EDITOR’S NOTE: For some time now, we here at GBN have struggled with the fact that while our operating directive is always to present positive stories, there are so many issues that affect our communities that don’t fit that philosophy, but would love to find a way to present that doesn’t stray from our core mission. It recently dawned on us that the steps we as individuals and societies take to solve problems, large or small, could perhaps be our way in. Solutions can only come first through awareness and acknowledgement of the issue, learning about it, discussing it, then figuring out ways to act that may help solve it.
In that spirit, we introduce “Let’s Talk About It” – a new GBN feature we will occasionally present about problems that need ideas for solutions. Our first entry is a share from, appropriately enough, The Conversation, a website GBN has partnered with to bring to you exactly this type of content.
First up: How can we as a community begin to solve the black student debt crisis? Should we follow the lead of billionaire Robert F. Smith, who single-handedly relieved the debt of Morehouse College’s graduating class of 2019, and task the wealthiest among us to pitch in and help out? Or are there other ways for us to alleviate this issue? Read below, and if you’d like, let’s discuss!
-Lori Lakin Hutcherson, GBN Founder and Editor-in-Chief
by Mako Fitts Ward, professor at Arizona State University
When billionaire Robert F. Smith decided to pay off the student loans of the graduating class of 2019 at Morehouse College, he suggested that others follow his lead.
“Let’s make sure every class has the same opportunity going forward, because we are enough to take care of our own community,” Smith declared in his commencement speech.
But is there even enough black private wealth in the United States to pay off all black student loan debt?
As a scholar in social transformation and African American studies, I’m intrigued by this question. It provides an opportunity to examine black wealth, higher education and the possibilities for alleviating debt, which in turn opens the door to new economic opportunities.
That’s a lot of money, and he’s done it before. Before his gift to Morehouse, Smith donated $50 million to Cornell University, his alma mater, in part to support African American and female students at Cornell University’s College of Engineering.
Other black celebrities have also stepped up to fund education. Powerhouse couple Beyonce and Jay Z gave more than $1 million in scholarships to students who lived in cities they were touring in 2018.
Rapper Nicki Minaj gave 37 “Student of the Game” scholarships. LeBron James, through his foundation, promised to pay for 2,300 students to attend the University of Akron – at an estimated price tag of $100 million. Oprah Winfrey has donated more than $400 million to educational causes.
As GBN’s resident biracial, millennial nerd, I place a lot of importance on diversity at Comic Con and in the entertainment industry.
Pop culture has the power to influence how people see the world around them, and, thankfully, there are people in the entertainment industry who understand this and work to make content that showcases the positive aspects of diversity and uniqueness.
A prime example of this content is Steven Universe, an out-of-this-world show that isn’t afraid to show just how diverse this planet really is.
On the surface, Steven Universe is a cartoon about a boy trying to save the world. But on a deeper level it’s a show about love and friendship, and a show that teaches kids lessons about healthy relationships, anxiety, and how important it is to be true to yourself. Estelle, who plays Garnet (the fierce leader of the Crystal gems and fusion of LGBTQ+ couple Ruby and Sapphire), killed it at the Superheroes of Body PositivityPanel this Comic Con.
Estelle, along with the rest of the Crewniverse (people who work on Steven Universe) recently participated in Dove’s Self Esteem Project. Rebecca Sugar, the creator of Steven Universe and Estelle joined Dove on the Panel to talk about body positivity and open up about their own experiences with body image. “My body works, it’s gorgeous. It gets me from point A to point B. If someone, doesn’t like my body, that’s too bad,” Estelle explained.
Another show featured at Comic-Con was Black Lightning, a badass superhero show that celebrates Black Americans. Series co-creator Mara Brock Akil took the stage to express that “celebrating our culture is important to remind us that we are also a part of the fabric of American culture. Tracking our history and our path is important.”
Then there are the women of the Women Who Kick Ass Panel. Amandla Stenberg, who I’ve been a fan of since their portrayal of Rue in The Hunger Games, said “The topic of ‘strong female roles’ is tricky. There’s an awareness I have. I create representation because of the accessibility I have. When it comes to roles there is a give and take time. We continue to sacrifice in order to see the representation we want.” I will definitely be purchasing a ticket for their new movie The Darkest Minds.
