"The future belongs to those who prepare for it today." - Malcolm X

“Time for an Awakening” with Bro. Elliott, 9-02-18 guest Mr. Johnny Ford

“Time For An Awakening” for Sunday 9/02/2018 at 7:00 PM (EST) our guest was Founder of The Historic Black Towns and Settlements Alliance, Mr. Johnny Ford . More than 1200 Black settlements, and towns were established in the United States between the late eighteenth and early twentieth centuries, we learned about some of them, and the ones that still exist, from our guest Mr. Ford.

“Time for an Awakening” with Bro. Elliott 8-19-18 guest Reginald Moore and Sam Collins III

“Time For An Awakening” for Sunday 8/19/2018 at 7:00 PM (EST) 6:00 PM (CST) our guests was Texas Activists, Historians, Reginald Moore and Sam Collins II. The discussion centered around three decades of work by Mr. Moore lead to one of the discoveries of 95 bodies of our ancestors buried in a mass grave in Sugarland Texas.  We talked with the founder of the Texas Slave Descendants Society, Mr. Moore, about his efforts to uncover the brutality of the State sanctioned convict leasing and forced labor system (SLAVERY)! Also Mr. Sam Collins joined the conversation to talk about their collaborative efforts to preserve and protect some of our ancestors of legend,and locations in the state of Texas.

“Time for an Awakening” with Bro. Elliott 7-22-18 guest BFAA-Memphis Pres. Thomas Burrell


“Time For An Awakening” for Sunday 7/22/2018 at 7:00 PM  our guests was Activist, President, Black Farmers and Agriculturalists Association-Memphis, Thomas Burrell and Activist, Farmer, Bishop David Hall. We learned more about the lawsuit filed by Black Farmers against the Stine seed company, for fake seeds being sold to our Farmers in the Black Belt. Hear more about this and other topics from the President of BFAA-Memphis, Mr. Thomas Burell.


Study shows hair care products targeted to black community contain harmful chemicals

Certain hair products — many of which are used on black girls from birth to help straighten their hair — have been linked to such health issues such as diabetes, cardiovascular disease and breast cancer.

Certain hair products — many of which are used on black girls from birth to help straighten their hair — have been linked to such health issues such as diabetes, cardiovascular disease and breast cancer.


Hair products that for years have been targeted at the African American community may be causing health problems for its customers.

Researchers at the Silent Spring Institute, working with epidemiologist Tamarra James-Todd at the Harvard T.H. Chan School of Public Health, measured the concentrations of chemicals in 18 of these products. What they found was that each product contained four to 30 types of chemicals.

Many of the products contained fragrances with phthalates, which have been linked to obesity and increased risk of diabetes, cardiovascular disease, pre-term birth, preeclampsia and gestational diabetes, says James-Todd.

James-Todd says that after Native Americans, black women have the highest prevalence of diabetes in the US. She says they also have the highest proportion of pre-term births and are more likely to be overweight or obese.

“When you’re thinking about a lot of these metabolic or reproductive health outcomes, it’s really important to consider why that might be occurring and not simply attribute it to, ‘Oh, there must be some inherent underlying genetic differences,’” she says.

James-Todd, who is African American, says women in the black community have for decades felt social and cultural pressures “regarding what is seen as beautiful, with straight long hair being kind of the stamp of beauty,” especially in Western culture.

“And so, people will do different things to try to adhere to that standard of beauty,” she says.

What the majority of the public does not know, she says, is that currently there are no laws that require personal care product companies to disclose all of the substances that are going into their products, due to trademark agreements. There is movement in the US Senate to enact the Personal Care Product and Safety Act, which would develop a protocol by which products are tested before being placed on store shelves.

“We’re completely relying on the companies to test for the safety of our products,” James-Todd says. “That seems like a conflict of interest. The company is trying to make a profit … [even though] the average consumer thinks that if it’s on the shelf, it’s safe.”

Seeing the connections

James-Todd became interested in the topic of what chemicals go into hair products while a master’s student at Boston University. She read about a study that compared a magazine advertisement for an anti-aging cream in Ladies’ Home Journal, a publication targeting white women, versus an ad for a placenta-based product  — sheep placenta has become a mainstay ingredient in lots of leave-in conditioners — in Essence magazine, which targets black women.

“I’d walk into a black hair supply or hair care store, and see placenta and just wonder, what exactly is that for? Why are people using that?” she says. “Around that same time, an issue of Time magazine had come out, querying why were girls starting their periods earlier and earlier. And somehow that just kind of clicked for me.”

Shortly thereafter, there was a large study done that reported that 60 percent of black girls had reached their period by age 12, compared to about half of that for white girls.

“As a master’s student, that piqued my interest,” James-Todd says.

When she was working on his doctoral degree at Columbia University, James-Todd led a study around hair products being used in the greater New York metro area. The results backed up her theory: More girls were using hair oils for a longer period of time and those girls were much more likely to have their period earlier, which can significantly increase the likelihood of breast cancer.

Another study that served as inspiration, James-Todd says, was one in which four African American girls, ranging from four months to four years of age, showed they had all been developing breast and pubic hair — all of whom had mothers who were using hair oils and different types of products on them. An independent laboratory test confirmed that there were three types of estrogen found within the collection of products being used.

James-Todd says it is now known that about 50 percent of the products marketed to black women contain these controversial chemicals, compared to only about seven percent of products targeted to white women.

When James-Todd was conducting the hair products study in New York, several men would approach her and ask if they could take part as well. At the time, she was focused on breast cancer relating to women.

“It was kind of an ‘aha’ moment and so the reality is that black men are using these products, too,” she says. “Oftentimes, they wear shorter hairstyles and so if you think about it, the application of some of these products is that much more close to the scalp and absorbed through the scalp, and could have some similar health implications for diseases that are linked to some of these endocrine-disrupting chemicals.”

James-Todd has let her own natural hair be as curly as it wants to be ever since she was a girl growing up in Tennessee and saw her hair fall out after having a perm. She remembers, though, being an undergraduate student at Vanderbilt University and getting judgmental looks from fellow black women for choosing to not straighten her hair. Many thought she was from a different country.

“If I was American, I would not wear my hair this way,” she says of their collective thoughts. “And it’s been beautiful to see people embracing their hair. I am fragrance-free. I’ve been using the same product now for the past 30-plus years. Thank goodness it’s still on the market.”

James-Todd also uses the same product on her young daughter. She is a proponent of minimizing the amount of hair products one uses.

“As far as advocating for other women, I understand that some people don’t feel as comfortable doing that, or they think that it’ll affect their job or other issues,” she says. “But I think as society changes its standards of beauty, it’s been nice to see that being embraced.”

READ MORE AT: https://www.pri.org/stories/2018-06-18/study-shows-hair-care-products-targeted-black-community-contain-harmful-chemicals

Why the extraordinary story of the last slave in America has finally come to light

Oluale Kossola was taken from the Yoruba kingdom of Takkoi to Alabama in the 19th century.
Oluale Kossola was taken from the Yoruba kingdom of Takkoi to Alabama in the 19th century. Photograph: Courtesy of McGill Studio Collection, The Doy Leale McCall Rare Book and Manuscript Library, University of South Alabama

“We stand as living monuments,” wrote the historian Len Garrison, of the black British descendants of slavery and empire. “For those who are afraid of who they must be, are but slaves in a trance.” For Garrison, the idea of the African diaspora as “living monuments” was to some extent figurative. But a new book makes it literal. Barracoon: The Story of the Last Slave presents the remarkable fact that there were people alive in America who had experienced abduction from Africa – being examined, displayed, traded and enslaved – well into the 20th century.

