Weight
By Priscilla Wiredu That weight. That weight that has been on the shoulders of the first African forced onto that ship. The weight that crushed them amongst each other through the violent, uncaring waves. The same weight carried on the back of the first slave to set foot in the Americas. That weight that lived on slaves’ backs, their heads, their shoulders, their feet, keeping them down, submissive, scared. That weight makes them think that they were better off drowning in the water with others. The weight of grief is piled on top of that too, but for their survival, they push that aside. It’s amazing, the Black human body, isn’t it? The weight in which Black women carry when dealing with their boss’s families and their own. The weight Black men feel to “stay in their place” when minding their own business. The weight of hateful eyes looking at them, waiting for them to step out of line so they can unleash their animalistic hate. It’s like walking through a lion’s den covered in T-bone steaks. It’s dangerous to not be aware of this weight — Emmet Till, just a boy, was just getting used to his weight when his life was savagely torn from him. All because of the lie of a white woman. Now his mother carries his weight until her death. The weight has become our survival instinct. The weight of carrying our crying babies on our backs escaping the cotton fields at night. The weight of worrying when our Black family will return home, if at all. That weight. That immovable weight. That weight never goes away. Every Black American has felt it, personally or sympathetically. Whether it’s walking into a store to get something. Or encountering a police officer, Or walking home alone in the dark (where people are afraid of YOU, ain’t that some shit?) The weight Martin Luther King Jr. talked about in his iconic speech, how the weight he felt for every Black American and his dream to one day uplift it. The weight Rodney King felt as those three heavyset police officers beat him within an inch of his life, and were acquitted for doing so. The weight Ruby Bridges felt walking down the steps of her home, aligned with bigots shouting at her as she made her way to school. A weight no six-year-old should have to feel. The weight George Floyd felt on his neck for nine minutes. Recorded,slow, and tortuous weight. The weight of the gunshot that crashed through Ralph Yarl’s face, simply because he had the nerve to not know where he was. The weight OJ Simpson felt when the verdict at his trial was announced. The weight Barack Obama felt during his inauguration. This weight is ambivalent for Black people. This weight has made itself a home within every Black American, whether they acknowledge it or not. It should be crushing, it should be devastating, it should wipe anyone out. But it doesn’t. Because through everything Black people have been through, they have been granted strength. Resilience. Resistance. Pride. Love. Justice. Acknowledgement. Whether its ending generational trauma, or passing new laws, or positive representation, This weight is shared equally among Black people, and as a people, we have learned to distribute it among us so that no one suffers alone.
Nope: A Black Instinct
By Priscilla Wiredu Two years ago, I wrote an article about the portrayals of Black people in horror movies. The article discusses the types of roles Black people play in such films wherein they pretty much end up dying painfully and unjustly. The main point of this article was to showcase how Black people aren’t wanted in horror cinema unless they are suffering. They do not want to be seen as heroes, survivors, or protagonists. It would have been a solid theory that Black people simply wouldn’t survive in horror films. Now, a new theory arises: maybe Black people are too smart to get into horror movie plots. A survival technique Famed director Jordan Peele has made several films with Black actors with the underlying theme of these films being racism. Peele’s debut feature,Get Out (2017), follows the story of a Black man as he finds out the hypnotic and terrifying secrets of his white girlfriend’s family. As the title suggests, the protagonist has to get out before he becomes their next victim. On the Internet, many skits and videos comically show how Black people would react in horror movies, and why these films would then end faster than anticipated. It’s not because Black people are buzzkills and ruin the fun. Black Americans, specifically, have been socially engineered to avoid danger and conflict whenever it’s presented. They’ve inherited a generational survival instinct that has transcended even today. Experiences of the oppressed vs the oppressors Southern physician Samuel Cartwright (1793-1863) was famous for coining the term drapetomania, a racist fluke disguised as a mental illness that explained the psychology of enslaved Black people who escaped. Cartwright theorized that the enslaved who wanted to escape slavery were mentally unhinged since slavery made their lives better. He also believed Black people were put on this earth to be enslaved for White people. It was deemed unfathomable to break free from that. Of course, drapetomania has long since been debunked, with more verifiable studies on Black mental illness and well-being coming to light, and advancements in Black mental health help. However, the reason why it is mentioned here is paramount to explain why there is such a difference in approaching danger when it comes to Black and White people. As history tells us, White people came from Europe, participated in the most recent slave trade, brought Africans to Americas and colonized every group of color into their own little box. For decades, Black people have fought against slavery, Jim Crow, lynchings, hate crimes, and other racist systemic disadvantages to get where they are today. White people, on the other hand, have regressed when it comesto reigning superiority – no longer owning slaves, integrating with people of color,andracist laws being abandoned.However,White people, of course not all the time, now face consequences for their racist behaviors. Real-life horrors After putting up with racist practices, discrimination, gaslighting, and too many other forms of mistreatment to name, Black people in Western society have developed a sixth-sense sort of “power” that helps them understand they are not wanted in a certain area and therefore must leave if they want to live. Sundown towns, public lynchings, police brutality as examined in the murder of Emmett Till, and the horrors enslaved Black people faced on plantations explains why how Black people have developed this instinct. Ancestral Instincts Stories from the enslaved that are told from families to families, and news stories about police brutality and unjust killings of Black people, are enough to make Black people worry about their lives and safety that to just frolic into a haunted place as opposed to White people. White people have a superiority complex due to centuries of indoctrinating their beliefs and colonizing parts of the world. For example, White supremacists fear that they’re being replaced and facing karma for the damage they inflicted upon the world (which is far from the truth). Back to the drapetomania theory. Perhaps, Black people were mentally ill to want to escape slavery because if slavery was bad, what made them think the outside world would be any more welcoming to them? This theory in real life Black people are aware of the staggering difference between how they act and how White people act in dangerous situations. They are also aware of racism in horror films. The 2019 documentary, Horror Noire,details the history of racist cinema and how only recently have Black people mastered the horror genre. Of course, Black people try to make the best of it, making social commentary films, such as Peele’s Nope, Get Out, and the 2022 horror comedy The Blackening,a movie about Black friends who go to a cabin and try to survive a serial killer with their knowledge of horror films and Black peoples portrayals. Black Americans have used this instinct as a means of surviving in an racist anti-Black society for centuries. It has informed their arts, songs, poems,and struggles giving other members of society the chance to sympathetically view Black experiences from Black perspectives.
