Friday, October 21, 2011

Janet Hubert: The Angry Black Woman – Myth or Truth?



*There is no doubt that I am a black woman, I am probably what is considered to be a real black woman, kinky haired, so called now described type 4 with no real curl pattern with which to classify it as good hair.
I am hearing this term again and again, not just from whites but from predominantly black men and I wonder what in the hell is happening. I myself have been in the past deemed a bitter, dark, angry, jealous, ugly, sister who has tried to bring a black man down. (My war with the Great Will Smith has been well documented).
Are we angrier than white women, well let’s examine this more closely shall we?  I remember growing up as a little girl, I hated dolls, not that I really did, it was just that they did not look like me, for at that time there were no black baby dolls like there is now for my mother to purchase.  That made me sad as a little girl; it did not make me angry. I do remember someone giving me a Barbie doll, but she quickly went to the bottom of my closet.
For all those years of growing up, only the lighter skinned black women were considered beautiful, and the sad thing is that still today those standards of beauty are still in effect.  I think a better description would be the politics of beauty.  I am making the references of physical beauty to make a better point in pursuit of the angry black woman theory.  We don’t say the angry light-skinned woman do we? That in itself is enough to piss me off, so am I angry yet … not quite.
I remember being in my 20’s I dabbled in modeling, and I was chosen to do the cover of Essence magazine, I had natural hair way back then as I do now. Thinking I was chosen for my ebony beauty, they proceeded to cut all my hair off, straighten it, and never used the cover. I was outraged and hell yes I wasangry, because I thought this is a so called magazine for black women, yet even today that same magazine really supports the western image, which is now become the blond black woman. Does this make me angry…yes.
 Little girls who stand eye level in the supermarket waiting for their mommies to check out need to see images of themselves, funny all that I see are rap magazines with angry looking black rappers who are supposed to be successful, so why the angry Black man look?  Oh yes, it means you have street credibility…oh please!
Yes even my own son thinks it is true, which saddens me greatly. “Why,” I asked him? His answer was this.
 How many times do you walk into a store and if there is a black woman behind the register she has attitude and acts like she is doing you a favor by being there. I didn’t have to think about it, it is true, as much as we don’t want to admit it my people. I myself had to tell another sister in Penn Station, that I could indeed shake my neck better than she could, so just give me the damn information I requested.  I felt very sad indeed, that perhaps we need to take a look at ourselves. I too have been guilty of jumping all over someone who made a simple mistake. Was it because I am an angry black woman?
 We expect to be treated with less dignity, because we are black women. We can’t today find things to even decorate our children’s rooms with images of themselves unless they are gangsters and so on. We still have companies like Dove making stupid mistakes like putting the only black girl on the bad side of skin color. I don’t see myself on TV unless I watch a re-run of myself.  No, Ne Ne Leakes in not a role model, for me nor are most of the black women I see on the tube, I simply cannot relate. Does this make me angry?  Hell to the yes, it does.  Shame on you BET, and TV One for not doing what you know you should do.
Perhaps black men need to remember, that our great great grandmothers were on the same slave ships, we were not in the penthouse section of the boat, but right there with them in chains.  We historically have had to raise many of our children alone, without father figures, and that makes us angry.  My son was included in that statistic until I re-married.
Granted there are many black fathers who are and were there including my own.  Our anger is historical, but mostly I think we are simply tired women. I know I am exhausted with the weight of everyday life, and sometimes I just look damned angry.
We have not had the same advantages or opportunities as our white sisters, and frankly we need to stop looking at them for the justice we seek and create our own opportunities with our own curl patterns.
It also seems that the media reinforces this stereotype to the hilt, with negative images, of the Sassy angry sister, talk show host, reality TV personalities, basketball wives, and old antebellum movies. Does Hollywood only still see us in this light, or are these the images that they believe we want to represent us. Black men must stop telling us what we are and aren’t.
 I admit to my anger at the Chris Rocks of the world and others like him for making mockeries of us in terrible movies like GOOD HAIR.  The HELP was of no help to me, and I think that with all the wonderful black actresses out there we can play big momma’s ourselves.
So in defense of black women, I apologize for my anger if you should meet me on a bad day.  You would be amazed at what a simple smile would do for the angriest of any women.

Demolition of slave house can proceed

The Zabriskie-Wessels Board slave house in Paramus.
The Zabriskie-Wessels Board slave house in Paramus.




THE RECORD


PARAMUS — A developer can move forward with plans to raze a 250-year-old Paramus house with ties to the county’s early African-American community after a judge recently dismissed a lawsuit aimed at preventing its demolition.



