Hurricane Obvious or Not Incognito: The Destructive Pathology of White Male Pathologies | NewBlackMan (in Exile)

Hurricane Obvious or Not Incognito: The Destructive Pathology of White Male Pathologies | NewBlackMan (in Exile)

Hurricane Obvious or Not Incognito:

The Destructive Pathology of White Male Pathologies

by David J. Leonard | NewBlackMan (in Exile)

Just this week, Jason Whitlock returned to his familiar playbook: recycling culture of poverty narratives and those demonizing single-parented black homes. Responding to the sight of the Cowboys’ Dez Bryant passionately demanding that his team do better, Whitlock lamented “Dez Bryant\’s inability to control his emotions” which to him is “a family dysfunction issue.” Not satisfied, Whitlock continued this line of discussion:

But the reality is, Dez Bryant is swirling in a cultural tsunami every bit as destructive and powerful as climate change.

Let\’s call it \”Hurricane Illegitimacy.\” Its victims are primarily black and brown, but Hurricane Illegitimacy is a not black or brown problem. It\’s an American problem that is denied and exacerbated on the left and mischaracterized and exploited on the right.

Like climate change, Hurricane Illegitimacy is powered by man-made factors:

1. A lack of proper restraints on welfare entitlement programs for single mothers and fathers.

2. America\’s bogus war on poor people who use and sell drugs.

3. Turning incarceration into a for-profit business model.

4. A refusal to recognize that investment in the education of our poorest and weakest citizens could strengthen our entire society.

5. Our collective lack of courage and resolve to combat popular-culture forces that celebrate, normalize and profit from baby-mama and criminal culture.

Because of this melting-pot-country\’s history, we\’ve been conditioned to identify the race of a person misbehaving and examine the racial implications. We would be far better served looking at the family history.

Although there is much that can be said here, from its historic myopia (really, the “melting pot”? the 1980s wants your narrative back) to its misguided assault on social welfare and single-parented homes, I thought of a better way to respond to his new age Moynihan Sports Report.

I took the liberty of writing my own mini column in the tradition of Jason Whitlock. Just as Whitlock is obsessed with rap music, \”single mothers\” and \”hurricane illegitimacy,” I am inspired to write about \”two-parented suburban homes,\” white masculine entitlement, and a culture of violence/hazing with respect to Richie Incognito, whose rap sheet extends longer than his NFL career. Accusations of bullying, racism, hazing, and creating a hostile work environment are just the tip of the iceberg – hurricane obvious has been in development for many years.

The title of the piece captures a culture that has nurtured, sanctioned, and created Richie Incognito: Hurricane Obvious or Not Incognito: the destructive pathology of white male pathologies.

Like climate change, wealth inequality, and war, Richie Incognito is the result man-made factors. Hurricane Illegitimacy or Hurricane Obvious has produced America’s newest bully. We must talk about the root issues and the hurricane that produced him:

1. A lack of proper restraint on entitled white youth, whose sense of aggrievement and victimhood contributes to a societal tolerance. Where is the accountability for white youth who violate or laws and moral standards?

2. America\’s culture of tolerance for white males who violate rules and laws without consequences. Taking away milk and cookies or access to car and video games for 15 minutes is clearly not sufficient.

3. Turning football and sporting cultures into big business, which has fostered a jock culture defined by widespread pathologies, destructive values, and dangerous behavior. This is especially threatening when paired with the entitlement of children from suburban two-parented homes. How else can we explain multiple chances from college squads and NFL teams with respect to Richie Incognito?

4. Societal silence on the failures of two-parented homes to properly nurture kids who are loving, caring, and thoughtful boys. What lessons did his father teach him?

5. A refusal to recognize that destructive consequence of a masculinity defined by violence, physicality, abuse, and domination. Suburbia, we have a problem.

6. Our collective lack of courage and resolve to combat popular-culture forces that celebrate, normalize and profit from white masculinity. Rambo, and The Terminator – violent; Rush Limbaugh and Sean Hannity: where it’s OK to be a bully.

7. The failures of white suburbia to produce males who are accountable. Richie Incognito is yet another example of the failures of suburban American to produce adaptable kids.

Continue reading at Hurricane Obvious or Not Incognito: The Destructive Pathology of White Male Pathologies | NewBlackMan (in Exile).

