The Stupidity Of New York’s Long, Expensive (And Ongoing) ‘War On Graffiti’

author Adam Mansbach

author Adam Mansbach

Thirty years ago—at the height of New York City’s “War on Graffiti,” and in an act of faith utterly incommensurate with the city’s public demonization of graffiti writers—a group of teenagers named SHY 147, DAZE, MIN and DURO met with MTA official Richard Ravitch, and proposed a deal. Give the writers of New York City one train line to adorn with their vibrant aerosol murals, and they would leave the rest alone. Let them paint for six months, then let the public vote on the merits of their contribution.

Ravitch suggested that if the writers wanted to contribute, he would give them all brooms, and hostilities resumed. The subway’s exteriors have been art-free since 1989, but the war has never really ended. New York City remains rigidly opposed to the very aesthetic of graffiti—even if the art in question is perfectly legal.

http://www.youtube.com/watch?v=6RlR1Tn2vnM

Today, advertisers have learned to faithfully, if flavorlessly, appropriate graffiti’s ethos of logo repetition, as anyone who has ridden the train lately can confirm. In the city that incubated the most important popular art movement of the 20th century, the message is clear: public space can be yours, if you pay for it.

Unless what you put there reminds them of graffiti, that is. I learned this last week, when I tried to buy space to advertise my new novel. The silver walls where “burners” used to blaze are now for rent; anyone willing to pay fifty thousand dollars to a company called CBS Outdoor can buy advertising “stripes” for a month. For considerably more, one can “wrap” an entire train in product messaging.

“The issue,” CBS Outdoor wrote in an email, explaining why my proposal had been rejected, “is the style of writing. The MTA wants nothing that looks like graffiti.”

rage-is-back-cover-320x220Admittedly, my book title is rendered in colorful, flowing letters, by the Brooklyn artist Blake Lethem. Admittedly, this would not have been the first time Mr. Lethem’s work had graced a train. But what exactly is the rubric by which the MTA judges a letter’s graffiti-ness? At what stylistic tipping point does a word becomes impermissible to the same entity that has approved liquor adverts depicting naked women in dog collars, and bus placards featuring rhetoric widely condemned as hate speech against Palestinians? And if the NYPD defines graffiti as “etching, painting, covering or otherwise placing a mark upon public or private property, with the intent to damage,” isn’t a graffiti-style letter kind of like a robbery-style purchase?

All this might seem trivial, except that the War on Graffiti’s tactics presaged a generation’s experience of law enforcement and personal freedom. Mayor John Lindsay first declared war in 1972, and over the next 17 years, the city would spend three hundred million dollars attempting to run graffiti-free trains—this, during a period when the subway barely functioned and the city teetered on the brink of insolvency. Clearly, there was more at stake than aesthetics.

Those stakes become clearer when one examines law enforcement’s public profiling of graffiti writers. They were described as “black, brown, or other, in that order,” and vilified as sociopaths, drug addicts, and monsters. This was a fight over public space, and we would do well to remember that at the time the fight began, teenagers were also being arrested for breakdancing in subway stations, and throwing un-permited parties in the asphalt schoolyards of the Bronx. Taken collectively, these three activities also represent the birth of hip-hop, the single most influential sub-culture created in this or any country in the last half-century.

Subway GrafAs historian Jeff Chang writes, the early 70s saw the politics of abandonment give way to the politics of containment in communities of color. The War on Graffiti is a prime example, and it midwifed today’s era of epic incarceration, quality of life offenses, zero tolerance policies, prejudicial gang databases, and three-strike laws. The War on Graffiti turned misdemeanors into felonies, community service into jail time. It put German Shepherds to work patrolling the train yards; Mayor Koch once suggested an upgrade to wolves. Today, the city prosecutes hundreds of graffiti cases each year, and maintains a dedicated Citywide Vandals Task Force. Nationally, writers have been sentenced to prison terms as long as eight years, and ordered to pay six-figure restitutions. In other words, the war rages on.

One cannot help but wonder what might have happened if New York City had agreed to the naïve, visionary truce those four teenagers offered, 30 years ago now. With a handful of scholarships and a press release, might the “graffiti plague” have been alchemized into a landmark public art program, to be adapted by other cities with the same zeal that zero tolerance has been? Could thousands of lives have been altered, hundreds of millions of dollars better spent?

We’ll never know, because the city didn’t listen to its young people then. It didn’t recognize graffiti as an outpouring of creativity and frustration, a simultaneous urge to beautify and destroy, to hide and be seen, that’s every bit as complicated as being shunted to the margins of the American dream. Kids are still writing graffiti today, beautifully and badly, in every city in the world; New Yorkers taught them how to do it, but they’ve always understood why. It’s not too late to listen to them now.

Adam Mansbach is the author of the #1 New York Times bestseller Go the F**k to Sleep and the novel Rage Is Back, available now from Viking.

source: http://www.theawl.com/2013/01/new-york-war-on-graffiti#more-153689

A Few Thoughts on Nas Defending Gwyneth-Who He Calls a Real N–

My good friend and author Adam Mansbach often lectures about white privilege and the types of transgressions he sees white kids making within Hip Hop. He recounts the days, not so long ago when he was coming up and what it was like being part of the majority culture but being a distinct minority within Hip Hop. This positioning forced him to deal with certain types of realities he would in most cases have overlooked, including the ways he engaged a culture he was drawn to, but knew wasn’t tied to his immediate roots.

There was a certain type of respect one had and lines one didn’t cross, even as a participant, (Mansbach was an emcee before a writer). Mansbach points out today there are many white kids who have grown overly comfortable, to the point that they show up in your living room and put their dirty feet upon the coffee table with no concern as to how that looks, who it offends and what folks have to do to clean the table that they just soiled.

Gwyneth Paltrow

Seeing how this saga with actress Gwyneth Paltrow is playing  out, definitely makes me think of Mansbach words. Here’s an actress who obviously loves Hip Hop. From what we gathered she’s fond of hanging out with some of Hip Hop’s biggest stars, Jay-Z, Kanye, The Dream and Nas to name a few and with that has come that comfortably Mansbach noted of putting one’s dirty feet upon on the living room table..