Superior Court Judge Alexander Carver has ruled that the Planning Board’s approval of a plan to knock down the Zabriskie-Wessels Board slave house at 273 Dunkerhook Road was reasonable.
Theodore Manvell, a neighbor of the site, had filed suit in July arguing the approval was “fatally defective due to the failure of the Planning Board to refer the application to either the Historic Preservation Committee or the Historic Preservation Advisory Commission,” the decision reads.
Fast facts
  • A house on Dunkerhook Road that was constructed by the wealthy Zabriskie family and later used as tenant housing for African-American farmers could soon be demolished.
  • It is one of only four Bergen County sites providing resources about slave housing.
Any action taken by the Planning Board would be rendered void because neither historic body had sitting members at the time, Manvell maintained.
But the judge said that “there is nothing in either of the Paramus historic ordinances which forbids the granting of the requested relief by the Planning Board.”
The Planning Board “regretfully” approved the application in the spring, noting it deplored the fact that the structure, which is listed on the local and national historic registries, would be demolished. Attempts have been made over a 15­month period by the board and preservationists to save the home, to no avail.
“Unfortunately despite a noble effort on the part of many people and organizations to secure funding to save the location, no plan was offered that could save the historic site,” Carver wrote in the Sept. 28 decision.
2 houses planned
Developer Quatro 4 LLC plans to proceed with demolishing the structure, subdividing the 48,000-square-foot property and building two stucco and stone houses, said Mark J. Sokolich, the developer’s attorney.
“We always knew from Day One that disclosure was going to be of paramount importance to the application and the process,” Sokolich said. So the applicant notified local and county boards and agencies as well as the public of hearings and also asked if they had viable ideas to preserve the home, he said.
George J. Cotz, Manvell’s attorney, said he was disappointed with the decision.
“I thought that we had shown that the borough had a comprehensive statutory scheme for protecting historic properties that couldn’t be frustrated by simple inaction of the mayor and council by not appointing members to the HPC,” he said. “Any doubts about the Planning Board’s actions should have been resolved in favor of preservation and protection.”
Manvell, who is president of the Dunkerhook Stone House Preservation group that is raising funds to preserve the home, said an appeal will likely be filed.
“We feel it’s such a valuable piece of property not just in the history of Paramus but the history ofBergen County,” he said. “There’s so little left of our heritage here.”

