NUBIANO Exchange 2.0

What the Housing Crisis Can Tell Us about Racism, Sexism and Homelessness

2008-06-29T00:30:00.000-07:00

by Lisa Swanson

Over the past decade, the United States has seen many instances of housing injustice which have disproportionately affected blacks. From the escalating subprime mortgage crisis to dwindling units of affordable housing, from increasing gentrification to decreasing funding for public housing, from the swelling homeless population of New Orleans to the progressing permanency of the Gulf Coast Diaspora, the most direct and devastating consequences of housing injustice, including the loss of homes, communities, and even lives, have consistently and overwhelmingly been borne by blacks.

This pattern is not coincidental. If we choose to view each of these problems and its race dynamics as separate issues, then we are guilty of ignoring the points of origin which connect them all together. According to Max Rameau, an organizer with the Center for Pan-African Development in Miami, Florida, the root problems of gentrification in the 2000s are the same as the root problems of segregation in the 1960s: people of colors’ lack of power and control over land, and white supremacy.

Typically, the phrase “white supremacy” is associated with hate groups such as the Ku Klux Klan and the National Alliance. This extreme mental association hinders our recognition of white supremacy, also referred to as white privilege, in our everyday lives. Many white people would be very upset by the suggestion that white supremacy is a part of their everyday lives, and I think that most white people would say very firmly that they do not believe that white people are superior to black people. I agree that white people are not superior to black people, and that people of all shades and appearances are inherently equal. The first calling of my faith as a Unitarian Universalist is to “affirm and promote the inherent worth and dignity of every person.” I believe in every corner of my heart that we are all human beings with worth and dignity, and that the color of our skin does not matter.

I also believe that, in this society, the color of our skin matters; I believe that our society functions in a way which favors people with white skin and makes things harder for people with skin that is brown or black. This favoritism reinforces the superiority of white people, and white privilege becomes a self-sustaining cycle. There is nothing inherent in skin color with makes a group with one shade superior to a group with another shade of skin. But the racism that all of us in the United States experience every day is no less real for being manufactured.

Let’s take a look at the first of the housing issues on our list: the subprime mortgage crisis. At its heart, the subprime mortgage crisis is a crisis of discrimination. Originally, subprime loans were designed as a means of helping a loan applicant with a compromised credit history which would prevent her or him from receiving a conventional loan. To cover the lender’s increased risk, subprime loans carry high interest rates which can amount to paying tens of thousands of dollars in additional interest over the term of the loan.

Subprime loans ought to represent a challenging but possible path to homeownership for those who have made mistakes with their credit in the past. But in reality, many mortgage brokers grant subprime loans in hope of turning a profit, rather than in the best interest of the aspiring homeowner. And rather than hinging on credit history, the granting of a subprime loan seems to be determined by the applicant’s race and gender. Subprime loans account for 55 percent of foreclosures—a disproportionate percentage, given that subprime loans make up only 13 percent of all existing home loans, according to the Mortgage Bankers Association. The high failure rate of subprime loans makes it clear that mortgage brokers rely on a lucrative strategy of granting loans inappropriately. And according to a 2006 Wall Street Journal article, 61% of all borrowers receiving subprime loans had high enough credit scores to qualify for conventional loans, indicating that other factors influence the quality of the loan that an applicant receives.

In February of this year, United for a Fair Economy (UFE) released a report titled Foreclosed: The State of the Dream 2008, which detailed how subprime loans have targeted people of color. As a demographic group, people of color have sustained an estimated $164 to $213 billion total loss of wealth from subprime loans taken out during the past eight years. In UFE’s analysis, this is believed to be the greatest loss of wealth for people of color in modern US history. Looking at federal data, UFE determined that people of color were more than three times more likely to have subprime loans than whites. For example, high-cost loans accounted for 55% of loans to blacks, but only 17% of loans to Whites. According to UFE, blacks lost more money in the subprime mortgage crisis than any other racial group.

In 2006, the Consumer Federation of America (CFA) found that women were 32 percent more likely to receive subprime loans that men—in spite of the fact that women and men have roughly the same credit scores. Women of color were found to be the most likely of all demographic groups to receive subprime loans, while white men were the least likely. This dynamic held true at every income level, and the disparity grew with applicants’ income levels. Among mortgage applicants who earned twice an area’s median income, black women were as much as five times more likely to receive subprime mortgages than white men.

Then there’s HOPE VI—another ostensibly well-intentioned idea gone wrong. HOPE VI is a program which was originally designed to solve some of the problems of what were referred to as “severely distressed” public housing units. Launched by the United States Department of Housing (HUD) in 1992 and formally recognized by Congress in 1998, HOPE VI was intended to revitalize public housing projects through partially or completely demolishing existing low-income housing, and replacing it with mixed-income housing. In reality, the promised mixed-income developments sometimes took almost a decade to build, diminishing any realistic likelihood of the original residents' return. Most mixed-income developments built with HOPE VI money incorporated fewer low-income units than before. Some developments redefined “low-income” as a higher percentage of the area’s median income than would allow all of the original residents to be able to afford to live in the new “low-income” units. As a result, tens of thousands of people of color, mostly black, were permanently displaced from their homes. The HOPE VI money which was intended to alleviate poverty did not benefit the demolished neighborhood’s original residents, but functioned instead as a de facto subsidy for middle class housing and as a driving force of gentrification.

Concurrent with HOPE VI and the burgeoning mortgage crisis, U.S. families have faced dwindling availability of affordable rental units and public housing. According to the National Low Income Housing Coalition, the nation is 2.8 million homes short of the needed number of affordable rental housing units. In 2007, the Center on Budget and Policy Priorities released a report stating that funding for public housing had declined by 25 percent between 1999 and 2006. In roughly the same time frame, 170,000 units of public housing were lost to deterioration.

The loss of affordable housing, in conjunction with poverty, has been one of the driving factors of homelessness. As the National Coalition for the Homeless (NCH) succinctly put it, "demographic groups who are more likely to experience poverty are also more likely to experience homelessness." Since, according to the U.S. Census Bureau, blacks experience the highest poverty rate in the United States (slightly less than a quarter of all blacks are considered to be living in poverty), it follows that they represent the highest percentage of the homeless (49%, according to NCH).

And—please—don’t even get me started on Hurricanes Katrina and Rita.

In short, owning a home, renting a home, and keeping one's home is difficult for everyone in these times—but it’s disproportionately difficult for black people, and especially for black women. And it’s not just disproportionately difficult for black homeowners applying for loans, or black tenants of public housing, or for black residents of the Gulf Coast. It’s consistently disproportionately difficult for black people everywhere in the U.S., of every class and locality. In contrast, owning a home, renting a home, and keeping a home is easiest if you’re white. The consistent disparity reveals an underlying force at work.

Speaking of which, let’s get back to the first of Rameau’s root causes of housing injustice: people of colors’ lack of power and control over land. UFE’s Foreclosed describes just how central control over land is to equality.

Homeownership is central to reaching economic equality and closing the growing divide between the wealthiest people in the US and everyone else in the country. Nearly 60 percent of the total wealth held by middle-class families resides in their home equity (the value of their home minus the amount they owe on it). Furthermore, home ownership is essential in acquiring other assets, including access to high-paying, good-quality jobs (with retirement plans, healthcare and other asset options), high-performing public schools, cleaner neighborhoods, and better health.

Home and land ownership is a vital component of upwards class mobility. Land is the most secure form of wealth, and one of the most definitive sources of power. To some extent, controlling land means that you control your body—after all, you only control your body to the extent that you control the land it sits, walks, and sleeps upon. Put another way, having power over land means having self-determination. Although even that promise of security is weakened if you are black—after all, the New Orleans’ Lower Ninth Ward, which once had the nation’s highest rate of black homeownership, is still struggling to rebuild almost three years after Hurricane Katrina.

Consistent with pattern established the previous statistics we’ve examined so far, a greater percentage of whites own homes than blacks. 48.4% of blacks own homes, compared to 75.8% of whites. However, the situation is slowly improving. Very, very slowly. According to Edward Wolff of the Levy Economics Institute of Bard College, the percentages of white and black homeownership will reach parity in year 7429 CE. That’s 5,423 years away.

I believe that that’s too long to wait.

For too much of our past—since white people arrived on this continent—white supremacy has been a driving force of North, Central, and South American society. For every disproportionate harm that people of color have experienced, white people have received a disproportionate advantage. In the United States today, some whites protest affirmative action without acknowledging or realizing that they are the beneficiaries of an “affirmative culture” of white superiority every day. A person in the U.S. is more likely to be granted a prime rate loan, just for being white. A person is less likely to be living in poverty, just by being white. A person is less likely to be homeless, displaced, or foreclosed upon . . . just by being white.

With regard to housing in our nation today, it is undeniable that racial inequality exists. So how can the playing field be leveled? A logical answer is government authorization of housing opportunities that benefit people of color. After all, white people benefited in terms of housing from the Homestead Act of the 1800s and the GI Bill of the 1940s, programs from which blacks and other people of color were either completely or largely excluded.

While we’re on the subject, we ought to acknowledge the fact that there are countless other areas in our society where white people have had, and continue to have, advantages which come at the expense of people of color. I’m willing to bet that these white advantages/color disadvantages stem from the same root causes of land ownership and white supremacy. And if so, then it seems only logical that the government should look into implementing a comprehensive set of opportunities that benefit people of color, from education to employment to media representation, so that the schools, workplaces, and culture of our nation embody racial equality.

This idea of reparations is nothing new. In his 1964 book, Why We Can’t Wait, Martin Luther King, Jr., proposed that, “Just as we granted a GI Bill of Rights to war veterans, America launch a broad-based and gigantic Bill of Rights for the Disadvantaged, our veterans of the long siege of denial.” N’COBRA, the National Coalition of Blacks for Reparations in America, was founded in 1987, and United States Congressman John Conyers has been proposing the same bill, The Commission to Study Reparation Proposals for African American Act, every year since 1989. Conyers has promised to continue to do so until it is passed into law. The bill number is H.R. 40—an acknowledgment of the never-fulfilled promise of forty acres of land and a mule as reparations to freed slaves in the 1860s.

Lately, popular momentum for the study of reparations proposals has been building. In 2006, the General Convention of the Episcopalian Church passed a resolution to “urge the Church at every level to call upon Congress and the American people to support legislation initiating study of and dialogue about the history and legacy of slavery in the United States and of proposals for monetary and non-monetary reparations to the descendants of the victims of slavery.” True to their word, representatives of the Episcopalian Church were present when H.R. 40 had its first ever Congressional hearing in December of 2007. However, without a greater number of supporters, it is unlikely that H.R. 40 will acquire sufficient momentum to be brought to the floor for a vote.

Congress, HUD, and other institutions may come up with a way to solve the shortage of affordable housing, or to remedy the harm that HOPE VI has caused. They may come up with a way to slow the pace of foreclosures or to bring the Gulf Coast Diaspora home. These are very important things to do. But these problems are symptoms, not the root cause. And without treating the cause, other symptoms are bound to crop up. In this decade, the symptoms of white superiority have meant over a thousand deaths in the Gulf Coast, the greatest collective loss of wealth that people of color have experienced in modern times, and the disruption and devaluing of hundreds of thousands of lives of people displaced. How can we, as a society, continue to let the deeper problem go untreated? And how many more “symptoms” can our national body withstand?

Although white people in the United States might not consciously think that they are better than people of color, we live in a society which rewards whiteness and puts people with brown and black skin at a disadvantage. And I believe that, on some fundamental level, each of us believes what we live.

If we, all the residents of the United States, truly believed in racial equality—if we all truly believed in justice—then we, as a nation, would acknowledge not only past injustices, but also the current injustices which continue to be an irrefutable part of our society. And then . . . we would work to change it.

Related Links:

Foreclosed: State of the Dream 2008. United for a Fair Economy. January 15, 2008.

Women More Likely to Receive Subprime Home Loans; Disparity Highest for Women with Highest Incomes. Consumer Federation of America. Dec. 7, 2006.

Interview: Farrah Gray - Author, Philanthropist and Real Estate Entrepreneur

2008-06-29T00:00:00.000-07:00

by Clayton Perry

In America, anything is possible. (All naysayers should consider the life of Farrah Gray.)

At the age of 14, Farrah Gray became a self-made millionaire, despite being raised in the impoverished South Side of Chicago. And in less than a decade, his entrepreneurial talents have allowed him to oversee a $30 million asset management company, become a syndicated columnist with the National Newspaper Publishers Association (NNPA), publish two best-selling books and receive an Honorary Doctorate degree of Humane Letters from Allen University.

At the age of 21, Farrah Gray was named as one of the most influential Black men in America by the National Urban League's Urban Influence Magazine. And in March 2008, after a decade of entrepreneurial success, Farrah Gray was featured as a member of "O" - The Oprah Magazine's Dream Team of Financial Experts.

If Farrah Gray can succeed, why can't we?

On December 27, 2007, Farrah Gray published his second book, Get Real, Get Rich: Conquer the 7 Lies Blocking You from Success, under the Dutton imprint. Upon review of Get Real, Get Rich, Farrah Gray managed to squeeze some time out of his busy schedule and settle down for an interview with Clayton Perry— reflecting on life, race and, of course, entrepreneurship.

How did the Get Real, Get Rich philosophy originate?

I have about 150 speaking engagements a year. After each speech, I always take time sit down and talk to members of the audience. Time and time again, I found that people held onto similar beliefs about what it takes to be successful. Get Real, Get Rich covers seven lies that block many people from success, like "It takes money to make money." That's not necessarily true. "When you work hard, you're guaranteed to be successful" – that's not true. The "born lucky" lie is also untrue – I'm sure you know a lot of people who were born into privilege and amounted to absolutely nothing. We all have greatness within us. So it is really important for everyone to figure out what God put us on Earth to do, and steer clear of the seven pervasive lies that often blindside people. I firmly believe that the two most important times in a person's life are when they are born and when they find out why they were born.

Of the seven lies that you present in Get Real, Get Rich, which do you find to be the most pervasive?

The "hard work" lie. People often say, "If you work hard, then you have the key to success." But let's keep it real. When your bill collectors call, can you tell them, "I work hard"? If you go to the bank and say, "I would like to make a hard work deposit," it's not going to work. They want a cash deposit. A person can work for 160 hours a month and maybe, as Oprah said, get a "thank you" upon retirement. Again, it's not about working hard. It's about finding what God put you here to do.

Once, a 75-year-old guy called me and said, "Dr. Gray, I've been working all my **** life. Why am I broke and you're rich? I've been working hard. Everybody says if I work hard, I'd be successful."

"Oh, no, sir. You've never heard me say that. I believe it's about finding what God put you here to do."

He said, "I know what God put me here to do. I'm a singer."

I said, "All right. Well, sing." He started to sing. I listened. I gave him the benefit of the doubt. I said, "You're not a singer. That's not what God put you here to do."

If you want to find what God put you here to do, ask yourself three questions. First question: What comes easy to you but harder to other people? The second question is: What would you do for years and never have to get paid for it? Third, ask yourself: How can you be of service?

Once you answer those three questions, your work will become your play. You'll never have to "work hard" another day of your life because you'll love what you're doing. The world and the marketplace will open up for you, your gifts and your talents. The guy who called me became a painter after asking himself those three questions—eventually selling one of his paintings for almost $5,000. That's what he was here to do. He wasn't the kind of artist he thought he was. So it's very important to find what God put you here to do.

That is a lesson that I am still growing into. What lessons are you still learning? In the introduction of Get Real, Get Rich you state, "We are all students of life until the lights go out on us."

Patience. Being an impatient person, I wanted to do what my grandmother said: "Do as much as you can as fast as you can; be as productive as possible." But you must be patient. So I have struggled to balance patience with being an impatient person, and trying to find a happy medium. I also believe that my personal mission in life is to grow and contribute, so I am learning and growing every day.

Going back to the "work hard" lie in your previous question: Dr. Deepak Chopra talks about the law of least effort. Sometimes you're pushing and what you want to do is not coming with ease; doors are not opening. A lot of times we're pushing against resistance. If one looks closely, there is often a message in that resistance: "Wait a minute, maybe it's not what you're supposed to be doing." Bottom line is, if you want to know the difference between good resistance and bad resistance, decipher skill versus desire. If you want to be a basketball player, yet you shoot bricks, it's not going to happen.

You say everything we want is on the other side of fear. How do you combat fear?

Everyone feels what could be called fear. But the coward turns away and says, "I can't deal with this." We have to learn to face our fears and push ourselves. If you're living on earth and you're not living on the edge, you're taking up too much room. When you push past the fear and realize that what you feared was not a big deal, you gain more confidence.

You also say that comfort is the enemy of achievement. What kept pushing you, as a successful businessman, once you had achieved a certain level of comfort?

