The *NEW* Syndicated BET: The "E" Stands For "Enterprise"

So Black Enterprise finally has made the leap into Tee Vee. (I’m sure someone at Essence with a long memory is going, “So what? We had a nationally syndicated show years ago.”) ‘Member it? Nope? Okay, moving on, then…….. 🙂

Buying “America’s Black Forum” and re-shaping it can only been seen as a good thing. The program’s only claim to fame in its years on broadcast life-support was that it was a national mainstream platform for Armstrong Williams and Niger Innis to parry their conservative views with crusading—and graying—Black liberals Julian Bond and Deborah Mathis. *YAWN*. It’ll be interesting to see if Ed Gordon and Co. will create something that will have a purpose beyond being an early-morning FCC requirement.

Peter's Farewell Deals With Blacks And AIDS

Damn, I miss Peter Jennings. He helmed what was then the only (relatively-free) bullshit-free newscast. I still watch what’s now called “World News With Charles Gibson” still out of loyalty. We’ll see how long this loyalty lasts when I get the option of checking out kick-ass Katie (sans those extraordinary legs :)) on CBS at the same Bat-time.

Peter’s last project, which ABC finished up for him, is a prime-time “special” (the dreaded “D” word was banished from network news divisions a LONG TIME AGO) on African-Americans and AIDS. It’s scheduled to air on Thursday at 10 p.m. Those of us who constantly complain about how the white boys of the internationally-known alphabet either don’t cover our issues, or mis-cover them when they do, should be by their Tee Vees or Tee-Vos.

The Return Of Black Power Radio In NYC?

The New York Amsterdam News has reported that WLIB, the flagship station of white-liberal talker Air America, may go back to its Black news-talks roots, via being a New York affiliate for Syndication One. I hope this is true. WLIB was once the information-clearinghouse for Black activists in New York City, and I’d like to see that reality return in whatever form. I miss the radio that was a mainstay of my growing up years.

Saying It's A Satire Makes Sexism Okay? (UPDATE)

Here’s the statement from Lisa Fager of Industry Ears.

Viacom’s MTV continues to justify the exploitation of African American women by hiding behind words like “satire” and “parody”.  The animated portrayal of two African American women scurrying on all fours with leashes around their necks, defecating on a pet shop floor goes far beyond the pale of acceptability.  It is not art; it is an assault.  The justification given by stating that one of the animated dogs points out his disgust by saying, “I find this a bit degrading and I’m a dog” does not eliminate the harm.Actually, the point is countered by the other dog who states, “Are you joking?  What’s cooler than a two-legger who treats other two-leggers like four-leggers?”  This statement emphasizes and reinforces – as tolerable behavior – the treatment of black women as dogs.

The fact that Viacom’s MTV chose to air this program on Saturday afternoons just in time for children to tune in after their morning dose of cartoons, demonstrates their complete disregard for the impact these images have on furthering both racist and misogynistic attitudes.  “Where My Dogs At?” is symptomatic of what appears to be a programming strategy that is aimed at attracting an audience by portraying African American women and communities in the most degrading, confrontational manner imaginable. These images are harmful in our society and promote the racist stereotypes of black women as nothing better than dogs.  The impact on children and young people is even more relevant because internalization of these images can inhibit the development of a healthy self-concept.  It is indeed our right and our duty to teach our children that such negative depictions are not acceptable. There is no place in our society for images that repeatedly and continually cast African Americans in images that are reminiscent of the darkest hours of this nation’s past.

We call on responsible corporate citizens to condemn the airing of this program and any program that propagates harmful, racist stereotypes and misogynistic images.  We think this is wrong and we respectfully ask the President of MTV, Christina Norman, as well as other Viacom executives to
rethink the manner in which they depict African Americans and women.  We urge all concerned individuals and organizations to email Christina Norman ( Christina.Norman@mtv.com ) and their local cable providers to demand the removal of “Where My Dogs At?” and any other program that exploits African Americans and women. 

