Category Archives: representation

No Malice & Pusha T on CNN

Several casual observations:

– Bill Weir, CNN reporter seems manipulative, disrespectful and really entitled.

– Both spend some time trying to not incriminate themselves.  It is Pusha who makes the most blatantly inconsistent statement when he refuses acknowledge drug profits in part 2.  “No, I’m a really good rapper.”

Probably worth juxtaposing with “King Push” first track from his most recent album:

– I have a little more clarity about the difficulties of No Malice.  I think he makes some of the most explicit justifications for why he refuses to perform violent drug rap music any more.  I appreciate that he gives up obvious financial gain to be real to his family and his beliefs.

– Pusha T’s segments are basically Pusha T advertisements.   The exchange where he tells Weir how much publicity he’ll get from being on CNN is awesome.  Pusha is phenomenally media savvy and makes it clear that he wouldn’t be on CNN if it didn’t benefit him.

– No Malice’s argument about white consumption of violent black-performed drug rap is pretty compelling.

– When asked by Weir why he doesn’t take the money to perform Clipse songs, No Malice gives the best exchange of the series:

“Brother, that money, that money at one time, was out for my life.  They can’t invent a dollar amount to get me out there to tell . . . look at what’s at stake? I can’t tell anybody about selling drugs any more, I can’t even make it look cool anymore.  There are people that are dying, look at what is going on in Chicago.   And I like I said earlier, your race can enjoy it!  And laugh and joke and enjoy it . . . and then get back to business.  I have a message and I have to share it.  Then I have to let you do what you want with it.  You know, you do what you want with it.  But, I’ve got enough blood on my hands.  Enough.”

– No Malice, CNN.

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Filed under capitalism, communication, cultural appropriation, drugs, hip hop, juxtaposition, media, music, race, representation, vulnerability

Inspired by ‘Who gets to graduate’

Paul Tough has a very strong essay in the New York Times called “Who gets to graduate.”  It is a snapshot of the strategies used by caring teachers and administrators at the University of Texas at Austin to help students succeed.  I appreciated the emphasis on successful strategies.  Here are a few of my favorite points.   Chemistry professor David Laude gets props for his initial approach:

In 1999, at the beginning of the fall semester, Laude combed through the records of every student in his freshman chemistry class and identified about 50 who possessed at least two of the “adversity indicators” common among students who failed the course in the past: low SATs, low family income, less-educated parents. He invited them all to apply to a new program, which he would later give the august-sounding name the Texas Interdisciplinary Plan, or TIP. Students in TIP were placed in their own, smaller section of Chemistry 301, taught by Laude. But rather than dumb down the curriculum for them, Laude insisted that they master exactly the same challenging material as the students in his larger section. In fact, he scheduled his two sections back to back. “I taught my 500-student chemistry class, and then I walked upstairs and I taught this 50-student chemistry class,” Laude explained. “Identical material, identical lectures, identical tests — but a 200-point difference in average SAT scores between the two sections.”

Laude was hopeful that the small classes would make a difference, but he recognized that small classes alone wouldn’t overcome that 200-point SAT gap. “We weren’t naïve enough to think they were just going to show up and start getting A’s, unless we overwhelmed them with the kind of support that would make it possible for them to be successful,” he said. So he supplemented his lectures with a variety of strategies: He offered TIP students two hours each week of extra instruction; he assigned them advisers who kept in close contact with them and intervened if the students ran into trouble or fell behind; he found upperclassmen to work with the TIP students one on one, as peer mentors. And he did everything he could, both in his lectures and outside the classroom, to convey to the TIP students a new sense of identity: They weren’t subpar students who needed help; they were part of a community of high-achieving scholars.

via Who Gets to Graduate? – NYTimes.com.

Laude’s interventions have been successful with many students.  Inspired by Laude, UT has developed a research tool which helps them discover which incoming first year students are likely to need some help.

I have a pang of concern about privacy and labeling.  There is something terrible about telling a student from a poor family who has worked really hard that they are “unlikely to succeed” because of some algorithm. This notion of a computer assessing students seems particularly soul crushing.   I appreciate that the folks at UT have something similar in mind in their communication strategy about their interventions.  Paul Tough again:

Perhaps the most striking fact about the success programs is that the selection criteria are never disclosed to students. “From a numbers perspective, the students in these programs are all in the bottom quartile,” Laude explained. “But here’s the key — none of them know that they’re in the bottom quartile.” The first rule of the Dashboard, in other words, is that you never talk about the Dashboard. Laude says he assumes that most U.L.N. students understand on some level that they were chosen in part because of their financial need, but he says it is important for the university to play down that fact when dealing directly with students. It is an extension of the basic psychological strategy that he has used ever since that first TIP program: Select the students who are least likely to do well, but in all your communications with them, convey the idea that you have selected them for this special program not because you fear they will fail, but because you are confident they can succeed.

via Who Gets to Graduate? – NYTimes.com.

