Black Voice

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.  

Five Significant Films to Black Culture

By: Sydnee Walcott  Movies are a unique form of entertainment that touch upon cultural, political, and social issues.   The film industry has achieved mass success in culture that consumes its audiences. Films offer a dimension of relatable life lessons, struggles, and solutions that viewers appreciate.   Since the early days of filmmaking, Black filmmakers have continued to create films that did not always relate to the Hollywood culture, norms, and standards.   A variety of Black films explored topics such as Black identity and race while breaking down harmful stereotypes that were commonly perpetrated in mainstream movies.   In the early days, a majority of Black filmmakers were independent and relied on their own revenues and local talent to help bring their films and cinematic vision to life.   Although there is still work left to be done, Black filmmakers have come a long way in the industry with the memorable success they have provided. A majority of these films hold significance within the Black community.  Outlined are five films with relevant plots that outline Black culture and its powerful significance.  New Jack City (1991)  Taking place during the crack of the epidemic in the 1980s, the dangers of drugs, and the impact addictions have on loved ones is not the only topic this film highlights.  The film also highlights illicit activities drug dealers are willing to engage in to rise to the top of the drug trade.   Nino Brown, played by actor Wesley Snipes, is a drug tycoon in the film, and operates an illicit drug ring under the name of The Cash Money brothers. As a ruthless and bold leader, Nino transforms his drug operation into a multimillion-dollar empire through his  masterful efforts.   Two officers, Scotty, played by Ice-T and Nick, played by Judd Nelson work as a team to bring down Brown’s operation by conforming to his plan and going undercover.   Boyz In The Hood (1991)  Boyz In The Hood is one of the first notable films to address the reality of life for African Americans. It is a coming of age story for those who grew up in inner-city areas from childhood.  Some of the issues the film touches on are gang related violence, hate speech, police brutality, weak law enforcement, and gentrification.   Tre is played by Cuba Gooding Jr, who is the main character of the movie. He is sent to reside with his father, Furious Styles, played by Laurence Fishbourne in the Crenshaw area of South Central Los Angeles, as a young child.   Growing up in an inner-city area, Tre and one of his friends, Ricky, a talented athlete, have avoided trouble. However, the same cannot be said for Ricky’s brother, Doughboy, and their other friends who have engaged in constant trouble and rebellious acts.   One thing that is very noticeable within the film is that Tre is fortunate to have a father who is willing to help him stay on the right path to avoid being another tragic statistic within the inner-city area.   His father is able to provide the help, resources, and support to be an influential role model for Tre. This movie demonstrates that good parenting can provide guidance that is critical in the early stages of development among children.  Waiting to Exhale (1995)  While the four main characters of the film are excelling in their careers, all four of them have experienced shortcomings in their romantic lives as they struggle to find a good life partner to commit to.   Savannah, played by Whitney Houston and Robin, played by Lela Rochon have engaged in relationships with married men with each of them hoping their lovers would part from their wives for them.   While Bernadine, played by Angela Bassett is left by her husband for his mistress Gloria, played by Loretta Devine seeks love after her son’s father comes out as gay.  In the end, Savannah and Robin realize the situation dealing with married men and accept the fact that it is okay to be single. Bernadine finds love with a widower and Gloria finds love with a new neighbour.   Fun Fact: The soundtrack for the film consists of only female African American artists.  The Princess and the Frog (2009)  Based on the classic fairytale, this Disney animated film tells the story of a hardworking young woman named Tiana, played by Anika Noni Rose, who dreams of opening up a fancy restaurant in her hometown of New Orleans.   Things take a different path when Prince Naveen, played by Bruno Campos, has been turned into a frog and begs for Tiana for a kiss after mistaking her for a frog. Tina turns into a frog and the two go on a mission in hopes to transition back to humans with the help of a powerful and magical voodoo priestess.  What makes this film significant to Black culture is the fact that Tiana became one of Disney’s first Black princesses. This milestone is significant as it gives young Black girls the ability to embody that form of representation on the big screen.   Black Panther (2018)   Following the death of his father, T’Challa, played by Chadwick Boseman returns home to uphold his title as the King of Wakanda.   When faced against a powerful enemy who plans to put the fate of Wakanda in a crisis, T’Challa must tactfully use his powers as king and as the Black Panther to defeat his woes and save his people.   The film was recognized as a monumental moment for Black people as the film celebrated African culture, incorporated a diverse cast and director, and told the story of Black Panther, the first superhero of African descent and one of the first Black comic book characters.   Each of these five films pay tribute to Black culture in various ways. They convey stories on the realities Black people face on a daily basis. They also celebrate Black culture and provide audiences with a diverse cast.  

