Category Archives: Culturelicious

WNYC Presents: Funny Or Racist?

by Kendra James

There was a lot of good discussion on racial comedy at last night’s panel featuring Arun Venugopal, Desus NiceCrissle West, Jeff Yang and Guy Branum and we’ve summed a good deal of that up in our Livetweet Storify below. The panel was broken up into sections with each new topic introduced by a different video or comedic soundbite, and everything was going along swimmingly with very thought provoking (and hilarious) banter tossed back and forth between the participants.

It was during the Q&A that things got, as one might say, quite real after a discussion about Sarah Silverman’s use of blackface on her Comedy Central show.  A realness which made for the highlight of the evening as West was forced to keep it all the way 100 with an audience member who really did try it. The exchange can be found around 1hr 19min in in the livestream link, but also transcribed in part below:

Audience Member: My name is Alan Rich, I’m a discrimination lawyer … Crissle, one thing that you said about Sarah Silverman– I get the impression that you take her work at face value.  And I think that so many comedians who are really funny — I don’t think that she’s making fun of black people in any way shape or form about black people when she does blackface. Because those of us who know the history of blackface is that not only white people did blackface, black entertainers had to do black face to get jobs.

Crissle: Wow, so you have to be really white to make that statement. That is just the whitest thing–

Audience Member: It’s a comment about how ridiculous we as a society can be.

Crissle: Can we not? I’m really not about to do this.

Audience Member: I’ve never walked out on Paul Mooney, so you have to give me a pass.

Crissle: And you’re a discrimination lawyer? Holy God. Sooo… I’m  gonna go ahead and address that by saying first of all that I can absolutely say that you’re racist for being a white woman in 2014 or whenever it was that she did this to put in blackface and go on television. Yes I can absolutely call you racist for that. you know the history behind it and you did it anyway. That is racist. I can say that. I’m a black woman, I’m gonna just go ahead and take my word over yours on that. That’s racist. And I don’t like her for it.

Audience Member: [Sic] Tell her! But you don’t know her. You don’t know what’s in her mind.

Crissle: Where is my access to Sarah Silverman? I don’t have to know her– I don’t have to know what’s inside Sarah Silverman’s head. I’m looking at her actions because her actions are what she’s presented to me. She didn’t put put a book called Sarah Silverman’s Diary here read my innermost thoughts and see how I came to these fuck ass conclusions that I have here today. She got on TV in blackface and decided that that was funny and it was not. And you as a white man trying to tell me that my feelings are invalid because I don’t know her is a crock of shit … and that’s why I get on my show every week and say what I need to say because white people like you feel like you have a goddamn point.

Panel Q&A sessions can be difficult for anyone with Acute Second Hand Embarrassment Syndrome (ASHES, in my opinion the worst kind of ashiness a Black person can get), so I really appreciated how the situation was handled. Plus, having only just started listening to West’s podcast The Read (which she records alongside Kid Fury) about a week ago, I felt particularly privileged to be able to hear her give a Read live and in public.

It is a nonnegotiable fact in  my life that white people in blackface constitutes a racist act.  Context, intent, the word ‘subversive’, and the names Tina Fey and Sarah Silverman do nothing to change my mind in that regard. Context and intent don’t change the fact that there comes a time in every Black parent’s life where, for instance, they have to do something like sit down and explain to their children why there are radically different pictures of Black celebrities such as this,why one image is better and more appropriate to imitate and aspire to, and why such a beautiful woman was forced to allow herself to be treated as such.

Josephine Baker

Hi.Lar.I.Ous. (Images of Josephine Baker)

I suppose things are funnier when you have the luxury of skipping conversations like that altogether.

Colour commentary aside, WNYC and The Greene Space hosted a great night for us and all in attendance for their continuing Micropolis series. Readers of The R can look forward to another livetweet from the space next week when we head back to cover a live recording of Tracy Clayton and Heben Nigatu’s podcast “Another Round,” which will also feature The Butter editor Roxane Gay.

Event + Podcast Spotlight: The Soul Glo Project

The-Soul-Glo-Project

By Emily Schorr Lesnick

Walk into a comedy club or watch a Comedy Central  special and you might drown in a sea of Whiteness; a sea of White maleness. With Larry Wilmore and Trevor Noah hosting late night shows, the tide is turning, but those two shows stick out as anomalies because of the overwhelming presence of White faces. While there is certainly diversity within White men, there can also be a lot of similarity.