About Industry Ears

Established in 2004, Industry Ears (IE) is a new generation think-tank focused on media’s impact on children and communities of color. IE is dedicated to addressing and finding solutions to negative and harmful content through media education, research, advocacy, public policy and continuous dialogue with industry stakeholders.

Saying It's A Satire Makes Sexism Okay?

I’m going to try to get Lisa Fager’s full statement on this, so stay tuned. 

MTV2 faces decisions on ‘degrading’ cartoon
Episode of ‘Where My Dogs At?’ showed black women leashed, on all fours
 

MSNBC News Services

Updated: 12:19 a.m. ET Aug 10, 2006

The MTV2 network said it had not decided whether it will ever again air a cartoon criticized as offensive for depicting women being led around on leashes.

It’s also not certain whether the series, “Where My Dogs At?” will come back for a second season, spokesman Jeff Castaneda said Wednesday. Its first season ended during the last week of July.

One episode, aired in the early afternoon, featured an appearance by a cartoon Snoop Dogg accompanied by two women in neck collars and chains. MTV2 said the episode was a satire of an actual Snoop appearance where women were in collars and chains.

“We certainly do not condone Snoop’s actions and the goal was to take aim at that incident for its insensitivity and outrageousness,” Castaneda said. “Even one of the dogs, a main character on the show, states, ‘I find that degrading and I am a dog.”’

The cartoon has drawn fire from several prominent African Americans who call the episode degrading.

Critics say MTV2 showed especially poor judgment because the weekly animated program, “Where My Dogs At?”, appeals to young teens and airs at an hour, 12:30 p.m. on Saturdays, when many children are watching television.

The half-hour show lampoons real-life celebrities and pop culture as seen through the eyes of two wise-cracking stray dogs — Woofie and Buddy — voiced by comedians Tracy Morgan and Jeffrey Ross, respectively.

A statement released this week by the Viacom Inc.-owned cable network, whose president, Christina Norman, is black, defended the episode in question as social satire.

In it, a look-alike of rap star Snoop Dogg strolls into a pet shop with two bikini-clad black women on leashes. They hunch over on all fours and scratch themselves as he orders one of them to “hand me my latte.” At the end of the segment, the Snoopathon Dogg Esquire character dons a rubber glove to clean up excrement left on the floor by one of the women.

MTV2 said the “Woofie Loves Snoop” episode first aired on July 1.

Several prominent blacks, including New York Daily News columnist Stanley Crouch, condemned the segment as misogynist, racist and crude, and they questioned the sincerity of MTV’s contention that it was satirizing the outlandish behavior of a real-life rapper.

“Where’s the context in that?” said Lisa Fager, president and co-founder of Industry Ears, a consortium of broadcast industry professionals who monitor and critique media content.

Crouch suggested in a column this week that the “Where My Dogs At?” segment was an extension of dehumanizing images contained in gangsta rap videos aired by MTV and projected ”around the world as ’real’ black culture.”

Payne Brown, a high-ranking executive at cable giant Comcast Corp., said he lodged a personal complaint in an e-mail to Norman but found her response, essentially the same as the network’s press statement, to be “unsatisfying.”

“Clearly, it goes far beyond the pale of anything that remotely could be considered acceptable,” he said of the episode, stressing that he was not speaking for Comcast. “This is just me as an African-American father, husband and son.”

The first season of the show, which carries a rating advising that parents may find its material unsuitable for children under age 14, drew a cumulative audience of 17.2 million viewers, according to Nielsen Media Research.

Associated Press and Reuters contributed to this report.

Black Media Self-Determination, Exhibit A

Good news is always welcomed here. So here’s some.

