POV: Break past the myth that blacks don't commit suicide > chicagotribune.com

Time to shatter

the black suicide myth

Producer Don Cornelius (right) accepts the "Discretionary Award - Pop Culture" with Mya, Smokey Robinson, Stevie Wonder and Ashanti on stage the 2005 TV Land Awards at Barker Hangar on March 13, 2005, in Santa Monica, Calif. (Kevin Winter, Getty Images / March 13, 2005)

 

 

The death of Don Cornelius, creator and host of "Soul Train," brought two conflicting memories to mind: the weekly joy of that iconic program as a defining feature of black American pop culture, and the terrible pain inflicted on the surviving family and friends of those who commit suicide.

Like countless other boomers, I grew up with "Soul Train." Today, the old clips look like an amusing period piece, especially to our kids or grandkids who wonder how any of us could have thought those "Saturday Night Fever" fashions were cool.

But in the 1970s and beyond, "Soul Train" defined cutting-edge cool. It became the longest-running syndicated show of its type on TV and, as Cornelius said every week, "The hippest trip in the galaxy."

But the hip trip finally came to an end a few years ago on TV and for Cornelius, amid reports of failing health. Police say he died in his Los Angeles home of a self-inflicted gunshot wound.

That tragedy has special meaning in the African-American community, which has long nourished a dangerous myth that black people don't commit suicide.

It is a point of mythical ethnic pride that our ancestors found ways to persevere despite centuries of slavery, struggle and hardship. Black people created the blues, it is often said, because we didn't have psychotherapists.

Besides, as an old joke goes, we black people don't kill ourselves because you can't kill yourself by jumping out of a basement window. We can only wish that were true. Although whites and Native Americans have the highest suicide rates, according to the Centers for Disease Control and Prevention, the black suicide rate has been high enough in recent years to claim one African-American every 4.5 hours.

No group is immune. By gender, non-Hispanic white and Native American men have the highest suicide rates, of about 25 lives per 100,000. That's more than four times the rate of women in each racial group. It also is more than twice the rate of black and Hispanic men, whose suicide rate of about 11 per 100,000 is five times the rate of black and Hispanic women. Asian-American men have a rate of about 9 per 100,000, slightly more than twice the rate of Asian-American women.

Yet the black suicide myth persists. "As a mental-health advocate, over the years I've heard variations of the 'black people don't commit suicide' meme," wrote Bassey Ikpi on the black-oriented The Root website after Cornelius' death. "Yesterday the chorus was deafening. People went so far as to create elaborate conspiracy theories rather than accept what could be a simple truth — that Cornelius had taken his own life."

I share her sense of frustration. I suddenly became an expert because of a personal tragedy, as many Chicagoans know. Back in May 1984, suicide ended the life and career of Leanita McClain, an award-winning Chicago Tribune columnist and ghetto-to-Gold-Coast success story.

She was also my former wife. She killed herself with an overdose of prescribed pills two years after our divorce. Her upward career trajectory, like our marriage, was stopped only by the furies of her relentless depression.

"Happiness is a private club that will not let me enter," she wrote in her "generic suicide note."

It is not hard, although it is not pain-free either, for me to imagine that Don Cornelius could have written the same message. Suicides inflict a terrible cruelty on the survivors. Everyone asks "why" and there are no easy answers. I was surprised by how many of my friends came forth to share stories of their own loved ones who had ended their lives or come close to it in their severe depression. I was shocked by how common such illnesses can be, regardless of race or community background.

I also learned about guilt. "People feel guilty if they failed to get help for their lost loved one," a counselor told me, and they feel guilty if they did get help and the loved one killed him or herself anyway. It is best to seek help. Whether you believe it or not, you have too much to lose.

Clarence Page is a member of the Tribune's editorial board and blogs at chicagotribune.com/pagespage.

cpage@tribune.com

Twitter @cptime

 

INCARCERATION: Mass Incarceration and Criminal Justice in America > The New Yorker

THE CAGING OF AMERICA

Why do we lock up so many people?

by January 30, 2012

Six million people are under correctional supervision in the U.S.—more than were in Stalin’s gulags. Photograph by Steve Liss.

 

A prison is a trap for catching time. Good reporting appears often about the inner life of the American prison, but the catch is that American prison life is mostly undramatic—the reported stories fail to grab us, because, for the most part, nothing happens. One day in the life of Ivan Denisovich is all you need to know about Ivan Denisovich, because the idea that anyone could live for a minute in such circumstances seems impossible; one day in the life of an American prison means much less, because the force of it is that one day typically stretches out for decades. It isn’t the horror of the time at hand but the unimaginable sameness of the time ahead that makes prisons unendurable for their inmates. The inmates on death row in Texas are called men in “timeless time,” because they alone aren’t serving time: they aren’t waiting out five years or a decade or a lifetime. The basic reality of American prisons is not that of the lock and key but that of the lock and clock.

That’s why no one who has been inside a prison, if only for a day, can ever forget the feeling. Time stops. A note of attenuated panic, of watchful paranoia—anxiety and boredom and fear mixed into a kind of enveloping fog, covering the guards as much as the guarded. “Sometimes I think this whole world is one big prison yard, / Some of us are prisoners, some of us are guards,” Dylan sings, and while it isn’t strictly true—just ask the prisoners—it contains a truth: the guards are doing time, too. As a smart man once wrote after being locked up, the thing about jail is that there are bars on the windows and they won’t let you out. This simple truth governs all the others. What prisoners try to convey to the free is how the presence of time as something being done to you, instead of something you do things with, alters the mind at every moment. For American prisoners, huge numbers of whom are serving sentences much longer than those given for similar crimes anywhere else in the civilized world—Texas alone has sentenced more than four hundred teen-agers to life imprisonment—time becomes in every sense this thing you serve.

For most privileged, professional people, the experience of confinement is a mere brush, encountered after a kid’s arrest, say. For a great many poor people in America, particularly poor black men, prison is a destination that braids through an ordinary life, much as high school and college do for rich white ones. More than half of all black men without a high-school diploma go to prison at some time in their lives. Mass incarceration on a scale almost unexampled in human history is a fundamental fact of our country today—perhaps the fundamental fact, as slavery was the fundamental fact of 1850. In truth, there are more black men in the grip of the criminal-justice system—in prison, on probation, or on parole—than were in slavery then. Over all, there are now more people under “correctional supervision” in America—more than six million—than were in the Gulag Archipelago under Stalin at its height. That city of the confined and the controlled, Lockuptown, is now the second largest in the United States.

The accelerating rate of incarceration over the past few decades is just as startling as the number of people jailed: in 1980, there were about two hundred and twenty people incarcerated for every hundred thousand Americans; by 2010, the number had more than tripled, to seven hundred and thirty-one. No other country even approaches that. In the past two decades, the money that states spend on prisons has risen at six times the rate of spending on higher education. Ours is, bottom to top, a “carceral state,” in the flat verdict of Conrad Black, the former conservative press lord and newly minted reformer, who right now finds himself imprisoned in Florida, thereby adding a new twist to an old joke: A conservative is a liberal who’s been mugged; a liberal is a conservative who’s been indicted; and a passionate prison reformer is a conservative who’s in one.

The scale and the brutality of our prisons are the moral scandal of American life. Every day, at least fifty thousand men—a full house at Yankee Stadium—wake in solitary confinement, often in “supermax” prisons or prison wings, in which men are locked in small cells, where they see no one, cannot freely read and write, and are allowed out just once a day for an hour’s solo “exercise.” (Lock yourself in your bathroom and then imagine you have to stay there for the next ten years, and you will have some sense of the experience.) Prison rape is so endemic—more than seventy thousand prisoners are raped each year—that it is routinely held out as a threat, part of the punishment to be expected. The subject is standard fodder for comedy, and an uncoöperative suspect being threatened with rape in prison is now represented, every night on television, as an ordinary and rather lovable bit of policing. The normalization of prison rape—like eighteenth-century japery about watching men struggle as they die on the gallows—will surely strike our descendants as chillingly sadistic, incomprehensible on the part of people who thought themselves civilized. Though we avoid looking directly at prisons, they seep obliquely into our fashions and manners. Wealthy white teen-agers in baggy jeans and laceless shoes and multiple tattoos show, unconsciously, the reality of incarceration that acts as a hidden foundation for the country.