Five TV Shows That Broke the Colour Barrier
By Priscilla Wiredu For decades, Black Americans have fought for proper representation in Western media. As a result, Disney launched their first Black princess in the 2009 hit film The Princess and The Frog, Black Ariel in the 2023 live-action film The Little Mermaid –to name a few recent examples. The call for greater representation has been a long battle amongst Black Americans, along with the racial backlash they had received when such accomplishments have been made. Here are five historical TV moments that broke the colour barrier and helped pioneer Black TV. 1954 – Arthur Duncan on The Betty White Show” Renowned Golden Girls actress Betty White made a huge mark on American culture via her TV show Golden Girls. Three decades prior to this huge mark, Betty White had her own television show called The Betty White Show, where she would host weekly interviews with guests of her choosing. Betty White was an avid fighter for civil rights and fought against segregation. Using her show, she had a recurring guest, a Black tap dancer named Arthur Duncan, where they would engage in hearty conversation. Duncan would also perform small dances during his segments. Duncan was cited as the first Black man to appear as a regular on a U.S. talk show, and many people in America, especially in the South, had strong feelings about this. Hate mail and complaints called for Duncan to be taken off the show or for the show to be cancelled entirely. White, however, stood her ground. She allowed Duncan, as well as other Black guests, to appear on her show as she pleased. White was quoted as saying: “I’m sorry. Live with it”. Eventually, The Betty White Show was cancelled due to lack of sponsorship and low ratings. However, White’s choice to showcase a Black man on her show was an amazing stepping stone for Black audiences. 1967 – Eartha Kitt as Catwoman in Batman ABC’s live action Batman had casted the late iconic actress and singer Eartha Kitt to play Catwoman in its final season. Kitt’s portrayal as Catwoman wasn’t just for entertainment purposes. It was politically driven as well. Deep in the middle of the civil rights movement, and amid the Supreme Court’s striking down of the ban on interracial marriage, thanks to the famousLoving. V. Virginia court case, Kitt playing a provocative antagonist to a White superhero was quite the spectacle of the time. Many Black Hollywood actors who managed to achieve fame during those times did so by providing positive reinforcements for Black youth. Kitt’s Catwoman launched a legacy of empowering Black women to get into large Hollywood roles, as well as create their own superheroes decades later. 1974 – Good Times The late renowned American screenwriter Norman Lear made television history when his TV sitcom Good Times debuted on February 8, 1974. Good Times is said to have been the first TV show to depict a real Black family struggling in American life. Good Times is a staple in Black television because of the way it addresses racial identity and other issues. The protagonist in the series, James Evans Jr., the breadwinner of the family, and his wife, Florida, held authority in their household and were hard-working and loving parents to their children. Their children each were gifted in their own ways. James Jr. was a talented painter, Thelma was an aspiring doctor and feminist, and Michael was a firm believer in social change and justice. The show referred to figures of Black media, such as Ebony magazine, comedian Flip Wilson, and talented composer Isaac Hayes. Not only did Good Times portray Black families as beautiful, tight-knit and loving, they also honed in on social commentary when it came to race relations. Despite all these positive attributes, the characters had faced racial discrimination or some form of tokenism that was met with aloofness and disregard. Good Times shows that Black Americans can and do have the perfect nuclear family unit. 1966 – Star Trek The critically acclaimed TV series Star Trek, which debuted September 8, 1966, was influential not only in its compelling storylines and use of sci-fi lore but also because of the many lessons it taught about diversity and the power of representation. In watching Star Trek, viewers could reflect on society and its attitudes towards marginalised groups, as characters on the show are not just concerned about finding a utopia for humans, but rather about creating one themselves. The original Star Trek cast had a multitude of diverse characters, including Uhura, played by the beautiful late Nichelle Nichols, a Black woman who inspired many Black viewers by playing a female authoritative role. As if her appearance and acting skills weren’t enough, Nichols and William Shatner, who played Captain Kirk, had TV’s first interracial kiss, which aired on November 22, 1968. Despite some pushback from opposing viewers, Star Trek would continue to inspire millions and millions of fans years later. 