti LaBelle, Dionne Warwick, Mavis Staples) and soul children (Mariah Carey, Celine Dion, Christina Aguilera, Alicia Keyes.

The set's producer, Leo Sacks, says: "The stunning performances on Take a Look demonstrate how Aretha Franklin paved the path to her own greatness. Here is the young Aretha planting the seedlings that would blossom a short time later at Atlantic Records. From standards to show tunes to bebop to blues, Take a Look captures a gritty soul about to take flight."

Cover Art! That's the Joint: The Hip-Hop Studies Reader, 2nd Edition

When You Attack Public Workers Unions, You Attack New York’s Black Middle Class


special to NewBlackMan

When You Attack Public Workers Unions, You Attack New York’s Black Middle Class

by Mark Naison, Fordham University

During my forty plus years as a scholar, teacher, coach and community organizer, I have had the opportunity to spend a great deal of time in the outer boroughs, not only in neighborhoods adjoining Manhattan, but in places where the Manhattan skyline sometimes looks like a distant universe. Whether it was through conducting oral histories, coaching basketball and baseball games, doing workshops in schools or advising community organizations on how to better reach neighborhood youth, I can say, with confidence that I am spent time in every single neighborhood in Brooklyn and the Bronx, and in large portions of Queens and Staten Island.

When I visit these neighborhoods, I can’t help but take note of the age and quality of the housing stock, the variety of stores in local business district, the atmosphere in the streets, and the demographic distribution of the population, not only in terms of race, but occupation.

I have learned many things from these visits, but one of the things that leaps at me is the size of the City’s Black middle class and the its almost complete physical separation from the majority white upper class that sets the tone, and has the power in Michael Bloomberg’s New York.

There are three large cooperative housing developments in New York City that I visit regularly that are majority Black and majority middle class—Rochdale Village in Queens, Starrett City in Brooklyn, and Co-Op City in the Bronx. Located at the very outskirts of each borough, more than ten miles from Manhattan- they are self contained communities with their own shopping centers, schools and ball fields. While they are not without problems, and have only a small number of white families left, for the most part they are safe, well kept communities which are good places to raise families and which, though they are far from Manhattan have excellent shopping, decent public services, and vibrant churches and community organizations.

There is one other thing about these communities, other than their racial composition that distinguishes them from most Manhattan neighborhoods and that is where the people who live in them work. Overwhelmingly, the people in these communities are civil servants or people who work in health care. They are teachers, transit workers, police officers, prison guards, nurses and nurses aids, bus drivers, and clerks and administrators in city agencies. Literally, they are the people who make New York City run.

And almost all of them are members of unions- the UFT, the PBA, the Transport Workers Union, DC 37, Local 1199. The people here – the older generation- are the ones who unionized New York City’s health care industry in the 60’s and 70’s and helped those workers move into the middle class; they are the ones who led the Transit Strike in 2005, and they are the ones who stand to lose most if Andrew Cuomo’s budget goes through without a millionaire’s tax and If Michael Bloomberg gets to lay off teachers without consideration of seniority.

Make no mistake about it, Cuomo and Bloomberg may think they are being “color blind” when they fire government workers and undermine the power of public sector unions, but the consequences of their policies are anything but.

Their budget proposals, if implemented, will have a direct and devastating impact on the New York’s large and vibrant Black middle class whose hard work all New Yorker’s benefit from, and will be felt with special harshness in Starrett City, Rochdale Village, and Co-Op City.

Do Cuomo and Bloomberg, and their acolytes on the editorial board of New York newspapers know or care that this will happen? Probably not. After all, most of them have never been to the three housing developments I have mentioned, much less spoken to people who live there.

This is Segregation, New York Style, in the year 2011.

And another good reason to stand up for unions and accept no attacks on collective bargaining rights in the City of New York.

***

Mark Naison is a Professor of African-American Studies and History at Fordham University and Director of Fordham's Urban Studies Program. He is the author of three books and over 100 articles on African-American History, urban history, and the history of sports. His most recent book White Boy: A Memoir, published in the Spring of 2002.