Four Rap Songs with Social Commentary 

By: Sydnee Walcott    Rap music is often looked down upon because of associations relating to drugs, nudity, and violence. Many often assume that rap music negatively influences individuals to become rebellious. However, not all rap songs perpetuate the aforementioned.   In the 1970s, the emergence of rap music transformed the block party scene. Many DJs were heavily involved with incorporating rap music to amp up the ambience. Songs were centered around funk, soul, and disco, which attracted large audiences.   DJs were involved with transforming the music scene to embody one that uplifted mood and promoted lively dances. A master of ceremonies would entertain the crowd and engage in rhyming and upbeat melodic tunes. The rap genre gained popularity after these efforts.  In 1979, rap music received commercial success and recognition. One of the songs that attracted listeners was the release of The Sugarhill Gang’s “Rapper’s Delight.” Rap music and its success grew rapidly with the release of Kurtis Blow’s “The Breaks.” This song provided listeners with an upbeat tune and catchy chorus to dance along to.  Starting off as music for parties and the disco scene, the genre took on a political scene during the 1980s. This was when Grandmaster Flash and The Furious Five advocated on their platforms about civil unrest that heavily impacted people residing in inner-city areas.  In 1982, “The Message” became one of the first rap songs to be released that addressed societal issues involving poverty and socioeconomic disparities. This particular song paved the way for many upcoming artists such as Public Enemy, N.W.A, Tupac Shakur, and Kendrick Lamar to use their platforms to address political changes affecting communities.  This article outlines four groundbreaking rap songs that contain powerful social commentary messages to a wide variety of audiences.    Fight the Power – Public Enemy   One of Public Enemy’s most reputable songs encompasses supporting Black pride and calling out negative cases of cultural appropriation. The lyrics encourage listeners, younger ones in particular, to develop strength and stand up against racial discrimination, stereotypes, and economic inequality.   To match up to the song’s political critique, the music video was created in the style of a street protest, a form of collective action that activists normally engage in when taking a stand against social injustices and oppression.   At the request of Spike Lee, the group wrote the song for Lee’s film Do The Right Thing, a movie that addressed social and political inequalities. Originally, Lee encouraged Public Enemy to record a version of the spiritual “Lift Every Voice and Sing,” but their producer, Hank Shocklee had different management plans.   Shocklee had a vision to have the group record a song that would leave people blaring it while driving down Brooklyn.   U.N.I.T.Y – Queen Latifah   Misogyny is a distinct issue within the rap community that deserves more recognition. Women that have made significant contributions to the genre often get overlooked and have been placed at a disadvantage when achieving success.   Although the music industry excels through talent, female rappers seem to only receive praise for their contributions if they are portraying seductive, bold, and daring images.  In 1993, Queen Latifah addressed this issue with the release of her single “U.N.I.T.Y.”   Besides addressing the misogynist attitudes within rap culture, Queen Latifah addressed street harassment, domestic violence, and negative slurs targeting women. Although this song addresses these issues, many continue to remain an issue in society to this day.   Keep Ya Head Up – Tupac Shakur   Not only did he stand up for his beliefs, Tupac Shakur carried this optimistic and intuitive mindset into many of his songs.   Throughout history and into the present, Black women are often subjected to disrespect. What is problematic is how disrespect stems from Black men through neglect, a lack of protection, and colourism.  Released in 1993, “Keep Ya Head Up” is an ode to Black women in hopes that they remain strong when confronting emotional abuse. The song rightfully calls out Black men who mistreat Black women and allows them to realize women are the ones who bare life and provide a family for Black men.  The song also commemorates and pays tribute to Latasha Harlins, a 15-year-old Black girl who was shot arbitrarily and killed by Soon Ja Du. Du was a Korean store owner who wrongfully accused Harlins of stealing a bottle of orange juice, which spurred racial tensions.     Sound of da Police – KRS-One  The Black community and the law enforcement system have a complicated and unequal relationship. Challenges stem from an abuse of power enacted by the police. This abuse of power has led to heightened arbitrary arrests, fatalities, and acts of harassment and assaults targeted towards the Black community.   Throughout history, many individuals have protested for reforms to the law enforcement system and to provide awareness that Black lives matter. One way individuals have held the police accountable is through powerful, symbolic, and meaningful songs.   The 1993 single, “Sound of da Police,” by KRS-One is a popular song that addresses the root issues of police brutality and arbitrary arrests. The song begins with the sound of sirens — an alarming symbol to evoke fear and control over racialized communities.   What particularly stands out about this song is that it advocates on behalf of the Black youth and addresses the connections between police brutality and enslavement.   These four songs along with many others demonstrate that not all rap music perpetuates and promotes negative stereotypes. There are many different rap songs that can educate listeners on a variety of social and political issues.  

