SPECTRUM

David Miller Miller

Spectrum A Journal on Black Men

Daddy�s Girl: Understanding the Impact of Black Fathers on the Social and Emotional Development of Raising Black Daughters

黑人父亲的女儿：理解黑人父亲对抚养黑人女儿社会和情感发展的影响

Introduction Judson L. Jeffries and Shannon M. Cochran We can think of no American music icon in recent memory that has generated more scholarly interest in death than most musical artists have in life.1 Already, Prince has been the subject of three major academic conferences, one in Manchester, England, in 2017, another in his hometown of Minneapolis, Minnesota, in 2018, as well as a two-day symposium at Historically Black Spelman College in Atlanta, Georgia, in 2019. These conventions have attracted people from all over the world. Journal editors have also featured Prince in special issues with the Journal of African American Studies (JAAS) leading the way. Similar projects are slated within the next few years. Dare we say, with Prince's transition, a new fan base has emerged—one that includes individuals who were not yet born when Prince was at his zenith. For 40 years, Prince piqued our curiosity and kept our interest. He shocked us, stretched our imaginations, educated us, titillated us, and, in so doing, enlightened us. Anyone who has studied his music knows there are layers to Prince, layers that cannot be peeled back by just one person. The more layers that are peeled back, the more mutations, one discovers. The study of Prince requires an interdisciplinarity that no one writer or scholar possesses. Writers who embark on single-authored book-length manuscripts about Prince have their work cut out for them. Prince was a multi-instrumentalist whose tastes were wide-ranging and far-reaching. Most people, writers, and scholars alike go their entire lives and never hone their craft, never master their supposed specialty, never step outside of themselves, and never exhibit the kind of intellectual, metaphysical, emotional, or spiritual adventurism that leads to new discoveries not only about their work, but about the world and themselves. Prince, an adventurer, scaled all of these mountains. Because he was a multi-instrumentalist, naturally, his work is, both, multidisciplinary and interdisciplinary. Shannon M. Cochran, whose academic training intersects Africana Studies, English Literature, and Women's and Gender Studies, and Judson L. Jeffries, a political scientist by trade with specializations in Africana Studies, media, and political communication, film, and 1960s revolutionary movements, have set out, first in 2017 in the JAAS and now in 2020 with this publication, to create a body of work that can [End Page 1] be most aptly characterized as PrincEnlighteNmenT: a counterculture, a different way of being, thinking, learning and living. Prince's music encourages us to question the conventional, redefine the firmly established, scoff at the widely accepted, and be unafraid to ignore, if not downright break the rules, as rules are made to be broken. The canon? Rewrite it, but in your own image. Politicians? Stop looking to them for inspiration. The media? Believe half of what you see and none of what you hear. Way back in 1981 Prince crooned, "I just can't believe all the things people say . . . Controversy . . . am I black or white? . . . am I straight or gay? . . . Controversy . . . do I believe in God? . . . do I believe in me? . . . yeah . . . Controversy." In a world where the majority of us are miseducated and destined to be, in the words of Pink Floyd, "just another brick in the wall," Prince, the oracle, pulled back the veil of ignorance, raised the venetian blinds, and convinced us that there were no such things as dead-ends, blind alleys, or cul-de-sacs. Therefore, when Funkadelic sang "So wiiide, you can't get around iiit, Sooo loow, you can't get under iiit, Get Up, So high, you can't get over iiit," there was a young artist in Minneapolis who, just a few short years later, came at it from a different angle. As far as Prince was concerned, there weren't any obstacles that couldn't be overcome; we are only limited by our imagination. For all of Prince's complexity and depth, for him, it was simple—artistry and life are inextricably linked. His genius was in coaxing his listeners (from the shrinking violet to the tone deaf to the know-it-all) to tap into reservoirs of creativity they never knew they had, to think and...