Thursday, March 17, 2011

Author Meets the Critics: Pimps Up, Hoes Down: Hip-Hop's Hold on Young Women



The Hip-Hop Archives @ Harvard
W.E.B. Du Bois Institute
104 Mount Auburn Street, 3R
Cambridge, MA 02138
Phone: 617.495.8508


March 22, 2011
4:00pm - 6:00pm


Author Meets the Critics

Pimps Up, Hoes Down: Hip-Hop's Hold on Young Women
by Tracey Sharpley Whiting

Critics


David Ikard (Florida State University)
Shayne Lee (Tulane)
Mark Anthony Neal (Duke)

The Scholar's Cypher

Angela Ards
Glenda Carpio
Henry Louis Gates, Jr.
Wayne Marshall
Nicole Hodges Persley
Gwendolyn Pough
Scott Poulson-Bryant
Lisa Thompson

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.

Do We Need Feminism in 2011?



Yes, says noted feminist scholar Beverly Guy-Sheftall. From young American girls writing rappers to protest lyrics about bitches and hos, to the women standing up in Egypt, Libya and Ivory Coast, feminism is indeed alive, well -- and needed -- in the 21st century.

Do We Need Feminism in 2011?
by Beverly Guy-Sheftall | The Root.com

As part of Women's History Month, The Root is exploring the role that feminism plays in African-American lives, from its role in hip-hop to black men embracing the term to radical women who waged war against oppression over the years. We asked noted scholar Beverly Guy-Sheftall, the former president of the National Women's Studies Association and a pioneer in black feminism, to weigh in on where she sees the movement heading today. Here are her thoughts.

As we celebrate Women's History Month this March, it is important to reflect upon the continuing struggle of women around the globe to live better lives -- in peace and with justice. Given the horrific circumstances facing our sisters and brothers over the past weeks in Tunisia, Bahrain, Egypt, Ivory Coast and now Libya, it is imperative that we envision a world in which every one of us is free from the ravages of poverty, greed, discrimination, war and authoritarian regimes.

It is my black feminist politics that propels me always to think deeply about the human condition: global realities, especially as they affect people of color, women and children; and the urgency of our need to eliminate racism, sexism, classism, ableism, homophobia, religious intolerance, xenophobia and all other oppressions that plague humans wherever they live.

Despite the importance of the politics of feminism and all of the ways in which it addresses oppression of all varieties, I still find myself having to defend my allegiances to the goals of women's movements around the world. I am still challenged about my self-identification as a black feminist. So I want to say what I mean when I use this term.

For me the label "black feminist" enables me to make visible the emancipatory vision and acts of resistance among women who articulate their understanding of the complex nature of black womanhood (in all its diversity); the interlocking nature of the oppressions we suffer; and the necessity of sustained struggle in our quest for self-determination, the liberation of black people and gender equality. It encourages me to express solidarity with other women and people of color engaged in local and global struggles for emancipation.

As I ponder the future of black feminism in the U.S., this is what I see: It is imperative that we find ways to convince black communities -- especially black youths -- that, in the words of bell hooks, "feminism is for everybody." What this means is that we must develop an abhorrence for violence against women and girls and declare a moratorium on rape.

Read the Full Essay @ The Root.com

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Beverly Guy-Sheftall is the founder and director of the Women's Research & Resource Center at Spelman College, where she is also the Anna Julia Cooper Professor of Women's Studies. She has edited or co-edited Who Should Be First? Feminists Speak Out on the 2008 Presidential Election; Still Brave: The Evolution of Black Women's Studies; and Words of Fire: An Anthology of African-American Feminist Thought. She is also co-founder of SAGE: A Scholarly Journal on Black Women.

Wednesday, March 16, 2011

Muammar Qaddafi's Chicago Connection



How the feds used the Libyan dictator to bring down the infamous El Rukns gang from the city's South Side.