1969 – Mr. Rogers’ Neighborhood A children’s TV show that transcends generations in time and messages, Mr. Rogers’ Neighborhood was an educational show that taught children about love, acceptance, facing your fears, and many other important lessons for growing up. Hosted by the titular character Fred Rogers, many episodes have dealt with serious issues, such as one episode addressing death and grief relating to the assassination of President Kennedy. Mr. Rogers’ Neighborhood also took a stand against racial segregation. On May 9, 1969, in response to the banning of desegregated public pools, Rogers let Officer Clemmons, a Black police officer played by Francois Clemmons, soak his feet alongside him in his little wading pool. Clemmons declines, saying he had no towel to dry him off. In response, Mr. Rogers offers to share his towel with him. Clemmons agrees and steps into the water with him. This simple display of humanity taught audiences that people can share things peacefully without race being a debilitating factor. Mr. Rogers Neighborhood single-handedly exposed the bigotry of denying Black Americans their right
Bill Cobbs: A Legendary Black Actor
By Priscilla Wiredu On June 25, 2024, veteran Black actor Willbert Francisco Cobbs, professionally known as Bill Cobbs,passed away at the age of 90. Cobb’s acting career spanned over decades. He is remembered not only for his impeccable acting, but also for his contributions to Black cinema as a whole. Early life Cobbs was born June 16, 1934 in Cleveland, Ohio, to a domestic worker and a construction worker. He had one brother, Thomas, and was the second cousin of James Baskett, another Black actor whose most noted role was Uncle Remus in Disney’s Song of the South. Cobbs served as a radar technician in the U.S. Air Force for eight years. Afterwards, he obtained work as a car salesman and office product salesman in Ohio. In 1970, the then-36-year-oldmoved to New York to seek acting work. Whilst looking for roles, he supported himself by doing odd jobsselling toys, and working cab service. Rise to fame Cobb’s first acting credentials began on stage. He worked at the African American Performing Arts Center and Karamu House Theatre in Cleveland. His first role was in Ride a Black Horse from the Negro Ensemble Company. He played small roles, whether it was for regional or street theater, mostly at the Eugene O’Neill Theatre. In the mid-70s, Cobb appeared in Broadway productions such as Black Picture Show, and The First Breeze of Summer. He later worked in stage productions for Ma Rainey’s Black Bottom. His movie debut was a one-line delivery in the 1974 film The Taking of Pelham One Two Three. From the 1970s to the 1980s, Cobb’s acting career took off. He made various TV appearances in well-known shows such as Good Times, The Equalizer, and Sesame Street. Notable Roles Cobbs made an icon of himself as an elderly but wise-cracking, knowledgeable Black man in most of his roles. He appeared in the Oscar-winning Martin Scorsese film The Color of Money (1986) and had a breakthrough in 1987 when he landed a role as a recurring character, The Dutchman, on the first and only season of the ABC sitcom The Slap Maxwell Story. One of his most iconic roles was that of the unsuspecting elderly man who shot Wesley Snipes’ character in the 1991 thriller New Jack City. During the 1990s, Cobbs appeared alongside many actors and celebrities, such as Whitney Houston and Kevin Costner. Cobbs’ first noted 90s role was that of Devaney in the Oscar-nominated thriller The Bodyguard (1992). In 1993, Cobbs appeared in the sci-fi thriller Demolition Man with Sylvester Stallone, Wesley Snipes, and Sandra Bullock. In 1996, he played a jazz pianist in the musical comedy That Thing You Do! starring Tom Hanks and Liv Tyler. Cobbshas made notable one-off roles in classic 90s showsincluding E.R., The Sopranos,The Wayans Bros,Northern Exposure,and The Gregory Hines Show. In 2006, Cobbs landed a role in Night at the Museum and reprised his character in the 2014 sequel Night at The Museum: Secret of the Tomb. In 2013, Cobbs played the character Master Tinker in the movie Oz The Great and Powerful and appeared as Mr. Hendrickson on TVOKids’ Dino Dana in 2020, for which he won a Daytime Emmy. In 2023, Cobbs completed his final acting role in the TV mini-series Incandescent Love. Awards Throughout his acting career, Bill Cobbs has only earned two awards and one nomination for his work. Alongside his 2020 Emmy for Outstanding Limited Performance in Daytime Program, he won Best Actor for The Final Patient at the Trenton Film Festival in 2006. His one nomination, given by the Daytime Emmy Awards, is Outstanding Performer in a Childrens’, Family Viewing or Special Class Program for Dino Dana. Death/Legacy At 90 years-old, Bill Cobbs passed away on June 25, 2024. He starred in over 200 roles. Cobbs had created many possibilities in the world of Black artistry for peers, generations, and audiences alike. As American Actor Wendell Pierce writes, “[Bill Cobbs was a] father figure, a griot, an iconic artist, that mentored me by the way he led his life as an actor.”