POEM: The Melanin in My Skin

By: Lavanya Kathirgamanathan    The Melanin in My Skin,  Shines outside of me, and within  Through the sun and the light,  Melanin and I have always had a good night.  –  The glowing sun shines onto me.  Filling my body with dopamine, serotonin, and glee  Oh, how I love my Melanin in my skin,  Glistening throughout, always with a win.  – Sometimes, it is hard  To show my Melanin to the world,   Like a red card  There is a barrier that shows  How some people hate our skin,  Only God knows…  –    Through the ups and downs,  My Melanin will still make me proud,  Like a kid in a candy store,  Or a singer in a large crowd.  –  Whatever time of day it is,  If I am ever stuck in a jam,  The Melanin in My Skin,  Will always make me who I am. 

POEM: Paving the Way

By: Lavanya Kathirgamanathan  In a world full of fear that intertwines,  I pave my way, this path of mine  Painting through with emotions, strong and bright  I colour my journey with strength and might.  – Through my struggles,  Big and small,  I rise above the weakness,  Above it all  Whatever challenge that I meet,  I always find the courage,  I will not retreat.  –  With the presence of prejudice, I fight  Through the power of love, care, my bright light  Dark shadows come towards the road  Breaking the barriers, I will explode.  –  Every footstep, I touch a new ground  Leaving footprints of strength, high and profound,  Our coloured souls, filled with grace  We rise above, for our race.  –  In unity, we shall overcome,  Together strong, as one  For our bright ideas, from our head to our shoelace,  We will pave the way,  Leaving our trace. 

