…..is here.
(Yes, I re-posted this great hour of Black public affairs programming!)
…..is here.
(Yes, I re-posted this great hour of Black public affairs programming!)
Well, Melki, you seem to have a lot of free time on your hands, so tell me what’s going on with you.
Watching the movie “Trick Baby” on Bounce TV and amazed how much better the so-called Blaxploitation films were in terms of addressing racism than an overwhelming majority of the black films of today. How much better the dialogue is and understanding of how the system of white supremacy is standing on our neck squeezing the literal blood out of our communities. When I watch Shaft, SuperFly, The Mack and tons of lesser known movies from the 70’s, I see human beings completely aware of their struggle and what they are struggling against and who. Most of all, you see that they are struggling to be accepted as human beings. They are not proving this to themselves but to the rest of the world. I recently saw Claudine again with James Earl Jones and Diahann Carroll and a young Lawrence Hilton Jacobs, we all remember from “Welcome Back Kotter,” and it was refreshing in that their humanity shined against the oppression they faced. They refused to bow down or scrape or question their value as a human being simply to survive. When we look at a majority of our movies over the past 30 years, they present many of the same struggles with a major, major exemption. They portray the vivid and beautiful struggle minus the structural oppression that subconsciously takes the lens off the true culprits that create and maintain so-called ghettos, Hoods, physical and mental. They don’t address the systematic oppression under white supremacy – they instead tend to focus on environment and the prejudices of the few. In Cornbread Earl and Me, the failure of Black Lives to matter and overt retaliation for presumption of our humanity was clear and front center, without transforming Negus into their often and always incorrectly used “worse enemy.” We shifted from Blaxploitation to Blockploitation.
Maybe Hollywood learned something and made it a point to no longer allow these types of films to exist for fear that if this generation reconnects the dots between art and protest, real change is possible? Or simply maybe American materialism has won over previous generations to the extent that they no longer saw the connection between art and protest except for a few exemptions such as Spike Lee, Haile Gerima and the conscious hiphop movement? Or just maybe these films exist but are banished to some artistic prison never to be shared among the masses? Regardless, there remains hope. Hope that we see in the massive mobilization my young people and students over issues like police brutality. More than likely, this generation gets it and more than likely we’ll have art that once again not only fights the power, but kicks the power’s ass! Overstand!
You act like you have discovered a hidden gold deposit.
Man, I had netflix and now have Amazon video and there are so so many movies from that era that are dope that most of the current generation including ours have never heard of. And the majority of them had a message about fighting the system. Some ain’t made so great but what moves me most about them is the dialogue. I don’t feel that way listening to whoever is writing these films nowadays except for a few ocassions. They talked to each other like Negus was intelligent and could go deep, not like they were 2 dimensional characters. And maybe that is it right on the head – a lot of the people writing and making the films had enough real experiences to talk. This is the way I plan to write my movies. Growing up in the projects, I never got the feeling that Negus was stupid. They was the smartest mawfukas I ever knew. A lot of movies nowadays go for the confused look as if a Negus don’t understand the why or hows of their situation, which I guess is dramatic if you want to stroll someone along because your plot is weak? You find yourself staring at the movie like why didn’t he say something? Like damn, if he actually responded intelligently in that scene maybe a few more intelligent scenes would have to be written and that might fuck up the cookie cutter – bad hollywood films for dummies step by step process! lol There are some great people out there, so I don’t want to lump everyone in together…this is an attack on Hollywood and reasons why we’ve got to at least find a way to create our own studios and creative space, which some say the ATL might actually become once all that residual money from reality tv, strip clubs and hiphop starts growing dividends for folks’ children! lol
So that’s his legacy, according to him. Some would have other views, of course. 😉
A friend of mine was just raving about Abby Martin!
And I think that, yes, it might be time for “Doctor Who” to follow in this movie format.
Black public affairs television at its finest!

A. Peter Bailey, veteran of Jet magazine and currently with the Trice Edney News Service, speaks at the Journalists Roundtable. Photo by Sharon Farmer.
I stole this stuff from Richard Prince’s Facebook page. With Sidmel’s death earlier that day, it was a bad day for Black journalists.
Journalists Roundtable, Oct. 6, 2015
UpdatedPhotos (c) by Sharon Farmer
Crown Bakery, Washington, D.C.
Our October roundtable changed topics quickly in response to news the previous day of the resignation of George E. Curry, editor-in-chief of the news service of the trade association for black community newspapers, and one of his staff members.