————-

http://www.jamaica-gleaner.com/gleaner/20060803/lead/lead4.html
 

Region tunes in to CaribVision
 

published: Thursday | August 3, 2006

BRIDGETOWN, Barbados, CMC: The Caribbean Community’s (CARICOM) lead Prime Minister for the CARICOM Single Market and Economy (CSME), Owen Arthur, has fully embraced CaribVision, describing it as the region’s very “own” television station.
 

Delivering the keynote address at Tuesday’s official launch of the channel by the Caribbean Media Corporation (CMC), Arthur complained about cultural penetration and foreign domination of the media messages and the industry as a whole in the Caribbean.

“We might indeed be one people but we surely are better informed about the affairs of others and know more about others elsewhere in the world than we know about our own right here in the Caribbean,” he said.

The Barbados Prime Minister noted the Caribbean enjoyed a rich cultural heritage but further lamented that “our senses have by and large been shielded from enjoying this rich heritage, while we have been inundated by cultural imports, which sadly, have largely promoted gratuitous violence, amoral lifestyles, a profound disregard for good literature, among their most imposing effects.”
 

Caribbean artistes

He also complained about exploitation of Caribbean artistes by foreign media entities in pursuit of profit.

It was in this context that he welcomed the launch of CaribVision, which will be beamed directly from the Caribbean to the people of the region and the Caribbean Diaspora.

CMC’s Chairman Darcy Boyce noted that demand for the Caribbean product internationally was growing and that more Caribbean companies were becoming pan-Caribbean in orientation.

“Clearly, a media house with reach throughout the Caribbean is now necessary. Beyond that, such a media house must be able to carry its product into the international markets where there is an interest in and demand for Caribbean media content. No other media house is creating a Caribbean media space in the same way as CaribVision,” Boyce said.
 

CaribVision facts

CaribVision is a cooperative venture between CMC, regional and U.S. partners.

These include CBC of Barbados; TV6 of Trinidad and Tobago; CVM, TVJ and CPTC of Jamaica; ICRT, Cuba; ZNS, Bahamas; SoundView Broadcasting of New York and many independent producers around the region.

The channel is currently aired in Antigua, Anguilla, Barbados, Cayman Islands, Dominica, St. Eustatius, U.S. Virgin Islands, the British Virgin Islands and St Vincent and the Grenadines.

Kalamu's Extraordinary First-Person Journalism

Kalamu ya Salaam is a New Orleans poet. He is a Katrina survivor who returned home to continue to teach and write. He runs e-drum, a Black arts listserv. His oral history project featuring Katrina survivors makes sure voices marginalized by the soon-to-be-former mainstream get heard.

Since Katrina rocked Black America a year ago, I have been completely floored by his first-person journalism about his life and the lives of those devastated by the Gulf Coast disaster.

Here is one of his Katrina reports, reprinted here in its entirety. No other words from me are needed.

Spirits in the Dark
By Kalamu ya Salaam
Post-Katrina New Orleans

Nobody missed a beat. No pause. No exasperated sighs. No moans of “awwww, mannn,” or groans of “shucksssssss.” Just a quiet, steady continuance as we sat in semi-darkness reading our work and receiving feedback. Our ages range from fifteen to fifty-nine. Our stories, like our lives, are distinct in their details but essentially we are all battling to hold on to our sanity. Chris laughs his hearty laugh as recent college-grad Ashley deftly uses somewhat humorous descriptions to explore the hardships of an extended family dealing with death and aids. Eighteen-year-old Dominique tells us why she’s no longer a youthful teenager. I read my latest Big Easy report that focuses on a close friend whom was thrown in jail. A power failure is the least of our worries. Blackouts happen frequently now, not just in the so-called devastated areas but all over town. Last week Harold and I were eating at his apartment and in the middle of a mouthful of well-seasoned fried catfish from Manchu’s, the lights flickered off. People who don’t know us often mistake Harold for my older brother, or me for a son Harold had when he was much younger. People who do know us, understand that we might as well be brothers, recognizing that I treat Harold with a filial respect accorded to no one else. Post-Katrina is particularly hard on our elders and Harold, born in 1931, has to make a decision: stay or go.

