In Focus: African American Caucus (original) (raw)

Are We There Yet? Yearnings for a Discursive Shift in Black Cultural Studies

American Quarterly, 2007

During the winter of 2005, rappers 50 Cent and The Game staged a wellpublicized feud replete with verbal sparring, public threats, media outcry, and a shooting outside of New York City's Hot 97-the largest and most influential urban music radio station in the nation. On cue, journalists, media personalities, and black public figures lashed out at hip-hop culture and the music industry in general for promoting negative values. Reminiscent of the activism of C. Delores Tucker with her anti-gangsta rap crusades of the 1990s and in a move that aligned black activists with right-wing values, Reverend Al Sharpton called for the Federal Communications Commission to issue a temporary ban of artists who promote violence. 1 The feud came to a temporary resolution when the two parties organized a press conference at the Schomburg Center for Research in Black Culture on the anniversary of the death of rapper Notorious B.I.G., who died in a drive-by shooting in Los Angeles in 1997. During the public reconciliation, the two artists made charitable donations to the Boys Choir of Harlem and 50 Cent read the following statement:

***Flawless Performances: Black Political Cultures in the Careers of Diana Ross, Whitney Houston, and Beyoncé

For Black women in America, the political landscapes of feminism, race, and sexuality have always represented a sensitive balancing act. Considered “other” within the hegemonic structures of white-supremacist patriarchy, Black women have historically confronted and combated a myriad of stereotypes, using the tools afforded to them, as they faced specific challenges that placed them in subordinate position for equity and opportunity. Music, particularly blues, offered a platform unlike any other available as its creation lent itself to the understanding of recurring themes, ideas, and multiple frames of consciousness that existed in both the social and private spheres of politicized Black life. My research makes an intervention by bridging this gap and exploring contemporary manifestations of this legacy. By choosing Diana Ross, Whitney Houston, and Beyoncé, and bringing their art to the forefront of conversation, I am representing almost five decades of musical innovation and creation. With a focus on the role of popular culture in identity politics and cultural formation, I use close readings of their art as well as analysis of music charts, journalism, and reviews, to explore the influence of traditional blues culture, Black feminisms, and contemporary politics on the work produced by the three while providing a frame in which to explore implications of contemporary popular culture on identity formation and representations of racialized womanhood.

The Black Arts Movement Reprise: Television and Black Art in the 21st Century

European Journal of American Studies, 2019

How much longer are they gonna treat us like animals? The American correctional system is built on the backs of our brothers, our fathers and our sons. How much longer? It's a system that must be dismantled piece by piece if we are to live up to those words that we recite with our hands on our hearts. Justice for all. Not justice for some, but justice for all. How much longer?"-Cookie Lyons, "Empire" (2015) "[The] artist's role is to raise the consciousness of the people….Otherwise I don't know why you do it."-Amiri Baraka 1 In 1969, Larry Neal, one of the most visible black writers of his generation, emerged as a chief exponent of a new artistic movement that was unfolding alongside the Black Power Movement. For those curious about it, he explained that art had a critical role in the Black Freedom Movement 2 as a force to complement grassroots activism and political struggle. Black artists were intimately connected to, and profoundly aware of, the black freedom struggle; and their work reflected this familiarity. "The Black Arts Movement," Neal noted, is radically opposed to any concept of the artist that alienates him from his community. The movement…speaks directly to the needs and aspirations of black America. In order to perform the task, the Black Arts Movement proposes a radical reordering of the Western cultural aesthetic. It proposes a separate symbolism, mythology, critique, and iconography. 3 Throughout the United States a new black mood coalesced around aesthetes who formulated new and audacious articulations of identity and politics that resonated with wider black America. The Black Arts Movement (BAM) would have an indelible impact on the cultural landscape of the country. It transformed the arts and literature in innumerable ways from theatre, to murals, fashion, and more. A half-century after Neal's decree, there has been an unprecedented explosion of black arts in the United States, exceeding the depth, scope, reach and influence of the BAM,

The Blacks Arts Movement Reprise: Television and Black Art in the 21st Century

European journal of American studies, 2019

How much longer are they gonna treat us like animals? The American correctional system is built on the backs of our brothers, our fathers and our sons. How much longer? It's a system that must be dismantled piece by piece if we are to live up to those words that we recite with our hands on our hearts. Justice for all. Not justice for some, but justice for all. How much longer?"-Cookie Lyons, "Empire" (2015) "[The] artist's role is to raise the consciousness of the people….Otherwise I don't know why you do it."-Amiri Baraka 1 In 1969, Larry Neal, one of the most visible black writers of his generation, emerged as a chief exponent of a new artistic movement that was unfolding alongside the Black Power Movement. For those curious about it, he explained that art had a critical role in the Black Freedom Movement 2 as a force to complement grassroots activism and political struggle. Black artists were intimately connected to, and profoundly aware of, the black freedom struggle; and their work reflected this familiarity. "The Black Arts Movement," Neal noted, is radically opposed to any concept of the artist that alienates him from his community. The movement…speaks directly to the needs and aspirations of black America. In order to perform the task, the Black Arts Movement proposes a radical reordering of the Western cultural aesthetic. It proposes a separate symbolism, mythology, critique, and iconography. 3 Throughout the United States a new black mood coalesced around aesthetes who formulated new and audacious articulations of identity and politics that resonated with wider black America. The Black Arts Movement (BAM) would have an indelible impact on the cultural landscape of the country. It transformed the arts and literature in innumerable ways from theatre, to murals, fashion, and more. A half-century after Neal's decree, there has been an unprecedented explosion of black arts in the United States, exceeding the depth, scope, reach and influence of the BAM,