The National Newspaper Publishers Association had cut their salaries in half and its board chair, Denise Rolark Barnes of the Washington Informer, disclosed that the NNPA board imposed the budget cuts after a decline in revenue and sponsorships prompted by competition from the digital world.
“The drain couldn’t continue,” Barnes said. <http://bit.ly/1FRGfDc>.
Barnes joined us along with roundtable regular Hazel Trice Edney, a former editor-in-chief of the NNPA news service who founded TriceEdneyWire.com.
We also heard from DeShuna Spencer, a social entrepreneur, journalist and the Founder/CEO of kweliTV, an internet video streaming network for the black consumer. She won a $20,000 grant from The New U: News Entrepreneurs. See: <http://unityjournalists.org/news/unity-announces-newu-2014-winners/>.
DeShuna described kweliTV as a “black Netflix,” a phrase she would rather not use since she believes such projects should be described on their own terms. One criterion for adding films to the site is that they have appeared in film festivals.
Denise said it was imperative that black publishers move more quickly into the digital age. “For the last three or four years, we haven’t made any money,” she said of the NNPA websites. The latest difficulties “provide us with an opportunity to get refocused.”
She noted that in June, Apple announced it was looking to hire editors with a journalism background to work on its new app called News it <http://observer.com/2015/06/apple-is-hiring-journalists/>, and yet NNPA members, herself included, have not been contacted. “What perspective are these stories going to have?” Denise asked.
Still, she said, the black press has always been struggling. The first black newspaper was published 50 years before the end of slavery, when most black people were illiterate. Gannett, which publishes the Informer, will no longer be able to do so under its new direction, so that will be another challenge. Yet the black press also steps up to the plate for community activities when needed, again demonstrating its value.
The Informer now sponsors the Prince George’s County spelling bee, since the Washington Post Co. closed the Prince George’s Gazette, the bee’s previous sponsor, in August. The Informer started a monthly section for millennials, WI Bridge, though fewer younger people are turning to newspapers.
However, publishing a newspaper is no longer enough. Advertisers now want digital prowess, Denise said. “Now we’ve got to tap dance and sing,” too, she said.
A surprise was that Denise agreed with mostly everything those in the roundtable said about problems with the black press. Fifteen of us participated, and most had worked in the mainstream media.
Much of the discussion was about how to get companies to recognize their obligation to advertise in the black press, given the number of dollars African Americans spend with those companies. A. Peter Bailey, an author, speaker, journalist and former Malcolm X associate, suggested that publishers make public the number of dollars black consumers spend with certain business sectors. “Let these people see that you’re not doing us a favor,” he said.
Peter added that black publishers should require organizations whose leaders want columns in the black press to make sure their members are reading black newspapers.
Likewise, when Jesse Jackson goes to Detroit this week to discuss diversity within the auto industry and attends Friday’s 16th Annual Rainbow Push Global Automotive Summit, he should raise the issue of advertising in the black press. [Denise said later that Jackson’s automotive report card to be released on Friday will include advertising.]
Richard Prince contended that advertisers and consumers should want the product because it is compelling, not because of a sense of obligation.
Denise agreed, and added that the black press “needs an echo chamber, such as black Twitter.” Peter said the black press should do more on white subjects that affect the black community, such as the Koch brothers. “We’re writing these stories,” Denise said, but they need promotion.
Lynne Adrine said the name “black press” itself is dated. Why not say “black media?” DeShana went so far as to recommend that NNPA change its name to get rid of “Newspaper.” “The whole mindset needs to change,” she said. Richard Prince gave the example of the online-only Q City Metro <http://www.qcitymetro.com/> in Charlotte, N.C., started by Glenn Burkins, who was business editor of the Charlotte Observer. See: <http://mije.org/richardprince/barbering-while-black-clipping-while-hispanic#Burkins>.
“We are somewhat isolated,” Denise said. “My role is to expose our publishers” to these other ideas. “They need to hear what we’ve heard and what’s expected of us.”
Moreover, publishers have to believe in the value of their product.
When Denise asked why black people in the mainstream press who had been laid off aren’t flocking to the black press, roundtable members said that there are cultural as well as professional differences.
Prince said people need to feel that they are working for an organization that is part of the future and forward-looking ways. Consumers don’t want to wait a week for news anymore. The Village Voice and the New Yorker, though weekly print products, now publish daily online. Black publishers must start thinking that way, too.
Denise agreed and said she has been disappointed when she has gone to black press websites for information on breaking news and seen Associated Press copy. That doesn’t advance the purpose of the black press.