We have to find areas in our lives that we feel most uncomfortable about and want to change. I decided to push myself because it allowed me—as I talked about in the three questions—to give back. I have a scholarship program. When I found out the average age of a homeless person is 9½ years old, I said there must be something that I can do. Now, I am the spokesman for the National Coalition for the Homeless. I am also the spokesman for the National Marrow Donor Program. Anyone who has any form of blood cancer is going to need a transplant. We have tens of thousands of people dying annually because they cannot find a bone marrow transplant that will match exactly – what we a call a 10 out of 10 match—which would give them the highest prognosis for life. I lost my sister because we couldn't find a match. We lost Ed Bradley from 60 Minutes to blood cancer. We lost Nelly's sister Jackie Donahue to blood cancer. That is what pushes me: knowing that there are homeless 9-year-olds and people on their deathbeds waiting for solutions. It is very hard not to be of service when I have been blessed with the financial means to give back. The more we give, the more we receive. It's important to give back, because the seeds you plant today, you will harvest tomorrow.

What keeps you grounded and in tune with the spirit? Hearing you speak, it doesn't seem like success or money has gotten to your head.

That's another lie. Money doesn't change who you are; it magnifies who you really are. Money has not changed me. When I look at money, each dollar represents an option of something I could not do yesterday. Money lets you enjoy the finer things of life, but it doesn't change who you are. It magnifies and brings into fruition the things that you want to hide most. It is a mask for insecurities as well. I will give you a prime example. I have a friend who came into some money. You couldn't tell her anything. "I'm going to live like the rich people live. I'm going to buy up some Christian DEENOR, Louis VEETON." [laughing] She couldn't pronounce it, but she knew she had to have it. I asked her, "Are you going to get some GODEEVA chocolate now? Are you too good for Hershey?" [laughing] What was funny to me was the fact that she could not pronounce the designers' names, but society has made her feel that she had to have their things. I call such things "lie-abilities" – things that are in style today and will go out of style tomorrow. We end up sitting on our assets lying about our ability.

According to a 2005 report by the National Urban League, "One in 20 black men are incarcerated, while one in 155 men are, and for every three black men in college, four are incarcerated. Political correspondent Keli Goff has even gone on to describe the current generation – the hip hop generation – as part hip hop, part Huxtable. She states that in America, racism exists but so does Oprah Winfrey. Considering your success, as a product of the post-civil rights generation and member of the current "hip-hop generation," what is your perspective on race in America, and how has race impacted your business pursuits?

Without a doubt, racism has become institutionalized. I own a real estate asset management company where I manage over $30 million of assets for major financial institutions. Looking at my own success, one could say that racism does not exist, but look at one of the biggest financial crises this country is facing in the sub-prime market and the methodology used by major financial institutions in loaning money. A lot of African-Americans, when their credit profiles were pulled, qualified for what's called A-paper loans but were put into bad loans, the sub-prime market. They were taken advantage of.

When we look at education dollars that were cut, who did it affect? It affected HBCUs (Historically Black Colleges and Universities). Who goes to HBCUs? Black people.

I had an office on Wall Street for nine years. There were people who did not even speak to me in the elevator. They are the wall of Wall Street. I do not think that it is a coincidence that there are more of us, as the old saying goes, at state pen than in Penn State.

So we have to look at the fact that racism exists and that a Dr. Farrah Gray or an Oprah Winfrey or a Bob Johnson does not erase racism. It is not possible for us to erase racism just because African-Americans have reached a level of financial success and crossover appeal. I have book sales in Russia, Indonesia, Canada, Australia but they took my picture off the book in the Russian version of Reallionaire. That was amazing to me. It's selling and they said, "We have to take his picture off because we are uncertain about how he will be received."

You mention Oprah Winfrey and Bob Johnson, who else do you admire in the business world, and what is it about them that you try to emulate?

One of the people that I have respected, and one of the people I have learned so much from studying, is Reggie Lewis. But I never give credit to just one person, never. I give credit to everyone, from Madam C. J. Walker to the Freedmen. They say black people do not save, but that is not true. In fact, many of the freedmen in the South bought themselves out of slavery by saving their money. A lot of our people are unaware of that. I look back to those days and get quite a bit of inspiration.

As a young, African-American entrepreneur, success came to you at an early age, with your first million secured at the age of 14. Now that you are older and have expanded your fortunes into a lot of different ventures, how would you want to be remembered? In time, what legacy do you want to leave behind?

I am looking to leave an inspirational legacy of what is possible. When I go to college campuses, when I do any kind of public appearance or interview, I speak to generations yet unborn. That is why I own a magazine. Prominent Magazine has a demographic of 18-49. Its tag line is "the ultimate entertainment and empowerment magazine."

By God's grace, I've been more successful in my older years, in my earlier 20s, than I was in my teens. I am currently overseeing a $30 million asset management company with Ronald Branch. He was the former president of the National Association of Real Estate Brokers and he is my business partner as well. He was named one of the 25 Most Influential People in Real Estate. I am also a syndicated columnist. My weekly column reaches close to 15 million readers through the Newspaper Publishers Association. So I am looking to inspire our people beyond.

There is a group in Africa called the Akan people and whenever they put someone in a position of power, say a chief or a king, they are given a statue of a hand wrapped around an egg. The hand represents the power the individual. The egg represents the people. You can be selfish and crack the egg and make scrambled eggs for yourself. You can be too rough with it and crush it. Or you can nurture that egg to grow. So when people listen to people like me, those of us who have a platform, we have to say things that speak truth. We have to empower, inspire, build, and launch the next generation of world solutions that will positively contribute to our economic, political and social fabric and—hopefully—improve the entire nation and the world.

What do you value most in life? Is there anything that you have come to value more as a result of your success?

I've lost quite a few family members. My father has been deceased for about 7 - 7½ years now. I lost my sister to leukemia. I lost other family members who are near and dear to me, lost a brother. At this point, it is just my mother and my grandmother and my fiancée.

Will wedding bells be ringing any time soon?

Yes, one day soon. She is a wonderful woman. Phenomenal. We have been together for several years now. I like to say we have a Jay-Z and Beyoncé thing going on [laughing]. Recently, I escorted my fiancée Alicia on the red carpet at an event and the press just hounded her. People are so nosy. You kind of want a private life.

Well, once you go on Oprah, it's a wrap! [laughing] People across the globe know you now. As a public figure, how hard is it to maintain a private life?

Very hard. If you make too many things too public, then you end up living your life before the court of public opinion. I try to keep those things private. Just this year, my mother came to a speaking engagement of mine for the first time. She had never heard me speak.

Well, you have certainly made her proud.

It was such a special moment. I take her on tour with me now after losing my sister, then losing my brother.

If you had to pick a turning point that led you from failure toward success, what would it be?

I will never forget it. I was about seven. My teacher asked, "What do you want to be when you grow up: A teacher, doctor, attorney…?" I said, "Well, I'm going to be a millionaire entrepreneur one day." She looked at me and chuckled. "No, you're not," she said. "You're poor and your family's poor. You better go find somebody to work for." I was just shocked. I remember I tried to get her fired. I went home to my grandma and said, "Grandma, am I really not smart enough and good enough to be an entrepreneur?" I had already launched a campaign for my company. I was selling door-to-door. My grandma is a very sweet lady, but she has a quick right hand and a temper, so I learned that the hard way a couple of times. She said, "Listen, I want to tell you something. I do not want to hear you say that again, ever. Do not let anyone tell you what you can be. Do not let anyone tell you that you are not good enough or smart enough. Remember that nobody is better than you. Everybody puts on their pants one leg at a time. I want you to wake up every morning and say, "Why not me?"

I've lived that attitude ever since. If you see somebody else that has something, why not you? If you want millions, if you want a mansion, if you want to put an end to homelessness, why not you?

For more information on Farrah Gray, visit his official website: http://www.drfarrahgray.com

Music Review: Anthony David - Acey Duecy

2008-06-22T12:00:00.000-07:00

by Clayton Perry

Have you ever noticed that most people don’t catch onto certain things until they are dropped upon their heads like bags of heavy bricks from the tops of the highest heights? Then and only then, in that moment of clarity, do the objects of focus become so apparent that hindsight not only lends 20/20 vision, but also spotlights the blinders that blinded us from seeing them in the first place. With that in mind, let us focus on the career of soul singer Anthony David.

If you are a believer in urban legends, then you know full well that the souls of Bill Withers and Mos Def intertwined on August 24, 2004. On that magnificent day, Brash Music introduced the music world to Anthony David, who began a long quest to "evoke the Energy of music rather than the Style." His first project, 3 Chords & the Truth, was hailed by the Atlanta Journal Constitution as "the best record to come out of [Atlanta] since Usher's." Without major label support, however, the world turned a deaf ear.

If such a comparison doesn’t floor you, let us consider the popularity of Usher in 2004. If you need additional help, think of one word: Confessions, the best-selling contemporary R&B album in recent years. (You know the one, with nearly 10 million copies sold.) That being said, any comparison to Usher, especially in 2004, should have sent music lovers in droves to every brick-and-mortar store nationwide, right? Wrong. In fact, even with the critical acclaim of Anthony David’s next release, the Red Clay Chronicles, he performed in exclusive anonymity.

Refusing to change his style for mainstream needs, David became a showstopper in Atlanta’s underground Soul scene, where he fostered a loving friendship with India.Arie that was rooted in mutual respect. He wrote "A Part of My Life" for Acoustic Soul, India.Arie’s multiple-GRAMMY-nominated album, and supported the album on global tours as a background singer. Coming into his own, he eventually headlined several tours in Europe and Japan.

Hindsight, as a consequence, is 20/20, and Acey Duecy is a "grand debut" that shines like a polished gem on India.Arie’s newly-christened Soulbird label. The album, in all respects, however, is a "greatest hits" compilation of David’s two independent releases under the Brash indie label: 3 Chords & the Truth (2004) and the Red Clay Chronicles (2006). With that in mind, new and old fans alike can appreciate the selection of "Words" (featuring India.Arie) as the lead single, which is an ultimate testimony of true friendship and the long road to a major label record deal. Now, with the release of Acey Duecy, the stars in the musical universe have finally aligned.

Hopefully, Acey Duecy will foster a new "golden era" in modern soul music, because it is quite shameful that Anthony David is just now getting a proper introduction in 2008. Back in 2003, cultural critic Edward Garnes was hip to Anthony David’s mystique—noting in "Soul Assured" that "[David] has the blood and grit of soul legends running through his veins. His cognizant, true soul can't be willed -- its authenticity can't be purchased. While many of his contemporaries are content playing dress-up and producing safe radio-friendly singles, David's down-home guitar licks create melodic bridges over troubled musical waters."

Looking forward, the future definitely looks bright, especially when one considers the fact that 3 Chords & the Truth and the Red Clay Chronicles were recorded for $6,000 and $15,000, respectively. And while such successes may seem like improbable tales of events, Acey Duecy brings real music back—with a vengeance! The album is all substance, without standard-grade filler or commercial gloss, and devoid of manufactured hooks and super-producer beats! Every track lives, breathes and resembles the soul of the man behind the music.

The album’s eleven tracks are only a sampler of David’s lyrical genius. And if truth be told, several other tracks would have been worthy of inclusion, especially "Ain’t Enough for Me" off of 3 Chords & the Truth. One can’t have everything in life, so find comfort in several of Acey Duecy’s other highlights: "Spittin’ Game," "Cold Turkey," "Georgia Peach," "Cheating Man" and "Krooked Cop," from 3 Chords & the Truth, as well as "Stop Playin’," "Smoke One," "Lady," "Something About You," and "Kinfolk" from the Red Clay Chronicles.

Music Review: Ashanti - The Declaration

2008-06-08T12:00:00.000-07:00

by Clayton Perry

Few items carry the "declaration" title well. There is, of course, the Declaration of Independence, along with the Universal Declaration of Human Rights. And there is also the Declaration of the Rights of Man. Such powerful examples may exaggerate the level of boldness Ashanti would need to title her fourth album the Declaration, but when examining contemporary R&B history, Ashanti is simply reminding individuals why she is deserving to be the "Princess of Hip Hop and R&B."

Although several years have passed since her historical and controversial receipt of the Soul Train Aretha Franklin Award for "Entertainer of the Year," time has proven—without much trumpeting—that Ashanti is more than a one-album, let alone a one-hit, wonder. For the record, Ashanti is the only singer to have fourteen top ten R&B hits this decade. She was also the first female performer to simultaneously hold the top two places on the Billboard Hot 100 chart. Surprised? Well, dear reader, you are probably not alone. More than half of her 15 million albums have been sold outside of the U.S.—making her an international superstar by all measures.

While Ashanti may not have massive marketing machines behind her like Beyoncè, Mary J. Blige, Mariah Carey or Janet Jackson, she has managed to have incredible longevity, despite limited commercial and critical success. That being said, some may not find Ashanti’s Declaration as bold as its title suggests, but the album is definitely her best work and a personal magnum opus rife with female empowerment and sensibility.

It’s no secret that Ashanti’s prior works were largely guided by Irv Gotti. In fact, her early success was fueled by her collaboration with members of The Inc, especially Ja Rule. This time around, Ashanti touts her new-found creative control—replacing Irv Gotti with a host of industry heavyweights: Rodney "Darkchild" Jerkins, Kenneth "Babyface" Edmonds, Jermaine Dupri, Channel 7, Neff-U, Peter Stengaard and L. T. Hutton, who worked on the album’s powerful lead single, "The Way That I Love You." Early sales will no doubt be fueled by the strength of "The Way That I Love You," which is a stark change—lyrically and sonically—from her previous lead singles: "Foolish," "Rock Wit U (Awww Baby)" and "Wonderful."

For better or worse, much has changed since 2004, when Ashanti released Concrete Rose. And if truth be told, the R&B landscape has been completely redefined. Just think, as hard as it may seem: four years ago, Destiny’s Child was still a group, the Fugees were in the midst of a “reunion” and Rihanna was preparing her first release, Music of the Sun. More important, several R&B divas have surfaced (and disappeared) since the release of her GRAMMY-winning debut—giving Ashanti ample motivation to prove herself as the real "Princess of Hip Hop and R&B." So if the Declaration pulsates with a sense of urgency, then one should blame the album’s timing, rather than its contents, because the album materializes as Ashanti’s penning of a new musical chapter, rather than an attempt to redefine or takeover the R&B genre.

The Declaration lays all of Ashanti’s cards on the table—covering a wide range of emotions that every female experiences, no doubt, at some point. "Good Good" acknowledges her sexual prowess, while her "Shine" empowers others to overcome their own personal battles. "Struggle," however, is the album’s stand-out track and a realistic portrayal of a relationship that has successfully weathered the storms of love. Another treat is "Things You Make Me Do," a duet with Robin Thicke, where we find Ashanti falling prey to the power of love.

All in all, the Declaration reminds us why the world fell head-over-heels with Ashanti in 2002. And now that she has finally declared her professional independence, Ashanti’s future works may finally get the respect (and attention) that they deserve.

Music Review: Usher - Here I Stand

2008-05-25T01:00:00.000-07:00

by Clayton Perry

At the age of 29, one would think that Usher would have infinite fountains of inspiration. He's a newly-wed, a first-time father and the owner of one of the decade's best-selling R&B albums. Yet, with one cursory listen of Here I Stand, he gives off the impression that he is uninspired. Whether intentional or not, the ground Usher stands upon is familiar terrain — dashing all hopes that he would break new ground.

To be fair, expectations for his Confessions follow-up were extraordinarily high. (Heck, music lovers of all stripes hailed that album as an R&B classic!) But fueling further hopes, however, in the year following Confessions' release, was a double-dose of R&B triumphs: the successful "breakthrough" of Mary J. Blige's career and the phenomenal "emancipation" of Mariah Carey. And in the interim between Confessions and Here I Stand, even Mary and Mariah's follow-ups have decisively topped the charts, with Growing Pains and E=MC2 selling 629,000 and 463,000 copies in their respective first weeks.

So while it may seem safe to say that Usher would face extraordinary difficulty in producing anything close to his "confessional" masterpiece, time has shown us — over and over again — that things thought untouchable can often be outdone.

In the world of R&B, this is especially true.

Stevie Wonder penned "I Wish" and "Ribbon in the Sky" long after "My Cherie Amour." Prince delivered "Kiss" fresh off the heels of "Purple Rain." And R. Kelly, well after at his pre-scandal peak ("I Believe I Can Fly"), scored six number one hits ("I'm Your Angel," "If I Could Turn Back the Hands of Time," "I Wish," "Fiesta," "Ignition" and "Step in the Name of Love").

That being said, after a four-year wait, it is disappointing to think that "Love in this Club" is the best effort Usher could muster. Only time, however, will tell the tale. But if you thought Here I Stand would be a proclamation of growth and self-discovery, think again! The album is quite the contrary: a disappointing display of artistic regression.

Considering the mature elements that are currently bombarding Usher's life, like marriage and fatherhood, his lyrics are surprisingly juvenile, especially on will.i.am's whimsical track, "What's Your Name?" In fact, the lyrical content, by and large, is quite trite. In the first fifteen minutes, Usher makes "love in the club," then reminds listeners that "this ain't sex." And as the love-filled romp continues and he "trades" positions, err umm, "places" with his love, Usher subtly delivers the album's best offering: a profession that maintaining a deeper love is like "moving mountains." (Yawn.) Need I say more?

Usher is too talented an artist to take the road frequently traveled! And as a modern R&B legend, it is unfortunate that Usher did not spend more time surveying the lyrical and sonic ground that Here I Stand rests upon. Even in this era of calculated marketing, such missteps are striking, not only because he is R&B royalty, but because the material does his vocals an injustice, by placing them on a plot of sinking sand.