This is not so much about Paltrow tweeting the title of a song ‘Niggas In Paris‘ and pointing out her friends Jay-Z and Kanye were those ‘Niggas for Real‘, it’s about her being dismissive to the concerns people had of her using the word.. This was  eloquently pointed out by Q-Tip in his response to all this in a series of tweets

Adding insult to injury are all the passes Hip Hop’s elite have been giving her.. Initially we had The Dream rushing to her defense, saying he was the one who tweeted the offensive words via Paltrow’s account.. After he caught a lot of flack, he recanted his story..Now we have Nas of all people riding hard for Paltrow saying he’ll ‘slap the shyt out of anyone on her behalf.’.

In his defense of Paltrow Nas also adds:  “She’s the homie, she’s cool. Gwyneth gets a pass. Real people get a pass..” He goes on to refer to Paltrow as a ‘real nigga‘..

When I first heard this I thought to myself is this the same Nas who did the song Coon Picnic (These are Our Heroes) where he goes in on Kobe Bryant, Cuba Gooding Jr and Taye Diggs accusing them of ‘cooning’..

Nas accused Tiger Woods of cooning for defending a racist white women reporter

When asked about that song and why he went after Tiger Woods, Nas explained that Tiger was ‘flawed‘ for not checking a white female sportscaster named Kelly Tilghman who made a lynching joke.. Basically Nas was upset Tiger gave this woman a pass so to speak.. You can peep that interview HERE

Its ironic knowing that Nas has seriously gone after Black folks for allowing racially insensitive remarks and behavior to go unchecked and here he is going above-board to defend Paltrow. Was he doing that because that’s really the homie or did she ask him to step up on her behalf?  I only ask because there are lots of folks who are friends of Nas who get dissed for a variety of reasons and you don’t see such an impassioned defense coming from him.. Why Paltrow?  It certainly appears to be a case of the pot calling the kettle black…I like Nas.. I like his a lot. I think the recent projects he’s undertaken have been incredible, but this stuff here with him defending Paltrow is pure ignorance..

In any case it’ll be interesting to see if Paltrow steps to folks defense when and if they start catching heat for crossing any of the various fault lines in Hollywood. ..Will Paltrow who is part Jewish offer passes for any of her rap friends if they say something that is perceived as anti-Semitic?  Will she ride hard for folks the way they did for her if they say something that is offensive to women?

As far as giving out passes, I gotta wonder if Nas is green-lighting Paltrow to use the N word who else is giving out passes? Are Black cops saying its ok for their white counterparts to use the word? Y’all may recall just minutes before an unarmed Oscar Grant was killed by a police officer here in Oakland, he was called a bitch ass nigga by that officer’s partner..

Are there Black Tea Party members green-lighting the N word for their white members? We’ve seen all the racially charged signs and heard the racially insensitive rhetoric…Did these people get passes?  That’s just a thought for us to consider..

Is Ms Paltrow real enough to help out someone like Marissa Alexander and the injustice she’s recieving?

As I noted earlier, Nas said Paltrow is a ‘real nigga‘ .. Not sure what that means,  but I assume it’s someone who endures the day-to-day struggles and challenges heaped on folks because of their darker hue. Some of those challenges may including racial profiling resulting in police practices like Stop-N-Frisk, to mass incarceration as a result of disparaging sentencing guidelines that have disproportionately targeted African Americans..We all know the case of Marissa Alexander a Black woman given the outrageous sentence of 20 years for defending herself against an abusive husband..

This year we as Black folks have been challenged with a rash of outright racially motivated vigilante killings such as what took place in Sanford, Florida with Trayvon Martin or in Tulsa, Oklahoma  where white men hunting down Blacks in a killing spree. It was just last week in Milwaukee, Wisconsin we had an 75 year old racist white man gun down an innocent 13 year old named Darius Simmons in front of his mother…How is Ms Paltrow being a ‘real nigga‘ in these struggles?

Is Paltrow a real nigga in the sense that’s she’s down in the trenches fighting the good fight to end these incidents and practices or is she in the hood making a change which is what Nas demanded that real niggas do in his Coon Picnic song?  So called Real Niggas I know are under the gun full time 24/7. One out of 4 so called real niggas is living below the poverty line. Is Ms Paltrow rolling with the community to help address that?  Only time will tell if Paltrow is part-time with this thing..  You can listen to Nas’ full remarks on thisthing by clicking the link below..

A Conversation w/ Pharaohe Monch

Even in the thick of the bountiful early ’90s scene, the Queens-bred duo known as Organized Konfusion stood out. On their self-titled debut and their revered follow-up, 1994’s Stress: The Extinction AgendaPharoahe Monch and his partner, Prince Poetry, defined the lyrical vanguard with ear-bending enjambment, melodic cadences, stutter-stepping flows, and furious, multisyllabic rhyme flurries. Perhaps more than any of their contemporaries’, OK’s records conveyed an exhilarating sense of possibility: like the avatars of free jazz, they had the chops and the courage to take a song anywhere, at any time.

Conceptually, the group was just as adventurous, rhyming from the perspectives of stray bullets and “hypnotical” gases. The way they cloaked battle rhymes and social commentary in clouds of energetic abstraction marked them as heirs to legendary Bronx super-weirdos the Ultramagnetic MC’s—as well as forefathers to scores of unlistenable rappers who never mastered the proper ratio of organization to confusion.

Critical acclaim and $4.25 will buy you an iced mocha latte, so after a third album, 1997’s The EquinoxMonch decided to go it alone. The year 1999 saw the much-anticipated release of Internal Affairs on the tastemaking Rawkus Records. Like the disc with which it shared advertising space, Mos Def’s Black on Both Sides,Internal Affairs showcased the versatility of a newly solo artist with ambitions and influences that both transcended and embodied hip-hop. Monch crooned, sparred with a who’s-who of guest MCs, and spewed high-concept rhymefests in the OK vein.

But it was “Simon Says,” Monch’s attempt to simplify his flow for maximum commercial impact, that gave the MC’s MC a bona fide crossover hit. Over an ominous sample jacked from a Godzilla movie, it commanded dancers to “get the fuck up,” and they obeyed in droves. Club DJs loved the song; radio embraced it.Charlie’s Angels and Boiler Room picked it up for their sound tracks. Then the Tokyo-smashing monster (or his human representatives) sued for the uncleared sample, and Rawkus was forced to pull the album from stores.

It would be nearly eight years before Monch released his next long-player, Desire,in June 2007—two or three eternities in the notoriously fast-moving world of hip-hop. Few artists could have marshaled a fan base after such lag-time, but hip-hoppers of a certain era are proving to be quite elephantine in the memory department (see: the resurrected career of MF Doom), and Desire found an audience.