Muammar Qaddafi's Chicago Connection
by Natalie Y. Moore

From keeping crack cocaine off Chicago's streets in the mid-1980s to becoming the first Americans convicted of domestic terrorism, the El Rukns have had one of the most fascinating gang stories with global reach.

They sold synthetic heroin. They prayed in a mosque. They held community meetings. They got arrested for murder. In the 1970s and '80s, the El Rukns teetered among contradictions. Leader Jeff Fort, aka Chief Malik, sat on a throne at the South Side headquarters. Law enforcement and federal prosecutors zealously pursued them.

But their real legacy is a federal conviction that tied them to Muammar Qaddafi. Twenty-five years ago, the U.S. government indicted members of the El Rukns for plotting domestic terrorist acts on behalf of Libya for $2.5 million.

Lance Williams and I explore the domestic terrorism trial in our new book, The Almighty Black P Stone Nation: The Rise, Fall and Resurgence of an American Gang. Our purpose is to tell a story that looks at the social and political underpinnings of the notorious street organization.

Read the Full Essay the theRoot.com

Byron Hurt: Why I Am a Male Feminist



The word turns off a lot of men (insert snarky comment about man-hating feminazis here) -- and women. But here's why black men should be embracing the "f" word.

Why I Am a Male Feminist

by Byron Hurt

When I was a little boy, my mother and father used to argue a lot. Some mornings, I would wake up to the alarming sound of my parents arguing loudly. The disagreement would continue until my father would yell with finality, "That is it! I'm not talking about this anymore!" The dispute would end right there. My mother never got the last word.

My dad's yelling made me shrink in fear; I wanted to do something to make him stop raging against my mother. In those moments, I felt powerless because I was too small to confront my father. I learned early that he had an unfair advantage because of his gender. His size, strength and power intimidated my mother. I never saw my father hit her, but I did witness how injurious his verbal jabs could be when they landed on my mom's psyche.

My father didn't always mistreat my mother, but when he did, I identified with her pain, not his bullying. When he hurt her, he hurt me, too. My mother and I had a special bond. She was funny, smart, loving and beautiful. She was a great listener who made me feel special and important. And whenever the going got tough, she was my rock and my foundation.

One morning, after my father yelled at my mom during an argument, she and I stood in the bathroom together, alone, getting ready for the day ahead of us. The tension in the house was as thick as a cloud of dark smoke. I could tell that my mother was upset. "I love you, Ma, but I just wish that you had a little more spunk when you argue with Daddy," I said, low enough so my father couldn't hear me. She looked at me, rubbed my back and forced a smile.

I so badly wanted my mother to stand up for herself. I didn't understand why she had to submit to him whenever they fought. Who was he to lay down the law in the household? What made him so special?

I grew to resent my father's dominance in the household, even though I loved him as dearly as I loved my mother. His anger and intimidation shut down my mother, sister and me from freely expressing our opinions whenever they didn't sit well with his own. Something about the inequity in their relationship felt unjust to me, but at that young age, I couldn't articulate why.

One day, as we sat at the kitchen table after another of their many spats, my mother told me, "Byron, don't ever treat a woman the way your father treats me." I wish I had listened to her advice.

As I grew older and got into my own relationships with girls and women, I sometimes behaved as I saw my father behave. I, too, became defensive and verbally abusive whenever the girl or woman I was dating criticized or challenged me. I would belittle my girlfriends by scrutinizing their weight or their choices in clothes. In one particular college relationship, I often used my physical size to intimidate my petite girlfriend, standing over her and yelling to get my point across during arguments.

I had internalized what I had seen in my home and was slowly becoming what I had disdained as a young boy. Although my mother attempted to teach me better, I, like a lot of boys and men, felt entitled to mistreat the female gender when it benefited me to do so.

After graduating from college, I needed a job. I learned about a new outreach program that was set to launch. It was called the Mentors in Violence Prevention Project. As a student-athlete, I had done community outreach, and the MVP Project seemed like a good gig until I got a real job in my field: journalism.

Founded by Jackson Katz, the MVP Project was designed to use the status of athletes to make gender violence socially unacceptable. When I met with Katz, I didn't realize that the project was a domestic violence prevention program. Had I known that, I wouldn't have gone in for the job interview.

So when Katz explained that they were looking to hire a man to help institutionalize curricula about preventing gender violence at high schools and colleges around the country, I almost walked out the door. But during my interview, Katz asked me an interesting question. "Byron, how does African-American men's violence against African-American women uplift the African-American community?"

No one had ever asked me that question before. As an African-American man who was deeply concerned about race issues, I had never given much thought about how emotional abuse, battering, sexual assault, street harassment and rape could affect an entire community, just as racism does.

Read the Full Essay @ theRoot.com

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Byron Hurt is an award-winning documentary filmmaker and anti-sexist activist.

There’s No Crying In Basketball?



There’s No Crying In Basketball?
What The Heat’s Tears Say About Masculinity & Emotion
by Jamilah Lemieux

I don’t follow sports much, but my beau is a hoops fanatic. I decided that, better than to be a ‘basketball widow’ this season, I might as well learn to appreciate the game and watch along with him from time to time. Between him, his friends and the interesting folks that I follow on Twitter, I’ve heard a lot about Miami Heat player Chris Bosh. More than people speak about his abilities on the court, they mention his tendency to cry after games and his recent remarks about the importance of “man hugs”. I don’t think you need two guesses to figure out what kind of response that’s gotten him from the young brothers out here.

Le sigh.

I understand that the idea of a grown man crying publicly and advocating for man-on-man affectionate touch makes many people uncomfortable, but I think that’s sad. Men–Black men in particular–aren’t typically granted the space to be emotional or affectionate. They aren’t allowed to express their feelings in the ways that women are. How many times have you heard even very young boys told to stop crying and “man up”? In a particularly tragic incident last year, a Long Island man beat his 17-month old son to death in a failed attempt to get him to ‘toughen up’.

I’ve often heard activist and writer Kevin Powell discuss the misnomer that men simply aren’t as emotional as women; since they aren’t given the freedom to cry or speak at length about their feelings, they often times express them through yelling or violence. I’m inclined to agree. While I do understand that there may be some inherent differences between the sexes (and no universal pattern of behavior that defines either of them), it seems apparent that we dehumanizing our men with the expectation that they remain ‘hard’ at all times.

Read the Full Essay @ Clutch Magazine

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

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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.

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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.

Monday, March 14, 2011

'Left of Black': Episode #25 featuring Guy Ramsey, Jr. and Esther Iverem



Left of Black #25
w/Guthrie “Guy” Ramsey, Jr. and Esther Iverem
March 14, 2011

Left of Black host Mark Anthony Neal is joined via Skype by musician, author, professor and curator Guthrie Ramsey, Jr.. Later Black indie digital media pioneer and SeeingBlack.com founder Esther Iverem, joins Neal, also via Skype.

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Guthrie Ramsey, Jr. is the Edmund J. and Louise W. Kahn Term Professor of Music at the University of Pennsylvania and co-curator of Ain’t Nothing Like the Real Thing: How the Apollo Theater Shaped American Entertainment, currently exhibited at the Museum of the City of New York. Ramsey is the author of Race Music: Black Cultures from Bebop to Hip-Hop ( University of California Press, 2003) and the forthcoming In Walked Bud: Earl “Bud ” Powell and the Modern Jazz Challenge.

Esther Iverem is founder and editor of SeeingBlack.com, which celebrates its 10th anniversary this year. A journalist, poet and author, Iverem’s most recent book is We Gotta Have It: Twenty Years of Seeing Black at the Movies, 1986-2006 (Thunder’s Mouth Press). A former staff writer for several newspapers, including The Washington Post and New York Newsday, she is the recipient of numerous honors, including a USC Annenberg/Getty Arts Journalism Fellowship, a National Arts Journalism Fellowship and an artist’s fellowship from the D.C. Commission on the Arts and Humanities. She is also a member of the Washington Area Film Critics Association and the Alliance of Women Film Journalists.

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