Medical care is spotty—all physicians Harold trusted are gone. Most of Harold’s immediate family lives in California; the few who were here evacuated to Texas and have decided not to return. Harold remains because all the work he wants to complete before his transition is here but he doesn’t know how much longer he can hold on.

He is stubborn, yes, but not stupid. He’s been weakened by a stroke that left him with a pronounced limp and a partially disabled right arm. Then there is the onset of glaucoma. But what worries Harold most is the deterioration of our city.

Recently our weekly conversations have returned time and again to his dilemma: should he be sensible and leave or be determined and stay.I think he should go. I want him to stay. So, I listen without taking sides. If he needs or wants something, I try to help out. What else can I do?

Last week he had a taste for catfish. Before Katrina, copping some catfish would have been a snap, but now, there are not many neighborhood restaurants open, plus the pickings are mighty slim when it comes to black-owned establishments. We decide on take out from a hole-in-the-wall, Vietnamese run, Chinese/Soul-food joint.

In the midst of a thunderstorm, we eat and talk in the dark. I try my best to joke: hey man, if we was Indians we could get a candle and sit down and sew. But we’re not Indians, there’s nothing for us two old men to do in the dark except sleep, especially considering we have just hardily eaten our fill.

When the lights came back on, I rose from the couch, checked on Harold (he was sleeping soundly in his bedroom), slipped out the door and intended to head uptown for my nightly session with my friend Doug. I have accepted the task of ensuring Doug takes his nightly medication. That’s no small feat. Like all of us Doug needs encouragement, lots of encouragement.

At first I thought it was just a little standing water outside the back door, and then I thought maybe this part of the parking lot is low, but finally I got the message as I peered myopically at a newly filled, foot-deep wading pool that less than two hours ago was dry asphalt.

I had on loafers. I tried tip-toeing. That didn’t work.

I splashed over to the fence where I had parked. The water was way past ankle deep on the driver’s side but maybe only four or five inches on the passenger side. Once in the passenger seat of the small Corolla I had to manage the task of hoisting my big-ass body across the console with the shift sticking up and maneuver into the driver’s bucket-seat. After a minute or two of twisting and turning, I finally slumped in place.

I felt horrible. My feet were wet. It was still raining. I called Carol, explaining that I was wet and miserable. She advised me to go home and she would let Doug know.

Two of the city’s largest pumps are burnt up. Katrina flooded them with salt water and the massive engines were not cleaned before this summer’s first big rain in June. One-point-five inches of water later, the pumps broke down. Now, every time it drizzles there’s standing water everywhere because the pumps are functioning only around half-capacity.

I’m sure people are tired of hearing about our problems. Looks like every other day we’ve got another shortcoming or some other service falling apart. I know I’m tired of it. Nevertheless, I would prefer to be fighting frustration in New Orleans than kicking back somewhere else.

In the unlighted classroom our circle of Students at the Center staff and students are reading off of donated laptops, the screens highlight our faces but not the rest of our bodies. Our heads seemingly float unattached. We probably look like a in one of those cheesy horror movies where self-deluded crazies sit around a table, hold hands and try to contact the other world.

We carry on like the dark wasn’t nothing. And it isn’t. Or rather that’s all it is: nothing. Darkness is simply the absence of light. The old folks were right: rather than waste time cursing our conditions, it’s better to illuminate the way forward by letting our spirit lights shine. That’s why instead of crying, we are sitting here laughing with each other.

"Eyes" Forward, Albeit Somewhat Blinded

So I read the small blurb in The Crisis magazine the other day that “Eyes On The Prize” will return to Public Tee Vee this fall. I was elated, until I read the (original?) Boston Globe story.

