We wanted to save this video for Friday, but in light of Macklemore winning Best Rap Album and then tweeting his apologies to Kendrick Lamar, this video exploring white privilege in the hip hop community is worth a listen. Longtime community member El Guante is joined by The Big Cats, Rapper Hooks, and Chantz Erolin break down why Macklemore’s race isn’t the problem, but how defenses designed to ignore racism continue to harm the community. Lyrics after the jump.
Last week Arturo reminded Duck Dynasty fans of what hadn’t gotten newly revealed (“newly” for those of us who still have no idea what a Duck Dynasty is, at least) homophobe and racist Phill Robertson suspended from the hit A&E show. Since the decision A&E has remained strangely mum on the topic, while others like Sarah Palin, Mike Huckabee, and Bobby Jindal have chimed in attempting to make the tenuous state of the show and Robertson’s future an issue of 1st amendment rights.
In a slightly tangential turn of events Cracker Barrel took a stand against Roberstson’s comments, pledging to pull all Duck Dynasty merchandise from their shelves. (Yes, you too can buy a Duck Dynasty Talking Keychain while eating away your Saturday night kegger hangover in AnyTown, Ohio!) It was a decent gesture, especially given that the merchandise practically flew off the shelves at Walmart after the GQ controversy broke in a sad show of support for the brand . However two days after making the promise –and still, with no word from A&E– this message was found on Cracker Barrel’s official Facebook page:
Dear Cracker Barrel Customer:
When we made the decision to remove and evaluate certain Duck Dynasty items, we offended many of our loyal customers. Our intent was to avoid offending, but that’s just what we’ve done.
You told us we made a mistake. And, you weren’t shy about it. You wrote, you called and you took to social media to express your thoughts and feelings. You flat out told us we were wrong.
Today, we are putting all our Duck Dynasty products back in our stores.
And, we apologize for offending you.
We respect all individuals right to express their beliefs. We certainly did not mean to have anyone think different.
We sincerely hope you will continue to be part of our Cracker Barrel family.
The post gained over 1000 likes in the time it took to copy and paste the statement from there to here and currently stands upwards of 68,000.
This is probably a great time to remind anyone who’s surprised by this 180 turn of events that in 2004 Cracker Barrel was sued by 21 people in a $100 million federal lawsuit alleging a nationwide trend of discriminatory service that ranged from segregating Black families from other customers to outright refusing to serve them at all. It was the largest lawsuit of its kind since Denny’s in 1994; it settled for $8.7 million. In 2008 they received a 15 out of 100 from the Human Rights Watch on their LGBTQ Corporate Equality Index and had only managed to raise it to a 50 in 2011.
In the case of Cracker Barrel and Duck Dynasty, birds of a feather really do flock together.
Every year, Thanksgiving rolls around, and every year, we wonder exactly what to say. Enjoy the holiday? Reflect on colonization? Boycott some kind of whitewashing? This year, we’re going to share one of our favorite mashups – Once Tongue Tied, which we shared in 2010 when we spotted it on the Sociological Images blog.
Once Tongue Tied was created by Samantha Figueroa who takes Adriel Luis’s amazing spoken word piece “Slip of the Tongue” and combines it with scenes from Pocahontas, transforming both works into new commentary.
Here’s the video.
If you are interested in the text of Luis’s poem, click here.
However, you choose to spend this holiday (with family, in reflection, or if it’s just another day) enjoy!
By Guest Contributor Nour Soubani
The recent independent film, The Citizen, raises a number of important questions related to identity, belonging, and representation that are relevant and challenging to many American communities at large today.
Ibrahim, a middle-aged Lebanese man, wakes up one day and actualizes his dream: he wins a ticket from the Green Card Lottery to come to America. He lands in New York on September 10th, 2001, and befriends Diane, an attractive white American woman who is just escaping an abusive relationship. The next fateful morning is the September 11th attack, and the rest of the movie follows Ibrahim’s experience as an Arab Muslim in a post-9/11 New York City, the relationships he builds with Diane and those who both support and villainize him, and his interactions with the law.
Ibrahim, although not a legal citizen, is painted as the ideal American: He helps the homeless, works an honest job, and intervenes at a crime scene to save a man’s life. Although he looks distinctly Arab, and some suspicion is raised that he is related to one of the hijackers, there is a clear assertion throughout the movie that Ibrahim is completely disconnected from the evil terrorists who attacked the United States, and from the Middle East as a whole. In fact, multiple times throughout the film he expresses how grateful he is to leave Lebanon, to come to America and pursue “the American Dream”, and to leave behind his penniless and unsuccessful life. While the protagonist’s morals and values are virtuous—this was enough to make the audience fall in love with him—his character functions with a subtle undertone that reinforces a binaric hierarchy between the U.S. and the rest, one that inevitably places America at the top. Ibrahim comes to the United States to make something of himself; the storyline implies that this was inherently not possible where he came from, nor were any efforts to do so valued and encouraged. He is portrayed as an exception to the rule—a respectable, mannered, responsible and hardworking individual, who, with these admirable, individualist traits, clearly does not belong in the Arab world. The character of Ibrahim—while well-intentioned—in fact plays into Orientalist notions that otherize the Middle East, creating an unknown, inferior entity out of it that inherently does not hold the same purely “American” values that cause Ibrahim to succeed.