Joel Schumacher Tells Movieline About the Time He Wrote The Wiz


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This week brings Trespass, the latest film from Joel Schumacher. The occasion prompted the opportunity for Movieline to have a candid, wide-ranging chat with the veteran filmmaker about his career, his critics and his humble origins as a costume designer in the 1970s. And despite his glossy new thriller starring Nicolas Cage and Nicole Kidman, one subject demanded even more attention:The Wiz, the Motown musical directed by Sidney Lumet and written, in his brief, scrappy scribe-for-hire days, by Schumacher.
I’ll have more with Schumacher later this week, but his recollection of the road leading to thelegendary Bad Movie We Love — and the relationships it yielded, from composer Quincy Jones to co-star Michael Jackson, on several of whose videos Schumacher said he later passed on directing — is just, well, priceless.
“I got it because my first two scripts that I sold and that got made were Sparkle, which is about three African-American girls in Harlem who become stars — sort of a precursor to Dreamgirls — and Car Wash. So I was kind of the black writer to some people,” Schumacher chuckled. “Sidney Lumet was a social friend of mine, and he asked to write the screenplay for The Wiz. I saw the play, and it was so magical that I didn’t think I could do anything with it at all. I said no. And everybody in Hollywood that I knew as friends or who were in the business said, ‘Are you insane? You’re not going to do a huge musical with Sidney Lumet?’ And I was so impressionable then that I thought there must be something wrong with me.
I tried to roll with the punches the best I could. But, you know: Dorothy was suddenly 39 years old and a spinster in Harlem.
“So I got on a plane to go to New York to meet with Sidney, and when I got off the plane, Sidney said, ‘I have great news for you: Diana Ross is going to play Dorothy.’ And I played catch-up from then on, because my first conversation with Sidney was that we were going to go all over the United States and find a girl who was the appropriate age for The Wizard of Oz. And the concept of Oz being Manhattan… You know, Sidney was such a New Yorker, and New York was one of the stars of the movie. Well, I hadn’t planned on any of that, nor was the play like that at all. I played catch-up the rest of the time, and I tried to roll with the punches the best I could. But, you know: Dorothy was suddenly 39 years old and a spinster in Harlem.
“I think everybody worked their asses off,” he continued. “The movie is so loaded with talent. I think that it was historic; I don’t think any African-American film had been made at that budget, and I think, at the time, Sidney was the only one who could have made that happen. And I was working with Lena Horne and Diana Ross and Quincy Jones and Michael Jackson when he was 17. Nipsey Russell. All the great people who are in that movie! Ted Ross, who played the lion. Mabel King. I was working with brilliant and talented people. The great Ozzie [Oswald] Morris, a very, very legendary cinematographer. It was quite an experience.
“Remember, I’m coming from Car Wash, which is a day in the life of a car wash and was made for $750,000. No one knew that Car Wash was going to be Car Wash — certainly not me. In fact, one of the big moguls in Hollywood came to me and said, ‘What is this movie you’ve written?’ And I told him, and he said, ‘Joel, people do not go to the movies to see black people washing cars. People go to the movies to see…’ I can remember, he sort of put his hands up and blocked the words in front his face: ‘Lawrence. Of. Arabia. Gone. With. The. Wind. They do not come to see black people washing cars.’ And I remember when I left, it was night. I had a little Karmann Ghia convertible, and I never could figure out how to put the top up. And I literally had a white-knuckle ride home thinking, ‘He’s a billionaire. He’s one of the smartest people I know. Oh my God. I am making a movie about black people washing cars!’” Schumacher laughed. “And then I thought, ‘But I think it’s pretty good and pretty funny!’ So we had the last laugh, obviously.
“I never thought I totally got my ass in the seat because the direction of it had changed so much. But the movie is so beloved, especially in the African-American community. Everyone grew up on it. Everybody’s kids love it. And I think that’s true of some of the Caucasian community, too. I mean, it’s quite a fascinating film visually, and it does have Michael Jackson at that age, which will be forever preserved, and Lena Horne, who nobody may ever know of or see any other way. I’m still friends with Quincy Jones to this day. Michael and I stayed in contact for many years. He was always trying to get me to do a music video or put him in a movie.”
Alas, Schumacher and Jackson never collaborated. “‘Scream’ was the last video I turned down with him,” the filmmaker said, explaining that he was already committed to a range of projects during a particularly prolific period that yielded his two Batman movies and his hit John Grisham adaptationsThe Client and A Time to Kill. “That was the last conversation I think we had together; it was right around the time of ‘Scream.’ And if you’d met Michael when I knew Michael, you’d never have believed that he could have done anything to his face or anything. He was such a beautiful, brilliant talent. Well, he was always a brilliant talent. But it would have been impossible to know that there were demons lurking in that shy, exquisitely mannered, young, beautiful boy. The minute Sidney yelled, ‘Action,’ it was like, ‘Oh my God. Look at this child.’”
Now you know. There’s more where this came from, too; please do check out the rest of Movieline’s chat with Joel Schumacher later this week.