And of course, there’s Regina King, who will be starring in HBO’s new Watchmen series. “There weren’t many like me kicking ass. I was a Lynda Carter fan. Even though Wonder Woman was wearing a skimpy outfit, she had ownership and confidence that exuded female strength,” Regina King explained about her own experiences with superheroes.
For me, cartoons and superheroes have shaped core aspects of my personality and morality, so it means a lot to me to see so many badass women of color involved in so many amazing projects share their experiences.
Dear Good Black News readers – chances are most of you are unaware that earlier this month, our goodblacknews.org site was hacked and (temporarily) completely wiped off the internet. Luckily, we were able to recover our data and immediately begin work to re-secure GBN. We would have let this remain a behind-the-scenes matter, if not for one thing – the verbiage left on our profile page, the only page we could access while the site was down. Our screenshot of it is below:
In case that is hard to make out clearly, it says:
Good Blackuski News
Likely I K Kim KK
We suspect the message above was tailored to target Good Black News and its content. Whether this was the work of a hate group, or of those posing as one to create disruption and stoke anger or fear, the bottom line is Good Black News is not and will not go down, will not be erased and will not alter our positive and pro-active vision one whit.
Over the years GBN has received several racist and/or hateful tweets, emails and comments – our typical response has been to delete, block and move on with little to no acknowledgement of the vitriol. But now, in the era of #TimesUp and #MeToo, it no longer feels right to ignore the ugliness that comes our way, even if pointing it out may invite more of it.
Regardless, we will continue to stay true to our mission and philosophy to be an unfailing and reliable source for all the good things black people do, give, and receive all over the world.
If you want to help us continue to grow as a force, please consider amplifying our site and its cause by encouraging your friends and loved ones to follow us so that we may all be well-informed, stronger and brighter together.
INDIO, Calif. — Let’s just cut to the chase: There’s not likely to be a more meaningful, absorbing, forceful and radical performance by an American musician this year, or any year soon, than Beyoncé’s headlining set at the Coachella Valley Music and Arts Festival Saturday night.
It was rich with history, potently political and visually grand. By turns uproarious, rowdy, and lush. A gobsmacking marvel of choreography and musical direction.
And not unimportantly, it obliterated the ideology of the relaxed festival, the idea that musicians exist to perform in service of a greater vibe. That is one of the more tragic side effects of the spread of festival culture over the last two decades. Beyoncé was having none of it. The Coachella main stage, on the grounds of the Empire Polo Club here, was her platform, yes, but her show was in countless ways a rebuke.
It started with the horns: trumpets, trombones, sousaphones. For most of the night, the 36-year-old star was backed by an ecstatic marching band, in the manner of historically black college football halftime shows. The choice instantly reoriented her music, sidelining its connections to pop and framing it squarely in a lineage of Southern black musical traditions from New Orleans second line marches to Houston’s chopped-and-screwed hip-hop.
Her arrangements were alive with shifts between styles and oodles of small details, quick musical quotations of songs (Pastor Troy’s “No Mo’ Play in G.A.,” anyone?) that favored alertness and engagement. As always, one of the key thrills of a Beyoncé performance is her willingness to dismantle and rearrange her most familiar hits. “Drunk in Love” began as bass-thick molasses, then erupted into trumpet confetti. “Bow Down” reverberated with nervy techno. “Formation,” already a rapturous march, was a savage low-end stomp here. And during a brief trip through the Caribbean part of her catalog, she remade “Baby Boy” as startling Jamaican big band jazz.
She does macro, too — she was joined onstage by approximately 100 dancers, singers and musicians, a stunning tableau that included fraternity pledges and drumlines and rows of female violinists in addition to the usual crackerjack backup dancers (which here included bone breakers and also dancers performing elaborate routines with cymbals).
Ever since I was four years old, I remember feeling powerless. I didn’t know it by name then, but looking back, powerlessness is what drove me every night, after I slid under my Raggedy Ann sheets and comforter, to wish and pray that when I woke up, I’d wake up a boy. Not because I felt like a boy inside, but because boys got to have what I couldn’t. Hair that didn’t have to be detangled or combed or braided. Action figures instead of dolls. Race cars with race tracks and pants to play in—always pants. In my four-year-old mind, boys had everything. Freedom. Choices. Power. Pants. But every morning like clockwork, the sun rose, I looked down, and I was denied yet again by The Man Upstairs. I was still Team Pink. I was still a girl.
