By Sarah J. Jackson
Shifting understandings and ongoing conversations approximately race, superstar, and protest within the twenty-first century demand a more in-depth exam of the evolution of dissent through black celebrities and their reception within the public sphere. This booklet specializes in the way in which the mainstream and black press have lined instances of debatable political dissent via African American celebrities from Paul Robeson to Kanye West. Jackson considers the next questions: 1) What detailed employer is on the market to celebrities with racialized identities to offer reviews of yank tradition? 2) How have newshounds in either the mainstream and black press restricted or facilitated this company via framing? What does this say in regards to the various position of journalism in American racial politics? three) How have framing tendencies relating to those figures shifted from the mid-twentieth century to the twenty-first century? via a sequence of case stories that still comprises Eartha Kitt, Sister Souljah, and Mahmoud Abdul-Rauf, Jackson illustrates the transferring public narratives and ancient moments that either restrict and allow African American celebrities within the wake of constructing public politicized statements that critique the authorized racial, financial, and army platforms within the United States.
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Additional resources for Black Celebrity, Racial Politics, and the Press: Framing Dissent
We will understand that the surest way to get police protection is to have it very clear that we’ll protect ourselves, and good! 19 The concert organizers quickly rescheduled the show for the following week and enlisted local union members and black World War II veterans as security for Robeson and the concert grounds. 1). 20 The second concert, attended by twenty thousand fans and supporters and protected by a line of arm-in-arm trade unionists, went on as planned. However, when concertgoers tried to leave the grounds, they were again assaulted by anti-Robeson demonstrators.
80 By equating the violence at Peekskill with Nazism, Hancock connects the recent memory of World War II anti-Semitism with the persecution of Robeson and his fans. S. ” Hancock then explicitly presents the question at the root of much of the black press’ criticism of the violence at Peekskill and mainstream narratives of it—“Why is being a Communist so much more damnable in Negroes than in others? ”82 By framing the Peekskill riots as rooted in racial prejudices, the black press both reflected the perspectives of members of the black community and presented a counterdiscourse to those in the mainstream press that refused to acknowledge racism as the motivation of the violence.
3 (Sep. ” 15. Howard Winant, The New Politics of Race: Globalism, Difference, Justice (Minneapolis: University of Minnesota Press, 2004). 16. : Michael Jordan and the Paradoxes of Post-Civil Rights American Race Relations,” in Out of the Shadows: A Biographical History of African American Athletes, ed. David K. Wiggins (Fayetteville: University of Arkansas Press, 2006). 17. John Hoberman, Darwin’s Athletes: How Sport Has Damaged Black America and Preserved the Myth of Race (New York: Houghton Mifflin Company, 1997): xxiii.