tag:blogger.com,1999:blog-130968782024-03-17T23:03:31.854-04:00NewBlackMan (in Exile)The Digital Home for Mark Anthony NealMark Anthony Nealhttp://www.blogger.com/profile/07551259092635367609noreply@blogger.comBlogger12404125tag:blogger.com,1999:blog-13096878.post-79067078311983298612024-01-06T12:52:00.004-05:002024-01-06T12:54:22.697-05:00From Asa to A. Phillip: Nothing But a ‘Sigma’ Man by Mark Anthony Neal<p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-T3Ar4wJPBinegSnlN9_xyGJlfPicnAzaPdlSFM-0r17kKaGVhZSzymrahLmGI07cyj2fjEYcMHiPVWTfWaeeZD3FGGPBRPM3L76kuuxAtOPAkpJoxq3_Ig09wwukWtzJJGvbTnygFDdQ-Dpep6cDnim0ZT2OzdBgOWMjMXdfvDa0n3GmfYst/s1280/ra-1929-004.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1280" data-original-width="1013" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-T3Ar4wJPBinegSnlN9_xyGJlfPicnAzaPdlSFM-0r17kKaGVhZSzymrahLmGI07cyj2fjEYcMHiPVWTfWaeeZD3FGGPBRPM3L76kuuxAtOPAkpJoxq3_Ig09wwukWtzJJGvbTnygFDdQ-Dpep6cDnim0ZT2OzdBgOWMjMXdfvDa0n3GmfYst/w506-h640/ra-1929-004.jpg" width="506" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><h2><span style="font-size: xx-small;"> Richard </span><span style="font-size: xx-small;">Avedon, <i>A. Philip Randolph, Founder, Brotherhood of Sleeping Car Porters, New York City, April 8, 1976</i></span></h2></td></tr></tbody></table><br /><p></p>
<p style="line-height: 115%; margin: 0in; text-align: justify;"><b style="font-family: Roboto;"><span style="color: black;">From Asa to A. Phillip: Nothing
But a ‘Sigma’ Man by Mark Anthony Neal</span></b></p>
<p style="line-height: 115%; margin: 0in; text-align: justify;"><span style="font-family: Roboto;">NewBlackMan (in Exile) | @NewBlackMan</span></p>
<p style="line-height: 115%; margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in; text-align: justify;"><span style="font-family: Roboto;"><span style="color: black;"> </span></span></p>
<p style="line-height: 115%; margin: 0in; text-align: justify;"><span style="color: black; font-family: Roboto;">One of the most important images of the
Black masculinity in the 20th century came courtesy of Michael Roemer’s
film <i>Nothing But a Man</i>. Set in Alabama, but filmed on location,
primarily in Atlantic City, NJ throughout 1963 – it was completed a month after
the March on Washington for Jobs and Freedom – <i>Nothing But a Man</i>, with
its focus on Black masculinity and fatherhood, in relationship to work and
organized labor, serves, in part, as a tribute to Asa Phillip Randolph,
co-founder of <i>The Messenger</i>, who is most well known as the organizer of
Brotherhood of Sleeping Car Porters.</span><span style="font-family: Roboto;"></span></p>
<p style="line-height: 115%; margin: 0in; text-align: justify;"><span style="color: black; font-family: Roboto;"> </span><span style="font-family: Roboto;"></span></p>
<p style="line-height: 115%; margin: 0in; text-align: justify;"><span style="color: black; font-family: Roboto;">During the Freedom Rides and Civil
Rights Marches of the early 1960s, in which media coverage often depicted Black
men as loose cannons with little respect for the law, however unjust, <i>Nothing
but a Man </i>offered a rarely seen, and perhaps unprecedented, portrait of
Black men. As such the director Michael Roemer used NAACP field workers
to help do research for the film, adding a level of authenticity to the
narrative. At the center of the film was Duff Anderson, portrayed with
brooding nuance by Ivan Dixon, whose gestures – facial and physical – conveyed
the complexity of Black manhood that had been usually presented in television
and film as cartoonish and threatening. Duff was neither Stepin Fetchit, the
bumbling and shuffling character that actor Lincoln Perry made a crossover star
in the 1930s or Malcolm X, an icon of Black militancy for generations.
Duff Anderson was, as the film title suggests, just a man.</span><span style="font-family: Roboto;"></span></p>
<p style="line-height: 115%; margin: 0in; text-align: justify;"><span style="color: black; font-family: Roboto;"> </span><span style="font-family: Roboto;"></span></p>
<p style="line-height: 115%; margin: 0in; text-align: justify;"><span style="color: black; font-family: Roboto;">Working with an all-Black unionized
section gang, so called “gandy dancers”, who helped maintain railroad tracks
throughout the South, Duff meets and falls in love with the “preacher’s
daughter” Josie, who was portrayed by noted Jazz vocalist Abbey Lincoln. Yet
Duff carries many of the demons that burdened Black men throughout the early
20th century: he left a four-year-old son in Birmingham with a woman that he
didn’t marry, he was estranged from his own father, and though working the
railroad afforded him some freedom and money in comparison with most
working-class Black men, the work isolated him from community and family.</span><span style="font-family: Roboto;"></span></p>
<p style="line-height: 115%; margin: 0in; text-align: justify;"><span style="color: black; font-family: Roboto;"> </span><span style="font-family: Roboto;"></span></p>
<p style="line-height: 115%; margin: 0in; text-align: justify;"><span style="color: black; font-family: Roboto;">At every turn as Duff considers marrying
Josie, raising his estranged son, and starting a family with Josie, it is the
question of a work life balance – far different from most whites – in which
life is not just a metaphor for the quality of living, but for life itself.
Duff, for example, after marrying Josie and having to leave his
unionized railroad job, takes a job at a local sawmill. When Duff tries to
subtly organize the Black men at the mill to “stand up for themselves” he is
summarily fired, and subsequently blacklisted from jobs at other mills.
“Now, if you want to work like a real nigger” a local bartender tells Duff,
“You can always go out and chop cotton.” Faced with only job opportunities that
he saw as both demanding and backward (“They done that too long in my family”),
Duff chose flight.</span><span style="font-family: Roboto;"></span></p>
<p style="line-height: 115%; margin: 0in; text-align: justify;"><span style="color: black; font-family: Roboto;"> </span><span style="font-family: Roboto;"></span></p>
<p style="line-height: 115%; margin: 0in; text-align: justify;"><span style="color: black; font-family: Roboto;">Duff Anderson is an echo of the men that
A Phillip Randolph first organized as elevator operators, and later as sleeping
car porters, where trade unions offered Black men some modicum of financial
security, a level of social respect among Negros, and a finer sense of their
masculinity, in an era when manhood was largely tethered to your ability to
have stable employment. Yet in the bartender’s suggestion, one can hear
Eugene Debs’ “Appeal to Negro Workers” (1923) cautioning Black workers to not
be “willing to be menials and servants and slaves of the white people.”
It was an appeal that Randolph took seriously in the formation of the
Brotherhood of Sleeping Car Porters — the use of “Brotherhood”, perhaps a nod
to the African Blood Brotherhood of Cyril Briggs, which was also influential on
the ideas of the young A. Phillip Randolph after he moved to Harlem in
1911. Indeed, “Brotherhood, Scholarship, Service!” – the mantra of the
Brothers of Phi Beta Sigma – would remain a guiding principle of A Phillip Randolph.</span><span style="font-family: Roboto;"></span></p>
<p style="line-height: 115%; margin: 0in; text-align: justify;"><span style="color: black; font-family: Roboto;"> </span><span style="font-family: Roboto;"></span></p>
<p style="line-height: 115%; margin: 0in; text-align: justify;"><span style="color: black; font-family: Roboto;">Randolph’s migration from Jacksonville,
Fl to the emerging Black Mecca of Harlem would be the stimulus for what
historian Cornelius L. Bynum describes as a process of “reinvention” for
Randolph, notably in his transition from being simply known as “Asa” to
becoming “A. Phillip”, which carried an aura of the cosmopolitanism that would
be in the spirit of the New Negro Movement. Randolph’s Harlem
“homecoming” was not unlike that of many other Negroes, who were being
reinvented to all that paid attention as “New Negroes.” That so many came
“Home to Harlem” or Chicago under the guise of opportunity served as a usable
metaphor for a reimagining of Blackness, manhood and politics.</span><span style="font-family: Roboto;"></span></p>
<p style="line-height: 115%; margin: 0in; text-align: justify;"><span style="color: black; font-family: Roboto;"> </span><span style="font-family: Roboto;"></span></p>
<p style="line-height: 115%; margin: 0in; text-align: justify;"><span style="color: black; font-family: Roboto;">These were processes of transformation
that were befitting the so-called Jazz age, where in the spirit of modernist
creativity, social and artistic improvisation and the collaborative ethos of
the Big Bands of James Reese Europe, Fletcher Henderson, and Duke Ellington,
many would claim as their entry point into a world made anew. Among them
would be Randolph, who finds his initial footing with “Ye Friends of
Shakespeare” – The Harlem Shakespeare Society – where his sense of
performatively, which would later have an outlet in his oratory, would align
with his sense of an emerging radicalism, social consciences, and talent for
organizing. In Shakespearean drama, Randolph found one of his defining
mantras: “above all to thine own self be true then thou canst be false to no
man.”</span><span style="font-family: Roboto;"></span></p>
<p style="line-height: 115%; margin: 0in; text-align: justify;"><span style="color: black; font-family: Roboto;"> </span><span style="font-family: Roboto;"></span></p>