None Jeffries

None Cochran

Introduction

引言

Prince is arguably one of popular music's most prolific songwriters. His music, artistry, and style define the decade of the 1980s, however his lyrics did more than inspire "Dance, Music, Sex, and Romance." As early as his 1980 Dirty Mind album, Prince expressed his views of social and political conditions. Throughout his career he continued to pen songs that voiced his views of domestic and global issues. Most recently, on his album HITtnRUN: Phase Two Prince pleas for peace on the track "Baltimore," titled for the city where Freddie Gray, a 25-year-old African American man, died from injuries sustained while in police custody. The purpose of this study is to examine the lyrics of Prince's political songs using systemic functional linguistics, which is Halliday's theory of language that is centered on its social and contextual factors, as a way to explore Prince's political consciousness. Findings show the evolution of Prince's political consciousness over the course of his career.

None Wise

(A)Political Prince: An Analysis of Prince's Political Consciousness

(A)政治王子：对王子政治意识的分析

Malcolm X, the Omega Psi Phi Fraternity, Inc., and Morgan State College Judson L. Jeffries Black intellectuals and the rank and file shared a common esteem for Malcolm X. A former convict and one who had been thoroughly familiar with the seamy side of life, Malcolm was a fiery symbol of black anger. His condemnation of white America was merciless. His magnetic personality was matched by a stirring oratory. “We didn’t land on Plymouth Rock, my brothers and sisters— Plymouth Rock landed on us!” —Benjamin Quarles, The Negro in the Making of America (1987) No African American public figure was more sought-after by America’s college students during the early to mid-1960s than Malcolm X. In fact, starting in 1960, following the 1959 documentary done by Mike Wallace and Louis Lomax entitled The Hate That Hate Produced, which introduced the Nation of Islam to America, Malcolm maintained an unrelenting schedule, traveling more than he ever had before, lecturing on college campuses, and at convention halls, delivering speeches and sermons at lodges and churches. His life was one of constant motion involving planes, trains, and automobiles. From 1960 to 1963 alone, Malcolm appeared on no less than 30 campuses, including some of the nation’s most prestigious institutions of higher learning, such as Harvard, Cornell, and Brown Universities. He spent so much time on colleges campuses in the New York Metropolitan area that one might have thought him the city’s roving scholar-in-residence. The college scene held a special place in Malcolm’s heart, perhaps because he placed a premium on education and regretted dropping out of school at such a young age. “Education is the passport to the future,” Malcolm was fond of saying. Fortunately, by the time Malcolm had been paroled in the early 1950s, he had educated himself far beyond the limits of any degree he might have earned at any of the highly regarded northeastern universities at which he spoke (Wilmore, 1986). Students, regardless of race, seemed to be [End Page 127] drawn to him, even when they didn’t agree with him. Word has it that Malcolm was always respectful, open-minded, and responsive to his young listeners. His young audience nearly always responded in-kind. Malcolm’s Assistant Minister Benjamin 2X Goodman (later known as Benjamin Karim) remembers how students would rush toward Malcolm after a presentation, jockeying for position: “Students gathered around him like bees around honey in August. They asked him questions about their studies, they sought his advice on term-paper topics, they requested his autograph. Malcolm answered and counseled and obliged” (Karim, 1992, p. 127). In his autobiography, Malcolm himself says: Except for all-black audiences, I liked the college audiences best. The college sessions sometimes ran two to four hours—they often ran overtime. Challenges, queries, and criticisms were fired at me by the usually objective and always alive and searching minds of undergraduate and graduate students, and their faculties. The college sessions never failed to be exhilarating…. It was like being on a battlefield—with intellectual and philosophical bullets. It was an exciting battle with ideas. (Haley, 1965, pp. 282, 365) Much has been made of Malcolm’s visits to many of America’s highly regarded predominantly White institutions, especially those of the Ivy League variety. Even his December 1964 visit to Oxford University in England prompted two scholars to devote entire books to the matter (Ambar, 2014; Tuck, 2014). Few writers and scholars have, however, acknowledged Malcolm’s visits to the country’s Historically Black Colleges and Universities, perhaps because those invitations were few and far between.1 Discussions with a number of older HBCU graduates over the years have revealed that many Black schools were in some ways just as conservative as their lily-white institutional counterparts.2 I can think of no African American freedom fighter who was considered more controversial, fascinating, and dynamic, by both Blacks and Whites, during the modern civil rights era than Malcolm X.3 In 1969, Florida A & M University professor Marcus Hanna Boulware wrote, “as the spokesman of Black Muslimism, Malcolm X was worthy of comparison with Gamaliel of the Hebrews and Plato and Aristotle...