Dr. Boyce: Herman Cain Has Become The Perfect Racist


This week, I spent some time on the radio in New York debating Karen Hunter from MSNBC about the legitimacy of the presidential candidacy of Herman Cain. Cain has surged in the polls lately, making some wonder if he actually has a chance to win the Republican nomination for president.
Cain continued on his trail of silly statements this week by saying that racism is not a factor in economic inequality in America. The candidate argues that educational and geographic differences account for disparities in wealth levels and unemployment. The statement is curious, because these words serve as further evidence that Cain never studied structural inequality in school. Also, to continue Cain’s argument, inequality exists because Black people are either naturally, culturally or strategically inferior to whites, which is the convenient explanation taught to us in White Supremacy 101.
While I won’t go into all the reasons that Cain is wrong in his statements on racism, the truth is that Cain seems to be building his campaign by making one eyebrow raising statement after another. In fact, he has become the shock jock of the Republican Party.
Being a shock jock is great for the radio and selling books, but it’s not the stuff that makes one into a serious Commander-in-Chief. Even within the Republican ranks, Cain’s candidacy merely deflects attention away from the flaws of more serious contenders, like Rick Perry’s love for the Confederate flag and all the other things that make Republicans just so darn interesting. But when the dust settles and the smoke clears, Republican leadership will ask Cain to walk off the track in the same way the pace setter is removed after the first two laps of a big Olympic race.
Cain has also made a career of hurling insults at Black people that no white man could ever get away with. His words have not been measured or diplomatic enough to garner broad-based support, and are about as sloppy and ignorant as a man killing a fly with a shotgun. Most of his comments are not the kinds of things he could say about other ethnic groups; if he were to say that all Jews were brainwashed (as he said about African Americans), he’d be off the stage before finishing his sentence.
Herman Cain has become, in many ways, the perfect racist. America lives under the interesting premise that a racist can’t be Black. That’s like believing that a man can’t hate his sibling, or that a woman can’t advocate for a man to beat his wife (as Whoopi did to Oprah in “The Color Purple”). The truth is that racism is typically most effective when you put a Black face on it, and Herman Cain has volunteered to become the cute little political puppet which allows white America to say the things that they are afraid to say.
It is their ability to put Cain out front to absorb the criticism for racist remarks that makes millions of right-wing Americans so happy about his racial politics. Cain validates and brings security to a set of ideas that are generally unacceptable to those who understand America’s ugly racial history. In this regard, Cain is a breath of fresh air because he is the only Republican who doesn’t change the subject when the issue of race is brought to the table.
As an older Black man, Herman Cain certainly understood the challenges of Jim Crow. But Cain was also able to evade Jim Crow by willfully standing to the side in the fight for Civil Rights (yes, he has admitted that he avoided the Civil Rights struggle). So, Cain cannot, in any way, connect his contributions to the Black community, nor his readily marketed ethnic legitimacy to that of his fellow Morehouse graduate, Dr. Martin Luther King Jr. While he might have validity among those who gladly accept the rewards that come from the sacrifices of others, Cain cannot profess to have been willing to make necessary socio-political sacrifices himself. He stands on the backs of the brave, yet joins forces with the descendants of their historical oppressors.
Instead of marching for progress, Cain learned long ago that making whites feel comfortable was a powerful and simple key to success. He seems to think that Black folks who are unwilling to give in to structurally oppresive forces are somehow making things worse for themselves by not standing and applauding the grace of whites who’ve decided to no longer hang our relatives in the middle of the night. No different from the way he ducked and hid from those who marched with Dr. King in the 1960s, Herman Cain is ducking and hiding from doing the right thing today.
So, not only is Herman Cain a political gimmick, he is also a coward. That is just a couple of the many reasons that Herman Cain can never be President of the United States of America.
Dr. Boyce Watkins is a Professor at Syracuse University and founder of the Your Black WorldCoalition.  To have Dr. Boyce commentary delivered to your email, please click here.

Samuel L. Jackson: Proud, profane, fanboy

Actor Samuel L. Jackson.



Samuel L. Jackson has made quite a name for himself in movies, But as Russ Mitchell tells us, Jackson is now playing a role very different from his tough guy movie persona ... and he's doing it On Broadway:

Samuel L. Jackson has a way with words - both profound ("The path of the righteous man is beset on all sides by the iniquities by the tyranny of evil men") and the profane ("I have HAD it with these mother------- snakes on this mother------- plane!").

... which has made the 62-year-old actor one of Hollywood's most bankable stars.

With more than 100 movies under his belt, Jackson's movies have earned almost $10 billion at the box office.

"I've been fortunate," he said. "There's a handful of movies that have made enormous amounts of money, and that just means that the other movies that I'd done have made the kind of money that allows me to continue to work, that people see me as viable as a box office draw to people. People come and see my movies."


(Credit: CBS)
And Jackson hopes he's a box office draw for his latest venture, on Broadway, where he's starring alongside Angela Bassett as Martin Luther King Jr. in "The Mountaintop."

"Is it intimidating to play Martin Luther King?" asked Mitchell.

"Not in this way," Jackson said. "Nobody knows him this way. We're used to seeing the orator, or the icon. And I'm coming into a motel room, closing the door, letting my shoulders down."

Set in the Lorraine Motel in Memphis on April 3, 1968, Jackson's Dr. King is reflective and vulnerable on the eve of his assassination.

"He's not a perfect man in this play," Mitchell said.

"No, not at all," said Jackson. "This is one of those kind of informative plays that allows [audiences] to see an icon as a human being; that, you know, talks to his wife same way they talk to their wives, and talks to their kids and cares about their kids; that actually, you know, goes to the bathroom. We look at people, you know. 'Wow, I didn't know he peed!' Yeah, of course he does, you know?" Jackson laughed.


Samuel L. Jackson

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And when we sat down with Jackson on a day off from his eight-performances-a-week schedule, he made it clear he's no stranger to hard work.

"I grew up in a working class family," he said. "When I was a kid, all the adults in my house got up and went to work every day. I assumed that's what grown people do. That's what I do. I just happen to have a very interesting job that's kind of cool!"

It's a work ethic he learned as a child growing up in Chattanooga, Tenn. Raised by his grandparents, Jackson's family had high expectations.