African American Folklore
By Priscilla Wiredu African American folklore is a long-standing tradition amongst African Americans, dating back to the days of enslavement. African-American folktales were introduced as a means to preserveAfrican culture, as well as a form of hope and entertainment for the enslaved during hardships. These tales are often told orally, in flexible patterns, and with different meanings. They pass on information, give cautionary tales, and teach about morals and important life lessons. Taken from Spooky Wisconsinby S.E. Schlosser, “The Shrouded Horseman” tells the haunting story of spiritual karma, depicting how Black people who have escaped slavery and made comfortable lives for themselves, are still susceptible to brutal crimes that, with a glimmer of hope, can be brought to justice. When the Civil War ended, Jeremiah Jones became a free man. Eager to make a new life for himself, Jeremiah moved north to Milwaukee. For several years, he worked odd jobs until he earned enough money to purchasea big white horse and wagon for himself. Shortly thereafter, he was hired by the Phillip Best Brewing Companyas a delivery man. Jeremiah began his delivery rounds, greeting everyone with a cheerful smile and a joke that delighted the brewery’s customers and established a good reputation for himself. He quickly earned enough to buy property on the outskirts of town, where he built a beautiful little cottage. Once he was settled, Jeremiah decided it was time to marry. He had his eye on a pretty girl named Lucille. Her parents were surprised by the match, but quickly resigned themselves to the situation, not wishing to alienate their only daughter. However,for Lucille’s brother James, it was another matter entirely. James thought Lucille had married beneath her, and he hated Jeremiah, the formerly enslaved man,for stealing his sister’s heart. Lucille left her parent’s home forever in the dray drawn by the large white horse, and she never set foot in that part of the city again. She and Jeremiah lived a simple, but happy life in their little cottage by the woods. Three months passed when Lucille returned home early one evening to find Jeremiah lying dead in a puddle of blood on the floor of the barn. His face was battered almost beyond recognition. His arms and legs were broken in several places. Half-hidden under his leg she saw a silver pocket watch — one that she had last seen attached to the waistcoat of her brother James. The white horse and dray had been hacked to pieces. Lucille’s brother fled the city by the time the sheriff arrived at his house to question him. A warrant was put out for his arrest, but James was nowhere to be found. Lucille put the cottage up for sale and left town. No one in the area wanted to buy the house, thinking a brutal murder tainted it. So, the house remained empty. Until one evening at dusk, when a phantom appeared in a dray drawn by a glowing white horse. The horse’s driver was a tall figure wearing a gray shroud that whipped and flapped under the force of an invisible gale. The spirit of Jeremiah Jones had returned to avenge his death. He would not rest until he found his murderer. About six months after the ghost sightings began, James, the murdering brother, returned to Lucille’s house. “Lucy,” he called. “Lucy, I’m back!” James staggered around the yard, having fortified his courage in the local bar. Suddenly, he spied the phantom dray careening down the road with the shrouded figure standing up in its seat, cracking his long whip ferociously. The white horse was wild-eyed with fury. It picked up speed when it saw the man who had killed its master, and it gave an angry scream that stopped Jamesin his tracks. The ghost snapped the end of the whip around James’s leg and pulled him off his feet. Then, the horse and dray drove right through him. James gave a sort of gasp before floppingonto the ground, dead as a mackerel, with a look of sheer terror on his face.