I wore my disappointment more stoically than my dresses, because somehow I knew this was not a conversation to be had with either parent, or even my big sister (who was obsessed with boys in the acceptable way—with crushes and smiles and day dates to ice skating shows). I didn’t know how to voice the palpable inequity I was absorbing from our society, my culture, the media. That boys were considered the stronger, smarter, faster sex, who should be deferred to and in control. What I couldn’t find words for, but knew from the tips of my bobble ball hair ties to the soles of my patent leather Mary Janes, was that the way girls were devalued wasn’t fair, square or remotely close to justified.
Girls were just as smart and fast and valuable as boys—and once in a while, in between ads for EZ bake ovens and hungry toy babies and household products that would save me from a lifetime of dishpan hands, my TV echoed parts of this truth to me. I saw the “Bionic Woman” and “Wonder Woman” and Billie Jean King with the big glasses and small tennis racket beat the old, blustering Bobby guy in “The Battle of the Sexes.” And then there was Nadia from Romania who proved her ability at the Montreal Olympics, though her dainty and pretty were remarked upon more often than her athleticism and artistry. Even after her repeated displays of superlativeness, she stood there, half-smiling, as they gave most of the credit to her male coach. They might not have been black like me but they were girls like me, girls who liked to rip and run and use their bodies and brains for something other than to attract boys.
In my home, the messages were similarly mixed. My mom had a job just like my dad did. And as a teacher, when I went to work with her, I got to see a woman in charge. Of the space, the lessons, the students. I saw her leadership there, as well as in the house. Mom had as much authority as Dad (if not more) and my dad did the cooking. And since both parents were college graduates and educators, my sister and I were expected to do well in school, go to college and have a career.
Mom even gave my sister and me “School Years” memory books so we could track our progress from Kindergarten through High School. Who our friends and teachers were, our activities, awards, and what we wanted to be when we grew up. This aid to success ended up being one of the most painful reminders of the limited expectations the world had for me. The occupations listed for “Boys”? Policeman, Fireman, Astronaut, Soldier, Cowboy, Baseball Player. But for “Girls”? Mother, Nurse, School Teacher, Airline Hostess, Model, Secretary. In that order.
There was a “fill in the blank” space, so every year from Kinder on I filled it in with “Doctor.” By third grade, someone with a pink marker lined through my “Doctor” and checked “Secretary” instead. I rebelled with my blue marker and rubbed over the pink check next to “Secretary.” I didn’t remember this until I recently found the book, but it spoke volumes that someone in my life thought I was fantasizing if I wanted to be a doctor. In 1976. The same year of the U.S. Bicentennial, 200 years after independence from tyranny was declared and where colonists believed their liberty was worth their death. I, too, was fighting for liberty. My liberty. I wanted Batman, not Barbie, and I was tired of feeling wrong about it.
Years pass, and compliments about my cuteness are directed to me instead of my parents. I didn’t do anything to be cute—DNA did that—so this always feels weird. My mum tells me to not question or argue but just say “thank you.” Dutifully, I do. But being valued solely this way never sits right with me. I wanted “boy-style” compliments, about how clever or strong or skilled at whatever I was—praise that felt earned. I did receive some of this from the adults in my life, right alongside advice like, “Always have bus money so you don’t have to depend on boys for rides,” or, “No one buys the cow if the milk is free,” or, “It’s just as easy to marry a rich man as it is a poor one.”
When my parents separate and divorce, this family fracture ironically gets me more of what I want. Guilt presents include video games and model cars and Star Wars toys. And pants—jeans and corduroys! My mom says when she was younger, she was a tomboy too. She enrolls my sister (and eventually me) in softball, and buys me books about skateboarding but stops short of the skateboard—she thinks I will fall and break my head. If I were a boy, I think, she’d let me break my head. I try to build my own with a plank of wood and wheels from Mom’s ancient metal roller skates. It travels six inches, I fall off and it falls apart. When my dad gets a housekeeper for his new townhouse, she cleans my room and asks him how old his son is. Suddenly Dad won’t buy me any more model cars.