In another part of the discussion, Peter Bailey and Hazel Edney insisted that authentic black publications must be published by black people. [Bailey added later that he “refers to White-owned media that attempts to attract Black people or address issues of Black people as ‘Black-oriented media” — not authentic Black media.]
Betty Anne Williams and Richard Prince maintained that the content is what counts to the consumer. A Ta-Nehisi Coates, Prince maintained, is no less authentic because he appears in the white-owned Atlantic.
Hazel said that the social justice tradition of the black press should not be overlooked as a key element in authenticity. She also suggested that NNPA’s board include more people from such corporations as AT&T and Verizon in addition to publishers. Hazel maintained that black newspapers will always exist. “They’ve been here since 1827,” she said.
Referring to the new partnership between NNPA and the National Association of HIspanic Publishers <http://www.prweb.com/releases/2015/10/prweb12991418.htm>, Prince suggested looking into a partnership with the Association of Alternative News Media, whose members include alternative weeklies such as the Village Voice and the Washington City Paper, since that organization has acknowledged a diversity problem. <http://bit.ly/1ifOGh2>.
Denise said was open to the idea, as she has joined other newspaper associations, such as the Maryland, Delaware, DC Press Association. Other black publishers have joined similar associations.
The first roundtable took place in May 1999 with Alice Bonner, Betty Anne Williams, Bobbi Bowman, Richard Prince and Bill Alexander. The purpose was to commemorate Alice’s return to Washington after obtaining a Ph.D at the University of North Carolina, Chapel Hill. Paul Delaney, Jessica Lee and Walt Swanston were also among the early founders.
When Alice left, she asked that we keep the gatherings going while she was gone, and we have. Some of the faces at the dinner gatherings have changed, but the enthusiasm for the fellowship has only grown.
…….is here.
It’s a seamless transition from previous productions and an actual awards show that you can watch with your children where big stars actually show up.
They had Rev. Joseph Lowery up there and he’s still entertaining at 94 years old.There’s a real political edge this year that addresses police brutality heavily and that’s all Rev. Al’s work.
A lot of Negus hate on Rev. Al, but they probably sitting there with their kids watching the Trumpet Awards now!!!
Do revolutionary’s eat Fried Chicken???
Um, I guess. Anything else?
I just wanna mention Xernona Clayton, who carried the banner for the beginning for the Trumpet Awards. She deserves all the respect in the world for positioning the show to a place where people like TV One and Rev. Al could take it to another level. Her job was much harder.
Cool. I have a Black Press Fellowship named after her!
I have begged my friend Melki to get a blog so he can share all these comments on emails he sends to me, and instead he just gives me permission to use them. So, here goes:
On “Empire”‘s second season:
The good thing about “Empire” coming back, Melki, is that it diverts attention from the news that the Bill Cosby total is now PAST 50!
This is great in many ways only because it reminds me of early hiphop and jazz when all the great artists worked together on the same projects. Ludacris had a role in this episode and my man who played with Wesley Snipes in Sugar Hill. All these great actors who won’t getting no shine from Hollywood. With Empire and Kevin Hart’s Real Husbands eury black actor is getting some checks and Tyler Perry’s name ain’t on it no more! LOL! 🙂
So I can use this for the “Drums” blog, Melki?
sure! I just don’t want the Lion trying to roll up on me! These internet streets is real, sun!
*******
So, Melki, what do you think about the brother who’s taken over from Jon Stewart?
All I can say is Trevor is way funnier than John Stewart.
Sadly, well not too sadly, but he and John Oliver are the funniest and hardest hitting right now.
Haven’t seen the latest Colbert *&$! and “The Nightly Show” is running 3rd in the realm of news satire.
Oliver’s addressing of the issues and Noah’s comedic timing put them above every one else.
Wilmore is on their trail and is blacker which is always good!
OCTOBER 15th UPDATE FROM MELKI: A few notes on Empire. The actor I mistakenly identified as Michael Wright is actually Andre Royo: http://www.imdb.com/name/nm0747420/?ref_=ttfc_fc_cl_t29 he plays the streetwise attorney who has quickly become Lucious Lyon’s right hand man, willing to do whatever it takes to keep him out of jail. The last episode also featured an almost video done in the Black Panther motiff addressing the issue of police brutality which is becoming more and more a prominent aspect of the tv show. While being arrested by some jump out cops, Cookie screams ““If I die in police custody, I did not commit suicide.”….so this means my last post about art and protest uniting for this generation is starting to hit home more and more.