Jordan Peele Scares America

Posted in Arts, Audio, Interviews, Media Archive, United States on 2017-03-30 23:53Z by Steven

Jordan Peele Scares America

The Ringer
2017-03-09

Sean Fennessey, Editor-in-Chief


(Jaya Nicely)

After the amazing success of his directorial debut, ‘Get Out,’ the ‘Key and Peele’ star sits down for a conversation about how he pulled off his daring horror-satire, the lie of a post-racial society, and what comes next

Get Out broke out. One year ago, if someone had told you that a movie about a black guy visiting the home of his white girlfriend’s parents for a summer weekend — starring an unknown lead and Marnie from Girls — would become the unmitigated Hollywood success story of the young year, you might tell that person to, well, get out. But that is exactly what Jordan Peele, the 38-year-old sketch star best known for Comedy Central’s Key and Peele, has accomplished with his directorial debut.

After just two weeks of release, the movie has already earned more than 18 times its reported $4.5 million budget and ignited a new kind of conversation about race, the pitfalls of white liberalism, and what it really means to make a horror movie in 2017. Peele, who also wrote the movie, sat down for a podcast conversation about how he did it and what comes next. This is a condensed and edited version of that conversation…

Listen to the interview (00:38:05) here. Download the interview here.

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As Get Out shows, love isn’t all you need in interracial relationships

Posted in Articles, Arts, Communications/Media Studies, Media Archive, United Kingdom, United States on 2017-03-30 21:53Z by Steven

As Get Out shows, love isn’t all you need in interracial relationships

The Guardian
2017-03-27

Iman Amrani


‘In Get Out, Peele successfully challenges the way the parents and their friends pride themselves on not being racist, while also objectifying the young man both physically and sexually.’ Photograph: Justin Lubin/Universal Pictures

Jordan Peele’s film has provoked discussion of issues about race and relationships that often remain too sensitive or uncomfortable to explore

This year marks the 50th anniversary of the 1967 US supreme court decision in the Loving v Virginia case which declared any state law banning interracial marriages as unconstitutional. Jeff Nichols’s recent film, Loving, tells the story of the interracial couple at the heart of the case, which set a precedent for the “freedom to marry”, paving the way also for the legalisation of same-sex marriage.

Loving isn’t the only recent film featuring an interracial relationship. A United Kingdom is based on the true story of an African prince who arrived in London in 1947 to train as a lawyer, then met and fell in love with a white, British woman. The film tells the tale of love overcoming adversity, but I wonder whether these films are missing something.

I can understand how, at the moment, with the backdrop of rising intolerance in Europe and the United States, it’s tempting to curl up in front of a triumphant story of love conquering all, but I grew up in an interracial household and I know that it’s not as simple as that…

Read the entire article here.

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Where Black and Jewish Identity Merge

Posted in Articles, Autobiography, Judaism, Media Archive, Religion, United States on 2017-03-30 19:36Z by Steven

Where Black and Jewish Identity Merge

Forward
2013-01-27

Adam Langer, Culture Editor


courtesy emily raboteau

Before they had finished their books, before Sharifa Rhodes-Pitts had published “Harlem Is Nowhere” — a finalist for the 2011 National Book Critics Circle Award — and before Emily Raboteau had published “Searching for Zion,” which was published in January, the two women used to take walks together. They would amble past the George Washington Bridge, the Morris-Jumel Mansion, Jumel Terrace Books and other landmarks in the Upper Manhattan neighborhoods where both authors currently live.

Both Raboteau and Rhodes-Pitts are young mothers in their 30s whose nonfiction books share a common theme: a yearning for some sort of promised land. For Rhodes-Pitts, whose book is the first in a planned trilogy about black utopias, that place is Harlem; for Raboteau, it is not just one place, but a series of locations where displaced blacks have endeavored to find a homeland.

Raboteau’s journey began in Israel, where her best friend from childhood had moved to make aliyah, but it also led her through such locations as Jamaica, Ethiopia and Ghana, where she came to challenge some of her long-held assumptions about race and religion. The Forward’s Adam Langer invited the authors to have another conversation, this time at Emily Raboteau’s office at City College where she teaches. The writers discussed parenthood, promised lands, and their thoughts on the relationship between blacks and Jews…

Read the entire interview here.

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How do people with multiracial (or multicultural) backgrounds navigate their social identity?

