Weekly Link Roundup

Internet gleanings.

• The New Republic on the impulse to cast out our violent demons and label them away from us accordingly: “Why Are White Racists Always Called White Trash?”

Only the most desperate white racists openly identify as racists. Invariably, these white people come from a social stratum deprived of all that whiteness tries to connote: wealth, beauty, power, cleanliness, grace. But because it is uncomfortable for white people to define such things too clearly, the phrase “white trash” had to be invented to cover them. The phrase, developed to describe all Southern whites outside the aristocracy, has shifted in tandem with economic and social changes so that it now applies to a demographic sliver. Yet this reduction in range has not corresponded to a reduction in the disgust it evokes in whites of putatively higher status.

• Tech that encourages exploration girls to learn how to code and revels in its own girliness: programmable friendship bracelets! They make a better gift for your niece than yet another Barbie.
• MTV piques my interest with their new documentary, ‘White People’

• The Obama administration takes step to address one of the ‘hidden frontiers’ in combating racism: discriminatory housing practices.  

“Housing discrimination is the unfinished business of civil rights,” says Sherrilyn Ifill, the president of the NAACP Legal Defense and Education Fund. “It goes right to the heart of our divide from one another. It goes right to the heart of whether you believe that African American people’s lives matter, that you respect them, that you believe they can be your neighbors, that you want them to play with your children.”

• On color in comics: “Lighten Up”

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Big Sound Saturdays: People Get Ready!

During the civil rights movement, Pete Seeger’s “We Shall Overcome,” Bob Dylan’s “Blowin’ in the Wind,” and Buffy Sainte-Marie’s “Universal Soldier” sparked white and some black antiwar and anti-segregation sentiment. These are the songs that we tie, rightfully, to the movement. Yet it was the driving, ecstatic harmonies of Martha Reeves and the Vandellas and Smokey Robinson and the Miracles that spoke most directly to the power of black music and black art, and it was the sounds of “sweet soul music” that drove the black movements forward. It’s upon these foundations that this week’s mix, People Get Ready, is built.

Released in the summer of 1964 amidst violent protests, KKK terrorism, and the beginning of Student Nonviolent Coordinating Committee’s Summer Project, Martha Reeves and the Vandellas’ “Dancing in the Street” topped the Billboard 100. Even though the frontwoman denied, consistently, the viability of a political re-reading of the tune, its topical reconfiguration was a call to action. In the New Yorker, Rollo Romig describes how the song was first articulated explicitly within the black power movement:

In October, 1965, the S.N.C.C. member Roland Snellings wrote an article called “Keep on Pushin’: Rhythm & Blues as a Weapon” for a black-power journal called Liberator: “WE ARE COMING UP! WE ARE COMING UP! And it’s reflected in the Riot-song that symbolized Harlem, Philly, Brooklyn, Rochester, Paterson, Elizabeth; this song, of course, ‘Dancing in the Streets’—making Martha and the Vandellas legendary.”

It’s a little apocryphal to call any of the songs that I put on People Get Ready “riot songs,” though I do think that there’s something to be said for Snellings, the black power movement, and the civil rights movement’s re-reading of them. Until the protest movements of the 1960s, interpretations of the racist, oppressive social structure were fixed—it took some creative reconsideration to open the possibility of a new order. When the remedy seems impossible, creativity might be the only thing left. “Dancing in the Street” may not intend its call to action, but it still lauded protesting at a slant. Aretha Franklin’s “Respect,” performed on this mix by Otis Redding, demanded a romance on equal terms, and it also demanded a romance of equality, and a context of equal rights.

Lots of the songs on People Get Ready are more explicit, informed directly by the civil and black rights movements: The Impressions’ timeless “People Get Ready,” the quiet bombast that marks Jackie Wilson’s “When Will Our Day Come,” Chuck Berry’s surprising hip-shaker, “Brown Eyed Handsome Man.” Most of the songs that I pulled together were, at their time, incredibly popular. Mahalia Jackson was Martin Luther King, Jr.’s favorite singer, and Trouble of the World sounded the struggle of the black population in a way reminiscent of the hopeful blues of the twenties and thirties, “the sun’s gonna shine in my back door someday.” Nina Simone is still considered to be one of the most dexterous and fearless advocates of black empowerment. With those, I also slid in a few smaller tunes: R&B great Big Maybelle’s “Heaven Will Welcome You Dr. King,” released just after his assassination as a B-side to her cover of Eleanor Rigby off the small Rojac label, is an extravagant and little-known tribute to the leader, and Dock Reed and Vera Ward Hall’s “Free At Last,” a tune whose roots stretch to early slave songs. When these tunes weren’t explicit—“be black, baby” didn’t always top the charts—they read beauty and power into a black population whose agency was overwhelmingly repudiated, if not simply ignored.

Today, that denial persists. A week ago, June 17, 2015, Dylann Roof walked into Charleston’s historically black Emanuel AME and shot and killed nine black church members: Cynthia Hurd, Susie Jackson, Ethel Lance, DePayne Middleton Doctor, Clementa C. Pinckney, Tywanza Sanders, Daniel L. Simmons Sr., Sharonda Coleman-Singleton, and Myra Thompson. You can already find lots of good writing on black mourning and forgiveness, the space of white women and black women in a racist social structure, and on the significance, in this context, of Roof’s confederate flag. We have to keep talking about this, name the dead, attribute the violence again and again to the white supremacist social structure that reproduces it. Understanding that the U.S. is built on slavery and capitalism makes these crimes legible. If we don’t keep repeating ourselves then we, and everyone else, might start to forget.

Let’s keep these songs close, then, mix them with Kendrick Lamar’s opus To Pimp A Butterfly and D’Angelo’s reckless and brilliant Black Messiah and hope that something comes out of them. There’s no point in talking if we don’t listen, too.

Weekly Link Roundup: Charleston, Voting Rights, and Marriage Equality!

This week on the interwebs:

• The Supreme Court legalized gay marriage in all 50 states. Yeeeees!
• Congressional Democrats introduce a new bill designed to bolster the gutted Voting Rights Act. From the article: “The 2016 election will be the first in 50 years where voters will not have the full protections of the VRA, which adds urgency to the congressional effort. Since the Shelby decision, onerous new laws have been passed or implemented in states like North Carolina and Texas, which have disenfranchised thousands of voters, disproportionately those of color. In the past five years, 395 new voting restrictions have been introduced in 49 states, with half the states in the country adopting measures making it harder to vote. “If anybody thinks there’s not racial discrimination in voting today, they’re not really paying attention,” Senator Leahy said.”
• Don’t know what to watch this weekend? Indiewire collected a list of 115 films by and about women of color, following a Twitter conversation led by Ava DuVernay (who’s just been tapped to direct Marvel’s Black Panther!)
• From The Toast: an interview with a slavery specialist who guides historical tours, and an interesting look in an arena of “heritage tourism.”
• Don’t let the Charleston massacre get lost in the 24-hour news cycle. From the African American Intellectual History Society: a powerful syllabus that collects op-eds to spur further discussion and a wealth of resources on South Carolina, Confederate history, the Confederate flag and its symbolic legacy, and the history of American racism.
• A particularly powerful piece that’s worth reading from the syllabus above: ways in which our racially fraught, violent history, which is sometimes framed as something antiquated, is in fact persistently present. A warning that this is a fairly upsetting read. But then again, so is being a victim of racism.
• Finally: do computers dream? Google’s neural image recognition software gives us an idea of what “AI inception” might look like.

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