How did we get here? How is it that our civilization, which rejects hanging and flogging and disembowelling, came to believe that caging vast numbers of people for decades is an acceptably humane sanction? There’s a fairly large recent scholarly literature on the history and sociology of crime and punishment, and it tends to trace the American zeal for punishment back to the nineteenth century, apportioning blame in two directions. There’s an essentially Northern explanation, focussing on the inheritance of the notorious Eastern State Penitentiary, in Philadelphia, and its “reformist” tradition; and a Southern explanation, which sees the prison system as essentially a slave plantation continued by other means. Robert Perkinson, the author of the Southern revisionist tract “Texas Tough: The Rise of America’s Prison Empire,” traces two ancestral lines, “from the North, the birthplace of rehabilitative penology, to the South, the fountainhead of subjugationist discipline.” In other words, there’s the scientific taste for reducing men to numbers and the slave owners’ urge to reduce blacks to brutes.

William J. Stuntz, a professor at Harvard Law School who died shortly before his masterwork, “The Collapse of American Criminal Justice,” was published, last fall, is the most forceful advocate for the view that the scandal of our prisons derives from the Enlightenment-era, “procedural” nature of American justice. He runs through the immediate causes of the incarceration epidemic: the growth of post-Rockefeller drug laws, which punished minor drug offenses with major prison time; “zero tolerance” policing, which added to the group; mandatory-sentencing laws, which prevented judges from exercising judgment. But his search for the ultimate cause leads deeper, all the way to the Bill of Rights. In a society where Constitution worship is still a requisite on right and left alike, Stuntz startlingly suggests that the Bill of Rights is a terrible document with which to start a justice system—much inferior to the exactly contemporary French Declaration of the Rights of Man, which Jefferson, he points out, may have helped shape while his protégé Madison was writing ours.

The trouble with the Bill of Rights, he argues, is that it emphasizes process and procedure rather than principles. The Declaration of the Rights of Man says, Be just! The Bill of Rights says, Be fair! Instead of announcing general principles—no one should be accused of something that wasn’t a crime when he did it; cruel punishments are always wrong; the goal of justice is, above all, that justice be done—it talks procedurally. You can’t search someone without a reason; you can’t accuse him without allowing him to see the evidence; and so on. This emphasis, Stuntz thinks, has led to the current mess, where accused criminals get laboriously articulated protection against procedural errors and no protection at all against outrageous and obvious violations of simple justice. You can get off if the cops looked in the wrong car with the wrong warrant when they found your joint, but you have no recourse if owning the joint gets you locked up for life. You may be spared the death penalty if you can show a problem with your appointed defender, but it is much harder if there is merely enormous accumulated evidence that you weren’t guilty in the first place and the jury got it wrong. Even clauses that Americans are taught to revere are, Stuntz maintains, unworthy of reverence: the ban on “cruel and unusual punishment” was designed to protect cruel punishments—flogging and branding—that were not at that time unusual.

The obsession with due process and the cult of brutal prisons, the argument goes, share an essential impersonality. The more professionalized and procedural a system is, the more insulated we become from its real effects on real people. That’s why America is famous both for its process-driven judicial system (“The bastard got off on a technicality,” the cop-show detective fumes) and for the harshness and inhumanity of its prisons. Though all industrialized societies started sending more people to prison and fewer to the gallows in the eighteenth century, it was in Enlightenment-inspired America that the taste for long-term, profoundly depersonalized punishment became most aggravated. The inhumanity of American prisons was as much a theme for Dickens, visiting America in 1842, as the cynicism of American lawyers. His shock when he saw the Eastern State Penitentiary, in Philadelphia—a “model” prison, at the time the most expensive public building ever constructed in the country, where every prisoner was kept in silent, separate confinement—still resonates:


I believe that very few men are capable of estimating the immense amount of torture and agony which this dreadful punishment, prolonged for years, inflicts upon the sufferers. . . . I hold this slow and daily tampering with the mysteries of the brain, to be immeasurably worse than any torture of the body: and because its ghastly signs and tokens are not so palpable to the eye and sense of touch as scars upon the flesh; because its wounds are not upon the surface, and it extorts few cries that human ears can hear; therefore I the more denounce it, as a secret punishment which slumbering humanity is not roused up to stay.

Not roused up to stay—that was the point. Once the procedure ends, the penalty begins, and, as long as the cruelty is routine, our civil responsibility toward the punished is over. We lock men up and forget about their existence. For Dickens, even the corrupt but communal debtors’ prisons of old London were better than this. “Don’t take it personally!”—that remains the slogan above the gate to the American prison Inferno. Nor is this merely a historian’s vision. Conrad Black, at the high end, has a scary and persuasive picture of how his counsel, the judge, and the prosecutors all merrily congratulated each other on their combined professional excellence just before sending him off to the hoosegow for several years. If a millionaire feels that way, imagine how the ordinary culprit must feel.

In place of abstraction, Stuntz argues for the saving grace of humane discretion. Basically, he thinks, we should go into court with an understanding of what a crime is and what justice is like, and then let common sense and compassion and specific circumstance take over. There’s a lovely scene in “The Castle,” the Australian movie about a family fighting eminent-domain eviction, where its hapless lawyer, asked in court to point to the specific part of the Australian constitution that the eviction violates, says desperately, “It’s . . . just the vibe of the thing.” For Stuntz, justice ought to be just the vibe of the thing—not one procedural error caught or one fact worked around. The criminal law should once again be more like the common law, with judges and juries not merely finding fact but making law on the basis of universal principles of fairness, circumstance, and seriousness, and crafting penalties to the exigencies of the crime.

The other argument—the Southern argument—is that this story puts too bright a face on the truth. The reality of American prisons, this argument runs, has nothing to do with the knots of procedural justice or the perversions of Enlightenment-era ideals. Prisons today operate less in the rehabilitative mode of the Northern reformers “than in a retributive mode that has long been practiced and promoted in the South,” Perkinson, an American-studies professor, writes. “American prisons trace their lineage not only back to Pennsylvania penitentiaries but to Texas slave plantations.” White supremacy is the real principle, this thesis holds, and racial domination the real end. In response to the apparent triumphs of the sixties, mass imprisonment became a way of reimposing Jim Crow. Blacks are now incarcerated seven times as often as whites. “The system of mass incarceration works to trap African Americans in a virtual (and literal) cage,” the legal scholar Michelle Alexander writes. Young black men pass quickly from a period of police harassment into a period of “formal control” (i.e., actual imprisonment) and then are doomed for life to a system of “invisible control.” Prevented from voting, legally discriminated against for the rest of their lives, most will cycle back through the prison system. The system, in this view, is not really broken; it is doing what it was designed to do. Alexander’s grim conclusion: “If mass incarceration is considered as a system of social control—specifically, racial control—then the system is a fantastic success.”

Northern impersonality and Southern revenge converge on a common American theme: a growing number of American prisons are now contracted out as for-profit businesses to for-profit companies. The companies are paid by the state, and their profit depends on spending as little as possible on the prisoners and the prisons. It’s hard to imagine any greater disconnect between public good and private profit: the interest of private prisons lies not in the obvious social good of having the minimum necessary number of inmates but in having as many as possible, housed as cheaply as possible. No more chilling document exists in recent American life than the 2005 annual report of the biggest of these firms, the Corrections Corporation of America. Here the company (which spends millions lobbying legislators) is obliged to caution its investors about the risk that somehow, somewhere, someone might turn off the spigot of convicted men:


Our growth is generally dependent upon our ability to obtain new contracts to develop and manage new correctional and detention facilities. . . . The demand for our facilities and services could be adversely affected by the relaxation of enforcement efforts, leniency in conviction and sentencing practices or through the decriminalization of certain activities that are currently proscribed by our criminal laws. For instance, any changes with respect to drugs and controlled substances or illegal immigration could affect the number of persons arrested, convicted, and sentenced, thereby potentially reducing demand for correctional facilities to house them.

Brecht could hardly have imagined such a document: a capitalist enterprise that feeds on the misery of man trying as hard as it can to be sure that nothing is done to decrease that misery.

Yet a spectre haunts all these accounts, North and South, whether process gone mad or penal colony writ large. It is that the epidemic of imprisonment seems to track the dramatic decline in crime over the same period. The more bad guys there are in prison, it appears, the less crime there has been in the streets. The real background to the prison boom, which shows up only sporadically in the prison literature, is the crime wave that preceded and overlapped it.

For those too young to recall the big-city crime wave of the sixties and seventies, it may seem like mere bogeyman history. For those whose entire childhood and adolescence were set against it, it is the crucial trauma in recent American life and explains much else that happened in the same period. It was the condition of the Upper West Side of Manhattan under liberal rule, far more than what had happened to Eastern Europe under socialism, that made neo-con polemics look persuasive. There really was, as Stuntz himself says, a liberal consensus on crime (“Wherever the line is between a merciful justice system and one that abandons all serious effort at crime control, the nation had crossed it”), and it really did have bad effects.