Posted in Audio, Identity Development/Psychology, Interviews, Media Archive, Social Science, United States on 2017-03-30 16:48Z by Steven

How do people with multiracial (or multicultural) backgrounds navigate their social identity?

who cares? what’s the point?
Season 2, Episode 6
2017-03-27

Sarb Johal, Host

In this episode, I talk with Dr. Sarah Gaither, Assistant Professor in the Department of Psychology and Neuroscience at Duke University in the USA. In this conversation, we focus on Sarah’s work on understanding multiracial identities and the costs and benefits of navigating that social terrain.

The paper we talk about in this week’s show is, ““Mixed” Results: Multiracial Research and Identity Explorations”.

Here is the abstract for some context:

Multiracial individuals report that the social pressure of having to “choose” one of their racial groups is a primary source of psychological conflict. Yet because of their ability to maneuver among their multiple identities, multiracials also adopt flexible cognitive strategies in dealing with their social environments—demonstrating a benefit to having multiple racial identities. The current article reviews recent research involving multiracial participants to examine the behavioral and cognitive outcomes linked to being multiracial and pinpoints possible moderators that may affect these outcomes. Limitations in applying monoracial identity frameworks to multiracial populations are also discussed…

If you do enjoy this episode, and would like to support the show, you can do that in a few ways:

  • You can leave a review and rating on iTunes – that really helps others to find the show.
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  • Please feel free to share the link to the show with your friends and colleagues. You can subscribe here or via iTunes.
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Race, Place and Community

Posted in Identity Development/Psychology, Interviews, Live Events, Media Archive, Social Justice, United States on 2017-03-30 12:51Z by Steven

Race, Place and Community

Duke University
Trent Semans Center
Great Hall
Duke University Medical Center Greenspace
Durham, North Carolina 27710
Thursday, 2017-03-30, 08:00-10:00 EDT (Local Time)

Emily Raboteau, Professor of English
City College of New York

Mark Anthony Neal, Host and Professor of African and African American Studies
Duke University

A conversation with award-winning author Emily Raboteau. A Q&A and book (Searching for Zion) signing will follow.

The event, “Race, Place and Community,” is free and open to the public. Light breakfast will be served. Those unable to attend can watch a live webcast of the event at bit.ly/EmilyRaboteau.

Organized by the Duke Clinical Research Institute, the event co-sponsors include the Duke School of Medicine, the Office of Diversity and Inclusion, the Center on Arts, Digital Culture and Entrepreneurship, and Left of Black.

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Ironically, then, in manifesting her blackness she most flagrantly manifests her whiteness.

Posted in Excerpts/Quotes on 2017-03-30 02:12Z by Steven

Just as [Donald] Trump cannot seem to utter “the African Americans” sans “inner city,” [Rachel] Dolezal’s conception of blackness is steeped in a fetishizing of struggle, pain and oppression. Opting into the struggle is yet another place where her whiteness acutely rears its head. The choice to take on a racial mantle at will is a mark of white privilege; so, too, is the choice to take it off when it suits. Ironically, then, in manifesting her blackness she most flagrantly manifests her whiteness.

Baz Dreisinger, “When saying you’re black and being black are two different things,” The Washington Post, March 24, 2017. https://www.washingtonpost.com/opinions/when-saying-youre-black-and-being-black-are-two-different-things/2017/03/24/d41a6590-0a4b-11e7-93dc-00f9bdd74ed1_story.html.

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AIA Evening Lecture: An Overlooked Chapter in the History of Egyptology: W.E.B. DuBois, Marcus Garvey & Pauline Hopkins

Posted in Africa, Anthropology, Literary/Artistic Criticism, Live Events, Media Archive, United States on 2017-03-30 02:03Z by Steven

AIA Evening Lecture: An Overlooked Chapter in the History of Egyptology: W.E.B. DuBois, Marcus Garvey & Pauline Hopkins

Penn Museum
University of Pennsylvania Museum of Archaeology and Anthropology
3260 South Street
Philadelphia, Pennsylvania 19104
Thursday, 2017-03-30, 18:00-19:00 EDT (Local Time)

Vanessa Davies, Visiting Research Scholar at the University of California, Berkeley, speaks at this Archaeological Institute of America Philadelphia Society lecture. Three prominent black writers of the early 20th century—W.E.B. Du Bois, Marcus Garvey, and Pauline Hopkins—incorporated ancient Egyptian culture into their writings. Attacking a common theory of their day, DuBois and Garvey used ancient Egyptian culture to argue for the humanity of black people, marshaling evidence of Egypt’s glorious past to inspire black people in the Americas with feelings of hope and self-worth. They also engaged with the contemporary work of prominent archaeologists, a fact lost in most histories of Egyptology. Hopkins’ novel Of One Blood places the reality of the racial discrimination and the racial “passing” of her day against the backdrop of ancient Egypt. Like Du Bois, she advocates for the education of black Americans, and like Garvey, she constructs an African safe haven for her novel’s protagonist. Understanding these three writers’ treatments of ancient Egypt, Davies argues, provides a richer perspective on the history of the discipline of Egyptology. Reception with opportunity to meet the speaker follows.