In the past, before Usher became "Usher," he overcame similar challenges with great gusto. When "Pop Your Collar" received a professional bruising in 2000, Usher tinkered with 8701 and resurfaced with a string of massive hits: "U Remind Me," "U Got It Bad" and "U Don't Have to Call." With the advent of iTunes, however, Here I Stand suffered a different fate: the album's lead single ("Love in this Club") soared up the charts and gave Usher no compelling reason to revisit the musical terrain he placed himself upon.

Simply put, Usher talents are too good for this commercial nonsense. If only "Love in this Club" had failed at radio, then perhaps a different incarnation of Here I Stand would have hit the shelves. Unfortunately, the world will never know, since the album is now a permanent part of his musical repertoire.

Even though Here I Stand lacks substance or a fraction of innovative flair, one can assume that the (expected) re-release will "stand" upon solid ground and, hopefully, be worthy of his name, image, and talents.

Not Your Mama's Mariah

2008-05-25T00:30:00.000-07:00

by Zacch Estrada-Petersen

“You look at me and see the girl who lives inside the golden world. But don’t believe that’s all there is to see. You’ll never know the real me.” ~ Mariah Carey, “Looking In”

With the release of E=MC2, I knew one thing early on: this was not the Mariah Carey my mother would recognize from almost twenty years ago.

In the early days when Mariah first debuted, she collaborated with top-tier crooners like Boyz II Men and Luther Vandross. Today’s barely-clothed “imposter” lays tracks with “flavor-of-the-week” artists instead.

The old Mariah held long-term relationships with Derek Jeter and Luis Miguel. This new chick is still in the honeymoon phase of a marriage to a man 10 years her junior, whom she dated for only several weeks.

By most accounts Mariah Carey has undergone a complete transformation.

Keyword: most.

Author Lynn Hall put it best: “We didn’t change as we grew older; we just became more clearly ourselves.” Mariah has always been Mariah, but on a very public road to self-discovery, every deviation from what is expected is often a cause for concern.

Mariah cuts her hair: panic.

Mariah wears jeans one day and a skirt the next: state of emergency.

I can still remember when the nightgown she wore in the “I Don’t Wanna Cry” video was such a big deal. Now it appears that less has become her standard.

While this phony “carbon copy” may not seem like the same Mariah, very few people can say they were the same person three years ago, let alone 20.

Mariah’s metamorphosis – from soft-spoken songbird to scantily-clad diva – wasn’t sudden or drastic. Rather, the “change” we see is the same natural progression of growth, maturity and self-realization that everyone experiences at some point.

1 Corinthians 13:11 says “When I was a child, I spoke as a child, I understood as a child, I thought as a child; but when I became a man, I put away childish things.”

Although biblical in context, the same concept applies. Mariah was barely out of her teens when she first entered the music scene, and that’s how she behaved. In 1990, she was understandably vulnerable and very new to the cut-throat game of show business. After learning some very tough lessons, she had to modify her approach and adapt. Now, at the age of 38, she has (thankfully) embraced the evolution that comes with adulthood.

In retrospect, all of her “changes” were gradual, and for the most part, quite natural.

In 1997, she warned us of her “Breakdown” long before it happened, and “Butterfly” officially declared her release from the binding personal and professional relationship she held with Tommy Mottola, her former husband and Sony Music executive.

Her confessions continue to this day. On “Side Effects,” she admits that she is “still a little protective about the people that [she lets] inside” and “still a little defensive thinking folk [will try to] run [her] life.”

So essentially, very few of her actions should take anyone by surprise. Mariah is one of the few mainstream artists who pen the majority of their lyrics, and for twenty years, this has allowed for a very personal look into her life. Anything you needed to know could always be found in her music – if only you were paying attention.

Interview: Tamia, Singer and Songwriter

2008-05-25T00:00:00.000-07:00

by Clayton Perry

Since 1994, Tamia has put moves on the hearts of music lovers across the globe. And like a fine wine, her musical repertoire has aged well, despite contemporary transitions from traditional R&B fare.

R&B music is fortunate, however, to have Tamia’s presence, because it is rare to find a female singer who is beautiful and sensual, yet poised and elegant, in the current musical landscape. Rarer still is the consistently positive nature of Tamia’s artistry and professional image: both of which are direct reflections of her spirituality, class and long-term marriage to Grant Hill. It goes without saying that her work is deserving of widespread critical acclaim. Nevertheless, she is oft-overlooked, even with four GRAMMY nominations to her credit.

On November 14, 2006, Tamia released Between Friends, an album that highlights the beauty and dynamics of relationships. As Tamia’s first independent release, Between Friends also christened Plus One Music Group, her very own label. Enjoying more creative control, Tamia collaborated with Gallo Records and Image Entertainment for international distribution.

Upon review of Between Friends, Tamia managed to squeeze some time out of her busy schedule and settle down for an interview with Clayton Perry— reflecting on motherhood, her battle with MS and, of course, music.

Clayton Perry: It is often said that life influences art. How has motherhood influenced your work, as a singer and songwriter?

Tamia: The content of my music has not really changed, but before I go to work, I make sure that the kids are okay. When work demands that I leave the kids, it has to mean something. I think it is the same for any woman with kids. With every decision, there is a price to pay. Now, I weigh any decision I make against my kids, which is how it needs to be. Time is precious and the cost is much bigger. It is definitely a juggling act.

Clayton Perry: It is hard to believe that “You Put a Move on My Heart” was released over a decade ago. What memories still shine bright from that moment?

Tamia: Oh, lots. Being able to go around the world with Quincy Jones was pretty incredible, having him tell me stories about all kinds of people like it is just Johnny from down the street. He knew Ray Charles and everyone like that and he would say, “Yeah, I called Ray…” Those were the moments. I cherish them more and more as time goes by.

Clayton Perry: How did you and Quincy Jones first meet?

Tamia: Quincy was looking for someone to record “You Put a Move on My Heart.” At the time, I was one of several artists signed to Warner Brothers without a great deal of work. My manager, Brenda Ritchie, approached me and said, “Quincy’s looking for someone to sing this song. Why don’t you go and try it out?” Well, the rest is history: I recorded the song, Quincy made it the first single off of Q’s Jook Joint and I had the pleasure of touring the world with him. Everything happened really fast. What you hear on the album was my audition!

Clayton Perry: Wow! The song has fared quite well against the test of time. Looking back at your early success, how has the industry changed since then?

Tamia: For one, most music labels do not invest time in artists like they did before. There are relatively few artist development-type deals. Artists are expected to hit it big on the first try and many hope to get a second chance. The belief that it takes time to cultivate a career has disappeared. Everything is expected to happen overnight and if it doesn’t, oh well, on to the next. Music has become a very disposable industry.

Clayton Perry: Speaking of artist development, are there any particular artists that you keep your eye on?

Tamia: I really like Rascal Flatts. I’m a huge fan of country music because I love good stories and drama – not in real life, but in song, I do. I love tone. I am not a big fan of all that fancy stuff that people do with their voices, but a singer’s tone speaks to me. Cece Winans has amazing tone—she does not have to do much but sing and the tone just penetrates you. That is what I like. I am not a big vocal gymnastics person.

Clayton Perry: Is there a particular artist you would like to work with? Over the years, you have had several memorable collaborations. Do you have any special collaborations brewing in your mind?

Tamia: On More, the last album, I sort of let them happen. I collaborated with Eric Benet a while ago, and I have done collaborations with Babyface, Chaka Khan, Gladys Knight, Brandy and quite a few other people. I love a good collaboration, but it just has to be the right timing for both artists.

Clayton Perry: Your latest album, Between Friends, does not feature a single collaboration. In fact, you really took the independent route—putting up the money for its release on Gallo Records in South Africa. How was the experience, for better or worse? What was different with this album than with others in the past?

Tamia: Being independent is just a completely different ballgame. You really have to be knowledgeable of the industry and what you need to do in order to sell your album. It is a lot of work but much more gratifying at the end of the day, because you are involved in it from beginning to end. Anything that you do correlates to the success, or the lack thereof, of the project.

Clayton Perry: You worked pretty heavily with Shep Crawford on Between Friends. What relationship do the two of you share? And how was the album produced, from concept to actual CD?

Tamia: Between Friends was the easiest album ever. In terms of the music, I knew what I wanted to do and what I wanted the album to sound like. All Shep and I had to do was go into the studio and create. With the success of “Stranger in My House,” we developed a wonderful friendship. We definitely have a great deal of chemistry, so it was effortless to go from there and create songs. We always said that we wanted to work together, so when the time came and we had the opportunity to do so, we went into the studio without even thinking, “Hey, we want to do an album.” It was more like, “Let’s see what happens; let’s go and create.” The industry was changing; I wanted to be ahead of the curve and the change, so the time was right to try an independent release and see what happened.

Clayton Perry: What particular song did you enjoy recording? And did any of them pop out of nowhere—giving you an “aha” moment?

Tamia: There is a song on the album called “Me.” It is a beautiful song. Originally, I wanted to put it on More, but I had just recorded A Nu Day, which had “Stranger in My House.” Since it was very similar to “Stranger in My House,” we decided to wait a while before releasing it. So my “aha” moment happed when we finally picked the CD to put it on. That is the great part of being your own boss.

Clayton Perry: My favorite song off of Between Friends is “Last First Kiss.” I think a lot of people can relate to that dream. My personal favorite, from all of your albums, however, is “Tomorrow,” which was the closing track on More. A few years ago, you gave a powerful performance of the Winans’ hit on BET’s Bobby Jones Gospel show. Can we expect a Gospel album in the future?

Tamia: I don’t know. I would like to. That was my signature song in church, and the Bobby Jones performance was a huge moment for me. My very first concert, as a kid, was a Winans concert with the Clark Sisters—so it was an amazing moment for me.

Clayton Perry: It was an amazing moment for Gospel lovers as well. Chill bumps were going up and down my arm. It was evident that the Spirit was shining through your performance. In the early years, what pressures did you have to overcome, so that you were known for your voice instead of your pretty face? Over the years, you have been able to balance your sensual side with style and grace.

Tamia: That comes with getting out there and performing. As far as records, especially nowadays, you can sort of hide behind them. With Pro Tools, you can come out sounding like Whitney Houston. In front of a live audience, however, you can not hide your performance. That is where you get a chance to separate yourself from the rest of the pack. People are curious to find out if you can do the same things you do on record.

Clayton Perry: Is there a particular song whose reception surprised you?

Tamia: I wasn’t surprised about the success “Me.” Shep is such a great songwriter. I have to admit that the lyrics caught a few people by surprise. I can always tell whether or not someone’s really listening to the song because they say, “What? She’s just changing it up completely.”

Clayton Perry: Well, I knew better.

Tamia: Someone once told me, “You have a strong lesbian following. Did you do that song on purpose?” Well, if you listen closely, then you know that the other woman in the song is me! [laughing]

Clayton Perry: Well, one thing is certain: you caught everyone’s attention. [laughing] Do you have a special relationship with the South African audience? Between Friends was released in South Africa several months before its arrival in the United States.

Tamia: I love performing in South Africa. The thing about being independent is the approach is different. I was ready with my deal with Gallo Records in South Africa before I was ready with my deal in the United States with Image Entertainment. Because of the Internet, the world has become so much smaller, so it just happened that way.

Clayton Perry: How do you want to be remembered 10 to 20 years down the road?

Tamia: Honestly, I think that your kids are your legacy. No matter how great a singer I become, if people said, “Yes, she was a great singer but she was a bad mom,” I would heartbroken. I would rather be remembered as a good mom, someone who tried to keep the balance, especially when it comes to family. That means a lot of juggling, trust me. It is not as easy as saying it, but life is about balance—finding it and holding on to it.

Clayton Perry: On a personal note, how is your battle with MS going?

Tamia: It is going very well. I’m doing well.

Clayton Perry: Are there any particular foundations in the United States that you would like your fans to support or just be aware of?

Tamia: My husband and I support different foundations. A lot of them are kid-related. I’m involved in the MS Society. I think it’s important that people get as much awareness as possible.

Clayton Perry: Are there any other social issues that you would like your fans to rally behind?

Tamia: Kids are a big one. They are our future. Anything that has to do with preventing child abuse is close to our hearts. When we had our own children, we came to understand how parents influence their children’s lives. So we will always remain strong on child issues, child advocacy.

Clayton Perry: Since you brought up Grant before I did… [laughing] How do you feel about your marriage being idolized in the press as the picture-perfect relationship? Do you ever feel the burden of being a role model?

Tamia: We just live our lives. Life is not picture-perfect. I have MS. Sometimes you get thrown curve balls and you just play the game. It is not a bed of roses all the time. It is about how you choose to look at things. It is easy to be nice and polite and friendly when life is going great, but you show your true colors through adversity. I am not saying that we are perfect; we are definitely not. We both are fighters. That is just what we do. If you have a battle, you want one of us on your team for sure.

Clayton Perry: “Still” – is it an ode to your husband?

Tamia: Oh, I am sure he would be glad to hear that, because he always says, “Why don’t you sing happy songs?” From time to time, when driving down the street, someone would say “Grant, what did you do to her?” [laughing] I just like to sing about drama. “Still” is a great part of my show where I can sing about us being so great. We love that song.

Clayton Perry: Unfortunately, there are very few songs like “Still” on mainstream radio. The track is very refreshing—a real song about the power of love. As time passes, an old love can still be fresh. It can still be new.

Tamia: Yes. Love—that is what we are all looking for, right? In between all the drama, we’re all searching to find that, and some of us are lucky enough to have found that. It doesn’t mean there isn’t drama from time to time, but the good moments are great.

For more information on Tamia, visit her official website: http://www.tamiaworld.com

One in Nine: Behind a Racially Discriminatory Sentencing Policy

2008-05-18T00:30:00.000-07:00

by Lisa Swanson

During the last week in February, the Pew Center on the States released a report entitled One in 100: Behind Bars in America 2008. “For the first time,” the report stated, “More than one in every 100 adults is now confined in an American jail or prison.”

Demographic analysis of the prison populations revealed enormous racial disparities: while the incarceration rate for white adult men was one in 106, and one in 36 for Hispanic adult men, the incarceration rate for black men was found to be one in fifteen. Among black males ages 20 to 34, the incarceration rate jumps to one in every nine. Incarceration rates for women were similarly slanted, with black women ages 35 to 39 three and a half times more likely to be in jail than white women of the same age.

Seeing these numbers, a reader might be led to conclude that black males commit more crimes than Hispanic and white males. Or, a more thoughtful reader may believe that such high incarceration rates are primarily the result of poverty. After all, according to the most recent US Census, blacks have the highest poverty rate at 24%. Both of these responses neglect a very important piece of the puzzle.

The truth is that the United States criminal justice system often discriminates against black people at multiple levels. Take, for example, the infamous disparity between crack cocaine and powder cocaine sentencing, which has been responsible for disproportionately punishing people of color for over twenty years.

In the mid-1980s, crack began to appear in American cities. A new form of cocaine manufactured from powder, crack was sold in hard rocks which could be heated and smoked. Crack cocaine was more generally affordable than powder cocaine, and spread rapidly through urban areas.

As crack gained popularity, so did rumors that crack cocaine was stronger and more dangerous than powder cocaine. Crack was believed to be instantly addictive, incite violent behavior, and cause women to give birth to “crack babies”—infants who suffered from premature delivery, smaller heads, low birth weights, decreased motor abilities, and behavioral difficulties. Two decades later, these myths have been debunked. But at the time, many Americans were anxious about crack’s perceived ultra-harmful effects on society.

In June of 1986, University of Maryland college basketball player Len Bias died from a cocaine overdose within a day of being recruited by the Boston Celtics. Bias’s tragic death sparked a public drug panic, and Congress reacted by passing the Anti-Drug Abuse Act of 1986. Included in the Anti-Drug Abuse Act were mandatory minimum sentences for possession of crack and powder cocaine. Possession of five grams of crack or possession of 500 grams of powder carried a mandatory minimum sentence of five years. Possession of 50 grams of crack or possession of 5000 grams of powder carried a ten year mandatory minimum.

These mandatory minimums set up a 100 to 1 disparity between the two drugs, although the amounts packed nearly the same number of doses gram for gram and had identical biological effects. There was a major difference, however, in the manufacture and distribution of crack and powder cocaine: powder tended to be more costly, more suburban, and more popular among white drug users, while crack tended to be more affordable, concentrated in urban areas, and more popular among black drug users. These differences were compounded as police efforts to combat drug use were often focused on low-income urban areas and communities of color. In addition, racial profiling contributed to the likelihood that drug users of color would be discovered more frequently than white drug users.

The differing social and economic implications of cocaine’s variant forms have been devastating to the black community. According to the Interfaith Drug Policy Initiative, African-Americans make up only 15% of the country’s drug users—but they make up 37% of those arrested for drug violations, 59% of those convicted, and 74% of those sentenced to prison for a drug offense. When data from before and after 1986 is compared, it’s clear that mandatory minimums are responsible for a shift in prison demographics. The Drug Policy Alliance has stated that in 1986, the average federal drug sentence for African Americans was 11 percent higher than for whites. By 1990, the average federal drug sentence for African Americans was 49 percent higher.