Yet if, in 1980, someone had predicted that by 2012 New York City would have a crime rate so low that violent crime would have largely disappeared as a subject of conversation, he would have seemed not so much hopeful as crazy. Thirty years ago, crime was supposed to be a permanent feature of the city, produced by an alienated underclass of super-predators; now it isn’t. Something good happened to change it, and you might have supposed that the change would be an opportunity for celebration and optimism. Instead, we mostly content ourselves with grudging and sardonic references to the silly side of gentrification, along with a few all-purpose explanations, like broken-window policing. This is a general human truth: things that work interest us less than things that don’t.

So what is the relation between mass incarceration and the decrease in crime? Certainly, in the nineteen-seventies and eighties, many experts became persuaded that there was no way to make bad people better; all you could do was warehouse them, for longer or shorter periods. The best research seemed to show, depressingly, that nothing works—that rehabilitation was a ruse. Then, in 1983, inmates at the maximum-security federal prison in Marion, Illinois, murdered two guards. Inmates had been (very occasionally) killing guards for a long time, but the timing of the murders, and the fact that they took place in a climate already prepared to believe that even ordinary humanity was wasted on the criminal classes, meant that the entire prison was put on permanent lockdown. A century and a half after absolute solitary first appeared in American prisons, it was reintroduced. Those terrible numbers began to grow.

And then, a decade later, crime started falling: across the country by a standard measure of about forty per cent; in New York City by as much as eighty per cent. By 2010, the crime rate in New York had seen its greatest decline since the Second World War; in 2002, there were fewer murders in Manhattan than there had been in any year since 1900. In social science, a cause sought is usually a muddle found; in life as we experience it, a crisis resolved is causality established. If a pill cures a headache, we do not ask too often if the headache might have gone away by itself.

All this ought to make the publication of Franklin E. Zimring’s new book, “The City That Became Safe,” a very big event. Zimring, a criminologist at Berkeley Law, has spent years crunching the numbers of what happened in New York in the context of what happened in the rest of America. One thing he teaches us is how little we know. The forty per cent drop across the continent—indeed, there was a decline throughout the Western world— took place for reasons that are as mysterious in suburban Ottawa as they are in the South Bronx. Zimring shows that the usual explanations—including demographic shifts—simply can’t account for what must be accounted for. This makes the international decline look slightly eerie: blackbirds drop from the sky, plagues slacken and end, and there seems no absolute reason that societies leap from one state to another over time. Trends and fashions and fads and pure contingencies happen in other parts of our social existence; it may be that there are fashions and cycles in criminal behavior, too, for reasons that are just as arbitrary.

But the additional forty per cent drop in crime that seems peculiar to New York finally succumbs to Zimring’s analysis. The change didn’t come from resolving the deep pathologies that the right fixated on—from jailing super predators, driving down the number of unwed mothers, altering welfare culture. Nor were there cures for the underlying causes pointed to by the left: injustice, discrimination, poverty. Nor were there any “Presto!” effects arising from secret patterns of increased abortions or the like. The city didn’t get much richer; it didn’t get much poorer. There was no significant change in the ethnic makeup or the average wealth or educational levels of New Yorkers as violent crime more or less vanished. “Broken windows” or “turnstile jumping” policing, that is, cracking down on small visible offenses in order to create an atmosphere that refused to license crime, seems to have had a negligible effect; there was, Zimring writes, a great difference between the slogans and the substance of the time. (Arrests for “visible” nonviolent crime—e.g., street prostitution and public gambling—mostly went down through the period.)

Instead, small acts of social engineering, designed simply to stop crimes from happening, helped stop crime. In the nineties, the N.Y.P.D. began to control crime not by fighting minor crimes in safe places but by putting lots of cops in places where lots of crimes happened—“hot-spot policing.” The cops also began an aggressive, controversial program of “stop and frisk”—“designed to catch the sharks, not the dolphins,” as Jack Maple, one of its originators, described it—that involved what’s called pejoratively “profiling.” This was not so much racial, since in any given neighborhood all the suspects were likely to be of the same race or color, as social, involving the thousand small clues that policemen recognized already. Minority communities, Zimring emphasizes, paid a disproportionate price in kids stopped and frisked, and detained, but they also earned a disproportionate gain in crime reduced. “The poor pay more and get more” is Zimring’s way of putting it. He believes that a “light” program of stop-and-frisk could be less alienating and just as effective, and that by bringing down urban crime stop-and-frisk had the net effect of greatly reducing the number of poor minority kids in prison for long stretches.

Zimring insists, plausibly, that he is offering a radical and optimistic rewriting of theories of what crime is and where criminals are, not least because it disconnects crime and minorities. “In 1961, twenty six percent of New York City’s population was minority African American or Hispanic. Now, half of New York’s population is—and what that does in an enormously hopeful way is to destroy the rude assumptions of supply side criminology,” he says. By “supply side criminology,” he means the conservative theory of crime that claimed that social circumstances produced a certain net amount of crime waiting to be expressed; if you stopped it here, it broke out there. The only way to stop crime was to lock up all the potential criminals. In truth, criminal activity seems like most other human choices—a question of contingent occasions and opportunity. Crime is not the consequence of a set number of criminals; criminals are the consequence of a set number of opportunities to commit crimes. Close down the open drug market in Washington Square, and it does not automatically migrate to Tompkins Square Park. It just stops, or the dealers go indoors, where dealing goes on but violent crime does not.

And, in a virtuous cycle, the decreased prevalence of crime fuels a decrease in the prevalence of crime. When your friends are no longer doing street robberies, you’re less likely to do them. Zimring said, in a recent interview, “Remember, nobody ever made a living mugging. There’s no minimum wage in violent crime.” In a sense, he argues, it’s recreational, part of a life style: “Crime is a routine behavior; it’s a thing people do when they get used to doing it.” And therein lies its essential fragility. Crime ends as a result of “cyclical forces operating on situational and contingent things rather than from finding deeply motivated essential linkages.” Conservatives don’t like this view because it shows that being tough doesn’t help; liberals don’t like it because apparently being nice doesn’t help, either. Curbing crime does not depend on reversing social pathologies or alleviating social grievances; it depends on erecting small, annoying barriers to entry.

One fact stands out. While the rest of the country, over the same twenty-year period, saw the growth in incarceration that led to our current astonishing numbers, New York, despite the Rockefeller drug laws, saw a marked decrease in its number of inmates. “New York City, in the midst of a dramatic reduction in crime, is locking up a much smaller number of people, and particularly of young people, than it was at the height of the crime wave,” Zimring observes. Whatever happened to make street crime fall, it had nothing to do with putting more men in prison. The logic is self-evident if we just transfer it to the realm of white-collar crime: we easily accept that there is no net sum of white-collar crime waiting to happen, no inscrutable generation of super-predators produced by Dewar’s-guzzling dads and scaly M.B.A. profs; if you stop an embezzlement scheme here on Third Avenue, another doesn’t naturally start in the next office building. White-collar crime happens through an intersection of pathology and opportunity; getting the S.E.C. busy ending the opportunity is a good way to limit the range of the pathology.

Social trends deeper and less visible to us may appear as future historians analyze what went on. Something other than policing may explain things—just as the coming of cheap credit cards and state lotteries probably did as much to weaken the Mafia’s Five Families in New York, who had depended on loan sharking and numbers running, as the F.B.I. could. It is at least possible, for instance, that the coming of the mobile phone helped drive drug dealing indoors, in ways that helped drive down crime. It may be that the real value of hot spot and stop-and-frisk was that it provided a single game plan that the police believed in; as military history reveals, a bad plan is often better than no plan, especially if the people on the other side think it’s a good plan. But one thing is sure: social epidemics, of crime or of punishment, can be cured more quickly than we might hope with simpler and more superficial mechanisms than we imagine. Throwing a Band-Aid over a bad wound is actually a decent strategy, if the Band-Aid helps the wound to heal itself.

Which leads, further, to one piece of radical common sense: since prison plays at best a small role in stopping even violent crime, very few people, rich or poor, should be in prison for a nonviolent crime. Neither the streets nor the society is made safer by having marijuana users or peddlers locked up, let alone with the horrific sentences now dispensed so easily. For that matter, no social good is served by having the embezzler or the Ponzi schemer locked in a cage for the rest of his life, rather than having him bankrupt and doing community service in the South Bronx for the next decade or two. Would we actually have more fraud and looting of shareholder value if the perpetrators knew that they would lose their bank accounts and their reputation, and have to do community service seven days a week for five years? It seems likely that anyone for whom those sanctions aren’t sufficient is someone for whom no sanctions are ever going to be sufficient. Zimring’s research shows clearly that, if crime drops on the street, criminals coming out of prison stop committing crimes. What matters is the incidence of crime in the world, and the continuity of a culture of crime, not some “lesson learned” in prison.

