Colorlines

Kristina Wong: Asian Vaginas Have the Power to End Racism (NSFW)

Kristina Wong: Asian Vaginas Have the Power to End Racism (NSFW) Play

Tired of white guys who say, “I’m not racist! I’ve dated an Asian/Latina/Black woman before!”? This video from comedian Kristina Wong shows why he may be onto something. Warning: this video is NSFW—and NSFFWCSTSSPAV (Not Safe for Folks Who Can’t Stand to See Stuffed Penises and Vaginas).

Or not.

Toni Morrison to Colbert: ‘There’s No Such Thing As Race’

ICYMI: Toni Morrison paid a visit to “The Colbert Report” earlier this week ands schooled the host on racism. Among her many gems is this one: “There’s no such thing as race. Racism is a construct. A social construct.” Watch.  

Big K.R.I.T.’s ‘Cadillactica’ is Rightfully the No.1 Hip-Hop Album in America

Big K.R.I.T.'s 'Cadillactica' is Rightfully the No.1 Hip-Hop Album in America

Mississippi rapper Big K.R.I.T. earned his second No. 1 on Billboard’s Top R&B/Hip-Hop Albums with his new album “Cadillactica.” As Billboard noted:

[The album moved] 44,000 in first-week sales (his best week ever), according to Nielsen SoundScan. The 28-year old rapper last debuted atop the chart in 2012 with Live From the Underground (41,000 units). The new set includes a host of featured acts, including Raphael Saadiq and Wiz Khalifa. The second single from the set, “Pay Attention” featuring Rico Love, spent a week at No. 24 on the Billboard + Twitter Top Tracks chart in August.

“Cadillactica” is a concept album, which K.R.I.T. explained in an interview with Complex:

“I wanted to tell where the Cadillac came from on the “Live From the Underground” [a previous album] cover. That was very important for me. But “Cadillactica” in itself is literally my sub-conscious. I wanted to make a planet of it and give it a name…and on this planet, life is a little bit obscure. And it’s about the journey in life on Cadillactica, from the beginning of the planet itself to finding life on the planet and how life unfolds on this planet, what people go through on this planet. From being young and rambunctious to find [sic] your purpose in life and being content with what you’ve done. And then ultimately the end. [I was] figuring out a creative way of telling that entire story of a planet nobody’s ever heard of before.”

But even that somewhat vague answer doesn’t do the album justice. Guest appearances also include Raphael Saadiq and E-40 on standout tracks “Soul Food” and “Mind Control.” Each song speaks to a facet of black life in the South. There’s the “Mo Grease Than Beat” skit at the end of the especially strong title track that offers up a drive-thru order that comes with “two sides, some poverty or some famine…and if you don’t want that famine, you can always get some low self-esteem or a biscuit.” There are love songs to speakers (“My Sub, pt. 3”) and cars (“Do You Love Me” ft. Mara Hruby) and K.R.I.T.’s demand for the rest of the world to respect Southern rappers (“Mt. Olympus”). But mostly there’s K.R.I.T. at some of his finest moments lyrically. 

“I think it was time to go back,” he explained to Rolling Stone in October. “You get in the point where people tell you, “Man, you know, people need to be able to rap your songs.” And you get caught up in that. So, I wasn’t all that caught up in it this time. I was really on some like, ‘I want you to listen, I pray you get something from it, but I want to tell you something.’”

Here’s a behind-the-scenes look at the making of the album:

Dave Chappelle and Michael Sam Do GQ

Dave Chappelle and Michael Sam Do GQ

Dave Chappelle and Michael Sam grace two of the six covers of GQ’s December 2014 “Men (and Women) of the Year” issue. In an upbeat Q+A available online, Chappelle talks about binge-watching “The Wire,” living off the grid and returning to the stage. Here’s the comedian on his “show business bucket list”:

There’s just certain things that every entertainer always dreamed of doing. When I was 19, I used to walk up Sixth Avenue and look at the marquee of Radio City. I’d see the lines outside. I’d be like, “Man, I just want to… Radio City!” So then, last year, when I started going on the road, it was just because I wanted to be on the road, at first. There’s something cathartic about touring—it feels good to just engage people that way. 