As puberty dawns, boys are still getting the better deal. Most of them grow into muscles and height and undeniable physical dominance. But should this give them more rights? Should more strength automatically equal more power? Boys (and several girls) seem to think so and this thinking is validated at every turn. In government, in movies, in the workplace, in classrooms. They can pick up girls at random and the girls squeal and laugh and cajole the boys to put them down instead of throwing them into the ocean/pool/sofa cushions. All in good fun, right? Not at all a display or reminder of dominance, right? Boys get to act on crushes and initiate kisses and ask for dates without being considered “fast” or “sluts” or “whores.” They also get no periods, no pregnancies, no abortions.
I am handed deodorant, pads and Judy Blume books as my teenage girl starter kit. I dislike the changes and growing pains and expectations of “blossoming into a young woman.” I focus on grades instead of gregariousness—studying instead of a social life. My big sister Lesa, a natural at young womanhood, follows in our grandmother and mother’s kick steps and becomes a varsity cheerleader. I scoff and diminish her choice by saying I’d rather be who people cheer for. Because some girls make fun of other girls for being too “girly.” I do not see the insidious danger of this for decades.
By 1986 I am a senior in high school, and being in the “smart girl” category has been a boon for me. I am not offered a cent for a cute outfit or a good hair day, but Dad pays good money for As and Bs. I also get to wear pants and sneakers and no make up everyday and no one cares. Mom and Lesa are officially the “pretty girls” with pretty power and that is alright by me. I have no jealousy or longing for “pretty” status— though most girls aspire to this, it seems more like a curse than a gift to me. Yes, my mother and sister get preferential treatment and constant compliments, which they enjoy. But I also see them experience the flip side. Men and boys would stalk them both. Put their hands on them without permission. Recklessly follow after them in traffic. This was weekly if not daily for them; for me it was rarely, but it should have been never. It should always be never. But as 99 percent of girls and women will tell you, it’s never never. I am approached by a pimp on a bus who tells me I look sad and he can take care of me. I exit at the next stop and walk the extra mile home to escape him. I am told to smile more times than I am asked for my opinion. One afternoon I’m followed by a man who screams I should be walking behind him and don’t know my place. I run into a 7-11 and stay huddled near the Ms. Pacman machine until he disappears. Oh hell no. Screw being treated like prey. Screw pretty.
Instead I want to be strong and quick. And thanks to Title IX, I can put my body in service to sports—softball, basketball, cross country. I do them all and excel at none. I am average in every way, but the existence of these girls’ teams does not live or die by any one of us having to prove exceptional ability. We have the freedom to suck and stay funded, just like the boys’ teams. This makes me wonder if society needs a version of Title IX not just for the sports field, but for every field. Shouldn’t we demand and legislate programs that provide equal opportunity for both sexes everywhere? So then over time, like with sports, this parity would become the norm? Why not try this out in politics, I think—like maybe in the Senate? After all, there are 100 senators, two from each state, so why not make them 50:50, one male and one female? Wouldn’t that be true equal representation? But I don’t know what to do with these notions, so I keep them to myself. What kind of power do I have to make them happen, anyway? I don’t my want my “smart girl” rep to become a “naive, silly, pie-in-the-sky girl” rep.
High school also offers me a lifelong mentor in the unlikely form of tough-as-nails, no nonsense, AP U.S. history teacher Mr. Safier. He values effort, intelligence and discipline above gender, race, class… or anything else, really. Finally I am celebrated for what I believe counts. Safier is more than safe harbor. He is an equalizer. After repeatedly killing it in his classes, one boy writes in my senior yearbook he’s lived in academic fear of me for almost two years. I love this. Now I have proof. Brains are my field-levelling power. And they are what get me into a top-notch university.
At first, college feels different than high school—better—like there is gender parity. Like “smart” is all that matters. Smart whomevers travel to Boston from wherever to spend four focused years getting smarter. But then the parties start. The blue lights, safety phones and shuttle bus stops are pointed out. Boys casually notice, girls mark their maps. We have political debates. Ideological tangles. We openly protest to take back the night. I make male and female friends of every race and religion and orientation and it all feels equitable and the way the real world should be. I don’t shave my legs all winter. I march with the Black Student Union to the freshman quad to demand I don’t remember what from the Dean. One Christmas I fly home sporting fake Malcolm X glasses, leather Africa medallions and a lot of opinions. My dad picks me up at the airport and later asks everyone in the family but me if I’m a lesbian. Dressed like that, politicized like that, with my “tomboy” history—what else could I be?