The book is the story of Cudjo Lewis; a man born Oluale Kossola in the Yoruba kingdom of Takkoi. Kossola was the last survivor of the last known slave ship to sail from the African continent to America with a human cargo. Written in the 1930s, but hidden away from a public audience until now, it is also perhaps the last great, unpublished work by the Harlem Renaissance writer Zora Neale Hurston.

The word “barracoon” refers to the enclosures in which captives were held on the coast before being loaded on to ships. In Kossola’s case it was the Alabama vessel the Clotilda, which played its own gruesome part in the slave trade in 1860, half a century after its official abolition, transporting 130 men and women from the west African kingdom of Dahomey – modern day Benin.

By 1931, when Hurston interviewed Kossola – sweetening him with peaches, Virginia hams and late summer melons –, he was around 90 years old, and yet able, over a period of three months, to recall his life in Takkoi in great detail; his grandfather, an officer of the king; his mother and siblings; law and justice; love and adolescence. He spoke in heartbreaking detail of watching his community annihilated during a raid by Dahomey’s female warriors, leading to his capture and enslavement, the torture of the “middle passage”, and life in 19th and 20th century Alabama. Through all these years – many more lived in America than he had spent in his African birth nation – he never let go of the unspeakable loss of his homeland. When Hurston takes his photograph, Kossola dresses in his best suit, but removes his shoes, telling her: “I want to look lak I in Affica, ’cause dat where I want to be.”

The Point of No Return monument in Ouidah, Benin.
The Point of No Return monument in Ouidah, Benin. Photograph: Gallo/Getty Images

The uniqueness of the story and that of the writer who tells it are layered and intertwined. The old, poetic Kossola, generous with his parables and storytelling, is one of almost four million Africans enslaved late in the history of the transatlantic trade. And while the full history is documented in countless accounts of slave traders, merchants, plantation owners and masters, ledgers and auction records and court documents, the number of first-hand accounts of Africans forced to become Americans can be counted on two hands. It is Hurston, and perhaps Hurston alone, who could have drawn this heavy tale out of the often melancholy old man, and have the vision and skill to make it sing, in the way that Barracoon does, for reasons rooted deeply in her own life story.

Hurston was born in 1891 in Eatonville, Florida, a small town with an entirely black population, which she would later describe as “the city of five lakes, three croquet courts, 300 brown skins, 300 good swimmers, plenty guavas, two schools and no jailhouse”. She would keep close links to her hometown, despite leaving when she was just 13, and then drifting – working as a manicurist and achieving a degree part time at Howard University – until she arrived in New York in 1925. By then she was in her mid 30s (but convinced those whom she met that she was a full decade younger) and had – as she wrote later in her autobiography Dust Tracks on a Road – “$1.50, no job, no friends, and a lot of hope”.

Hurston began studying anthropology at Barnard College and, having received a fellowship to gather material in her home state, set about documenting African American folk traditions in towns like Eatonville, and later in the southern states, the Bahamas and Haiti. It was during this period, right at the beginning of her career, that she first met Kossola, interviewing him several times in the late 1920s. It was her first major project, but also her first major failure. An article she published about Kossola in the Journal of Negro History would be accused of plagiarism, allegations which scholars now contest, and which in any event drove Hurston to return to Alabama, to conduct the series of interviews that would form the core of Barracoon, and, this time, to do so in a manner that would cast the work beyond any doubt.

Zora Neale Hurston.
Radical approach … Zora Neale Hurston. Photograph: © Barbara Hurston Lewis, Faye Hurston, and Lois Hurston Gaston

Around this time, black art began asserting itself brazenly in an America still emerging from four centuries of slavery and legalised white supremacy, and the belief that the African had no civilisation to offer. By the time of her death in 1960, Hurston would have published more books than any other black woman in America. But it wasn’t until she caught the attention of sociologist Charles S Johnson, champion of the Harlem Renaissance and the editor of Opportunity, the official journal of the National Urban League (which published her work as well as that of Claude McKay, Langston Hughes and Countee Cullen), that she got her break.

Even within the Harlem Renaissance, Hurston’s approach was radical. Inspired by her Eatonville roots, she was instinctively compelled by the folklore, the idioms, customs, worksongs, spirituals, sermons, children’s games, folktales and practices of African American communities of the south. While other members of the black intelligentsia were celebrating racial uplift, and while hundreds of thousands fled the rural south in the “great migration”, in search of what they imagined to be progress in northern cities, Hurston was interested in “the Negro farthest down”. Her goal as an author, anthropologist and essayist, was – the scholar Karla Holloway has said – “to render the oral culture literate”.

“The unlettered Negro,” Hurston wrote, was “the Negro’s best contribution to American culture.” It was this belief which inspired Barracoon – a book in which there is little of Hurston herself, but plenty of her ideology, in capturing Kossola, a man whose culture slavery both created and destroyed. Like the language of some of Hurston’s later works – Mule Bone, the play she would write with Hughes in 1931; Mules and Men, a compilation of oral folklore in 1935; and her most famous work, the novel Their Eyes Were Watching God in 1937 – Kossola’s narrative plays the music of history itself within its tonalities, rhythms and inflections. But the narrative, like Kossola, stands apart from Hurston’s others; his speech is more a recognisably African Creole than the African American vernacular, and despite all his decades living in America, Kossola is steeped in the thought of Africa, the world – as he calls it – “in de Affica soil”. Hurston’s fidelity to the manner and content of Kossola’s storytelling is the book’s strength. Yet within it were also contained the seeds of Barracoon’s downfall. When Hurston took the manuscript to publishers, they wanted her to anglicise his English, which she resolutely refused to do.

American slaves on a plantation in South Carolina, 1862.
American slaves on a plantation in South Carolina, 1862. Photograph: Alamy Stock Photo

“Hurston was not interested in, as Toni Morrison might put it, the white gaze, and how ‘they’ would perceive us,” explains Deborah Plant, a Hurston scholar who edited Barracoon. “She was interested in what was specific in African American culture, those aspects which were rooted in African tradition, African history, African civilisation, because in that authenticity lay the genius – the spirit, as Hurston describes it – that which the soul lives by.”

For Cheryl Wall, Zora Neale Hurston professor of English at Rutgers University, “this impatience with Hurston’s determination to transcribe Kossola’s speech faithfully is enormously frustrating”. It was “part of the pattern of Hurston’s life that she had to fight so hard to have her voice heard, and the voices of those whose stories she wanted to tell. We are told the dialect is too difficult. Is it really any more difficult than the dialect of Mark Twain or James Joyce? Yes it requires some extra effort, but it’s the kind of effort we usually put into a literary text without complaint.”

The irony is astounding. Kossola, a man denied his home and his voice by American racism, would have the telling of his story silenced too. Barracoon, having been met with intransigence by publishers, remained unpublished, ending up in a private collection that was passed to the archive at Howard University in 1956, where it remained inaccessible to all but a handful of scholars who read it and cited it in their work.

Hurston found her own life mirroring this cycle of narration and dispossession. After the success of her work in the 1930s and 40s, her hugely productive career spiralled downwards. She lived hand to mouth, writing articles for magazines while working at odd jobs, including one stint in Miami for an employer who saw her byline in the Saturday Evening Post and tipped off a reporter that the author was her maid. Hurston was humiliated, and spent the next decade in a series of small towns in Florida, plagued by health and money problems, until she ended up in a welfare home where she died, penniless, of heart disease in 1960.

A slave’s cabin at the National Museum of African American History and Culture.
A slave’s cabin at the National Museum of African American History and Culture, Edisto Island, South Carolina. Photograph: Courtesy of NMAAHC

At the time of her death, none of her seven previously published books was in print. Neighbours collected money for her funeral and it made front page news in the local black weekly, the Fort Pierce Chronicle. But she was buried in a segregated cemetery, in an unmarked grave.