Check out Sam’s interview in GQ.

 

 

 

Cornel West and Questlove Talk About Black Revolution and Blues Music

Cornel West and Questlove Talk About Black Revolution and Blues Music

Questlove caught up with Cornel West recently for a wide-ranging interview that broadly touched on what the two know best: politics and music. The interview gets right to the point, starting off with a question about collaborative versus individual leadership in the movement for justice:

QUESTLOVE: So you were teaching your class about the difference in social impact between Marcus Garvey and Du Bois. And what I took away was the question of whether we need a messiah figure to lead society, or can it be truly grassroots? I also wonder what good it will do today. Chuck D taught me a long time ago to aim really small. And everyone now has [Michael] Jordan-itis—everyone wants the star position. So where do you fall, on the question of how we can best move forward as a society, between the Moses-messiah figure, like Martin Luther King Jr. or, say, Occupy Wall Street, which really didn’t have a leader? 

CORNEL WEST: I take my fundamental cue from John Coltrane that says there must be a priority of integrity, honesty, decency, and mastery of craft. I take my second cue from [organizer and activist] Ella Baker that says, with that integrity, honesty, decency, master of craft, there must be an attempt to find, among everyday people, vision, voice, and modes of organizing and mobilizing that does not result in the messianic model, in the HNIC, the head negro in charge. This is where Martin King comes in, and the distinction we made in class between conspicuous charisma and service-oriented charisma. It’s possible to be highly charismatic the way John Coltrane was, and still de-center oneself, as he did, to allow for McCoy, and Elvin, and Reggie, and the others [who played with Coltrane] to lift their voices with tremendous power. Martin, at his best, was able to empower others, galvanize others and, through an integrity and humility, recognize he’s just another human being, not a messiah. At his worst, he was the Moses that everybody had to defer to. 

Read more at Interview Magazine

Watch Jay Smooth’s Hip-Hop History Lesson for Activists

Jay Smooth offers up some valuable hip-hop history for activists ahead of Fusion’s launch of RiseUp!, a new series that celebrates youth activism. Instead of indicting younger activists, which so often is the norm these days, Jay encourages them: “Every critique young people get about their activism right now is what we got about our music and culture back then,” he says. “When a whole bunch of people who never cared what you were doing suddenly notice the work you are doing enough to want tell you you aren’t doing it right, that means you’re probably doing something right.”

(h/t Fusion)

An Illustrated Guide to Ferguson’s Police After Mike Brown

As communities across the country wait on pins and needles for a Ferguson grand jury’s decision on whether or not to indict police officer Darren Wilson in the killing of Mike Brown, artist Molly Crabapple breaks down at Fusion how the St. Louis suburb has once again made clear the police’s contentious relationship with black communities. 

Ava DuVernay’s ‘Selma’ Earns Standing Ovation in New York City

New York City played home to a special screening of Ava DuVernay’s highly anticipated film “Selma” on Monday night and received a standing ovation. The film stars David Oyelowo as Martin Luther King Jr. and centers on the historic 1965 Civil Rights march from Selma to Montgomery, Alabama*.

Here’s the trailer:

Roger Friedman of Showbiz 411 was there for the screening and wrote that the film has already made its case for Oscar consideration:

“There’s a lump in your throat at the of ‘Selma,’ a movie that wisely takes a a snapshot of King’s life from the moment he wins the Nobel Peace Prize in 1964 through the Selma march in 1965…Cinematographer Bradford Young (who also has ‘Pawn Sacrifice’ and ‘A Most Violent Year’) gives ‘Selma’ a convincing feel in muted colors that blossom toward the end of the movie. The version we saw last night also featured the theme song, written and recorded by Jay Z and John Legend. It’s a winner.”

The film has got plenty of Hollywood heavyweights behind it. Oprah Winfrey and Brad Pitt are executive producers, and DuVernay picked up the project after director Lee Daniels bowed out in the aftermath of “The Butler.” The film is slated to hit theaters this Christmas. 