It didn’t hurt that the album showcased Monch at the height of his powers: pushing boundaries with conspiracy theories, multipart narratives, and Tom Jones impressions; challenging listeners to digest his wordplay at the rate he served it up (“still get it poppin’ without Artist and Repertoire / ’cause Monch is a monarch, only minus the A & R”); structuring entire verses around the names of financial institutions and wireless devices. Desire manages to be simultaneously indignant and inspiring, defiant and joyful, hilarious and paranoid. Listening to it now, it is striking to realize how palpably the record feels like a document of the late Bush years.

Monch and I spoke several times by telephone shortly after his return to New York from a European tour. He was preparing for an Organized Konfusion reunion show, the first in ten years, and also laying verses for a new album, W.A.R. (We Are Renegades), scheduled for release in February. In each case, we talked until his cell phone ran out of juice.

—Adam Mansbach

Check out http://www.believermag.com/issues/201101/?read=interview_monch where this article original appears

I. THIS IS LADIES NIGHT!

THE BELIEVER: It seems to me that hip-hop today is like jazz was in the early ’70s. For the first time, the major innovators are not new artists, but fifteen- or twenty-year veterans—guys like you, MF Doom, Ghostface, Nas, Jay-Z. Even Lil Wayne has been in it for almost that long.

PHAROAHE MONCH: I think there’s a couple of reasons. Having the savvy to know what you want to say, how you want to say it, and what music you want to say it over comes with time spent and wisdom gained in a music career. Back in the days, a prodigy usually was cultivated by the veterans around him—take Nas, who was surrounded by Q-Tip, Pete Rock, Large Professor, Premier, and L.E.S., all listening to the tone of his voice and the way he rhymes melodically and saying, “He’s gonna sound better over this.” If Nas had tried to produce his first album himself and hand out demos to people… whatever, I don’t need to elaborate. I remember talking to Nas after [his debut verse on Main Source’s] “Live at the Barbeque,” and he was unsure what he wanted to do. It took time for him to cultivate his mental state and decide, This is what type of artist I want to be.

continue reading this article over on our new site HipHopandPolitics.com

Boston Globe Columnist Disses Hip Hop Academia-Gets Ethered

Shout out to author Adam Mansbach who pretty much ethers the Boston Globe columnist Alex Beam for his recent article that weakly attempts to skewers Hip Hop in Academia.. The article in question is called Meet the Rap-ademics..In it you’ll find missives like:

In the late 1990s, two California newspapers, the San Jose Mercury News and the Los Angeles Times, helped feed a conspiracy theory that the CIA had introduced crack cocaine into the state’s inner cities to keep African-Americans down.

No need! Rap and hip-hop, with their celebration of ignorance, gangster-ism — sorry, gangsta-ism — and violence against women are doing the job just fine. Forget the CIA. Rap moguls like Jay-Z and the businessman known as Diddy or P. Diddy (real name: Sean Combs) have got this one covered. continue reading HERE

Mansbach takes the columnist to task:
Dear Alex,

I wonder what you hope to accomplish with a piece like “Meet the Rap-ademics.” Why bother to write about the music or the culture at all, if you’re going to approach it with petulance, mockery, and ignorance? None of these is anything new, when it comes to coverage of hip-hop – not the shots you take, not the over-generalizations, not the factual errors (two glaring ones: Gates was in no way the first “rap-ademic” by virtue of his 1990 testimony; Craig Werner was teaching a course on hip-hop at the University of Wisconsin at Madison as early as 1985. And you misquote the Jay-Z lyric; it’s “rub,” not “run.” Even the Anthology gets this line right – this error is all yours.)

continue reading HERE

Stakes is High: Major Mistakes found in Anthology of Rap

Members of the Anthology of Rap‘s advisory board speak out about the book’s errors. Plus: Grandmaster Caz lists the mistakes in his lyrics.
By Paul Devlin

On Nov. 4, I wrote a review of The Anthology of Rap, noting the book’s many transcription errors. Last week, I wrote a follow-up article on the Yale University Press book, enumerating further errors and pointing out that the majority of the mistakes discovered in the book so far—by me and by others—also appear in the transcriptions on Web sites like Online Hip-hop Lyrics Archive. In that follow-up article, I asked the editors to explain their transcription process, and they obliged, outlining a seven-step process. The primary source, they stated, was always the music itself: The editors say they typed out original transcriptions after listening to the songs. They then checked their lyrics against other sources—including sites like OHHLA—and also, when possible, asked the artists themselves to vet the lyrics. According to the editors, “nearly 30” artists reviewed the editors’ transcriptions.

I decided to reach out to one of the artists who checked his lyrics to see how that process worked. In the acknowledgements section of the book, the editors “offer special thanks to the following for reviewing transcriptions of their lyrics, offering insights into their craft, and generally providing support for this undertaking.” The editors then list the names of 29 rappers.

Among them is Grandmaster Caz, a hip-hop pioneer. Caz’s name jumped out at me because, in reading his songs as transcribed in the anthology, I’d noticed what I thought was a substantial mistake. So I got in touch with him and, earlier this week, visited him at his apartment in the Bronx. Reading through the book’s transcriptions of his work with me, he caught a series of errors.

Caz told me the editors asked him to check his lyrics, but not until October, when they sent him a hardcover copy of the book. (The book was published Nov. 9; I received a soft-cover galley over the summer.) Caz also told me he never signed off on the lyrics. I asked the editors why Caz is listed among the artists who checked their work. They didn’t respond to my queries.

continue reading this article here at Slatehttp://www.slate.com/id/2275145/

I’m Not Afraid of Ice Cube Anymore: Questlove offers some food for thought

I came across this missive from Questlove of the Roots today on twitter… I read it, then peeped the video he linked to and my mind went racing in a few directions all at once. First, I looked at the video from the perspective of the disgruntled fan. In today’s society so many of us attach ourselves to celebrity so much, that our identity gets caught up in what they do or don’t do. This is especially true if that celebrity fills an important void that society refuses or doesn’t seem to have the capacity to fill.When this happens we don’t want our celebrities to change. When they fall short we take it personal. I seen this happen with everyone from Public Enemy to Jesse Jackson.