The Canadian Association of Black Journalists
By Priscilla Wiredu The Canadian Association of Black Journalists (CABJ), established in 1996, is on a mission to increase a racially-diverse representation via education and inspiration. CABJ is focused on advocating for diversity in Canadian media, increasing their membership base across Canada, and offering professional opportunities, like hands-on workshops, for Black journalists and content creators. Programs The CABJ offers five programs to Black individuals seeking to start careers in media. J-School Noire Launched in Halifax in February 2020, J-School Noireis a transformational workshop that teaches students key skills including, but not limited to, hands-on shooting, editing, podcasting, writing, and interviewing. The CABJ pairs students who complete the J-School Noire with senior journalists for a year-long mentorship to launch their media careers. CABJ on Campus CABJ amplifies the voices of Black students in J-School campuses across Canada, in both the student body and the community. CABJ wishes to help students create a stronger andsturdier presence on campuses, as they produce their content, host events, and interact with nearby communities to inspire more Black youth to get into journalism and content creation. CABJ Connects CABJ provides an application form to those seeking a network in which they can find job opportunities, connections, and resources. Black media professionals can grow their portfolios, network, and get recognized by potential employers. CABJ Media Startup Bootcamp A three-week boot camp tailored to meet the needs of newly hired Black journalists working outside of Canadian newsrooms. This boot camp teaches courses designed by and taught to Black journalists. They have a list of past grant recipients and their achievements after graduating from the camp. Lifeline During the start of the COVID-19 pandemic, CABJ reached out to members about any mental health resources they had access to in their workplaces. Many said no such services existed for them. The CABJ collaborated with Carole Sandy, a Toronto-based Black counselor to work on culturally sensitive initiatives and support for Black journalists. CABJ’s LifeLine Healing Circles were officially introduced in May of 2021, where Sandy hosted monthly sessions for Black journalists in search of a safe space to talk about their issues and the help they need. Sessions are 60 minutes and hosted by Sandy. Membership is not required to join. Memberships The CABJ welcomes all Canadian-based Black media professionals for a membership with the association. Interested individuals must commit to a membership for a minimum of 12 months. Different types of membership have specific eligibility requirements. Full Membership Open to all Black journalists residing in Canada for $75 a year or $6.25 per month for 12 months. Freelance/emerging journalists Open to all Black freelancers who reside in Canada with less than five years of experience for $55 a year or $4.58 per month for 12 months. Alumni For retired/former Black journalists who are Canadian residentsand founding members of the CABJ at $65 a year or $5.42 per month for 12 months. Students Open to those actively enrolled in Black journalism or media studies. Students must attend an accredited Canadian university or college institution. Student memberships cost $40 a year or $3.33 per month for 12 months. Media-related professionals Open to Black professionals working in public relations, advocacy, communications, blogging/vlogging, and filmmaking for a yearly $65 or $5.42 per month for 12 months. Community journalists Open to everyday members of the Black Community who wish to launch their own platform and tell stories about where they live. This membership costs a yearly $55 or $4.58 per month for 12 months. Lifetime Membership Open to all Black journalists who will be billed $1500 only once. Hall of Fame/Black-owned media The CABJ is set to help represent Black people in the media and to tell their stories. They have a Black-owned media webpage.The CABJworks highlight Black inventions and modern Black culture to Black history and other forms of representation. Contact Contact the CABJ through the association’s website to learn more about the work they’redoing to diversify newsrooms, create a broader job market for Black media professionals, and encourage a new generation of young Black aspiring journalists in Canada.
The Black Youth Helpline
By Priscilla Wiredu A 2023 study from Black Mental Health Canada showed that 38.3 percent of Black Canadians dealing with mental health issues “used mental health services compared with 50.8 percent of white Canadians.” A 2018 survey also showed that 60 percent of Black Canadians would be more willing to use mental health services with a Black mental health professional. Of the Black Canadians who participated in the survey, 35.4 percent were experiencing significant psychological distress and 34.2 percent never sought out mental health services. Overall, 95.1 per cent felt that access to mental health services for Black Canadians was an issue that needed to be addressed. Factors that inform these statistics include unemployment rates in the Black community, longer wait times, and challenges in finding a physician. There needs to be a free, online support community for Black Canadians, particularly, youth, who can safely access the resources they need for their mental health. Enter the Black Youth Helpline. What is the Black Youth Helpline? The Black Youth Helpline’s (BYH) first location opened in Manitoba in September 1992 and consisted of community volunteers. Almost 11 years later, the first Ontario location was launched in March 2003. The Black Youth Helpline was created in response to a community-based project from Youth for Youth for their school. The results of the assignment stretched out to shopping malls, streets, and other places in Manitoba urging youth out of school for their return into the education system. At the time, Youth for Youth faced many challenges in starting an active initiative for Black mental health — they had only one Black mental health professional who was swamped with calls from Black youth about their problems. Further research has shown that challenges in schools and culture/professional school-based support systems lead to significant mental health stress. Such findings helped shape the BYH program into what it is today. Now nationwide, BYH has two core foundations: the resilience of its community and volunteers, and the Canadian people and its values. Black Youth Helpline’s core values include: Services BYH has an abundance ofservices available to anyone in need. As one example, they offer Multicultural Youth Helpline & Services, a helpline that serves as a first contact for BYH’s professional services for youth, families, school districts, and other youth-serving partners. Services are offered in many languages. Stay in School Initiatives These initiatives help build healthy relationships between schools, families, and communities by identifying the root causes of the issues and challenges at hand. Their main focuses are helping youth succeed in school, communicating and addressing issues in the school system, and supporting schools with concerns of diverse student populations. Parent & Family Support BYH helps families understand the challenges that confront their children and youth. Support includes development counselling, coaching, parental guidance, community school consultations, and community development initiatives. Systems