Frat Rap and the New White Negro – The Conversation – The Chronicle of Higher Education

Frat Rap and the New White Negro - The Conversation - The Chronicle of Higher Education

Frat Rap and the New White Negro

August 29, 2013, 2:23 pm

By David J. Leonard

Adele, Justin Timberlake, Eminem, Teena Marie. White musicians and fans are embracing the cultural performance—jazz, rock ‘n’ roll, rhythm & blues, hip-hop—that African-Americans have given life to over the last century.

In 1957, Norman Mailer spoke to the existence of the “White Negro,” an urban hipster whose fascination and fetishizing of blackness resulted in a set of practices that reflected a white imagination: part cultural appropriation, a subtle reinforcement of segregation, and a desire to try on perceived accents of blackness. “So there was a new breed of adventurers, urban adventurers who drifted out at night looking for action with a black man’s code to fit their facts,” he wrote. “The hipster had absorbed the existentialist synapses of the Negro, and for practical purposes could be considered a white Negro.”

As the Princeton University professor Imani Perry has noted, “there is a sonic preference for blackness, the sounds of blackness, but there is a visual preference for whiteness in our culture.” It should come as no surprise, then, that white rappers are slowly beginning to dominate the college music scene with the ascendance of a genre that can loosely be called “frat rap.”

Be it the thumping bass of artists like Mac Miller and Mike Posner, or the blaring noise of Asher Roth, Sam Adams, or Hoodie Allen, the white rappers who are gaining a foothold in the college scene need to be seen as part of a longstanding tradition of white theft of black artistry. The popularity of those artists, alongside that of Ryan Lewis and Macklemore—who can be heard interrogating white privilege, marriage, and materialism in their music—cannot be understood outside their whiteness.

The frat-rap craze saw its origins in 2009, with the release of Asher Roth’s “I Love College.” This subgenre not only markets itself to white college students but also marries the aesthetics and sensibilities of hip-hop with the experiences and narratives of white, male college students. Rather than building on oppositional traditions of hip-hop, which the former frontman for Public Enemy, Chuck D, once identified as “CNN for black people,” frat rap rhymes about all things white and middle class: desires that begin and end with parties, drinking, girls, and fun.

The moniker of frat rap is powerful because it reflects a desired level of ownership. White-fraternity claims to the music and culture displace a long association of rap with blackness, urbanity, and the inner city. Instead, the music exists within the context of the university.

Continue reading at  Frat Rap and the New White Negro – The Conversation – The Chronicle of Higher Education.

The Masculinity Scorecard

The Masculinity Scorecard

March 11, 2013

By

Feminist Wire

 

Growing up, even into my teenage years, friends and family often described me as a “sweet boy.”  Whether from my grandmother or from a girl in my class, the mantra, “Davey is kind and gentle” was as commonplace as any other “compliment.”  I am a sensitive and caring soul so the description has always been appropriate.

Yet, for me, it didn’t always feel like a compliment.  What I heard was, “Davey is really sweet and sensitive, unlike the REAL BOYS.”  It was their way of saying that I was different, that I was unlike the other boys—those whom I looked up to, those whom I saw on television, and those whose footsteps I was encouraged to follow.  While the many women in my life — from my mom and sister to my classmates and co-workers (and yes, I cannot recall men offering similar praise) — were surely noting a different inscription of masculinity, I heard something else.  I didn’t feel as if the praise emanated from me offering a different sort of masculinity.  At times it left me wondering if I was not as manly or masculine as the other boys.

I spent my summers teaching nursery school.  I would rather take my sister to the movies than go hang out with friends.  And making dinner for the family (sometimes even quiche) or baking was my favorite pastime.  I was a “mama’s boy” and proud of it.  However, as I got older my insecurity about my manhood became more and more pronounced.  No amount of praise or encouragement counteracted the daily message about the proper ways to be a boy. I was in constant negotiation between the societal messages of how I was supposed to behave as a boy, and my passions, personality and preferences.