The second angle I explored was how so many of us are allowed space to grow and evolve. Sometimes it’s our own fault. We don’t wanna take responsibility. We don’t want to endure the pain that comes with growth so we get caught up in what has often been described as the Peter Pan syndrome.

On the other hand , we live in a society that often doesn’t want us to grow. We’re to forever be child-like in our thinking and entertainment minded versus business minded. We’re to forever be the buffoon and never the scholar. When we stray away we get smacked down into place and severely criticized even from our own. So in this case ice Cube at age 40 is still supposed to be a hardcore gangsta riding around with an AK versus maybe be a family guy…For him to grow, he’s considered a sellout.. and not a fully well-rounded thinking man.

Third and most disturbing, is something that author/scholar Adam Mansbach often talks about. He describes the proverbial suburban white Hip Hop fan who grew up fascinated and intimated by Hip Hop which they fully equated with the totality of Black culture. He talks about how many would live vicariously through the words and videos of street oriented rap groups to the point that they would start mimicking them and adapt a worldview that would be warped to the point that anything not falling into the mold was somehow out-of-pocket.

Mansbach describes how those suburban white kids would listen to these records, watch those videos and not ever have to full experience the realities depicted in the songs. This would lead them to feel comfortable and believing that they were not only part of but definers of the culture. They would become embolden and ‘no longer afraid of the ghettos they vicariously visited..

Here’s what Questlove had to say…

-Davey-D

tryna tell yall: this is why i cry out against the press/blogger minstrelsy embrace of hip hop (if its “scary” or “bright” “clownish”/”funny” or “oversexed” or “watered down apolitically” (no balls/opinion/position/eager to pleaseisms) its minstrel!!!! read this http://en.wikipedia.org/wiki/Minstrel_show

point is: this song is cute http://www.youtube.com/watch?v=-cjx8wg0hmY&feature=player_embedded#

but TRULY it is the answer to all the questions we had about hip hop’s demise.

it would be nice to say “oh…its an art form and treated as such” (remember that@harryallen quote about “hip hop is treated like its disposable. its not even considered ‘art'” on our Things Fall Apart intro?–well this is the dangers of embracing something for the wrong reasons:

hip hop’s MASSIVE success was running on the fumes of the “horror flick/roller coaster” syndrome: something scary and exciting you are curious about…but something you don’t take all that serious.

in other words: lets look at sting and lil wayne:

if both figures (both are massive sales figures in pop music)—if both made announcements that they were quitting music for a career in politics: and them in office position effected your life and you had to chose one—who would you be more inclined to take seriously to run your government?

(ill leave it up to you to get my point….but for those who say wayne, i can pretty much also guess that you too dont take life all that seriously or being contrary is how you differentiate yourself from others)

anywho….watch that clip.

reveals ALOT

Questlove

Return to Davey D’s Hip Hop Corner

. . . and the ‘hood pass’-Adam Mansbach Goes in on John Mayer

. . . and the ‘hood pass’-Adam mansbach Goes in on John Mayer

By Adam Mansbach
AS JOHN Mayer’s racially-charged comments in Playboy magazine ricocheted around the Internet this week, I found myself exhausted by the sad reality that the national dialogue on race remains driven by the engine of celebrity gaffes and gotcha moments.

Our voracious, ADHD-afflicted news cycle castigates, forgives, and forgets at a rate that precludes sustained discussion, so expect Mayer to spend a week with his head on the chopping block and then jog away, rubbing his neck, to join Chris Matthews, Harry Reid, Michael Richards, Geraldine Ferraro, Don Imus, and John Rocker on the list of figures whose shocking transgressions have faded to dim memories.

An analysis of such incidents and their scant longterm fallout suggests that it is now more acceptable to publicly spout racism than to publicly accuse someone of spouting racism. Look for Mayer to continue to make a vague apology to a fanbase and a punditry eager to excuse racist action because they can find no racist feeling behind it. Look for Mayer to swear he’s never uttered the n-word before and never will again, and look for the context in which he said it and the clumsy if well-intentioned point he was trying to make about white privilege to be obscured.

Look for him to continue not address more problematic statements from the interview, in particular the one about his male organ being a “white supremacist’’ — a flippant attempt to explain his dating preferences that takes up the language of dehumanization and reveals a blithe willingness to reinforce any number of stereotypes about sex, race, and desirability. Look for the mainstream media to ignore that comment too.

Look for the “hood pass’’ Mayer stumbled so badly in trying to discuss to be serially snatched away and restored in a blogopshere-wide game of capture-the-flag. Far more importantly and indicatively, look for the very notion of a “hood pass’’ to go largely unexplored.

The “hood pass’’ is symbolic of white acceptance, personal or artistic, by the black community. Although both the notion of a monolithic black community and the conflation of blackness with the “hood’’ are problematic, the “hood pass’’ has been widely accepted. Part of the reason may be that it appears to place agency in the hands of black people, as arbiters of who and what constitutes tolerable incursion. Given the profound legacy of white co-option and exploitation of black life and culture, this might seem like a step in the right direction.

The problem with the “hood pass,’’ though, is that it turns racial progressivism from an activity to a state of being. It places engagement with this country’s system of structural racism, and the privileges white people accrue from it, in the past tense — as if everybody in possession of a “hood pass’’ has already fought and won what is actually an ongoing struggle with one’s self and one’s country.

This complacency underwrites the widespread belief of young white Americans that they can be as “down’’ as necessary by consuming black cultural artifacts pushed by media conglomerates whose profits depend on expert marketing of the ghetto to the exurbs, black to white, and visceral “realness’’ to a generation of voyeurs. Full of empathy and short on identity, with few relationships to actual black people and less understanding of the machinations of institutional racism, they conclude that they, too, have “hood passes.’’ Through the magic of circular logic, they then conclude that every stereotype they embrace is as legitimate as they are. Much as Mayer seems to have.

It was a conversation with an old friend, filmmaker Kesime Bernard, that reminded me what we stand to gain by talking about the latest display of ignorance by an avatar of a culture that rewards it. “Our generation has built a cottage industry around uncomfortably edgy racial humor,’’ she wrote, “but the reaction is as important as the delivery.We carve out boundaries in real time. These little celebrity scandals do ‘teach’ us little by little where we stand.’’

I want to believe she’s right — that we can make this not about Mayer’s hood pass, but the hood pass, not one rock star’s cavalier bigotry, but the millions nodding to it. That Americans can learn from where we stand, and that we stand for something. Because if we don’t, as the old saying goes, we’ll fall for anything.