Racialized sentencing disparities have long been present in the United States criminal justice system. In 1984, Congress created the U.S. Sentencing Commission, an independent agency of the Judicial Branch which was intended to eliminate racial disparities. The job of the US Sentencing Commission was to set “sentencing guidelines,” the official ranges of appropriate correction time for crimes. In theory, these guidelines would prevent judges from handing out arbitrary sentences. But since Congress passed the Anti-Drug Abuse Act a mere two years later, Congress’s mandatory minimums have trumped any guidelines set by the US Sentencing Commission.

The Sentencing Commission has repeatedly advocated for the reduction or elimination of the crack vs. powder sentencing disparity. In 2004, the Sentencing Commission stated that revising the mandatory minimum for possession of crack would do more to reduce the racial sentencing gap “than any other single policy change.” And in 2007, the U.S. Sentencing Commission lowered the average sentence for crack cocaine offenders by fifteen months.

Despite recent action, only Congress can change the mandatory minimums. Currently, the House is deliberating among four bills that address the disparity, and three similar bills have been submitted in the Senate. Drug War Chronicle has reported that Bill Piper, national affairs director for the Drug Policy Alliance, is optimistic about the chances of a revised sentencing policy. But whether or not Congress will be able to reach a consensus during this session remains to be seen.

In the meantime, should you happen upon a statistic about the disproportionate number of young black men in jail, remind yourself and those around you of the real reason for the high percentage of incarcerated black men and women—systemically racist policies at work in our criminal justice system.

Interview: Steve Kleinedler, Supervising Editor of the American Heritage® Dictionary

2008-05-18T00:00:00.000-07:00

by Clayton Perry

Words are the most powerful force on earth. Words impact the human experience and ignite the human spirit—evoking our inner passions and exciting our audio-visual senses. They inspire, inform and incite action. And when used wisely, at the right time and in the right place, the entire world changes.

In spite of the obvious power of words, the field of lexicography is quite small, and few individuals take the time to study such powerful weapons. One rising star in this field, however, is Steve Kleinedler, who has dedicated his life to linguistics, the study of the nature, structure, and variation of language. In fact, he has offered his body as a living sacrifice to his work: a phonetic vowel chart has been tattooed on his back.

As the supervising editor of the American Heritage® Dictionary, Steve Kleinedler assisted the development of the best-selling 100 Words series. Upon review of 100 Words to Make You Sound Great, Steve Kleinedler managed to squeeze some time out of his busy schedule and settle down for an interview with Clayton Perry— reflecting on life, lexicography and, of course, the power words.

Clayton Perry: How did the 100 Words series begin?

Steve Kleinedler: In 2002, to help publicize our fourth edition of the American Heritage®College Dictionary, we came up with a poster of a hundred words we thought high school graduates should know. It proved to be really popular. So we thought, what if we put these words into a book format? So we listed the words and their definitions and etymologies in 100 Words Every High School Graduate Should Know. It was very successful, and laid the foundation for the best-selling 100 Words series. 100 Words to Make You Sound Great, is the seventh of the series. Collectively, these books have sold over 500,000 copies, which is really something else. It speaks that people really like this. A hundred items is easy to for people to digest.

Clayton Perry: Yes, indeed. I found it very easy to approach 100 Words. Dictionaries can be such daunting things—and quite heavy too!

Steve Kleinedler: Since most people use dictionaries online these days, we’re losing the art of thumbing through dictionaries and getting lost in them, reading about other words that fall on the page of the word that you’re looking up. What the 100 Words books do is browse the dictionary for you. They give you a bite-size sample and you get to learn interesting things about words that you might not have known before.

Clayton Perry: So, out of this latest book, 100 Words to Make You Sound Great, what is your favorite word?

Steve Kleinedler: It’s hard to pick one. It’s kind of like asking a carpenter what his favorite nail is. I like what we do with the word juggernaut, which is itself an interesting word. In 100 Words to Make You Sound Great, we give quotations from well-known speakers. With this word, in addition to quotations, we have a really interesting note explaining how the word juggernaut entered English through Hindi via Sanskrit, where it ultimately came from. So there’s a lot of information about juggernaut, which means an overwhelming or unstoppable force. It’s kind of cool.

Clayton Perry: 100 Words to Make You Sound Great was my first introduction to the 100 Words series and I really like the layout. My favorite word out of the book was modus operandi. It was highlighted in a speech given Benazir Bhutto at the John F. Kennedy School at Harvard University. It was exciting to see the word come alive instead of sitting idle on the page. Words are such powerful things. In fact, Rudyard Kipling once said that words are the most powerful drug used by mankind. What insight did Kipling have that escapes the casual word user?

Steve Kleinedler: More than anything else in our society, the power of communication is what allows people not only to convey how they feel, but to manipulate the world around them. Words are more powerful than a drug in that a drug’s effect is fleeting, temporary, and limited to the person who ingests it, whereas your words affect everyone around you, or anyone who can read or hear what you’re saying. I think that’s a very potent quote.

Clayton Perry: Speaking of the power of words, and looking at the current political landscape: Barack Obama has emerged as a man who is driven in part by his oratory. How do you think his use of words equates to his political strength?

Steve Kleinedler: There’s no doubt that he is a very powerful, dynamic speaker. In fact, we used a quotation from one of his speeches in 100 Words to Make You Sound Great. This book was compiled last summer, when he was one of perhaps fifteen or sixteen candidates running at the time. We have other politicians in this book from across the political spectrum, from Reagan and Eisenhower to Bella Azbug and Barack Obama. One of the reasons we chose one of Obama’s speeches is because even then, he was known for his oratory, much like Reagan was known for his skills as a communicator. I think the ability to coherently convey your message and, at the same time, to get people excited about what you’re saying and motivated to act on it is a very strong gift. It’s one that’s very powerful in politics and one that Obama knows how to use very well. I think the fact that he’s a powerful speaker can only help him.

Clayton Perry: In the land of lexicons, what process must a word undergo before it can be granted space in a dictionary? You hear people joke about Beyonce, and “bootylicious,” and words like that entering the dictionary, but what’s going on behind the scenes?

Steve Kleinedler: I will point out that we did not enter “bootylicious” in the American Heritage® Dictionary. However, there are a couple things going on and it depends on the type of word. There are some ideas or concepts that—well, take the elements in the periodic table, for example. All it takes is for the committee of the board that decides what the names of the elements are to say, “We’ve decided that element 111 is roentgenium,” and there you go. The people who are in charge of it said that this is what it is, and that’s all there is to say about it. It is what it is. Likewise, when they decided Pluto was not a planet anymore but a dwarf planet: You’ve got the body that decides this kind of thing saying, “Okay, we’ve created this category called dwarf planets.” It doesn’t matter how wide-ranging it is, it’s the fact that the people in charge of the IAU, the International Astronomical Union, said it was the case. Well, there you go. Other words—by far, most words—are handled differently. Take slang, for instance. The American Heritage® Dictionary We would want to see how wide-ranging it is. Is it limited to New York or L.A. or Washington, or is it widespread? Is it used within only one sphere? Is it just used in the music world? Is it just used in the financial world or whatever? Or has it leaped across boundaries, is it being used more generally by people outside the area where] the slang term first developed? So with slang, we want to see how widespread it is, whether it’s being used in a variety of sources. There are many slang dictionaries and slang web sites are out there; they’re great and that’s what their focus is. I’m not putting down slang. I’m not a slang lexicographer; it’s not something that I am personally skilled at. For words that aren’t slang but describe, say, new innovations in computer technology—blog is a good example. You’ve seen how widespread it is, who is using it, and where. You want to look at a variety of sources and at some point, you just say, “Okay, it’s time for this word to go in,” because it’s either widespread enough or well-known enough or used enough. isn’t a slang dictionary. So, what happens when a slang term, for example, is considered to be entered into the dictionary?

Clayton Perry: And how often do you go through this process of updating?

Steve Kleinedler: Well, we’re constantly going through this process. Even when we’re not putting out a new edition, we’re continually adding new information into the database from which the next printings and the next editions will come. The new editions come out every ten to twelve years and at that time, we’ll have added thousands of words. In between—when it’s not a new edition coming out but a new printing—we may add several dozen or hundreds of words. So we’re constantly adding new material.

Clayton Perry: How broad do you think the field is for lexicographers? How many people would you say are currently working in this field, at least with you?

Steve Kleinedler: Well, there’s the lexicography done by the publishing companies and then there are the academics—you’ve got people in universities researching this from a theoretical standpoint, or from other standpoints. The Dictionary Society of North America has, I think, a couple hundred members. How many people are actively working in a publishing company creating print dictionaries at this point? Probably less than 50.

Clayton Perry: Wow. I didn’t know the figure was going to be that low.

Steve Kleinedler: Oh yeah. And, of course, there are lexicographers working in England. If you look at the Oxford English Dictionary, you’ve got several dozen more there. But in the United States, there are probably about 50 of us working in print. And there are probably that many, maybe double that, in a university setting.

Clayton Perry: So it’s probably safe to say that you know a lot of your colleagues.

Steve Kleinedler: I probably know most of my colleagues. Yeah, we get together once every two years for a meeting. I’m on the executive board of the Dictionary Society of North America. I—we’re—you know—a squirrelly bunch.

Clayton Perry: [laughs] All right. How is it that words effectively represent the world? I guess that’s more of a philosophical question, because it’s interesting how, if you look at a word on paper, it’s just a word. But when you actually say it, it forms an experience. There’s emotion attached to it.

Steve Kleinedler: You’re right, that’s philosophical. That touches on linguistics and socio-linguistics and a whole variety of related social sciences. You know, words are powerful. Words have meaning, certainly from my standpoint and what I studied in school. My background is in context. I think, whenever you’re looking at any of this, you have to look at the context in which words are stated. Then, in the field of discourse analysis, you’re looking at how what you’re saying or writing is perceived by others. The question that you asked—one could write, and people have written, dissertations about it. That’s a huge, wide-ranging question.

Clayton Perry: What do you see in the future for yourself, and also for the 100 Words series?

Steve Kleinedler: The future is interesting. The past ten years has been an interesting period in lexicography as more people move online. Here at the American Heritage® Dictionary, we license our content to a lot of online providers, including Dictionary.com and others. I don’t want to focus on just that, but there’s a bunch of online providers. Often, if you’re doing an online search, what you see is ours or the competitor’s. We’re not the only ones doing this, but it’s not like our work or our output is restricted to print. What’s going to be interesting is seeing what the increasing availability of content online means to the print dictionary.

As far as my job is concerned, it stays the same. I’m creating content and revising definitions; I’m drafting definitions. How that material is disseminated to the world may be changing, but the basic work is still what I’ve been doing for the past ten or eleven years.

As far as the 100 Words series goes, there will definitely be more. Like I said, they are very popular, they’re fun to talk about, and I do a lot of radio interviews about them.

Clayton Perry: Well, the future certainly looks bright! I can’t wait for the next title in the 100 Words series.

Select Titles from the “100 Words” Series

▪ 100 Words Almost Everyone Confuses and Misuses (ISBN: 978-0-618-49333-3)

▪ 100 Words Every Word Lover Should Know (ISBN: 978-0-618-55146-0)

▪ 100 Words to Make You Sound Smart (ISBN: 978-0-618-71488-9)

▪ 100 Words to Make You Sound Great (ISBN: 978-0-618-88310-3)

For more information on the 100 Words series, please visit Houghton Mifflin’s website: http://www.houghtonmifflinbooks.com

Interview: Tiffany Evans, Singer and Actress

2008-05-04T12:00:00.000-07:00

by Clayton Perry

Every now and again, America is blessed with a talent so bright that its glimmer is inescapable. In 2003, this rare phenomenon occurred, when Tiffany Evans was introduced to the world on Star Search, the predecessor to media juggernaut American Idol. Although Evans was only ten at the time, her performance has stood the test of time against her fellow contemporaries (Christina Aguilera, Britney Spears and the late Aaliyah). She is the only singer in Star Search history to receive a perfect, five-star score on every appearance.

Since being crowned as Star Search’s Junior Division Grand Champion, Tiffany Evans has spent much of her time out of the limelight—honing her skills, earning a diploma and making select appearances on the silver screen. In early 2008, however, at the age of 15, Evans re-emerged on the R&B scene, with the support of Ciara, her mentor, and “big brother” Bow Wow—showcasing a mature version of her earlier self on hit singles “Promise Ring” and “I’m Grown.”

On April 22, 2008, Tiffany Evans released her major label debut on Columbia Records. Upon review of her eponymous album, Tiffany Evans managed to squeeze some time out of her busy schedule and settle down for an interview with Clayton Perry— reflecting on life, family and, of course, music.

Clayton Perry: After your success on Star Search, you were signed to Columbia Records and set to release an EP in 2004. What happened to that?

Tiffany Evans: I was very young. I was this little girl with a big voice, and my body did not match my voice yet. They wanted to wait until I developed a bit to start singing about realistic stuff. That was my deal with them, so I waited. I was doing little shows and everything like that, but nothing too big. And then, in 2005 and early 2006, we started getting our stuff together and recording more songs. We had to wait. And I’m so glad that we waited, because I had the opportunity to take the time off to finish school. I felt like I was ready then, but right now, I feel like I really am. It was hard on my family during that time. But I’m definitely loved a lot and I received my diploma in ’06. I know more than I used to know and I just feel better now. You know, there’s a time when everything is supposed to happen and I believe that it’s all on time. So I’m happy with everything that’s going on right now.

Clayton Perry: Yeah, your current single, “I’m Grown,” definitely shows you in a more mature light. How hard has it been for you, as a young black artist, to emphasize being known for your voice, as opposed to being known as just a pretty face?

Tiffany Evans: It is very hard. I mean, there will always be people who underestimate you and say negative things, but you’ve just got to turn all of that into something positive. If there’s lots of negativity out there, you have to take that negativity and turn it into a positive, and turn it into a message, which is what I do. I have a strong relationship with God and that makes it even better.

Clayton Perry: Living in the spotlight can be difficult, especially at a young age. What burden do you feel about being a role model? Or do you feel one at all?

Tiffany Evans: Well, being a role model is a huge responsibility, and there are certain things you do that you have to watch. And you may think it’s fickle, but once you mess up, or you make a mistake, it’s easy to think that it’s the end of the world. People look up to you and they expect you to be perfect. They expect you to be perfect all the way around and you’re really not. And it’s hard, because some people just don’t believe that you’re human, you know? But my parents and my family, they help me get through all of that. I’m trying my best, and I just hope that I don’t make any mistakes in the spotlight. If I don’t dig myself into a hole, then nobody will have the right to criticize me!

Clayton Perry: Up to this point, you’ve done a lot, in a little bit of time. I mean, you’re singing, you’re acting, you’re dancing. How do you balance it all?

Tiffany Evans: I have a strong foundation, which is my family. Not a lot of people have that. God has blessed me with a strong mother and father to keep me grounded. They instilled great morals into my life that I take into this business. They talked about the business with me, the dangers of the business, everything that’s out there, and now I’m able to watch out for those things. I’m confident that whatever comes my way, I’ll be strong enough to handle it.

Clayton Perry: Well, anyone who knows your life story knows that you’ve gone through some tough experiences, but you seem to have made it through them all unscathed. What advice would you have for a young person who might be in pursuit of a singing career, who might want to follow in your footsteps?

Tiffany Evans: You know what? Just stay determined and stay focused. You’ve got to keep those nerves. Work hard for what you want, because anything that’s worth having, you’ve gotta work for it. And easy—I believe that easy will get you in trouble.

Clayton Perry: That’s so true.

Tiffany Evans: Everything that I’ve done, I’m able to say that I’ve earned it—and I love the word “earn.” You always want to work hard for what you want, so at the end of the day you can say, “I deserve it because I’ve earned it and I’ve paid my dues.” But you’ve got to stay focused and, again, for all those young kids, you’ve got to stay in school. Because school made me want to do music, you know? Music made me want to come to school every day. And practice always makes perfect. And please, if there’s anybody hating on you, take it and set it as a positive and just realize that you are doing something right, because if they persecuted Jesus, they’ll persecute you. And that’s how you have to look at it. Stay up and stay focused. Be alert.

Clayton Perry: You were once quoted as saying that you have a real love of the music that came before you because it felt so real. That being said, who are some of your current musical influences?

Tiffany Evans: My current—okay, well I just have to say I’ll always love Whitney—but I really like Alicia Keys. I really love her. Her voice is so addictive and so different. Her style is amazing. Mary J. Blige. I also like rap artists, too. I like Tupac—can we still say he’s current?

Clayton Perry: Well, yeah, he’ll never die. [laughing]

Tiffany Evans: Exactly, he’s always been a favorite. I love Tupac, I feel like he has a lot of great songs that send great messages out and he was an amazing person all around, as well. I view Chris Brown as more of a peer. He sings, acts, and dances as well, and I want to dance and be able to pump just like him, which is kind of hard. I admire him for being able to sing for real, for real, and dance at the same time. So, I give him that.