What my father does ask me about is what I want to do after college. Whatever it is, I’m told, I should want my boss’ job. That’s where the power is. If you don’t want your boss’ job, you have the wrong job. So if I still want to be a doctor, become Chief of Surgery. If I want to teach, become Teacher of the Year. I do journalism for fun at college because there’s no television station, so I tell him maybe I want to write. Then, Dad says, become the publisher. He sends me articles on mastery and how to achieve it. The bar is set high—as high for me as for the boy he never had, I think, so I accept his challenge. I try to jump that high. Into top positions. Into leadership. Into power.
Unlike Dad though, I think public sector work is for the birds, even when in the “power position.” Dad had achieved that – he rose from community college counsellor to assistant Dean, Dean (the youngest dean in California ever at the time), Vice President, President, then Chancellor of an entire district. He was the top dog, the leader. But then sometimes he would say if he were in the private sector, he would be a CEO making ten times as much money. But it just so happened his heart was in education, and he chose it over what could have been real wealth. Another mixed message I struggled to process. Go for heart or for money or for power? And do they have to be separate?
My power equation, I came to realize, extended beyond my father’s. Mine was leadership, plus affinity, plus money. And, luckily, I told myself, my heart was in writing—television to be specific—a very lucrative field. (Journalism, I’d discovered, paid even less than teaching). So I told him I wanted to follow the Hollywood path. I wanted to come back to California. Come back home.
When Larry Wilmore’s Nightly Show got canceled last year, many fans were understandably frustrated. Wilmore’s was one of only two programs in late night to feature a black host—and at the time, it was the only one with a female head writer. Perhaps it’s fitting, then, that Wilmore’s head writer herself, Robin Thede, has moved on to host her own late-night show.
The Rundown with Robin Thede premiered Thursday night on BET, and although it’s got a few kinks to work out—as any new show does—its host has already honed a distinct comedic voice and spirit. And that sensibility gives her program must-watch potential, even in its first week. Thede’s series opened with a tone-setting sketch: Thede spotting an extremely attractive man . . . who is, unfortunately, wearing a Trump/Pence T-shirt. She then embarks on an ill-fated quest to win his attention—first by wearing a Make America Great Again hat, and eventually by getting a Confederate flag tattoo on her bicep. Then she spots his wedding ring and scolds him for wasting her time before turning to her tattoo artist and asking, “Can you turn that into a Kaepernick jersey or something?”
The Rundown is true to its name; it’s a beat-by-beat recap of the week’s news, as curated by Thede and her team. Naturally, their curation yields a different mix of stories from those chosen by the various Jimmies on network TV.In her premiere episode, Thede zoomed her way through several topics, including Eminem’s anti-Trump rap, Jemele Hills’s suspension from ESPN, and a fireman who was dismissed from his predominantly black fire station after he brought a watermelon with a pink bow on it as a gift.
“It’s no surprise that Trump came for Jemele,” Thede said as she wrapped up her opening monologue. “Remember how he attacked Ms. Texas when she criticized him for not calling out the white supremacists in Charlottesville? Of course you don’t, because he didn’t. Trump likes his targets like we like our Magic Johnson theaters: black and loud.” Thede’s show is undeniably guided by her outlook as a black woman, which enables and guides her to tackle topics other programs might ignore.
As the comedian recently told Variety, “I’m going to be able to give a perspective that’s definitely not happening simply because I am a black woman, but I don’t want people to watch just because of that. If that’s the reason you tune in, that’s great, but the reason you’ll stay is because of what I’m saying,” she says. “The jokes will be pointed. The jokes will be sharp.”
Take, for example, this moment during her opening monologue, in which Thede introduced a viral video of one man’s confrontation with local police in California: “Does anyone else feel like they’re watching a magic show happen when white people interact with the cops?” Thede asked. “Well, abra kadabra, here’s a trick you haven’t seen before—and don’t worry, he lives!” The twist? The subject of the video actually was not a white man at all; he was later identified as 22-year-old Yaroub Assad. “He’s brown!” Thede said incredulously. “This cop thought he was letting a white guy work through a temper tantrum, but he was actually proving a great point: cops aren’t afraid of brown people—just brown skin.”