<p style="line-height: 115%; margin: 0in; text-align: justify;"><span style="color: black; font-family: Roboto;">“Culture for Service, Service for
Humanity” – the Brothers of Phi Beta Sigma are often reminded, and it was a
phrase that Randolph began to embody, even in the earliest years of the
Fraternity. Randolph finds his political voice in <i>The Messenger</i>,
the journal that he launched with fellow socialist traveler Chandler Owens. The
pages of <i>The Messenger</i> were a site of spirited debate with other
journals like Cyril Brigg’s <i>Crusader</i>, Hubert Harrison’s <i>Negro Voice</i>
and most notably Marcus Garvey’s <i>Negro World</i>. That such debates often
spilled out to street corners, where activist stood on boxes, speaks to the
palpable spirit of discourse that was in that moment, an analog or pre-digital
example of what #BlackTwitter once was. That Randolph and Owens utilized
community book clubs and study groups, as part of a broader effort that Jarvis
R. Givens details in his important book <i>Fugitive Pedagogy: Carter G. Woodson
and the Art of Black Teaching</i>, highlights their commitment to “Black
Study”.</span><span style="font-family: Roboto;"></span></p>
<p style="line-height: 115%; margin: 0in; text-align: justify;"><span style="color: black; font-family: Roboto;"> </span><span style="font-family: Roboto;"></span></p>
<p style="line-height: 115%; margin: 0in; text-align: justify;"><span style="color: black; font-family: Roboto;">The New Negro marked a period in which
Black men came to public voice, though Randolph and the pages of <i>The
Messenger</i> offer a more complex view of gender in that moment. Indeed,
one of <i>The Messenger</i>’s major patrons was Lucille Campbell Green
Randolph, a local Harlem businesswoman and wife of A. Phillip Randolph.<b>
</b>“The New Negro Woman, with her head erect and spirit undaunted…ever
conscious of her historic and noble mission of doing her bit toward the
liberation of her people in particular and the human race in general” is how <i>The
Messenger</i> described Black women in a 1923 issue devoted to “The New Negro
Woman.” Though Lucille Campbell Green Randolph was not a member of Zeta Phi
Beta, Inc., her marriage, and partnership with her husband mirror the
relationship between the sorority and Phi Beta Sigma, which are
constitutionally bound. Indeed, when one glances at the rather dour
demeanor of Randolph in the many photos taken of him during the March on
Washington for Jobs and Freedom, one sees the impression on an elder who is
being pushed to the margins of a movement that he helped create, as much as a
man, who lost his life partner, only months earlier in April of 1963.</span><span style="font-family: Roboto;"></span></p>
<p style="line-height: 115%; margin: 0in; text-align: justify;"><span style="color: black; font-family: Roboto;"> </span><span style="font-family: Roboto;"></span></p>
<p style="line-height: 115%; margin: 0in; text-align: justify;"><span style="color: black; font-family: Roboto;">It was on the pages of <i>The Messenger</i>
that Randolph called into question the idea of the “Slacker Porter” contrasting
him to the “manly man”. As Robert Hawkins writes “Through this binary
opposition, Randolph constructed an ideal of black working-class manhood
founded on dignified work, race pride, and labor solidarity.” Like many
of his peers, Randolph was not immune to the so-called “respectability”
politics of the era, as he sought to rehabilitate the idea of the Black worker
through trade-unionism. And indeed, these were some of the most pronounced
themes of <i>Nothing but a Man</i>, which also linked those attributes to an
idealized Black fatherhood. <i>Nothing But a Man</i> was also notable for
its soundtrack, which featured music exclusively from the Motown Recording
company, which was then an up-and-coming Black-owned corporation that had only
been incorporated, three years before the film was shot. It was both prescient
on Roemer’s part and savvy of label owner Berry Gordy to include ‘The
Sound of Young America” as part of the film’s soundscape. Indeed, Gordy’s
bet on a Black popular music that would crossover to White mainstream audience
would dramatically shift the prospects for many Black musicians well into the
future.</span><span style="font-family: Roboto;"></span></p>
<p style="line-height: 115%; margin: 0in; text-align: justify;"><span style="color: black; font-family: Roboto;"> </span><span style="font-family: Roboto;"></span></p>
<p style="line-height: 115%; margin: 0in; text-align: justify;"><span style="color: black; font-family: Roboto;">None of this would have been conceivable
to Randolph, who in erecting a language of manhood for Black working-class
union members, pitted those workers against “the tip-taking, working-class
musician.” Ironically, given Randolph’s own proximity to Black performance and
the Black creative classes, his stance seems surprising. But what
Randolph was juxtaposing was the image of hard-working Black men to that of the
itinerant Bluesman, sitting at a train station, performing for his meals. As </span><span style="color: #131313; font-family: Roboto;">Miriam Thaggert argues in her book<b> </b><i>Riding
Jane Crow: African American Women on the American Railroad,</i> the train
platform was a site</span><span style="color: black; font-family: Roboto;"> in
which the right for Black people to sell their wares, whether fried chicken
sandwiches or a blues tune, were contested. When Randolph, to use
Hawkins’ words, asked porters to decide whether they were proudly laboring
union men or musical mendicants performing on the street for whatever the
Pullman Company and the traveling public might throw their way,” he was
contributing to this discourse.</span><span style="font-family: Roboto;"></span></p>
<p style="line-height: 115%; margin: 0in; text-align: justify;"><span style="color: black; font-family: Roboto;"> </span><span style="font-family: Roboto;"></span></p>
<p style="line-height: 115%; margin: 0in; text-align: justify;"><span style="color: black; font-family: Roboto;">Nearly a century after Randolph offered
those words, and in a historical moment when labor unions continue to be under
assault – especially those who are visibly Black – one wonders how Randolph
would view the situation of run-of-the-mill Black musician or rapper – or
Hollywood writer, who sell their wares to transnational corporations but are
offered little beyond the status of a contract laborer. </span><span style="font-family: Roboto;"></span></p>
<p class="MsoNormal" style="line-height: 115%;"><span style="font-family: Roboto;"> </span></p>
<p class="MsoNormal" style="line-height: 115%;"><span style="font-family: Roboto;">***</span></p>
<p class="MsoNormal" style="line-height: 115%;"><span style="font-family: Roboto;"> </span></p>
<p class="MsoNormal" style="line-height: 115%;"><span style="font-family: Roboto;"><b>Mark
Anthony Neal </b>is the James B. Duke Distinguished Professor of African &
African American Studies at Duke University, and member of the Delta Zeta Sigma
(Durham) Alumni Chapter of Phi Beta Sigma, Incorporated.</span></p>
<style>@font-face
{font-family:"Cambria Math";
panose-1:2 4 5 3 5 4 6 3 2 4;
mso-font-charset:0;
mso-generic-font-family:roman;
mso-font-pitch:variable;
mso-font-signature:-536870145 1107305727 0 0 415 0;}@font-face
{font-family:Calibri;
panose-1:2 15 5 2 2 2 4 3 2 4;
mso-font-charset:0;
mso-generic-font-family:swiss;
mso-font-pitch:variable;
mso-font-signature:-536859905 -1073697537 9 0 511 0;}@font-face
{font-family:Roboto;
panose-1:2 0 0 0 0 0 0 0 0 0;
mso-font-charset:0;
mso-generic-font-family:auto;
mso-font-pitch:variable;
mso-font-signature:-536868097 1342185855 33 0 415 0;}p.MsoNormal, li.MsoNormal, div.MsoNormal
{mso-style-unhide:no;
mso-style-qformat:yes;
mso-style-parent:"";
margin:0in;
mso-pagination:widow-orphan;
font-size:12.0pt;
font-family:"Calibri",sans-serif;
mso-ascii-font-family:Calibri;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:Calibri;
mso-fareast-theme-font:minor-latin;
mso-hansi-font-family:Calibri;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;
mso-font-kerning:1.0pt;
mso-ligatures:standardcontextual;}p
{mso-style-noshow:yes;
mso-style-priority:99;
mso-margin-top-alt:auto;
margin-right:0in;
mso-margin-bottom-alt:auto;
margin-left:0in;
mso-pagination:widow-orphan;
font-size:12.0pt;
font-family:"Times New Roman",serif;
mso-fareast-font-family:"Times New Roman";}.MsoChpDefault
{mso-style-type:export-only;
mso-default-props:yes;
font-family:"Calibri",sans-serif;
mso-ascii-font-family:Calibri;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:Calibri;
mso-fareast-theme-font:minor-latin;
mso-hansi-font-family:Calibri;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}div.WordSection1
{page:WordSection1;}</style>Mark Anthony Nealhttp://www.blogger.com/profile/07551259092635367609noreply@blogger.comtag:blogger.com,1999:blog-13096878.post-48866429185203286482023-10-30T17:17:00.000-04:002023-10-30T17:17:10.284-04:00Meshell Ndegeocello - The Atlantiques (Official Video)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7pLBy0sbyuIi0fGj3zeTAE9WI8jDndo29BNXdWsmOITNbkMfulRSwTCi_sTtR7XS3JJdsOf32btTpsXs5taNzcRCVFfnaT-DT9VhSRBsWHuhdAZex32cgOdQ7yC-tk_i0YORMUiYA6OKfk6UHCQrTWsv5xrtZ3ZAKvUH0JTJCmww2Z94UcdED/s1280/maxresdefault.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7pLBy0sbyuIi0fGj3zeTAE9WI8jDndo29BNXdWsmOITNbkMfulRSwTCi_sTtR7XS3JJdsOf32btTpsXs5taNzcRCVFfnaT-DT9VhSRBsWHuhdAZex32cgOdQ7yC-tk_i0YORMUiYA6OKfk6UHCQrTWsv5xrtZ3ZAKvUH0JTJCmww2Z94UcdED/w640-h360/maxresdefault.jpg" width="640" /></a></div><p></p>