 

* Post has been updated since publication to reflect that King’s 1965 march was from Selma to Montgomery not, to Selma.

Video: Solange Knowles Dances With Son to Celebrate Black Love

Video: Solange Knowles Dances With Son to Celebrate Black Love Play

Solange Knowles broke the Internet over the weekend when she got married to video producer Allen Ferguson. The wedding photos are absolutely incredible, but so were the details: there was her afro, and that pantsuit, the second line parade and the bikes! But this video of Solange dancing with her 10-year-old son, Julez, to the song “No Flex Zone” trumps all.

Watch Kendrick Lamar Beckon James Brown on SNL

Kendrick Lamar made his second appearance ever on “Saturday Night Live” this weekend. This time around, he sported all black contact lenses and showed off some dance moves to his latest hit single “i.” It was a soulful performance, backed by a full live band and very reminiscent of James Brown. Watch below. 

The performance did plenty to build up even more anticipation for his forthcoming album. According to Rolling Stone:

In a recent interview, Lamar gave some insight into what listeners can expect from the forthcoming new album, promising “aggression and emotion.” “If I can say anything about this record,” he said, “it’s that it will connect again.” He also noted at the time that he hadn’t yet called in any guest MCs for tracks. “I have so much to say!” he says, laughing. “It’s somewhat selfish of me.” But he was happy to share the stage last night. 

Read more

Is Serial Having Trouble Telling a Muslim American and Immigrant Story?

Is Serial Having Trouble Telling a Muslim American and Immigrant Story?

Along with hundreds of thousands of other people, I’ve become obsessed with Serial, the new podcast from the same team that’s behind “This American Life.” In it, radio producer Sarah Koenig unravels the state of Maryland’s murder case against Adnan Syed, a man who was convicted of killing his former high school girlfriend, Hae Min Lee, back in 1999. 

The podcast has become a sensation, but it’s also drummed up plenty of questions about the ethics of making a grisly murder and its heartbreaking aftermath mere entertainment for radio enthusiasts. Michelle Dean wrote in the Guardian about some of these moral quandies, including the fact that Redditors have now gotten involved. But most interesting for our purposes it he question posed by Jay Caspian Kang at The Awl: “What happens when a white journalist stomps around in a cold case involving people from two distinctly separate immigrant communities? Does she get it right?” Kang writes:

Koenig does ultimately address Syed’s Muslim faith in Serial, but only to debunk the state’s claim that Syed’s murderous rage came out of cultural factors. The discussion feels remarkably perfunctory—Koenig quickly dispenses with Syed’s race and religion. She seems to want Syed and Lee, by way of her diary, to be, in the words of Ira Glass, “relatable,” which, sadly, in this case, reads “white.” As a result, [Rabia Chaudry, an attorney who’s featured prominently in the begining of the season] believes Koenig has left out an essential part of Syed’s story—that his arrest, his indictment and his conviction were all influenced by his faith and the color of his skin. “You have an urban jury in Baltimore city, mostly African American, maybe people who identify with Jay [an African-American friend of Syed’s who is the state’s seemingly unreliable star witness] more than Adnan, who is represented by a community in headscarves and men in beards,” Chaudry said. “The visuals of the courtroom itself leaves an impression and there’s no escaping the racial implications there.”

“I don’t know to what extent someone who hasn’t grown up in a culture can really understand that culture,” Chaudry added. “I think Sarah tried to get it, but I don’t know if she ever really did. I explained to her that anti-Muslim sentiment was involved in framing the motive in this case, and that Muslims can pick up on it, whereas someone like her, who hasn’t experienced this kind of bigotry doesn’t quite get it. Until you’ve experienced it, you don’t really know it or pick up on it.”

Do you agree with Kang’s take? Disagree? Read more at The Awl. 

