“If that name is a Miley Cyrus pseudonym I’m going to bed. Dang, it’s getting feminist up in this track.”Naturally, “that name” refers to Chimimanda, whose contribution you later dismissed as an annoying “soundbite.” Okay.Teachable Moment Two: Learn about a culture other than your own.Look, White Writerperson, I imagine your cozy Cave of White Clulessness is comfy and fantastic. I’m sure it has central air conditioning in the summer and heat in the winter and a friendly, well-dressed Negro gentleman at the door to help you with with a smile when your non-burdens get too heavy to bear on your own. And all the coleslaw and unseasoned chicken one could ever want, I’m sure. Color me relieved envious, really.But here’s where you get to be a good Privileged Person and learn about a culture other than your own. I know Chimamanda, a Regular Black Person Who Isn’t Doing Anything Worth “Borrowing,” isn’t a pop culture icon. But do yourself a favor and look her up. She wrote Half of a Yellow Sun, for fuck’s sake.
To suggest that Miley would dig deep enough into the barrel of Blackness, doing overtime at the Appropriation Station to adopt a Nigerian pseudonym is telling: You, too, know how serious your skinfolk take their culture vulturing. It’s a full time job. So vast, our Sea of Awesomeness, right?Teachable Moment Three: Learn how influence works.
French fries do not influence potatoes. Britney does not influence Janet. Justin does not influence Michael Jackson. Lessors do not influence The Great Ones. Similarly, Miley Cyrus does not influence Beyoncé. Now bite your motherfucking tongue.
To say such a thing is akin to saying that the car influences the paved road on which it travels. The Great Ones Blacked Excellently so that the latecomers could siphon that Black Excellence for profit and Blackpoints. Not vice versa.
– ”Eat the cake, Anime: On White Cluelessness (and Beyoncé),” by Alexander Hardy originally posted at Thecoloredboy.com
By Arturo R. García
Oh, there was another episode left?
Well, why wait ’til Monday, then?
SPOILERS UNDER THE CUT
By Arturo R. García
While we were sleeping, Beyoncé was not. Gaga may have Artpop, but B just made an art of the drop.
In case you missed it or just checked your Twitter feed, Beyoncé released an entire album out of the blue (Ivy), though it’s only available on iTunes until Dec. 21.
But the self-titled album was also accompanied by a “visual album” — basically, she went out and shot videos for every track and released snippets of those on YouTube. For my money, “Pretty Hurts” is already the best dramatic trailer we’re not going to see in theaters this Christmas, “Blow” is a spot-on disco homage/future mashup favorite and somebody’s already seizing on “Partition” to write a think-piece about how Miley Cyrus is MOAR FEMINIST than Beyoncé.
We’ll put some more of the video clips up under the cut and invite you to give your thoughts on those or the album as a whole under the cut.
By Guest Contributor Samantha Allen, cross-posted from The Border House
[Trigger Warning: Discussion of transphobic joke, real-life experiences of transphobia.]
Like many graduate students, I was still finishing up last week’s work at 6 PM on a Saturday. I put on Spike TV’s annual Video Game Awards (re-branded this year as VGX) to have some background noise while I put the finishing touches on a paper.
I expected the usual: some Michael Bay-esque graphics packages, some puerile pandering to their core demographic of adolescent boys, some Mountain Dew, some Doritos, some trailers. I can stomach that, even laugh at it. Less than five minutes into the program, however, co-host Joel McHale jokingly put the rumors to rest that Wario had “undergone sex reassignment surgery.”
If you’re reading this, you might know that a joke like that is politically ill-advised. It violates the comedic wisdom that one should punch up rather than punch down. It not only repeats the exoticizing focus on transgender people’s genitals, it also casts transgender identity itself as something scandalous and laughable.
By Guest Contributor Lisa Wade, PhD; originally published at Sociological Images
Sociologists observe that cultures are centered around some people and not others such that members of some groups just seem like people and others are perceived as deviations from that presumed norm.
Names are part of how we divide the world into the normals and the deviants. Illustrating this, the sketch comedy duo Key and Peele are super creative in this 3 minute skit. They reverse the white-teacher-goes-into-the-inner-city trope and put a non-white teacher into a suburban school. As he calls roll, the skit center HIS reality instead of that of the white, middle class kids. He pronounces their names like stereotypically black names, confusing the heck out of the kids, and never considering the possibility that the names he’s familiar with isn’t how all names really are.
It’s not a safe skit — it potentially reinforces the conflation of non-white and urban and the stereotypes of inner city students and the names low-income black parents give their kids — but it does a great job of playing with what life might be like if we shifted the center of the world.
Counterpoint by Tamara Winfrey Harris, Racialicious editor
I have wrestled with the popularity of this Key & Peele skit for a while. And I’m afraid, for me, that it doesn’t pass the race bias smell test. The comedy here, while it may appear “edgy,” is really business as usual. The bit doesn’t “punch up,” instead the blow lands right smack where it always does: on black cultures and, particularly, the poor, working class and urban. I agree with friend of the R, Lisa Wade, when she says the skit uniquely centers the point of view of the black teacher and his idea of “normal.” Sadly, though, that decentering of whiteness is the joke. The audience is meant to laugh at a situation where creative pronunciations of common, European-derived names is acceptable. How absurd! It’s okay if this skit makes us laugh. But we need to recognize how and why it is problematic.
FYI, Key & Peele have a habit of going to the funny black name well.
Shadow & Act big ups the phenomenal work being done by black women documentarians. Out of 151 Academy Award-qualifying documentaries (admittedly a large pool), more than five were directed by black women, including Free Angela and All Political Prisoners by Shola Lynch and Valentine Road by Marta Cunningham. Jai Tigget writes, “…black documentary filmmakers – and black women in particular – are doing groundbreaking work that continues to be overlooked even within the doc and independent film space. The films listed above have been awarded and recognized widely on the film festival circuit, but many are still struggling to get mentioned on the shortlists that will push them towards serious Oscar consideration.”
Also included among the qualifying documentaries by black women, Yoruba Richen’s The New Black, about race, sexuality, and the black church.
By Kendra James and Arturo Garcia
The ups and downs of being a DC Comics fan have never been more apparent than this past week. The WB cast a big screen Wonder Woman (Israeli actress, Fast and the Furious alum Gal Gadot)… but not for her own movie. She’ll be sharing the stage with Henry Cavil’s Superman, Ben Affleck’s supposedly older and wizened Batman, and a potential mutual adversary in Lex Luthor. Luthor who will, according to casting rumours, most likely be African-American, echoing the WB’s already demonstrated willingness to race-bend with Perry White in Man of Steel. Personally, I don’t think this should be much of a stretch of the imagination for anyone who grew up on the Superman cartoon of the 90s.
On the heels of a fantastic Arrow mid-season finale, the CW revealed a casting call for their Flash pilot showing their intentions to making Iris West Allen (The Flash’s –Barry Allen– main love interest and Wally West’s –another Flash– aunt) and her extended family African-American woman rather than white, as she’s been traditionally portrayed in the comics. If the pilot and ensuing show is anywhere near as good as Arrow, a diverse cast of main characters won’t be an issue (even if I am still annoyed about Sin.)
With DC’s television and cinematic universes both expanding quickly, we thought it was time for another quick chromatic casting.