Malcolm X, the Omega Psi Phi Fraternity, Inc., and Morgan State College

马尔科姆·艾克斯、欧米茄人道主义兄弟会和摩根州立学院

Paisley Park is in your heart, or perhaps in France? Prince's second feature film, Under the Cherry Moon, takes place in the south of France—but the geographic situating of the film reaches far beyond a homegrown Minnesotan's dream of palm trees, sunshine, and balmy Mediterranean weather. The cinematic aesthetics and themes of the film reveal a more acute transcription of a Paisley Park utopia defined by freedom of oppression based on class, race, and gender. The film's visuals echo jazz age entertainment reminiscent of performances by the Nicholas Brothers, the Berry Brothers, and Josephine Baker from the 1920s through the 1940s. The French locale adds yet another layer to the equation: during the interwar years, Paris became a haven for Black entertainers, artists, and intellectuals who discovered an almost utopian experience in comparison to the violent racism in the US. This essay examines class, race, and gender in Under the Cherry Moon through comparative analysis of Black writers and entertainers during the Harlem Renaissance and the French fetishization of Black American expatriates. In addition to Josephine Baker's performances and legacy, this study will consider Claude McKay's Banjo (1929), a narrative reevaluating Blackness and contextualizing the ideals of the Harlem Renaissance in the south of France. Overall, this essay will critically analyze the philosophical and sociocultural underpinnings of Prince's underappreciated Under the Cherry Moon and, in turn, further examine cinema as a medium to communicate social engagement.

None Turman

Banana Skirts and Cherry Moons: Utopic French Myths in Prince's &lt;em&gt;Under the Cherry Moon&lt;/em&gt;

香蕉裙与樱桃月：普林斯《樱桃月下》中的乌托邦法国神话

ABSTRACT: Throughout history, Black men have been subjected to numerous minority stressors, social injustices, racism, police violence, and other traumatic incidents. Though research has examined young Black men’s mental health and sexual behavior, no study has looked specifically at young Black men’s experiences and perceptions of the connections between structural violence, mental health, and sexual behavior. To address this gap, this study reports the findings of 20 semi-structured interviews with 18–25 year old Black men (10 men that have sex with men [MSM], and 10 heterosexual). The study integrated Minority Stress Theory (Myers, 2003) and Terror Management Theory (Greenberg et al., 1986) to situate mortality salience as a proximal stressor in the processes outlined in Minority Stress Theory. Thematic analyses indicated that young Black men connected structural violence to a heightened sense of mortality and performance for survival. Furthermore, heterosexual Black men linked racism and discrimination to reluctance or safety precautions regarding sex with White women, and MSM highlighted sexual behaviors they did not engage in due to stigma and discrimination. Men clearly connected these experiences to their mental health. This study provides a variety of implications for police departments, mental health providers, educators, and medical providers that can be applied to help create a world where Black men feel protected, safe, seen, and heard.

John Taylor

#Am I Next? A Qualitative Study of Young Black Men Navigating Structural Violence: A Journey of Survival

#我接下来吗？年轻黑人男性应对结构性暴力的定性研究：生存之旅

ABSTRACT: Beyond killing Black males, US law enforcement continues to treat Black boys/men as threats to be neutralized even when not armed or resisting. In this study I investigate 15 Black men’s narratives to provide a deeper understanding of Black male vilification and vulnerabilities in police encounters insofar as being targeted and searched. Using Afropessimism’s tenet of social death and Critical Race Methodology: Counterstorytelling this study answers, (a) how do Black men describe being targeted by US police officers, and (b) what experiences do Black males encounter with police officers’ searches? Findings elucidate how Black males face a dual death even when no threats exist, therefore having their freedom(s) infringed. Conclusions inform psychological reforms and discretionary search policies.

Nicholas B. Lacy

#OverPolicing Black Males via Targeting and Searches: Navigating Supposed Freedom(s) and (Social) Death at the Hands of Police Through Counterstorytelling

#通过目标锁定和搜查对黑人男性的过度警务：通过反叙事在警察手中导航所谓的自由与（社会）死亡

ABSTRACT: This paper examines Ida B. Wells’s work Southern Horrors: Lynch Law in All Its Phases for the purpose of providing an explanation behind how the act of lynching gave birth to the myth or lie, as is it referred to throughout this paper, regarding Black men raping White women. This paper breaks down how Wells’s work displays this lie is a form of European cosmology born after the Civil War that Whites utilized to help them maintain control over the Black race. This paper also breaks down how Wells’s work highlights the effects of this lie over the years in addition to performing brief case studies on four specific events that showcase these effects. This paper concludes by pointing out how Wells’s work also provides a solution to ending this lie.

Michelee Jones

The Constructing and Deconstructing of the Myth and Curse of Black Men Raping White Women as Told by Ida B. Wells

伊达·B·韦尔斯讲述的黑人男子强奸白人妇女的神话与诅咒的建构与解构

Charles V. Hamilton: A Tribute Judson L. Jeffries Charles V. Hamilton is among a long list of old school Black political scientists who have transitioned over the last ten years. The W. S. Sayre Professor Emeritus of Government and Political Science at Columbia University, Hamilton was both a giant and pioneering social scientist. A Chicago PhD, Dr. Hamilton first came to my attention during my freshman year in college in the early 1980s. I was enrolled in an Introduction to Government class where the assigned textbook was American Government by Charles V. Hamilton. I remember the text like it was yesterday. A hardback book with a Black cover accompanied by an image of the Lincoln Memorial that took up more space than was needed. After all those years the book remains in my possession in my parents' house on the East Coast, a property I inherited several years ago. Hamilton taught at several places before settling in at Columbia University. Among those institutions at which he taught are Roosevelt University (his alma mater), historically Black Tuskegee Institute (now University), and Lincoln University as well as Rutgers University. Hamilton is most noted for his widely heralded co-authored work with Stokely Carmichael (later Kwame Ture) titled Black Power: The Politics of Liberation. Many scholars credit Carmichael and Hamilton with entering the words institutional racism into the American lexicon. Before the book went to press in 1967 the folks at Random House threatened to cancel publication in response to Carmichael's association with Cuba's communist/socialist regime and his call for revolution. The authors and the press eventually came to terms by agreeing to insert a message before the first page that read: This book represents a political framework and ideology which represents the last reasonable opportunity for this society to work out its racial problems short of prolonged destructive guerrilla warfare. That such violent warfare may be unavoidable is not herein denied. But if there is the slightest chance to avoid it, the politics of Black Power as described in this book is seen as the only viable hope. [End Page 89] Hamilton is also known for coining the term "deracialization," a political strategy that attempts to lift up historically marginalized communities by focusing on issues that transcend race such as education, taxes, healthcare, employment, and the environment, thus avoiding the kind of pushback that one typically experiences from Whites when one attempts to address matters that are typically associated with race such as welfare and the like. Hamilton's scholarship on deracialization laid the groundwork for scholars, one of whom happens to be this writer. Hamilton authored/co-authored six books: The Dual Agenda in 1997 with his wife Donna Hamilton, Adam Clayton Powell in 1992, the earlier mentioned textbook American Government, Bench and the Ballot: Southern Federal Judges and Black Voters in 1974, The Black Preacher in America in 1972, and Black Power: The Politics of Liberation in 1967. At a time when many Blacks were advocating for integration, Hamilton stood out, arguing in the tradition of Malcolm X and James Baldwin that some Blacks hated themselves, and people who hate themselves do more harm to themselves than good by integrating because they only end up suppressing their identity and true selves. Furthermore, Hamilton contended that when Whites called for integration, they rarely did so from a place of good will, but instead out of a desire for Blacks to suppress their culture and carry themselves more like the very people who oppress them. Hamilton's position was not without merit, but rare among Black scholars. Charles V. Hamilton was born in Muskogee, Oklahoma, in 1929, but raised on Chicago's southside. He taught at Columbia University for nearly 30 years, retiring in 1998. Hamilton died at the age of 94 on the evening of November 18, 2023. He is one of the many Black political scientists on whose shoulders I have stood since earning my doctorate in political science in 1997 from the University of Southern California. Dr. Hamilton's work has without question stood the test of time, which is a testament to his contribution to the academy, generally, and political science, specifically. Copyright © 2024 Trustees...