UT has turned to psychologists to help figure out how to best communicate to at-risk incoming students that they belong.  How do you best re-articulate the fears and doubts to make them manageable?  Here is Paul Tough explaining UT professor David Yeager and his insights about persuasion and argument:

Yeager began working with a professor of social psychology named Greg Walton, who had identified principles that seemed to govern which messages, and which methods of delivering those messages, were most persuasive to students. For instance, messages worked better if they appealed to social norms; when college students are informed that most students don’t take part in binge drinking, they’re less likely to binge-drink themselves. Messages were also more effective if they were delivered in a way that allowed the recipients a sense of autonomy. If you march all the high-school juniors into the auditorium and force them to watch a play about tolerance and inclusion, they’re less likely to take the message to heart than if they feel as if they are independently seeking it out. And positive messages are more effectively absorbed when they are experienced through what Walton called “self-persuasion”: if students watch a video or read an essay with a particular message and then write their own essay or make their own video to persuade future students, they internalize the message more deeply.

In one experiment after another, Yeager and Walton’s methods produced remarkable results. At an elite Northeastern college, Walton, along with another Stanford researcher named Geoffrey Cohen, conducted an experiment in which first-year students read brief essays by upperclassmen recalling their own experiences as freshmen. The upperclassmen conveyed in their own words a simple message about belonging: “When I got here, I thought I was the only one who felt left out. But then I found out that everyone feels that way at first, and everyone gets over it. I got over it, too.” After reading the essays, the students in the experiment then wrote their own essays and made videos for future students, echoing the same message. The whole intervention took no more than an hour. It had no apparent effect on the white students who took part in the experiment. But it had a transformative effect on the college careers of the African-American students in the study: Compared with a control group, the experiment tripled the percentage of black students who earned G.P.A.s in the top quarter of their class, and it cut in half the black-white achievement gap in G.P.A. It even had an impact on the students’ health — the black students who received the belonging message had significantly fewer doctor visits three years after the intervention.

via Who Gets to Graduate? – NYTimes.com.

As a communication professor I’d like to claim some particular insight into these persuasive pathways.  Communication and Rhetoric teachers tend to think about exactly this kind of strategic approach to making messages, but it is also kind of common sense.   I bet English, Ethnic Studies Women’s Studies and Social Work professors all recognized some of our core principles in our fields in these insights.

I don’t think it is about credit.  There is certainly work to go around.  Part of the story is the structural support of administrators and the other part of the story are the good teachers primed  to implement these ideas.   You’d need administrators and informed teachers working in cooperation for a while to get results.   And you’d need all those teachers from all those fields who already know this to implement change successfully at a university.

Much of the ‘ah-ha’ arguments of the article are about a communication practice known as inoculation — that you pre-warn someone about a coming moment of persuasion in order to steer the person’s understanding of that moment when it happens.

Often used by political candidates to warn about an argument about to be spoken by an opponent in a debate, the tactic works equally well when thinking about education.   Here is Paul Tough analyzing UT’s online messaging module which helps to intellectually-inoculate first year students about belonging and doubt:

Our first instinct, when we read about these experiments, is that what the interventions must be doing is changing students’ minds — replacing one deeply held belief with another. And it is hard to imagine that reading words on a computer screen for 25 minutes could possibly do that. People just aren’t that easy to persuade. But Yeager believes that the interventions are not in fact changing students’ minds — they are simply keeping them from overinterpreting discouraging events that might happen in the future. “We don’t prevent you from experiencing those bad things,” Yeager explains. “Instead, we try to change the meaning of them, so that they don’t mean to you that things are never going to get better.”

via Who Gets to Graduate? – NYTimes.com.

Nice essay and more to think about as we do the important work of hustling to make change.