At the same time, the ugly side of stop-and-frisk can be alleviated. To catch sharks and not dolphins, Zimring’s work suggests, we need to adjust the size of the holes in the nets—to make crimes that are the occasion for stop-and-frisks real crimes, not crimes like marijuana possession. When the New York City police stopped and frisked kids, the main goal was not to jail them for having pot but to get their fingerprints, so that they could be identified if they committed a more serious crime. But all over America the opposite happens: marijuana possession becomes the serious crime. The cost is so enormous, though, in lives ruined and money spent, that the obvious thing to do is not to enforce the law less but to change it now. Dr. Johnson said once that manners make law, and that when manners alter, the law must, too. It’s obvious that marijuana is now an almost universally accepted drug in America: it is not only used casually (which has been true for decades) but also talked about casually on television and in the movies (which has not). One need only watch any stoner movie to see that the perceived risks of smoking dope are not that you’ll get arrested but that you’ll get in trouble with a rival frat or look like an idiot to women. The decriminalization of marijuana would help end the epidemic of imprisonment.

The rate of incarceration in most other rich, free countries, whatever the differences in their histories, is remarkably steady. In countries with Napoleonic justice or common law or some mixture of the two, in countries with adversarial systems and in those with magisterial ones, whether the country once had brutal plantation-style penal colonies, as France did, or was once itself a brutal plantation-style penal colony, like Australia, the natural rate of incarceration seems to hover right around a hundred men per hundred thousand people. (That doesn’t mean it doesn’t get lower in rich, homogeneous countries—just that it never gets much higher in countries otherwise like our own.) It seems that one man in every thousand once in a while does a truly bad thing. All other things being equal, the point of a justice system should be to identify that thousandth guy, find a way to keep him from harming other people, and give everyone else a break.

Epidemics seldom end with miracle cures. Most of the time in the history of medicine, the best way to end disease was to build a better sewer and get people to wash their hands. “Merely chipping away at the problem around the edges” is usually the very best thing to do with a problem; keep chipping away patiently and, eventually, you get to its heart. To read the literature on crime before it dropped is to see the same kind of dystopian despair we find in the new literature of punishment: we’d have to end poverty, or eradicate the ghettos, or declare war on the broken family, or the like, in order to end the crime wave. The truth is, a series of small actions and events ended up eliminating a problem that seemed to hang over everything. There was no miracle cure, just the intercession of a thousand smaller sanities. Ending sentencing for drug misdemeanors, decriminalizing marijuana, leaving judges free to use common sense (and, where possible, getting judges who are judges rather than politicians)—many small acts are possible that will help end the epidemic of imprisonment as they helped end the plague of crime.

“Oh, I have taken too little care of this!” King Lear cries out on the heath in his moment of vision. “Take physic, pomp; expose thyself to feel what wretches feel.” “This” changes; in Shakespeare’s time, it was flat-out peasant poverty that starved some and drove others as mad as poor Tom. In Dickens’s and Hugo’s time, it was the industrial revolution that drove kids to mines. But every society has a poor storm that wretches suffer in, and the attitude is always the same: either that the wretches, already dehumanized by their suffering, deserve no pity or that the oppressed, overwhelmed by injustice, will have to wait for a better world. At every moment, the injustice seems inseparable from the community’s life, and in every case the arguments for keeping the system in place were that you would have to revolutionize the entire social order to change it—which then became the argument for revolutionizing the entire social order. In every case, humanity and common sense made the insoluble problem just get up and go away. Prisons are our this. We need take more care.

PHOTOGRAPH: American Poverty

 

VIDEO+ INTERVIEW: Interrupters Ameena Matthews and Steve James

Ameena Matthews

Tells Colbert

Why It’s Important

to Save Black Lives

in Chicago[Video]

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by Jorge Rivas, Thursday, February 2, 2012

Ameena Mathews, one of the "violence interrupters" who works with Chicago-based anti-violence group CeaseFire, was a guest on the “Colbert Report” Wednesday night and held her ground firm in the interview.

“You’re an interrupter in a rude way and I’m a violence interrupter in saving lives,” Matthews told Colbert.

Matthews appears in a documentary called “The Interrupters,” (the newest film from “Hoop Dreams” director Steve James) that will air on PBS’s Frontline on February 14th, 2012.

 

__________________________

Gang, Interrupted

Emily Brennan interviews Steve James February 2012

Hoop Dreams director Steve James’s new film follows former gang members who neutralize Chicago gang violence
James575px.jpg

Photograph courtesy of Kartemquin Films by Aaron Wickenden

 

At first, The Interrupters seems consistent with Steve James’s filmography. The director’s most recent documentary explores themes of race, class, poverty, and violence, as did the award-winning Hoop Dreams (1994), about two Chicago high school students with aspirations of becoming professional basketball players, and Stevie (2003), in which James reconnects with the troubled young man he had mentored as a Big Brother. But unlike his previous films, The Interrupters examines the subject of violence head on. He documents a year inside the lives of former gang members in Chicago who now intervene in violent conflicts. It is his most issues-oriented film and, it turns out, his most inspiring.

The “Violence Interrupters,” as they are called, work for the organization CeaseFire, which was founded by epidemiologist Gary Slutkin who believes that the spread of violence mimics that of infectious diseases. The treatment of violence follows a similar logic: go to the most infected and stop it at the source. Working independently from the police, the interrupters are not trying to shut down gangs or drug markets; their one objective is to stop killings. Ameena Matthews, Cobe Williams, and Eddie Boconegra, whose past involvement in gangs gives them credibility on the streets, intervene in arguments and mediate gang retaliations. They are also indefatigable mentors to those teetering on the brink of violence, with Matthews, for example, taking the troubled teenage girl she met at a street corner to get her nails done at a salon for the first time.

In cooperation with producer and author Alex Kotlowitz, James immerses the viewer in the lives of these interrupters as they carry out their dangerous, exhausting, often frustrating work and atone for their own pasts in drug-dealing, robbery, and murder. His film not only elucidates the dynamics of gang violence and the factors that contribute to it but also illustrates the effectiveness of the interrupters’ efforts. The film manages to examine violence, the nature of which is endlessly debated by academics and policymakers, by relentlessly focusing on the interrupters’ lived experiences in all their complexity. By directing a film about people, James has also created a film about ideas. Its tone is much like that of a conversation with James—knowledgeable, insightful, and reflective as well as funny and sincere.

James spoke to me by phone from his home in Chicago.

Emily Brennan for Guernica

Guernica: In interviews, you said urban violence was much more in the public’s mind twenty years ago. As a society, we’ve become numb to it or, at least, complacent with the thought that there’s nothing more we can do about violence in poor communities. You also often mention that the murders of Bo Agee, the father of one of the main subjects in Hoop Dreams, and Curtis Gates, the brother of the other subject, have haunted you. Were you numb to this violence?

Steve James: To an extent I was. You see another article about someone who’s been murdered, and sometimes you read it, sometimes you don’t. The more articles there are, the less inclined you are to read them. “Another tragic loss,” I’d think. “Well, there’s nothing I can do about it.” What shook me out of this numbness was seeing what happened to the Agee and Gates families. When you see that happen, you think, “Whoa, this strikes close to home. This is happening every day in the paper. People are really going through this.” That was key. If I hadn’t experienced that kind of loss, who knows if I would’ve wanted to do this film.

People are angry, people are upset, people are devastated. It doesn’t matter how many people you’ve lost.

I also expected people in those communities to be numb to it. It’s true that they’re not surprised by it anymore, not surprised at all, but they’re definitely not numb, especially when it hits close to home. People are angry, people are upset, people are devastated. It doesn’t matter how many people you’ve lost.

Guernica: Were you surprised those two murders? I know Bo Agee had a past with drug abuse, but otherwise those families were on the straight and narrow path.

Steve James: They did surprise me because Bo had turned his life around, and Curtis was never involved in criminal activity. He was working at FedEx at the time. They’re the quintessential victims. A lot of people killed in these neighborhoods are not involved in criminal activity, which would make them more endangered. A lot of times, they were in the wrong place at the wrong time. Or it’s a fistfight in which someone decided to go back and get a gun. When murders were at their height in the early nineties during the crack epidemic, there was a lot of criminal- and gang-related murder. Now, even for people involved in gangs, it’s not gang-related, it’s personal.

Guernica: In The Interrupters, during mediations, Ameena Matthews often talks about ego. She says, “Don’t let your ego set in.” Another time, she says, “The fight is with your ego.” What’s behind that message?