Remembering the ‘Ungovernable’ Ella Fitzgerald’s Time in a Youth Prison

Remembering the 'Ungovernable' Ella Fitzgerald's Time in a Youth Prison

Long before she earned a reputation as a legendary jazz singer, 15-year-old Ella Fitzgerald was called “ungovernable” and unwilling to “obey the just and lawful commands of her mother” by Westchester County judge George W. Smyth. She was sent to the Hudson Reform, the only state juvenile institution that accepted both black and white children. 

Russ Immarigeon at Prison Public Memory dug up Fitzgerald’s history with the juvenile justice system to show that it’s long preyed on black and brown children. Today, there are more than 66,000 American youth who are confined in juvenile detention facilities, according to Nell Bernstein, author of “Burning Down the House: The End of Juvenile Prison.” The majority of those kids are, like Fitzgerald, sentenced to serve time for non-violence offenses; only one of every four confined youths was locked up based on a Violent Crime Index offense.

Fitzgerald suffered plenty of abuse at the hands of the state before making it big in Harlem. From Immarigeon:

Her biographers appear to agree on this: A fifteen- or sixteen-year-old Ella Fitzgerald returned, in a disheveled and homeless state, to New York City in late 1933 or early 1934. Shortly thereafter, she tried to display her dancing talents at the Apollo on 125th Street before taking its famous stage to sing. Soon, she started singing regularly with drummer Tiny Bradshaw’s band at the less-well-known Harlem Opera House. And, at the age of seventeen, within a year of leaving Hudson, Fitzgerald was singing and recording with the swinging Chick Webb and his Orchestra, where she quickly took her first steps toward being America’s “First Lady of Jazz.” 

After her death in 1996, cultural critic Margo Jefferson rembered her life this way:

 “That voice never did give us intimations of the stepfather who abused her when her mother was dead; of the aunt who rescued her, then had no time or money to care for her; of Ella herself as a teenage truant who did time in a New York State reformatory for girls, where discipline was instilled though beatings and solitary confinement. When she ran away, she went from wayward girl to urchin, shuffling alone through the streets of Harlem, singing and dancing for small change, sleeping wherever she could find a night’s bed and board.”

Read more at Prison Public Memory.

 

Ryan Coogler and Michael B. Jordan Are Making Another Movie Together Again

Ryan Coogler and Michael B. Jordan Are Making Another Movie Together Again

Director Ryan Coogler and actor Michael B. Jordan gained acclaim a few years ago with “Fruitvale Station,” the drama based on the last day of Oscar Grant’s life before he was shot and killed by transit cop Johannes Mehserle. Now the two are teaming up again to make “Creed,” a film that follows the grandson of a character in the “Rocky” franchise, Apollo Creed. 

More from Shadow and Act:

The story for what will be the 7th film in the “Rocky” franchise will see Michael B. Jordan play the grandson of Apollo Creed, raised in a wealthy home, living off his grandfather’s earnings, but who, despite his family not wanting him to follow in his grandfather’s footsteps, has the desire to do so, as well as the natural gifts and potential that his grandfather used to become a heavyweight champion… that is until Rocky Balboa took his crown in 1979′s “Rocky II.” Creed’s grandson seeks a mentor to help train him, and, of course, that mentor turns out to be Balboa himself (Stallone), who is no longer interested in the sport, and apparently needs to be convinced to help get Creed’s grandson prepped and ready to get in the ring.

Champion boxer (and, like Coogler, Oakland native) Andre Ward is also in negotiations to join the film’s cast. It’ll start shooting in early 2015. No word yet on a release date. 

Watch Issa Rae’s Hilarious Take on Young Thug

ICYMI, Isse Rae offers up a close reading of Young Thug’s “Riches, No Bitches” on the latest episode of “Ratchetpiece Theater.”

(h/t For Harriet)

Twitter Reminds Bill Cosby That He Can’t Keep Dodging Those Rape Allegations

When Bill Cosby took to Twitter on Monday night to drum up publicity for his website by asking fans to create memes, he certainly didn’t expect an avalanche of reminders about the many rape allegations leveled against him over the years. But that’s exactly what happened. (Cosby has since deleted his initial tweet to his followers.)