The Rundown could easily shoot to the top of late night’s must-watch list. Its success could come down to how the show uses its digital platform, which will likely attract fans who might not think to turn on BET for their late-night viewing. With a weekly podcast already set to launch Friday, though, it seems Thede and her staff know the game they’re playing—though as of Monday morning, it’s surprisingly difficult to find clips of the show anywhere but BET’s own Web site, which could hinder the show’s growth.
Once the network expands The Rundown’s web presence, though, it seems only a matter of time before a clip from it goes viral—which will go a long way toward establishing this show as the must-watch it looks like it’s going to be.
For many reasons (health-related hair loss, vanity, convenience) wigs have found their place into the mainstream allowing versatile options with a relatively easy and sometimes fun way to protect your natural hair from those daily doses of heat and style damage. Wigs are so on-trend currently that they are popping up on more heads than ever before. And there is something a little refreshing nowadays about being able to freely admit “It’s a wig.” No taboo… no judgments, no strange feelings.
LUX HAIR wigs by Sherri Shepherd offers a great variety of style choices. I know first hand because I wore this one and loved it. I’m sort of new to the wig game and really loving the simplicity and versatility that comes with just putting one on and going.
The great thing about Lux Hair wigs by Sherri Shepherd is that each wig is made of soft keralon fibers so that they look and feel like real hair. Every wig is ready-to wear and pre-styled. They can be cut curled to create custom looks and styled with heat tools up to 325 degrees.
Jordan Peele is the quiet superhero I’ve been waiting for. I say quiet because his movie “Get Out” sneaked up on me. Not that there wasn’t noise surrounding this film… there was… everyone was talking about it. It had a perfect positive review score on Rotten Tomatoes until one guy’s negative take ended the streak. What can I say… everyone’s a critic – including me.
To summarize, “Get Out” is about a young, black photographer named Chris who is dating a white girl named Rose, and the duo depart for the weekend to visit Rose’s family (the Armitages) at their sprawling, suburban estate. Chris has initial concerns about the trip because Rose never mentioned to her family that she was dating a black man; however, Rose assures Chris that her family is not racist, and he therefore should not have anything to worry about.
Upon arrival the family seems normal enough; they are progressive, nice, and even border on entertaining. But as the plot furthers and their racism becomes increasingly revealed, the movie transforms from a fish-out-of- water “meet the parents” story into a spine-chilling thriller involving blood, murder, and hypnotic enslavement.
Among the film’s numerous allusions to racism – the policeman’s unwarranted request for Chris’s ID; the family’s employment of only black help; Rose’s brother’s assessment of Chris’s inherent athletic abilities – one quotation that particularly piqued my interest was the ending line of the official trailer: “A Mind is a Terrible Thing to Waste.”
This slogan, coined in 1972 by Arthur Fletcher, head of the United Negro College Fund, was important for two reasons: 1) it was created to promote the funding of scholarships for underprivileged black youth who would otherwise be unable to afford college and 2) it acknowledged that the potential of a mind does not hinge upon the race of its host, and that every mind should thereby be entitled to further cultivation.
What I find most interesting about Peele’s inclusion of this slogan (and its periodic repetition throughout the film and trailer) is that it perfectly echoes the commentary Peele makes about racism through this movie. Minds of black people are literally wasted as they are hypnotically enveloped within “The Sunken Place” – a darkness in which the mind is deprived of control over the body, and this imposed deprivation is largely representative of the systemic racism that plagues our society.
Although the capability of a mind is not dictated by race, the system has nonetheless created the illusion of white superiority by marginalizing black people and casting them into a void of shadows. And, while an occasional glimmer of reality (in this case, provided by the flash from Chris’s camera) may motivate black people to sometimes fight against it, the system ultimately triumphs in restoring its prejudiced order.
Speaking from my perspective – a bi-racial, brown-skinned teenager living in Los Angeles – I have been fortunate enough to not have personally experienced the same degree of marginalization as other members of the black community, or even within my own family. But this movie nonetheless still displays several facets of my experience. I attend a school of predominantly white students, and I can attribute many of my own feelings of being “other” to a feeling of being overshadowed by my white peers. I say many, and not all, because the alternative is a feeling of scrutinization that stems from being the only black kid in the room. Peele illustrates this aspect extremely well through the Armitages’ fixation on Chris. What I think therefore is so special about this film is that it weaves together these (and so many other) different dimensions of discrimination, and pretty much anyone of color can find some identification with Chris’s experience.
For those who still have not seen this movie, the purchase of that ticket would undoubtedly be money well-spent. If thought-provoking and intelligently constructed films intrigue you, watch “Get Out.” If films that tackle racism move you, watch “Get Out.” Even if you are merely into the horror genre, watch “Get Out.” From its amazing acting – Chris (Daniel Kaluyaa), Rose (Allison Williams), the brilliantly hilarious TSA agent Rod (Lil Rel Howery), etc. – to its perfect pacing, “Get Out” merits its commercial and critical success for its unique, alluring, and thoughtful portrayal of the underlying horrors that constitute being black in America.
Note: If my antistrophe in the last paragraph was not enough to persuade you (did I mention I’m a college-bound high school senior? Words like “antistrophe” live in my brain daily, so I can’t pass up a chance to use one in context), hopefully the trailer linked below will be:
The “Mastry” Gallery, created by African-American artist Kerry James Marshall, walks you through Marshall’s journey of making it as a fine artist – a field dominated by whites for centuries. Marshall was born in Alabama in 1955, and as a child was a part of the last wave of The Great Migration to the west, a region still full of promise and opportunity. Marshall’s family settled in South Central Los Angeles and while growing up in Watts, Marshall pursued art and was an active participant in the movement that encouraged an increase of black artists in the art community. All of Marshall’s work contributed to his mission to prove that art by blacks was just as challenging and beautiful as the white art which was typically celebrated.
The exhibit shows Marshall’s earlier works such as “The Invisible Man,” which is a collection of small scale portraits of people using the darkest shades of black, emphasizing Marshall’s idea that black people in society blend into the background. The exhibition displays how Marshall’s work developed, and include many of his large scale paintings.
Marshall changed the style of his work because he realized that a big statement called for a grander canvas. A large three-piece work called “Heirlooms and Accessories,” appears to be a necklace with a woman’s face in it at first glance. However, once one’s eyes adjust to the painting, fine lines start to become more distinct, and it is clear that there is a lynching occurring in the background. The faces in the painting are witnesses at the lynching, and the expressions of indifference are utterly shocking. While “Heirlooms and Accessories” seem to be referring to the necklaces, accessories serves as a double meaning because it also refers to those who were accessories to murder. This is a prime example of the depth and meaning behind each of Marshall’s work.
All of the paintings reflect Marshall’s commentary on black identity in the U.S. and in traditional western art. In his piece “Harriet Tubman,” Marshall paints an image of Harriet Tubman on her wedding day, with hands with white gloves essentially hanging this piece of art in a museum. Marshall’s feeling that museums are responsible for the lack of black art is portrayed in this piece. Museums typically hold the standard of what is beautiful and worthy, and Marshall makes the direct statement of what should be celebrated in this work.
The exhibition is especially engaging because of the varying emotions each work provokes. While pieces such as “Slow Dance,” which illustrates two people peacefully dancing, provokes calmness and peace, other pieces express injustice and anger. Marshall’s versatility and innate talent for art is clear as his work consists of completely different mediums and subjects. The exhibition allows you to fully observe all of Marshall’s different forms of art and varying ideas, and is not limited to a specific time period or brand of art.
Marshall’s range of mediums and subjects include large to small scale, canvas paintings to comics, common people to historical figures, and glittery mediums to the blackest of paint. This ability to effectively utilize different forms of art makes Marshall a unique artist, and a unique person who has learned to effectively communicate in a way people of all race, gender, and social class can understand. Marshall’s works are visually stunning to say the least, and his success in spreading the meaning of his art and pursuing his career despite the circumstances of racial discrimination, is truly inspiring.
Between the deaths of greats like Prince and Mohammed Ali, the destruction in Aleppo and the circus that was the U.S. presidential election, 2016 was the year of one awful thing after another.
But despite the awfulness, stellar writing by people of color provided clarity, comfort and insight in even the darkest moments this year.
For the second year in a row, we’ve curated a list of essays and articles that defined conversations about race, pop culture, politics and identity in 2016. They cover a wide array of topics, from reactions to the election of Donald Trump, to the huge role young black people play in internet culture, to the genius of James Baldwin. The criteria is simple: all pieces on this list were written by a person of color and published within the last year online.