"It was never a question in my mind that I was going to college, or theirs," he said.

He attended Morehouse College - Martin Luther King's alma mater - in Atlanta.

Jackson said he wanted to be a marine biologist: "I wanted to be the black Jacques Cousteau. I wanted to hang out underwater, look at fish and figure out a way to feed the world from the ocean."

But he changed course after auditioning for a play his junior year.

"The night I showed up, all the girls, they were doing photos," he recalled. "And all the girls were sitting around in corsets and garter belts.

"Okay," he laughed, "this might be all right! And I got in the play and I've kind of been doing it ever since."

Jackson met his wife LaTanya Richardson, a fellow actor and political activist, on campus. They've been together 41 years, and have a 29-year-old daughter.

"By anybody's standards, that's a long time," Mitchell said. "By Hollywood standards, forget about it! What your secret?"

"Amnesia," LaTanya answered, laughing.

"And I go on location a lot," Samuel added.

"We do believe that the family unit is the strongest unit," LaTanya said. "And that's the most political and revolutionary thing you can do, is keep a strong, black family together. So that's what we did."

What Jackson and Richardson also did together was weather through his alcoholism and crack cocaine habit. He went to rehab in 1990, and just one week after being released, Jackson found himself on the set of Spike Lee's movie "Jungle Fever" ... cast, of all things, in the role of a crack addict named Gator Purify.

"Was it hard for you to do that role, based on what you had just come from?" asked Mitchell.

"No. Not at all," Jackson said.

"Tempting at all?" Mitchell asked.

"No. Listen, I was so happy to be clean and not miserable, 'cause I had been miserable for a long time," he said.

It was a breakout role, and the newly-sober Jackson infused a bit of his former self into the character.

"I was like the life of the party when I was an addict - you know, hung out with people, I made 'em laugh and we got high, we did stuff. So I wanted Gator to be that guy, you know, who could charm his mom, he could charm his brother and get what he needed, and be very manipulative."

For Jackson, his sobriety was the crucial step for success.

"I had to figure it out, that maybe when I showed up at an audition, maybe I DID smell like beer or wine or whatever. It wasn't till I got into rehab that I had an opportunity to stop and say to myself, 'Maybe YOU'RE the person that's in the way. So try that for a minute. You've tried everything else.'"

Jackson's career took off. His character Jules Winnfield in "Pulp Fiction," the hyper-verbal, scripture-spouting hit man, earned him an Oscar nomination.

And then there was Mace Windu, a Jedi master, in the "Star Wars" prequel trilogy.

Jackson, a fan of the three original movies, lobbied director George Lucas for a role ... ANY role.

"I was, like, 'Look. I'll be a storm trooper! I just want to, you know, run across screen. I'll put on that white helmet and everything. Nobody even needs to know I'm in it. Just me,'" Jackson said.

When Lucas summoned Jackson to the set a few months later, he had no idea what role he would play.

"I'm in this dressing room," he recalled. "And there's Jedi robes, I'm, like, 'Whoa! I'm a Jedi?' And I go downstairs and a guy comes over with a big Halliburton and he opens it and, 'Pick your light saber handle.

"I'm REALLY in the movie now!" he laughed.

"When you talk about 'Star Wars,' the smile that you have on your face, it's like you're 17 years old," Mitchell said.

"Yeah, come on, it's awesome," Jackson said. "You're sittin' there going, 'It's 'Star Wars!' This is something that's going to be around forever. 'Star Wars'!"

And Jackson is unabashed about the movie choices he's made, even the more critically panned, like "Snakes on a Plane. "

"Everybody laughs at that movie, and people always go, 'You did 'Snakes on a Plane!''"Jackson said. "People always think they're being intellectually superior when they go, ...'Snakes on a Plane!?!' Hey, that's the kind of movie would have gone to see when I was a kid on Saturday."

Jackson also isn't shy about admitting he enjoys watching himself on the big screen.

"I don't understand how actors say, you know, 'I can't watch myself,'" he said. "If you can't, why do you expect somebody to pay their money to watch you? If YOU can't watch it, why should somebody else?"

But for Samuel L. Jackson, an actor who has achieved so much, there remains one thing that is unattainable:

"When I was in the theater, I just always want to see the plays, but I wanted to see 'em with me in them. So, you know, movies are perfect for me. I'd still like to see THIS play with me in it."

"Let me know how that works out for ya!" Mitchell said to laughter.


Read more: http://www.cbsnews.com/8301-3445_162-20117804.html#ixzz1aO9fm8sG