Adam Mansbach is author of “The End of the Jews,’’ and “Angry Black White Boy.’’

Return to Davey D’s Hip Hop Corner

The Audacity of Post-Racism

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The Audacity of Post-Racism

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     By Adam Mansbach 

 adammansbach-225I watched Barack Obama’s “Toward A More Perfect Union” in my living room, on a laptop computer with tinny speakers.  Like millions of other Americans, I felt a surge of amazement, a sense of expanding possibility, at the sheer fact that a black man with a good chance of becoming president was speaking about race and racism on national television for half an hour.  Such an eloquent and thoughtful discourse on any topic far exceeds what we have come to accept of American politics; to hold forth on an issue so pernicious and so seldom approached with honesty is remarkable.

 My enthusiasm held until Obama let white people off the hook. Though I grasped the political necessity of the move, my expectations of this man were sufficiently high that it was disheartening to hear him fudge the difference between institutional racism and white bitterness.  Three weeks earlier, I’d felt a similar sense of letdown when, challenged at a debate in Ohio to further denounce Minister Louis Farrakhan, Obama responded by articulating the need to mend black-Jewish relations, then proceeded to reinscribe the very paradigm that has served to rend them. 

 I say this as a white person, a Jew, and an enthusiastic Obama supporter.  My reaction, it also bears mentioning, was colored by the fact that when the Ohio debate aired I had just published a novel entitled The End of the Jews, which chronicled three generations of a Jewish-American family and also took as its subject the evolving relations between black and Jewish artists throughout the 20th century. Toward A More Perfect Union marked the first time I’d sat on my couch in weeks; I had just returned from a book tour speckled with dates at Jewish Community Centers and synagogues, in addition to the standard bookstores and universities.

Satch Sanders

Satch Sanders

This level of interaction with Jewish communities was utterly new to me. No one had ever considered me a Jewish writer before, except the white supremacists who’d protested the speaking gigs for my previous novel, Angry Black White Boy, and accused me of “masquerading as white.”  I was raised by secular parents raised by secular parents, and at the age of twelve I was expelled from the Sunday School And Half-Price Car Wash For The Children Of Agnostic Cultural Jews after getting into a fight with my teacher about whether Satch Sanders of the 1940s Boston Celtics was the only black person in history not to abandon his community after achieving success.  It was the culmination of a lesson devoted to the great Jewish Exodus – from Roxbury, Massachusetts in the 1950s, when the blacks moved in.

 

I won’t blame the encounter for souring me on Judaism; more accurate would be to say that as a kid growing up in a largely Jewish suburb, I simply conflated Jewish with white, and thus my frustration with the complacency and hypocrisy of white liberals (I didn’t know any conservatives) extended automatically to Jews.

The pervasiveness of injustice was something I had always intuited; obsessing over fairness on a personal level is a childhood instinct that can remain personal and fade, or broaden into an analysis of the world and grow stronger. But my absorption in the still-underground culture of hip-hop was what allowed me to confirm that things were not well, very close by and yet in another world altogether. 

Public Enemy

Public Enemy

I believe the music to which one is exposed at twelve is the most important one will ever hear; I was that age in 1988, when Public Enemy, Boogie Down Productions, Stetsasonic, The Jungle Brothers and N.W.A. were articulating the insidious realities of police brutality, a Eurocentric school system, American collusion in South African apartheid, and ghettos ravaged by crack and guns – all over unbelievably dope beats. Thanks to METCO, a busing program that constituted Boston’s uni-directional form of school integration, these tapes made their way to the suburbs and to me.

 

Hip-hop, at the time, was one of the only sites in American life to dislocate whiteness from its presumed position of centrality. By listening, I was listening in. And only by physically seeking out the parties, the shows, and the record stores that sold 12” singles – all located in the aforementioned Roxbury and other equally un-white neighborhoods – could I hope to participate. Doing so meant venturing outside of comfort zones, rendering myself visible as different. 

Soon, it also meant a chance step away – semantically, momentarily – from the nimbus of skin privilege and the complicity in injustice it afforded me.  This is to say that hip-hop became a different kind of comfort zone: contested, and all the more beloved for it.  Hip-hop demanded that I cast off romantic notions of colorblindness and investigate oppression.  Not just as a relic of the past, as it was presented in school.  Nor as something held at bay by regular donations to the NAACP or the Southern Poverty Law Center.  But as something monstrously alive, a fact of life even a fool could see  – so long as that fool knew where to look. 

By taking casual and institutional racism for granted, hip-hop created space for follow-up questions – quintessentially hip-hop questions like how do we flip this? Well, by exploiting exploitation: by using the black kid as a decoy in the art supply store, while the white kid steals the spraypaint.  By having the black kid buy the beer in the white neighborhood, since the old white store owner can’t tell fifteen from twenty-one so long as fifteen is darker than blue. 

Of course, nobody ever got carded at Giant Liquors in the ‘Bury; you could ride in on a tricycle and leave with a case of Olde English 800.  The realization was sobering, and it was not the only one.

Though it opened my eyes, hip-hop also let me bullshit myself.  It permitted me to believe that the opposite of white privilege was not working to dismantle that privilege, but embracing and being embraced by blackness. Thus, as long as my friends were black people who didn’t like white people, I figured I was doing my part. The experience of being a token whiteboy was one of being identified, tested, and ultimately accepted; it was about feeling exceptional, in the word’s truest sense. Had I pondered my status a bit harder, I might have concluded that it was not to be attributed to an uncanny understanding of the plight of black people and the true nature of racism, but rather to the fact that I was a little less oblivious and smug than the average white kid, a little more willing to put myself on the line.  Also, I could rap.

It would take me years to realize the flawed nature of some of the racial equations by which I lived, but one thing I did grasp immediately, given the company I kept, was the unspoken difference between the political and the personal.  Between Whiteness, as a concept that engendered fury and pointed jokes, and an individual white person, who would be judged on his merits – if he stuck around long enough to realize that a rant about The White Man didn’t mean he ought to leave before he got his ass kicked, but rather the opposite.