<iframe width="860" height="515" src="https://www.youtube.com/embed/AFAWrJ6EC8I?si=JnyIQ1Kd982PXjhm" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe>Mark Anthony Nealhttp://www.blogger.com/profile/07551259092635367609noreply@blogger.comtag:blogger.com,1999:blog-13096878.post-33929679260534368522023-10-30T17:13:00.009-04:002023-10-30T17:13:56.741-04:00Tiny Desk Concert | Nile Rodgers & CHIC<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjl5u2b4yv2uj8py3y_G5-2K3NwFM7Hc9YhD8bu5C2uFPT7fBGSZgYPf87O6M9rYVooBqepreso5gyGxjf5kzqzm4A2GlGUhLAh6-YMxqK3St9NcWjdBk_34-S-ouNyA8nvTu22PF4yMGUpBy4PTzFCYQa2YH3FTnIARlYJd6t4oG_2JZgcKy39/s5265/nilerodgers-tinydesk-21-1cbf57ea2760c85cf3c36c81fa0a63245fc14e23.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3944" data-original-width="5265" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjl5u2b4yv2uj8py3y_G5-2K3NwFM7Hc9YhD8bu5C2uFPT7fBGSZgYPf87O6M9rYVooBqepreso5gyGxjf5kzqzm4A2GlGUhLAh6-YMxqK3St9NcWjdBk_34-S-ouNyA8nvTu22PF4yMGUpBy4PTzFCYQa2YH3FTnIARlYJd6t4oG_2JZgcKy39/w640-h480/nilerodgers-tinydesk-21-1cbf57ea2760c85cf3c36c81fa0a63245fc14e23.jpg" width="640" /></a></div><p></p><p style="text-align: justify;"><span style="background-color: white;"><span style="font-family: Roboto;">"<b>Nile Rodgers</b><span class="yt-core-attributed-string yt-core-attributed-string--white-space-pre-wrap"><span class="yt-core-attributed-string--link-inherit-color">' wondrous set spans his massive catalog — songs he wrote for CHIC, songs he wrote with collaborators, songs he wrote for other stars and a surprise song he wrote for a classic movie. Throughout, Rodgers is the pulse for an ever-amplifying funk. The band's performance of "I'm Coming Out" builds to a rip-roaring sax solo. A rollicking performance of "We Are Family" breaks down in the middle before erupting to a triumphant finish. And atop the rippling bassline of "Good Times," Rodgers breaks into an impromptu version of "Rapper's Delight," which samples the song. It all leads to the maximum funkocity of Bowie's "Let's Dance," a tribute to the genre's reach and power."</span></span></span></span></p>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="515" src="https://www.youtube.com/embed/pRERgcQe-fQ?si=dNIfWRIPMDZokH9j" title="YouTube video player" width="860"></iframe>Mark Anthony Nealhttp://www.blogger.com/profile/07551259092635367609noreply@blogger.comtag:blogger.com,1999:blog-13096878.post-25349775132086337522023-10-27T13:18:00.005-04:002023-10-29T22:53:56.986-04:00Mark Anthony Neal: Film icon Richard Roundtree Incarnated 'Black Superhero Image of a Malcolm X' with Style & 'Swagger'<div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIq_A99mQy6TjTfCReyvsCUCW0Q1geMIIa0Hc_qn64hmhROqsT3pDhpMgX2u4iNwHHjY47L3NCWzWwDr0Bdvmc_urtVDkDryVw1vYAPKCD1u7p4eq-Vc8N6siYq-V3oiDLG5YKXUNnb5iajVotIsXiiaRa1Md6KAYgxhJBkCxEzaS-lQKb05oO/s2940/Screenshot%202023-10-26%20at%204.56.25%E2%80%AFAM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1912" data-original-width="2940" height="416" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIq_A99mQy6TjTfCReyvsCUCW0Q1geMIIa0Hc_qn64hmhROqsT3pDhpMgX2u4iNwHHjY47L3NCWzWwDr0Bdvmc_urtVDkDryVw1vYAPKCD1u7p4eq-Vc8N6siYq-V3oiDLG5YKXUNnb5iajVotIsXiiaRa1Md6KAYgxhJBkCxEzaS-lQKb05oO/w640-h416/Screenshot%202023-10-26%20at%204.56.25%E2%80%AFAM.png" width="640" /> </a></div><div class="separator" style="clear: both; text-align: justify;"> </div><div class="separator" style="clear: both; text-align: justify;"><span class="yt-core-attributed-string yt-core-attributed-string--white-space-pre-wrap"><span class="yt-core-attributed-string--link-inherit-color"><span style="font-family: Roboto;"><b>Mark
Anthony Neal</b>, Author and James B. Duke Distinguished Professor of
African & African American Studies at Duke University joined FRANCE 24's <b>Mark Owen</b> to discuss the enduring legacy of the late actor <b>Richard Roundtree</b>. The actor, who came to international prominence as the star of the film SHAFT (1971), had a career that lasted more than 50 years in film, television and advertising.</span></span><span class="yt-core-attributed-string--link-inherit-color" style="font-family: Roboto;"><br /></span></span></div><div class="separator" style="clear: both; text-align: center;"> </div><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='620' height='566' src='https://www.blogger.com/video.g?token=AD6v5dy-7gOEYFGEf1fMcqR2qc6lvxRu48ajINh-1mRlMW9QXw8xiFplcTfEyDvSDMe0lBe3z9DRQ8GW23I' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div><br /><p><br /></p>Mark Anthony Nealhttp://www.blogger.com/profile/07551259092635367609noreply@blogger.comtag:blogger.com,1999:blog-13096878.post-45603337018315031242023-10-20T19:47:00.004-04:002023-10-20T19:47:34.351-04:00Still Paying the Price: Reparations in Real Terms | EP 3: A Death Ruled “Justifiable”: The Killing of John Wesley Wilder<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkkHmFked1t6yFMxialVLNt0XEFmF_FMOF53r6EF5IZfiKXk0gTGjcbHNkoXEaGyKOIBPskFUIEr9YrUWh0oU4OA5kiT8CqlQ1OrqsDJpBDw_cuPmNHLpok9Xoi8bYEEZKDFqqTgzdNFuh4GehsXDPRgbausbjBU0gOT5Tyicht8zmV6b2q4Gq/s640/lwc-stillpayingtheprice-podcast-final.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="640" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkkHmFked1t6yFMxialVLNt0XEFmF_FMOF53r6EF5IZfiKXk0gTGjcbHNkoXEaGyKOIBPskFUIEr9YrUWh0oU4OA5kiT8CqlQ1OrqsDJpBDw_cuPmNHLpok9Xoi8bYEEZKDFqqTgzdNFuh4GehsXDPRgbausbjBU0gOT5Tyicht8zmV6b2q4Gq/w640-h640/lwc-stillpayingtheprice-podcast-final.jpg" width="640" /></a></div><p></p><p style="text-align: justify;"><span style="font-family: Roboto;">'In July 1965, police officer <b>Edward Nugent</b> encountered <b>John Wesley
Wilder</b>, a Black man, outside a cafe in Ruston, Louisiana. Nugent shot
Wilder five times, resulting in his death. Local authorities deemed it a
justifiable homicide, and subsequent investigations in 1965 did not
bring justice or closure to Wilder's family. In 2008, legislation
introduced by Congressman<b> John Lewis</b>, gave hope to families seeking
justice for racially motivated homicides prior to 1970. Nugent, the
shooter, is still alive, and new evidence has emerged. Reporter <b>Ben
Greenberg</b> investigates whether justice still possible for John Wesley
Wilder and his family.'</span></p>
<iframe frameborder="no" height="200px" scrolling="no" seamless="" src="https://player.simplecast.com/c4524253-4e00-459e-bfed-0bd0d5a479c6?dark=true" width="100%"></iframe>Mark Anthony Nealhttp://www.blogger.com/profile/07551259092635367609noreply@blogger.comtag:blogger.com,1999:blog-13096878.post-63750373511433153992023-10-20T19:43:00.005-04:002023-10-20T19:43:42.712-04:00Helga | Writer Macarena Gómez-Barris on Finding Beauty in Ambiguity <p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2upPK0ejYgabqtqWEo2pmRwVn3UcZEsWAKGU5HpjM-ArGfpc1Mjl2mNlD6AVt7gmF-LEX-gUDCxT-Z1bhmvhVKUZ7TYVLg1r_CqL32Flr2Py9nxeTDkVuaRUC_MOV1DohHbTiojVakMh1pr_jFe1ss1mKpZL56b1c96775S6La8P4PwSRFBlT/s600/macarena.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="480" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2upPK0ejYgabqtqWEo2pmRwVn3UcZEsWAKGU5HpjM-ArGfpc1Mjl2mNlD6AVt7gmF-LEX-gUDCxT-Z1bhmvhVKUZ7TYVLg1r_CqL32Flr2Py9nxeTDkVuaRUC_MOV1DohHbTiojVakMh1pr_jFe1ss1mKpZL56b1c96775S6La8P4PwSRFBlT/w512-h640/macarena.jpeg" width="512" /></a></div><p></p><div class="nypr-pull-quote__wrapper">
<div style="text-align: center;"><blockquote class="nypr-pull-quote"><span style="font-family: Roboto;"><i>"This [term] 'femme' becomes
more possible to me as a figure for not just embodiment, but for
thought, action, engagement, connection."</i></span></blockquote></div>
</div>
<p style="text-align: justify;"><span style="font-family: Roboto;"><b>'Macarena Goméz-Barris</b> is Professor and Chair of Modern Culture
and Media at Brown University, founder of the Global South Center at
Pratt Institute, an organization which supports artists, activists, and
scholars in their efforts to decolonialize local and global communities. In this episode of <b><i>Helga,</i></b> Goméz-Barris talks about how one can and must
find beauty in the most ambiguous of places, how she uses the word
“femme” to escape the embattled histories of the word “female," and <span>how she has—and hasn’t—moved on from a traumatic early swimming lesson with her father.' <br /></span></span></p><p></p>
<iframe frameborder="0" height="130" scrolling="no" src="https://www.wnyc.org/widgets/ondemand_player/wnycstudios/#file=/audio/json/1290477/&share=1" width="100%"></iframe>Mark Anthony Nealhttp://www.blogger.com/profile/07551259092635367609noreply@blogger.comtag:blogger.com,1999:blog-13096878.post-62304514736112502162023-10-19T14:18:00.009-04:002023-10-19T14:18:57.209-04:00Left of Black S13 · E21 | Sheryll Cashin on the Systematic Taking of Resources from Marginalized Communities<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuAWoXr3Cfv5e2gGzb16xfPEbl1UJgtKoOaIfDQ9AxumFCpXuzxnXfRdvjNaZ2irSDCYsfG_trMxKr2huS8vGPsqWyKrFk6nA6rp9WomitMWBrXqHEf0xJWd24bRv-Ccqaw4CdIYUd5wbEHhZQuc_u_XqyQgzWK1JM9jYGTCAw0gkSH2hhbRCK/s1920/Ep.21_Sheryll%20CASHIN_Thumbn_LARGER.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuAWoXr3Cfv5e2gGzb16xfPEbl1UJgtKoOaIfDQ9AxumFCpXuzxnXfRdvjNaZ2irSDCYsfG_trMxKr2huS8vGPsqWyKrFk6nA6rp9WomitMWBrXqHEf0xJWd24bRv-Ccqaw4CdIYUd5wbEHhZQuc_u_XqyQgzWK1JM9jYGTCAw0gkSH2hhbRCK/w640-h360/Ep.21_Sheryll%20CASHIN_Thumbn_LARGER.png" width="640" /></a></div><p></p><p style="text-align: justify;"><span class="yt-core-attributed-string yt-core-attributed-string--white-space-pre-wrap"><span class="yt-core-attributed-string--link-inherit-color" style="color: #444444; font-family: Roboto;">How do city and state governments go about creating “ghettos” to sequester their undesirable communities while protecting affluent White spaces? And at whose expense? <b>Sheryll Cashin, J.D.,</b> the Carmack Waterhouse Professor of Law, Civil Rights and Social Justice at Georgetown University Law Center, joins <i>Left of Black</i> host Dr. <b>Mark Anthony Neal</b> to discuss her book <i><a href="https://www.penguinrandomhouse.com/books/609000/white-space-black-hood-by-sheryll-cashin/">White Space, Black Hood: Opportunity Hoarding and Segregation in the Age of Inequality</a></i> published by Beacon Press.