Navigation Assistance This assistance allows individuals and families to seek appropriate professional health services for early, pre-crisis support. Community initiatives BYH also offers community programs and initiatives in Black communities, namely, Effective Parenting, The Role of Mothers in Youth Violence Prevention, Fresh Minds: A Focus on Wellness, The Maxwell Project, and Women’s Development. Getting Involved Volunteering Volunteers are key to the success of the BYH since its origins from volunteering. Interested volunteers and partners can fill out anapplication form and send it to info@blackyouth.ca. Faith-Based Partnerships Churches and other faith-based organisations also play an integral part in the work of the Black Youth Helpline organisation. They lead youth outreach, provide support and guidance, and help deliver health education initiatives. These organisations can contact BYH throughhere. Donations BYH is a registered charitable, not-for-profit organisation. Donations are welcome and tax deductible. BYH appreciates the support of all its financial partners. Ways to donate are: E-TRANSFER Send to info@blackyouth.ca WIRE TRANSFER Email info@blackyouth.ca for wire transfer information CHEQUE Make payable to Black Youth Helpline Mail to 1111 Finch Ave West, Suite 411, Toronto, ON, M3J 2E5 ONLINE Donate online at CanadaHelps.org Black Youth Helpline is available for marginalised communities to get the help they need. For anyone dealing with mental health issues, feel free to contact the Black Youth Helpline at: Call 416-285-9944 Toll Free 1-833-294-8650 info@blackyouth.ca Everyday 9 a.m. – 10 p.m.m
Carol Bryant Syndrome
By Priscilla Wiredu Emmett Till, an African American, was kidnapped by Roy Bryant and J.W. Milam on August 28, 1955, when he was 14 years old. Bryant and Milam beat Till beyond recognition and ultimately lynched him. Why? Till allegedly whistled or made an inappropriate remark at Bryant’s wife, Carol Bryant, when she was working at their family store. Mamie Till, Emmett’s mother, knew the court case would end in an acquittal, and thought the most powerful thing she could do was have an open-casket funeral for Emmett for all of Chicago would see what racism did to her son. Till’s funeral triggered a powerful surge in the Civil Rights Movement, motivating African Americans to stand up to segregation, hate crimes, and all-around racism once and for all. Till never made any gesture or remark at Carol Bryant. Before dying in 2023, Bryant admitted yearslater that she had made it all up. What is Carol Bryant Syndrome? Carol Bryant Syndrome (CBS) is when White women (usually it’s women) cry or become intensely emotional when confronted by a person of color (usually a Black man) in a confrontation the former had started. White tears have been known to drive some of the biggest outrages in Western society. Crying is a manipulation tactic. White women, whether consciously or unconsciously, use as a weapon to protect themselves from criticism or actual punishment. Noted examples Carol Bryant Syndrome is a rampant issue in American society today. Here are some of the most infamous cases where White tears have been used and sensationalized. ‘BBQ Becky’— In 2018, Jennifer Schulte harassed a Black family having a picnic at a park for using “the wrong type of grill.” She even tried calling the police on them. The operator was questioning Schulte’s mental state for making such a call, and Schulte immediately burst into tears as though everyone was ganging up on her. The Central Park Five— In 1989 New York, the body of a White female jogger was found in Central Park. Her death was treated as a homicide. Five young Black boys were pointed out as the murderers and were sentenced to prison. However, the boys were proven innocent and released years later. They were collectively rewarded $20 million in a lawsuit. While no White tears were portrayed in this case, the White rage was rampant. New stories, hate crimes, and even remarks from New York celebrities all demonized these boys for attacking and murdering a White woman they had never met. It wasn’t until 2001 when Matias Reyes, who was already serving a life sentence for other crimes ,confessed to the murder. Susan Smith— In 1994, young mother Susan Smith claimed that one night in October, a Black man carjacked her while her infant sons, Alexander and Michael, were inside the vehicle. Smith appeared on television, tearfully pleading for the safe return of her boys. Millions of dollars went into the investigation.However, almost two days later, police found her vehicle submerged in a nearby lake with the bodies of the boys still inside. Smith, herself,drove the car into the lake with the kids still strapped inside. She made up the carjacking story. During the investigation, racial tension had risen between White and Black people, as Smith claimed it was a Black perpetrator in her first version of the story. The 2020 Bird Watching Incident – On May 25, 2020, Christian Cooper, a Black man, was bird watching in a New York park when he was suddenly approached by a friendly dog and offered it a dog treat. The dog’s owner, Amy Cooper, came running up and yelled at Christian for touching her dog. When Christian said she needed to keep the dog on a leash (for the dog and others’ safety), Amy responded by calling the police and making false claims that Christian was threatening her, and abusing her and her dog. Christian caught all of this on film. When the video finally surfaced online, the backlash against Cooper’s White tears was phenomenal. She lost her job, and when she tried to file a wrongful dismissal lawsuit, she lost that as well. She was faced with up to one year in jail, but this penalty was dropped after she took an educational course on racial identity. Christian Cooper received much support from people online and was even granted his own TV show, Extraordinary Birder with Christian Cooper, which won an Emmy in 2024. Why CBS is a problem and how to stop it White tears have evolved into a form of weaponry against Black people. Italso perpetuates the stereotype that tears are a form of White femininity that no other woman can copy on the premise that Black people tend to lack proper sympathy or the ability to express emotions. This is a problem that must be dealt with from the inside. Meaning white women need to stop using tears as a way to guilt people into avoiding talking about race and what white supremacy has done to marginalized groups for centuries. Dr.Teigha VanHester, a professor of race and gender studies at Butler University, claims that her syllabi for classes are not tailored forwhite, abled, cis women to weaponize their tears. People of color are put in a difficult and uncomfortable situationwhen dealing with white tears. The oppressed groups are faced with an emotional response and feel the need to comfort the aggressor. This permits society to remain quiet and ignorant of the historical privilege of white people, leaving Black people to step on eggshells because white peoples’ feelings are prioritized over our lived experiences. Everyone is personally responsible for learning how to navigate discomfort and stress productively. Ignoring institutional injustices and biases, and refusing to acknowledge different communities and identities, white women are comfortable when talking about race or dealing with tense situations. It is not Black people’s issue to feel apologetic for white tears or white fragility. If anything, it is mere gaslighting that must stop so we can progress as a society.