When you have people who don’t feel they are in control of their lives, the one thing they feel they can control is their reputation. You want to be viewed with respect. It becomes this Darwinian struggle.

Steve James: In the film, Tio Hardiman, director for CeaseFire Illinois, talks about when you have people who don’t feel they are in control of their lives, the one thing they feel they can control is their reputation. You want to be viewed with respect. It becomes this Darwinian struggle. Someone does something, and then the person feels if he doesn’t respond, he’ll be known as weak and encourage others to take action on him. “I don’t want to be a small fish in the pond.” That’s part of what goes on.

Another part Ameena addresses in the movie. She gives you this example of a kid waking up in the morning: “You don’t have enough to eat. You’re wearing hand-me-downs. Your mom is being abused by her boyfriend. You’re being abused by your mom’s boyfriend. By the time you get to school, someone bumps into you, and that person is going to get all of that pent-up rage.” That absolutely goes on.

It helps explain what goes on when you read in the paper that someone killed someone over a pair of tennis shoes. You read these outlandish things, and if you don’t have a greater perspective on it, you think, “Who are these people? What can you do with someone like that?” I’m not trying to excuse that behavior, but what I think you don’t get, which we try to do in the film, is that these petty things loom large because of these underlying issues.

Guernica: Do you agree with the director of CeaseFire, Gary Slutkin, that violence is a disease?

Steve James: We think violence acts like a disease. It mimics a disease—Gary says that in the film—in the sense that the spread of disease has more to do with behavior than the lack of antibiotics. AIDS is a perfect example. If you go out and have unprotected sex with lots of people, that behavior puts you at risk. Similarly, violent behavior can spread. One violent act can elicit a response. It can spread to people in a peer group so that they feel that they have to respond. It can pass generation to generation almost like a genetic disease. Tio talks about breaking down a person’s family history: “Your father was fucked-up, your grandfather was fucked-up, you’re fucked-up.”

Violence can behave like a disease. That insight gives a different frame of reference that is designed to take the judgment out of it, to take the good-versus-bad-people view out of it. For people in neighborhoods where violence is prevalent, violence becomes a way of dealing and coping with their lives. No matter how wrong it is, violence doesn’t necessarily mean they’re bad people.

In the film, Flamo is a perfect example. When you first meet him, you think, yes, he’s funny, but he’s also scary. He’s saying, “I’m going to go do what I have to do, and if it puts me back in prison, then so be it.” He was in a murderous rage. By the end of the film, you see that more than anything he needed someone to care and point him in a different direction. To this day, more than a year since the film was completed, he’s still doing well.

Guernica: In Slate, sociologist Sudhir Venkatesh wrote that Senator Daniel Patrick Moynihan’s 1965 policy brief on urban ghettos, the so-called Moynihan Report, produced a schism in America: “Liberals believed that black poverty was caused by systemic racism, such as workplace discrimination and residential segregation, and that focusing on the family was a form of ‘blaming the victim.’ Conservatives pointed to individual failure to embrace mainstream cultural values like hard work and sobriety, and intact (read: nuclear) families.” Was this debate in your mind during the film’s production? Does Slutkin’s belief that violence is not about good versus bad people help us move past this debate?

Steve James: This debate, which Venkatesh articulates well, has been the classic liberal-conservative debate about poverty and welfare for decades. From my point of view, there’s truth in both points of view. Hoop Dreams, when it came out, was embraced by many liberals, even leftists. I think the Communist Workers’ Party paper wrote a glowing review of it, calling it an indictment of capitalism. But then the conservative columnist George Will wrote this very positive column saying Hoop Dreams, for him, was about how important families are to succeeding in life. Both are right. I think the film’s politics is closer to liberal than George Will’s, but he is right that the importance of family is on display.

In my experience, people who have succeeded at pulling themselves out of dire situations—and I’m thinking of Ameena and Cobe, for example—had some foundation in their lives that really stayed with them. They may have gotten involved in some serious criminal activity, as both of them did, and there may have been times when they thought they wouldn’t make it, but they both found their way back to the values they learned from their grandparents. The people who have the hardest time getting there are those like Caprysha, in this film, who didn’t even know who her father was, whose mother wasn’t there, who spent a lot time in foster care. For someone like Caprysha to get there, it’s a lot tougher. My point is that the social forces liberals like to point to are real—I absolutely agree—but, at the same time, a good grounding from a family can make a huge difference.

What I really like about the interrupters is that they’re not waiting around for us to solve this as a political problem. They’re sensitive to it as a political problem—they have a lot of insight on that front—but they’re out there on the streets every day trying to deal with people on an individual basis. That means being a mentor or hooking people up with jobs. It means a lot of different things, all of which echo these arguments. If there are no jobs, what happens to a Flamo? What happens to a Lil’ Mikey when he comes out of prison if he can’t find a job? Had he not been so determined to find a job, he’d probably be back doing [armed robberies] as he did before.

Guernica: I attended a screening of The Interrupters at Columbia University, where afterward you gave a talk. Do you remember the last man who got up to ask a question? He was upset about the scene in which Lil’ Mikey is raking leaves and says he’s just happy to have a job. The man went off on a rant, “This is all Lil’ Mikey has. I can’t believe it. Why aren’t we talking about the lack of jobs, the lack of education, the history of slavery, poverty?” What’s your responsibility, as a filmmaker, to explain the social forces at work in the lives of these people?

Steve James: The film has gotten a lot of great reviews from all quarters. The reviews that have taken issue with the film, even positive reviews, want that analysis that you’re talking about. They say, “I’m seeing all this real life experience but I want the analysis and framework.” There were other people who said, “Thank god this didn’t succumb to being an analytical piece, and it just immerses the viewer.” It comes down to my interest as a filmmaker. I’m not interested in expert analysis. The film is informed by that. I’m someone who has read a good deal about those arguments and understands what those positions are. But we didn’t want to make a film analytic in nature.

I’ve always made films in which people living these situations speak of their experiences. They also sometimes speak of these issues, but it’s grounded in their own experience, not in an analysis from an academic or policy perspective. And that’s my particular thing because I want the viewer to wrestle with these questions themselves. You see what a difference a job makes to Lil’ Mikey and Flamo. And yes, they’re not great jobs, but you see that having a job is part and parcel of someone having a sense of themselves and feeling they live a worthwhile life that’s worth saving. We didn’t set out to make a film about jobs, but I think anyone with any sensitivity gets that jobs are important in these communities. Other filmmakers could have put you less in the lives of these people and more analysis, and that would have been a perfectly valid film to make. I feel I’ve read books and seen films that have grappled with the analysis, but we haven’t seen enough films that put you in the shoes of the people in these communities.

Guernica: Why do you think it’s been so widely received?

Steve James: The film is way more inspiring than anyone, including us, would have thought. People think, because of its subject matter, it’s going to be a tragic and sobering journey. What they don’t expect is to realize there are people out there who can be saved, and there are people from these communities doing this very important work. Ameena Matthews doesn’t have a college degree, but she has a PhD in this work.

Guernica: In the film, I couldn’t help but notice how little police presence there was in comparison to the interrupters’ constant involvement. Was that a choice you made, or does this reflect these neighborhoods’ reality?

Steve James: The cops’ presence is unmistakable in these neighborhoods. You see police cruisers all the time. When there’s a murder, they’re all over the place. In that respect, they’re very present. But for people in those communities, their engagement with the police is as minimal as possible. If you had your child murdered, you hope they solve the crime, of course, but on a day-in, day-out basis, there’s a historical mistrust. The police aren’t considered a positive experience in the lives of many people—not everybody, but many people in these neighborhoods. Also, going to the police, depending on who you are and why you’re going, is perceived as the wrong thing to do, so the police are not a very viable option. It’s frustrating for the police. They talk about how hard it is to get cooperation.

The interrupters offer an alternative path people can go to. Flamo, in his more sober moment, actually reached out to Cobe. By the time Cobe arrived, Flamo had been drinking and was on a murderous rampage. But he did call Cobe and, on some level, was looking for help. He wasn’t going to call the police because the police were looking for him. And the interrupters offer a way for people to walk away from a situation with some dignity. When Ameena says, “Stand down and let me talk to the other side,” that’s a way for people to save face and not be perceived as having been punked or afraid.

The relationship between the police and the interrupters is complicated. We didn’t get into that because we didn’t want to compromise the effectiveness of the interrupters in the streets by spending a lot of the time in the film talking about the problems they have with cops and cops have with them. We didn’t want to fuel the tensions further.

Guernica: What are those tensions?