Clayton Perry: I’m happy to hear you say, “I’ll always love Whitney,” because at the start of your career, when you first went into the Tiffany Lounge in Atlantic City, the song you sang onstage was “I Will Always Love You.” What memories do you have from the past that keep on pushing you, even though you have had a bit of success? What keeps on pushing you to be even better at what you do?

Tiffany Evans: My brothers and sisters, young people, and just those ties. You know, back then, we were all going through a lot and we had to just triumph over tragedy. And of course you never want to go back to anything bad, you know? So you keep pushing hard and keep it moving. So that definitely keeps me going, and my little sister, wanting to be like me. I gotta make the way, I gotta make it right. I just gotta make it, so she can follow me. That’s one of the responsibilities of being a role model as well, watching what you do.

Clayton Perry: When your name pops up, what’s the first thing you want people to think? What is it that you want them to know about you?

Tiffany Evans: I want them to think, “Amazing, unbelievable! That girl will leave a legacy on this earth.” Honestly, that’s what I want. And I want them to say, “She was the best at what she did, and she did it right!” I definitely have to work hard to get to that point.

Clayton Perry: Is there a particular song on your new album that really speaks to you? I mean, we’ve heard “Promise Ring” and we’ve heard “I’m Grown,” but is there one that, when you were recording it, just really spoke to you?

Tiffany Evans: There is, and it’s the next single, actually. It’s called “Lay Back & Chill.” It’s absolutely amazing. Basically, I was happy that I got the record because a lot of women and young women will be able to relate to it—like “Wow, okay yeah, I understand where she’s coming from.” Stress is something that I don’t need in my life, and the lyrics really spoke to me because I was going through a stressful period at the time.

Clayton Perry: How have your fans been treating you? How have you been enjoying the tours?

Tiffany Evans: Oh, amazing. It’s been going great. I’m actually on my way to L.A. right now and I’ve just been taking it in, one day at a time. It’s so much, but God has been blessing me and I’m happy to be able to be doing what I’m doing right now.

Clayton Perry: Do you see yourself doing a lot more acting in the future? Now that we’ve seen you in Tyler Perry’s Diary of a Mad Black Woman, I was wondering what else was on your plate. Is there anything else you’re trying to venture into?

Tiffany Evans: Oh, I definitely want to make acting a part of my career. A big part of my career. It’s another way for me to express my feelings when I’m not singing. I’ve been reading a lot of scripts and doing auditions, and the movies are coming in and I’m happy about that. I love singing and dancing, but you will definitely see more of me doing the acting thing, showing people the serious side of me.

Clayton Perry: On the business side, who do you look up to?

Tiffany Evans: Jay-Z. Everything he has done has been a benefit to him. He’s just amazing on the business side. So I want to be like him.

Clayton Perry: And on the singing side, whose career would you like yours to be like?

Tiffany Evans: Oh gosh, Michael Jackson! I love him. He is the King of all the music stuff and I just want to get to that spot. I love him.

Clayton Perry: What’s a typical day in your life?

Tiffany Evans: Well, what I’m doing right now is a typical day. I’m on my way to the airport, and we do it every day. And we do interviews. But when I’m home, I sleep. I sleep a lot. Because you know, you do so much and you’re traveling and it’s just so much going on. You just need to let yourself fall asleep. And I like to eat, too. I wake up and have some breakfast, go to sleep, eat some lunch, go to sleep, get on the computer, have some dinner, go to sleep…
[laughing] I’m too tired when I get home. I’m not lazy, though. It’s just that when I get home and get comfortable, I just fall asleep all the time.

Clayton Perry: I feel you! But one thing no one can ever call you is lazy. You have managed to accomplish a great deal of work at such a young age, and I look forward to your growth and development over the coming years.

For more information on Tiffany Evans, visit her official website: http://www.tiffanyevansmusic.com

Liminality and Black Male Bisexuality in America

2008-04-27T15:30:00.000-07:00

by Cordero Vigil

The troublesome experience of the Black male bisexual lingers like no other. Not that I’m a statistician, but the identity of a Black male who says that he likes both sexes is always being called into question. Is this one of the influences of American dichotomies?

Bisexuality in the Black community differs from other ethnic groups because of stigmas associated with masculinity. I have personally met with more men outside of the Black race having mates comfortable with them “testing the waters” in comparison to many of my own Black friends and acquaintances. When a Black male fulfills the curiosity of intimacy with the same sex, he is crossing the point of no return.

A Black man’s masculinity suddenly disappears when he states that he’s slept with a man. Whether it is curiosity or not, the intermingling of heterosexuality and homosexuality can only be taboo, which sadly forces a Black man to choose one or the other. However, the idea of two women engaging in intercourse is often eroticized by society, thus the subject of curiosity and bisexuality ceases. The image of a woman on a woman suddenly becomes a spectacle.

What happens next? The transcendent issue of the “down low” appears. This horrid, haunting term seems to surface whenever a Black man discusses the issue of same-sex interaction. Having the desire of engaging in intercourse with the same sex—for the Black male—leads to some affinity with betrayal. Some women may ask “Are you gay?” or “Are you trying to play with my emotions?” And within a moments notice, a Black man is being accused of passing the HIV virus to a woman.

What is the result of this problem? Alienation. Men who desire to “fix” this problem without the knowledge of the female “other” are forced to venture into clubs, looking for what American society knows as a “hookup.” If a Black man wants to hold on to the trivial idea of masculinity given to him by American society, he has to keep curiosity in the shadows. Outwardly demonstrating the desire to explore same-sex sexuality and enacting it only brings more problems than many can bear.

What does the Black man have to choose? An identity? Masculinity? Happiness?

A Fierce Cat on the Prowl

2008-04-27T15:00:00.000-07:00

by Kemi James

“What?!”

“Are you serious? Are you kidding me?”

“No way. No. Way. Absolutely freakin’ no way!”

“Dude, Nick Faldo all the way.”

“Justin Leonard.”

“Jon Daly.”

“No. Davis Love III, guys!”

“It’s gotta be [Phil] Mickelson’s turn.”

“He has a slim chance, but maybe he’ll turn up in the top 10 on the leaderboard.”

And on and on it went.

On Thursday, April 10, 1997, before history class began at Gonzaga College High School, Mr. Favret, my fascinating, sports fanatic teacher, asked a simple question: “Who will win the Masters? From the discussion above, the “He” in question was Tiger Woods, and the majority of the students in the predominantly-white classroom grew restless—shifting taciturn natures into a collective, animated frenzy.

Different opinions had come up—why it would be hard for Tiger to win, why Tiger’s too “green,” why the other pro golfers had better chances due to experience, why the competition was too stiff.

Why, why, why.

My classmates’ theories were not racist or ignorant. In fact, their rebuttals were somewhat valid. My fellow classmates had more opportunities and fortunes, especially in their overall knowledge of golf, which I couldn’t even fathom as a wide-eyed black teen, who witnessed some of the horrors of the crack epidemic on the doorsteps of my junior high school. They interned as caddies for semi-pro and pro-am players; they set foot on beautiful golf courses around the world; they mingled, wined, and dined several times at galas and other occasions in elite country clubs; and as much of a sports fanatic myself, it was they who really knew the difference in relation to a four-iron, a three-wood, and a wedge.

At that the same time, I had followed some of Tiger’s budding career on TV, long before the courtesy of YouTube, watching replays of his now-famous appearance as a two-year-old on The Mike Douglas Show in the late 1970s on ESPN, and later catching highlights of his dominance in the USGA (United States Golf Association) Amateur Championship three straight times in the 1990s on The George Michael Sports Machine on Channel 4.

Mr. Favret asked other students if they had any favorites, if they thought Tiger could gnaw through the competition. There were few students of color in Mr. Favret’s World History class, but I raised my hand meekly. So did my friends Matt and Jason. Greg wasn’t into sports, just astrophysics and roller coasters, so he kept his uninterested comments to himself—to avoid joining the bawdy banter. And the guy named Other Matt? Well, let’s just say that if Tiger Woods were to run for president today, he’d vote for the Other Guy…

It was clear that Mr. Favret was interested in hearing “other” perspectives, so that he could hear positions based on compassion, add a counter-balance to the student’s heated debate, or just out of plain, old curiosity. It was interesting that we brothers, let alone the Asian and Latino kids, could voice an “authoritarian” point of view with the rest of the students, since we three (or on good days, four of us) never really viewed this vanilla sport of white-bread players hitting an alabaster-colored ball amongst the trees and amid galleries into a tiny hole for 18 rounds everyday for four days.

School and early afternoon broadcasts made it difficult to keep up-to-date and see which predictions would come true. But on Saturday and Sunday, halfway through the Masters tournament, it was evident that this “cat” came to play. For the first time in my life, I focused on a man so intriguing with the cool nickname of “Tiger” and his geriatric caddy named “Fluff.” My eyes were glued to them as they ambled down Amen Corner and other landmarks on the famed Augusta golf course.

Like those who saw Jesse Owens crush the competition in Berlin’s 1936 Olympics and thumb his nose to the belief of Aryan supremacy; or cheer Muhammad Ali in 1961, as he stunned the world by beating Sonny Liston, after his imprisonment for refusing to fight in the Vietnam War; or saw Michael Jordan wag his tongue, soar high and cheat gravity (more than the standard 9.8 meters per second squared) with the Chicago Bulls, I captured the moment of a new legend in the making.

Tiger Woods set many unheard-of records that day, including an outstanding 12-stroke win. His fundamentally sound technique was regarded as something only imaginable in a video game. His ferocious swing on every tee, on a total of 72 holes, consistently created a sonic boom heard from Georgia to the Himalayas and back.

More importantly, it is true that he would not have been as triumphant and successful were it not for the black golfers before him like Pete Brown, Lee Elder and Charlie Sifford, to whom Woods gave credence. For these soldiers, as well as Tiger’s own father Earl—who became the first black student athlete to play baseball at Kansas State University in 1951, shunned by bigotry and discrimination, overcoming racial barriers—paved the way so that the African-American superstar athletes of today, like Woods, could flourish.

On Monday, April 14, 1997, after the whole debacle cleared and the weekend passed—Matt, Jason, and I strutted proudly into that Forte Hall classroom like peacocks. None of our classmates mustered enough courage or care to go into the details of Tiger’s phenomenal win. My boys and I didn’t mention it either. We didn’t need to. The results said it all. We—and the whole sporting world—saw our generation’s Owens, our Ali, our Jordan that day. Our Tiger. I, along with my brothers, smiled, because that Sunday, a tall black man wearing red and a plush tiger head on his driver, clawed his way down the path of the pantheon of sports gods.

There are those who question Tiger’s tepid response to fellow golfer Fuzzy Zoeller’s racist remarks as to what type of food (“fried chicken and collard greens”) would be served at the Masters champion reception in 1997; those who question his “caublinasian” ethnicity, a phrase he coined on The Oprah Winfrey Show; and those who question his marriage to a Swedish au pair. There is no need to address these thorny issues, however, because they detract attention from his talents and did not surface until his killer instinct, competitiveness and drive for excellence dove into the public atmosphere a decade ago.

Now he’s famous; but back then, he wasn’t a household name. Back then, both optimists and skeptics didn’t know—no way, no freakin’ way—that Eldrick “Tiger” Woods would swing us, with his mighty grip, into his illustrious lair of a stellar career.

Additional Resources

Cole, Cam. (2007, April 4). Decade of Dominance. Vancouver Sun.

On This Day | April 13, 1997: Tiger Woods wins Masters at 21. BBC News.

Can You Hear Me Now?

2008-04-27T14:30:00.000-07:00

by Zacch Estrada-Petersen

“If I treat you kindly, does it mean that I’m weak? You hear me speak and think I won’t take it to the streets.” ~ Lauryn Hill

The way I talk has always been a matter of concern for some. Partially due to the fact that I grew up in three diverse regions (the North, the South and the Caribbean) with three distinct accents, I’ve learned to tailor the way I speak to the audience at hand.

When I’m with my friends, I talk as they talk. When I’m in class, I’m as professional and as studious-sounding as the best of them. When I’m with my family, you would think I was still on the beaches of St. Thomas, where I spent a number of my earlier years.

In that regard, I consider myself a social chameleon. What some people might deem as being fake or selling out, I see simply as an ability to adapt to any given situation and make it a comfortable experience for all parties involved.

The person I am doesn’t change; just the way I communicate. If I flew today to the backwoods of Indonesia (or somewhere), I can’t speak pure, freshwater American English and expect to get my point across. I would have to speak their language. My current situation is no different. The same “What it is, homie?” that I use with my best friend would probably win me a blank stare from my college professor. The same “Good morning, how might I be of assistance?” would probably fly better with my clients than it would with my roommate.

Taking the time to find the most effective way to communicate with different groups is something you could assume would be met with praise and gratitude. In fact, it’s quite the opposite. Especially when I use complicated terms and I’m extra careful about pronouncing all my words, I’m accused of “forgetting” who I am.

I’ve noticed in the Black community that being educated and speaking professionally is seen as elitist. Among Black men especially, you’re viewed as soft. You’re accused of “talking white” and being an Uncle Tom – a derogatory term used to describe “an African-American who is perceived by others as behaving in a subservient manner to White American authority figures.”

If you ask me, having a lack of proper grammar is an educational deficiency that knows no racial boundary. Whereas popular Black figures like Nelly glorify “country grammar” as a way of life, I see it as having its own time and place to be spoken, if at all.

There is a debilitating stigma among some Blacks in regards to education and professionalism that isn’t as prevalent among Whites and other groups. In other communities, education is applauded. It’s rewarded not only with respect, but often with well-paid jobs and quick promotions.

In some Black circles, formal education comes second to street-smarts, and might even be seen as non-essential; maybe even counter-productive. I can still recall watching “Dangerous Minds” in middle school, and my confusion when the Black mother pulled her kids out of school and cursed out the White teacher for teaching them poetry.

Having a sense of professionalism and an awareness of the appropriateness of time and place is more about finding a middle ground than it is about switching sides. If my speech changes when talking to White people, it’s not because I want to “be White,” it’s because I want to be understood, whether my audience is White, Black or purple.

Ultimately, the whole purpose of speech is to effectively communicate. Regardless of what color my skin may be, the question is… can you hear me now?

Movie Review: Silence - In Search of Black Female Sexuality

2008-04-27T14:00:00.000-07:00

by Esther Coleman

Silence: In Search of Black Female Sexuality is a no holds barred documentary aiming to tear down myths and reveal the truth about black female sexuality. I had the opportunity to screen this dynamic film a few weeks ago at which the director, Mya B. addressed why she wanted to spark a dialogue about what some consider to be a taboo subject. Mya B. disclosed that she, as many other black women, had been raised in a home in which sex was not discussed and she wanted to create a work that would facilitate more discussion and lead to more healthy ideas about sex for future generations.

This movie is a melding of interviews with notables such as Dr. Tricia Rose, Dr. Hilda Hutcherson, Dr. Llaila O. Afrika, Rev. Jeremiah Wright and Jessica Holder of the Punany Poets; black women of various ages; clips from Jacopetti and Prosperi’s film Farewell to Uncle Tom and historical images to convey the story of sexuality, the path to sexual normalcy, sexual health and address issues of sexual repression in today’s society.

In one of the early scenes of the movie, the director asks her mother when was the first time she had sex and the mother quickly dismisses her and refuses to answer. This response is indicative of how many parents, particularly mothers, deal with the discussion of sex with their daughters. In the interviews with the various women, several expressed getting similar responses when they asked questions about sex, most being warned not to have sex until marriage and even more not being told anything at all and having to learn what they know through friends, television and experience.

Many women cite religious teachings as a reason for remaining silent on the topic of sexuality. In a scene in which the director approaches a number of parishioners on their way into church, she posed the question of what the church was doing to address the issue of sexuality. Some of them said that they didn’t know what the church was doing as far as having discussions about sex, others said that the church was addressing issues with sexuality in their youth ministries, while others answered with contempt that sex wasn’t something that should be discussed at church.

Violence and exploitation of black women has been an issue since America was colonized and in present day sexual stereotypes are being disseminated on our airwaves and used to sell everything from cars to music. Combating the stereotypes of the Jemima and the Jezebel, black women have tended to either be depicted as asexual caregivers or hypersexual temptresses. Video directors Little X and Nzingha Stewart contribute to this film by contributing to the dialogue by discussing the aesthetic of the “video girl.” They both laud the progress that society has made in seeing the black woman as beautiful, but both also agreed that there should be less objectification of the black woman’s body and more depictions of whole black relationships.

Although many of the images within the film were difficult to stomach, as they portrayed the way that black women have been objectified down through the ages, this film gives voice to a topic that needs to be discussed, but many still consider forbidden. The movie left me with the notion that through having open discussions about sexuality, black women would be able to take more control over how they are portrayed in the media, destroy antiquated notions of what sexuality is, protect themselves and their partners from infections and disease, connect to the spiritual aspect of their sexuality, develop and nurture fulfilling relationships and be empowered to heal themselves.

Additional Resources

Mya B.’s Official Website

Nguyen, Natalie Brewster. Movie Review: Silence - In Search of Black Female Sexuality in America. Clamor Magazine (Issue 37 | Summer 2006).

Johnson, Yolanda M. (2005, June 25). Interview: Mya B. Awareness Magazine.