</span></span></p>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="515" src="https://www.youtube.com/embed/iDsJfc6GgrQ?si=15-Yuei54t8Bfit3" title="YouTube video player" width="860"></iframe>Mark Anthony Nealhttp://www.blogger.com/profile/07551259092635367609noreply@blogger.comtag:blogger.com,1999:blog-13096878.post-35560120799894616392023-10-19T14:11:00.007-04:002023-10-19T14:11:42.070-04:00Amplify With Lara Downes: How Corinne Bailey Rae and Theaster Gates are Preserving Black Culture <p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgKkpyvZu4PeYkhnO1pkHjOYH9O0BUR15cInUISg5_SYVZt8pgJSpdGSESvHUNkz_-XCFxZ9NDHVGM5QQVvCVlHPJpUm94xpnhG5CDujAh4PVLWSZdzH_uTt_DpOCExb2M-j6y2FF1enB0pudX-zP0hBuOC9IUW1sOpSFOfuSab__HNr5BSg6L/s1400/amplify_corinnebaileyrae_thumb_web_wide-a7c08eb06ccc70fc138508677d7af04b8c9537d3-s1400-c100.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="787" data-original-width="1400" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgKkpyvZu4PeYkhnO1pkHjOYH9O0BUR15cInUISg5_SYVZt8pgJSpdGSESvHUNkz_-XCFxZ9NDHVGM5QQVvCVlHPJpUm94xpnhG5CDujAh4PVLWSZdzH_uTt_DpOCExb2M-j6y2FF1enB0pudX-zP0hBuOC9IUW1sOpSFOfuSab__HNr5BSg6L/w640-h360/amplify_corinnebaileyrae_thumb_web_wide-a7c08eb06ccc70fc138508677d7af04b8c9537d3-s1400-c100.jpg" width="640" /></a></div><p></p><p style="text-align: justify;"><span class="date"> </span>
<span style="font-family: Roboto;">'On her album, <i>Black Rainbows</i>, <b>Corinne Bailey Rae</b> was inspired
by the art, books and magazines at the Stony Island Arts Bank, a
repository for Black history on Chicago's South Side, created by <b>Theaster Gates</b>.' </span></p>
<iframe frameborder="0" height="538" id="jw_embed" scrolling="no" src="https://www.npr.org/embedded-video?storyId=1205847662&mediaId=1205871068&jwMediaType=music" width="800"></iframe>Mark Anthony Nealhttp://www.blogger.com/profile/07551259092635367609noreply@blogger.comtag:blogger.com,1999:blog-13096878.post-24402125210737357182023-10-14T12:39:00.006-04:002023-10-14T23:54:29.822-04:00The Webby-nominated Series 'Left of Black' Returns for Season 14<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1_eAnsC6ttETkWGQC6KPPKIEeUeuzJdNqEmAKXw0IY5uPomEmNWTbUArFwInwA8hAEgySi-YNwUUeulFPaE2QBACIdsuN98s4nNrHczxSXrWgt5rTOlr3MLt4sEI5InlRhYPUPkR6wPHZya0pekeWnVqfpMfQPOJAHTW1pYfQJLf7g5R6g8f8/s6000/DSCF5731.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4000" data-original-width="6000" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1_eAnsC6ttETkWGQC6KPPKIEeUeuzJdNqEmAKXw0IY5uPomEmNWTbUArFwInwA8hAEgySi-YNwUUeulFPaE2QBACIdsuN98s4nNrHczxSXrWgt5rTOlr3MLt4sEI5InlRhYPUPkR6wPHZya0pekeWnVqfpMfQPOJAHTW1pYfQJLf7g5R6g8f8/w640-h426/DSCF5731.png" width="640" /></a></div><span style="background-color: transparent; color: black; font-family: Times,serif; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre;"></span><p></p><p style="text-align: justify;"><span style="background-color: transparent; color: black; font-family: Roboto; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Left of Black</span><span style="background-color: transparent; color: black; font-family: Roboto; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> Season 14 has arrived! We are thrilled to debut a fresh season of Dr. </span><span style="background-color: transparent; color: black; font-family: Roboto; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Mark Anthony Neal</span><span style="background-color: transparent; color: black; font-family: Roboto; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">'s Webby-nominated web series, produced by the </span><span style="background-color: transparent; color: black; font-family: Roboto; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">John Hope Franklin Humanities Institute</span><span style="background-color: transparent; color: black; font-family: Roboto; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> at Duke University. The season is set to kick off on October 19th, 2023 and we're delighted to announce our inaugural guest: Duke University's very own Dr.</span><span style="background-color: transparent; color: black; font-family: Roboto; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> Jasmine Nichole Cobb</span><span style="background-color: transparent; color: black; font-family: Roboto; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, Professor of African & African American Studies and Art, Art History, and Visual Studies.</span></p><p style="text-align: justify;"><span style="background-color: transparent; color: black; font-family: Roboto; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH9ZLVyq2sskMIbacv8BGj2GdFyJV7EtAF6eQtlqDYF8bSi8B6UY8ot15fEHV_GO7sdLsEJV4iOOMHSLSLsKiTqC3F9wB6zTZLhOaVRzvw0mLCvmezedj-bJjRKC3QoRdJiMD5gz2Ua9-jTzo0b-oGdPecjors814CVOM5GEPXX_DeHeWlEaBY/s6000/DSCF5610.png" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3376" data-original-width="6000" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH9ZLVyq2sskMIbacv8BGj2GdFyJV7EtAF6eQtlqDYF8bSi8B6UY8ot15fEHV_GO7sdLsEJV4iOOMHSLSLsKiTqC3F9wB6zTZLhOaVRzvw0mLCvmezedj-bJjRKC3QoRdJiMD5gz2Ua9-jTzo0b-oGdPecjors814CVOM5GEPXX_DeHeWlEaBY/s320/DSCF5610.png" width="320" /></a></div><p></p><p style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="background-color: transparent; color: black; font-family: Roboto; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Dr. Cobb will join Dr. Neal in a captivating season premiere centered on her groundbreaking new book, </span><span style="background-color: transparent; color: black; font-family: Roboto; font-size: 12pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">New Growth: The Art and Texture of Black Hair</span><span style="background-color: transparent; color: black; font-family: Roboto; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> (2022). This book explores the profound significance of Afro-textured Black hair and its intricate relationship with the body, space, and visual culture. Additionally, Season 14 will feature the impactful contributions of Dr. </span><span style="background-color: transparent; color: black; font-family: Roboto; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Deirdre Cooper Owens</span><span style="background-color: transparent; color: black; font-family: Roboto; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, Dr. </span><span style="background-color: transparent; color: black; font-family: Roboto; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Jennifer Nash</span><span style="background-color: transparent; color: black; font-family: Roboto; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, and Dr. </span><span style="background-color: transparent; color: black; font-family: Roboto; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Thema Bryant</span><span style="background-color: transparent; color: black; font-family: Roboto; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, to name a few.</span></p><div style="text-align: justify;"><span style="font-family: Roboto;"></span><br /><span style="font-family: Roboto;"></span></div><p style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="background-color: transparent; color: black; font-family: Roboto; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">In this season of</span><span style="background-color: transparent; color: black; font-family: Roboto; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> Left of Black</span><span style="background-color: transparent; color: black; font-family: Roboto; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, we will again introduce you to a brilliant lineup of scholars whose work delves into various aspects of Black life, creativity, scholarship, activism, resilience, and Black excellence. We will begin a brand-new subseries this year, “Hip Hop @50,” that will feature conversations with key musicians and producers who made incredible contributions to the groundbreaking genre. </span></p><div style="text-align: justify;"><span style="font-family: Roboto;"></span><br /><span style="font-family: Roboto;"></span></div><p style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="background-color: transparent; color: black; font-family: Roboto; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">“</span><span style="background-color: transparent; color: black; font-family: Roboto; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Left of Black Presents: Small Talk at FHI</span><span style="background-color: transparent; color: black; font-family: Roboto; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">” is another subseries that kicks off with a live in-person event on October 25</span><span style="background-color: transparent; color: black; font-family: Roboto; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-size: 0.6em; vertical-align: super;">th</span></span><span style="background-color: transparent; color: black; font-family: Roboto; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, 2023 where Dr. Neal will host </span><span style="background-color: transparent; color: black; font-family: Roboto; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Nabil Ayers</span><span style="background-color: transparent; color: black; font-family: Roboto; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, son of renowned R&B legend Roy Ayers and the author of </span><span style="background-color: transparent; color: black; font-family: Roboto; font-size: 12pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">My Life in the Sunshine: Searching for My Father and Discovering My Family</span><span style="background-color: transparent; color: black; font-family: Roboto; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> (2022). The event and live taping will be held at the John Hope Franklin Humanities Institute in our main lecture hall. Stay tuned for more details and a registration link!