Steve James: The cops wonder how sincere these men and women are. Is this paycheck so they can pretend to be doing good for the community but are still out doing whatever illegal stuff they used to do? They accuse interrupters of being hug-a-thugs. They think the interrupters should be telling the police when they know of criminal activity. They should be cooperating with the cops, and why aren’t they?

Guernica: In There Are No Children Here, Alex Kotlowitz writes about gangs having done community service before and it not quite working out.

Steve James: Actually, it was Jeff Fort’s gang. [Jeff Fort, founder of the Black P. Stones gang in Chicago, is father of Ameena Matthews.] He was always involved in illegal activity, but there was a community-organization aspect of what he was doing too. He even got federal funds and an invitation to Nixon’s inauguration. He didn’t go, but he got invited. (Laughs).

Guernica: There’s a long history in Chicago.

Steve James: Right. And there are cops out there with whom the interrupters have a history, and these cops won’t view them differently no matter what they do. They get nervous around cops because of their history with them. Cobe told me a story about being pulled over while he was on a date. The cop knows his record because he just ran his plate, and the cop says to his date, “Hey you know what this guy has done prison time for?” And Cobe’s like, “Why are you telling her this stuff?” So the interrupters have a history and a well-deserved desire to not have anything to do with cops, even though they’re now doing good work.

Guernica: You said the song during the closing credits, “Don’t Give Up on Me” by Solomon Burke, was apt because the interrupters won’t give up on these people.

Steve James: It’s also about not giving up on these communities.

Guernica: Well, how do we do that? The film is not a political call to action, but it does move people to want to do something about it.

Steve James: We did a lot of screenings on the festival circuit, and this question comes up a lot, “What can I do?” It was coming from people who don’t live in these neighborhoods. We said there’s all kinds of ways people can help. Get political. If you’re in a position in which you have influence either through voting or connections to people who make policy, speak up. You can make donations to CeaseFire or organizations like it because it’s important work and is always underfunded. You can volunteer to be mentor. You see mentoring going on with Ameena, Eddie, and Cobe, but you don’t have to be from that community to be a mentor of value. In fact, if you’re not from that community, you can be more valuable in some respects because you can expose children to a wider world of possibility and connections. There’s a lot of ways. I’m not someone who gives prescriptives at the end of my films. This is the closest to an issue-oriented film I’ve ever made. You don’t have to be an interrupter. You have to be a special person to do that kind of work, but there are other ways.

 >via: http://www.guernicamag.com/interviews/3467/brennan_2_1_12/?utm_source=feedbur...

 

 

 

 

HISTORY: Lost Malcolm X Speech Heard Again 50 Years Later > NPR

Lost Malcolm X Speech

Heard Again 50 Years Later

February 4, 2012

Herman Hiller, World Telegram staff photographer/[Public domain] via Wikimedia Commons

Malcolm X, shown here in 1964, spoke at Brown University in 1961 to defend his views. That speech was recently unearthed in the university archives.

February 4, 2012

Last semester, Brown senior Malcolm Burnley took a narrative writing course. One of the assignments was to write a fictional story based on something true — and that true event had to be found inside the university archives.

"So I went to the archives and started flipping through dusty compilations of student newspapers, and there was this old black-and-white photo of when Malcolm X came to speak," Burnley says. "There was one short article that corresponded to it, and very little else."

Malcolm X came to speak at Brown University in Providence, R.I., on May 11, 1961. Burnley noticed that at the end of the article, there was a brief mention of another article — also from the Brown student newspaper — written by a senior named Katharine Pierce. Her article was the reason Malcolm X wanted to visit Brown.

He tracked down Pierce's phone number and gave her a call. "I immediately started asking her what she remembered about provoking Malcolm X to come."

It had been 50 years since Malcolm X's speech at Brown, but Pierce slowly started to remember how it all happened.

"I just felt that integration was a greater path," Pierce says, "more reasonable and a greater path for success."

Today, Pierce lives about an hour north of New York City. In 1961, she believed the Nation of Islam's message of separation of the races was destructive, so she wrote a detailed critique. Somehow, it caught the attention of the Nation of Islam. Two weeks after the piece was published in the Brown Daily Herald, representatives called.

"They said that Malcolm X wanted to come to Brown and defend his views, because Katharine's essay was so critical of the organization," Burnley says.

"Well, I think we were quite astonished," Pierce laughs.

Richard Holbrooke and Katharine Pierce as students in 1961 at Brown University.

Richard Holbrooke and Katharine Pierce as students in 1961 at Brown University.

Help From A Diplomatic Legend-To-Be

The editor of the student paper was a 19-year-old named Richard Holbrooke. Yes, the Richard Holbrooke — the late legendary diplomat.

Holbrooke and his staff agreed that they should have Malcolm X come to the school, Burnley says. The problem was convincing the school.

The university was worried about possible violence and about upsetting the NAACP, which had pressured other universities — including the University of California, Berkeley and Howard, one of the oldest historically black universities in America — to keep Malcolm X from speaking that year.

Holbrooke met with the university's president, Barnaby Keeney, at least six times. Holbrooke's widow, Kati Marton, recalls that her husband was convincing.

"Richard, as usual, said, 'What have we got to be afraid of? It's better that we let him speak, and it's better that the students make up their own minds than if we shut him out.' "

According to Burnley, Holbrooke took a hard line with the administration. If they didn't agree to allow Malcolm X to speak at Brown, Holbrooke would move the student newspaper off-campus — and break its ties to Brown.

"But in typical Holbrooke fashion, he prevailed," Marton says. "He used to recall walking with Malcolm X and his gigantic bodyguards from Richard's office in the Brown Daily Herald to the auditorium, where the students waited."

"That walk left a deep impression on Richard who, even as a 19-year-old, was already a budding historian," she says.

The front page of the Brown Daily Herald on May 12, 1961, the day after Malcolm X spoke at the university. This was the clipping that Malcolm Burnley found last year in the library archives at the university.
Brown University Archives

The front page of the Brown Daily Herald on May 12, 1961, the day after Malcolm X spoke at the university. This was the clipping that Malcolm Burnley found last year in the library archives at the university.

 

A Riveting Speech

Pierce unearthed a recording of that night — a recording she kept in a box in her attic. It's an extraordinary historical record — an early window into Malcolm X's evolving views and the future diplomat who would bring him to campus.

"Tonight, we present two different viewpoints on the American Negro and his future," said the young Holbrooke as the event began.

The audience wasn't all students and faculty. Malcolm X and his entourage purchased 200 tickets for Nation of Islam members to ride down from Boston and attend the speech. "At several points, you hear raucous applause, clearly from the Nation of Islam members," Burnley says.

Pierce was allowed to make a brief statement before Malcolm X spoke.

"For those of us who feel that the Negro is an integral part of our culture, and who advocate for integration because we believe in the equality of all men, the Black Muslims are an indication of the fact that we have not done enough acting to make our position acceptable to the Negro dissatisfied with his present situation."

A few minutes later, Pierce introduced the main speaker.

Malcolm X was originally supposed to debate a representative from the NAACP. But at the last minute, that representative, Herbert Wright, had backed out, so Malcolm X had hurriedly prepared a speech for the evening.

"He reveals a lot of his ideology and positions that are dated to years later in his life," Burnley says.

"So the question today is: Is the Honorable Elijah Muhammad a bona fide religious leader and are his followers a bona fide religious group? And this is a question that America has got to come face-to-face with."

At other points, Burnley says, Malcolm X plays to the white audience. He even gets them laughing with a joke about where black people are found.

"They don't have a history of their own, so they let them tell you what their history is; and that is in essence that you found him in the jungle somewhere with a spear, chasing white people in a cannibalistic way to try to give the impression that white meat is the only good meat to eat."

The audience gasped when Malcolm X admitted some previous vices.

"No follower of the Honorable Elijah Muhammad partakes of any alcoholic beverage, reefer or tobacco, which is prevalent in the Negro communities across the country, even right here in the city of Providence. I myself was one of the foremost practicers or doers of everything that I've mentioned here so far; now I'm telling you the truth, and the teachings of the Honorable Elijah Muhammad stopped me from doing these things overnight."

"At several points, he references the 725,000,000 Muslims across the world versus the 20,000,000 so-called negroes, was his quote, in America," Burnley says. "The Nation of Islam refused the term 'negro.' They said it was kind of the white man's classification of black Americans, so that's why he said 'so-called negroes.' "

"There are 20 million so-called 'negroes' here in America. Twenty million ex-slaves. Twenty million second-class citizens. No matter what other classification you try to put on them, you can't deny that we are ex-slaves. You can not deny that we are second-class citizens. And the fact that we are second-class citizens means someone has done us an injustice and deprived us of that which is ours by right."