 

Pittsburgh’s Conflict Kitchen Shut Down Over Palestinian Program

Pittsburgh's Conflict Kitchen Shut Down Over Palestinian Program

Since 2010, Pittsburgh’s Conflict Kitchen has gone about the idealistic goal of trying to foster understanding between warring countries. The eatery features food from regions of the world under siege by the U.S. military, serving up what Benjamin Sutton at Hyperallergic dubbed “culinary diplomacy.” But that diplomacy has been called into question recently by Israel advocacy organization B’nai B’rith in a battle over the restaurant’s Palestinian programming. Last week, the drama got so heated that death threats temporarily shut down the kitchen.

From Hyperallergic:

Attacks on Conflict Kitchen have revolved around two issues. Its Palestine-themed programming launched with a September 30 talk that featured West Bank-raised, Pittsburgh-based doctor Nael Aldweib and Ken Boas, a University of Pittsburgh professor who is also the chair of the board of the Israeli Committee Against House Demolitions-USA. That event drew criticism from Pittsburgh’s Jewish Chronicle for not including an Israeli perspective.

“Promoting understanding is at the core of Conflict Kitchen’s mission,” Rubin and Weleski wrote. “We have demonstrated this in the past by presenting the food, culture, and viewpoints of Iranians, Afghans, Cubans, North Koreans, and Venezuelans.  We believe that presenting the viewpoints of Palestinians promotes understanding of Palestinians.”

Critics have also taken aim at Conflict Kitchen’s food wrappers, some of which contain excerpts of interviews that took place in Palestine. But in a blog post last week from co-founders Jon Rubin and Dawn Weleski reiterated Conflict Kitchen’s mission — and noted that they’re good at what they do. “The real story on our Palestinian version is that it is the most popular iteration to date, with 300-400 people a day coming to the restaurant,” they wrote. “Our public is approaching us with trust, support, and open minds.”

New 5Pointz Landlord Insists He Owns Graffiti Mecca’s Name

New 5Pointz Landlord Insists He Owns Graffiti Mecca's Name

It was bad enough to see the historic Manhattan graffiti mecca 5Pointz get whitewashed and then demolished earlier this year to clear the way for new condos. Now the lot’s landlord, Jerry Wolkoff, is trying to use the name for the condos he’s building there. 

From the Huffington Post:
The move makes one more bullet point in a list of grievances for the key artists and activists associated with 5Pointz, for whom Wolkoff became an enemy after his dramatic overnight whitewashing. One, Marie Cecile Flageul, acted as the group’s press liaison when plans were underway to sway the city to preserve the graffiti-smothered building. Speaking to a reporter this week, Flageul accused Wolkoff of trying to “bank off our name.” She called the name-grab “ironic,” asserting that “the same corporation which single-handedly destroyed all the artwork known as 5Pointz” is “trying to capitalize” on its cache. 
Many of the city’s legendary graffiti writers attribute the name to Jason “Meres One” Cohen, a street artist who curated the site back in the ’80s. The two new condo buildings will be part of a $400 million redevelopment plan, which Wolkoff promises will recapture some of its predecessor’s mystique, with an exterior tagging wall and artist studios inside the building. People “don’t believe that I’m going to bring them back,” he told the Huffington Post. “But they will be back.” 

Azealia Banks is Fed Up With Mainstream Music, Especially Those ‘Corny’ White Girls

Azealia Banks is Fed Up With Mainstream Music, Especially Those 'Corny' White Girls

Azealia Banks dropped her long awaited debut LP “Broke With Expensive Taste” as a surprise for fans last Thursday. Pitchfork’s Jeremy Gordon was there the next day to talk with the rapper/singer about the tortured road she’s taken since 2011, when she seemed primed for mainstream success only to flounder under Interscope for the next three years and get into a series of high profile Twitter fights.

Banks always has a lot to say about being a black woman in the industry. In June, shortly  before she was dropped from Interscope, she begged to be let go, writing on Twitter, “I’m tired of having to consult a group of old white guys about my black girl craft.” She was no less forthcoming with Pitchfork noting that even though some of her mess was of her own making, she got very little help cleaning it up.

