“The Funk has left the building. Well, technically, the Funk has only retired to a room adjacent to the stage where his masseuse awaits. “I need my massage,” George Clinton says. At 77, his pre-concert ritual is a lot different than it used to be: No illicit drugs. No groupie action. Just his wife Carlon Thompson-Clinton, who’s also managed his career for the last 10 years. And from the looks of the green room, the main thing on his rider these days is Fiji water.”
” . . . Clinton’s life has played out like a Blaxploitation flick, from his mythological birth in an outhouse all the way down to his final act of revenge against The Man, as he tries to regain ownership of P-Funk’s hit discography from alleged interloper Bridgeport Music, Inc. While he’s won back the publishing rights for the One Nation Under a Groove LP and others, the saga continues.”
America’s Largest Black Boarding School Sends 97 Percent of Students to College
The Piney Woods Country Life School is America’s largest historically black boarding school, and one of the few remaining, with a sprawling campus of pine trees and rolling farmland just 20 miles south of Jackson. It opened in 1909 as the vision of an educated African-American man from St. Louis who felt a desire to teach the illiterate children of freed slaves how to farm and read. In the face of hunger, poverty, and lynching threats, Dr. Laurence Jones and his wife fought to keep the school open in the segregated South.
TIME AND TIME AGAIN, THE REAL DECISION MAKERS GET AWAY WITH MURDER WHILE RAP ARTISTS ARE PROJECTED AS THE EMBODIMENT OF EVERYTHING THAT IS WRONG WITH HIP HOP AND YOUNG BLACK MALES.
“If this doesn’t sound like the kind of Hip Hop you’re familiar with, blame the music industry and mainstream media for bombarding you with a steady diet of rappers talking about drugs, sex and violence for over two decades. Blame MTV, BET, and other networks for trying to redefine what Hip Hop is in order to sell it and shove it down the throats of unsuspecting consumers. It’s easy to blame simple minded rappers for promoting negative messages and images while multi billion dollar companies and shrewd businessmen who market these artists are free from criticism. It’s easy to blame someone like Chief Keef who becomes the obvious poster boy for mindless rap while Jimmy Iovine, the head of Interscope Records, keeps a low profile and avoids having to address his part in promoting “death through entertainment”.
It’s easy to protest flavor of the month Trinidad James who raps about Molly, the industry’s latest fashionable drug, while Def Jam’ president Joie Manda proclaims his new discovery as “the cutting edge of what’s happening in the culture today.” It’s easy to blame talentless top 40 rappers for dominating the airwaves of so called hip hop radio stations like L.A.’s Power 106 or New York’s Hot 97 while Rick Cummings, president of programming for Emmis Communications, which owns both stations, isn’t held accountable for his part in broadcasting filth to millions of listeners.Time and time again, the real decision makers get away with murder while rap artists are projected as the embodiment of everything that is wrong with Hip Hop and young Black males.”
John Coltrane, Dave Brubeck, Ornette Coleman and Charles Mingus all cut timeless classics, which is why many fans hold that 1959 is the greatest year in all of jazz music. There are countless think pieces exploring the idea, a popular new blog devoted to the subject and even a documentary film, 1959: The Year That Changed Jazz.
“Consistent with the deep-seated prejudices held by most white suffragists, Catt included no plaques to commemorate the thousands of African American women who actively participated in the struggle. Regional chauvinism was an issue as well: All the domestic suffragists were from the East Coast, with New York State vastly overrepresented. There was no one from California or the West, nor anyone from the South, unless you counted the Grimké sisters who left their native South Carolina to settle in Philadelphia and later New Jersey.
For too long, the history of how women won the right to vote has closely paralleled Catt’s suffrage forest: top-heavy and dominated by a few iconic leaders, all white and native-born. Moving away from that outdated approach reveals a broader, more diverse suffrage history waiting to be told, one that shifts the frame of reference away from the national leadership to highlight the women — and occasionally men — who made women’s suffrage happen through actions large and small, courageous and quirky, in states and communities across the nation. Suffrage activists campaigned in church parlors and the halls of Congress, but also in graveyards on the outskirts of college campuses, on the steps of the Treasury building and even on top of Mount Rainier.”
“Black Arts Movement poet and publisher Haki Madhubuti wrote, “And the mission is how do we become a whole people, and how do we begin to essentially tell our narrative, while at the same time move toward a level of success in this country and in the world? And we can do that. I know we can do that.”
“That being said, we need to stop saying “people of color” in instances we mostly (and sometimes only) mean “Black people.”What I’m saying is a bit meta, but the public use of the term POC seems to have become less about solidarity, and more concerned with lessening the negative connotations and implicit anti-Black reactions (fear, scorn, disdain, apathy) to Blackness. In popular discourse, POC is often a shorthand for “this issue affects Black people most directly and disproportionately, but other non-white people are affected too, so we need to include them for people to listen and so people to understand we aren’t talking about race as only Black vs. white.”Saying POC when we mean “Black people” is this concession that there’s a need to describe a marginalized group as “less” Black for in order for people (specifically, but not only, white people) to have empathy for whatever issue being discussed.”