Burnley interviewed dozens of people who witnessed the speech. They all recalled being riveted — even if they didn't agree — by what Malcolm X had to say.

"He read his audience very, very well as a fine public speaker does," Pierce says.

"We who follow the Honorable Elijah Muhammad feel when you try to pass integration laws here in America, forcing white people to pretend they are accepting black people, you are making white people act in a hypocritical way. However, we feel that when you can change both of them and they come together voluntarily, without force or without pressure, then automatically you are furthering brotherhood and bringing about better relationships between the two races."

A Dialogue Begins Again

The entire speech lasted just under an hour. Afterward, Burnley says, Malcolm X invited students to come talk to him in the student lounge.

"At that point, he conducted an interview with these young white students," Burnley continues. "He was willing to greet them more intimately and in private, and obviously he was seeking publicity.

"He wanted to be as well-known as possible, but I don't know — it definitely is a gesture to make towards young white students, who, by all accounts, he wouldn't really want to have anything to do with, but he was willing to greet them and talk to them in private."

Burnley did eventually write a narrative account of the incident for his class assignment. He's also writing a much longer version.

Marton, Holbrooke's widow, says her husband spoke often about the story, though it's unclear whether he ever wrote it down. Holbrooke was planning to write his memoirs at the time of his death in December 2010.

As for Brown University?

"In my research, there is no mention in the university calendar for that year or in President Keeney's notes of Malcolm X coming. It's essentially just been whitewashed from the university records," Burnley says.

But, he adds, that is about to change.

via npr.org

 

VIDEO: Booty-shaking from Azonto to Yahooze: The Top 10 African dance crazes > This Is Africa

Booty-shaking from

Azonto to Yahooze:

The Top 10

African dance crazes

Doing the Azonto

Some dance crazes are mere fads that barely last longer than it takes to pronounce their given name while others endure long enough to become cultural icons. However long they last they all have one thing in common: a unique style that delights and captures the imagination of enough people for it to acquire the status of a cultural meme. And though they emerge from all corners of the continent, the French speaking African countries have a slight edge in the sheer number and reach of their dance creations.

Below are 10 of the top African dance creations to have gained global stature either recently or, in the case of Soukous, in the last 40 years.

Azonto (Ghana)

Ghana’s Azonto dance craze took the world by storm at the latter end of 2011. From night clubs and the streets of Accra to churches and schools, the Azonto dance threatened to eclipse the success of some of Ghana’s famous exports — its cocoa, gold and, of course, its exciting brand of football.

To prove it was truly inter-generational Azonto dance enthusiasts uploaded what seems like a billion YouTube videos showing the old, children and of course teenagers all unashamedly gyrating to Azonto-inspired songs.

The dance originated from some of the less affluent but culturally influential areas in Accra and achieved a global reach and significance that kept twitter buzzing and spawning a few viral Azonto dance videos.

The Azonto is still going strong, and was last seen on London’s Oxford Street


Hlokoloza Dance (South Africa)

Kwaito artist Arthur Mafokate, introduced ‘Hlokoloza’ to the world. In his words, “Hlokoloza is a variation on several township dances put together with a bit of the ‘Hlokoloza’ swag.”

Hlokoloza in its current form debuted in 2011 but has taken South Africa by storm with its patrons characteristically South African chant of ‘Ayo-yo!!’.


Oliver Twist (Nigeria)

Not much goes unnoticed when it comes from Nigeria. With a population of over 150 million and internet access growing in leaps and bounds, it is becoming easier to capture the world’s attention at will. Provided you have the imagination. Oh, and it helps if you already have a fairly substantial fan base. This is what happened in 2011 when Nigeria’s music stars D’Banj, Don Jazzy and the Mo'Hits crew announced a competition for fans to submit videos of themselves doing the Oliver Twist dance.  

With savvy promotion flair and a massive following on social media, especially on twitter, the combined efforts of the music stars made the Oliver Twist dance a hit, even inspiring an animated version before the eventual winners My Backyard Crew were announced.


Bobaraba (Ivory Coast)

2008 saw Ivory Coast’s Bobaraba ascend the dance craze charts. The dance was inspired by Ivorian DJs Mix and Eloh’s hit song Bobaraba.

Bobaraba means “big bottom” in Ivory Coast’s Djoula language. In an interview with the BBC the pair stated that “We made Bobaraba as a tribute to women, because African women are defined by the shape of their bottoms.”

Well, we wouldn’t put it like that ourselves, but any dance craze that revolves around booty shaking is quite likely to catch on. A pity some unscrupulous individuals decided to start cashing in on the fun with "bottom enhancers" (see "Ivory Coast’s Big Bottom craze"The BBC), and the desire for a bigger booty has led to at least one fatality.


South African Ball Room Dancing (SA)

No, ballroom dancing in South Africa’s townships was not initiated by well-off white South Africans reminiscing about their forefathers’ traditional dancing styles.

In 1993 the LA Times did a feature on this in which Jabu Vilakazi, chairman of South Africa’s dance academy, was quoted as saying “Dancing is changing many peoples’ lives. People have changed from being hooligans to well-behaved people because of it. You learn a lot of manners in dancing. And you have to maintain your discipline. You can’t just go into the hall with your cap on. You’ve got to behave yourself, man.”

Whatever your opinion about this particular dance craze you have to admit it’s not often you get one that manages to be socially-responsible, gets the blessing of parents and retains its street cred.


Bird Flu Dance (Ivory Coast)

As you probably guessed this particular craze was inspired by the deadly H5N1 strain of avian influenza. Reacting to adversity with humour is not uncommon, and you’ll find the same in Ivory Coast.

In 2006 a local DJ named Lewis created a wacky bird flu dance that caught the imagination of Ivorians and the international press alike. The dance had people shaking uncontrollably, clucking like birds and flapping their arms all in the name of mimicking a dying bird flu-infected chicken. This wasn’t just silly attempt at dark humour though. As DJ Lewis said to the BBC “I created the dance to bring happiness to the hearts of Africans and to chase away fear—the fear of eating chicken.”


Soukous/Lingala (Congo, Kenya, Uganda and Tanzania)

Some know Soukous only as a genre of music but it started life as a dance craze in Francophone Congo in the 1930s and early 1940s. It is now just as popular in East Africa where it is said to have been brought over by Congolese political exiles.

The dance, alongside the music it spawned, can now be found in night clubs in London and Paris. The word Soukous came from the French word secousse – “shake”, and the dance is also known as the African Rumba, an Afro-Cuban dance.


Mapouka (Ivory Coast)

If you can shake and move your backside rhythmically without moving your hips then you can do the Mapouka.

The dance became popular in Ivory Coast in the late 1990s before spreading to countries like Togo, Niger, Burkina Faso, Senegal and Congo.

In its heydays Mapouka was considered scandalous and banned from Ivorian TV for its overtly sexual overtones (it's also known as, "La danse du fessier" or "the dance of the behind"). The ban and fanatical anti-Mapouka commentary in media outlets ensured that Mapouka became a hit and a symbol of youth rebellion.

Like Soukous, Mapouka is now a well established dance and a cultural icon.


The Yahooze (Nigeria)

Critics of the Yahooze dance claimed it glorified 419 scammers and their online "yahooze" activities. That didn’t stop Colin Powell, the former US Secretary of State and perhaps its most famous dancer to date, from giving it a good go.

Look into the history of any dance craze and you’ll usually find an advocate who was instrumental in popularising it, and in the case of the Yahooze dance it was Nigerian singer Olu Maintain. He showed the world how to do it and do it right, with his feet firmly “glued” to the dance floor and lots of rather simple hand movements while he sang his hit single Yahooze.


Shangaan Electro Dance (South Africa)

There’s a good chance the Shangaan Electro Dance is the fastest dance of African origin that you’ve ever seen. If so, that’s exactly what was intended, at least according to the creator of the music genre that accompanies the dance.

In an interview with CNN, Richard Hlungwani stated that “When I came [to Soweto] it was not moving, so I said to my guys, let’s make it 168 [beats per minute] and I said, no it’s still not fast enough. Now this is 175 … now 180!” He added “The world will go faster. It won’t go at the pace it’s going now, It will go a little bit faster, because Shangaan electro is going to do that.”

The videos of the Shangaan Electro dance will have you staring in sheer amazement at the energy, humour and vigour on display. Be warned you will be left breathless without moving an inch.

Edited and re-published with permission of MyWeku

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

VIDEO: Get Ready for Big Freedia To Shake the U.S. with New Orleans Bounce [Video] > COLORLINES

Big Freedia

Get Ready for Big Freedia

To Shake the U.S.

with New Orleans Bounce

[Video]

On Wednesday night Big Freedia brought bounce to national television with a performance on ABC’s Jimmy Kimmel Live late-night talk show. Freedia performed two recent songs, “Excuse” (above) and “Na Who Mad” (below). You can watch the full episode on JimmyKimmelLive.com.