Six years ago, Keisha Zollar, a New York comedian and actor, set out to create other pools of comedy. She created The Soul Glo Project, a diversity variety show whose title is a nod to the jeri curl product in Eddie Murphy’s Coming to America. “Soul Glo was a show built on diversity that started in the East Village of New York,” says Zollar. “It was often a complaint of many performers who didn’t fit the strict, improv or sketch aesthetic that they wouldn’t get stage time.  The Soul Glo Project was born out of myself, Rob King and Horse Trade Theater wanting to make a more diverse performing community.”

Soul Glo is an inclusive comedy variety show, featuring diversity in the type of acts and the background of performers. “As an immigrant whose first culture is not American, I found some comedy shows and their themes to be alienating,” said NYC-based comedy performer and Soul Glo co-host, Anna Suzuki. “But when I joined the Soul Glo team as a producer, I was immediately embraced as a vital part of the mission; my voice mattered. It’s been a very gratifying experience.”

Soul Glo started in the East Village at Under St. Marks in 2009, moved to the Upright Citizens Brigade in 2011, and is now moving to Silvana in Harlem for a renaissance. “We hope to create an positive, low cost comedy experience to build a sense of community in Harlem,” shares Zollar.

Soul Glo prides itself on its range of performers, from folks getting on stage for the first time to more well-known performers, like Roc Nation’s Cipha Sounds, SNL’s Natasha Rothwell, Mulaney’s Seaton Smith and performers you don’t know (yet) who got on our stage and said “this is my first time doing stand up.” Audience member Johnnie Jackow reflected on the show: “Each performer shared his/her comedic talents that was not only incredibly funny but also so relatable. Its truly amazing to see how a packed house can roar with laughter from each performance. Yes the show highlights diversity in comedy but how our experiences cross color lines I think shows how more alike we are than different.”

The Soul Glo Project also launched a podcast as a forum for longer conversations about diversity and identity in comedy. The podcast, available on iTunes and Soundcloud, has featured comic Hari Kondabolu, Racialicious’ Kendra James, reality TV star Sabrina Vance, creator and actor Jen Bartels from TruTV’s Friends of the People, and The Experiment Comedy’s Mo Fathelbab.

The Soul Glo Project has a free live show coming up on Monday, April 20 at 7PM at Silvana in Harlem, NY. The show, celebrating Asian Pacific American Heritage Month, will feature stand-up comic Sheng Wang, spoken word artist Kelly Tsai, J-pop group Azn Pop and have improv led by Catherine Wing and Nicole Lee.

The Racialicious New York Comic Con 2014 Preview

It’s NYCC weekend, and as in past years I’ll be attending on behalf of Racialicious. It’s been a long week leading up to the con, and it still feels like I’m recovering from SDCC, but we still need to highlight some Friends of the Blog doing great stuff at this year’s con. Below you’ll find a quick and dirty of the diverse panel offerings Friday through Sunday. There’s not much more offered this year than in the past, but Diana Pho is participating in two great discussions this year!

Tonight (Thursday) Diana moderates Geeks of Colour Go Pro where she and other professionals in the comics, gaming, and publishing industries will offer advice and tips for POCs who want to become successful in their desired fields. On Saturday at 3pm in room 1A21 she’ll moderate #YesAllGeeks: Let’s Talk About Harassment in Fandom. This massively important panel comes on the heels of several instances of harassment at conventions and very public attacks against women via social media outlets like Twitter. Joining Pho on the panel to discuss how we can make fandom and online spaces safer are Mikki Kendal (@Karnythia), Marlene Bonnelly (@ilikecomicstoo), Kaye M (Writer & Founder of #YesAllWomen), Emily Asher-Perrin, and Robert Anders. 

Diana also hosted last year’s wildly successful Geeks of Colour panel (which we covered here). I’ll be at her Friday panel and will otherwise be wandering around the Javits Center for the next 72 hours, so please don’t hesitate to say hello!

The rest of Friday, Saturday, and Sunday are under the cut.

Continue reading

Kanye1

The Ghost of Bigger Thomas Surfaces in Kayne West’s Monster [The Throwback]

With Kanye West in seemingly another controversy this week following a mid-concert rant, it’s a good time to revisit Latoya’s look at the furor surrounding his 2011 single, “Monster.”

By Latoya Peterson

Kanye has officially overdosed on artistic symbolism.

After his 35 minute debut of "Runaway" in back in October 2010, it difficult to figure out how Kanye would top a video that incorporated references to modern performance art, ballet, couture, mythology, and Fellini.