</span></p><div style="text-align: justify;"><span style="font-family: Roboto;"></span><br /><span style="font-family: Roboto;"></span></div><p style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="background-color: transparent; color: black; font-family: Roboto; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Furthermore, this season marks the warm welcome of </span><span style="background-color: transparent; color: black; font-family: Roboto; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Jakiah Glass</span><span style="background-color: transparent; color: black; font-family: Roboto; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, our newest addition to the </span><span style="background-color: transparent; color: black; font-family: Roboto; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Left of Black</span><span style="background-color: transparent; color: black; font-family: Roboto; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> production team. Jakiah, a recent Mass Communications graduate from North Carolina Central University, now serves as the assistant editor for the series. Her affiliation with the Franklin Humanities Institute began with the </span><span style="background-color: transparent; color: black; font-family: Roboto; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Charmaine McKissick-Melton Communications Fellowship</span><span style="background-color: transparent; color: black; font-family: Roboto; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, a partnership between Duke and NCCU that targets undergraduate mass communications students. We are eager to witness Jakiah’s skills and expertise shine throughout the post-production process.</span></p><div style="text-align: justify;"><span style="font-family: Roboto;"></span><br /><span style="font-family: Roboto;"></span></div><p style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="background-color: transparent; color: black; font-family: Roboto; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Undergraduate Duke and UNC students should be on the lookout for a new and exciting course offering related to the Left of Black production process, taught by Dr. Neal himself. More information is soon to come. </span></p><p style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="background-color: transparent; color: black; font-family: Roboto; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> </span></p><p style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="background-color: transparent; color: black; font-family: Roboto; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWqoWRlUuRhh7MsphMC-bHv4vOexndZDHD6yki2ARM43ik8WH-Drx0k-IXSw9Jsq4nQ_NNgJPmIui0f3JXlFNlzvgzhWlU_-Oc-Zmx2UPUyukfYmJQnnxA7eo89BZ9lbfMyEkq59efMCG21AgxcH_vVJuTESCJTJGGN7xmcWhT2PkR7BDAPwfQ/s6000/DSCF5857.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="4000" data-original-width="6000" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWqoWRlUuRhh7MsphMC-bHv4vOexndZDHD6yki2ARM43ik8WH-Drx0k-IXSw9Jsq4nQ_NNgJPmIui0f3JXlFNlzvgzhWlU_-Oc-Zmx2UPUyukfYmJQnnxA7eo89BZ9lbfMyEkq59efMCG21AgxcH_vVJuTESCJTJGGN7xmcWhT2PkR7BDAPwfQ/s320/DSCF5857.png" width="320" /></a></div><span style="font-family: Roboto;"><span style="background-color: transparent; color: black; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">With an exceptional lineup of scholars, thought-provoking discussions, and a live event on the horizon, we invite you to join us in celebrating the exploration of Black life, creativity, and excellence through </span><span style="background-color: transparent; color: black; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 700; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Left of Black</span><span style="background-color: transparent; color: black; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">’s newest season. With the anticipation of a new website in 2023, the future of the web series is brighter than ever. Stay tuned for a season that promises to leave an indelible mark on your web series lineup. Don't miss out, because the journey is just beginning, and it's bound to be nothing short of extraordinary!</span></span><p></p>Mark Anthony Nealhttp://www.blogger.com/profile/07551259092635367609noreply@blogger.comtag:blogger.com,1999:blog-13096878.post-42960947385646721042023-09-11T23:06:00.006-04:002023-09-11T23:06:56.121-04:00Left of Black S13 · E20 | Left of Black | Dr. Kimberly Mack & Groundbreaking Black Rock Band Living Colour's Album 'Time's Up'<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3dNY7lVTqokHHnoWqKj_d6FCKK8U1UemVWbCjQIvHjE-9lutE0dkqaji2Nn8M1zWyC1_X5Ve5bQanPqWUls0qsI6LMXs_M9obTDDwC7jcKfSAyvC0zZMT_40X404iNplvAJnw3D45HUPYPyMEXtQBu32-NejXaUrkZVeVl6aex-4_bPFMn1SI/s1920/Eps.%2020_Kimberly%20Renee%20MACK_LARGE(1).png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3dNY7lVTqokHHnoWqKj_d6FCKK8U1UemVWbCjQIvHjE-9lutE0dkqaji2Nn8M1zWyC1_X5Ve5bQanPqWUls0qsI6LMXs_M9obTDDwC7jcKfSAyvC0zZMT_40X404iNplvAJnw3D45HUPYPyMEXtQBu32-NejXaUrkZVeVl6aex-4_bPFMn1SI/w640-h360/Eps.%2020_Kimberly%20Renee%20MACK_LARGE(1).png" width="640" /></a></div><p></p><p style="text-align: justify;"><span class="yt-core-attributed-string yt-core-attributed-string--white-space-pre-wrap"><span class="yt-core-attributed-string--link-inherit-color" style="font-family: Roboto;">In 1988, the world was introduced to the groundbreaking Black rock band, <b>Living Colour</b>, with their debut record, <i>Vivid</i>, which dominated the charts and was a commercial hit. Made up of lead vocalist <b>Corey Glover</b>, guitarist <b>Vernon Reid</b>, drummer <b>William Calhoun</b>, and bassist <b>Muzz Skillings</b>, the group then released their sophomoric album, <i>Time's Up</i>, a more sophisticated venture that blurred the lines between genres while establishing the group's musical prowess. <b>Dr. Kimberly R. Mack</b>, joins <b>Left of Black</b> host <b>Dr. Mark Anthony Neal </b>to discuss her book, <i>Living Colour’s Time’s Up</i>, part of the prestigious 33 1/3 book series from Bloomsbury for Spring 2023.</span></span></p>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="515" src="https://www.youtube.com/embed/gdmvcGSQmHs?si=4i_9roHwgz02xudV" title="YouTube video player" width="860"></iframe>Mark Anthony Nealhttp://www.blogger.com/profile/07551259092635367609noreply@blogger.comtag:blogger.com,1999:blog-13096878.post-39089785059302547992023-09-11T18:40:00.001-04:002023-09-11T18:40:05.384-04:00Amplify With Lara Downes | Allison Russell Finds Transformative Musical Power in Community <p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKCHrzs4fAhrFRTu5e6FEWpjdyL4nLUxVNVCTVHhPx4d7KblCUnLnaDNuo46EKBF6vuJKCr3QPO0DBAiP0MCj6ainI1KLqS7fxSAlXavx3sdCkxMbAvrQe7oUKOc7xGTclXisyVgARuF6b0yh1i7gwHejlym7Q9rc9v9UZVxdXyNAMGRh5SRRj/s1637/amplify_russell_thumb-web_wide-a727b6d4b16567b701373a4d967a38d1ee8e06ad.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="920" data-original-width="1637" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKCHrzs4fAhrFRTu5e6FEWpjdyL4nLUxVNVCTVHhPx4d7KblCUnLnaDNuo46EKBF6vuJKCr3QPO0DBAiP0MCj6ainI1KLqS7fxSAlXavx3sdCkxMbAvrQe7oUKOc7xGTclXisyVgARuF6b0yh1i7gwHejlym7Q9rc9v9UZVxdXyNAMGRh5SRRj/w640-h360/amplify_russell_thumb-web_wide-a727b6d4b16567b701373a4d967a38d1ee8e06ad.jpg" width="640" /></a></div><p></p><p style="text-align: justify;"><span style="font-family: Roboto;">'With help from a sisterhood of musicians, <b>Allison Russell</b>, the Canadian singer-songwriter
and activist, has triumphed over trauma to become a distinguished figure
on the Americana scene. Russell joins <i>Amplify With Lara Downes</i>.'</span></p><p></p>
<iframe frameborder="0" height="538" id="jw_embed" scrolling="no" src="https://www.npr.org/embedded-video?storyId=1196662447&mediaId=1198470337&jwMediaType=null" width="800"></iframe>Mark Anthony Nealhttp://www.blogger.com/profile/07551259092635367609noreply@blogger.comtag:blogger.com,1999:blog-13096878.post-43463910510070905002023-09-06T14:38:00.004-04:002023-09-06T14:38:40.491-04:00Still Paying the Price: Reparations in Real Terms | EP 2: The Unfinished Story of Alex Manly’s 'The Daily Record'<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf8z5GqerlKuS5N6paKijaQl0OocSTWPF2rx6aeRflaWcWlmWC0Q7-8W2DsF-H6m4oWXlgHWlSbgagbioqgDX-bmfDb51gUfhyZBtBm9E6b7u37hoWmZP_D4yOC7vfWYIuHSspU2tZYZChFXD4pfXjOC4dLgBtjEfwKpuaauEmCRRu51eBtkIf/s3000/lwc-stillpayingtheprice-podcast-final.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3000" data-original-width="3000" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf8z5GqerlKuS5N6paKijaQl0OocSTWPF2rx6aeRflaWcWlmWC0Q7-8W2DsF-H6m4oWXlgHWlSbgagbioqgDX-bmfDb51gUfhyZBtBm9E6b7u37hoWmZP_D4yOC7vfWYIuHSspU2tZYZChFXD4pfXjOC4dLgBtjEfwKpuaauEmCRRu51eBtkIf/w640-h640/lwc-stillpayingtheprice-podcast-final.jpg" width="640" /></a></div><p></p><p style="text-align: justify;"><span style="font-family: Roboto;">'Wilmington, North Carolina was once home to a thriving middle class
Black population. In 1898, the only successful coup d’état in American
history put a stop to it. <b>Alex Manly</b> was part of that elite Black
community. An editorial he printed in his newspaper, <i>The Daily Record</i>,
was the catalyst for the violence, and Manly was run out of town by a
group of white supremacists. In this episode, Manly’s grandson, <b>Dr.