JuicyCampus.com Faces Growing Opposition

2008-04-27T13:30:00.000-07:00

by Tyree Barnette

It's like bits of pornography blogged on a screen. Mix that in with obscene messages you'd see scribbled on public bathroom walls. Now match that with the human instinct to form cliques and further a sense of belongings. Now you've created the destructive force known as JuicyCampus.com: an abysmal college gossip site that's spreading like wildfire.

The home page claims to offer "Always Anonymous, Always Juicy” gossip. And that's why I came across countless unashamed claims, questions, and inquiries from unregistered and anonymous bloggers.

The dirt at my own alma mater, UNC-Chapel Hill, ranged from the sexuality of some star basketball players to "Hottest Granville Girls” and one simply called "Sluts.” Need I say more?

This collegiate forum was the brainchild of Duke graduate Matt Ivester. He launched the site late last year. It hasn't even reached its first birthday.

But what struck me were the schools on the growing list of those registered on JuicyCampus.com. I'm talking the Ivy League bastions of education like Cornell, Brown, Harvard, and Yale. But, I didn't come across a single historically black college or university. Not one.

But the absence is probably a good thing. The website isn't only spreading hot, damaging gossip, but it's also ripping further into the fabric of an already warped college social life. And perhaps it's breaking the law according to one state attorney general.

A Raleigh newspaper, The News and Observer, says the attorney general of New Jersey unleashed a consumer fraud investigation into the web site. Anne Milgram slapped a subpoena on the company that now owns JuicyCampus. She said the website may be violating the state's Consumer Fraud Act by suggesting that it doesn't allow offensive material about citizens, but not enforcing that same policy against JuicyCampus. The Garden State has to put its money where its mouth is.

Other states are lining up. The News and Observer went on to say the Connecticut attorney general launched a fraud investigation on the company and its owner also. A California lawmaker urged his state attorney general to do the same.

Many college students have also taken issue with the website. It seems they're now crying out for help to save them from themselves. A CNN article says Pepperdine University asked for a ban of JuicyCampus back in February. Other schools have taken a similar approach. Popular social networking site "The Facebook” now has a few groups totaling a few hundred members who are against JuicyCampus.

Now, many bloggers are taking the attack straight to the site. Recent posts include one about possible lawsuits and how anonymous bloggers would respond if they were subpoenaed. Whether it could actually happen is beside the point: many of these posts show that many have some sort of conscience about what they post online.

But perhaps by writing this article, I'm helping to spread the word about the site and attract new viewers. Maybe I'm softening the blows to the beast a bit. But once you navigate from this page, you've got your own mind to make up. So go ahead. Satisfy your curiosity. Form your own opinion of the site.

And for all the bloggers keep in mind that with the posted gossip, you're slandering someone's daughter, son, sister or brother. We've all seen politicians toppled over one questionable photo on the internet, or one inappropriate email to a co-worker. So before you start that new thread about so and so, think about the lasting implications of what you'll say. Your harmless gossip could be a major setback or extreme embarrassment for someone else… or worse.

I'll leave you with this haunting and prophetic thread: one that I can unfortunately see coming to fruition.

"Unfortunately, the site will probably only get shut down when something truly horrible happens as a direct result (suicide, etc.) and it makes the national news. I never post, but I had to throw my two cents in. Shut this site down.”

Additional Resources

www.juicycampus.com

Haynes, Brad. (2008, March 28). Gossip Website Denies Wrongdoing. The News and Observer.

Wolfe, Gregory. (2008, February 5). Too Juicy for Campus. The Cornell Daily Sun.

Young, Jeffrey R. (2008, February 18). Website Promising Juicy Gossip Faces Backlash. The Chronicle of Higher Education.

If Rap is Dead, Are Blacks Too?

2008-04-27T13:00:00.000-07:00

by Seke Ballard

Living in a foreign country I seldom get the chance to update myself on today's pop-culture. When the opportunity presents itself, however, my reactions have ranged from being hurt (by the death of James Brown) and amused (by media fascination over Britney Spears) to being absolutely baffled (by Soulja Boy's "Crank That"). In particular, it was the lyrical brilliance of Soulja Boy that left me wanting, not so much for his harmonious tones, but instead for an explanation. If the reader accepts it as generally true that pop-culture is a reflection of societal values and, in the words of Spike Lee, rap is indeed dead, then my question is have the ‘souls of black folk' met a similar fate?

When talking to my ole school friends and relatives about music, nostalgia for the days when rap was about something is an unavoidable topic. The differentiation, as they see it, is that rap had its origins in describing the plight of black people while, counter to that, today's rap is more about glorifying the plight of black people. Accordingly, it's no coincidence that rap culture thrived during the tale-end of the Civil Rights movement. Like most art forms, it was a creation by the rebellious among us who found current modes of expression inadequate, poor in quality or simply unacceptable. It emerged as an avant-garde reflection of the values of blacks during the time. The issue, however, is how this art form has evolved into what it is now.

The uncomfortable truth about rap today is that it's just as much a reflection of the values of people at present as it was 30 years ago; only now, the dissenters among us have a more outspoken disdain for a portrayal of our people that leaves no hint of moral deprivation uncovered. Rap today is an audio-visual manifestation of a sickness that has taken hold of blacks; one, in fact, that may only be described as counter-productive and exploitive, both of which, unfortunately, are very much consistent with some statistics that we, as a people, must come to terms with.

Up until the 1950-1960s, the US Census counted around 80% of black families as being nuclear families; between 1960 and 2000 that number dropped by more than half. Given the fact that this precipitous drop occurred after the 1960s, slavery and general oppression may be dubious sources of blame. The focus, therefore, should be on blacks specifically.

My conclusion, albeit a reluctant one, is that we as a people are deeply troubled and pop-culture's unabated way of demonstrating such should serve as a warning. Paradoxically, a revolution seems imminent, but unlikely. In some circles, at least those that have always and will continue to be the catalyst for change, the anger is beginning to over-boil. This, of course, is happening while rap music is taking the world by storm and sales have never been higher.

On January 4, 2008, Flo-Rida's "Low" set a single-week digital sales record—moving 470,000 copies and beating out Fergie's previous record of 294,000 with Fergalicious. The situation boldly states that there is an urgent need for change and a swift removal of the current regime if you will. In a word… REBEL!

"Don't Watch Me, Watch TV!"

2008-04-13T14:30:00.000-07:00

by Alvin White

Religion, Race, and Reverend Wright

2008-04-13T14:00:00.000-07:00

by Lisa Swanson

An earlier version of this article was originally posted at http://uuasocialjustice.blogspot.com/

On March 13, a media firestorm began surrounding comments made by Reverend Jeremiah Wright, Jr., former pastor of Southside Chicago’s Trinity United Church of Christ. According to FOX News, “Sermon highlights [show] Wright . . . . portraying the country as institutionally racist.” FOX also called Wright’s comments, “anti-American invective.” Some news commentators went a step farther and condemned the entire Trinity United Church of Christ congregation as racist.

By now, many of us are familiar with Wright’s words, which expressed frustration and anger towards the United States government for its role in deaths from HIV/AIDs, the injustices of the Drug War, and the systemic racism of the criminal justice system.

These words have brought to the forefront the unique heritage and spiritual challenges that black Americans of faith carry to their places of worship and meditation. What does it mean to be living in a country whose government has authorized the enslavement, segregation and impoverishment of your race?

On the church's website, Trinity United Church of Christ describes the congregation's relationship with God as follows:

"God has superintended our pilgrimage through the days of slavery, the days of segregation, and the long night of racism. It is God who gives us the strength and courage to continuously address injustice as a people, and as a congregation. We constantly affirm our trust in God through cultural expression of a Black worship service and ministries which address the Black Community.”

As Reverend Al Sharpton said, and as Unitarian Universalist Association (UUA) President Rev. Bill Sinkford has repeated, "People of color have a history, not a hallucination." Reverend Wright's words ministered to the real, legitimate, and righteous anger of congregants whose inherent worth and dignity have been discounted in North America on the basis of racial identity for over half a millennia. The hubbub over Rev. Wright’s expression of this anger has demonstrated that white and black people of faith are sometimes out of touch with one another.

In 1963, Martin Luther King, Jr., said, "We must face the fact that in America, the church is still the most segregated major institution in America. At 11:00 on Sunday morning when we stand and sing that Christ has no east or west, we stand at the most segregated hour in this nation."

Taquiena Boston, the UUA's Director of Identity-Based Ministries, spoke about the reasons for segregation in faith communities. "It's why black people are sitting in black churches and not white churches--because white people do discount the experiences of African Americans, or in some ways require their silence to keep peace, so that [white people] can be comfortable. So when you spend six days a week having to calibrate and monitor and repress, when you come to the place where you're supposed to be honoring the holy, and when you have an understanding that God sees all, it just wouldn't do to be hypocritical or silent about the injustices and the oppression that you see operating in your life every day."

Unitarian Universalist Reverend Kathleen McTigue addressed this same issue at the Unitarian Society of New Haven in her February sermon A Way Out of No Way: The Black Church in America. "Where we stand affects what we will see and how we will see it," McTigue observed. "The undeniable truth is that the default center of our nation – in terms of power, language, definitions, history, money, privilege and most anything else you could name – has been and is white. And so still, in our time as in the past, in order to be black in America and also be strong, confident, proud and independent, something is required beyond what the general society is willing to give. That 'something' has resided for generations in the black church."

Ministers speak to the issues which congregation members confront in their lives. Experiences of economic and racial injustice may be a greater part of members’ daily reality and consciousness in some congregations than they are in others. As one member of Trinity's congregation said to ABC News, "I wouldn't call [Rev. Wright's words] radical. I call it being black in America."

The words of Reverend Jeremiah Wright embody a powerful, prophetic convergence of race, class, politics, and faith that have inspired both feelings of joy and affirmation, and feelings of shock and discomfort. If we wish to grow in our relationships with one another, we must be willing to listen to things that may make us feel uncomfortable.

Developing an anti-racist consciousness is a powerful experience, and as any anti-racist person of color or anti-racist white person could tell you, it is often neither easy nor comfortable. Listening to the pain of others, acknowledging your part in it, sharing your own pain, and asking others to acknowledge your truth is one of the most difficult processes for human beings to undertake together. It is also one of the most worthwhile.

We as a nation cannot effectively address the economic and ethical challenges that face us without listening to the experiences of those in our country who have been discounted and marginalized. People of all shades must learn how the legacy of slavery, Jim Crow laws, and discrimination has put and continues to put black people and all people of color at an economic disadvantage. Reflecting on reconciliation, Reverend Sinkford said, "Race and class in this country are inextricably intertwined. If our work for racial justice does not engage with the realities of class it is doomed to fail. Likewise, if we try to reconcile class inequities without acknowledging race, those efforts are equally doomed."

As an anti-racist ally who has lobbied against the crack vs. powder cocaine sentencing disparity, I am moved by Wright's bold condemnation of injustice in the criminal justice system.

As an advocate for economic equality who has volunteered in post-Katrina New Orleans, I experience a feeling of sorrowful affirmation upon hearing Wright's critique that the United States government has at times treated its citizens of color as less than human.

As a citizen of the United States, I feel pride that our faith leaders can publicly urge the government to greater accountability.

And as a Unitarian Universalist, I view Reverend Wright's insights about race and class in our nation as a part of the UUA’s second source of faith: "the words and deeds of prophetic women and men which challenge us to confront powers and structures of evil with justice, compassion, and the transforming power of love."

It is easy for faith communities to “get stuck” on how to address issues of race & racism. The recent media storm is a challenge to all of us to listen, to hear, and to get unstuck.

"It is not racism to name this truth [of the reality of racism and white privilege]," Rev. Kathleen McTigue wrote in her sermon. "It is a form of racism, I believe, to ignore it. Talking about race is difficult. Listening to the experience of those who have suffered racism is painful. But this listening is what black UU minister Mark Morrison has called “a passive act of power.” He said, 'To open ourselves to that which we know will be painful is an act of strength.' May we choose that act of strength. May we listen. May we respond."

Amen.

Who the Hell Am I?

2008-04-13T13:30:00.000-07:00

by Michael Hutson

Today’s social landscape is more unique than it has ever been before. We now have minds that are growing to be as diverse and individual as humanly possible. And the best part about it is that there is no longer a fear among the population to be “different”, so we thrive on creating new ways of thinking everyday. One of the signature concepts of our time is that of adaptation; with so many different forms of technologies, musical genres, socio-economic and political perspectives, and the like, there are probably more subcultures today than there are people to inhabit them. In today’s world, once things become commonplace, it becomes “common” for them to change that very instant -- and they’re doing so at an alarming rate.

It also seems that change is no longer problematic for us to deal with. Although we do attempt to hold on to things long enough to actually cherish them, we as a people are embracing the concept of change quicker with each innovation. We have not only taken a vested interest in all that is new and technological, but we have also acquired a taste for having things given to us quickly, because this is what we have come to know in the recent past. No longer do we need to have permanence to have satisfaction.

Although it is a dire assumption, the concepts of “remembrance” or “history” are not ones that are held as highly as they probably should be on our society’s agenda. It is with this thesis in mind that I declare that the simple knowledge of one’s history, and the sincere ability to embrace the totality and emotion evoked by that history, is itself one of the greatest things that one can do to create a brighter future for themselves and for others. This truth resonates twice as brightly for youths and minorities.

Many young people of my generation look upon their history as something that is a hindrance to their very being, their very existence. They view it as something that is there for them to deviate from in order to blaze their own legacy to be cherished. It is naturally inherent and symbolic of youth to feel this way. However, they will find this apprehension of history, and thus themselves, to be of no reward to them. For regardless of contemporary opinion, and popular culture, all humanly things eventually fade, and all humanly things change; yet it is this same history that has proved that the endeavors of the soul will remain constant through time. I trust that we can make our own legacy while simultaneously appreciating and building upon what those before us have already accomplished. It is through history that we gain the wisdom to know what it is our forefathers have done, and subsequently what we can do in our day and age, to make things better for everyone as a whole.

What one person can do to contribute to a brighter future for themselves, their family, and the greater portion of humanity is greater than most perceive and more easily done than most would believe. It may not be by single-handedly “bringing the world together” simply because Dr. King said so, or “making sure everyone shares (by any means necessary)” simply because Malcolm X said so, but simply by understanding that it is through the self-preservation, appreciation, and documentation of one’s history that you begin to complete the intricacies of yourself as a person. To be a productive member of society, in whatever field you do or whatever background you come from, you must first know where you stand with yourself. This is done by knowing who you are by definition, understanding why that knowledge is important and relevant to your situation, and being able to effectively transmit that information into a positive outcome.

I seek to know the origins of my ethnicity because I wish to improve myself, since I realize that he who knows most, knows nothing at all. I seek the stories of old because it is through seeing myself in those circumstances that I gain humility and break conventional thinking. I seek tradition because it gives enrichment. It is with these things that I believe that the backgrounds and convictions of one’s race or culture, and the pigmentation of a person’s skin, does not pigeonhole that person into being a particular character or force them into having a particular liability on their hands. Rather, it gives them a unique asset which enables them to view and operate in the world through a perspective others can benefit from. Because it is only through the insight of others that one can attain the characteristics that lead them to positively influencing those around them.

Regardless of the changing times, things such as wisdom, the circle of life, and tradition will never grow old.

The Legitimacy of Racism

2008-04-13T13:00:00.001-07:00

by Seke Ballard

Over the course of fourteen months in the Republic of Georgia, I have come to accept that my daily jog will unfailingly morph into a sport that I have coined “dodge the gypsy.” The begging Roma run after me, grab my person and, as baffling as it may seem, sometimes physically assault me. My runs, therefore, are a fun game of avoiding them to the farthest extent possible. Today, however, was a special day. Instead of running, I sat on a bench and observed a local native from across the street. With her baby strapped to her back, she went door-to-door and loitered at each store front until the owner, out of frustration that she was driving business away, appeased her with a few coins. Utilizing this observation and my general experience, my mind went through a catalogue of possible analogies. The behavior of a parasite seemed to fit precisely. After coming to such a seemingly racist conclusion, my follow-up observation was certainly more introspective, but to no avail.

The progressive ethic would have you believe that it is wrong to observe behaviors and, then, characterize whole groups of people based upon such viewed behaviors. (This practice, in simple terms, is commonly known as stereotyping.) I happen to disagree, however. Human survival—in all of it’s historical glory—has been founded upon using observations to generalize events and behaviors via probabilities. For example, suppose that I stop at a light on Sunset Boulevard in Los Angeles, California, at 3 AM and a woman donning a halter-top, an exceedingly short skirt, four-inch heels and fishnet stockings approaches my vehicle and knocks on my window. Culling knowledge from my past experience—that a woman dressed in such a way on arguably Los Angeles’ most renowned street for prostitutes—I assume the woman is probably a prostitute. (The resulting stereotype: all scantily clad women on Sunset Boulevard at 3 AM are prostitutes.) Similarly, if I happen to walk down a dark street at night and find a man following closely behind and, as Fate would have it, taking all the same turns that I take, using my past experiences and current observations, I assume that this man is trying to rob and/or harm me. (The consequential stereotype: all men who follow me down dark streets are “up-to-no-good.”)