Pitchfork: Two years ago, you told Spin that signing to a major label would be your one chance. 

Azealia Banks: At that point, I was really young and surrounded by a lot of older men who were working with me, that I was dating—a lot of older people I had to deal with. And having the male co-sign is something that people talk about a lot, especially with female rappers. Having been rejected by so many different people, I was just like, “Oh my God, I’m back in with these guys, this is my last chance.” But now I know how much it costs to go in the studio—I could make a thousand dollars and record for 12 hours and do whatever I need to fucking do. I don’t need these major label guys. These people are not my last shot. I know how to do this. I can do this. And thanks to Twitter, I can do it my own way, too.

She then goes in on the mainstream industry at large saying that having to deal with the career pressures and living in the digital public eye is “making me insane.”

Or it’ll be like, “We’re gonna pop off the white-girl rapper,” so we’ll have Gwen Stefani and Fergie, and then it’ll get worse and worse and worse. And you’re just like, “What the fuck is this?” The whole trend of white girls appropriating black culture was so corny—it was more corny than it was offensive. Trust me, I’m not offended: All the things I’m trying to run away from in my black American experience are all the things that they’re celebrating. So if they fuckin’ want them, have them; if they want to be considered oversexualized and ignorant every time they open their fucking mouth, then fucking take it. But more than that, the art is not good. These songs are not good. It’s like, “Oh my God, you’re doing this black woman impression, is that what the fuck you think of me, bitch? I need to meet the black woman that you’re imitating because I’ve never met any black woman who acts that bizarre.” It’s crazy that this becomes mainstream culture. All of America is celebrating shit like that. It’s so weird.

Read more at Pitchfork.

The World’s Getting a New Disney Princess Who’s Not White

The World's Getting a New Disney Princess Who's Not White

Disney is set to release “Moana,” its 56th animated feature, in 2016. And this time the princess is Polynesian:

Here’s more from Entertainment Weekly:

Moana is described as a “a sweeping, CG-animated comedy-adventure,” and takes place in ancient Oceania in the South Pacific. The film will tell the story of its titular character, a teenage girl and “born navigator” who “sets sail in search of a fabled island,” according to a summary from Disney. “During her incredible journey, she teams up with her hero, the legendary demi-god Maui, to traverse the open ocean on an action-packed voyage, encountering enormous sea creatures, breathtaking underworlds and ancient folklore,” Disney reveals.

Read more

It’s a step in the right direction, but as Maureen Shaw wrote at Mic about merchandise sales and Disney princesses, the company’s got a long way to go:

Disney critics have long accused the company of racism and heterogeneity, and while the media powerhouse has made recent strides in diversifying its princesses, perhaps it’s not doing enough on the merchandise front. Did Disney manufacture equal shares of white versus non-white princess wares? Considering that two other princesses of color, Mulan and Pocahontas, didn’t even rank in the report, it’s an alarming possibility.

Read more

Video: Women of Color Speak Out About Street Harassment

Over at Jezebel, Collier Meyerson writes about that controversial Hollaback video on street harassment and new response from a group of women of color:

…black and brown women were excluded, as if we do not exist, or are not affected by street harassment when, in fact, we are more endangered by it. Black and brown women, women of color of size, and trans women are among our society’s most vulnerable. Black women are at a greater risk of domestic violence. For trans women, even leaving the house can be fraught with emotional and physical violence. Women of color, regardless of gender expression, have an extra layer of fear and anxiety when walking down the street. The Hollaback video’s omission of white men, and the omission of black and brown women, worked together in an sinister alchemy to reinforce centuries-old stereotypes about who needs to be saved and protected and who needs to be feared and controlled.

Hollaback did issue an apology, writing: “We agree wholeheartedly that the video should have done a better job of representing our understanding of street harassment and we take full responsibility for that.”

In the video below, several women of color talk about their experiences with street harassment, often at the hands of white men.

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