At a performance in Los Angeles Thursday night, Big Freedia said her phone has not stopped ringing since her television debut.

And to read more about Freedia read the NY Times 2010 profile on her.

 

PUB: $1,000 WRITING COMPETITION! > PUBSLUSH Community

ABOUT THE PUBSLUSH PRESS

WRITING COMPETITION

Submission Deadline: March 31, 2011

How it Works

Simply register at www.pubslush.com to submit your manuscript. You will be directed to upload the best 10 pages and a summary of your work, as well as any supporting materials. All submissions from now through March 31st will be eligible for the competition.

One lucky winner will win $1,000, the chance to be published, and a featured spotlight on PUBSLUSH!

Winner will be announced in April.

Judging

Manuscript samples will be judged on style, content and commercial viability. Judges will look for writing that is clear, articulate and logically organized. Winning manuscript must demonstrate an outstanding writing ability and represent the genre submitted.

Submissions will be evaluated in a fair and unbiased judging process. In addition, PUBSLUSH Press will review all content for plagiarism.

Rules

• Competition is open to all writers in the United States over the age of 18. Void where prohibited. Subject to all federal, state, and local laws.

• There is no limit on the number of manuscripts submitted.

• Submissions must follow formatting requirements.

• DEADLINE: Submissions must be uploaded no later than March 31, 2012 at 11:59 PM, Eastern Standard Time.

• PUBSLUSH Press will accept submissions on a wide variety of genres including (but not limited to): Biography, Chick Lit, Children’s, Comedy, Fantasy, History, Horror, Mystery and Crime, Poetry (compilations only), Politics, Religion, Romance, Sci-Fi, Self-help, Teen and Thriller.

• PUBSLUSH Press reserves the right to extend competition deadlines if deemed appropriate.

• Manuscripts must be solely based on the work of the entrant. Plagiarism will result in disqualification.

• Decisions of the judges are final.

• Employees of PUBSLUSH Press, its board of directors, agencies and their immediate family members are not eligible for this competition.

• Winner will be notified via e-mail.

• Competition winner agrees to allow PUBSLUSH Press to post their names on any of its affiliated websites. The winning manuscript may be posted in their entirety on any of these websites with full credit given to the authors.

• Winner will be solely responsible for any Federal, State and local taxes and will receive a tax form 1099 reporting the value of related prizes.

• Winner can only claim prizes upon PUBSLUSH’s receipt of their full manuscript.

• Winning entry is in no way guaranteed to be published.

 

PUB: Sozopol Fiction-writing Seminar

    Sozopol Fiction Seminars

    May 24-27, 2012

    The Elizabeth Kostova Foundation is pleased to offer its fifth annual summer fiction-writing seminar in the ancient town of Sozopol, Bulgaria.

    Fiction writers from Bulgaria and fiction writers from English-speaking countries, including but not limited to the U.S. and the U.K., are invited to apply.

    Ten scholarships to attend the Sozopol Fiction Seminars will be given to five fiction writers working in English and five working in Bulgarian.

    The Elizabeth Kostova Foundation will cover tuition fee, room and board, in-country transportation and 50% of the international travel expenses. There is no entry fee.

    The 2012 faculty includes: Barry Lopez (US), Deian Enev (BG), Elizabeth Kostova (US) and Krassimir Damianov (BG/ES).

    Traditionally, the Sozopol’s seminar line-up consists of creative writing workshops, guest-lectures, round-table discussion and literary readings.

    Admission Requirements: In order to apply, please use the online submission system – complete the personal information fields and attach the required application materials:

    - Biography (maximum 300 words):

    Please indicate your publications record, writing credits, public readings and text performances (if any).

    - Statement of Purpose (maximum 1 page):

    Please describe the writing project(s) you are currently working on, the types of activities you hope to take part in during the seminar in Bulgaria, and how participation in a fiction seminar could benefit your writing.

    - Fiction Writing Sample:

    It could be a short story, a novel excerpt, or both. The writing sample should be at least 10 pages and not more than 20 pages. The text should be formatted in Times New Roman, 12-point font, double-spaced, 1800 characters per page (including gaps).

    - A Letter of Reference:

    A letter of reference, sent directly to EKF via email by the reference, is required in addition to the online application. Reference letter should be sent to silieva@ekf.bg

    Please fill in the application form and read carafully all question mark boxes:
    www.ekf.bg/ekfa/en/apply.php
    On-line applications only!

    Closing date: March 7, 2012.

    Confirmation: Receipt of proposals is confirmed via an email confirmation sent from sozopolfictionseminars@gmail.com shortly after March 7, 2012. Please be certain that your email account is set to receive emails from this address. If you do not receive email confirmation within one week of the deadline for submissions, please send an email to: sozopolfictionseminars@gmail.com.

    Notification: All approved applicants will be notified of admissions by email until April 15, 2012.

    Technical requirements: Please name the files you are submitting online using ONLY Latin letters, numbers, dashes and underscores! Please do NOT use commas, spaces, quotation marks, apostrophes, inverted commas and any other symbols. The allowed file formats are: .DOC, .DOCX, .RTF, .PDF.

    via ekf.bg

     

    PUB: Gulf Coast Contests

    Announcing the 2012 Gulf Coast Prizes

    in Poetry, Fiction, and Nonfiction!


    The 2012 Gulf Coast Contests, awarding publication and $1,500 each in Poetry, Fiction, and Nonfiction, are now open. Honorable mentions in each category will receive a $250 prize.

    The Postmark/Online Entry deadline is March 15th, 2012. Winners and Honorable Mentions will be announced in May.

    2012 judges to be announced soon. Please check back for updates.


    Guidelines:

    To enter online (preferred), visit the online submissions manager and be sure to choose "CONTEST: Fiction," "CONTEST: Poetry," or "CONTEST: Nonfiction/Lyric Essay" as your genre.

    Upload one previously unpublished story or essay (25 double-spaced pages max) or up to five previously unpublished poems (10 pages max). Do not include a cover letter, your name, or contact info of any kind in your uploaded document; please put this information in the "comments" field.

    Once you've clicked "submit," you will be redirected to PayPal to authorize your $23 online reading fee, which also gets you a one-year subscription. You won't need a PayPal account, only a credit card. Multiple submissions are acceptable, but you must pay the fee for each entry. We'll contact you if there are any problems with your payment; please do not email us to confirm whether payment was received.

    To enter by mail, send one previously unpublished story or essay (25 double-spaced pages max) or up to five previously unpublished poems (10 pages max) to the address below. Indicate your genre on the outer envelope. Your name and address should appear on the cover letter only. Include a SASE for results. Your $20 postal reading fee, payable to "Gulf Coast," will include a one-year subscription. Manuscripts will not be returned.

     

    Send Postal Entries to:
    Gulf Coast Prize in [Genre]
    Department of English
    University of Houston
    Houston, TX 77204-3013

    Check out last year's winners in poetry, fiction, and nonfiction... or read "online exclusive" interviews with Brian Van Reet (fiction winner) and Arianne Zwartjes (nonfiction winner).

     

     

     

     

     

     

     

     

     

    VIDEO: "The Last Fall" Gets An Updated Trailer w/ New Footage > Shadow and Act

    SXSW 2012 Preview -

    "The Last Fall"

    Gets An Updated Trailer

    w/ New Footage

    Festivals by Tambay | February 3, 2012

    No big intro necessary for this one I'm sure; everyone should know about it by now, given how much we've covered it, including the filmmaker himself sharing his journey with us via the Filmmaker Diary Series.

    As announced earlier this week, Matthew Cherry's feature directorial debut The Last Fall will make its world premiere at the 2012 SXSW Film Festival.

    The film stars Lance GrossNicole Beharie, and Vanessa Bell Calloway.

    The full synopsis again reads:

    After several years in the playing professional football, Kyle Bishop is released from his fourth team in three years and returns to his home town, broke and at a complete loss about what he will do for a living. After an initially cold reception, Kyle reconnects with Faith Davis, his old high school sweetheart. Ready to leave football far in the past, Kyle gets a job at a local gym and starts planning a new life with Faith and her young son, Von. However, when Kyle unexpectedly gets a lucrative offer from another professional team, and the father of Faith's son, Rell, tries to win his way back in her life, he is torn about what path to take.

    A SXSW trailer for the film popped up online a couple of days ago and I embedded it below; I'll be at SXSW and this will be on my short list of films to see while there: