Showing posts with label Ishmael Reed. Show all posts
Showing posts with label Ishmael Reed. Show all posts

Sunday, February 12, 2012

Ishmael Reed, Unreconstructed & Not Post-Black!

Show description for Sunday 2/12/2012 @ 3:00 PM - 6:00 PM

This afternoon, on the 5 o'clock hour, poet, playwright, essayist, and novelist, Ishmael Reed returns to New Day Jazz. His most recent novel, his first in over a decade, is Juice! A new book of essays, Barack Obama and the Jim Crow Media, is the first collection of its kind by a leading African-American intellectual. Mr. Reed's online magazine, Konch, published it's latest issue this month.

http://www.ishmaelreedpub.com/


ArtistSongAlbumLabel

Miles DavisDirections 1DirectionsColumbia

Miles DavisSide Car 2Circle In The RoundColumbia

Miles DavisWater BabiesWater BabiesColumbia

Joe HendersonEscapadeOur ThingBlue Note

Joe HendersonCaribbean Fire DanceMode For JoeBlue Note
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Randy WestonSamba BassaAfrican NiteInner City

Randy WestonNiger MamboAfrican CookbookAtlantic

Gil Evans (Cecil Taylor)PotsInto The HotImpulse

Cecil TalyorTales (8 Whisps)Unit StructuresBlue Note

Carmen McRaeI Left My Heart In San FranciscoLive At SugarhillTime

Carmen McRaeI Didn't Know What Time It WasLive At SugarhillTime
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Cassandra WilsonI Didn't Know What Time It WasBlue SkiesJMT

Cassandra WilsonShall We DanceBlue SkiesJMT

Charles Mingus featuring Honey GordonStrollin'Mingus DynastyColumbia

Charles MingusSong With OrangeMingus DynastyColumbia

Gil Evans & Steve LacyOrange WasThe Color OF Her Dress, Then Blue SilkParis BluesOwl
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Kenny DrewIf You Could See Me NowDark BeautyInner City

Interview With Ishmael Reed By Justin DesmanglesInterview With Ishmael Reed By Justin DesmanglesInterview With Ishmael Reed By Justin DesmanglesInterview With Ishmael Reed By Justin Desmangles
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Kenny DrewAll Souls Here (excerpt)Dark BeautyInner City

Sunday, July 17, 2011

I am the opposite of a stage magician. He gives you illusion that has the appearance of truth. I give you truth in the pleasant disguise of illusion



Show description for Sunday 7/17/2011 @ 4:00 PM - 6:00 PM


All those ships that never sailed
The ones with their seacocks open
That were scuttled in their stalls...
Today I bring them back
Huge and transitory
And let them sail
Forever.

All those flowers that you never grew-
that you wanted to grow
The ones that were plowed under
ground in the mud-
Today I bring them back
And let you grow them
Forever.

All those wars and truces
Dancing down these years-
All in three flag swept days
Rejected meaning of God-

My body once covered with beauty
Is now a museum of betrayal.
This part remembered because of that one's touch
This part remembered for that one's kiss-
Today I bring it back
And let you live forever.

I breath a breathless I love you
And move you
Forever.

Remove the snake from Moses' arm...
And someday the Jewish queen will dance
Down the street with the dogs
And make every Jew
Her lover.



Bob Kaufman, poet. (from, The Ancient Rain)




Betye Saar, Ragtime, 2005, mixed media box assemblage, 19" x 20" x 2" Pictured above

ArtistSongAlbumLabel

Tennessee Williams (read by Montgomery Clift)Opening SoliloquyThe Glass MenagerieCaedmon

Art TatumOut Of NowhereJazz Piano 2RCA - France

Teddy WilsonSomeday SweetheartJazz Piano 2RCA - France

Billy KyleNight WhispersJazz Piano 2RCA - France

Count BasieI Never KnewJazz Piano 2RCA - France

Count BasieLittle PonyFrom King Oliver To Ornette ColemanCBS - France

Charles BrownDrifitn' BluesDriftin' BluesAladdin
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Ella FitzgeraldThis Time's The Dream's On MeSings The Harold Arlen SongbookVerve

Kenneth Patchen23rd St. Runs Into HeavenReads His PoetryFolkways

Kenneth PatchenThe Lions Of FireReads His PoetryFolkways

Willie "The Lion" SmithRelaxin'Jazz Piano 2RCA - France

Fat's WallerCarolina ShoutJazz Piano 2RCA - France

Hampton HawesDiablo's DanceJazz Piano 2RCA - France

Sylvia PlathOuijaSylvia Plath Reads Her PoetryCaedmon

Miles DavisSweet Sue, Just YouWhat Is Jazz?Columbia

Kenny Dorham Lotus Blossom2 Horns 2 RhythmRiverside
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Claude McKayTropics In New YorkAnthology Of Negro PoetsFolkways

Tommy FlanaganBalladJazz Piano 2RCA - France

Oscar PetersonFine & DandyJazz Piano 2RCA - France

Tennessee Williams (read by Montgonery Clift & Jessica Tandy)excerpt for Scene 3The Glass MenagerieCaedmon

Ella FitzgeraldLet's Take A Walk Around The BlockSings The Harold Arlen SongbookVerve

Ella FitzgeraldIll WindSings The Harold Arlen SongbookVerve

Gwendolyn BrooksSong Of The Front YardAnthology Of Negro PoetsAnthology Of Negro Poets

Charles BrownRolling Like A Pebble In The SandDriftin' BluesAladdin

Avery ParrishAfter HoursJazz Piano 2RCA - France

Sterling BrownLong GoneAnthology Of Negro PoetsAnthology Of Negro Poets

Thelonious MonkRound MidnightThelonious Monk SoloVogue

Bud Powell TheloniousJazz Piano 2RCA - France
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Ishmael ReedJudasConjurePangaea

Bud PowellTopsy TurvyJazz Piano 2RCA - France

John LewisPromenade In ParisJazz Piano 2RCA - France

Langston HughesBorderlineReads and Talks About His PoemsSpoken Arts Records

Langston HughesGenius ChildReads and Talks About His PoemsSpoken Arts Records

Langston HughesSuicide's NoteReads and Talks About His PoemsSpoken Arts Records

Langston HughesLittle Lyric ( Of Great Importance)Reads and Talks About His PoemsSpoken Arts Records

Langston HughesMottoReads and Talks About His PoemsSpoken Arts Records

Langston HughesFlatted FifthsReads and Talks About His PoemsSpoken Arts Records

Charlie ParkerThe BirdThe Charlie Parker StoryWarner Brothers
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Richard PryorGodAre You Serious?Laff

Sunday, July 3, 2011

New Music, New Poetry: Odean Pope, Farmers By Nature, Al Young, Ishmael Reed, Matthew Shipp, William Parker


Patrice Lumumba, pictured above, (July 2, 1925 – January 17, 1961) Know your history, know your culture. Your independence depends on your remembrance. Each one, teach one.

Show description for Sunday 7/3/2011 @ 4:00 PM - 6:00 PM

PLEASE NOTE: MR. BARAKA HAS BEEN RESCHEDULED TO A LATER DATE

This week, on the 5 o'clock hour, poet, playwright, essayist, and activist, Amiri Baraka, returns to New Day Jazz to discuss the recent biography, Malcolm X: A Life of Reinvention, by the late Manning Marable.


ArtistSongAlbumLabel

Odean PopeCustody Of The American SpiritUniversal SoundsPorter

Odean PopeMwalimuUniversal SoundsPorter

Odean PopeThe BinderUniversal SoundsPorter

Ishmael Reed If I Am A Welfare Queen Where Are My Jewels And Furs?For All We KnowKonch Records

Al YoungSundays In DemocraciesSomething About The BluesSourcebooks
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Farmers By NatureMud, MappedOut Of This Worlds DistortionsAUM-Fidelity

William Parker Organ QuartetThe StruggleUncle Joe's Spirit HouseCentering Records
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Matthew Shipp The New FactArt Of The ImproviserThirsty Ear

Matthew Shipp 3 In 1Art Of The ImproviserThirsty Ear

Al YoungStraight, No ChaserSomething About The BluesSourcebooks
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Odean PopeBluesUniversal SoundsPorter

William Parker Organ QuartetJacques GrooveUncle Joe's Spirit HouseCentering Records

William Parker Organ QuartetEnnio's TagUncle Joe's Spirit HouseCentering Records

Al YoungConjugal VisitsSomething About The BluesSourcebooks

Ishmael Reed Army NurseFor All We KnowKonch Records

Farmers By NatureFor Fred AndersonOut Of This Worlds DistortionsAUM-Fidelity
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Art Ensemble of ChicagoDreaming Of The Master Thelonious Sphere Monk: Dreaming Of The Masters Vol. 2

Sunday, May 8, 2011

I. Reed Juice! on Joan Walsh, Progessives & Obama




Show description for Sunday 5/8/2011 @ 3:00 PM - 6:00 PM

Ishmael Reed returns to discuss his new novel, Juice!


ArtistSongAlbumLabel

Betty CarterThis Is AlwaysInside Betty CarterUnited Artists

Betty CarterBeware My HeartInside Betty CarterUnited Artists

Betty CarterSome Other TimeInside Betty CarterUnited Artists

Betty CarterSpring Can Really Hang You Up The MostInside Betty CarterUnited Artists
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Sarah VaughnAll I DoSarah + 2Roulette

Sarah VaughnI UnderstandSarah + 2Roulette

Sarah VaughnBaby Won't You Please Come HomeSarah + 2Roulette

Sarah VaughnWhen Lights Are LowSarah + 2Roulette
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Chico Hamilton QuintetConcerto Of Jazz Themes From The Soundtrack Of Sweet Smell Of SuccessThe Sweet Smell Of SuccessDecca
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Modern Jazz QuartetOdds Against TomorrowDedicated To ConnieAtlantic

Roscoe Mitchell & Amiri BarakaIn TownMLK Concert at Yoshi's SF Jan. 17, 2011Private Recording

Roscoe Mitchell & Amiri BarakaSelections From Un Poco Low CoupMLK Concert at Yoshi's SF Jan. 17, 2011Private Recording

Julian "Cannonball" AdderleyLove For SaleSomethin' ElseBlue Note
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Julian "Cannonball" AdderleyOne For Daddy-OSomethin' ElseBlue Note

Julian "Cannonball" AdderleyDancing In The DarkSomethin' ElseBlue Note

John ColtraneI'm Old FashionedBlue TrainBlue Note

John ColtraneLazy BirdBlue TrainBlue Note

Wynton KellyKeep It Moving (excerpt)Kelly BlueRiverside
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Interview With Ishmael Reed By Justin DesmanglesInterview With Ishmael Reed By Justin DesmanglesInterview With Ishmael Reed By Justin DesmanglesInterview With Ishmael Reed By Justin Desmangles
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Albert AylerMothersHoly GhostRevenant

Monday, March 21, 2011

Something to live for . . .

Show description for Sunday 3/20/2011 @ 3:00 PM - 6:00 PM

"Ships at a distance have every man's wish on board. For some they come in with the tide. For others they sail forever on the horizon never out of sight never landing until the Watcher turns his eyes away in resignation his dreams mocked to death by Time. That is the life of men. Now, women forget all those things they don't want to remember, and remember everything they don't want to forget. The dream is the truth. Then they act and do things accordingly."


— Zora Neale Hurston,

Their Eyes Were Watching God

Photo by Roy Decarava


ArtistSongAlbumLabel

Count Basie featuring Joe WilliamsRoll'em PeteCount Basie Swings Joe Williams SingsVerve

Count Basie featuring Joe WilliamsTeach Me TonightCount Basie Swings Joe Williams SingsVerve

Count Basie featuring Joe WilliamsMy Baby Upsets MeCount Basie Swings Joe Williams SingsVerve

Count Basie featuring Joe WilliamsPlease Send Me Someone To LoveCount Basie Swings Joe Williams SingsVerve

Phineas Newborn Jr.Please Send Me Someone To LovePlease Send Me Someone To LoveContemporary

Phineas Newborn Jr.Rough Ridin'Please Send Me Someone To LoveContemporary

Al YoungStraight, No ChaserSomething About The BluesSource Books
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Albert AylerSonnymoon For TwoHoly GhostRevenant

Albert Ayler(Blues)Holy GhostRevenant

David Meltzer featuring Bob DoroughMisspliced SermonPoet With JazzSierra Records
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Ella FitzgeraldLet's Do ItThe Jazz SidesVerve

Ella Fitzgerald & Louis ArmstrongThey Can't Take That Away From MeThe Jazz SidesVerve

Ella FitzgeraldOne For My Baby (And One For The Road)The Jazz SidesVerve

Frank SinatraI've Got The World On A StringThe Capitol YearsCapitol

Frank SinatraWitchcraftThe Capitol YearsCapitol

Oscar PetersonWitchcraftA Jazz Portrait Of Frank SinatraVerve

Bill Evans TrioWitchcraftPortrait In JazzRiverside

Johnny HodgesDay DreamThe Essential Duke Ellington Vol. 9 & !0RCA - France

Charles Mingus (Hank Jones Trio)Day DreamComplete Debut RecordingsDebut

Billy StrayhornDay DreamLush LifeRed Baron

Duke EllingtonDay Dream
RCA

Frank O'Hara Having A Coke With YouPrivate RecordingPrivate Recording
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Andrew HillSpectrumPoint Of DepartureBlue Note

Eric DolphySomething Sweet, Something TenderOut To LunchBlue Note

Molly PeacockHave You Ever Faked An Orgasm?CornucopiaW. W. Norton & Company

Billy Strayhorn featuring Ozzie BaileyLove CameLush LifeRed Baron

Billy Strayhorn featuring Ozzie BaileyA Flower Is A Lovesome ThingLush LifeRed Baron

Billy Strayhorn featuring Ozzie BaileyPassed Me ByLush LifeRed Baron

Billy Strayhorn featuring Ozzie BaileySomething To Live ForLush LifeRed Baron

Billy Strayhorn featuring Ozzie BaileyYour Love Has FadedLush LifeRed Baron

Billy Strayhorn featuring Ozzie BaileyMulticolored BlueLush LifeRed Baron
========================== Airbreak ==========================

Angela DavisYoung Black Men & PrisonThe Prison Industrial ComplexAK Press Audio

Angela DavisTechnologies Of PunishmentThe Prison Industrial ComplexAK Press Audio

Angela DavisThe Specter Of CrimeThe Prison Industrial ComplexAK Press Audio

Angela DavisPolitical PersecutionThe Prison Industrial ComplexAK Press Audio

Angela DavisEnemies Are NeededThe Prison Industrial ComplexAK Press Audio

Angela DavisTargeting WomenThe Prison Industrial ComplexAK Press Audio

Angela DavisAnti-Immigrant RhetoricThe Prison Industrial ComplexAK Press Audio

Ishmael ReedIf I'm A Welfare Queen Where Are My Jewels And FursFor All We KnowKonch Records
========================== Airbreak ==========================

Jayne CortezCultural OperationsTaking The Blues Back HomeVerve - Harmolodic

Tuesday, February 22, 2011

Happy Birthday Ishmael Reed


Today, February 22nd, is the birthday of one of our greatest poets & writers, Ishmael Reed. Unquestionably among the most highly original and innovative literary figures in our time, Reed has written in a number of genres with mastery, deft intelligence and an agility of the imagination that is unequaled. A profound interpreter of jazz, Reed has been at the helm of the band Conjure for decades now. Their most recent release, Badmouth (available on American Clave), is the among the finest examples of the elusive mixture know as jazz-poetry. A prolific publisher and editor as well, Reed has launched the careers of many now famous writers. Most recently, after many years as a "sideman" in the recording studio, Reed has released a cd under his own leadership, For All We Know. His Collected Poems, also now available, was named a New York Times notable book of the year, 2008. Last year saw the publication of his collected works as a playwright. Among his many collections of essays, Barack Obama & the Jim Crow Media, ranks far and away the best analysis to date on our President and his complex relationships with American culture. His most recent novel is Juice! For all his many books, if you are unfamiliar with this international genius, the classic Mumbo Jumbo, is a good place to start. Happy Birthday Ishmael, we love you!

Saturday, September 18, 2010

Black Men and the White Left: Why Some White Progressives Make Me Sick By Ishmael Reed


Ralph Ellison wrote his novel, “Invisible Man,” in an elliptical style because HUAC was breathing down the necks of black writers. Langston Hughes, appearing before the committee, had to renounce his left leaning pro-Soviet poetry.

But stripped bare, Ellison’s book is about the left’s abandonment of the issue of housing foreclosures. Progressives of the day turned their attention to saving the Communist revolution abroad, under attack by German fascists. Ellison was furious about what he considered a betrayal.

I thought about this switch in concerns when I recently received an email inviting me to participate in No Torture week by a progressive Berkeley group. They meant torture at Abu Ghraib. Nothing about torture in Illinois, New York, New Mexico and California prisons, recently uncovered in an investigative report from The Sacramento Bee.

Recently, Amy Goodman found a case of torture in the Phillipines, when torture is occurring at Riker’s Island, not far from her firehouse studio. Ms. Goodman has become the progressive voice on CNN. Appearing there, she threatened President Obama that if he didn’t bring about universal health care, progressives would stay home during the November election.

One of her recent guests was Eve Ensler, the creator of “The Vagina Monologues.” She is directing an all black women ensemble in a performance called “Swimming Upstream,” about the Katrina disaster as though black men were out of town when the flood occurred. Maybe partying in Las Vegas with Tiger Woods and Mike Tyson.

There doesn’t seem to be any room for minority men in the world of this kind of feminist.

During her appearance on “Democracy Now,” Ms. Ensler was right to denounce the rape of Congo women by soldiers, but she spent only a fraction of her time on the multinational corporations that are financing “rebels” all over Africa and the arming of the soldiers by American firms (That’s not all that American firms are arming. Ninety percent of the weapons used by Mexican drug lords have an American source, and the illegal weapons are pouring into cities like mine from the suburbs). As Hugh Masekela, the great South African trumpeter told me, during an interview, “All African wars are surrogate wars.” Malian writer Manthia Diawara (We Won’t Budge) chair of Africana Studies at NYU says that whites still run Africa.

So blinded by her fury at black men in the Congo, Haiti and New Orleans, she gave little attention to the manipulation of African wars by the misogynists operating behind the scenes. She said that what united the Congo, Haiti and New Orleans was rape. Even The New York Times, which runs mug shots of blacks everyday, while giving scant attention to corporate crime (hidden away in the Business Section), exposed the fraudulent reporting that had widespread mayhem rape and looting occurring during Katrina.

But at least Ms.Ensler didn’t accuse the blacks of New Orleans of cannibalism. It took the progressive Huffington Post to float that lie, according to Robin Solit, a genuine progressive.The Huffington Post is run by Arianna Huffington the Multimillion dollar progressive whose telegenic smile and accent gets her on a lot of shows. She’s been Obama’s bane. Calling upon Joe Biden to resign, a stunt that got her more air time.

In the 1950s, I used to attend socialist meetings in Buffalo, New York. Once in awhile Corliss Lamont (son of the chairman at J.P. Morgan) would address the meetings. He was a multi millionaire progressive like Ms. Huffington. The socialists would take his money but snicker at him behind his back.A multimillionaire progressive was considered a joke in those days.

The crime of rape is historically one of the most atrocious acts of war. It doesn’t just happen in Africa, Haiti and New Orleans. Some of Ms. Ensler’s comments smacked of Gyno Fascism. She said:

“And I began to understand that violence against women is central to everything. You know, if you’re destroying the female population, if you’re destroying your mother and your sister, you know, and your daughter, you’re essentially destroying life itself. So, how do we as human beings continue on, if what is essential about life is being eviscerated and devastated?”

Men aren’t essential to life? British scientists have found a way to make human sperm from embryonic stem cells , but isn’t it still a good idea to have men around?

Morever, what about the millions of men who actually get murdered in these wars? I’m all for the emancipation of Iraqi and Iranian women, but what about millions of men who were killed in wars between Iraq and Iran- wars manipulated by the same crowd that is now fighting China over Africa’s resources? Men who were killed by chemicals supplied by American firms.

What about the high male casualties that resulted from the Gulf War and the thousands who’ve been killed as a result of the American occupation of Iraq- an occupation that has resulted in rape and the kind of prostitution that has occurred wherever American troops have found themselves?

One of the reasons that the left is teetering is because of women like Ensler, who suggested during her interview that men are not as essential to life as women.

In the 1960s, The Nation of Islam promoted a myth that became a vogue in black intellectual and artistic circles (while the majority of working and middle class blacks remained Christians). It had white people created by a black scientist named Yacub. This Yacub character grafted whites from blacks and set them loose upon the world to do evil.

Even someone as hip and smart as Amiri Baraka wrote a Yacub play called “A Black Mass,” (1966). At the end of the play, the newly created whites, played by black actors in white face, leap from the stage and, foaming at the mouth, begin to attack members of the audience. When Wallace D. Muhammad succeeded his father, Elijah Muhammad, he, an Orthodox Muslim, abandoned Yacubism. Baraka abandoned the idea in the 70s and became a communist. The man responsible for popularizing the myth, Elijah Muhammad, never really believed it. In connection with my new book, “The Fighter and the Writer,” I’ve discovered that Elijah Muhammad entertained whites at his dinner table.

A sort of gender Yacubism is operating in white and black feminist circles, but instead of evil whites being created by a scientist, it’s evil men.

Just as a movement that demonized whites failed, a movement that favors one gender over another is a loser and as a result the power of black men on the left has been diminished. Unfortunate because they once were a potent force on the left.

While Ms. Ensler’s “Swimming Upstream,” was made available in large spaces, including the New Orleans Superdome and Harlem’s Apollo theater, there is little space in the progressive branch of the Jim Crow media available for the testimony of New Orleans black writers like Mona Lisa Saloy, Kalamu ya Salaam, and Jerry Ward (his classic is “The Katrina Diaries”), writers who actually survived Katrina. They don’t get on CNN or “Democracy Now,” or “Air America.” We need Eve Ensler, David Simon and Harry Connick, Jr., and Dr. John, the singer who covers the legendary Professor Long Hair, to tell us what it was like.

While Goodman progressives long for the kind of homophobic dictatorship that now runs Cuba, Nation magazine progressives want another Roosevelt.

Appearing on Ms. Goodman’s show, The Nation’s John Nichols suggested that President Obama make a Roosevelt-styled speech about Us, the masses of people, against Them, the moneyed interests. What Mr. Nichols doesn’t understand is that millions of whites identify with the Them. Why else would they join faux populist groups bankrolled by billionaires who get them drunk on the cheap draft beer of white supremacy. (Carrying racist signs. One of them showed Barack Obama laying in a coffin. I couldn’t believe it! I put the TV set on pause and took a picture of it.) These Tea Partiers are loyal to the 14,000 families who own one quarter of the country’s wealth as long as members of the one percent use their media to flatter them at the expense of scapegoats, blacks, Hispanics, Muslims. The mental illness of white supremacy, an infectious super bug, is evident when you consider that the young black president ,who is hated by these media coached rabid howling mobs, saved them from a depression. The majority of economists agree about that.

Moreover, the status of whites during the 1930s was different in Roosevelt’s time. Nichols ought to read the fiction of Jack Conroy, or Tillie Olson, proletariat writers who wrote about the millions of whites whose 1930s existence was one of desperation. Read William Kennedy’s Ironweed. Though white poverty still exists (check the Jerry Springer show any day or the films of Debra Granik) millions of whites, after entering the middle class, became Reagan Democrats. Where once there were Italian Americans, Irish Americans, Jewish Americans, there are now “whites.” Some of those who had forged alliances with blacks went uptown on them. Started playing the Harpsichord. Started giving money to the Metropolitan Museum. Some Irish Americans began publishing a magazine called The National Review, which supported quack Kantian anthropology about African inferiority. Ironic because early Nativists didn’t want the Irish to come here because they said that the Irish had a “crime gene.”

How did Roosevelt feel about black unemployment? He made a deal with the Dixecrats that excluded blacks from receiving some benefits of the New Deal. (See: When Affirmative Action Was White: An Untold History of Racial Inequality in Twentieth Century America by Ira Katznelson.)

Robert Scheer, interviewed on Berkeley’s KPFA by Kris Welch, is another example of a progressive who hasn’t a clue about the situation of blacks and Hispanics.

During his critique of the banking policies that led to a near depression, he longed for a mythical Mr. Pillsbury, the neighborhood banker who used to hand out mortgage loans to qualified borrowers like candy. That might have been true for white borrowers, but whether Mr. Scheer knows it or not, there was rarely a Mr. Pillsbury for black and Hispanic borrowers as a result of the historic racist practices of the mortgage industry. These racist practices and those of the FHA have placed blacks in the position where their savings have been used to finance white businesses and home ownership. Since Reconstruction! That’s got to add up to trillions of dollars. A sort of reverse reparations! Denied access to capital, they become renters who help white investors pay off the mortgages incurred by their investment properties. They are denied the chance to develop equity. They can’t take advantage of the 60-year-old tax deduction for interest on mortgages, a white entitlement program. And these people who listen to people like Goebbel’s protege Rupert Murdoch and his Beelzebub assistant, Roger Ailes, believe that blacks are getting all of the entitlements?

Scheer seemed to blame those whom he referred to as “minorities, the poor and drug addicts” for the recession because of policies that opened the mortgage lending market to people like these who couldn’t afford to pay. He agrees with billionaire Antoinettist, Thomas Friedman, who came to the same conclusion, a conclusion disputed by Freidman’s Times colleague Paul Krugman. On 06/14/2010, Peter Hart cited a Tom Friedman column of the day before in which the columnist blamed the housing bubble on selling houses to poor people.” We--both parties--created massive tax incentives and cheap money to make home mortgages available to people who really didn't have the means to sustain them.” (Freidman’s colleague Ross Douthat, the Times’ idea of a conservative, says that there is “white anxiety” over Affirmative Action prompting yet another letter from Julian Bond reminding him that Affirmative Action is a white program and benefits whites the most.)

Moreover even The Wall Street Journal reports that over 60 percent of those who received subprime loans were eligible for conventional loans. Why didn’t they receive them? Something that Scheer overlooked. Recent studies from Brandeis University and the Center for Responsible Lending offer clues: According to the study by the Institute on Assets and Social Policy at Brandeis University, the wealth gap between African-American families and white families has jumped dramatically in 23 years. In fact, the difference in financial assets between these two groups has increased over four times in a generation, from $20,000 in 1984 to $95,000 in 2007.

The Brandeis report also found that middle-income whites experienced a greater increase in net worth than high income blacks. Average white families earning $30,000 had accumulated $74,000, while blacks earning more than $50,000 owned only $18,000, for a wealth gap of $56,000.

To make things worse, 10 percent of African-Americans owed at least $3,600 in debt, nearly doubling their debt burden since 1984. And sadly, at least a quarter of black families had no assets to rely upon when times get rough.

So, what's the problem here? The problem is that income equality is not translating into wealth equality and economic security for black households. Some of this is due to bad public policy, including tax breaks for the wealthiest Americans, and other measures that have redistributed wealth upwards-- to those who are already rich and arguably don't need more.

But there is another reason, namely, institutional racism in housing, labor and lending. The deregulation of the lending market has resulted in systemic discrimination against people of color and the poor, who pay more for credit. Those who live paycheck to paycheck borrow just to make ends meet, depending increasingly on payday lending, a.k.a. legal loan sharks, and check cashing stores that prey on these poorer communities. Blacks and Latinos have been steered into risky, costly and sketchy subprime mortgages, more than twice the rate of whites with the same income. The foreclosure crisis has wiped out what little wealth many of these families owned, placing a stranglehold on the ability of the African-American community to build wealth.

Similarly, according to another report, communities of color were disproportionately cut out of conventional mortgage loans after the housing bubble burst.”

Progressives have been telling blacks that class not race determines status in American society at least since the 1920s when Mike Gold of the Communist Party and poet Claude McKay had a falling out over the issue. But when it comes to the racist and corrupt mortgage industry this isn’t true. Whites with lower credit ratings receive better loans than blacks with high credit ratings.

This from the Center for Responsible Lending:

“It is well documented that African-American and Latino families disproportionately received the most expensive and dangerous types of loans during the heyday of the sub prime market. According to analyses of the Home Mortgage Disclosure Act data, higher-rate conventional mortgages were disproportionately distributed to borrowers of color between 2004 and 2008. For example, in 2006, among consumers who received conventional mortgages for single-family homes, roughly half of African-American (53.7 percent) and Hispanic borrowers (46.5 percent) received a higher-rate mortgage compared to about one-fifth of non-Hispanic white borrowers (17.7 percent).14 Center for Responsible Lending 5In addition, a CRL study showed that African-American and Latino borrowers were more likely to receive higher-rate sub prime loans than white borrowers with similar risk profiles, while another study provided evidence that loans in minority communities were more likely to carry prepayment penalties than loans in white communities, even after controlling for other factors.15 Risky loan products—especially sub prime products—have been shown to be more likely to default.16 It therefore stands to reason that borrowers of color, which were targeted by sub prime lenders and steered into the most abusive products, would be disproportionately bearing the brunt of this foreclosure crisis.”

Minorties, the poor, and drug addicts taking out mortgages that they couldn’t afford to pay, Mr. Scheer?

While some progressives believe that class is, using multi-millionaire Gloria Steinem’s phrase, “the most restrictive factor in American life,” feminists, genderists, and others believe that it’s sexual orientation.

After my essay on “Precious” appeared in the New York Times I got letters from white gays arguing that blacks and gays share a similar history or in a couple of cases that gays have been more restricted in American life than blacks. Who do you think had a better chance of receiving bank loans in San Francisco, which is now regentrified? Blacks or Gays?

(Rick Santelli, appearing on Chris Matthews exploded a loud fib when he implied that minorities get all of the entitlements, a propaganda line that Ronald Reagan performed. Santelli, who calls himself “ the lightening rod” for the Tea Party movement, says that this is what galvanizes the Tea Partiers, people who have helped themselves to government programs: FDR’s, The Great Society, The War On Poverty, Medicare, Social Security, the G.I.Bill, etc.)

While Scheer went off on President Obama about his polices other progressives are annoyed with his style. David Corn says that Obama should put more passion into his speeches, but Corn said he liked Obama’s critique of the black family. He is one of those who believes that fatherless homes is a black problem, exclusively, in a country where 50 percent of marriages end in divorce and the nuclear family comes in at about 5 percent. As someone who has lived in the inner city for thirty years and grew up in one, I can assure you that there is a man in these homes.

As the late playwright August Wilson said, “On the weekends, the parking lots in the projects are full.”

(this essay originally appeared in Counterpunch)

Ishmael Reed is the publisher of Konch. Reed's latest book is Barack Obama and the Jim Crow Media. His new novel, Juice!, will be published in the spring. He can be reached at: Uncleish@aol.com

Sunday, August 29, 2010

I. Reed, Yardbird, Katrina 5 Years On

Show description for Sunday 8/29/2010 @ 3:00 PM - 5:00 PM

HAPPY BIRTHDAY, CHARLIE PARKER!

This afternoon, on the four o'clock hour, poet, playwright, essayist, and novelist, Ishmael Reed (pictured here, on the left, with Professor William C. Cook), returns to New Day Jazz. Along with the current events of the day, such as Wall $treet's financiers turning against Obama, neo-fascist demagogue and Fox News commentator, Glenn Beck, and midtown Manhattan's proposed Muslim Cultural Center, we will be discussing the forthcoming American Book Awards. Sponsored by the Before Columbus Foundation, of which Mr. Reed is a founder, the American Book Award, now in it's 31st year, honors excellence in multicultural literature.

Also, as part of this afternoon's broadcast, we will listen in on selections from the rare boxed set, issued in Japan only, The Other Side Of Blue Note 1500 Series, featuring outtakes and unissued cuts from classic sessions under the leadership of Lee Morgan, Herbie Nichols, Johnny Griffin, Bud Powell, and Bennie Green featuring the one and only Babs Gonzalez.

In addition, we will be focusing on the poetry of Jayne Cortez and Kenneth Patchen, throughout today's program, with particular attention on the recordings, Celebrations & Solitudes, featuring Ms. Cortez with bassist Richard Davis, and Selected Poems of Kenneth Patchen, recorded by Patchen himself for Folkways Records.

New Day Jazz


Justin Desmangles

Jazz music for lovers and the lonely.

Genre

Jazz

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ArtistSongAlbumLabel

Jayne CortezSoloCelebrations & SolitudesStrata-East

Lee MorganAll At Once You Love HerThe Other Side of Blue Note 1500 SeriesBlue Note - Japan

Charlie ParkerMerry Go RoundThe Complete Savoy RecordingsSavoy

Kenneth PatchenNice Day For A LynchingThe Selected Poems Of Kenneth PatchenFolkways

Bennie GreenSoul Stirrin'The Other Side of Blue Note 1500 SeriesBlue Note - Japan

Jayne Cortez3 Day N.Y. City BluesCelebrations & SolitudesStrata-East

Kenneth PatchenState Of The NationThe Selected Poems Of Kenneth PatchenFolkways
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Herbie NicholsArgumentative VariationThe Other Side of Blue Note 1500 SeriesBlue Note - Japan

Charlie ParkerKokoThe Complete Savoy RecordingsSavoy

Charlie ParkerBarbadosThe Complete Savoy RecordingsSavoy
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Jayne CortezDo You Think?Celebrations & SolitudesStrata-East

Bud PowellCollard Greens & Blackeyed PeasThe Other Side of Blue Note 1500 SeriesBlue Note - Japan

Paul ChambersUntitledThe Other Side of Blue Note 1500 SeriesBlue Note - Japan
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Kenny BurrellMy Heart Stood StillThe Other Side of Blue Note 1500 SeriesBlue Note - Japan

Kenny BurrellYou Will Never Know (excerpt)The Other Side of Blue Note 1500 SeriesBlue Note - Japan

Interview with Ishmael Reed by Justin Desmangles




Charlie ParkerRelaxin' at CamarilloThe Complete Dial Masters

Wednesday, August 4, 2010

An Exchange with Ishmael Reed, August 4, 2010

Ishmael:

cornel west criticizes obama for not being mlk jr.more evidence that
"progressives" and their front men are out to destroy obama just as
they did humphrey,carter,etc.they're staying home and pouting will
lead to rep.victory and a corporate plant plain victory in 2012.then you
can forget about ss.medicaid,welfare,etc. all because of progressives'
ego.


Justin:

West, and the like, are prodding this country into a situation not unlike that of Germany's Weimar, just before the rise of the Nazi Party. The left, divided against itself, and unable to consolidate a cohesive agenda around issues that garnered a broad base of support, caved in, leading to the rise of the most criminal and reactionary elements in the country, namely, Hitler. They, too, had massive corporate support in the media. Cheney, Bush, Rumsfeld and Rice all remained illegally invested in companies that profited from the wars they started, violating domestic and international laws. Now the papers of record, that acted like cheerleaders for the Bush admin. to invade Afghanistan and Iraq, wish to publicly humiliate Waters & Rangel. Race is the issue the G.O.P. wishes to use to light their cross on the White House lawn. Charismatics like West and his brethren in the hallowed hall of the cathode rays ought best turn their attentions to the issues that united the otherwise disparate groups that elected Obama in the first place, instead of playing such facile games of comparison.

Thursday, July 22, 2010

Left, Right, Then Left Out, Again!


This is a response to a "status update", written by Ishmael Reed on his facebook page, regarding statements by Amy Goodman on CNN.
Reed's statement is as follows;

Amy Goodman, speaking on CNN ,from a “progressive convention,” held in Las
Vegas,

spoke of the “progressives” disappointment that Obama is not
Chavez of Venezuela.
...
They’re threatening to stay home in 2012 if they don’t get
their way. These are

the people who defeated Hubert Humphrey thus paving the way
for Nixon and

Reagan
To which I wrote the following;

Liberals and so-called progressives within the corporate sponsored broadcast and print media continue to report on issues of social justice within the United States with irony and detachment (as if the system-engine just needs a tune-up, and will work fine "only if"), all the while saving their most "passionate" and "engaged" commentaries for issues far beyond our borders, particularly the ones that most closely resemble their cartoon fantasies about revolution as the total seizure of power,vis-a-vis Chavez, Castro, Mao et. al., completely ignoring the facts that, with few exceptions, these revolutions took place in largely peasant societies, completely unlike the U.S.A., with our sprawling, multi-ethnic, technologically advanced classes. Meanwhile, after having lamented for much of the last century the left of the left's inability to gain solid grounding with blacks throughout the Americas, all the while refusing to accept black leadership on this very same question, they are now flouting this historic opportunity of Obama's popularity among this very constituency they claim to covet. Instead they are criticizing Obama with the very talking points used by his detractors on the organized right. Still, AFRICOM remains the most under reported story of the last 3 years, and when a Bush cabinet member was brought up on criminal charges by the Obama-Holder D.O.J., possibly paving the way for further work in this area, of course, it was one big yawn. Perhaps the left wing of the power structure here in the United States should take stock of the fact that it stands to the right of the rest of their beloved West, stop playing these ruse cards about solidarity with actual revolutionaries outside the United States, confront their own prejudice, and clean up their own backyard. Then maybe they could find time to do the homework necessary to accomplish something beyond this tired performance, one that is in the end just an attempt to gain more access to the powers they claim to oppose.

Monday, May 10, 2010

Ishmael Reed on Barack Obama & the Jim Crow Media

Show description for Sunday 5/9/2010 @ 3:00 PM - 5:00 PM

This afternoon on the 4 o'clock hour, poet, essayist, novelist and playwright, Ishmael Reed, returns to New Day Jazz, to discuss his most recent collection of essays, Barack Obama and the Jim Crow Media: The Return of the Nigger Breakers.

A towering presence in international arts and letters, Mr. Reed is one of a handfull of artists who have been instrumental in the development of English language literature over the past 40 years.

http://www.ishmaelreedpub.com/

http://www.barakabooks.com/catalogue/barack-obama-and-the-jim-crow-media/


OBAMA_C1-72dpi

“Brilliant.” Jill Nelson, journalist, novelist, American Book Award winner.

For Ishmael Reed, Barack Obama, like Michelangelo’s St. Anthony, is a tormented man, haunted by modern reincarnations of the demonic spirits used to break slaves. These were the “Nigger Breakers”—men like Edward Covey, who was handed the job of breaking Frederick Douglass. “Isn’t it ironic,” writes Reed: “A media that scolded the Jim Crow South in the 1960s now finds itself hosting the bird.” In this collection, which includes several unpublished essays, Ishmael Reed brings to bear his grasp of the four-centuries-long African-American experience as he turns his penetrating gaze on Barack Obama’s election and first year in power—establishing himself as the conscience of a country that was once moved by Martin Luther King’s dream.

“Amazed at the many fronts on which [Ishmael Reed] has gathered little-reported facts…. I hope his book will lead to more journalistic self-reflection and intellectual honesty. ” — Werner Sollors, Professor of English Literature and of African and African American Studies, Harvard University

“In the past 40 years, Reed has published more than 20 books and has also made his mark as an editor, publisher, critic, journalist, songwriter, librettist and fearsome letter-to-the-editor writer. Reed is among the most American of American writers, if by ‘American’ we mean a quality defined by its indefinability and its perpetual transformations as new ideas, influences and traditions enter our cultural conversation.” — The New York Times

“With Ishmael Reed, the most persistent myths and prejudice crumble under powerful unrelenting jabs and razor-sharp insight.” — Le Devoir, Montreal

“Among American writers, Ishmael Reed is probably the one
whose sensibility is closest to jazz.” — The New York Times

IshmaelReed image

Ishmael Reed is an essayist, novelist, poet and playwright, and a prize-winner in all categories. He taught at the University of California (Berkeley) for thirty-five years, as well as at Harvard, Yale and Dartmouth. Reed is a member of Harvard’s Signet Society and Yale’s Calhoun Society. He lives in Oakland, California.

Ishmael Reed talks about this book with Phil Taylor of the Taylor Report

New Day Jazz


Justin Desmangles

Jazz music for lovers and the lonely.

Genre

Jazz

Missed the Show?

MP3 Stream 192kpbs, broadband
MP3 Stream 32kpbs, broadband

View Past Shows

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TrackArtistSongAlbumLabel

Ray CharlesLet the Good Times RollThe Genius of Ray CharlesAtlantic

Bennie Green with Babs GonzalezSoul Stirrin'Soul Stirrin'Blue Note - Japan

Count Basie with Joe WilliamsRoll'em PeteCount Basie Swings, Joe Williams SingsVerve

Count Basie with Joe WilliamsTeach Me TonightCount Basie Swings, Joe Williams SingsVerve
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Ted Joans (read by Justin Desmangles) I, the GraduateDouble TroubleEditions Bleu Outremer

Lee MorganAll at Once You Love HerCandyBlue Note
========================== Airbreak ==========================

Louis SmithAu PrivaveThe Other Side of Blue Note 1500 SeriesBlue Note - Japan

Sarah Vaughn Can't Get Out of This MoodSarah Vaughn in Hi-FiColumbia
========================== Airbreak ==========================

Ray CharlesCome Rain or Come ShineThe Genius of Ray CharlesAtlantic

Sonny ClarkCome Rain of Come ShineSonny's CribBlue Note
========================== Airbreak ==========================

Bud PowellCollard Greens & Black Eyed PeasThe Amazing Bud Powell Volume 1Blue Note

Lou DonaldsonAfter You're Gone (excerpt)The Other Side of Blue Note 1500 SeriesBlue Note - Japan

Interview with Ishmael Reed By Justin Desmangles


Sunday, March 7, 2010

Precious and the Big Payback


The NAACP House of Shame

By ISHMAEL REED

"I think he's mentally ill. He's lost it. It's like he's departed from being a creative artist to being a basher. ... He's a forgotten man, eclipsed by women ascending to new heights and getting prizes. Instead of applauding them, he goes on a rampage."

-- Sapphire on Ishmael Reed’s state of mind, The St. Louis Post Dispatch, February 28, 2010

Suppose the producers of a nominated picture like “Hurt Locker,” donated one million dollars to the Academy of Motion Picture Arts and Sciences and on the night of the Oscar presentations “Hurt Locker” received Oscars for best picture, best actress, best supporting actress and a special honor was awarded to the “producer.”

This is exactly what happened at the NAACP Image awards last Friday night. The film “Precious” received six awards as a kind of payback to Tyler Perry who donated one million plus dollars to the organization last November.

As a result, the NAACP gave segregated Hollywood the green light to admire this abhorrent, repellant movie. They must be gloating over at EW.com (Entertainment Weekly) sites with connections to the Oscars establishment and where my Op-Ed about “Precious” printed in The New York Times was the subject of criticism by Owen Gleiberman and Lisa Schwarzbaum. Their criticism was picked up by Sasha Stone at awardsdaily.com. They and the bloggers who weighed in about my state of mind and my low I.Q. and how I was connected to the part of the body that plays a key role in the elimination of wastes will probably use these NAACP awards as justification for their defense of the film and as evidence of the black community’s support for “Precious.”

Owen Gleiberman, a man whom I have never met, said that my criticism of the movie said more about me than about the movie. He never said what my criticism of the movie said about me. I also challenged Ms. Scwarzbaum to comment about an article printed in a Jewish magazine, Tablet (“Gentlemen Prefer Blondes, Why Jewish producers kept Jewish women off stage and screen,” 10/20/’09), which pointed to the discrimination against Jewish women by Jewish producers, from the early days of Hollywood to the period of Woody Allen and Larry David (a guy who thinks it funny to appear in a scene eating a cookie shaped like a black penis.)

The producers’ justification, historically, was that they didn’t want their women to play the kind of roles they assigned to black and white gentile women.

Ms. Scwarzbaum didn’t answer, but seems satisfied with the roles assigned to black women in “Precious,” which now bears the imprimatur of the NAACP, the nation’s leading Civil Rights organization. On Tuesday, when I debated Cameron Bailey, the African American co-director of the Toronto Film Festival, who brought the film to Canada, the NAACP awards were the first thing that he brought up. He also followed the sales pitch directed by Lionsgate that the critics of the film were either odd or mentally ill, as a way of minimizing the widespread discontent about this film among black Americans. The sales office has singled out Armond White as the lone critic opposing the film, and seeks to dismiss him as a “contrarian,” a trend begun by the New YorkTimes’ critic A.O. Scott, for whom the family in “Precious” was the typical impoverished black family. Bailey used the same word to criticize White.

Now, Bailey and the critics at EW, including amateur shrink Owen Gleiberman, and Sasha Stone would probably be outraged by a white producer receiving awards from an organization of which he is a benefactor, but wlll probably ignore or even seek to justify the million dollars plus donation that Tyler Perry, producer of “Precious,” gave to the NAACP in November.

Now if I am mentally ill for criticizing this film as Sapphire suggests, then I’m lucky to be spared the kind of racism that black mental patients experience. I’ve examined the kind of treatment accorded the poor and the black, the kind of people who are treated like trash by city governments, the kind of people who are experimented upon by the pharmaceutical companies, while white middle class patients receive talk therapy. Black kids are treated with toxic anti-depressant drugs even when it’s not necessary, a clear case of behavior modification. I had enough creative ability remaining to stage a play, called Body Parts, about the exploitation of African Americans and Africans by rogue pharmaceutical companies that distribute drugs with full knowledge of harmful results. Paying stiff fines is just the cost of doing business. In this play and others I, with the help of Berkeley’s Black Repertory Theater and The Nuyorican Poets CafĂ©, have created roles that challenge black actors and actresses, instead of degrading them with clichĂ© roles as male sexual predators, prostitutes and women who marry their husband’s executioner.

Cecil Brown and I produced the movie “Two Fer” about conflicts on a college campus, which like “The Great Debaters” and “Miracle at Saint Anna” isn’t likely to wow a crossover audience. Spike Lee’s “The Miracle at Saint Anna” was praised at a reception I attended which honored those Buffalo Soldiers who liberated Italian towns and cities during World War II.

It was held on Feb.12, at the San Francisco Presidio, where the audience viewed the movie “Inside Buffalo.” The black soldiers received honors from the Italians years before honors came for them during the Clinton administration. They were commanded by Southern officers because they were said to know how to handle Niggers and were often sent to the front without adequate ammunition. It was Spike Lee who brought this story to the screen instead of Tom Hanks, Clint Eastwood and Steven Spielberg, who can do “Mr.” (in the Color Purple) but can’t find space in his war movies for Ivan J. Houston, a Buffalo Soldier, author of the book, Black Warriors, The Buffalo Soldiers or World War II. When is the last time you saw black soldiers enacting heroic deeds in a film?

Some of those at the reception, attended by over four hundred Italians, Italian Americans and others wept when an official from the Italian consulate told the black soldiers, “We will never forget.”

In Oakland, the theater that presented “Miracle at Saint Anna” offered only one showing at 10:30 p.m. “Saint Anna” was eclipsed by “Precious.”

Sapphire charges that I have been eclipsed by black women authors, many of whom I was the first to publish. She says that I have been left behind with no prizes. That may be true, but the same can’t be said about some of the prominent black women intellectuals and authors who have been offended by Sarah Siegel’s movie. One of the black women writers whom I published when she was a student is Terri McMillan. Al Young and I were also the first to publish an excerpt from Ntozake Shange’s “Colored Girls….” I introduced the poetry of the late Lucille Clifton to Langston Hughes who published her in a major anthology for the first time. (If an “old”- the adjective used by some of the young black womanist defenders of the film used about me- loser like me can manage to publish the works of over thirty black women writers from the U.S and Africa over the last five years, why can’t Sapphire do the same and shouldn’t she avoid verbs like “rampaging” in light of her poem “Wild Thing” which helped create the hysteria that resulted in five black and Hispanic kids being sent to prison for a crime that they didn’t commit.)