The National Civil Rights Museum in Memphis, Tennessee
By Priscilla Wiredu The Civil Rights Movement was a social justice movement in which Black Americans fought for equal rights during the 1950s and 1960s. Black Americans who faced the devastating effects of racism and discrimination, such as racially motivated hate crimes, mobilised to fight for equality. Many events contributed to the success of the Civil Rights Movement.Rosa Parks’ “No,” Martin Luther King Jr.’s “I Have a Dream” speech, and the Freedom Riders’ bus tour are some notable pillars of the movement. The social justice struggle influenced the world, and now transcends time in the acknowledgement of Black people’s struggles in Western society. In Memphis, Tennessee, the biggest civil rights museum in the world,continues to keep the story of the Civil Rights Movement up and running. The Civil Rights Museum The National Civil Rights Museum was established in 1991. It is located at the infamous Lorraine Motel, where Dr. Martin Luther King Jr. was assassinated April 4, 1968. The museum allows its attendants to explore interactive exhibits, historical collections, listen to dynamic speakers, and get an in-person look at the tumultuous yet inspiring fight for change. The National Civil Rights Museum is amongst the top 5 percent of institutions accredited by the American Alliance of Museums. It is also a founding member of the International Coalition of Sites of Conscience, a union that brings together global historical sites and memory initiatives to connect past human rights fights to today’s social justice movements. Exhibits The museum has a lot of attractions and exhibits for attendees to visit. These attractions and exhibits provide an understanding on thereasons for the Civil Rights Movement, and what many freedom fighters had to endure during those times. Here are some of the most powerful exhibitions they have: Lorraine Building After undergoing a renovation in 2014, the Lorraine Exhibit has more than forty films, oral histories, and interactive media that tells the story of the American Civil Rights Movement in chronological order. Visitors can even see Room 306, where Dr. King Jr. spent his final hours. Some examples of the media include: A Culture of Resistance, The Rise of Jim Crow, Separate is Not Equal, The Year They Walked, and Standing Up by Sitting Down. Started in January 2016, this powerful and interactive exhibit consists of two media projects. It commemorates the 50th anniversary of the March on Washington. The project,Moments in Civil Rights History’, has 52 historic episodes that illustrate the significance of the American civil rights journey. It focuses not only on key events from 1954 to 1968 but also on key events that occurred before and after between 1619 to 1973. Let the World See This heart-wrenching, powerful traveling exhibit demonstrates the ugliness of racism, hard truths, and injustices, but it also tells a story of inspiration and bravery. Mamie Till Mobley changed the face of the Civil Rights Movement when she arranged an open casket funeral for her 14-year-old son, Emmett Till, who was lynched beyond recognition for allegedly being flirtatious towards a white woman in 1955. Mobley wanted to show the world how cruelly and inhumanely her only son was ripped from her at the hands of racism. The boldness of Mobley’s actions called for positive change during the Civil Rights Movement and even today. The National Civil Rights Museum has garnered a lot of fame. It has been featured on the History Channel, CNN, and USA Today. It was also the focal point for the Academy Award-nominated documentaryThe Witness: From the Balcony of Room 306. Events The National Civil Rights Museum holds many : April 4th Commemoration Every April 4, the National Civil Rights Museum honoursthe life and legacy of Dr. Martin Luther King Jr. The event encourages attendees to reflect on the significant impact of Dr. King Jr. ‘s work and the path for justice and equality he helped carve. In 2024, the commemoration included a youth component wherein the winners of youth poetry and spoken word competitions gave a performing piece. King Day Every January 13, the museum celebrates Martin Luther King Day with a musical celebration by noted musicians, scholarly talks, discussions about intersectionality between race and other facets of society (the 2024 talk was on race and sports), and a storybook reading for children. Ruby Bridges Reading Festival Backed by the NAACP, Ruby Bridges was the first Black child to attend the first desegregated school in the deep south. Six-year-old Bridges endured racial harassment and threats at the hands ofneighbours and parents of children as she took her first brave walk to school. The Ruby Bridges Reading Festival celebrates Bridges’ legacy of passionately advocating for equal rights, education, and tolerance by bringing together families across racial, economic, and educational backgrounds around reading. Events include a book signing and reading by Mrs. Bridge herself, free books for Pre-K through elementary school children, a magic show, free ice cream courtesy of Ben and Jerry’s, African drumming, and puppet shows. Freedom Award The museum hosts an annual award ceremony that honours individuals who have demonstrated a firm commitment to promoting justice and equality. Juneteenth On June 19, 1865, Union soldier Major General Gordon Granger arrived at Galveston, Texas with news that the Civil War was over and enslaved Black Americanswere now free. This happened two years after Abraham Lincoln signed the Emancipation Proclamation on January 1, 1863. Every June 19, the museum offers free admission for all visitors to learn about the importance and origins of Juneteenth. It also offers health-related services and resources, such as health screenings and vaccinations, information about preventive healthcare, blood donations, mobile health clinics by local healthcare providers and community organisations. Contact information The Civil Rights Museum is a time capsule about the resilience, restless fight, and ongoing inspiration to continue to fight forhuman rights around the world. For more information about the museum, from donations to memberships, click here.