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Filed under academics, capitalism, class, communication, intersectionality, kindness, learning, representation, Surveillance

Performing arguments: The Roots . . . And then you shoot your cousin

Okayplayer has a slightly obtuse review of the live performance of The Roots new album.  The album is called . . . And then you shoot your cousin.  Here is a snippet from the review by Eddie “Stats” which highlights the use of performance to make some interesting arguments:

Questlove is at the decks now and as the lights strobe a massive avalanche of balloon animals suddenly falls on the stage, a Jeff Koons flood of meaningless forms, falling in the framedrop slo-mo created by the flash of the strobe. A doo-ragged character enters the stage, humming, holding a gigantic red balloon like a kite. There’s something clownish in his dancerly movements, he has his mouth absurdly open, recalling at once a mime, Flavor Flav in wop-mode, the broom-wielding enforcer of the Apollo as he sweeps balloons away in the wake of his feet. In silence his dance picks up in intensity and his movements resemble Flav less than legendary b-boy choreographer Pee Wee Danz. As he steps and swims through balloons, the pop of dying inflatables echo like gunshots. We are fully in Fluxus territory now, improvisation colliding with a wickeder kind of randomness to create an ‘anything could happen’ tension in the room.

via The Roots chop up their new LP into art live (photos + recap) Okayplayer.

The Roots performing live among some balloon animals.  Photo by Mel D. Cole taken with respect from Okayplayer.

The Roots performing live among some balloon animals. Photo by Mel D. Cole taken with respect from Okayplayer.

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Bun B, hip hop and changing culture

Photo by Jacob Moore. Bun B and Mayor Parker declaring Bun B Day in Houston. August 2011

Bun B is an absolute boss, a fact reasserted in the Texas Monthly article on his influence.  I find it interesting how much cultural change Bun B has been involved in.  UGK were crucial in convincing the world to appreciate southern hip hop.  Bun B is a great example of community minded hip hop leader, as Katy Vine explains:

Bun B’s life these days is so deeply intertwined with Houston’s that he is often referred to as the city’s unofficial mayor. He has been featured in anti-texting public service announcements. He helps publicize drives for the Houston Food Bank. He hosts a twice-weekly segment on the TV station CW39 called Bun’s Beat (recent installments include “Bun B’s Thoughts on the NFL Banning the N-Word” and “Bun B’s Advice for Returning College Students”). He has been a regular guest on networks such as Comcast SportsNet Houston to discuss the Astros and the Rockets. He attends nearly every major concert. He promotes the city’s food and culture actively on his Twitter feed, where he can seem, at times, like a one-man chamber of commerce. “If you want to find out the best sushi spot, barbershop, or club, he would probably be the person with the widest Rolodex,” Houston rapper Chamillionaire told me. “You could ask him something crazy, like where to find left-handed scissors in Houston, and he could probably point you in three different directions.”

via Man About Town: Page 2 of 8 | Texas Monthly.

Let us note that place has been one of the most significant parts of hip hop culture (where are you from?).   What if there are creative hip hop intellectuals in every town in the world, who love where they are from so passionately that they will become positive leaders in their own places?  It’s going to take some forward thinking municipalities to get the benefits of including hip hop intellectuals.

Thanks to thehairpin for the linque.

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Positionality: Ebony on Leslie Jones, humor and slavery

Photo from Ebony Magazine, via Saturday Night Live

I appreciated that Leslie Jones wrote an extended riff on slave sexuality and the African American experience on Saturday Night Live.  I recognized the controversial elements, but it was also a crash course on hierarchy for a few SNL viewers.

Slavery was an institution built on rape.  Angela Davis notes that the representation of Africans as animals also meant a notorious breeding/rape part of the economy.  Driven by profit, slave masters would rape in order to make more slaves.

It also necessitated a whole hundred years of representations of black women’s sexuality as somehow complicit in this sexuality.  Hierarchies of white sexuality as pure and desired versus black sexuality often articulated as lusty and despised (bogus).

So when Leslie Jones turned her criticism of the subject to her own body she skipped the rape part of of slave economy.  Of course the humorous part of the skit was imagining that a slave would be empowered as  . . .  perhaps a number one draft pick.  Jamilah Lemieux, editor at Ebony was quick to notice this and argue that it’s a little 2014 for representations of happy slaves:

What about the producers, directors, cast members who watched this play out? No one said, “You know this is going to upset a lot of people, right?” SNL now has at least five Black actors and writers…one would hope that that would have been enough to stop this train. That is why we wanted Black women in the writers’ room in the first place, to prevent exactly this.  Because I am willing to bet that had a Jewish writer conceived an ‘Anne Frank meets Justin Bieber’ skit after the singer made his regrettable comments about the young Holocaust victim, someone would have had the good sense to shut it DOWN.