Lewin Manly</b> talks about what his family is owed for the loss of <i>The Record</i> and how the Manly family could be made whole again. Reported by<b> Pamela Kirkland</b>.'</span></p>
<iframe frameborder="no" height="200px" scrolling="no" seamless="" src="https://player.simplecast.com/6b9acf66-e3da-45af-a431-aff5f12f0ffe?dark=true" width="100%"></iframe>Mark Anthony Nealhttp://www.blogger.com/profile/07551259092635367609noreply@blogger.comtag:blogger.com,1999:blog-13096878.post-38869922059614828202023-09-06T14:13:00.004-04:002023-09-06T14:13:21.733-04:00 Conversations in Atlantic Theory • Jasmine Nichole Cobb on 'New Growth: The Art and Texture of Black Hair'<div style="text-align: justify;"><br /></div><p style="text-align: left;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHyIsd2J8a22HyFBkLwlZVgT4LzUJEasSybrrA1WQR32LIwJ3PbYaiKZeXrOA_VZn-4toIMjwCqUTh4RnD6_AF1QfH6w6RNJFodJYB0foiwTrJn0khEnyOgPvvQB9rlkmoIPnEpZ4y83ZWdlX3UW_JX4ljCzK4isu7AMzvI-9HVcdrrZvAYEQx/s900/978-1-4780-1907-7_pr.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="600" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHyIsd2J8a22HyFBkLwlZVgT4LzUJEasSybrrA1WQR32LIwJ3PbYaiKZeXrOA_VZn-4toIMjwCqUTh4RnD6_AF1QfH6w6RNJFodJYB0foiwTrJn0khEnyOgPvvQB9rlkmoIPnEpZ4y83ZWdlX3UW_JX4ljCzK4isu7AMzvI-9HVcdrrZvAYEQx/w426-h640/978-1-4780-1907-7_pr.jpg" width="426" /></a></div><p style="text-align: left;"></p><p style="text-align: justify;"><span style="font-family: Roboto;">'In this conversation with <b>Fatima Seck</b>, <b>Jasmine Nichole Cobb</b> discusses her latest monograph<i>, </i><a href="https://www.dukeupress.edu/new-growth"><i>New Growth: The Art and Texture of Black Hair</i></a><i>, </i>which<i> </i>reveals
the various ways that people of African descent forge new relationships
to the body, public space, and visual culture through the embrace of
Black hair.'</span></p>
<iframe frameborder="no" height="180" scrolling="no" seamless="" src="https://share.transistor.fm/e/51f30641" width="100%"></iframe>Mark Anthony Nealhttp://www.blogger.com/profile/07551259092635367609noreply@blogger.comtag:blogger.com,1999:blog-13096878.post-76175288681839449112023-09-06T14:07:00.003-04:002023-09-06T14:07:17.757-04:00 Studio Sessions | War celebrates 50 years of 'The World is a Ghetto'<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyAV7jpfuWrkM8A7QvfWgPCScBpBUROB4PfvSr9kT50Pa7nLysOQEUFLcIqh12P7aSGf75pcbotDopeBuFOzlg7yB8eBBaWk3H3T96GKYFR02dLYH396OHxO0tUk7uZf7pWQvR1WVXdMdwvYAx8QDOw7RhnQeLezTvLbrv-fyM9o2mJrv32Yxs/s1200/1200x1200bf-60.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyAV7jpfuWrkM8A7QvfWgPCScBpBUROB4PfvSr9kT50Pa7nLysOQEUFLcIqh12P7aSGf75pcbotDopeBuFOzlg7yB8eBBaWk3H3T96GKYFR02dLYH396OHxO0tUk7uZf7pWQvR1WVXdMdwvYAx8QDOw7RhnQeLezTvLbrv-fyM9o2mJrv32Yxs/w640-h640/1200x1200bf-60.jpg" width="640" /></a></div><p></p><p style="text-align: justify;"><span style="font-family: Roboto;">'<b>WAR</b> Founding member <b>Lonnie Jordan</b> and producer <b>Jerry Goldstein</b> look back at the making of 1972's <i>The World Is A Ghetto.</i><i> </i>Jordan says it was original percussionist
<b>Thomas "Papa Dee" Allen </b>who envisioned a character called "Ghetto Man."
So the band began laying down tracks for Allen's concept. "Actually, we forgot about his play and where it was gonna go, and we started creating this music for <i>The World Is A Ghetto," </i>Jordan remembers.'</span></p>
<iframe frameborder="0" height="290" scrolling="no" src="https://www.npr.org/player/embed/1195891718/1195897206" title="NPR embedded audio player" width="100%"></iframe>Mark Anthony Nealhttp://www.blogger.com/profile/07551259092635367609noreply@blogger.comtag:blogger.com,1999:blog-13096878.post-45861254166379901152023-09-06T14:02:00.006-04:002023-09-06T14:02:39.222-04:00New Books Network: Kristal Brent Zook | 'The Girl in the Yellow Poncho: A Memoir'<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4aLJfd4HQmkAo1uQUoNXZ8Xdwv6wCppTOe0LTtZ6-9tQ0aOOp-z9T49krbYpTqdxrp90LLew4GlJ161b9LS7TUYZ8JK-u4A7QuA8rZDyrGGOyKJzMv2y_oajFYOqNYuA9Jdl-2zMwHtYcCU5zcCCOI4OMdNs4MVRRR66Heh4WofrxjDcKyoG6/s2700/978-1-4780-1719-6.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2700" data-original-width="1800" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4aLJfd4HQmkAo1uQUoNXZ8Xdwv6wCppTOe0LTtZ6-9tQ0aOOp-z9T49krbYpTqdxrp90LLew4GlJ161b9LS7TUYZ8JK-u4A7QuA8rZDyrGGOyKJzMv2y_oajFYOqNYuA9Jdl-2zMwHtYcCU5zcCCOI4OMdNs4MVRRR66Heh4WofrxjDcKyoG6/w426-h640/978-1-4780-1719-6.jpg" width="426" /></a></div><p></p><p style="text-align: justify;"><span style="font-family: Roboto;"><i>'<a href="https://bookshop.org/a/12343/9781478017196" target="_blank">The Girl in the Yellow Poncho: A Memoir</a></i>
(Duke UP, 2023) is <b>Kristal Brent Zook</b>’s coming-of-age tale about what it means to be
biracial in America. Throughout, she grapples with in-betweenness while
also facing childhood sexual assault, economic insecurity, and
multigenerational alcoholism and substance abuse on both the Black and
white sides of her family. Her story is one of strong Black
women—herself, her cousin, her mother, and her grandmother—and the
generational cycles of oppression and survival that seemingly defined
their lives.'</span></p>
<iframe frameborder="0" height="482" scrolling="no" src="https://playlist.megaphone.fm/?e=NSR8446083387" width="100%"></iframe>Mark Anthony Nealhttp://www.blogger.com/profile/07551259092635367609noreply@blogger.comtag:blogger.com,1999:blog-13096878.post-26918460700696766412023-09-06T13:57:00.010-04:002023-09-06T13:57:56.140-04:00Fresh Air | Pianist Jason Moran Reaches for 'the drama, the comedy and the tragedy' of Music<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDrpZOT7sUQrlGlxK_vQnalcwLMAJ0g9Gt_A-QO4Z7Bt8h327Y9Wa4pjCPSgtUesDxtBwW86taJRY5287eVp7HJ5ur0XgLny2pgxB6j0OuSMRhtLJr7lrZ-csbwLOoTP0Fijrm-xZGuuA5OM-wpD8q_mLNW3rrZTCTrmN4cwMHREDyNZBb1kJM/s2500/210122-jason-moran-2x1-ac-911p.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1250" data-original-width="2500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDrpZOT7sUQrlGlxK_vQnalcwLMAJ0g9Gt_A-QO4Z7Bt8h327Y9Wa4pjCPSgtUesDxtBwW86taJRY5287eVp7HJ5ur0XgLny2pgxB6j0OuSMRhtLJr7lrZ-csbwLOoTP0Fijrm-xZGuuA5OM-wpD8q_mLNW3rrZTCTrmN4cwMHREDyNZBb1kJM/w640-h320/210122-jason-moran-2x1-ac-911p.jpg" width="640" /></a></div><p></p><p style="text-align: justify;"><span style="font-family: Roboto;">'<b>Jason Moran</b> talks jazz and plays selections from his latest recording, which
borrows from the music of James Reese Europe, the composer and musician
who led the <b>Harlem Hellfighters</b> regiment band during WWI.'</span></p>