I delve into the race politics that marked my adolescence (and hip-hop’s) because the manner in which their sharpness has blurred is the backdrop for “Toward A More Perfect Union.”  Hip-hop is now America’s dominant youth culture.  It still dislocates whiteness, but in a way far less conducive to personal growth or rigorous assessment of injustice.  White hip-hoppers of my era constructed elaborate rhetorical structures intended to accommodate paradox, to acknowledge the devilishness of white supremacy without condemning ourselves.  Today, white youth are confounded by a different paradox: the divergence of cultural capital and hard capital in American life. 

Levi Johnston

Levi Johnston

Largely because of hip-hop, American coolness is coded and commodified more than ever as American blackness.  White kids all over the country believe, based on the signifiers flashing on their TV screens, that blackness equals flashy wealth, supreme masculinity, and ultra-sexualized femininity – interrupted occasionally by bursts of glamorous violence, and situated in a thrilling ghetto that is both dangerous and host to a constant party.  They feel locked out of the possibility of attaining that lifestyle, because of the color of their skin.  They don’t know where to find a workable identity, unless they embrace the “I’m a fucking redneck” ethos of Levi Johnston, Sarah Palin’s future son-in-law.  All this strikes them as oppressive, and their resentment is compounded by the fact that they possess no language with which to discuss it. 

 

Were any of this utterable, one could present them with reams of evidence demonstrating that in all the important ways, white people in America are anything but marginal.  Traditional markers of prosperity – the inheritance of wealth, the rates of home-ownership, the comparative levels of education and income and incarceration – reveal just how privileged whites remain relative to blacks.  A recent study conducted at Princeton University revealed that a white felon stands an equal chance of being granted a job interview as a black applicant with no criminal record, and there are dozens of other studies that each speak volumes.

Nonetheless, confusion persists even among the kind of coast-dwelling, liberally-raised, relatively well-educated white kid I once was about the basic facts of racism today – to say nothing of everyone to their ideological right.  They want to know if the playing field is level; they can’t tell, and they’ve got their fingers crossed that it is because if it’s not they’ve got to confront things no one has prepared them to face.  Many of them would rather believe, and in fact suspect, that it is slanted in black people’s favor.

At the very least, they’re eager for a kind of moral compromise, one with an air of the fairness so appealing to young minds: racism cuts in both directions.  Anyone can be its victim, just as anyone can refuse to perpetrate it.

This is what Barack Obama provided on March 20th in Philadelphia.  After a succinct but powerful summary of institutional racism’s history and its practical and psychic effects on black people, he added that 

      “a similar anger exists within segments of the white community. Most working- and middle-class white Americans don’t feel that they have been particularly privileged by their race… as far as they’re concerned, no one’s handed them anything…. So when they are told to bus their children to a school across town; when they hear that an African-American is getting an advantage in landing a good job or a spot in a good college because of an injustice that they themselves never committed; when they’re told that their fears about crime in urban neighborhoods are somehow prejudiced, resentment builds over time… to wish away the resentments of white Americans, to label them as misguided or even racist, without recognizing they are grounded in legitimate concerns – this too widens the racial divide, and blocks the path to understanding.” 

Obama’s insights about white anger are salient, but to characterize ire at affirmative action and at the thought that others might think them prejudiced as ‘similar’ to the frustration felt by the victims of entrenched structural racism is disingenuous, and even irresponsible.  I don’t dispute that white resentments should be addressed, if only because white people will refuse to grapple with race unless they are allowed to centralize themselves.  But to begin such a discussion – the mythic National Dialogue on Race – without acknowledging that structural racism is a cancer metastasizing through every aspect of American life is impossible.  Call it, to borrow a catchphrase from the foreign policy side of the election, a precondition. 

Implicit in the resentment Obama identified is whites’ belief that they should be significantly advantaged because of their race.  They are not angry because people think they’re advantaged when they aren’t, they’re angry because they don’t feel advantaged enough.  The essence of white privilege is not knowing you have it; white people in America are bicyclists riding with the wind at their backs, never realizing that they owe part of their speed – whatever speed that is – to forces beyond their control.  By no means does this guarantee success.  But few whites are conditioned to contemplate how much worse off they might be if they had to grapple with factors like police profiling and housing discrimination, in addition to the other travails of being an American in 2008.

To place the experiences of white and black Americans on an equal footing, Obama must abandon the empirical and speak the language of the emotional. Hence, the focus on how people ‘feel’ – privileged or not, racist or not – rather than on the objective realities of what they have and do and say. 

The soft-focus abstraction of racial realities goes beyond Obama’s speech.  It has been a hallmark of the entire presidential campaign, with its musings on whether Obama is too black, black enough, or ‘post-race.’ Naturally, one must be black to be ‘post-race,’ for the same reason that no one thought to ask whether Hillary Clinton or Mitt Romney was too white or not white enough.  The purpose of abstracting race is to obscure racism, to elide the fact that a black person is never so lacking in blackness – culturally, personally, politically, or by any other standard – to find himself exempt from discrimination.

The desire for personal post-race status is an impulse I encounter frequently.  Without fail, it comes from well-intentioned white people looking to be absolved of whiteness – not through their politics, but their biographies. They listen studiously to my take on race privilege, then raise their hands to identify themselves as white but gay, or white but Irish and thus part of an ethnicity that was once considered nonwhite, or white but from an all-Dominican neighborhood.

My response to such statements is always the same.  I have no desire to belittle any aspect of your identity, I say, but either you walk through this world with white skin privilege or you don’t.  There’s no such thing as being pulled over for Driving While Wanting To Be Black. Sometimes how you ‘self-identify’ is irrelevant.  You could be a gay Irish dude from the heart of Washington Heights, with a Senegalese lover and a degree from Morehouse to boot.  The cop and the judge and the loan officer and the potential employer are only going to check one mental box. And when they do, you’re going to benefit from the way they see you, like it or not.

‘Post-race’ suggests, not without an air of self-congratulation, that we are moving toward an acceptance of the multifaceted nature of identity – learning to assimilate, for instance, the idea that a human being can be both Kenyan and Kansan. This may be true.  The problem is that post-race inevitably implies post-racism. To conflate the two ignores the very nature of oppression.

I witnessed this perspective recently at a talk I gave in Minneapolis.  A woman in the audience stood up to explain that racism would soon be vanquished without any concerted effort on our part, and cited the infant on her hip as proof.  She was Korean, she said, and her husband black and Italian.  Their son was all three.  Any machine that attempted to categorize him would explode. 

 The sad truth that this child will someday be forced to color in a single bubble on a Scantron form like everyone else speaks to the particular insidiousness of race.  It is a construct, not a question of biology or self-image.  It will not vanish in the face of multi-ethnicity, because it exists for a purpose, and that purpose is hierarchy.