As a look back, this year-end list is by no means fully comprehensive of all the stellar work written by writers of color in 2016. Feel there’s a glaring omission? Nominate your favorite pieces in the comments. In the meantime, check out these powerful, thought-provoking and entertaining reads from this year:
How Journalists Of Color Plan To Survive Trump’s America Wilfred Chan, Fusion
What will it mean to be a journalist in the age of Trump? How will journalists of color get through the next four years? Wilfred Chan writes about the “psychological tax” many journalists of color are forced to pay in order to do the work, and the ways in which continuing to write is not only a form of self-care but also a form of survival.
Black Life And Death In A Familiar America Eve L. Ewing, Fader
Published in the wake of Donald Trump’s election, Ewing explores the deep racial divides in America by way of Chicago. Using the shooting death of Joshua Beal as a connective thread, Ewing deftly explores the correlations between black death in America and the so-called “rise” of hate.
I Will Never Underestimate White People’s Need To Preserve Whiteness Again Damon Young, Very Smart Brothas
For many black people in America, the election of Donald Trump felt like a rude awakening, a harsh reminder that the racist wounds of this country go far deeper than any of us wanted to admit to ourselves. The ever-brilliant Damon Young perfectly captured that feeling in this essay for Very Smart Brothas, where he bluntly explains how white supremacy works on a systemic level.
Mourning For Whiteness Toni Morrison, The New Yorker
Toni Morrison breaks it all the way down in this post-election essay where she quite matter-of-factly calls out the reason that Donald Trump won the presidential election: the fear of losing white privilege. “So scary are the consequences of a collapse of white privilege that many Americans have flocked to a political platform that supports and translates violence against the defenseless as strength,”Morrison writes. “These people are not so much angry as terrified.”
What I Said When My White Friend Asked For My Black Opinion On White Privilege Lori Lakin Hutcherson, The Huffington Post
The concept of “white privilege” is constantly debated, challenged, and questioned, particularly by white people. What is it? Is it even real? And what about “black privilege?” HuffPost contributor Lori Lakin Hutcherson shares her own candid views on the topic of white privilege, and the realities of being black in America today.
Interview With A Woman Who Recently Had An Abortion At 32 Weeks Jia Tolentino, Jezebel
This brilliant conversation conducted by Jia Tolentino delivers a powerful glimpse into the mind and motivations of one woman after a recent late-term abortion. Thanks to mostly Republican legislators who use rhetoric that implies women who get late-term abortions are just flippantly changing their mind about pregnancy, late-term abortion continues to be widely misunderstood. In a year when there were a myriad of threats against reproductive rights in America, hearing one woman’s very personal story about a complicated pregnancy provides the kind of context we desperately need more of.
My Father’s House Reggie Ugwu, Buzzfeed
After the death of his brother and the deteriorating health of his father, writer Reggie Ugwu made an important journey of discovery and self-reflection, returning to his ancestral home in Nigeria and helping to take care of his ailing father. Ugwu delves into the Igbo-American identity and experience, capturing the visceral feelings of obligation and grief. On his brother’s death he writes, powerfully: “In the weeks and months after Chidi died, still engulfed in darkness, I felt ready to die, too; by which I mean that losing the person I loved most in the world seemed equivalent to losing the world itself.”
What I Pledge Allegiance To Kiese Laymon, The Fader
In the year that Colin Kaepernick took a knee during the national anthem, and Donald Trump threatened jail-time to flag burners, Kiese Laymon wrote about the concept of pledging allegiance to a country that he doesn’t feel is allegiant to him. One of the most powerful sentences: “I pledge to perpetually reckon with the possibility that there will never be any liberty, peace, and justice for all unless we accept that America, like Mississippi, is not clean.”
Now Is The Time To Talk About What We Are Actually Talking About Chimamanda Ngozi Adichie, The New Yorker
Celebrated as much for her work as a novelist as she is for her work as an outspoken feminist and activist, Chimamanda Ngozi Adichie unsurprisingly had one of the best post-election responses this year. Her reaction: in the wake of Trump’s election, we must become even more determined to fight bigotry, rather than to bend in order to accommodate and coddle racist ideology. “Now is the time to confront the weak core at the heart of America’s addiction to optimism,” Adichie writes. “It allows too little room for resilience, and too much for fragility.”