Quvenzhané Wallis was the butt of a deeply sexist, racist inappropriate joke by whoever is tweeting for The Onion last night (which I will not link to or describe because it’s ugly).

And what upsets me so much about it is that this beautiful little nine-year-old black girl had to get a lesson in just what it means to be a black girl in a white supremacist patriarchal country at the exact time that she’s being honored for her artistry. In fact “upsets” is too bland a word for what I feel. It’s anger. A profound sadness.

But the sad, maddening truth of this moment is that it is not surprising. Black people, girls and women especially, are never safe from the random omnipotence of anti-black sentiment that infects this nation, but I had hoped that maybe this poised, thoughtful, remarkably self-possessed beautiful little girl would have this one night.

But she didn’t. The Onion tweeter took that from her. Violently. Cruelly. Unconsciously, it seems.

Welcome to America.

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Posted on February 25th, 2013 - Filed under Culture,Current Affairs,Film
Tags :: Oscars, patriarchy, Quvenzhané Wallis, racism, sexism, The Onion, white supremacist capitalist patriarchy

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Khalil Kain, late of the brilliant television show Girlfriends, has a fascinating interview on Ebony.com promoting his new role in the classic 1970s Negro Ensemble Company play, The Great MacDaddy.

I was struck most by this exchange:

EBONY: How do you feel about Black theater and Black film right now? Do you feel like it’s growing?

KK: What African-American film? What African-American theater? I just watched Streetcar Named Desire on Broadway and Daphne Rubin-Vega, Nicole Ari Parker, Wood Harris, these are people that I know personally, ripped it, it was all good. I love the production, but it’s still Tennessee Williams. It’s still not ours.  So now, as opposed to Blackface, it’s Black folks up there doing White work. And I love the opportunity to kind of do a classic piece like that, but at the same time there is a whole bunch of stuff that we already have. Can we do some of that? Paul Carter Harrison is the man. He’s one of those old heads that we have to tap into, because he has so much knowledge. That’s one of the reasons I took the job; the chance to sit next to the man and get up in his head for a little bit and see what I can take away. That’s how it use to go down. We use to learn from our elders, and we don’t do that anymore. I think it’s a huge mistake.

EBONY: Why do you think everybody should go see The Great MacDaddy?

KK: The play is hugely relevant and its part of African-American history. I don’t want to even get into culture because, really, what is our culture as African-Americans? This young man I met in the street, probably in his late 20s, asked me, “So you’re doing plays? Why you doing plays?” And I’m like, “You need to come check it out.” He’s like, “Why would I go?” And I was like, “To get some culture up in you! What does culture mean to you?” He was like, “Culture is annoying.” I was like, “Wow, how do you define where you come from?” He was like, “I know who I am.” I didn’t want to ask. I was just like, “alright bro.” That’s where we’re at now.

I think what Kain is getting at here is really quite remarkable because I don’t feel like we hear enough Black artists articulating forthrightly – Paul Carter Harrison is the man – that to do our own shit is valuable in and of itself. And that we lose something when we don’t.

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Posted on December 4th, 2012 - Filed under Culture,Film,Television
Tags :: African-American culture, African-American film, African-American history, African-American plays, African-American theater, black culture, black history, black plays, Broadway, Daphne Rubin-Vega, Girlfriends, Khalil Kain, Nelson George, Nicole Ari Parker, Paul Carter Harrison, Tennessee Williams, Wood Harris

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I wonder if people – black people especially – really appreciate how beautiful it is to live at a time when black men are allowing themselves to feel so openly, to be emotional in public.

Lupe Fiasco articulates something that black men have been saying for a long time: that black men are dying, killing themselves and each other, that we live in a society where black male life is disposable. And he’s eloquent on the substance of what you see in this clip.

But what is truly remarkable is that he lets himself feel something more than just frustration and anger at the plight of black men. This is a display of profound, deep sadness. It’s love. Pure. Messy.

It takes Lupe Fiasco a minute to find the words. Those precious, awkward moments before he starts to find the words are wonderous, awe-inspiring, and deeply affecting.

And yet, when I watched this I was uncomfortable because I still don’t really know how to respond. This is not my vernacular. My reference is the 90s’ cold, hard grip on “keepin it real,” even as I never felt fully a part of that. My language is 2pac’s righteous indignation and anger, even it left me in so many ways illiterate.

I struggle with deep emotion. Still.

Artists like Drake, J. Cole, Frank Ocean, Kanye West and others are playing in space that is quite new. And while I think they often confuse narcissism for reflection and miss the mark in communicating what they are genuinely feeling, I appreciate so very much that the range of emotion that black men can feel publicly – and be successful and lauded – is so much broader now than it has been in the past.

Millennials have so many more colors to play with than previous generations allowed themselves. We should celebrate that.

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Posted on July 28th, 2012 - Filed under Culture,Music,Self-reflection
Tags :: 2pac, 90s hip hop, black men, crying, Drake, emotional, emotions, feelings, Frank Ocean, J. Cole, Kanye West, keepin it real, Lupe Fiasco, millennials, MTV, Sway, Tupac Shakur

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My friend, Alyssa Rosenberg, asked me to guest post on her blog on ThinkProgress this week.  I accepted and it was a really effin good time.  Her commenters are awesome and spending time at her crib really forced me to step my game up. I think I did ok.  

• Will ‘The Best Man’ Sequel Treat Its Women Characters Better?
• ‘Reed Between The Lines’ Is No ‘Cosby Show,’ Thankfully
• How Do You Create A Bisexual Film Character?
• How Can We Get Majority Audiences Consuming Culture About Minority Experiences? ctd.

What do y'all think?

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Posted on October 14th, 2011 - Filed under Culture,Film,Sexuality,Television
Tags :: Alyssa Rosenberg, BET, bisexuality, black film, black sitcom, black tv, Clair, Cliff, Cosby Show, Everybody Hates Chris, Family Matters, Finding Me: Truth, fluid sexuality, Greg, guest blog, Huxtables, independent film, Malcolm-Jamal Warner, Morris Chestnut, My Wife and Kids, Nia Long, Reed Between The Lines, Roger S. Omeus, sexism, Taye Diggs, Terrance Howard, The Best Man, The Best Man 2, The Best Man sequel, The Parent'Hood, ThinkProgress, Tracee Elli Ross

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This open letter from model Leomie Campbell to the Sunday Times about racism in the fashion industry is fascinating. Not so much for the tales about the racism.

Nope, what is most striking to me is how Campbell equivocates throughout the entire piece and then ends with:

I don’t think talking about racism in fashion will change anything. Even if fashion changes, it’s not going to change the world. I’d rather just have a positive attitude. If I were feeling discriminated against, I might go into a casting thinking I’m not going to get this job. It’s negativity that will disadvantage me.

Well, what's the point of writing this open letter if not to "talk about racism"? Lawd!

It's interesting to watch the millennial generation – Campbell is 19 – tie themselves in knots trying to talk about race in a world where they have been told that it is not something that we need to talk about anymore. Clearly they want to. Clearly Campbell wants to talk about what it is really like to be a black model, but she knows she can't just call the entire industry racist — even though the primary goal of the fashion industry is to reinscribe whiteness and white beauty standards around the world, i.e. racist.

If anything, despite her prostestations, Campbell's letter makes the need to address racism in the fashion industry more critical than ever.

(H/T The YBF)

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Posted on June 13th, 2011 - Filed under Culture,Sexuality
Tags :: black model, fashion, fashion industry, Leomie Campbell, millennial generation, millennials, racism, Sunday Times, white beauty standards, whiteness

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