<iframe frameborder="0" height="290" scrolling="no" src="https://www.npr.org/player/embed/1192462331/1192508200" title="NPR embedded audio player" width="100%"></iframe>Mark Anthony Nealhttp://www.blogger.com/profile/07551259092635367609noreply@blogger.comtag:blogger.com,1999:blog-13096878.post-88663672814025571282023-09-04T20:05:00.005-04:002023-09-04T20:05:27.065-04:00 Breastfeeding While Black and Thriving | The Emancipator <p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPBvljJmG4n93ei8roRu_AUJeXFbMQ5Lp9t8TiFYKpeQtwVetuR3Y7v93WhyzqlP4pUZrbvfVpOq0Ls4NXbicf0whL87uoWWU0IBUplEQO_xrkU8JSVvhhEVY_lIoO5HdTcKV6QYgsSmi9_yvYeUaULg7w3c3E_WDKioZKxP-_yDS1Z9GHB1mB/s1280/maxresdefault-1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPBvljJmG4n93ei8roRu_AUJeXFbMQ5Lp9t8TiFYKpeQtwVetuR3Y7v93WhyzqlP4pUZrbvfVpOq0Ls4NXbicf0whL87uoWWU0IBUplEQO_xrkU8JSVvhhEVY_lIoO5HdTcKV6QYgsSmi9_yvYeUaULg7w3c3E_WDKioZKxP-_yDS1Z9GHB1mB/w640-h360/maxresdefault-1.jpg" width="640" /></a></div><p></p><p style="text-align: justify;"><span class="yt-core-attributed-string yt-core-attributed-string--white-space-pre-wrap"><span class="yt-core-attributed-string--link-inherit-color" style="color: #131313; font-family: Roboto;"><b><i>'The Emancipator</i></b> recently brought new and expecting Black and Brown moms into conversation with doulas, birth sisters, midwives, lactation consultants, and doctors to talk about the joys and challenges of </span><span class="yt-core-attributed-string--link-inherit-color" style="color: #065fd4; font-family: Roboto;"><a class="yt-core-attributed-string__link yt-core-attributed-string__link--display-type yt-core-attributed-string__link--call-to-action-color" href="https://www.youtube.com/hashtag/breastfeedingwhileblack" rel="nofollow" tabindex="0" target="">#BreastfeedingWhileBlack</a></span><span class="yt-core-attributed-string--link-inherit-color" style="color: #131313; font-family: Roboto;">. We shared experiences, traded encouragement, and brainstormed solutions and ideas on getting the support we need to thrive. Breastfed infants are 26% less likely to die between the second week of life and first birthday, compared with non-breastfed infants. This is critical, when you consider that the Black infant mortality rate is double that of White infants. Like other maternal health inequities, antiracist medicine and policies can improve breastfeeding outcomes, something two Boston hospitals are working to achieve.' </span></span></p>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="515" src="https://www.youtube.com/embed/xgK6WuujjvI?si=bTp-PSyXlG5lTZZh" title="YouTube video player" width="860"></iframe>Mark Anthony Nealhttp://www.blogger.com/profile/07551259092635367609noreply@blogger.comtag:blogger.com,1999:blog-13096878.post-50295705063486487292023-08-07T21:35:00.005-04:002023-08-07T21:35:27.448-04:00Fresh Air | Crime Writer S.A. Cosby Loves the South — and is Haunted by It<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGp7WcEZqTHaiwy76bDquiLQP6m3rp7eyPGv0YC5gVJVL8yaUwSMy31ymYAvpVD1R3564qTezfkQD6RH6RWcHavvrH92emu7capuBOemQDrACG2Fl875Fs7SJHaEglL5bvOaubsEuMiqorkQm-LaO_jw69Y02wtCsrXNvd2IdbnvxlWvBm2MFH/s1600/s.-a.-cosby_credit-sam-sauter-photography_wide-c3097fb109750ded454f8645b18f0f3630f2f2dc-s1600-c85.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="899" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGp7WcEZqTHaiwy76bDquiLQP6m3rp7eyPGv0YC5gVJVL8yaUwSMy31ymYAvpVD1R3564qTezfkQD6RH6RWcHavvrH92emu7capuBOemQDrACG2Fl875Fs7SJHaEglL5bvOaubsEuMiqorkQm-LaO_jw69Y02wtCsrXNvd2IdbnvxlWvBm2MFH/w640-h360/s.-a.-cosby_credit-sam-sauter-photography_wide-c3097fb109750ded454f8645b18f0f3630f2f2dc-s1600-c85.webp" width="640" /></a></div><p></p><p style="text-align: justify;"><span style="font-family: Roboto;">'<b>S. A. Cosby</b>'s novel <i><b>All the Sinners Bleed</b></i>
centers on a Black sheriff in a small Southeast Virginia county. The
novel was inspired by his own experiences growing up in the shadow of
the Confederacy.'</span></p>
<iframe frameborder="0" height="290" scrolling="no" src="https://www.npr.org/player/embed/1189276661/1189979557" title="NPR embedded audio player" width="100%"></iframe>Mark Anthony Nealhttp://www.blogger.com/profile/07551259092635367609noreply@blogger.comtag:blogger.com,1999:blog-13096878.post-85676660955905490852023-08-07T21:27:00.000-04:002023-08-07T21:27:00.261-04:00Black Queer Studies: A Genealogy | A Masterclass with E. Patrick Johnson<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz3PnbH0PLaX6kJZD49F31wH_lmUf5BsJEQMkbLDvH6PkS5kfGzoW69gLTggG6781nW7HrTPE4F9vy-2pZpMfOL0ofBkQ3eFie8FHB3YvtzLqTiHj_IiOva5kC6FoPukbdNUTFxOG1gfwBT2cQNVyYaIXRe5X_Van-eaN7KflBcbXhLjbzWfof/s1280/maxresdefault-4.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz3PnbH0PLaX6kJZD49F31wH_lmUf5BsJEQMkbLDvH6PkS5kfGzoW69gLTggG6781nW7HrTPE4F9vy-2pZpMfOL0ofBkQ3eFie8FHB3YvtzLqTiHj_IiOva5kC6FoPukbdNUTFxOG1gfwBT2cQNVyYaIXRe5X_Van-eaN7KflBcbXhLjbzWfof/w640-h360/maxresdefault-4.jpg" width="640" /></a></div><p></p><p style="text-align: justify;"><span class="yt-core-attributed-string yt-core-attributed-string--white-space-pre-wrap" role="text"><span class="yt-core-attributed-string--link-inherit-color" style="font-family: Roboto;">'In this masterclass, <b>Dr. E. Patrick Johnson </b>traces the origins of what is now codified as the field of Black Queer Studies, beginning in the 18th Century to the present. Johnson argues that gender and sexuality have been integral to the history and study of Black people.'</span></span></p>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="515" src="https://www.youtube.com/embed/6RWt_HAmLfc" title="YouTube video player" width="860"></iframe>Mark Anthony Nealhttp://www.blogger.com/profile/07551259092635367609noreply@blogger.comtag:blogger.com,1999:blog-13096878.post-56810016330875719662023-08-07T21:21:00.006-04:002023-08-07T21:21:57.072-04:00A Brief But Spectacular Take on Blending the Worlds of Art, ASL and Accessibility<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIk56K6Rl2g2_vjEvTf8EcwONXqxaXR4FODWarUW7JI8jDQyiikjWyD9w1rHcNmG2nkpt0-4ZnfX3ibrrgA4Pk8vRI_ZNFqwziIXc672Xo5wDag1K3gNNmnapeAIFZGcCJaR8QOvAZ4fMxAsZuBn-p1DRUXEjFbyytjf2IJQ1vlQ32NRU2VglI/s1280/maxresdefault-3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIk56K6Rl2g2_vjEvTf8EcwONXqxaXR4FODWarUW7JI8jDQyiikjWyD9w1rHcNmG2nkpt0-4ZnfX3ibrrgA4Pk8vRI_ZNFqwziIXc672Xo5wDag1K3gNNmnapeAIFZGcCJaR8QOvAZ4fMxAsZuBn-p1DRUXEjFbyytjf2IJQ1vlQ32NRU2VglI/w640-h360/maxresdefault-3.jpg" width="640" /></a></div><p></p><p style="text-align: justify;"><span style="font-family: Roboto;">'<b>Brandon Kazen-Maddox</b> is an artist, filmmaker, acrobat and GODA, a
grandchild of deaf adults. They are a cofounder of Up Until Now
Collective, a non-profit that provides opportunities for deaf artists
who want to bring ASL dance theater to the stage, screen and beyond.