(When does someone shut down jokes about slavery? And how bad are the racist jokes that don’t make it past the drawing board?)

via Once Again, No One Is Laughing at ‘SNL’ – Entertainment & Culture – EBONY.

No doubt SNL is a racist institution and much of their humor hinges on toxic sexist and racist tropes. Jamilah Lemieux makes clear the positionality of Jones in the ways she lampooned her own desirousness.

I don’t know if she’s just doubling down and committing to defending a completely indefensible (IT WASN’T REALLY WASN’T FUNNY, MA) skit, or if she really just doesn’t grasp what was wrong with it. But it’s depressing that Jones would play out her own issues with feeling undesirable  in a way that not only made her, in that moment, perhaps as unattractive as humanly possible, but also mocked other Black women who may be taller, larger or outside the ‘norm’ in the process. Comedy can be cathartic, dark, subversive…but that takes skill that wasn’t displayed here. She didn’t call to question why women like her are, by her accounts, less wanted than the Lupitas and Beyonces of the world; she talked about fighting Crips for a White dude and popping out NBA-worthy babies on demand.

via Once Again, No One Is Laughing at ‘SNL’ – Entertainment & Culture – EBONY.

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Hells Angels kissing

One of the images in this gallery — slide 8, featuring two Angels locked in what appears a passionate kiss — is a graphic, surprising example of something that Bill Ray says struck him forcefully at the time: namely, the Angels’ apparent need to shock people. “That’s outside the Blackboard Cafe,” Ray remembers. “That’s the sort of thing they would do all the time, just to freak people out. As if to say, What’re you looking at? You got a problem with this?“

via LIFE Rides With Hells Angels, 1965 | LIFE.com.

Photo by Bill Ray thanks to Life magazine.

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What is it about gold teeth that freaks people out?

The United States Army has banned grills.  Here is a quote from Animal Magazine who excerpted the Army new regulations:

The use of gold caps, platinum caps, or caps of any unnatural color or texture (permanent or removable) for purposes of dental ornamentation is prohibited. Teeth, whether natural, capped, or veneered, will not be decorated with designs, jewels, initials, or similar ornamentation.

via US Army To Ban Neck Tattoos, Cornrows And Grills – ANIMAL.

You understand that most grills are removable right?  What is it about gold teeth that makes people freak out?  My criticism is that they are wasteful and might damage your teeth or mouth.  But that might be true of sour patch kids, and I don’t think the Army should ban them.

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Power, autonomy, body and twerking: Kimari Brand

Brilliant breakdown of twerking and bodily representation.  Smart insights from Kimari Brand about power and the significance of the dance form (film by Irma L. Garcia).  Brought to me by the ever-on-point Feministing.  Good preview of the video by Sesali Bowen in Feministing:

Utilizing multiple experiences — including a course on performance, feminism and social justice, a trip abroad to study Afro-Caribbean culture and politics, and her experiences as a Black girl at an institution of higher education that prioritizes white supremacist “credibility and status” — Brand has reframed the dialogue about twerking.

via “Twerk It Girl” examines twerking for autonomy and resistance.

I think twerking is at the heart of a lot of the moral panics about young women’s sexuality.  More particularly the moral panic attached to twerking is represented along racial and/or sexual and/or class lines depending on the expected audience (Miley Cyrus).  Worth discussion and re-presenting which Brand and the filmmaker Garcia do really well.

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Filed under academics, art, class, cultural appropriation, dance, documentary, feminism, hip hop, race, representation, resistance, rhetoric

Solidarity against rape culture at Vanderbilt

The editor of the Vanderbilt student newspaper wrote a nice opinion piece about the visibility of rape culture on a fraternity message board.  After summarizing the toxic discussion, Andre Rouillard shares his conclusion and noted that he had saved the message board discussion and posted it for posterity:

If all of this isn’t rape culture made manifest, then I don’t know what is. I’m not going to waste my limited word count railing against the enabling power of anonymous message boards and social media, the insularity and cliquey-ness of Greek life, or other favorite targets of those who write on this subject but who don’t pay witness to it. This single, 44-post thread is a glimpse into a rape culture that is alive and well here at Vanderbilt. It’s alive in dorm rooms, Greek houses, classrooms and public spaces. It is a culture that commits rape and then comes together to shut down its victim.