Excerpted out of order from Catherine Foster’s May 26, 2006 Globe account:

The clearance rights for the astounding amount of material, which had originally been negotiated to be used for varying periods of time by Blackside, gradually expired.

It took four or five years to raise $915,000 for research, rights clearance, and post-production costs, said Sandra Forman, Blackside attorney and director of the “Eyes on the Prize” Renewal Project.

So Blackside had indeed raised the $900,000 or so ( the total cost of any five Diddy parties, right?) for broadcast rights, but not the rights to allow the series to be sold again on DVD.

*SIGH*

Oh, yeah, and I gotta point out that:

The first six hours took 10 years to fund and produce.

I have the greatest respect for our ancestor Henry Hampton and the fact that he used up half his life to create Black documentaries and get them on American screens. It must be said, however, that “Eyes On The Prize” is a racially, politically and ideologically conservative, PBS- and Ford Foundation-approved version of the Civil Rights and Black Power movements. I’ve always seen it as akin to a documentary series on the Jewish Holocaust that was partially produced and (under)written by a modern-day unified German government. “Eyes I,” from 1987, shows a part of the Black Freedom Movement as something called the Civil Rights Movement—a time, according to “Eyes,” in which small groups of whites and Blacks lovingly came together to nonviolently expand American democracy.

However, its national airing—particularly “Eyes II”‘s 1990 debut, showing the Black Panther Party and Attica to a generation (read: me :)) who had never seen anything like that level of resistance—was one of the biggest mistakes this system ever made. Back then. When many of us we were wearing African medallions and trying to read books on our history and culture. When Mandela released himself from a South African prison. When Spike Lee was still angry and BET still had its first newscast and its first version of “Teen Summit,” and when those shows were followed in subsequent years by SEVERAL talk programs/newsmagazines (“For Black Men Only,” “Screen Scene,” “Conservations with Ed Gordon,” “The Color Of Money”) . I’m just sayin’. 🙂

The tragedy of “Eyes” is that Black resistance against a system of oppression is somehow never seen. But I guess we can’t expect foundations created from the spoils of white supremacy, capitalism and patriarchy to actually pay to show that to our lil’ chillins, can we? Those innocent tykes might actually start to ask some questions about their society………. 🙂 Or even worse, ask questions about what WE have done, or not done, to further this Movement.

Time to get out the DVD recorders before the screen blacks out again.

BET To Air African Historical Animated Series

As a cartoon geek, a tangential student of African history and soon-to-be student of African mythology, I couldn’t be happier about this news :):

Click here for the story

LOS ANGELES – Vin Diesel will take on the Roman Empire in a new BET Networks cartoon series about military leader Hannibal.
Diesel will voice the noted general, and his One Race Prods. company is producing the show, titled Hannibal the Conqueror.

The half-hour series will span the life of Hannibal, from his tutelage as a warrior under his father, Hamilcar Barca, to his scaling of the Alps with an army of elephants, and his invasion of Italy.

Diesel, who also is in development on a feature film centering on Hannibal, called the series “groundbreaking.”

“I knew that BET would be the perfect place to launch an animated series that celebrates an African mythology and a general that is probably the most notorious general of all time,” Diesel said. “It’s a story that resonates with everyone–it truly is a celebration of a general who is able to bring everyone together with the common cause to essentially fight for freedom.”

The network has ordered six episodes, and is planning to air it in a primetime slot in fall 2007.

“This isn’t a Saturday morning show–we want to be able to show a lot more of the drama and action that you expect to see in primetime,” BET senior vp animation Denys Cowan said.

I thought my action cartoon-fiending days were over when Cartoon Network’s “Justice League Unlimited” ended this spring. Ancient history told properly from an African-centered mythological perspective…..it’s about damn time! Now, if BET Enterainment President Reginald Hudlin can only get a cartoon about Marvel Comics’ Black Panther green-lit, we’re in business! It shouldn’t be too hard for him to be the liaison, since he writes the character for the monthly comic.