For more information, click here.

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Krazy: George Herriman, A Life in Black and White by Michael Tisserand (review)

Posted in Articles, Arts, Biography, Book/Video Reviews, History, Media Archive, Passing, United States on 2017-03-30 01:48Z by Steven

Krazy: George Herriman, A Life in Black and White by Michael Tisserand (review)

Inks: The Journal of the Comics Studies Society
Volume 1, Issue 1, Spring 2017
pages 117-120

Christopher Jeansonne, University Fellow, Graduate Teaching Associate
Department of Arts Administration, Education and Policy
Ohio State University

Michael Tisserand, Krazy: George Herriman, A Life in Black and White. Harper, 2016. 550 pp, $35.

Michael Tisserand’s Krazy: George Herriman, a Life in Black and White, a work of passion and sagacity, not only gives a comprehensive overview of Herriman’s oeuvre but insightfully situates it in personal and socio-cultural context. Krazy Kat is perhaps one of the most lauded newspaper comic strips of all time, and yet this is the first book-length biography of its creator. Nine years in the making, Tisserand’s book has been much anticipated by scholars and fans of the artist. As suggested by the double meaning of the title, Tisserand argues that an awareness of Herriman’s complex racial background is central to reading both Herriman’s life and his work. Herriman was listed as “col.” (or “colored”) on his New Orleans birth certificate and “Caucasian” on his California death certificate—and these two arbitrary classifications form the frame to Tisserand’s study.

Tisserand’s prose has a lively clarity learned from a career working extensively as a journalist, and this comprehensive biography will certainly be sought out by both academic and lay audiences interested in newspaper comics, or comics in general. As an exhaustive historical account of Herriman’s life, it will be an indispensable resource for scholars working in sequential art; thanks to Tisserand’s meticulous research, even those deeply familiar with Krazy Kat will cull new insights from the details he has unearthed. Perhaps most importantly, this comprehensive and nuanced account of Herriman’s life and work in parallel in a single volume reveals new depths to the “komplexities” of the Krazy Kat with whose challenges many of us thought we had already grappled.

Part 1, “Watta Woil,” opens with an account of the posthumous uncovering of Herriman’s ambiguous racial heritage by scholars in the 1970s, and the debates that ensued: How reliable was this information? To what degree was Herriman aware of his racially mixed background? What is the relevance of racial identity for understanding Herriman’s work? Tisserand ends the opening chapter with a question that resonates throughout the rest of the book: “Did this revelation, whatever it was, find its way into his wondrous comics? Is it a source of the wonder?” Tisserand then describes in detail the complicated web of Herriman’s mixed-race ancestry and the challenges his ancestors faced during the post-Civil War and Jim Crow eras; some of the most powerful moments in this section are provided by the concrete, personal, and tragic features of the racist and reactionary post-slavery Deep South. These challenges finally led to his parents’ decision to move to California and pass as white. Throughout the remainder of Part 1, we follow Herriman’s early life and schooling, and his budding interest in a life of drawing comics—opportunities, Tisserand notes, that he may not have had as a “colored” youth in the New Orleans of the time.

Part 2, “The Greek,” traces Herriman’s development as a professional cartoonist. For many hectic years he lived like a bi-coastal yo-yo, moving from Los Angeles to New York and back again as he switched jobs from newspaper to newspaper. He worked in the macho world of first-generation newspaper comics, with cartooning greats such as Tad Dorgan and Jimmy Swinnerton, building a name for himself with his inventive sports and political comics even as he struggled to find an audience for his numerous daily strip comic ideas. In this period Herriman’s work became increasingly concerned with social pretense, language, and mistaken or fluid identities, and central motifs such as minstrelsy began to take hold. While careful to note that “at times his comics did not rise above the ugly stereotypes of the day,” Tisserand also provides insightful readings of the ways Herriman was already challenging racism and complicating notions of racial identity even in his early comics (188). Particularly memorable are Tisserand’s passages on the “impussanations” from Herriman’s short-lived Musical Mose strip (in which a black musician poses as a Scotsman), and his cartoon coverage of interracial boxing matches, most notably…

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