For the novelist and feminist Alice Walker, who in 1973 set out to discover what had become of Hurston, finding this grave in a “field full of weeds” was a devastating experience. “There are times,” wrote Walker, “and finding Zora Hurston’s grave was one of them, when normal responses to grief, horror and so on do not make sense because they bear no real relation to the depth of emotion one feels.” Walker was determined to restore Hurston’s legacy and reputation. She obtained a gravestone, and had it inscribed with the words: “Zora Neale Hurston – A genius of the south. Novelist. Folklorist. Anthropologist.”

Their Eyes Were Watching God, still considered Hurston’s greatest work, was soon back in circulation. That edition, by the University of Illinois Press, sold more than 300,000 copies, making it, as Wall says, “one of the most dramatic chapters in African American literary history”.

The publication of Barracoon thus represents a recovery within a recovery; the works of Hurston having been so dramatically resurrected, but this one languishing in obscurity until now. And its publication comes at an emotive moment in the African American experience – an experience loaded not just with historical trauma, but very contemporary pain. Alice Walker writes, for example, in the foreword to the book, that in reading Kossola’s story, African Americans “are struck with the realisation that he is naming something we ourselves work hard to avoid, how lonely we are too in this still foreign land”.

Karla Holloway, professor of English at Duke University, says: “The irony is that the loneliness that echoes through Kossola’s account, and that Walker so poignantly notices, is our collective legacy.

“We work hard to escape and slip past that loneliness, but inevitably we are captured, again, by the wake of slavery, a tidal wash as reliable as moonrise.”

The era of Black Lives Matter, of harassment in coffee shops, of a president who has been both overtly racist and also dismissive of racism, and of the disappointment at the first black president having been able to make little real change to poverty, criminalisation and exclusion, has produced a moment in which the struggle has never been more apparent, yet the cultural expression of that suffering has never been more visible.

Illustration by Swain, from 1835, of slaves being put into the hold.
Illustration by Swain, from 1835, of slaves being put into the hold. Photograph: Rischgitz/Getty Images

“I do think one of the reasons that the book is so attractive right now is that there is this longing for African Americans to have access to a pre-US life – a connection to Africa,” says Autumn Womack, an assistant professor of English and African American studies at Princeton University. “If nothing else, Barracoon announces the desire for this kind of connection, even if it’s never really fulfilled. People are searching for a vocabulary to make sense of that.”

That struggle is finding expression in film, TV and theatre that focuses on the experience of slavery; from the Oscar-winning 12 Years a Slave, the remake of the memorable series Roots and the multi-award-winning musical Hamilton. It is present in pop culture, with the recent phenomenon of Childish Gambino’s “This Is America”, whose video references the violent brutalisation of African Americans. There are new museums – America’s first of African American history, which opened in 2016; the Whitney Plantation, the first plantation museum on American soil; and the nation’s first memorial to the horrors of lynching, in Alabama.

It is abundant in literature too; Colson Whitehead’s The Underground Railroad and other influential books such ass Isabel Wilkerson’s The Warmth of Other Suns, which tells the story of the Great Depression in new and profound detail; Stamped from the Beginning, by Ibram X Kendi, which chronicles the lifespan of American racism; Angie Thomas’s The Hate U Give, radicalising readers of young adult fiction to the injustice of police killings; and Jesmyn Ward’s devastating Sing, Unburied, Sing.

The pathos of the African American experience, told with such tenderness in Barracoon, is matched by its complexity. Hurston herself remarked that in writing Kossola’s harrowing account of how the king of Dahomey profited from raiding and selling members of neighbouring kingdoms, she was deeply affected by the question of African complicity in the slave trade. “The inescapable fact that stuck in my craw,” Hurston wrote, “was my people had sold me and the white people had bought me. That did away with the folklore I had been brought up on – that white people had gone to Africa, waved a red handkerchief at the Africans and lured them aboard ship and sailed away.”

And yet Barracoon also helps deepen the understanding of the context in which slavery took place. “This idea of ‘African complicity’ is more myth than a reality,” Plant says. “Because at that point in history, there was no such thing as an ‘African’. People on the African continent did not self identify as Africans; instead there was a self identity in relation to specific ethnic groups and specific kingdoms, religions or language. So many of us don’t know, because we don’t have these nuances about our history.”

The absence of stories like Kossola’s has hardly helped bring these nuances to the fore. There are other difficult questions arising from the book about the extent to which the African American victims of slavery internalised the attitudes of their oppressors. Kossola recalls how his children in particular endured bullying from neighbouring African Americans, for having two African-born parents.

“All de time de chillun growin’ de American folks dey picks at dem and tell de Afficky people dey kill folks and eatee de meat,” Kossola recounts in Barracoon. “Dey callee my chillun ig’nant savage and make out dey kin to monkey … It hurtee dey feelings.”

“Those acculturated African Americans could have been more open, more receptive, compassionate, and they weren’t,” Plant says. “They were a source of hostility to Kossola and his community. We can explain or rationalise it, but it doesn’t justify it.” The book’s uniqueness is in its recounting of a story in which we are all equally bound up by this cycle of oppression – the former slave plagued by the trauma of losing his homeland and family, the writer whose work survived the desire of intellectuals for white approval, the reader forced to challenge their own ideas about race and the internalisation of oppression. But more than anything it brings an African past up close to an African American present, at a time of great searching. “Throughout her life, Hurston fought against this idea that there was no connection to Africa once people arrived on these shores, and everything was forgotten,” Wall says. “We know that’s not true. But a book like this really brings that to life.”

Barracoon: The Story of the Last Slave by Zora Neale Hurston is published by HarperCollins.

READ MORE AT:  https://www.theguardian.com/books/2018/may/26/why-the-extraordinary-story-of-the-last-slave-in-america-has-finally-come-to-light

The Last Poets: the hip-hop forefathers who gave black America its voice

Jalal Mansur Nuriddin, Abiodun Oyewole and Umar Bin Hassan. Photograph: Michael Ochs Archives

By Rebecca Bengal

You can trace the birth of hip-hop to the summer of 1973 when Kool Herc DJ’d the first extended breakbeat, much to the thrill of the dancers at a South Bronx block party. You can trace its conception, however, to five years earlier – 19 May 1968, 50 years ago this weekend – when the founding members of the Last Poets stood together in Mount Morris park – now Marcus Garvey park – in Harlem and uttered their first poems in public. They commemorated what would have been the 43rd birthday of Malcolm X, who had been slain three years earlier. Not two months had passed since the assassination of Martin Luther King. “Growing up, I was scheduled to be a nice little coloured guy. I was liked by everybody,” says the Last Poets’ Abiodun Oyewole. He was 18 and in college when he heard the news. “But when they killed Dr King, all bets were off.”

That day led to the Last Poets’ revelatory, self-titled 1970 debut of vitriolic black power poems spoken over the beat of a congo drum. Half a century later, the slaughter continues daily, in the form of assaults, school shootings and excessive police force. “America is a terrorist, killing the natives of the land / America is a terrorist, with a slave system in place,” Oyewole declares on the Last Poets’ new album, Understanding What Black Is, in which he and Umar Bin Hassan trade poems over reggae orchestration, horns, drums and flute. It’s their first album in 20 years, reminding a new generation of hip-hop’s roots in protest poetry.

The Last Poets – When the Revolution Comes.

“Ghostface Killah and RZA [from the Wu-Tang Clan] will bow down when they see us,” Oyewole says. “People say we started rap and hip-hop, but what we really got going is poetry. We put poetry on blast.” The Last Poets’ poems have been sampled or quoted by NWA, A Tribe Called Quest, Public Enemy and many more; the rapper Common’s Grammy-nominated 2005 song The Corner features the Last Poets (as well as Kanye West) representing the old-school guys in the neighbourhood who explain how black power rose up from the streets. “The corner was our Rock of Gibraltar,” Bin Hassan says in the song. “Power to the people!”

The late Gil Scott-Heron, meanwhile, is often mistakenly believed to have been a member of the Last Poets. Rather, they were contemporaries, the connective tissue between the rap, hip-hop and spoken word genres they helped inspire, and their own direct influences: jazz and Langston Hughes and the words of their slain leaders. “‘I been to the mountaintop!’” Oyewole says, quoting King’s final speech when I visit him. “Ain’t nothing but a poem.”

On this Sunday, as with almost every Sunday for the last three decades, Oyewole is hosting the Open House poetry workshop in his Harlem apartment, a 20-minute walk from the spot where the Last Poets once spoke their first words. The door is cracked open for the stream of visitors who will fill the seats all afternoon and evening. Oyewole rarely reads his own work, but instead serves as teacher, leader and cook (“I do this to repair myself,” he says). There are homemade salmon croquettes, shrimp grits and potatoes waiting in the kitchen. Fifty years of vintage posters and framed awards adorn the walls in the corridor – a literal hall of fame – while others are covered with masks from Oyewole’s travels all over Africa and South America.

When he was growing up, Oyewole says, his father “raised me to hard work” – weeding the garden in Jamaica, Queens – “and I got love overtime from my mother”. He calls two women mother, including the aunt who raised him and demanded he learn to clearly recite the Lord’s Prayer so she could hear every word in the kitchen. Now 70, wiry, energetic, and having received his chosen name in a Yoruba religious service, Oyewole still uses his voice like an instrument, dramatically dialling it up and down in volume for emphasis in the free-ranging conversations that take place in his living room: basketball, the novels of Chinua Achebe, the backlash election of Donald Trump. “All Barack Obama got to do was clean up the mess made by the Bush administration. Pride was restored, money was restored. But that’s all black folks has ever done, cleaning up. We’ve been the biggest servants this country has ever seen.”

In the early 70s, when the Last Poets’ first album began to attain popularity, Oyewole was in prison. He had been studying at Shaw University in Raleigh, North Carolina, and robbed a local Ku Klux Klan meeting. “I have a strong distaste for guns now,” he says. “But back then I treated my .38 Special like it was my wallet.” During his three-and-a-half-year sentence, Oyewole’s good behaviour permitted him study leave. On school days, as part of his study, he would visit a radio station and read out entire books on the air, which were then broadcast in the evenings. “I’d come back to my cell after class and guys would holler: ‘I got you on my headphones, New York!’” he says. These days, when he teaches poetry workshops to teenage girls incarcerated at Rikers Island, he exhorts his students to educate themselves. “I tell them: you put a top hat on time and you learn how to get time to serve you!”

The Last Poets today … Abiodun Oyewole, Baba Donn Babatunde, and Umar Bin Hassan.
The Last Poets today … Abiodun Oyewole, Baba Donn Babatunde, and Umar Bin Hassan. Photograph: PR

Last Poets drummer Baba Donn Babatunde drops by and Oyewole introduces him as the heartbeat of the group. Impressively tall, he wears a gold pendant on his dress shirt in place of a tie and speaks in a serious, mellifluous baritone. When he was 11, his activist mother turned him on to the Last Poets; since 1991, when he joined the group that so inspired him, he tries to summon in his drumming “the spirit, the anger I felt when I first heard those poems. What I do is the dramatisation of those words, carrying them rather than fighting them.”

By and by others drift in. “Can I play your drum?” a guy called Jason asks as he wanders in. In his early 20s, he smokes some dope and grows quickly impatient. “Check this out!” Jason pleads, pausing to cue up a phone recording of himself playing at home.

Oyewole isn’t having it. “I don’t want to hear your damn gadget!” he explodes. He refuses to use a mobile phone. “In 1972, in my poem Mean Machine, I wrote: ‘Synthetic genetics controls your soul,’” he says. “Who would I be if I had one of those things now? Some of them here get up and read their poetry right off their gadgets. I tell them: that thing is a wall between us and you.”

He is equally harsh on those who blame their circumstances for their troubles, a philosophy Bin Hassan shares. One of Bin Hassan’s poems on the new record, NEWS (North East West South), is a moving response to the death of Prince, who was a fan of the group. “I grew up black in the midwest; I had a creative father who could be abusive,” Bin Hassan says a few days after the workshop. “The kid in Purple Rain is named Jerome, and that’s my real name. So when I saw the film, I felt like it was my life story, too. But you can’t get hung up – you have to use that and move on.” Bin Hassan moved to Baltimore several years ago and, in between writing poems, he looks after his grandchildren. “I cleaned up,” Bin Hassan says, having fought a crack addiction, “and I’m thankful I’m still here.”

Rain Maker, a 20-year veteran of the workshop, runs through poems for a gig in Albany the next night. Albe Daniel, an actor and poet who calls Oyewole a surrogate father and addresses him as “Pops”, brings his daughter Katie, six. A poet called Miriam strides up to Oyewole’s chair: “This is Ramesses!” she says proudly, and a tiny face peeps out from a carriage. “Well, well,” says Oyewole, smiling. “I just got off the phone with my own son, Pharaoh.” A guy who introduces himself simply as Born brings bags of wine and groceries; soon there’s frying in the kitchen, Lauryn Hill on a mini-stereo by the stove, the happy chaos of a little party in the making.

At about 8pm, Oyewole shuts everyone up. “We’re getting ready to do poetry!” he shouts and everyone dutifully lines up. Immediately, a chorus of 15 or so voices – young and old, all persons of colour – recites in bright, powerful unison: “I want to be who I want to be …” This is the “pledge”, committed to memory by every workshop poet, written on the fly by Oyewole years ago when he was doing a school visit in Brooklyn’s Bedford-Stuyvesant district and a sharp-eyed student noticed he hadn’t recited the US pledge of allegiance. “I don’t sing no Star-Spangled Banner – that’s a war song!” he responded. “And I tell you what, I got a better pledge than that one.”

“I want to feel good about me, and blame no one for my misery,” the poets continue in collective, syncopated rhythm. “I want to say what I know, to make my brothers and sisters grow.”

“Baby, that’s a mouthful!” Oyewole says, his eyes lighting up. It’s time for the workshop participants to step up.

A guy in his 20s rises, mumbles his name inaudibly. He recites his poem over familiar music, the instrumental of Childish Gambino’s Redbone. “You got a flow,” Oyewole acknowledges, “but I want to see you being totally original.”

A discussion about artistic theft ensues. One of the best-known homages to the Last Poets arrived via Notorious BIG’s debut single, Party and Bullshit. Recently, a judge dismissed a lawsuit in which Oyewole alleged that Biggie, Rita Ora and other artists, infringed on copyright and used the lyrics in a “non-conscious” way, corrupting the original message.

“When the revolution comes, some of us will probably catch it on TV, with chicken hanging from our mouths,” the Last Poets chant on their debut. “When the revolution comes …!” The line in question is one they say in a rhythmic chorus: “But until then you know and I know niggers will party and bullshit, and party and bullshit …” The rhythm is echoed in Biggie’s recitation of the line. “It’s like prophecy, Pops!” Albe Daniels says. “Y’all called it. The revolution came and they were all partying and bullshitting.”

Abiodun Oyewole performing in 2006.
Abiodun Oyewole performing in 2006. Photograph: Johnny Nunez/WireImage

Vanessa, a New York-raised teacher in her early 40s with family back in Haiti, waits through a few protracted rounds of talk before the room shushes again. “May the dust of your slain sisters stick to the soles of your feet when you walk,” she reads midway through her poem and Oyewole stops her. “Do that line again!” he shouts appreciatively. “That was so fucking powerful.”

At midnight, the open house is closed. “I tell them all to scatter like mice!” Oyewole says. At seven the next morning, like every morning till 12.30pm, he will return to his desk and write facing east, to Marcus Garvey park. “I look east because that’s where the sun rises,” Oyewole says. “That’s where life begins.”

READ MORE AT: https://www.theguardian.com/music/2018/may/18/the-last-poets-the-hip-hop-forefathers-who-gave-black-america-its-voice


VOA: Enemy of Zimbabwe and Africa

Obi Egbuna Jr

Apr 21, 2016

While Zimbabweans were celebrating their 36th anniversary of independence one of the main propaganda outlets of US Imperialism Voice of America(VOA) had the audacity to host a forum entitled Zimbabwe at 36:  The Way Forward that included a panel discussion with the theme Zimbabwe’s Future: Changes and Challenges.  The participants were Mr. Gregory B. Simpkins the staff director for the US House Subcommittee on Africa, Global Health and Human Rights, Reverend Issac Mwase of the Zimbabwe Diaspora Network, African Democracy Network and the AGOA Civil Society Network, and Mrs. Sibongile Sidilie Sibanda who previously worked for the Minerals Marketing Corporation of Zimbabwe but now represents Trusted Touch Healthcare LLC which she founded in 2011 the base of operations for TTH LLC is Rockville, Maryland just outside of Washington DC.


What the VOA demonstrated on Zimbabwe’s Independence Day through their neo-colonialist pet project Studio 7 created in 2003, is as long as they are in existence, those Zimbabweans who have decided to follow the trail of their countrymen and women who fought side by side with the British and Rhodesians during the 2nd Chimurenga, will always have a safe haven to openly and unapologetically plan the demise of their government country and people in the name of human rights and democracy.


It is important for the everyday Zimbabwean and African at home and abroad to understand that VOA is part of an Imperialist media conglomerate called the Broadcasting Board of Governors(BBG) that was connected to the United States Information Agency until 1999. The BBG has 8 bi-partisan members who are directly appointed by the President of the United States and confirmed by the US Senate, according to law no more than 4 members can belong to either the Democratic or Republican Party, the US Secretary of State is the ex-officio of BBG. In 1990 the Clinton administration established a Bureau of Broadcasting to consolidate three broadcasting services VOA Worldnet Film and Television service and of course arguably their most reactionary  media creation Radio and Television Marti .


The BBG has an annual budget of 713 million US dollars whose main goal as they like to put it is to deliver accurate news and information to significant audiences overseas and to serve as trustworthy news and as an example of a free professional press in countries that lack independent media.

Their list of strategic targets include VOA Middle East Broadcasting Networks Radio Free Europe/Radio Liberty Radio Free Asia and as aforementioned Radio and TV Marti.

What the annals of history demonstrate is whatever nation on earth that VOA gives an unusual amount of attention to, suggests that US Imperialism desperately wants to bring about a regime change and until the political atmosphere has been created to successfully execute their plan, the goal is to make the diplomatic representation of that country have sleepless nights pondering how to respond to the malicious propaganda efforts of VOA firmly backed up by BBG and the White House US Senate and Congress.

When visitors and residents of Washington DC visit VOA the first thing that catches your attention are the huge images and quotations of former US Presidents along with puppets of US Imperialism whose political parties and installations were created and bankrolled right there in the Nation’s capital.

Some of the standouts include Ronald Reagan saying “VOA will not compromise the truth”

The former President of Poland Lech Walesa saying “There would be no victory over communism without the Voice of America” and lastly the Cuban Oswaldo Paya Sardinas who founded the Christian Liberation Movement in Cuba quoted as saying VOA programs represent the ideal medium to inform Cubans about the need to reform the political process in Cuba. For his efforts to bring about regime change in Cuba Mr. Sardinas received the Sakharov Prize from the EU parliament, the Need’s Homo Homini award and just like the former Prime Minister of Zimbabwe Morgan Tsvangirai was a recipient of the W. Averell Harriman Award created by the National Democratic Institute.


It appears the goal of VOA studio 7 who in addition to Zimbabwe targets South Africa,Mozambique,Namibia,Malawi,Botswana and Zambia, is to one day reach the heights of Radio and TV Marti in Cuba however forums like the one held on Zimbabwe’s Independence Day, challenge the very authenticity of VOA’s charter specifically the third statute that states VOA will present the policies of the United States clearly and effectively, and also present responsible discussions and opinion on these policies.

When Mrs. Sibanda stated that Zimbabweans in the diaspora are not allowed to vote she failed to mention the political makeup and aspirations of this constituency, if these Zimbabweans she speaks of belong the either faction of MDC or the civil society community financed by both the National Democratic Institute and National Endowment for Democracy, it would not be realistic for President Mugabe and ZANU-PF to take this into consideration. Mrs. Sibanda raised the point that for this reason she has a fear and lack of confidence in the financial sector, but failed to answer a question concerning how she felt as an entrepreneur about Zimbabwe being deliberately excluded from the US Africa business forum that the Obama administration hosted two years ago.


The most interesting comments came from Reverend Mwase who when asked his opinion of Zimbabwe’s Minister of Tourism and Hospitality Dr. Eng Walter Mzembi engaging not only the Corporate Council of Africa a few weeks ago but Zimbabwean citizens in Dallas, Texas, who along with Zimbabweans in Atlanta make up the largest groupings inside US borders claimed he had no idea Minister Mzembi was in the country. An interesting question is how does a Zimbabwean who oversees a network of his countrywomen and also men and established the African Democracy Network and the AGOA civil society network a coalition of African NGOS whose focus is the implementation of the African Growth and Opportunity Act not have any knowledge that a Minister of his Government is coming to address a body with the stature of CCA yet the main body of Zimbabweans in the diaspora receive him with open arms.

A rather troubling but predictable dynamic was VOA on Zimbabwe’s Independence Day allowing Mr. Simpkins to have the bulk of the time, which meant what was advertised as a forum ended up looking like the individual there to represent US interests received preferential treatment, because the Zimbabweans in attendance were they to reinforce their loyalty to VOA and US-EU imperialism

No one in their right mind would expect them to express any displeasure with this setup.

When Mr. Simpkins was questioned about the recent decision of the Office of Foreign Assets Control targeting the Chemplex Corporation and the Zimbabwe Fertilizer Company, he not only failed to give an informed and appropriate answer, but appeared openly disturbed because it is rather uncharacteristic for a point with that spin to be raised at a VOA sponsored event. After the event Mr. Simpkins reiterated he is not an enemy of Zimbabwe, but with friends who absolve US-EU Imperialism of any wrong doing concerning Zimbabwe past or present there is no need for enemies.


The behavior of these particular Zimbabweans is by no means a phenomenon that captures reactionary habits and tendencies of individuals born and raised in the country’s 10 main provinces exclusively. Their willingness to form an alliance with VOA is the historical equivalent of some of our ancestors on the slave plantations, who chose to become slave-catchers instead of working with Sister Harriet Tubman on the Underground Railroad or taking part in the epic slave rebellions Africans organized everywhere in the Western Hemisphere where we languished as chattel in captivity. Their social demeanor and political posture also brings back painful memories of the misguided and brainwashed Kenyans who opted to fight for the British King’s rifles in Kenya as opposed to the Land and Freedom Army better known as Mau Mau.

Because US Imperialism was constructed at the expense of the indigenous people of the Western Hemisphere, we understand why the presence of President Mugabe and ZANU-PF sends chills up their spines, they can never be comfortable dealing with a government and people who truly represent homeland security.


Obi Egbuna Jr is the US Correspondent to the Herald and the external relations officer of ZICUFA(Zimbabwe-Cuba Friendship Association) his email is  obiegbuna15@gmail.com

The Perils of Being a Black Philosopher


This is the second in a series of dialogues with philosophers on violence for The Stone. This conversation is with George Yancy, a professor of philosophy at Emory University and author, editor, co-editor of many books, including “Look, a White!” — Brad Evans

Brad Evans: In response to a series of troubling verbal attacks you recently received following your essay in The Stone in December, “Dear White America,” the American Philosophical Association put out a strongly worded statement criticizing the bullying and harassment of academics in the public realm. But beyond this, shouldn’t we address the broader human realities of such hateful speech, and in particular, how this sort of discursive violence directly impacts the body of the person attacked?

George Yancy: Your point about discursive violence is an important one. Immediately after the publication of “Dear White America,” I began to receive vile and vitriolic white racist comments sent to my university email address, and verbal messages sent to my answering machine. I even received snail mail that was filled with hatred. Imagine the time put into actually sitting down and writing a letter filled with so much hate and then sending it snail mail, especially in our world of the Internet.

The alarming reality is that the response to “Dear White America” revealed just how much racism continues to exist in our so-called post-racial America. The comments were not about pointing out fallacies in my position, but were designed to violate, to leave me psychologically broken and physically distraught.

Words do things, especially words like “nigger,” or being called an animal that should go back to Africa or being told that I should be “beheaded ISIS style.” One white supremacist message sent to me ended with “Be Prepared.” Another began with “Dear Nigger Professor.”

The brutality and repetitiveness of this discursive violence has a way of inflicting injury. Given the history of the term “nigger,” it strikes with the long, hate-filled context of violence out of which that term grew. This points to the non-spectacular expression of violence. The lynching of black people was designed to be a spectacle, to draw white mobs. In this case, the black body was publicly violated. It was a public and communal form of bloodlust. There are many other forms of violence that are far more subtle, non-spectacular, but yet painful and dehumanizing. So, when I was called a “nigger,” I was subject to that. I felt violated, injured; a part of me felt broken.

Only now have I really begun to recognize how discourse designed to hurt can actually leave its mark. I recall after reading so many of these messages I began to feel sick, literally. So, words can debilitate, violate, injure; they can hit with the force of a stick or a stone and leave marks on the body. In this case, I began to feel the posture of my body folding inward, as it were, under the attacks. Franz Fanon talks about this as not being able to move lithely in the world.

The implication of those messages was that to be black and a philosopher was a contradiction.

B.E.: How does this relate to the intellectual history of racial persecution, oppression and subordination, especially the denial of the right of black people, and specifically black intellectuals, to speak with their own voice in a public setting?

G.Y.: I shared some of the malicious discourse used against me with some very prominent white public intellectuals. We began to exchange experiences. The exchange was helpful to me; it helped me to understand what is at stake when engaging in courageous speech. What was immediately clear, though, was the absence of specifically racist vitriol directed at these white public intellectuals, which in no way downplays their pain. Yet we must bring attention to the difference, to the perils of being a black intellectual. Not only was I being attacked for my courageous speech; I was being attacked as a black man. Yet I was also being attacked as a black philosopher.

There were some very nasty remarks that were designed to question my status as a philosopher because I’m black. The implication of those messages was that to be black and a philosopher was a contradiction, because “niggers” can’t be philosophers. So, I agree; the discourse was far more pernicious. But to understand this is to come to terms with the history of white violence in this country used to control and silence black people.

To see my experience as a single episode or an anomaly is to deny the logic of the long history of white racist violence. bell hooks recalls that as a child she thought of whiteness as a site of terror. In a country in which white people would brutalize and kill a black person on a whim, that is far from irrational.

For centuries, black people lived in fear of white terror. That fear partly captures the contradiction of being black and an American. Black people were not the American “we,” but the terrorized other. The symbols of white sheets and cross burnings must be recalled. Think here of black World War II veterans who returned home from the war and were severely beaten and lynched by whites, even as they wore their uniforms. They fought against Hitler only to return home, to the land of “democracy,” to be attacked by what might be called white terrorists.

Or think here of the slave trade, the institution of American slavery, black codes, convict leasing, the lynching of black men and women and the flaying of black flesh, the castration of black men, being burned alive. Violence, within these contexts, is a specific racialized form of inculcating black people with fear and controlling their social mobility. There is nothing episodic about it; this form of white violence is historically grounded and systematic.

The coldhearted use of white violence was very effective. Not only were there actual beatings, there was the fear of possibly being beaten. So, the black imagination, though never defeated, was weakened. The lynching of a black person wasn’t just a form of theater (where the root meaning suggests a kind of “beholding”), but a way of communicating fear and terror through mass displays of violence. For someone white, the spectacle was a sport, a kind of national pastime activity, but for a black person, one could always imagine that one was next, and thereby stand in fear of what could happen at any moment.

Cornel West talks about the “death shudder” as a kind of existential moment of realization that one is finite. I think that we are all open to experience that dreadful sense of our existence coming to an end. However, when black life is forever in a “state of exception,” it is an additional weight. Black people not only experience the death shudder, but a specific kind of shudder that involves an emotional intensity that speaks to the disposability of black life.

For example, the other day, a white police officer walked into a store where I was buying some food and I remember feeling this powerful sense of wanting to flee, of feeling as if the rules and laws that are designed to govern our (white) society didn’t apply to me. I could move “too quickly,” placing my hand into my pocket to pay for my food, and my life would end just like that. The white police officer would explain how he felt “threatened” and had “reasonable” suspicion. And I would be dead.

More From The Stone

Read previous contributions to this series.

B.E.: These connections between the continuum of racial violence and the terrors of the everyday are crucial to understanding the normalization of humiliation and the outright denial of the most basic qualities that make people feel part of a society and “human,” as such. This demands a more serious intellectual engagement with the “marking out” of the black body as incapable of philosophical thought and deliberation. Does this make a return to thinkers such as Aimé Césaire and Frantz Fanon all the more relevant in the contemporary period?

G.Y.: Yes. And racial violence takes many forms and raises larger issues. For example, Judith Butler’s concern about questions of grievability is important. Racial violence is linked to forms of racial vulnerability, disposability and our tendency as a nation to grieve the deaths of certain racialized persons and not others. The disproportionate number of poor black people affected by Hurricane Katrina, or the sentencing disparities when it comes to locking up black people for nonviolent offenses, or the shooting in the back of Walter Scott by the white police officer Michael Slager are all examples of forms of racialized disposability. They speak to how black humanity is deemed of little or no human value.

The process of marking the black body as incapable of philosophical thought is longstanding. It is one of those major myths that grew out of Europe, even as Europe championed “humanism.” The poet Aimé Césaire, through immanent critique, knew that European humanism was a farce. Of course, Jean-Paul Sartre knew this as well. And Fanon knew what it was like to embody reason and have it denied to him. In “Black Skin, White Masks,” he argued that when he was present, reason was not, and when reason was present he was no longer. So, one might argue that reason and black embodiment, from this perspective, are mutually exclusive. And yet, at the end of that text, Fanon says, “My final prayer: O my body, make me always a man who questions!”

Fanon appeals to something that is beyond abstract political rights discourse. He appeals to his own body, something concrete and immediate. Fanon asks of his body not to allow him to be seduced by forms of being-in-the-world that normalize violence and dehumanization. Doubt can be linked to critique. In a society that hides beneath the seductions of normalization, critique is undesirable and deemed dangerous. Yet in our contemporary moment, the fulfillment of Fanon’s prayer is desperately needed.

America needs a movement that transcends the civil rights movement.

These examples are manifestations of a racialized, selective misanthropy. This is why I have such a negative visceral reaction to Donald Trump’s promises to build a wall along the Mexican border. That discourse is one of labeling certain bodies as “unwanted,” “deviant,” “sub-persons.” And to say that Mexico is sending “rapists” to the United States is a form of deep insult, of marking certain bodies as violent and pathological. Trump is, sadly, able to play on the racist biases and fears in many white people. It is a divisive tactic that exploits both latent and manifest bigoted assumptions in many white Americans. It is not by accident that David Duke, a former Grand Wizard of the K.K.K., supports him.

B.E.: As you point out, a conceptualization of political rights must also include the right for the marginalized to critique power. Does philosophical inquiry have to do with the ways we might reconceptualize the meaning of rights, especially considering that the denial of persons’ humanity often occurs within normative legal frameworks?

G.Y.: Absolutely. After all, slavery, which was a vicious, death-dealing and violent institution, was legal. I think that rights-based discourse is necessary, but there is this sense in which rights can be given and, by implication, taken away. Within this context, I think that America needs a movement that transcends the civil rights movement. Applicative justice might be necessary, but not sufficient. Imagine a scenario where justice is being applied across the board, and the rights of people are being upheld. In a country like ours, saturated by racism, that scenario might still involve blacks being hated, seen as “inferior,” as sub-“persons.” In such a world, white people can continue to insulate themselves from the “others.”

We are desperately in need of a movement that shakes us at the very core of how we think about ourselves as individuals, masters of our own destiny. While this isn’t philosophically fashionable, I want to know what it means to love with courage. What would it mean to make love an integral feature of moral reasoning, the kind of love that risks profound ways of being mutually vulnerable, of placing no limits on who we call our neighbors? This means radically changing how we currently relate to one another. I recall when we killed Osama bin Laden in 2011 that there were Americans who were cheering. As unpatriotic as some will say I’m being, we must keep in mind that bin Laden was someone’s son, father and husband.


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This speaks to the limits of our moral imagination as a nation. Can you imagine President Obama saying at a press conference that he is sorry that we killed bin Laden, that we loved him as a human being despite his violence? Can you imagine what would happen if Israelis and Palestinians were to cease their “peace” talks and radically deploy a discourse of love? Imagine the many whites who read “Dear White America” saying to me: “We return the love to you that you’ve shared with us!” I think that we are an impoverished nation when it comes to loving our “enemies.” God bless America is an empty politicized gesture if we are not also saying God bless our “enemies.”

B.E.: There is an ethical aspect to “Dear White America” — particularly the honest reflections put forward regarding your own prejudices and fallibilities when it comes to relations of power. While a critique of violence demands attention to historical forces of domination and exploitation, it also asks how each of us shamefully compromise with power, often against our better judgments.

A critique of violence must include an understanding that one doesn’t escape the many ways in which one perpetuates violence

GY: Yes. This raises the issue of complicity. As I discussed in the essay, there are ways in which I have been shaped to believe that looking at women with a dominating gaze or desiring women only for sexual pleasure is “normal.” Yet it is this process of “normalization” that produces a kind of “walking dead” mentality where many of my social practices (sexual desire being one, fixed gender role expectations being another) support the oppression of women. The process of normalization is often so effective that there isn’t much resistance coming from one’s “better judgment,” especially as one’s better judgment has already been defined by the terms of normalization.

In this case, one’s “better judgment” has already been compromised, has already become an extension of the power of normalization. Your use of the term shameful is important. Shame implies a powerful sense of disgrace. It is not limited to the assignment of blame, which is more like guilt. Shame suggests the sense of disrupting one’s ethical “certainty,” or business as usual. After all, one can be guilty without ever feeling shame.  So, violence, for me, has to be attended to at those levels where we are going about our business as if we are not doing violence to other individuals.

The fact that we don’t hear cries of pain doesn’t let us off the hook. Ethical discourse and practice must be imbued with an effort to remain honest, especially about one’s own ethical shortcomings and the pain and suffering that we cause others.

A critique of violence must include an understanding that one doesn’t escape the many ways in which one perpetuates violence — violence against those who we may never see face to face, violence against those who are closest to us, violence against the earth, and perhaps even violence against one’s own sense of self-integrity.

Violence is all around us. Yet we prefer to remain asleep — the walking dead. For me, personally, the more I become aware of the magnitude of violence in our world, what many of us would rather deny or not see, the more I enter into that space of the “dark night of the soul,” a place where dread and hopelessness reside. The objective, though, is to continue, to remain awake, to keep fighting for a better world even as one endures the dark night of the soul.

Dear White America


In 2015, I conducted a series of 19 interviews with philosophers and public intellectuals on the issue of race. My aim was to engage, in this very public space, with the often unnamed elephant in the room.

These discussions helped me, and I hope many of our readers, to better understand how race continues to function in painful ways within our country. That was one part of a gift that I wanted to give to readers of The Stone, the larger philosophical community, and the world.

The interviewees themselves — bell hooks, Cornel West, Judith Butler, Peter Singer, David H. Kim, Molefi Kete Asante among them — came from a variety of racial backgrounds, and their concerns and positions were even more diverse. But on the whole I came to see these interviews as linked by a common thread: They were messages to white America — because they often directly expressed the experience of those who live and have lived as people of color in a white-run world, and that is something no white person could ever truly know firsthand.

That is how I want to deliver my own message now.

Dear White America,

I have a weighty request. As you read this letter, I want you to listen with love, a sort of love that demands that you look at parts of yourself that might cause pain and terror, as James Baldwin would say. Did you hear that? You may have missed it. I repeat: I want you to listen with love. Well, at least try.

We don’t talk much about the urgency of love these days, especially within the public sphere. Much of our discourse these days is about revenge, name calling, hate, and divisiveness. I have yet to hear it from our presidential hopefuls, or our political pundits. I don’t mean the Hollywood type of love, but the scary kind, the kind that risks not being reciprocated, the kind that refuses to flee in the face of danger. To make it a bit easier for you, I’ve decided to model, as best as I can, what I’m asking of you. Let me demonstrate the vulnerability that I wish you to show. As a child of Socrates, James Baldwin and Audre Lorde, let me speak the truth, refuse to err on the side of caution.

This letter is a gift for you. Bear in mind, though, that some gifts can be heavy to bear. You don’t have to accept it; there is no obligation. I give it freely, believing that many of you will throw the gift back in my face, saying that I wrongly accuse you, that I am too sensitive, that I’m a race hustler, and that I blame white people (you) for everything.

I have read many of your comments. I have even received some hate mail. In this letter, I ask you to look deep, to look into your souls with silence, to quiet that voice that will speak to you of your white “innocence.” So, as you read this letter, take a deep breath. Make a space for my voice in the deepest part of your psyche. Try to listen, to practice being silent. There are times when you must quiet your own voice to hear from or about those who suffer in ways that you do not.

What if I told you that I’m sexist? Well, I am. Yes. I said it and I mean just that. I have watched my male students squirm in their seats when I’ve asked them to identify and talk about their sexism. There are few men, I suspect, who would say that they are sexists, and even fewer would admit that their sexism actually oppresses women. Certainly not publicly, as I’ve just done. No taking it back now.

To make things worse, I’m an academic, a philosopher. I’m supposed to be one of the “enlightened” ones. Surely, we are beyond being sexists. Some, who may genuinely care about my career, will say that I’m being too risky, that I am jeopardizing my academic livelihood. Some might even say that as a black male, who has already been stereotyped as a “crotch-grabbing, sexual fiend,” that I’m at risk of reinforcing that stereotype. (Let’s be real, that racist stereotype has been around for centuries; it is already part of white America’s imaginary landscape.)

Yet, I refuse to remain a prisoner of the lies that we men like to tell ourselves — that we are beyond the messiness of sexism and male patriarchy, that we don’t oppress women. Let me clarify. This doesn’t mean that I intentionally hate women or that I desire to oppress them. It means that despite my best intentions, I perpetuate sexism every day of my life. Please don’t take this as a confession for which I’m seeking forgiveness. Confessions can be easy, especially when we know that forgiveness is immediately forthcoming.

Being a ‘good’ white person or a liberal white person won’t get you off the hook.

As a sexist, I have failed women. I have failed to speak out when I should have. I have failed to engage critically and extensively their pain and suffering in my writing. I have failed to transcend the rigidity of gender roles in my own life. I have failed to challenge those poisonous assumptions that women are “inferior” to men or to speak out loudly in the company of male philosophers who believe that feminist philosophy is just a nonphilosophical fad. I have been complicit with, and have allowed myself to be seduced by, a country that makes billions of dollars from sexually objectifying women, from pornography, commercials, video games, to Hollywood movies. I am not innocent.

I have been fed a poisonous diet of images that fragment women into mere body parts. I have also been complicit with a dominant male narrative that says that women enjoy being treated like sexual toys. In our collective male imagination, women are “things” to be used for our visual and physical titillation. And even as I know how poisonous and false these sexist assumptions are, I am often ambushed by my own hidden sexism. I continue to see women through the male gaze that belies my best intentions not to sexually objectify them. Our collective male erotic feelings and fantasies are complicit in the degradation of women. And we must be mindful that not all women endure sexual degradation in the same way.

Don’t tell me that you voted for Obama. Don’t tell me that you don’t see color. Don’t tell me that I’m blaming whites for everything. To do so is to hide yet again.

I recognize how my being a sexist has a differential impact on black women and women of color who are not only victims of racism, but also sexism, my sexism. For example, black women and women of color not only suffer from sexual objectification, but the ways in which they are objectified is linked to how they are racially depicted, some as “exotic” and others as “hyper-sexual.” You see, the complicity, the responsibility, the pain that I cause runs deep. And, get this. I refuse to seek shelter; I refuse to live a lie. So, every day of my life I fight against the dominant male narrative, choosing to see women as subjects, not objects. But even as I fight, there are moments of failure. Just because I fight against sexism does not give me clean hands, as it were, at the end of the day; I continue to falter, and I continue to oppress. And even though the ways in which I oppress women is unintentional, this does not free me of being responsible.

If you are white, and you are reading this letter, I ask that you don’t run to seek shelter from your own racism. Don’t hide from your responsibility. Rather, begin, right now, to practice being vulnerable. Being neither a “good” white person nor a liberal white person will get you off the proverbial hook. I consider myself to be a decent human being. Yet, I’m sexist. Take another deep breath. I ask that you try to be “un-sutured.” If that term brings to mind a state of pain, open flesh, it is meant to do so. After all, it is painful to let go of your “white innocence,” to use this letter as a mirror, one that refuses to show you what you want to see, one that demands that you look at the lies that you tell yourself so that you don’t feel the weight of responsibility for those who live under the yoke of whiteness, your whiteness.

I can see your anger. I can see that this letter is being misunderstood. This letter is not asking you to feel bad about yourself, to wallow in guilt. That is too easy. I’m asking for you to tarry, to linger, with the ways in which you perpetuate a racist society, the ways in which you are racist. I’m now daring you to face a racist history which, paraphrasing Baldwin, has placed you where you are and that has formed your own racism. Again, in the spirit of Baldwin, I am asking you to enter into battle with your white self. I’m asking that you open yourself up; to speak to, to admit to, the racist poison that is inside of you.

Again, take a deep breath. Don’t tell me about how many black friends you have. Don’t tell me that you are married to someone of color. Don’t tell me that you voted for Obama. Don’t tell me that I’m the racist. Don’t tell me that you don’t see color. Don’t tell me that I’m blaming whites for everything. To do so is to hide yet again. You may have never used the N-word in your life, you may hate the K.K.K., but that does not mean that you don’t harbor racism and benefit from racism. After all, you are part of a system that allows you to walk into stores where you are not followed, where you get to go for a bank loan and your skin does not count against you, where you don’t need to engage in “the talk” that black people and people of color must tell their children when they are confronted by white police officers.

As you reap comfort from being white, we suffer for being black and people of color. But your comfort is linked to our pain and suffering. Just as my comfort in being male is linked to the suffering of women, which makes me sexist, so, too, you are racist. That is the gift that I want you to accept, to embrace. It is a form of knowledge that is taboo. Imagine the impact that the acceptance of this gift might have on you and the world.

Take another deep breath. I know that there are those who will write to me in the comment section with boiling anger, sarcasm, disbelief, denial. There are those who will say, “Yancy is just an angry black man.” There are others who will say, “Why isn’t Yancy telling black people to be honest about the violence in their own black neighborhoods?” Or, “How can Yancy say that all white people are racists?” If you are saying these things, then you’ve already failed to listen. I come with a gift. You’re already rejecting the gift that I have to offer. This letter is about you. Don’t change the conversation. I assure you that so many black people suffering from poverty and joblessness, which is linked to high levels of crime, are painfully aware of the existential toll that they have had to face because they are black and, as Baldwin adds, “for no other reason.”

Some of your white brothers and sisters have made this leap. The legal scholar Stephanie M. Wildman, has written, “I simply believe that no matter how hard I work at not being racist, I still am. Because part of racism is systemic, I benefit from the privilege that I am struggling to see.” And the journalism professor Robert Jensen: “I like to think I have changed, even though I routinely trip over the lingering effects of that internalized racism and the institutional racism around me. Every time I walk into a store at the same time as a black man and the security guard follows him and leaves me alone to shop, I am benefiting from white privilege.”

What I’m asking is that you first accept the racism within yourself, accept all of the truth about what it means for you to be white in a society that was created for you. I’m asking for you to trace the binds that tie you to forms of domination that you would rather not see. When you walk into the world, you can walk with assurance; you have already signed a contract, so to speak, that guarantees you a certain form of social safety.

Baldwin argues for a form of love that is “a state of being, or state of grace – not in the infantile American sense of being made happy but in the tough and universal sense of quest and daring and growth.” Most of my days, I’m engaged in a personal and societal battle against sexism. So many times, I fail. And so many times, I’m complicit. But I refuse to hide behind that mirror that lies to me about my “non-sexist nobility.” Baldwin says, “Love takes off the masks that we fear we cannot live without and know we cannot live within.” In my heart, I’m done with the mask of sexism, though I’m tempted every day to wear it. And, there are times when it still gets the better of me.

White America, are you prepared to be at war with yourself, your white identity, your white power, your white privilege? Are you prepared to show me a white self that love has unmasked? I’m asking for love in return for a gift; in fact, I’m hoping that this gift might help you to see yourself in ways that you have not seen before. Of course, the history of white supremacy in America belies this gesture of black gift-giving, this gesture of non-sentimental love. Martin Luther King Jr. was murdered even as he loved.

Perhaps the language of this letter will encourage a split — not a split between black and white, but a fissure in your understanding, a space for loving a Trayvon Martin, Eric Garner, Tamir Rice, Aiyana Jones, Sandra Bland, Laquan McDonald and others. I’m suggesting a form of love that enables you to see the role that you play (even despite your anti-racist actions) in a system that continues to value black lives on the cheap.

Take one more deep breath. I have another gift.

If you have young children, before you fall off to sleep tonight, I want you to hold your child. Touch your child’s face. Smell your child’s hair. Count the fingers on your child’s hand. See the miracle that is your child. And then, with as much vision as you can muster, I want you to imagine that your child is black.

In peace,

George Yancy

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