By high school, I began feeling as though I wasn’t equal to my male peers.   I felt as if I was at a masculine deficit, at least when I looked at the social manhood scorecard:

Sexual experience

0

Muscles and attractive physique

0

Toughness

0

Lacking a girlfriend, sexual experience, muscles, attractiveness, and toughness, coupled with my enjoyment of all things related to cooking, working with kids, and being sweet, prompted daily questions about my masculinity.   Neither my Dad nor brother, much less my friends, were described with these attributes.  I was different . . . the other.  I didn’t “act like a boy.”  And I didn’t do “boy things.”  Instead, I was sensitive “like a girl.” And I cried “like a girl.” When I got into fights with my brother, I not only lost, but they usually ended with me hiding in my room crying. This was not how a boy—becoming a man—was supposed to act

From my inability to talk to girls to my incompetence in fixing my car (not to mention my lack of interest in cars), I was a walking embodiment of all-things not “masculine.”  It is no wonder that I spent much of my teenage years convincing others, and myself, that irrespective of my sweet disposition, my lack of sexual experience, my muscle and presumed penis deficiencies, and my sensitivity, I was a “real man.”  The public persona would highlight the qualities associated with an authentic masculinity.  My private male self would remain closeted when at school, when playing sports, and when out with my friends.  I recall many a nights where my own insecurity and the lack of visible diversity of alternative forms of masculinity prompted particular masculine performance, especially among male peers.

Often while out with “my boys” on Saturday nights, we would walk up and down various streets in Westwood (Los Angeles) or Santa Monica looking to get into trouble.  Chests puffed out, with the proverbial swag walk, we were the living embodiment of boys just trying to be hard.  On one particular night, I remember standing around when a group of police officers rode up on their bicycles.  Seeing them out of the corner of my eyes, I turned in their direction to make sure they heard me: “What is this, a fucking donut convention?”  In my mind, what could be manlier then screaming obscenities at the police?  Doing so was tough, confrontational, and fearless.  Never mind that my white, middle-class and male privileges allowed for my “boldness” and protected me from most all consequences.  Nothing happened, at least nothing more than my attempt to reaffirm my masculinity.  I was showing others and myself that, irrespective of anything else, I was a “real man.”

My own fetishizing of hip-hop culture and blackness—from the Malcolm X hat and Cross Colours shorts to my sagging overalls and braided hair—reflected my unconscious effort to prove my masculinity.  Stereotypical and media framed visions of Black masculinity were central to my own desire to reset the scorecard.  What could be more masculine than blasting NWA’s “Fuck the Police” or 2Live Crew’s “Me So Horny?” What could be more “masculine” than mimicking Doughboy’s swagger and O-Dog’s “don’t give a fuck attitude?”

The acceptance of media-generated stereotypes and the lack of vision for alternative forms of masculinity, coupled with my own security and ignored privilege, guided these disempowering yet rewarding performances.

This performative manhood guided so many of my teenage years.  I was always looking for fights; although, I never wanted to fight.  I wanted the rewards of proving my manhood without the potential of a bloodied lip or a black eye.  This is why sports were so important to me.  They provided an arena where I could highlight what I thought were the qualities of masculinity: physicality, brutality, and destructiveness.  Whether on the basketball court or on the baseball field, playing lacrosse, rugby, or football, I saw myself as an enforcer. I played with anger and a chip on my shoulder; I was a thug, an ass, and always on the edge.

I knew of no other way to be a man; no other way to prove my masculinity. Yet, as a white middle-class “kid” I was always innocent and presumed to be nonthreatening. Still sweet, even as I looked for fights on and off the court.

My identity as a tough jock didn’t end with the conclusion of the game.  My sense of manhood, based in notions of toughness, physicality, attitude, and force, anchored my entire life.   My refusal to read, my disdain for learning, and my willingness to walk out of class in the midst of a lecture is illustrative of how I envisioned masculinity. Intellectualism (i.e. “being smart” or “being a nerd”) was rarely considered masculine.  As someone who struggled with a learning disability, it is no wonder I embraced bar-jarring hits on the field, and contempt for learning as the basis of my masculinity.

My trash talking, bullying, my voicing and accepting sexist and homophobic jokes were all part of my effort to fit into the cookie-cutter definition of masculinity.  Even my beard, which I have been growing since age 16, was originally part of my quest to fulfill this illusive and constructed ideal.  I was stuck in America’s gendered classroom, refusing to and somewhat incapable of questioning my teacher’s lessons. I was failing. Rather than tearing up the test in the face of my teachers and rather than writing my own curriculum, I went to great lengths to be an honor’s student.  Sure, I wasn’t an honors’ student when it came to sex, physical embodiment,  and toughness.  And yes, I liked to cook, taught nursery school, and was sweet.  But, I was ready and willing to fight, which in my mind made up for my failures in my quest to be a “real man.”

Today, I remain in this classroom.  Yet, I am not stuck in a class described by Rafael Casal as Barbie and Ken 101.  I am working on getting an “F” there. Yet, I am learning.  Feminist teachers are schoolin’ me each and every day.  I am bearded and sensitive; I am sweet and competitive; I am soft and manly; I love to cook and cannot fix my car; I cry and do so often.  I am vulnerable and scared, especially as I write these words.  I don’t know if this makes me more or less of a man…because I don’t know what that means anymore.  And I don’t care.

NewBlackMan: Politics as Usual: Decoding the Attacks on a Liberal Education

Politics as Usual: Decoding the Attacks on a Liberal Education

by David J. Leonard, Mark Anthony Neal and James Braxton Peterson | NewBlackMan

Few university courses generate much attention from mainstream media, but Georgetown Professor Michael Eric Dyson’s course “The Sociology of Hip-Hop: Urban Theodicy of Jay-Z” has drawn national attention from NBC’s Today Show, The Washington Post, The Associated Press, USA Today, and Forbes.com among many others. To be sure such attention is not unusual for Dyson, who is one of the most visible academics in the United States and has offered courses dealing with hip-hop culture, sociology, and Black religious and vernacular expression for more than twenty-years. Yet, such attention seems odd; hundreds of university courses containing a significant amount of content related to Hip-hop culture and Black youth are taught every year—and have been so, for more than a decade. In addition, there are dozens of scholarly studies of Hip-hop published each year—Julius Bailey’s edited volume Jay-Z: Essays of Hip-Hop’s Philosopher King, among those published just this year—and two Ivy League universities, Harvard and Cornell, boast scholarly archives devoted to the subject of Hip-Hop.

Any course focused on a figure like Jay-Z (Shawn Corey Carter), given his contemporary Horatio Alger narrative, and his reputation as an urban tastemaker, was bound to generate considerable attention, but the nature of the attention that Dyson’s class has received and some of the attendant criticism, suggest that much more is at play.

In early November, The Washington Post offered some of the first national coverage of the class, largely to coincide with the arrival of Jay-Z and Kanye West’s Watch the Throne tour to Washington DC’s Verizon Center. Jay-Z dutifully complied with the attention by giving Professor Dyson a shout-out from the stage. The largely favorable article about the class, did make note, as have many subsequent stories, about the cost of tuition at Georgetown; as if somehow the cost of that tuition is devalued by kids taking classes about hip-hop culture.

Other profiles of the course and Dyson have gone out of their way to make the point that the course had mid-term and final exams, as if that wouldn’t be standard procedure for any nationally recognized senior scholar at a top-tier research university in this country. Such narrative slippages speak volumes about the widespread belief that courses that focus on some racial and cultural groups, are created in slipshod fashion and lack rigor; it is a critique that is well worn, and that various academic disciplines, such as Women’s Studies, Ethnic Studies and even Sociology have long had to confront.

via NewBlackMan: Politics as Usual: Decoding the Attacks on a Liberal Education.

Javon Johnson @NewBlackMan: “Right Thru Me”: Authenticity, Performance, and the Nicki Minaj Hate

 

 

“Right Thru Me”: Authenticity, Performance, and the Nicki Minaj Hate

by Javon Johnson | special to NewBlackMan

I began teaching at the University of Southern California in fall 2010 as the Visions and Voices Provost’s Postdoctoral Fellow. Among others, one of my duties as Postdoc is to teach African American Popular Culture. One of the biggest difficulties with teaching a course such as this is the seemingly impossible task of trying to get my students to move beyond simply labeling aspects of Black pop culture as good or bad – that is, getting them to unearth and critically discuss the political, social, economic, and historical stakes in Black film, music, theater, dance, literature and other forms of Black popular culture.

I struggled mightily with getting them to see how a Black artist or sports figure could simultaneously be good and bad and how those labels, even when collapsed, do little to explain how violent rap lyrics are used as justification for unfair policing practices in Black communities, how literature and music is often used as a means for many Black people to enter into a political arena that historically denied us access, or even how Black popular culture illustrates that the U.S., since pre-Civil War chattel slavery, has had, and will continue to have, a perverse preoccupation with Black bodies.

My class is not the only group of people who have trouble moving beyond the ever-limiting dualities of good and bad. Like my students who could not wait to tell me all of the reasons they feel Nicki Minaj is a bad artist, icon, and even person, many Black people that I speak with are quick to throw the Harajuku Barbie under the bus on account that, as one of my students put it, “She makes [Black women] look bad, like all we are good for is ass, hips, and partying.” Fellow rappers such as Lil Mama and Pepa have commented on Nicki’s over-the-top dress up and character voices, with Kid Sister asking, “do people take her seriously?” What is most troubling about comments such as these is how reductive they are, how readily they dismiss Black women’s identity possibilities, in that anyone who dresses and talks like Nicki must be selling out and doing a disservice to real hip-hop, real Black people, and real women.

The politics of selling out aside, I am deeply troubled with how we read Lady Gaga as a brilliant postmodern pop artist and Nicki as little more than a fake who plays dress up for cash. What does that say about our understandings of Black women as related to the politics of respectability? Nicki disserves applause for carving out a space in an overly male dominated rap world, and, as she did in a recent Vibe.com interview, she often uses that space to tell women and girls they “are beautiful…sexy…[and powerful because] they need to be told that.”

Mixing the zaniness of ODB and Busta Rhymes with lyrical prowess of Lil Wayne and the creativity of Lil Kim and Andre 3000, all wrapped in a Strangé Grace Jones bow, the fact that Nicki can tell all the men in rap, or perhaps the world for that matter, “you can be the king or watch the queen conquer,” that is – join me or be destroyed by me, highlights the strength and boldness she possesses.

More than her ability to dominate a male driven hip-hop community or the lines promoting women’s empowerment throughout her work, it is her playfulness, coupled with her perceived sexuality and gender identity that causes the most panic. It is our inability to define and pin down Nicki’s identities that scare us most. Her voices and dress up lead many to question not only if Nicki is “real,” that indefinable quality that permeates every fiber of hip-hop, but also for some to question her sexuality. In a hip-hop world where the most valuable currency is authenticity, the anxiety, or hate for that matter, Nicki causes stem mostly from the fact that she puts front stage all the things most rappers hide behind the curtains. Her entire persona, which relies on a healthy amount of theatricality, exposes how the real is as constructed as the reel, which makes her performance shattering because too many of us invest a lot in the idea that hip-hop is undeniable and unapologetic truth.

In this way, it is my larger contention that we are reading Nicki Minaj all wrong. Rather than figuring her characters, voices, and costumes as faking, I propose that we read it as making, as a performance of multiple reals that exist on the same body. And, it is quite precisely her Barbie like plasticity, her ability to mold herself into the woman she needs to be at any given moment, which is most amazing. Nicki’s malleability, her ability to be such a monster and such a lady in the same verse, complicates our understanding of identity performances to account for the ways in which people can be dynamic, complex, contradictory, and fractured beings all at once.

via NewBlackMan: “Right Thru Me”: Authenticity, Performance, and the Nicki Minaj Hate.

Bakari Kitwana and Urban Cusp on Kanye West @Occupy Wall Street

From http://newblackman.blogspot.com/

As the nation and global community turns its attention to the rise of the Occupy Wall Street movement, celebrity involvement has been a growing hot topic. Last week, controversy erupted over Kanye West’s presence at the protest site, Zuccotti Park in New York City, at the invitation of Russell Simmons. One article of particular interest, Why Kanye West Doesn’t Belong at Occupy Wall Street, was written by GOOD Senior Editor Cord Jefferson. Highlighting the selling price of his outfit and his image as the “Louis Vuitton Don,” the writer concluded by saying that “what OWS doesn’t need is everyone who’d like to be seen as a populist jumping on Rboard for a photo opportunity before leaving to go buy $500 jeans. Lip service and deceit is what got us into this mess in the first place.”
Watch this videotaped discussion to hear Urban Cusp’s Editorial Director Rahiel Tesfamariam reflect on the author’s points with Bakari Kitwana, who has a forthcoming new book entitled Hip-Hop Activism in the Obama Era. Kitwana has been seen and heard on CNN, Fox News, C-Span, PBS and NPR. He is the CEO of RapSessions.org and Senior Media Fellow at the Harvard Law-based think think, the Jamestown Project. Kitwana is also the former editor of The Source, co-founder of the National Hip-Hop Political Convention and author of the best-selling The Hip Hop Generation: Young Blacks and the Crisis in African American Culture.