Is such a conclusion irrational?

Believing that Asians are smart, black people are criminals and Hispanics are all Mexican is, unfortunately, no exception to this concept of human survival. Lets look at the facts: Asians, while only 5% of the US population, comprise a disproportionately large percentage of students at American universities (46% at Berkeley ), in 17 states blacks represent over 50% of annual prison admissions and of the Hispanics entering my home state of North Carolina, nearly 73% come from Mexico . An objective observation would state that members of these groups of people consistently fit with one or two specific ideas, more so than those of any other group. What logically follows, then, is an assertion that a particular group, on the whole, is more likely to exhibit these traits. Stereotyping based on these particular characteristics, therefore, is no less valid than assuming that darkly clothed men who follow you in poorly lit areas likely fall into the category of robbers.

Again, I must ask: Is such a conclusion irrational?

Stereotyping and one of its byproducts, racism, are, indeed, a very natural part of the human experience. So natural, in fact, that we’ve illogically grouped the values embodied by those who stereotype and/or are racist with the behaviors that tend to follow stereotyping and racism, when in fact they are two separate phenomena: one is a value (or belief regarding another group) and the other is an action based upon such a value. The value, alone, is valid for several aforementioned reasons. The action, though, is reprehensible—assuming it harms the group to which it is applied.

The interesting part about this argument is how it relates practically, especially when applied to the deeply flawed human-race. People, by and large, are simply too stupid to be racists without pulling off some atrocity like Sudan, the Holocaust or black-American slavery. These sorts of activities are the result of stereotypes and racism that are either allowed to go unqualified or applied unfairly to the individual member against whom a social injustice is applied. Take my earlier statement that black people are criminals. Such a stereotype shouldn’t be positioned as something inherently true of blacks, but should try to explain the context for why there is higher criminality among blacks. A partial explanation may reference poverty, lack of opportunity and discrimination.

My conclusion, therefore, is that stereotyping and its resulting discrimination are not completely wrong, in and of themselves, but instead, they are made wrong because humans have proven themselves incapable of being holding stereotypical beliefs without perpetuating horrific crimes against humanity, be they large or small. Leaders, therefore, have found it pragmatic to issue blanket reprimands on the institution as a whole, rather than on the actual culprit: an individual’s choice to disregard another’s humanity.

Music Review: Dianne Reeves - When You Know

2008-04-13T12:30:00.000-07:00

by Clayton Perry

One does not have to be in love, in order to love Love. Such a statement could be brushed off as the whimsical declaration of a hopeless romantic. Dianne Reeves’ When You Know proves this assertion as fact.

When You Know showcases Love—from a woman’s perspective—in all of her different stages, utilizing a dynamic assortment of old and new standards. Highlights include “Over the Weekend,” “Windmills of Your Mind,” which won the Academy Award for Best Original Song in 1968, and the album’s namesake, “When You Know,” which was prominently featured in the romantic comedy Serendipity (2001). The album’s true gem is “Today Will Be a Good Day,” a Reeves’ original that pays tribute to her mother, Vada Swanson. Rest assured, one does not have to be a jazz aficionado to appreciate When You Know, because Love, as every human knows, is the force that inspires, unites and uplifts us all.

Dianne Reeve’s vocal interpretations are brought to life with the support of master guitarists Russell Malone and Romero Lubambo, both of whom joined the Denver-bred chanteuse on her European “Strings Attached” tour. Of the ten tracks on When You Know, Malone plays on seven, while Lubambo plays on nine. Such a “bare bones” production—two guitars and a voice—would challenge the skills of many contemporary vocalists. Reeves voice soars, though, behind the power of her vocal and performance devices, as producer George Duke sets each song’s trajectory beyond the moon.

Although jazz standards albums have become quite the cliché, When You Know contains some of Dianne Reeves’ best work. With raw emotion and technical grace, she manages to make each song her own—a hard task to accomplish in the face of familiarity. Reeves’ take of “Lovin’ You” avoids overuse of the whistle register for which Minnie Ripperton’s number-one hit was very well-known. The unexpected twist does not detract from the original working, however, since it draws more focus to the song’s lyrics, rather than the song’s performance. Such changes are plentiful on When You Know and bear the mark of Reeve’s signature styling.

When You Know covers nearly a half decade of vocal performances and highlights Reeves’ versatility across different musical styles. The track listing, along with a notation of song’s original or best-known performer, is as follows: “Just My Imagination” (The Temptations), “Over the Weekend” (Mabel Mercer), “Lovin’ You” (Minnie Ripperton), “I’m in Love Again” (Peggy Lee), “Midnight Sun” (Ella Fitzgerald), “Once I Loved” (Shirley Horn), “Windmills of Your Mind” (Dusty Springfield), “Social Call” (Betty Carter), “When You Know” (Shawn Colvin) and “Today Will Be a Good Day” (Dianne Reeves).

As a four-time Grammy winner, Dianne Reeves stands in a league of her own. She is the only singer—across all music genres—to win the vocal category for three consecutive recordings. To date, Reeves has been awarded “Best Jazz Vocal Performance” for In the Moment (2001), The Calling (2002), A Little Moonlight (2003) and the soundtrack to Good Night, and Good Luck (2006).

Interview: Dianne Reeves, Jazz Singer Extraordinaire

2008-04-13T12:00:00.000-07:00

by Clayton Perry

Dianne Reeves is one of America’s most revered contemporary jazz singers. Standing on the shoulders of her forbearers, Reeves’ name has been added to the ranks of Dinah Washington, Ella Fitzgerald and Sarah Vaughn, her vocal inspiration and personal favorite.

To date, the Recording Academy has bestowed Dianne Reeves with four GRAMMY awards—making her the first singer to win “Best Jazz Vocal Performance” for three consecutive recordings: In The Moment (2001), The Calling (2002) and A Little Moonlight (2003). Reeves garnered her fourth GRAMMY with the soundtrack to Good Night, Good Luck (2006), a movie in which she was also featured.

On April 15, 2008, Dianne Reeves released When You Know, an album that showcases Love—from a woman’s perspective—in all of her different stages. Upon review of When You Know, Dianne Reeves managed to squeeze some time out of her busy schedule and settle down for an interview with Clayton Perry— reflecting on life, love and, of course, jazz.

In 1977, you embarked on a musical journey—introducing your spirit to the world with the release of Welcome to My Love. Much of your recent mainstream success has been in the last decade, however, with a string of historic GRAMMY wins. What kept you motivated during the early years and what do you attribute to the longevity of your career?

In those early years, I was trying to find out who I was. I had the opportunity to record. I was touring, I had my own band – that just kept me going. I think that’s the same kind of thing that still works and keeps me going now – it’s the journey of all of this. Throughout the journeys, there have been more and more accolades, more and more people who have come to know what I do and who I am.

One song that you have revisited in this journey a couple of times is “Better Days.” You appear to be telling a specific tale about you and your grandmother, but the lyrics really reach out to a lot of people on a very personal level. What is the significance behind the song?

Well, I grew up in a family that told stories, that celebrated one another and kept people’s memories alive through storytelling. I think when my grandmother died, it was the story that I wanted to tell about her. I listened to her story all my life – and my mother’s and everybody’s. They were stories that gave me inspiration, gave me another kind of way of looking at life and dealing with things. These stories still reinforce a lot of things in my life now. So when my grandmother passed, I thought the most befitting thing was to tell her story. What happened from that was people said, “No, this is my story.” Interesting.

The storytelling is shown in “Today Will Be A Good Day,” which was one of my favorite songs on When You Know. How did you decide to put that track on the CD?

When we were recording, I was really excited about what was happening. I just started writing. Some of these things I said, “Well, I’ll just leave for the next record.” “Today Will Be A Good Day,” even though it is recorded different, still fit the concept of the record. It was one of those things that was for my mother: her philosophy in life and how that particular philosophy really helped me. I thought that would be befitting.

Sarah Vaughan is one of your favorite jazz singers, but you were still able to develop your own particular style apart from her influence. Was that a natural growth or did you purposely want to go in a certain direction?

Oh, no. I think Vaughan was really important to me because she showed the possibilities of what a person could do with their instrument, you know. When I was growing up, I had this really raw instrument. I was singing and doing all kinds of stuff, but I didn’t realize how much one’s instrument possessed color, timbre and these kinds of things that you can do. It was through her that I started to hear all kinds of things to be able to define and refine myself.

As you talk about honing your own sound, I am reminded that a lot of singers of yesteryear were raised in the church and sang for that purpose, as opposed to singing for the crowd to become a star. What is your opinion of current musical styles?

Interestingly, I grew up listening to people who were very popular who came out of the church. The one thing that everybody did at that time was seek their own unique ability. I hear that more among the rappers today than among the pop singers, because it seems like in the pop industry, music executives are focused on saying, “We want the next this and the next that.” You will find the original and then five other clones underneath. I think that’s really unfortunate. The beauty of life - and the most amazing thing that God has given us - and the miracle that we see everyday is that we are unique. Each one of us is unique and we have unique things that we can say or do. This uniqueness is one of the things I think the industry just doesn’t really promote enough.

Jazz started off as an exclusive genre. How do you make it appealing to a new generation that might think it’s too old school?

Most of this stuff that people think about jazz is because they never really listened to it. I go out and tour and perform, and there are young people in colleges who say, “I didn’t know that was jazz. I didn’t know. I love what you do.” Jazz artists are just as unique within the community as anybody else, so everybody has a different sound. What I really hate is when somebody says, “Oh, yeah, she’s like the next Billie Holiday,” and they’ve never even heard of Billie Holiday’s records to know who she really was and why people celebrate her. I think the mystique that surrounds jazz music, even with jazz critics, always makes it sound like this elite club, for-members-only kind of music. And it is really not.

Recently, Herbie Hancock received a GRAMMY Award for "Album of the Year." What effect do you think his win will have on the jazz genre?

I know one thing: it says to me that anything is possible. To me – whether it be jazz, classical, whatever – it wasn’t the norm for a jazz artist. He’s of great stature, but maybe not as a celebrity like Kanye West. But at the same time, Hancock’s work stood up. He was voted by his peers to receive that honor. So that was pretty amazing.

Indeed it was. Do you find yourself singing to a different audience than when you first started?

Oh, God, yeah. My demographic is so broad. I think that people hear the record and it is one thing. When people come to my shows, they’re like, “Oh, boy we get it,” because it’s so alive and in the moment. My audience has just grown. And a lot of the recent reason is because of the movie Good Night, and Good Luck.

How did you become involved in that film? I know that you said George Clooney picked the tracks.

I was on his radar. He made sure that they got in touch with me. When I heard about it, they sent me a script. I thought “Wow, they just want me to sing.” I didn’t realize that I would be in the film. With that, I had a whole different approach and performed with respect to the time. I really enjoyed that a lot.

How do you feel when you go abroad? How is your reception?

Well, it’s funny because black music in general – whether it be jazz, R&B, Gospel – is looked at as very exotic in Europe because of the freeness of the music and because the music always has an edge of celebration – because it’s living music. So when we go to Europe, people are chomping at the bits because they don’t understand the spirit, the soul, and the roots of this music. They are very, what I call, active listeners - extremely sophisticated listeners. They want to let go and hear and feel everything that is to be felt and heard.

What artists do you listen to and which artists do you feel are freely expressing themselves?

I love to listen to artists who are clear about what their voice is. Of course anytime I speak of voice, I’m talking about spirit, because everything else is the instrument or the means for that to be heard. I love artists who really delve deeply into the spirit. I get really inspired when I go hear somebody else and they make the hairs stand on my arms and I go, “Wow, I never even thought about doing it that way or doing it this way.” So, I listen to a lot of different kinds of music.

Any artist in particular that you would call your favorite right now?

I just got a couple of really amazing compilations of stuff, like outtakes of Aretha Franklin. I got some really, really wonderful stuff on Sam Cooke. I love him. I’ve never really delved into him as I have lately. I have not seen her live but I really like this young woman, Chrisette Michele. I think she’s authentic and I think that what she talks about is really, really wonderful. Her lyrics are rich and it’s about respect and love and compassion and all kinds of stuff. I really like that about her.

Wow, good stuff. If you were talking to someone who perhaps doesn’t know anything about jazz, who would you tell them to be on their introductory list to the jazz genre?

I think I would start down the line of Bessie Smith. Then I would say Billie Holiday, then definitely Dinah Washington. I would tell them to listen to Carmen McRae, then Sarah Vaughan, then Ella Fitzgerald. In there, as well, I would say Mahalia Jackson, because when you start with Bessie Smith and Billie Holiday or Dinah Washington, you’re really starting in the church.

A group that recently got some appreciation is The Clark Sisters – they finally won a GRAMMY for "Best Gospel Performance."

I know – The Clark Sisters, oh my God. Those ladies and Shirley Caesar. I was listening to Shirley Caesar’s “Blessed Assurance” and it just wore me out. I had to go listen to it again and it makes me cry. It’s one thing to sing a song and another thing to believe in the power of the words.

In listening to your older CDs and comparing them to When You Know, there’s a lot more emotion behind the CD, especially the title track, “When You Know.” How did you go about selecting that particular song for the title track?

Well, it’s like the sentiment of when you know. I grew up with, “when you know that you know that you know that you know”. I loved that. And I feel that this time in my life there are a lot of things that I want to know, there are a lot of things that I really do know for certain. So the song, while it has a certain kind of dimension on the record, takes on a multi-faceted dimension live because there are so many things that are a part of what’s being said in that song. I thought it was appropriate.

Any particular stories from recording the album?

The musicians were the glue in pulling the album together. There was such joy. When the arrangements were done for the music, we tried to keep them light. When we go in the studio, the music takes form because all of the musicians that I’ve had the opportunity of using – they’re impeccable. When they come in, they’ll start putting in their thing, then it becomes something totally different than what the sketch was. The sketch becomes colorful. Everybody contributed so much and we all became co-creators of the sound. I love that.

You are often known for your live performances. What is it that elevates the performance or takes your instrument to another level?

It’s being able to jump into the unknown and know that it’s going to be good. And that’s what I tried to create in the studio with this record, more than any other record I’ve ever done. When you’re in the studio, you have the safety net of going in and fixing things. Still, I wanted it to be a live set. I wanted everybody to be feeling and grooving on each other and have this kind of excitement and playing.

Well, it’s definitely a great album.

Thank you so much.

For more information on Dianne Reeves, visit her official website: http://www.diannereeves.com

Music Review: Mariah Carey - E=MC2

2008-04-13T11:30:00.000-07:00

by Clayton Perry

Mariah Carey is back! And so is the proverbial elephant that looms in the corners of our minds.

It goes without saying that the Emancipation of Mimi allowed Mariah to rise from the ashes, like the mythical phoenix. In fact, the album proved to be her “second coming”—a successful “comeback” that celebrated fifteen years of her long-standing career and garnered GRAMMY awards for Best Contemporary R&B Album, Best Female R&B Vocal Performance and Best R&B Song. That being said, E=MC² faced the inevitable task of trying to avoid the label of Emancipation (Part Two) or resembling one of its ill-fated predecessors: Charmbracelet, Glitter or Rainbow.

Luckily, E=MC² is no Rainbow. And while most of the album’s songs glitter, they definitely are not all made of gold. By and large, E=MC² more closely resembles Charmbracelet. And that, dear reader, is not a bad thing.

While Emancipation is the masterpiece etched into the public’s conscious, few remember Charmbracelet, Mariah’s post-breakdown release, which followed a tumultuous departure from Virgin Records and public move to Island Records. Going back to basics, Charmbracelet Unfortunately, “Through the Rain” flopped at radio, and due to poor sales, few were able to hear the raw emotion of “Sunflowers for Alfred Roy,” a song spurned by the death of her father. showcased the diva’s elegance and grace.

Although none of Charmbracelet’s singles managed to break into Billboard’s Hot 100, the album’s formula was replicated on the Emancipation of Mimi. And E=MC² follows in its footsteps—featuring a host of urban radio mainstays like T-Pain (“Migrate”), Damian Marley (“Cruise Control”) and Young Jeezy (“Side Effects”). Jermaine Dupri has three unlisted guest spots as well, with ad-libs on “Love Story,” “Last Kiss” and “Thanx 4 Nothin’.”

While no established artist should ever stifle their creativity, Mariah’s genre-bending experimentations consistently prove that she is at her best when standing alone on a track. This diva needs no introduction, let alone a sideshow. Nevertheless, Mariah continues the sonic transition of her Butterfly days, despite the fact that only three of her eighteen number-one hits have featured guest spots in their original form: “One Sweet Day” (featuring Boyz II Men), Heartbreaker (featuring Jay-Z) and “Thank God I Found You” (featuring Joe and 98 Degrees). For better or worse, her repertoire is largely composed of power ballads. Unfortunately, the contemporary production on E=MC² makes all of her ballads sound like pop confessionals of love. Even so, lovers of Emancipation will be attracted to “Last Kiss,” “For the Record” and “I Stay in Love,” because they offer an air of familiarity. A casual listen of “Bye Bye,” for example, will evoke fond memories of “We Belong Together.” This time around, though, the focus is on the pain of a love that has been lost, instead of a search for an old love’s affection.