“Consider yourself lucky if no one finds this thread,” warns one user. Well, now no one can: The thread was deleted from the website yesterday after 8 p.m. However, you’ll be able to find the entire thread saved here, with the name redacted.

It is plain now that there are groups of individuals at this prestigious, beautiful, diverse institution darkening its classrooms and hallways and making it a less safe and accepting place for the women in attendance. After all of the steps forward that Vanderbilt has taken in my four years here, this thread represents one hundred steps backward. I am deeply ashamed to share classrooms, professors and the name on my soon-to-be-printed diploma with the students represented in this cesspool of destructive gossip and self-serving intimidation. I’d like to think we at Vanderbilt, the lucky few, are better than this — but now, I’m not so sure.

via ROUILLARD: The girl that ratted – InsideVandy: Opinion.

In a badass moment of solidarity, another student has written a shared letter declaring that she is the ‘girl who ratted.’  Sharing risk and making the threats of retaliation visible are both smart responses to the incident.  Julia Ordog explained her strategic thinking:

“I wanted to just do something to make my thoughts on it heard in a concrete way,” she added. Ordog also wanted to demonstrate her support for the alleged victim.

“I came up with this idea of ‘I am the Girl That Ratted’ because in my head, I was thinking about how it really could have been anyone, and how even though I haven’t been a victim myself, it’s something that I feel very passionately about,” she said. “I wanted it to be an ally statement, but also more powerful than that.”

She only circulated the letter to about 60 people initially, who she says were students she had talked to about the online postings, students who she knew were passionate about the issues involved, and close friends. The message spread throughout campus during the course of the day, with Ordog being contacted by several students requesting permission to forward her email along to others.

via ‘I am the girl that ratted’: Collegiate ACB thread sparks viral solidarity movement – News – Inside Vandy.

Small numbers, smart organizing and strategic thinking change culture.

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Cannibal Capitalism the Birdman edition

Photo of Birdman’s RG (perhapsRich Gang) and YMCMYSL (perhaps Young Money Cash Money Young Stoner Life) tattoos. Thanks to The Smoking Section for the photo, I assume taken from Birdman’s social media.

Birdman is trying to sign Young Thug to his record label.  To prove his sincerity he tattooed several Young Thug associated tattoos on his hands and face.

Cannibal capitalism is the mediated experiences of human suffering projected for human entertainment and profit.   It is obvious that the bodily impact of Birdman’s tattoos is a particular kind of communication.  Tattoos have often been the indication of long-term committment for gangs, military units and fans of musical artists.  Birdman’s tattoo is amplified on social media and through dozens of rap blogs.  It is a public communication of his commitment intentionally articulated to bring his company more profit (by signing a strong young artist).

In some ways the suffusion of cannibal capitalism into many so-called reality television shows (cooking shows, real estate flippers) is an indication of the desperation of many people.   But Birdman isn’t desperate (not in the poverty sense) — he can give expensive cars and jewelry to friends and label-mates.  I heard on NPR he just gave a Bugatti to Justin Beiber.

Fleeting fame and the potential for profit have encouraged more than one reality TV contestant to become a public exercise in morality and exclusion. (Did you hear about Stephanie on Top Chef when she cut herself and she went to the hospital?!?! How about that Survivor episode where that guy broke his leg? What a wimp!)

Cannibal capitalism can be mapped whenever a human is harmed and it is filmed and amplified for other people’s pleasure.  When this happens a particular morality of self-sacrifice is usually articulated.  Announcers and other contestants express just how someone should take the suffering.  In some ways the harm done to the body gives access to comment on the body.

In the case of Birdman’s new tattoo’s the morality expressed isn’t how tough Birdman was for getting the ink, but rather how idiotic it is to tattoo to something as fleeting as a new potential corporate rap alliance.   Here is the Smoking Section‘s Gotty mocking the social costs of multiple face tattoos.

We recognize that the fact that Birdman will never have to go to a job interview ever in his life. The Cash Money CEO’s so loaded his kids kids most likely will never have to worry about working either. With that said, his continuing effort to ink his whole body with scribblings dedicated to Cash Money subsidiaries is a little odd.

Actually, the “RG,” presumably for his Rich Gang management company, added to his right cheek isn’t that bad because what the hell would two more letters do to a face littered in tats? It’s the “YMCMYSL” scripted on his fingers that doesn’t make sense. Assuming the letters rep Young Money Cash Money Stoner Life as in Young Thug’s movement, that’s more confusing.

via Birdman Permanently Pays Homage To Young Thug | The Smoking Section.

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