Had Obama not lent so much currency to the notion of a kind of equality of racial bitterness, enacted on a field that everyone thinks favors the other team, the case of Geraldine Ferraro might not have played out as it did: as a spectacular example of racist action forgiven because racist ‘feeling’ is not found, and an abject, to-the-political-death refusal to acknowledge the difference between structural racism and white resentment. 

 The former Congresswoman and vice-presidential nominee forfeited her place in the Clinton campaign when she told reporters that “If Obama was a white man, he would not be in this position,” just as she would not have been tapped for the vice presidency by Walter Mondale had she not been a woman.  The difference between being appointed to a ticket and winning a record number of primary votes across the entire nation seemingly escaped Ferraro, who elaborated on her remarks a few weeks later in a stunning Boston Globe op-ed: 

“Since March, when I was accused of being racist for a statement I made about the influence of blacks on Obama’s historic campaign, people have been stopping me to express a common sentiment: If you’re white you can’t open your mouth without being accused of being racist. They see Obama’s playing the race card throughout the campaign and no one calling him for it as frightening. They’re not upset with Obama because he’s black; they’re upset because they don’t expect to be treated fairly because they’re white.” 

Contrary to Ferraro’s recollection, the most striking aspect of the media’s response to her initial comments was the consistency with which pundits and commentators across the ideological spectrum fell all over themselves to avoid accusing her of racism.  Seldom, in political life, has the sinner been granted such immediate distance from her sin. 

But this has become the blueprint for public figures who make inflammatory remarks about race – as long as they’re white.  First comes the claim that their words do not reflect their hearts. This puts the ball in the commentariat‘s court. The commentariat duly concurs that the figure is not racist, despite all evidence to the contrary. Then, after a probationary period of a few months, the figure quietly resumes his or her role in public life.

 “I am not a racist.” So said Bill Clinton on ABC News shortly after the conclusion of his wife’s presidential bid, defending himself against accusations of race-baiting.

 “I’m not a racist, that’s what’s so insane about this.” So said Seinfeld’s Michael Richards in 2006, explaining himself on The David Letterman Show after a video surfaced of him dropping multiple n-bombs on a black heckler at a comedy club.  Mel Gibson, who disgraced himself with an anti-Semitic rant the same year, put forth the same argument: I’m not a racist, merely a guy who said something racist. It came out of nowhere, for no reason, and it doesn’t reflect who I am. Ditto Don Imus, after his 2007 “nappy-headed hoes” remark. And Senator Trent Lott, whose pro-segregation comments cost him his role as Majority Leader in 2002, though not his job.

It is a dramatic reversal of the standard criteria for judgment. Usually, we seek to be judged by our actions, not our thoughts, and we accept that the former is a manifestation of the latter.  The success of this strategy, it would seem, hinges on the fact that it has become more acceptable to spout racism in the public arena than to accuse someone else of spouting racism.

On to the thesis Ferraro put forth: that whites in America have been rendered voiceless, that to be black is to be ‘lucky’ (to paraphrase another of her comments about Obama), that whites are the new racial underclass, that “they’re attacking me because I’m white.”  They are notions that rhyme neatly with the identity frustrations of white youth. And Obama’s speech would seem to grant them legitimacy, if we accept the argument that whatever people feel about race must be treated with the same respect as the facts.

I have no problem believing that people have been stopping Ferraro – although I suspect ‘sidling up to’ would be more accurate – to voice this ‘common sentiment.’  One might well ask, though, how she has been so unaffected by the racial gag order against which she rails.  One might wonder why her silent majority of whites can so readily muster outrage at their own ‘unfair treatment,’ yet remain so blissfully unruffled by anyone else’s.  If one is feeling particularly optimistic, one might contemplate how to turn such complaints into what’s known as a “teaching moment.” Could white America’s cresting indignation at its own marginalization be the Rosetta stone that allows it to understand how other people in the country feel?

Eh.  Probably not.

On the other hand, the pressure on Obama to denounce Minister Farrakhan – which directly preceded the pressure to denounce Reverend Wright – offered the candidate a chance to speak a difficult truth to a valuable constituency and play a role in genuine healing. Certainly, Obama’s rhetoric spoke to such a desire: 

      “What I want to do is rebuild what I consider to be a historic relationship between the African-American community and the Jewish community. I would not be sitting here were it not for a whole host of Jewish Americans who supported the civil rights movement and helped to ensure that justice was served in the South. And that coalition has frayed over time around a whole host of issues, and part of my task… is making sure that those lines of communication and understanding are reopened. 

But rather than turning to that task, Obama proceeded to do precisely what the current, sorry state of black-Jewish relations demands. He iterated his rejection of Farrakhan’s endorsement, citing the Nation of Islam leader’s anti-Semitism, and left it at that.

For twenty-five years now, the specter of black anti-Semitism has been used as the rationale for tremendous Jewish disinvestment – practically, emotionally, financially – from the black community and the legacy of progressive work that blacks and Jews once shared. A handful of comments from civil rights-era black leaders provide most of the evidence. For many in the Jewish community, Jesse Jackson will always be the man who called New York City “Hymietown” in 1984.  Al Sharpton will always be the man who inflamed a tense situation in Crown Heights in 1991, and Farrakhan will always be the man who, in 1983, called Judaism a “gutter religion.” 

 The fact that all three have apologized, moved on, and made amends does not seem to matter – that Jackson was instrumental in restoring peace to Crown Heights, that Sharpton’s 2004 presidential run was an exemplar of inclusiveness, that Farrakhan has been meeting regularly with a group of rabbis for more than ten years now, in an effort to mend fences.

Nor does it seem to matter than none of these men speaks for the black community at large, or that Obama’s candidacy and the emergence of hip-hop generation leaders and grassroots political organizations prove that the civil rights generation is no longer in the driver’s seat. They remain central in the Jewish memory of my parents’ and grandparents’ generations. Their comments are frozen in amber, never to be forgotten or forgiven.  Thus, denunciations of Farrakhan – despite the declining influence of his organization and his own outreach to the Jewish community – remain red meat for many Jewish voters.

How can this be, when the Ferraros, Imuses and Lotts of the world tiptoe back into the mainstream after a few probationary months, their best intentions unimpugned?  Even Gibson, whose anti-Semitic rant was truly epic, had his incoherent, responsibility-dodging apology promptly accepted by the Anti-Defamation League, a Jewish watchdog group that has never stopped vilifying Farrakhan.

The story behind the story is complex, one of changing identity in a changing country. Perhaps no two groups in America share such an intimate history as Jews and blacks; by turns it has been beautiful and tense, unified and vituperative. Both groups have been shattered and scattered, displaced and enslaved, and both have made outsized contributions to the cultural life of America. Both communities, perhaps by the nature of diaspora, have wide margins, in addition to existing on the margins of American life.  By this I mean that the ratio of people who feel ambivalent, ambiguous, full of unresolved questions about their blackness or their Jewishness, is high in relation to the number of people nestled snugly in the bosoms of those communities. The pain and perspective engendered by this double marginality are important ingredients for art, and in the desire for social justice.

Jews and blacks have been united by this shared Otherness, and also pitted against one another because of it.  At the root of the Jewish retreat from the coalition of which Obama speaks is the way in which Jewish assimilation has relied on the immutability of black Otherness as a foil.  It has been an Other more Other than their own, and sometimes one to measure progress by their distance from. 

As the Jews have been accorded more and more of the privileges of whiteness, many have decided, consciously or otherwise, that it behooves them to change their bedfellows. Fifty years ago, it was far more difficult for Jews to be complacent or hypocritical about race: they didn’t have the option to pay mere lip service to the cause because they understood that they were implicated in it, both as potential victims and potential oppressors. The benefits of whiteness were fewer for Jews, and more readily contested.  Thus, the morality of allowing them to accrue was easier to address honestly, and find lacking.

There is, of course, much more to the story – more than I have the space to go into, and also more than I know.  I realize, too, that I have addressed the reasons for Jewish pullback from Obama’s “historic relationship,” and said nothing of black actions or motivations.  This is not because I wish to cast all the blame on one side, but simply out of a desire to stick to what I know, as someone who has discussed race with Jewish audiences quite a bit lately.

One question I was asked regularly at JCCs, as I proposed that more disturbing than the pickled comments of Farrakhan, Jackson, and Sharpton was the reasons Jews held so dearly to them, was “What about Jeremiah Wright?”

The query was always met by nods and murmurs of agreement from the audience – which, I should add for the sake of context, tended to be made up largely of people born well before the Truman administration.

“What about him?”

 “Well, he’s said some things… some anti-Semitic things…”

 “Like what?”

Silence.  Had my interlocutors responded that Wright’s church had honored Farrakhan as “exemplifying greatness,” that would have been something.  But it never happened.  Rather, the logic at work seemed to be that a black religious leader was in the news for inflammatory statements, and therefore he must be an anti-Semite.  Even if no evidence to that effect came to mind. 

What will it take, then, to reverse the “fraying?”  What more could Obama have said in Ohio about blacks and Jews, or in Pennsylvania about the larger conundrum of race?

 Any answer begins with radical honesty of the sort most politicians can ill afford to muster.  In Ohio, Obama could have risked declaring himself committed to moving beyond the old politics of suspicion and condemnation, detailed the reasons for the splintering of the black-Jewish alliance, and laid out a plan for reestablishing trust and a commonality of purpose. In Pennsylvania, he could have framed the road to racial reconciliation in the same terms he has been brave enough to apply to climate control: as a journey that will require real sacrifice, profound reevaluation of our lifestyles and the unsustainable practices on which they’re built.  He could have looked into the living rooms of white America and declared that institutional racism is alive and well – that it benefits all those considered white, and also exacts from them a high moral toll.

 But the political costs of such statements would have overwhelmed Obama’s campaign. And while the senator’s commitment to presiding over a sea change in America’s racial climate appears to be perfectly sincere, it is the level of commitment for which he is willing to call that matters.  Soft-peddling the reality of white privilege might help bring people to the table, but if they come under false pretenses, they won’t stay. 

All of this points up the fallacy of a national conversation on race led by a president, no matter how thoughtful or inspiring. Not just because political constraints prevent him from addressing the issue with the candor we need, but because a chief executive’s role in moving the country toward a state of post-racism should be to address structural discrimination on the level of policy. Dismantling the system of racist policing and biased judiciary that has lead to the epidemic incarceration of black men will do more to heal the nation’s racial wounds than even the most compassionate and sustained dialogue. So will revamping a dysfunctional educational system that reinforces racial and economic disparities.

If President Obama wants to attack the issue on all fronts – as he must – then he should use his healing hands to sign over funding for a national program of community forums, to take place in town halls and high school gyms, JCCs and YMCAs, mosques and movie theaters. The structure and facilitation of these events would be delegated to people like Vijay Prashad, Tim Wise, Tricia Rose, Robin Kelley,  bell hooks, Van Jones, Rosa Clemente, and hundreds of others who have made drawing people into compassionate dialogue on race their life’s work.

There would be incentives for attendance: whatever it took to get people in the door, from parking-ticket forgiveness to free-cable vouchers. The conversations would need not tackle race head-on; the issue’s pervasiveness is such that almost any topic of universal concern raised in a multi-ethnic setting will intersect with it, from law enforcement to primary school education to jobs.  The appetite for dialogue is there, as surely as the bitterness; what we lack is the language and the context to engage. And nothing can tap the veins of goodwill running through the body politic quite like genuine interaction, particularly in this age of technological mediation and shrinking public space. 

What’s fascinating is how quickly the imagination falters in anticipating the direction these conversations might take.  What happens, for instance, after a young black man in need of employment testifies about the difficulty of overcoming the perception that he’s a thug, and a white soccer mom raises her hand to asks “well then, why do you dress like that, with your pants so low and your T-shirt so big?” Who speaks next?  Does the black man’s grandfather concur with the soccer mom?  Does the woman’s fourteen-year-old son – attired just like the job-seeker – realize, at this moment, that black people don’t have it as easy as he thought? What do the local business owner, the high school guidance counselor, the policewoman have to say?

Our access to one another is so limited, so constrained, that the journey into uncharted territory is a swift one.  It is a journey on which Obama’s “Toward A More Perfect Union” is an important stop, but the road stretches well beyond it – toward racial critiques more daring, policies more radical, and healing more profound.  

Adam Mansbach is the author of several novels, including The End of he Jews, winner of the California Book Award for Fiction, and the bestselling Angry Black White Boy