Black Female Inventors and Their Best Inventions
By Priscilla Wiredu “Women are smart enough to make these millions, strong enough to bear the children, then get back to business” – Beyonce Black women continue to strive to make a difference in the world, make a name for themselves, and inspire each other to accomplish their own goals. They have made world-changing inventions that many of us use today, yet we don’t always credit them for it. Here is a list of five Black female inventors with their best inventions. Mary Kenner (1912-2006) Mary Beatrice Davidson Kenner was born on May 7, 1912 in Monroe, North Carolina to a family of intellectuals and inventors. Kenner’s father, Sidney Davidson, patented a clothing presser in 1914 and her grandfather, Robert Phromeberger, invented the tricolor light signal for trains and stretchers with wheels for ambulances. Kenner endured racism her entire life, but she never allowed it to prevent her from using her mind to make inventions, five of which were patented during her lifetime. Her most notable invention was the sanitary belt, a predecessor for the maxi menstruation pad. Kenner’s invention made the belt adjustable, so women of all sizes could use the belt comfortably. For a later version of the belt, she replaced the clips and connected the middle strap by adding a moisture-resistant pocket to keep the pad or cloth more secure. Kenner’s invention changed the face of menstruation for women everywhere, as it was an exclusive upgrade from cotton pads and tampons. Shirley Jackson (1946-) A renowned physicist with many scientific honors and accolades, Dr. Shirley Ann Jackson conducted many successful experiments in physics and fostered advances in telecommunication research during her time working at Bell Laboratories. Jackson’s scientific research directly contributed to the use of fiber optics, and the invention of the portable fax machine, touch-tone telephone, fiber optic cables, caller ID, and call waiting. Currently, Dr. Jackson is the president of the Rensselaer Polytechnic Institute, the oldest technological research university in the U.S. Her goal is to ensure the institute achieves prominence in the 21st century as a top-tier, world-class technological research university with global reach and global impact. Theora Stephens Theora Stephens was a hairdresser who in 1980 or 1983, successfully patented and invented the modern curling iron. Though not much research can be found on Stephens or her invention, her curling iron has dominated hairstyling, not only for Black women, but for all women in the past 40 years. Patricia Bath (1942-2019) Patricia E. Bath was an American ophthalmologist and laser scientist who advocated blindness prevention, treatment, and cures. Her most notable invention was the laserphaco, a device used for cataract surgery. She was the first woman chair of Ophthalmology in the U.S. at Drew-UCLA in 1983. The laserphaco took five years to be perfected before she could apply for a patent. This device has helped several blind individuals regain some of their sight. Dr. Bath never stopped fighting against blindness. In 1977, she created the American Institute for the Prevention of Blindness, an organisation that educates, protects, and reserves the gift of sight. The organisationsupported global initiatives to help newborns with protective eye drops, provide vitamins to malnourished children, and advocate for vaccines, particularly against measles, a disease that can causeblindness. Valerie Thomas (1943) Valerie Thomas is a NASA scientist known for developing the image-processing system of NASA’s Landsat, a program that captures information about Earth’s natural resources. In 1976, Thomas experimented with 3D illusions after observing a lightbulb unscrewed from a lamp. Thomas’ curiosity led to her inventing the illusion transmitter, which received a patent in 1980. The system uses a video recorder to take photos of floating images via a concave mirror. The images are then sent to a second camera and projected onto a second concave mirror, creating a 3D optical illusion. NASA used this transmitter for some of its satellite voyages and continues to use it. Black women have made many incredible contributions to the world with their inventions and patents. Remembering their struggles as women of colour is not all we should do. It is also important to remember their resilience and care for the world as seen through their world-changing devices.