During a recent interview that I conducted with Terri McMillan, the most popular of African American women writers, she was fuming as she said that the film “went too far.” Sapphire might dismiss me as mentally ill and jealous of black women who have eclipsed me and left me without prizes, but what is her answer to Ms. McMillan who is certainly not hurting for book sales, or Princeton Professor Melisa Harris-Lacewell? Is she crazy? Does her criticism of “Precious” say more about her than about the movie? She wrote “Undoubtedly Mo'Nique has given an amazing performance in Precious. But the critical and popular embrace of this depiction of a monstrous black mother has potentially important, and troubling, political meaning.”

Apparently Gabourey Sidibe’s mother Alice Tan Ridley also has problems with the film. My response to my critic Sasha Stone and the mob of hateful furious bloggers she raised at awardsdaily was that during one of her shopping sprees in Paris she might buy some gifts for Ms. Ridley. She’s the real heroine of this whole sorry business. Ms. Ridley was offered a role in the movie but after reading the novel “Push” turned it down. She’d rather earn her keep by singing in the New York subway than perform in “Precious.”

When I informed the hateful bloggers at awardsdaily.com of this fact they said that I’d made it up, but when I referred them to YouTube, where she belts out a stirring rendition of “What’s Love Got To Do With It,” they thought it cruel of me to direct them to the video. They are part of a nation of junkies, and “Precious” has become a sort of non-prescription drug for them. A cheap high. Some of those whites who defended the film against my criticisms admitted that they hadn’t even seen it and I’m suffering from mental illness? Now the NAACP award will provide them with more psychological methadone. It will give the all white Oscars’ Board of Governors (37 men, 6 women) an excuse to salute this evil wretched thing, whose reward by the NAACP shows the sad decline of Julian Bond, who, when a young man, had a future so bright that he was considered for a vice presidential nomination. (Vice President of the Board of Governors is Kathleen Kennedy, who gave us “The Color Purple.” This means that “Precious” is a shoo-in for one of two Oscars.)

On Friday night, Julian Bond, the outgoing president of an organization that has been fighting stereotypes since 1915, shared the stage with a serial stereotypes trafficker and union buster, Tyler Perry, whose movie efforts were summed up by Spike Lee, the director of at least three movie classics as: “coonery and buffoonery.”

In the New York Times, Charles Blow, in a column called “Tyler Perry’s Crack Mother,” challenged the repeated use of the black crack mother image by the film-maker. He cited a 2007 study of college undergraduates published in the Journal of Ethnicity and Substance Abuse which found that young blacks’ rates of illicit drug use was substantially lower than their counterparts, with black women having the lowest rates of all.” Yet Owen Gleiberman says that the movie reflects reality. One of the awards ceremony’s guests was Quentin Tarantino, whose movie “Pulp Fiction” was full of lame and goofy racist jokes and memorable lines like:

Jimmie: "When you came pullin' in here, did you notice a sign on the front of my house that said 'Dead Nigger Storage?'"

Jules: "Jimmie, you know I ain't seen no shit…"... More »

Why was Julian Bond looking so grim during the ceremonies? He has a sense of history. He knows that the NAACP was not founded by minstrels but by intellectuals. They fought “Birth Of A Nation” and “Gone With The Wind.” Walter White, then NAACP’s secretary, went to Hollywood in 1942 and protested the roles in which black actors were cast. One of his allies was ex-presidential candidate, Wendell Willkie, who, during a speech delivered at a luncheon for Hollywood big wigs at 20th Century Fox, said:

“… that many of the persons responsible for Hollywood films belong to a racial and religious group which had been a target of Hitler, and that they should be the last to be guilty of doing to another minority the things which had been done to them.”

White “urged Hollywood to have courage enough to shake off its fears and taboos and to depict the Negro in flims as a normal human being and an integral part of the life of America and the world.” Walter White was opposed by those actors who benefited from stereotypical roles that in hindsight seem benign in light of the kind of black characters that Hollywood is selling today.

“If the [NAACP] secretary had charmed producers, directors, and white stars, many of Hollywood’s African American actors were downright hostile to his presence. They were furious that he came to town and tried to change the movies without consulting them. The Mammy stereotype and clownish roles had provided a steady income for Hattie McDaniel, Butterfly McQueen, Stepin Fetchit, Clarence Muse, and a handful of others. Fearing the secretary’s attempt to clean up the industry would result in their loss of livelihoods, they were gleeful when his first foray produced pious sentiment and little else. White disagreed, believing that his agitation would lead to expanded acting opportunities. But more to the point, he scorned his critics. Realistically, he said, he didn’t expect thanks for his work, but he did expect those actors, who ultimately benefit from his negotiations ‘without their having to lift a finger,’ would remain gratefully silent.’”*

Though White didn’t accomplish much his agitation did succeed in getting David O. Selznick to replace the black rapist in Margaret Mitchell’s “Gone With The Wind,” with a white one but now the black rapist is back in full force with “Precious,” and its business model “The Color Purple”; even President Obama was shown on MAD TV as a Mandingo stud in bed with Hillary Clinton. Sapphire says that we need more films about black rapists.

In the days of Walter White and Thurgood Marshall, the NAACP had some fight, but now this proud organization has been reduced to becoming a ward of corporate America. Promoting the artery clogging products of fast foods merchants.Taking money from criminal banks like the Bank of America and from FedEx, which recently had to pay 50 million dollars to black employees for racial discrimination, which is something that Annie Day of the Revolutionary Communist Party might note. She wrote a piece denouncing my CounterPunch article “The Selling Of Precious.” She called me--you guessed it--a “misogynist,” your typical white middle class feminist. Applying a double standard to white and black men; deferential toward their fathers, brothers, employers and gurus; unwilling to give the brothers some slack. This woman is part of a cult that revolves around a white patriarch--a cult that was abandoned by some blacks who accused it of “white chauvinism.” A woman or her co-writer Carl Dix, a black man, will never lead this group. Their praise of the movie “Precious” jibes with that of Barbara Bush. Strange bedfellows indeed. Imagine the Revolutionary Communist Party having to wake up every morning next to Barbara Bush.

The awards were also sponsored by Disney who’s “Princess and The Frog” demeans African religion, a fact noticed by the religion editor of the Times, Samuel G. Freedman (Times,2/20/’10). And now the NAACP has given the segregated** Motion Picture Academy an excuse to perpetrate a cruel joke on the black Americans on Sunday night by awarding an actress an Oscar whose role in the movie was to ask her daughter to assist her in achieving an orgasm. NAACP founders W.E.B. DuBois and Ida B. Wells, who risked her life to spark a drive to end the lynching of black men in the South, must be rolling over in their graves.

Ishmael Reed is the publisher of Konch. His latest book is Barack Obama and the Jim Crow Media. He can be reached at: ireedpub@yahoo.com.

* White, The Biography of Walter White, Mr. NAACP by Kenneth Robert Janken. New York: The New Press, 2003.

* *The DGA[ Directors Guild of America] reports that just 4% of its director membership is black; the WGA says that 4.5% of members employed as TV writers and 3.2% of members employed as film writers are black (as of 2007, the last year for which data is available). And Paris Barclay, director-showrunner of "In Treatment" and co-chair of the DGA's Diversity Task Force, estimates that up to 82% of all episodes in television are "directed by Caucasian men."