Hosted by Jeannie Chan
I’m so glad to see such great comments posted to the open thread for last week’s episode. If there’s one thing we’ve learned from watching this show, it’s that there’s no such thing as an easy decision, let alone a right one. It’s clear that the camp is conflicted with Rick deciding for everyone and cast out Carol. And we’re all still wrestling with Carol’s decision to kill. Read on to see how Carly Mitchell, Kiki Smith, Nicole Norkin (our newest Roundtabler!) and I process everythang.
By Kendra James
With the combined fire power of a few cute empire waists, boxy tops, and racial stereotypes, Kerry Washington became one of a handful of Black women to host Saturday Night Live in its 30+ year history. Given the recent controversy surrounding the lack of color in the SNL cast, its understandable that the show would be eager to face the topic head on. Asking Washington to host was a nice first step, but they seem content to stop there.
Sure, SNL addressed their lack of Black women directly in the cold open, but joking about the glaring absence really loses all effectiveness if you don’t take steps to fix it immediately after. Addressing your own racist casting practices as a joke makes you seem less like a writer’s room full of subversive humourist savants than it does a room full of white privileged writers. The screen caps above represent a joke that could only retain legs if at the end of the show they’d announced the addition of a full time Black female cast member.
Of course, after seeing the sketches Washington was thrown into –especially in the first half of the show– it’s probably worth wondering how well a Black woman would fare in this era of SNL. With a sketches that included a mouthy, angry Black girlfriend, a BAPs style Black ghetto girl, an Ugandan beauty queen who reeked of Eddie Murphy’s “what have you done for me lately” bit from Raw, and the best Angela Davis impression she could muster, Washington and the SNL writers were one weave joke away from a stereotypical Black woman full sweep.
Washington put her all into everything she was given (as did Jay Pharoah, who was in all but 2 sketches on Saturday night, “because,” said the writer’s room, “if they want Black people then, goddamnit, we are going to give them black people! Take that, critics.”) but surely there have been several other hosts from popular breakout television shows who’ve knocked their hosting nights out of the park without relying on racial humour to take them through. Jon Hamm comes to mind. Unfortunately, where someone like Jon Hamm seems to inspire new, original material, the SNL writers room looked at Kerry Washington and clearly decided that with the plethora of jokes people have been making about Black women for years, they already had all they needed.
The only sketch that seemed as if it had any input from a non white writer included the Angela Davis impression mentioned above. I really do wish my white friends would stop telling me to watch The Wire. But for the most part, I still have to disagree with Kenan Thompson’s recent comments about there being no Black female comedians who are ready for SNL. It’s the SNL writers who aren’t ready for Black women.
The rest of Saturday night’s sketches are underneath the cut. What do you think, readers?
According to NPR, Portland-based band,The Slants describes themselves “as one of the first Asian-American rock bands. Their music caters to an Asian-American crowd, they’ve spoken at various Asian-American events, and they’re proud of all of it.” But the group’s four-year effort to trademark its name has been bound up in discussions of what constitutes a racial slur and how derogatory words can be reclaimed. Band member Simon Tam says of The Slants’ battle with the U.S. Patent and Trademark Office:
They said because of our ethnicity, people automatically think of the racial slur as opposed to any other definition of the term. In other words, if I was white, this wouldn’t be an issue at all.
The term ‘slant’ means a lot of different things. And [the lawyer from the PTO] even acknowledged that, so [we asked], ‘Why did you choose to apply the racial connotations to this application, but you’ve never done that before in the entire history of this country? Why this case?’ And they said it was because I was Asian-American.
As the rest of the country is busy restricting safe and legal access to abortion with mandatory waiting periods, costly clinic restrictions and by targeting doctors, California has become a beacon for reproductive justice and health.
Last week, California Gov. Jerry Brown signed AB 154, legislation sponsored by Assemblywoman Toni Atkins, D-San Diego, which now authorizes trained Nurse Practitioners (NPs), Certified Nurse Midwives (CNMs) and Physician Assistants (PAs) to provide first-trimester abortions under the terms of their licenses (these same providers can already offer abortion with medications). The governor also signed AB 980, which allows abortion facilities to meet the same standards as primary care clinics. With nearly half of California counties lacking an accessible abortion provider, these new laws will help alleviate challenges that many women in our communities face when trying to access abortion services.
Women in rural areas often have to travel long distances to obtain care. This can mean taking extra time off work and finding extended childcare. At the same time, community clinics in urban areas (particularly communities of color) are overburdened, with as many as 1 provider to 2,000 patients in some areas. Women who need an abortion might have to wait a week or longer to get an appointment and then still might spend all day waiting to be seen. Again, this means taking more time off work or studies. Delays can complicate risk and second trimester procedures can be more cost-prohibitive for many poor and uninsured Black women and Latin@s.
And while there’s still a common misconception that abortion is a white woman’s issue, these new laws are particularly important wins for communities of color.