Judson L. Jeffries

Charles V. Hamilton: A Tribute

查尔斯·V. 汉密尔顿：致敬

Reviewed by: Africans in Harlem: An Untold New York Story by Boukary Sawadogo Abou-Bakar Mamah (bio) BOUKARY SAWADOGO, Africans in Harlem: An Untold New York Story, Empire State Editions, 2022. xiv + 224 pp. ISBN 9780823299126 In Africans in Harlem: An Untold New York Story, Boukary Sawadogo casts new light on the modern-day Africans in Harlem and their complex relationship with their predecessors and historical legacy. Many works have focused on the history and contributions of African Americans and left out Blacks who arrived in New York directly from Africa after the abolition of slavery. Africans from various nationalities are present in Harlem, adding to its ever-changing demographics and social landscape. So "Even though African communities are visibly present, they are not always part of the Harlem narrative" (13). While there are well-known community clusters around the city of New York, such as Chinatown and Little Italy, there are also African-based communities, such as Little Egypt (55), Little Senegal (70), and Burkina Land (73), that miss the spotlight of the narrative about the tapestry of cultural and economic dynamics of the neighborhood. As a scholar in the fields of cinema, literature, and Black studies, Boukary Sawadogo takes an interdisciplinary approach to reveal the Untold New York Story: "I have written this book to rectify that absence of Africa from the Harlem narrative while also addressing the intellectual, artistic, and creative exchanges between Africa and New York dating back to the 1910s, a story that has not been told in its full form" (12). From a historical perspective, Sawadogo went back as far as 1613 to show that the "free Black named Juan Rodriguez is considered the first known non-indigenous settler of Manhattan Island" (16). This premise is the basis for demonstrating the historicity of the Blacks in Harlem and all the ideological, cultural, social, economic, and political transformations of their presence throughout the centuries. On the one hand, the book celebrates the success of African Americans and their historical attachment to Harlem. On the other hand, it acknowledges the arrival of a new wave of African immigrants from the 1980s and their increasing influence in all activities. Sawadogo, in his approach, uses all societal indicators that contributed [End Page 91] to Harlem's establishment as a haven for African Americans and their cultural and economic heritage. This is illustrated by the presence in the book of iconic figures and social movements that contributed significantly to Blacks' sociopolitical and economic emancipation. The list includes the Harlem Renaissance movement and its poets such as Langston Hughes and Countee Cullen, the writer W. E. B. Du Bois, the activist Marcus Garvey, and other critical social movements like the Black Panther Party. All these historical celebrities, the cultural and economic prosperity resulting from their dynamism and inventiveness, and the gathering and convergence of other Blacks from around the world toward an iconic place as the ideological crucible of Black emancipation confer on Harlem its metaphorical nickname of Black Mecca. Sawadogo starts with the pull and push factors to demonstrate the continuous migratory flow of Blacks to their former stronghold: Harlem in New York City, even though a neighborhood like the Bronx is no less important in welcoming new African immigrants in significant numbers. In the past, Africans from English-speaking countries like Nigeria and Ghana rushed to the United States due to linguistic convenience. However, Sawadogo shows that starting from the 1980s, this trend shifted in favor of Africans from French-speaking countries such as Burkina Faso, Mali, Senegal, and Togo. Nevertheless, this geographical diversification only strengthens the African community's presence in New York and enhances its cultural enrichment and economic development. Even before the massive immigration of recent decades, prominent African politicians and intellectuals were already visiting New York to meet with African American figures from the literary world and civil society who were fighting for their emancipation through the Civil Rights movement. This political and identity-driven momentum catalyzed African intellectuals' and politicians' rebellion against colonialism and their mobilization in the struggle for independence. Thus, the umbilical cord connecting the two transatlantic activist groups is pan-Africanism, whose key figures include Kwame Nkrumah, Patrice Lumumba, Julius...

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