And yet, I don't think anyone counted on Kanye deciding to deck the halls with dead white women in "Monster".
Continue reading

Thursday Throwback: Going Back Like Babies and Pacifiers; Why I Love Mariah

by Special Correspondent Thea Lim (originally published 6-1-09)

I said it once and I’ll say it again, I love Mariah Carey.

mariah
I rarely try to justify this rabid adoration when I’m talking politics. Sometimes radical folks think that just because they like something, it must be radical. I’ve seen many bloggers look foolish this way. So I try to sidestep any probing questions as to why an incredibly serious and intellectual person like me (ahem) owns a Mariah wall calendar and tends to squeal deliriously when “Heartbreaker” plays over the supermarket PA system.

Usually when people ask why I so celebrate Mariah, I say “We’re both mixed race, and we’ve both experienced heartbreak. Obviiiiiously.”

But about a week ago, while discussing Nick Cannon’s accusations that the Mariah-inspired Eminem song “Bagpipes from Baghdad” was racist and sexist, the discussion that fell out of the post made me wonder if, after all, there was some need to untangle my Mariah love and its distant political underpinnings.

A little recap of the post and discussion: in trying to defend his wife against Eminem, Cannon proclaimed that Carey was a BLACK woman (the caps are his) and that it was time enough that white men like Eminem disrespected women of colour like Carey. He went on to compare Carey to Michelle Obama and Oprah Winfrey, as examples of black queens that the black community should not allow to be disrespected. A lot of commenters said, “Right on, Nick!”

But a bunch said “Mariah Carey is black?” There were attempts to prove that she was not that black, by probing her bio and discussing her ethnic heritage in sixths and eights. Some suggested that she played both sides, emphasising her whiteness or her blackness according to which could sell more records, and that she was only black when it benefitted her. Some took offense at Cannon comparing Carey (who if half-white) to Obama and Winfrey (who are not half-white), frustrated by the fact that there was no recognition that Carey being light-skinned meant all sorts of light-skinned privilege, including more mainstream success than if she was darker-skinned.

I was taken aback. Truth be told I was unsure how Mariah herself identified. So I went back through the dusty internet archives, back to when Racialicious was Mixed Media Watch, to the first post I ever read on this site: Essence on Mariah Carey’s struggles with mixed race identity.

The post was interesting, but the comments were shocking. Commenters were incensed that Essence had identified Carey as a black woman. They were dismissive about Carey’s struggles with biraciality. Mostly the consensus was that Carey was a stupid rich poptart and that Essence was full of self-loathing idiots. Then again, I only read about the first 20 comments; it started to get too upsetting.  Continue reading

lyles29crop-1024x765

Straight Razors and Social Justice: The Empowering Evolution of Black Barbershops

By Guest Contributor Hunter Oatman-Stanford

This post is an edited version of an interview that ran at Collector’s Weekly on May 30, 2014.

In a country where institutionalized racism has been the norm for centuries, black barbershops remain an anomaly. Though initially blocked from serving black patrons, these businesses evolved into spaces where African Americans could freely socialize and discuss contemporary issues. While catering to certain hair types may have helped these businesses succeed, the real secret to their longevity is their continued social import. For many African Americans, getting a haircut is more than a commodity—it’s an experience that builds community and shapes political action. As both a proud symbol of African American entrepreneurship and a relic of an era when black labor exclusively benefited whites, black barbershops provide a window into our nation’s complicated racial dynamics.

Quincy Mills, a professor of history at Vassar College, started looking closely at black barbershops when assisting Melissa Harris-Perry with research for her first book, Barbershops, Bibles, BET: Everyday Talk and Black Political Thought. Harris-Perry was investigating the ways African Americans developed their worldviews through collective conversation, specifically looking at three sectors: black churches, entertainment, and barbershops.

Harris-Perry wanted to do a close study of barbershops, but was worried that as a woman, her presence would alter the nature of the space and its conversation. In her place, Mills observed the interactions of a barbershop on the South Side of Chicago four to five days a week during the summer of 2000. “As I sat there day in and day out, I couldn’t help but wonder how these spaces have been situated historically,” says Mills. “I had seen passing mentions of black barbershops in the literature on black urban history, but there weren’t any books on the topic. I wondered, ‘Were these shops the same in 1940? And what about 1840?’”

Mills spent the next decade researching the barbershop trade for his book, Cutting Along the Color Line: Black Barbers and Barber Shops in America, drawing fascinating connections between race, capitalism, and culture. We recently spoke with Mills about the roots of black barbershops and their relevance today.
Continue reading