The Genius Behind: The Boondocks

By: Priscilla Wiredu On November 26, 2005, Writer and Cartoonist Aaron McGruder debuted a show that would change the way America views Black culture. The Boondocks, originally a comic strip by McGruder, tells the story of Huey and Riley Freeman, two adolescent Black boys who leave the southside of Chicago to live with their retired grandfather Robert Freeman in a white, suburban, affluent neighborhood. The differences in socioeconomic classes affect the boys and their grandpa in different ways that touch upon their personal growth and development. The cartoon itself remains a clever and insightful piece of social commentary on Black culture. It successfully addresses racial disparities and voices sensitive discussions about the treatment of Black people in America. This article will critically examine the genius behind The Boondocks. Cultural Impact The Boondocks is a rare gem of its kind as the show represents Black communities in both a self-reflective view and as a critique for corrupt systems, whether it be corporate, judicial, or even mere entertainment. The title derives from the term ‘boondocks’ which means ‘a quiet area in the country that occupies a few residents, far away from any town or city.’ In essence, Huey, Riley, and Grandad are boondocking in a foreign place that differs from the surroundings they grew up in. Each character confronts their own unique challenges and struggles that strengthen their character development. While Huey takes on a revolutionist approach, aiming to ensure Black nationalism and pride is showcased. Riley is heavily influenced by false Black stereotypes and chooses to listen to rappers, disrespect women, and act reckless to obtain money or fame. Grandad Freeman has learned in his golden years that hypocrisy is the only way to ensure the most comfort and is ultimately self-serving. McGruder claims that the interpretation of his characters and the messages he tries to convey are, while deep and fascinating, create controversies amongst Black audiences. From his Martin Luther King Jr. episode to the episode about R. Kelly’s trial, The Boondocks enacts an explosive dialogue about racial hierarchy within Black and American societies. Racial Satire The strength of The Boondocks satire lies within its ability to tackle issues in the Black community using stealthy forms of satire and humour. The Freeman family confronts racial disparities against white characters who aim to cause trouble among the Black protagonists. Mr. Ed Wuncler, a wealthy white realtor, is a living paradigm of predatory capitalistic practices. His grandson, Ed Wuncler III and his friend Gin Rummy are white wannabe gangsters who believe robbing banks, houses, and kidnapping are what Blackness embodies, with Riley conforming to these actions. Sarah Dubois, the white wife of Tom Dubois and mother of Jazmine act racist as they describe Black culture as ‘“urban” and use racial slurs regularly. It is a comedic reflection of the reality of those Black people who live in centralized white spaces. Black Identity Another imperative facet of this show is McGruder’s ability to illustrate Black characters that break free from negative stereotypes that can sometimes be viewed as one-dimensional. Black identities have a certain range within the show, and reasons for why these characters enact different personalities. McGruder does an excellent job at meshing stereotypes and simultaneously illustrating Black characters as intelligent and powerful characters within different plots. The relationships between the Black characters also allows audiences to think critically about the commentary. Huey is a revolutionist because he finds many parts of Black American culture to be more damaging than empowering. Riley is the opposite; he accepts all the misogynoir, the toxic hypermasculinity, and the obsession with money and criminal activity. One can argue that these boys act rebellious to resist conforming to the affluent, safe, white neighbourhood where they are guaranteed a ‘better future.’ The character’s dynamic helps shape the narrative that McGruder is trying to push; that resistance can take on different forms for similar reasons. Another example would be the representation of coonery that some Black characters enact in order to please white people. Tom Dubois, a Black lawyer, is the Uncle Tom archetype within the show. Dubois portrays a gentrified white-washed character who knows his place and appeases his white neighbors, coworkers, and society as a whole. He married a white woman to have a mixed child in hopes to assimilate to the white power structure and stray from his Black heritage. His covert self-hatred goes hand in hand with his wife, Sarah, who fetishizes Black men and their supposed criminality, evident in her love towards Usher and other rappers. Uncle Ruckus is said to be one of the most polarizing characters of the show. He is the parody of a white-worshipping, self hating Black man, an embodiment of self-hatred to the point it is almost parodying. Uncle Ruckus is insecure of his dark skin, any association with Black people, and consistently seeks approval from white people by talking negatively towards Black people. He was raised in a self-hating Black family, and believes that he had a ridiculous disease that had turned him Black when he was born white.   The Boondocks takes on various issues that deal with social identity. The show reveals that there are multiple layers to Black identity that include why these characters believe discriminatory stereotypes. It further questions whether there is room for acceptance and change.   Criticism Without a doubt, The Boondocks has been subjected to many controversies since its initial airing date. Many people believe that while some of the show’s characters and episodes are timeless in their meanings, there are also some outdated views on Black people and culture in America. Many earlier episodes were abstracted, especially within the Martin Luther King episode. Many Black viewers claimed that it was an insult to see Martin Luther King Jr. candidly talk down on Black individuals in the modern day. These comments were aimed at rejecting rap music and other Black aesthetics, seeing as they were more harmful than good. MLK Jr. would realistically make an attempt to understand how modern