To be certain, E=MC² will sell well and fly off the shelves. Unfortunately, the album, like its Einsteinian title, is too formulaic. But that’s ok. Science has always been based on observable phenomena. With “Touch My Body” becoming Mariah’s eighteenth number one single, we at least have proof that Mimi has not only been emancipated, but will also be around for many years to come.

Music Review: Kelis - The Hits

2008-03-08T12:00:00.000-08:00

by Clayton Perry

When music critics talk about contemporary R&B divas, Kelis is never mentioned and, for many, hardly an afterthought. It is quite a shame, though, considering the body of work she has created over the past ten years. As an artist that refused to be defined by the music industry's "cookie-cutter" labels, Kelis was a dynamic and charismatic artist who came before her time. And despite being an American singer, who set many of today's music and fashion trends, much of Kelis' success was attained overseas, especially in the United Kingdom, where she garnered six top-ten hits. Her lackadaisical acceptance in the United States was due, in part, to her unabashed and forward-thinking experimentations with genres generally unassociated with traditional R&B music. To date, true appreciation of her artistic talents has failed to be recognized by American radio outlets, promoters and music lovers, although Kelis has been nominated by the Recording Academy for two GRAMMY awards.

In 1999, Kelis broke into the music industry with a bang, as the featured singer on "Got Your Money," a collaboration with Ol' Dirty Bastard (Russell Tyrone Jones), one of the founding members of the hip hop group Wu-Tang Clan. The success of "Got Your Money" brought Kelis global attention, along with the Neptunes, the production duo behind her first solo effort, Kaleidoscope (Virgin, 1999). In the wake of her newfound stardom, Kelis released "Caught Out There," the lead single off of Kaleidoscope. "Caught Out There" was a modest radio hit, eventually peaking at #9 on Billboard's Hot R&B/Hip-Hop Songs chart and #54 on the Hot 100. The song was very successful in Europe, though—eventually becoming a top five hit.

The overall response to "Caught Out There" would begin a checkered history between Kelis and her American audience. The song created quite a raucous amongst music lovers of all stripes, since Kelis' artistry and colorful style differed from the R&B fare offered by her contemporaries at the time: Deborah Cox's "Nobody's Supposed to Be Here," Whitney Houston's "Heartbreak Hotel," Faith Evans' "Never Gonna Let You Go" and Mariah Carey's "Heartbreaker." Her divergence from artistic norms failed to translate into sales, with Kaleidoscope debuting at #144 on the Billboard 200, on the sale of 10,736 copies during the first week of release.

In hindsight, one would expect a single, let alone an album, produced by the Neptunes (Chad Hugo and Pharrell Williams) to chart well, considering Kaleidoscope's sonic novelty at the time. In 1998, the production duo was just starting to gain widespread notoriety in the music business and Kelis had become their muse, an honor and appreciation the Neptunes have not bestowed on a female singer ever since. Unfortunately, for Kelis, the fate of Kaleidoscope was doomed, with poor sales leading to half-hearted promotion inside the United States. Two additional singles followed: "Good Stuff" (featuring Terrar of Clipse) and "Get Along with You." Alas, neither single managed to chart on the Billboard's Hot 100 and, with that, the writing was on the wall for Kelis' relationship with Virgin Records. Although "Get Along with You" was a remarkable ballad, the song's stark change in artistic direction muddled Kelis' image, when compared against "Caught Out There," and never generated enough steam in the United States, regardless of the fact that the song peaked at #6 on the U.K. R&B Singles chart.

Having three sizable hits in the United Kingdom and following her receipt of a BRIT Award for "International Breakthrough Act," Kelis' second album, Wanderland (Virgin, 2001) was exclusively released to the European market. Even with much critical acclaim, Virgin Records opted to can an American release, because "Young, Fresh ‘n' New," Wanderland's lead single, failed to chart in the United States. Soon thereafter, Kelis left Virgin Records in a storm of controversy and mainstream success would evade the artist until the release of her third album, Tasty (Star Trak/Arista, 2003), with the meteoric success of her fifth single, "Milkshake." The time between the release of Wanderland and Tasty was well spent, nevertheless, with Kelis touring with U2 and Moby.

To be certain, "Milkshake" is Kelis' signature song, if only for the global success the song achieved: a top five performance on the United World Chart, a GRAMMY nomination for Best Urban/Alternative Performance (2004) and her first appearance on the Billboard Hot 100 chart since 1999. As sales exceeded 500,000 copies, Tasty was certified with gold status by the Recording Industry Association of America (RIAA). Sadly, promotion for Tasty soon crashed, due to the folding of her American label, Arista Records. Virgin Records, her European label, continued to promote the album—releasing singles for "Trick Me," "Millionaire" and "In Public." As with Kaleidoscope and Wanderland, Kelis continued to have much success in the United Kingdom, with Tasty amassing platinum sales and generating four top twenty hits (of which three, "Milkshake," "Trick Me" and "Millionaire" were top three hits).

The success of Tasty landed Kelis on Britney Spears' The Onyx Hotel Tour. As the opening act, Kelis was able to expand her audience, by performing in front of a mainstream, pop-loving audience. Kelis' growing base was evidenced by the top performance of her fourth album, Kelis Was Here (LaFace/Jive, 2006), on Billboard's Hot 200 chart. Despite the album's strong opening sales, Kelis Was Here failed to be certified gold, although the album's lead single, "Bossy," garnered multi-platinum sales, a rare feat for any artist. Follow-up singles, "Blindfold Me" and "Lil' Star" received little to no radio airplay in the United States. "Lil' Star" topped the U.K. R&B Singles Chart, however, and became her fourth top three single in the United Kingdom. Kelis Was Here eventually received critical praise in the United States, with the album receiving a GRAMMY nomination for Best Contemporary R&B Album. In spite of eventual industry approval, Jive Records dropped Kelis in late October 2007, due to poor sales of Kelis Was Here.

Kelis' departure from Jive closes yet another tortuous chapter in her prolific and innovative musical career. To date, none of Kelis' albums have been able to generate platinum sales, even though she was able to generate multiple sizable hits. Her continued success in Europe is evidence of her aesthetic brilliance and the release of The Hits (Star Trak/Jive/Legacy, 2008) highlights her unbridled experimentations within the R&B genre. Hopefully, in time, the career of Kelis will be treated with much more care. For now, all one can do is cherish Kelis' Hits, for this compilation is the closest any contemporary R&B artist has come to exploring the outer limits of the genre.

NUBIANO Update [02/2008]

2008-02-29T12:00:00.000-08:00

Featured writers for the second cycle of the NUBIANO Exchange have been selected.

Seke Ballard (Peace Corps – Tbilisi, Georgia)
Tyree Barnette (Raleigh, NC)
Esther Coleman (Washington, DC)
Zacch Estrada-Petersen (Charlotte, NC)
Edward Garnes (Atlanta, GA)
Michael Hutson (Tallahassee, FL)
Kemi James (Adelphi, MD)
Leslie-Bernard Joseph (New York, NY)
Mansoor Omar (Raleigh, NC)
Lisa Swanson (Washington, DC)
Cordero Vigil (Isla Vista, CA)

The second cycle will also feature a special addition to the NUBIANO Exchange line-up: Alvin White (Columbus, OH), a political cartoonist.

Clayton Perry will continue to serve as executive editor.

NUBIANO Update [01/2008]

2008-01-31T12:00:00.000-08:00

2007 was a very good year! :o)

On January 15, the NUBIANO Project launched the NUBIANO Exchange, an online forum that covers politics (domestic and international), entertainment (music, books, film and TV) and cultural issues (regarding race, religion and sexuality). By the year's end, the NUBIANO Exchange catalog received over 1,200,000 hits and garnered an audience of more than 130,000, with the support of thirteen featured writers (Seke Ballard, Esther Coleman, Carrie Cook, Zacch Estrada-Petersen, Katrice Hester, Michael Hutson, Kemi James, maLana t, Adrina Nelson, Jonathan Pourzal, Lara Rann, Shayna Rudd and Eugene Scott), who served as 2006-2007 NUBIANO Interns.

2008 is set to be even better! ;o)

Upon the launch of the NUBIANO Exchange, executive editor Clayton Perry forged an alliance with Eric Olsen and Blogcritics Magazine, an online magazine that receives more than 100,000 daily visitors. The NUBIANO Exchange is now a featured cultural series within Blogcritics Magazine.

If you haven't been to the NUBIANO web site lately, please visit us again. In the coming months, we will unveil NUBIANO Exchange 2.0!

The Audacity of Obama's Hope

2008-01-27T12:00:00.000-08:00

by Clayton Perry

With the Democratic primaries in full swing, Barack Obama, in his bid for the U.S presidency, joins a short-list of prominent African-American contenders (Shirley Chisholm, Jesse Jackson, Alan Keyes, Carol Moseley Braun and Al Sharpton)—all of which, in the prism of time, had their hopes dashed by the realities of American politics.

While the viability of a black presidential candidate is up for debate, Barack Obama, unlike his forbearers, has the most likely chance of winning the Democratic nomination and, consequently, has a real bid for the U.S. presidency. Of the former Democratic contenders, Chisholm, Jackson, Moseley Braun and Sharpton, each mistakenly placed—at least for mainstream support—race (or gender or class, in the context of race) at the center of their platform. And each, with the reality of their status setting in, eventually conceded, with words or deeds, that their bids were largely to bring African-American issues to the national media’s attention rather than to win mainstream support.

In 1968, Shirley Chisholm became the first African-American women elected to the U.S. Congress. Four years later, Chisholm became the first African-American woman to run for President of the United States. As a Brooklyn native, Chisholm sought to improve the social and economic opportunities of inner-city residents, and was also a fervent advocate of social, educational and health-related programs. Given the time of her candidacy, Chisholm was well-aware of the limitations that society and American politics had in place for a woman—especially a black woman. Chisholm, nevertheless, noted that, “in spite of hopeless odds,” she needed “to demonstrate the sheer will and refusal to accept the status quo.”

In 1972, Chisholm won 162 delegates.

Jesse Jackson was a candidate for the Democratic presidential nomination in 1984 and 1988. Jackson, an ardent supporter of Martin Luther King, Jr., was the national director of Operation Breadbasket, an organization supported by the Southern Christian Leadership Conference (SCLC) that sought to improve the economic conditions of black communities. He would later go on to found PUSH (People United to Serve Humanity) in 1971 and the Rainbow Coalition in 1984. Both organizations would merge in 1996, under the moniker Rainbow/PUSH. As the head of Rainbow/PUSH, Jesse Jackson would gain national prominence and widespread support. The organization garnered its fair share of critics as well, for Jackson’s vocal charges of racism and organization of public protests.

In 1984, Jackson won five primaries and caucuses (the District of Columbia, Louisiana, South Carolina, Virginia and one of two held in Mississippi). In 1988, Jackson’s political fortunes doubled, as he won eleven primaries and caucuses (Alabama, Delaware, the District of Columbia, Georgia, Louisiana, Michigan, Mississippi, Puerto Rico, South Carolina, Vermont and Virginia).

In 2004, twenty years after Jesse Jackson's initial bid, two African-Americans emerged as Democratic presidential nominees: Al Sharpton, founder of the National Action Network (NAN), and Carol Moseley Braun, who was the first woman elected to the Senate from Illinois, the first African-American woman elected to the Senate and the first African-American (within the Democratic Party) elected to the Senate. The backgrounds of Sharpton, as a civil rights activist, and Moseley Braun, as a former Assistant United States Attorney, led them to champion causes surrounding civil rights, education and government reform. Both of their campaigns were short-lived, however. Moseley Braun dropped out of the nomination race four days before the Iowa caucuses, on January 15, 2004. Two months later, on March 15, 2004, Al Sharpton announced his endorsement of leading Democratic candidate John Kerry.

As Sharpton and Moseley Braun faded from the political spotlight in 2004, the year also saw the emergence of Barack Obama, an Illinois state legislator. Obama was selected to deliver the keynote address at the 2004 Democratic National Convention and, by the year’s end, he became the fifth African-American Senator in U.S. history. Twenty-seven months later, on February 10, 2007, Obama announced his candidacy for the 2008 U.S. presidential election, as he stood before the Old State Capital building in Springfield, Illinois.

Labeled by political pundits as the candidate of “change,” Barack Obama has garnered the hearts of many Americans, who know—without a shadow of doubt—that he is black, by shedding the rhetoric of race. Having a Kenyan father and American mother, Obama is well aware of his international heritage. Nevertheless, despite harsh criticism, Obama refused to get bogged down with racial politics—a stark contrast to the campaigns of his African-American forbearers. In the preface of Dreams from My Father: A Story of Race and Inheritance, Obama hoped that the story of his family “might speak in some way to the fissures of race that have characterized the American experience, as well as the fluid state of identity—the leaps through time, the collision of cultures—that mark our modern life.”

On January 3, 2008, Barack Obama became the first African-American to win the Democratic Iowa caucuses—securing 38% of the vote. In his victory speech, Obama faced his supporters, saying: "On this January night, at this defining moment in history, you have done what the cynics said we couldn't do. We are choosing hope over fear, we are choosing unity over division and sending a powerful message that change is coming to America."

Three weeks later, on January 26, 2008, Barack Obama won South Carolina's Democratic primary with 55% of the votes. Obama's landslide victory was a big win—giving his campaign much-need momentum for Super Tuesday (February 5, 2008). Obama’s total vote count (~295,000) was comparable to the total turnout for the 2004 Democratic primary and he received double the votes of his most formidable opponent, Senator Hillary Clinton, who earned 27% of the vote. Once the polls closed and victory was securely intact, Obama turned to his supporters, once again, declaring: "Over two weeks ago, we saw the people of Iowa proclaim that our time for change has come. But there were those who doubted this country's desire for something new — who said Iowa was a fluke not to be repeated again. Well, tonight, the cynics who believed that what began in the snows of Iowa was just an illusion were told a different story by the good people of South Carolina."

Do Obama’s victories in Iowa and South Carolina prove America is changing? Only time will tell the tale. Despite the outcome of Obama's presidential bid, one thing is for sure: history is being written, one state at a time. For now, the audacity of Obama's hope shines bright, as he continues his quest to reclaim the American Dream:

"A government that truly represents these Americans—that truly serves these Americans—will require a different kind of politics. That politics will need to reflect our lives as they are actually lived. It won't be prepackaged, ready to pull off the shelf. It will have to be constructed from the best of our traditions and will have to account for the darker aspects of our past. We will need to understand just how we got to this place, this land of warring factions and tribal hatreds. And we'll need to remind ourselves, despite all our differences, just how much we share: common hopes, common dreams, a bond that will not break” (from The Audacity of Hope).

Looking Back...

2008-01-01T12:00:00.000-08:00

The top 15 most-read articles from Cycle 1 are:

R. Kelly and the Slow, Unfortunate Death of R&B — Clayton Perry ponders if the current state of R&B is a direct reflection of the state of Black America.
The Case of Genarlow Wilson: Injustice or Protection from a Sexual Predator? — Esther Coleman examines the Genarlow Wilson case and the intent of sex laws to protect minors from sexual predators and curb teen sexual activity.
The Undoubtedly Negro Sport of Hockey? — Michael Hutson unearths the history of the Coloured Hockey League of the Maritimes, whose style of play greatly influenced the National Hockey League.
Race Stains La Marre's Color of the Cross — maLana t. explores the relevance of race in Color of the Cross.
Interview: Kwame Jackson - Real Estate Entrepreneur and Professional Speaker (of Apprentice Fame) — Clayton Perry shares Kwame Jackson's reflections on life, the Apprentice experience and race in America.
Slavery: Alive and Well and in America — Esther Coleman examines human trafficking in the U.S. sex trade.
Strangers at Our Borders — Zacch Estrada-Petersen sheds light on the racial undertones revolving around the Mexican immigration controversy.
Re-Defining Blackness — Eugene Scott ponders how mainstream media will present emerging and conflicting definitions of "blackness."
Beyond Affirmative Action: What's the Real Issue? — Seke Ballard goes beyond the conventional arguments supporting affirmative action and raises serious questions about the poor values of American Society.
To Marc Ecko And Those Who Voted On The Fate of Bonds' 756th Home Run Ball — Clayton Perry discusses why it is dangerous to allow an individual's wealth or personal politics to dictate the legacy of any person.
More Than Black History Month Is Needed — Tyran Kai Steward poses and examines the following question: How can appreciation for black contributions to America be reached if black history is not deemed significant enough to make inroads inside the American schoolroom?
The Spirit of James Brown's Soul — Shayna Rudd examines the legacy of James Brown and his post-mortem treatment.
A New Order of Discipline — Zacch Estrada-Petersen points out fallacies in the tactics of Black parenting.
Making Things Worse: International Aid and Development Policies in Africa — Jonathan Pourzal poses and examines the following question: Why are there countless international aid efforts toward poverty alleviation, yet poverty is still as strong as it has ever been and getting worse?
Obama's Ghetto Pass — Esther Coleman examines if the media's recent attention to Obama's disclosure of past drug abuse is a nod to his candor or a ploy to quash any real pursuit of the presidency and can it be used to increase his human factor.