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Findings from around the Internet.


“we’re of the by-any-means-necessary vein, and we literally do mean by any means necessary”

October 14, 2015

Photo by Wes Sauer

I actually think moving forward, you’ll see a lot more splits and splinters. And you will be able to see clearly where people’s politics differ ‘because I think up to this point in [Black Lives Matter], it’s been sort of presented as a monolith, right. So people will rally around “If we don’t get it, shut it down.”

Well, a year later, what you find out is some of those people mean, “Shut down that meeting until you can get a black Democrat in the office,” and some people mean, “Shut that meeting down until you can get a socialist in office.” And then some people mean, “Shut that down until you can have your own black state,” and then some people mean, “Shut it down until America is dismantled and everybody gets to decide what they want for themselves, and shut it down indefinitely.”

Read More | “Silence is Broken” | Mara Willaford and Marissa Johnson, interviewed by Rianna Hidalgo and Martha Tesema | Real Change


“It is no longer the time to be silent at the water cooler.”

October 13, 2015

Click to download the resource guide as a PDF.

As workers and organizers, the time to be silent is over. Black lives matter. Racial violence rolls on. What does this mean for us in the labor movement? What can we do to uplift the rage of the current moment and address the collective trauma of anti-Black violence? What can we do to dismantle white supremacy where we work and beyond?

Read More | “Black Lives Matter at Work” | Young Worker Media Project


“if whites give me a Pulitzer Prize then I got to figure out what I did wrong.”

October 9, 2015


What were some other complications?

Well, we couldn’t get a permit to shoot in Chicago, they turned us down. So, we took it into Gary (Indiana) up with Mayor Hatcher. We stole our Chicago shots. We just came in with a handheld camera and shot what we wanted. When the film was released, it initially jumped off making money and so United Artist got up and said well we don’t like the film but its making money. So they put me on a twelve city tour to promote the film. Then we started getting reports that some of the exhibitors had been visited by FBI agents. They tried to convince them that they shouldn’t screen the film. And we do know that the film was sometimes open on Friday and closed on Sunday and we had a three weeks contract. United Artists met with some people from the FBI and decided to take the film off the market even though it was grossed in the top 50 markets. So before we went into the profit so the investors could get their money back, the UA took it off the market. All of the prints, mysteriously disappeared. I had to put the negatives into a vault under a different name. That’s how that survived. Most recently, I tried to pick up the distribution money. It’s been on the market since January 24th of last year (2005). There were about 50 prints that just disappeared. And you know, after the film came out, I had the CIA, FBI, IRS on my case. And now I’m being harassed by social security.

So what are your feelings after serving then receiving such treatment?

Well, I think I’ve earned that treatment, you know, I didn’t expect the white people to applaud what I had to say. I have paid my dues and if I get a chance I’d do it again. I became radicalized in the foreign service when I saw what the United States was doing abroad—the assassination attempts on the black male—I saw all kinds of stuff. The America public don’t have the slightest idea of what is going on out there, particularly in the third world. You know, why are these people are willing to kill and die for a particular cause? Some just think 9-11 was a bunch of fanatics but they got damn good reasons to do what they do. I don’t approve of it but I can certainly understand it.

Read More | Sam Greenlee/When Desoree Danced | The Liberator


“Black creativity has always managed to deploy itself in confined spaces. I am talking about Vines, web series and music videos.”

September 30, 2015


To me, for actors of colors working in Hollywood, auteurship is necessary. I think about Oscar Isaac, who had to radically change the script of Drive when he saw how racist the plot was against the character he was meant to embody. This is an example of a vital intervention in the creative process by an actor imposing his vision. In a way, they fill the gaps, “repair” an imagination that has been injured by centuries of racism. This is why criticizing actors’ choices of portraying stereotypes can be presumptuous and dismissive. Actors know best the system in which they must work. Black actors can have agency and margin to resist, and the way they do it is by doing what they know best — acting. We should pay attention as it is also our job as critical, engaged spectators to assess the strategies Black actors employ to escape Hollywood’s deadly, stifling racist & anti-Black imaginary. We should look at their performances not just as the product of Hollywood’s deadly imagination but also as the product of their own resistance, imagination and creativity…

If I were to write a book on Viola Davis’s auteurship now maybe it would be just a few pages long. I would focus on one scene which to me announced emergence of an actress: the wig scene in How To Get Away With Murder.The documentary aspect of that scene is what makes it significant. The camera, usually so intolerant and fearful, had suddenly no other choice but to document what it has avoided documenting for a long time. Here is Viola Davis’ face in all its truth, raw and vulnerable. Viola Davis is acutely aware of what her body represents in the collective imaginary so there is something audacious, bold and menacing about her exposing/showing herself like that. The scene exemplifies what Viola Davis has been doing ever since she walked the red carpet with her natural hair at the 84th Academy Awards. She’s been imposing herself, unveiling what is her main instrument as an actress: her body. When she removed that wig, her eyelashes and the rest of her makeup, unveiling her face and her natural hair, she wasn’t just humanizing the character of Annalise Keating or trying to root this character in the real, she was also forcing us to look at her, her deep dark skin, her nose, her mouth and her hair.

Viola Davis is not going anywhere. As spectators, our responsibility is to start training our gaze to look at her in a way that enables her to explore her creativity and express herself uncensored. In a way that is, if not loving, liberating.

Read more | “Anatomy of a Black Actress: Viola Davis” | Fanta Sylla | The Toast




“For blackness the human/animal binary is not only collapsed”

September 11, 2015


As a process of “becoming with,” abolition is the unfinished project of ending anti-Black racism, racial capitalism, anti-trans, anti-queer, patriarchal policing, colonialism, animal killing and caging. Animal liberationists must confront the devaluation of black life and racialization as animalization and the prison industrial complex as part of a movement for abolition.

In contrast to the vision of abolition offered by Douglass, for many in animal liberation and animal studies, abolition is imagined as teleological; first slavery was abolished and now forms of animal captivity must be, too. It is as though animal is the new black even though blackness has already been racialized through animalization. Critiques of “human exceptionalism” and anthropocentrism in critical animal studies often presume that the human in the human/animal divide is a universally inhabited and privileged category, rather than a contested and fractured one. Blackness and its relation to animality and abolition is often left in what Saidiya Hartman and Frank Wilderson call “the position of the unthought.”

Read more | “Blackness, Animality, and the Unsovereign” | Che Gossett | Verso Books blog