Kazen-Maddox shares their <i>Brief But Spectacular</i> take on blending the
worlds of art, ASL and accessibility.'</span></p>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="515" src="https://www.youtube.com/embed/U8t7ynemJLI" title="YouTube video player" width="860"></iframe>Mark Anthony Nealhttp://www.blogger.com/profile/07551259092635367609noreply@blogger.comtag:blogger.com,1999:blog-13096878.post-25300625580382838382023-08-05T10:14:00.007-04:002023-08-05T10:14:36.015-04:00theGrio: Are Black Farmers Lost in America's "Progress"?<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCQNsT6aMNQ-3jqWeXFCVxUcVsH2xUlkSqblLenEFOE9iuN-MqyWuNTRGjLVsLwqSsGz7v19tdS_Cd9wWCivRBOkQ4F8o_Icy8Ddfkur59MQLBgk0s0t-3lZIo8fCbGFHp3DjkiSZLlf1X0sBg60YN9xGYvOGlKy6XwUevXVOmeXwd7wev7CMt/s1280/JohnBoydJr.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCQNsT6aMNQ-3jqWeXFCVxUcVsH2xUlkSqblLenEFOE9iuN-MqyWuNTRGjLVsLwqSsGz7v19tdS_Cd9wWCivRBOkQ4F8o_Icy8Ddfkur59MQLBgk0s0t-3lZIo8fCbGFHp3DjkiSZLlf1X0sBg60YN9xGYvOGlKy6XwUevXVOmeXwd7wev7CMt/w640-h360/JohnBoydJr.webp" width="640" /></a></div><p></p><p style="text-align: justify;"><span class="style-scope ytd-text-inline-expander" id="snippet-text"><span class="yt-core-attributed-string yt-core-attributed-string--white-space-pre-wrap"><span class="yt-core-attributed-string--link-inherit-color" style="color: #131313; font-family: Roboto;">'<b>John Boyd Jr.</b>, the founder of the <b>National Association of Black Farmers</b>, and <b><i>theGrio</i></b>'s <b>Eboni K. Williams</b> discuss the state of Black farmers.</span></span></span></p>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="515" src="https://www.youtube.com/embed/0rQ37D_9Lq4" title="YouTube video player" width="860"></iframe>Mark Anthony Nealhttp://www.blogger.com/profile/07551259092635367609noreply@blogger.comtag:blogger.com,1999:blog-13096878.post-26576234822919475322023-08-05T10:06:00.005-04:002023-08-05T10:06:56.455-04:00Virginia Museum of Fine Arts | Whitfield Lovell: Passages | The Artist<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfBDQfditxFCb1u3sqti-7gwJgZobiAjAGMCdeR4EwExO7uc6bkDYX8GX2Lti_6SERSypW56NLN9mMEYcdU5GKtnXFWd1Okp-SHbYYQWebFUZTy_q5beRGWUwAdPQT6pWSvwb3uQMsAv5olaeZsitrPmfFf5MkpgoG-opjX19hdUXsDN7osI-j/s1177/7_Visitation_Our-Best_430.004-1-e1683661772839.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1009" data-original-width="1177" height="548" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfBDQfditxFCb1u3sqti-7gwJgZobiAjAGMCdeR4EwExO7uc6bkDYX8GX2Lti_6SERSypW56NLN9mMEYcdU5GKtnXFWd1Okp-SHbYYQWebFUZTy_q5beRGWUwAdPQT6pWSvwb3uQMsAv5olaeZsitrPmfFf5MkpgoG-opjX19hdUXsDN7osI-j/w640-h548/7_Visitation_Our-Best_430.004-1-e1683661772839.jpg" width="640" /></a></div><p></p><p style="text-align: justify;"><span class="yt-core-attributed-string yt-core-attributed-string--white-space-pre-wrap"><span class="yt-core-attributed-string--link-inherit-color" style="color: #131313; font-family: Roboto;">'From the VMFA galleries where his exhibition is on view, internationally renowned artist <b>Whitfield Lovell</b> discusses his familial inspirations and artistic development.'</span></span></p>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="515" src="https://www.youtube.com/embed/kt4BMowU4Po" title="YouTube video player" width="860"></iframe>Mark Anthony Nealhttp://www.blogger.com/profile/07551259092635367609noreply@blogger.comtag:blogger.com,1999:blog-13096878.post-1205149011626962582023-08-05T09:37:00.008-04:002023-08-05T09:37:49.209-04:00De La Soul Want to Uphold the Legacy of 'this 50-year-old Culture Called Hip-Hop'<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI3YCEqDl5MF1a4oCQ8mn-68xElCAKmWViLpGJZNghd1YW1aV-hDdeMDNvTe6iK1M8hPH5NogeNMI3dYTocD7dak2dfV-PFPX7mgwTu2gz6T9_dqRfAYv9p64brazx7o_NYNYsGuHUC7MdaMz4yG4dPiomGOxqF5XwTeTRdmIOC9k9WK0ys3Pf/s1600/gettyimages-105073451_de-la-soul_-credit-michael-ochs-archives---stringer_wide-d2f547b4a96458c3b46a792297de341b3b689589-s1600-c85.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="899" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI3YCEqDl5MF1a4oCQ8mn-68xElCAKmWViLpGJZNghd1YW1aV-hDdeMDNvTe6iK1M8hPH5NogeNMI3dYTocD7dak2dfV-PFPX7mgwTu2gz6T9_dqRfAYv9p64brazx7o_NYNYsGuHUC7MdaMz4yG4dPiomGOxqF5XwTeTRdmIOC9k9WK0ys3Pf/w640-h360/gettyimages-105073451_de-la-soul_-credit-michael-ochs-archives---stringer_wide-d2f547b4a96458c3b46a792297de341b3b689589-s1600-c85.webp" width="640" /></a></div><p></p><p style="text-align: justify;"><span style="font-family: Roboto;">'The legendary hip-hop group<b> De La Soul</b>'s back catalog is finally available on
digital platforms. They look back on their genre-shaping career and
remember their bandmate <b>Trugoy the Dove</b>.' </span><br /></p>
<iframe frameborder="0" height="290" scrolling="no" src="https://www.npr.org/player/embed/1191843702/1192163363" title="NPR embedded audio player" width="100%"></iframe>Mark Anthony Nealhttp://www.blogger.com/profile/07551259092635367609noreply@blogger.comtag:blogger.com,1999:blog-13096878.post-70724893927021467132023-08-03T09:46:00.004-04:002023-08-03T09:46:52.293-04:00New Books Network: J.T. Roane | 'Dark Agoras: Insurgent Black Social Life and the Politics of Place'<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTSi28zN8D79zTtFQLWvFXFIx1Ni773VwWa0BrX73hKfvXgNNW4DF4nFY6-JFHX-t1eXpwcTGqIhF1SzxT-0v_wmKNUHIOLqV5CZ1n4cwNMTMwin6bKaa0AeMlsC7ooZdnLOtFkUv_kSFTBo0wvqfqrb6UR1gGuNe2mp_qA4m83ElZ7Ns-XyPe/s1000/916yyucwYNL._AC_UF1000,1000_QL80_.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="667" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTSi28zN8D79zTtFQLWvFXFIx1Ni773VwWa0BrX73hKfvXgNNW4DF4nFY6-JFHX-t1eXpwcTGqIhF1SzxT-0v_wmKNUHIOLqV5CZ1n4cwNMTMwin6bKaa0AeMlsC7ooZdnLOtFkUv_kSFTBo0wvqfqrb6UR1gGuNe2mp_qA4m83ElZ7Ns-XyPe/w426-h640/916yyucwYNL._AC_UF1000,1000_QL80_.jpg" width="426" /></a></div><p></p><p style="text-align: justify;"><span style="font-family: Roboto;">'In <i><a href="https://bookshop.org/a/12343/9781479847679" target="_blank">Dark Agoras: Insurgent Black Social Life and the Politics of Place</a> </i>(NYU
Press, 2023), author <b>J. T. Roane </b>shows how working-class Black
communities cultivated two interdependent modes of insurgent
assembly--dark agoras--in twentieth century Philadelphia. He
investigates the ways they transposed rural imaginaries about and
practices of place as part of their spatial resistances and efforts to
contour industrial neighborhoods. In acts that ranged from the mundane
acts of refashioning intimate spaces to expressly confrontational and
liberatory efforts to transform the city's social and ecological
arrangement, these communities challenged the imposition of Progressive
and post-Progressive visions for urban order seeking to enclose or
displace them.'</span></p>
<iframe frameborder="0" height="482" scrolling="no" src="https://playlist.megaphone.fm/?e=NBN4795336090" width="100%"></iframe>Mark Anthony Nealhttp://www.blogger.com/profile/07551259092635367609noreply@blogger.comtag:blogger.com,1999:blog-13096878.post-27923840676547310582023-08-03T09:36:00.004-04:002023-08-03T09:36:33.406-04:00Helga | Silhouettist Kara Walker on Early Fame and Symbols of Black Servitude<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK4IeKfS_ARqe_RsXzUKSvQDIHYH-gpDwy18YbK2Q9UKhBZ7lqYOTXS5OcZsH2xAI_uvYzZrwu2w5aYDx4VNnNU1l8XuKs_VKxvLJ1Vk1He4oEewBIWCaMY3LrE6fUjrGH9LPjiM1Zh6AbyEcIwPTs40hg8NnMEM4R4yg-EKPO7yyceOC_KNtC/s1200/kara.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="800" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK4IeKfS_ARqe_RsXzUKSvQDIHYH-gpDwy18YbK2Q9UKhBZ7lqYOTXS5OcZsH2xAI_uvYzZrwu2w5aYDx4VNnNU1l8XuKs_VKxvLJ1Vk1He4oEewBIWCaMY3LrE6fUjrGH9LPjiM1Zh6AbyEcIwPTs40hg8NnMEM4R4yg-EKPO7yyceOC_KNtC/w426-h640/kara.jpg" width="426" /></a></div><p></p><p style="text-align: justify;"><span style="font-family: Roboto;"><i>"There are whole histories of African American artists wrestling
with stereotypical depictions and minstrelsy - and it seemed worthy
anyway to me as an artist to consider them as some kind of artwork."</i></span><span style="font-family: Roboto;">— </span><span style="font-family: Roboto;"><b>Kara Walker</b></span></p><p style="text-align: justify;"><span style="font-family: Roboto;">'American painter and silhouettist <b>Kara Walker</b> rose to
international acclaim at the age of 28 as one of the youngest-ever
recipients of a MacArthur Genius grant. Appearing in exhibitions,
museums, and public collections worldwide, Walker’s work wrestles with
the ongoing psychological injury caused by the legacy of slavery. In this episode, Walker shares how she navigates her own inner
conflicts, how a curiosity for history led her to the silhouette, and
what happens when making use of symbols of Black servitude brings one
acclaim.'</span></p>
<iframe frameborder="0" height="130" scrolling="no" src="https://www.wnyc.org/widgets/ondemand_player/wnycstudios/#file=/audio/json/1289854/&share=1" width="100%"></iframe>Mark Anthony Nealhttp://www.blogger.com/profile/07551259092635367609noreply@blogger.com