By Arturo R. García
In the midst of a show that was downright turgid at times, there were glimpses of social relevance during Sunday night’s Grammys. You had Sam Smith openly thank an old boyfriend on national television while celebrating winning four awards. And the award’s outright hypocrisy in honoring abusive cis-males was only exposed further with remarks on domestic violence from President Barack Obama and activist Brooke Axtell:
After a year of passionate romance with a handsome, charismatic man, I was stunned when he began to abuse me. I believed he was lashing out because he was in pain, and needed help. I believed my compassion could restore him and our relationship. My empathy was used against me. I was terrified of him and ashamed I was in this position. What bound me to him was my desire to heal him. My compassion was incomplete because it did not include me. When he threatened to kill me, I knew I had to escape. I revealed the truth to my mom and she encouraged me to seek help at a local domestic violence shelter. This conversation saved my life.
And then, of course, you had Prince. With one simple remark — “like books and Black lives, albums still matter” — His Purpleness made explicit a message that Beyoncé and Pharrell attempted to express visually. But while seeing Hands Up Don’t Shoot on the Grammy stage was worth noting, those two moments weren’t without their own problematic undertones.
by Guest Contributor Luso Mnthali, originally published at AfriPop
I was on radio the other day, trying to explain to Shado Twala, well-known radio and television personality here in South Africa, how racism personally affects me. I had this great chance to finally tell a wider audience what it feels like to live in a city that denies you so much because you’re black. But I focused too much on how I’d been getting hostile looks from strangers, and being shoved and bumped into a couple of times while walking in my predominantly white neighbourhood.
I felt like I blew it.
Gone was the experience I had on my first date with the man who would later become my boyfriend. It was here in Cape Town, years ago, when another white man lunged at me and spat out some ugly racist words at me. I won’t say publicly what they are, not now anyway. Because he wasn’t aware of it at the time, I only told my man this had happened years later. It’s not something I want to remember, or talk about, but it’s been on my mind a lot lately. Possibly because there have been so many incidents of racism in the Cape in recent months. And it’s happened not only when the tourists flood in during the month we all lovingly call Dezemba. Even though, during my conversation with uMam’Shado, we were slightly glib about how the tourists from other provinces annually bring with them a spate of complaints about the ‘Mother City’ as it is known to some. My black South African friends have asked: “Mother to whom, this city? Who does it mother and who is the mother?”
So I felt that, during that conversation, gone were the experiences of friends trying to rent apartments, but being disappointed because of race-based selection or denial. Of friends leaving their jobs and packing up to go back to Joburg after a year or two. Gone were the stories of how even academia works to keep black people out. Gone were the myriad instances of microagression and hostility in a place that renders you both visible and invisible. You’re visible when you’ve clearly transgressed – how dare you walk around with a white man who clearly adores you? What are you doing with him? Or, as some women from a white-owned mainly white-staffed media house asked my friend about me – “How did she get a white guy?” Continue reading
This year’s keynote session for Facing Race starts at 4:30 p.m. EST and will be a multi-generational affair featuring Dr. Bernice Johnson Reagon, Toshi Reagon, and Tashawn Reagon.
From the program description:
Bernice Johnson Reagon, a scholar, singer/songleader, and activist for over half a century, has been a profound contributor to African American and American culture. Born in Southwest Georgia, her singing style and traditional repertoire are grounded in her experiences in church, school, and political activism. As a composer, she has created a narrative of her social and political activism through her songs and larger compositions. She performed as a member of the SNCC Freedom Singers during the sixties; founded an all women a capella ensemble, The Harambee Singers, during the Black Cultural Movement; and founded and led the internationally acclaimed Sweet Honey In The Rock for thirty years until retirement. Paralleling her work in music, Reagon is one of the leading authorities in African American Cultural History.
Her strongest musical collaborator is her daughter, Toshi Reagon. Described as “a one-woman celebration of all that’s dynamic, progressive and uplifting in American music,” Toshi is a composer, producer, founder, and leader of her own ensemble, Toshi Reagon and Big Lovely. Taking the stage at 17, singer, songwriter, guitarist Toshi Reagon moves audiences with her cross genre offerings of blues, rock, gospel, and incredible original songs. Collaboratively, these two socially conscious women artists have masterfully created two operas, “The Temptation of St Anthony” and “Zinnias: The Life of Clementine Hunter.”
Tashawn Nicole Reagon is a Sociology and Gender Studies major and an Intergroup Relations minor at Skidmore College. Tashawn has co-facilitated a two-credit, intergroup dialogue between students of color and white students on race, and interned in the Gender Rights and Equality Unit of the Ford Foundation, where she wrote a report entitled Student Activism for Gender Equity. Tashawn helped to establish the Justice Project at Saint Ann’s high school that examined issues of race and other identities.
The full session, as posted online, can be seen live below.
There are actually two parts to this. One is, there are troubling racial politics, but it’s not just about men of color. The other racial politics about this are that white women appear the most vulnerable, right, to these menacing men. But this happens to women of color, and women of color have been on the front lines. Three years ago at the Crunk Feminist Collective, we published a video that Girls for Gender Equity did where they had Black teenage girls talking about being harassed, and that video does not have 25 million hits.
— Interview aired on “All in With Chris Hayes,” Oct. 31, 2014.
“Hey … Shorty!” by Girls for Gender Equity NYC can be seen below.
By Arturo R. García
Well now this is interesting.
As Variety reported on Tuesday, the demand for a new Static Shock revival will finally be met, in perhaps the most unexpected of fashions: an online-only live-action series.
It’s also encouraging to see the revival of Milestone Entertainment’s signature character is being led by Milestone alumni: Film and comics veteran Reginald Hudlin will be the executive producer, in collaboration with Denys Cowan, who produced the much-missed animated series that Warner Brothers stubbornly left by the wayside years ago.
By Arturo R. García
DC Entertainment scored a rare PR victory over archrival Marvel over the weekend when it announced its upcoming slate of films. At first glance, this latest take on the DC movie universe instantly puts Marvel’s to shame when it comes to inclusion.
But besides the far-flung timetable involved, it very much remains to be seen whether the company is willing to put in the work to elevate its non-white heroes to a position befitting their upcoming roles on the big screen.