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Reconciling the Non-Profit “Post Industrial” Complex with Black Girls in Mind

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Who is Anna Julia Cooper? Click here to learn more. Awesome FIRST wave Black Feminist.

On Monday, I went to visit the Score Small business mentoring office to learn about the benefits and limits of a 501 (c) (3 versus an LLC or a conventional corp. #planning. #wingsup.

I was REALLY surprised to learn that a 501 (c) (3) is seen as being owned by the public because of the tax exemptions that it receives.

I was really surprised to learn that there was an entire series of tax exempt classifications.

I also learned that,

To be tax-exempt under section 501(c)(3) of the Internal Revenue Code, an organization must be organized and operated exclusively for exempt purposes set forth in section 501(c)(3), and none of its earnings may inure to any private shareholder or individual. In addition, it may not be an action organization, i.e., it may not attempt to influence legislation as a substantial part of its activities and it may not participate in any campaign activity for or against political candidates.

This has huge implications for Black girls, in that I know that 501 (c) (3)’s are relatively recent institutional creations charity wise. This also makes me I wonder what was the unstated rational for preventing 501 (c) (3)’s from being allowed to be involved in electoral politics.

Here is the exact language,

Under the Internal Revenue Code, all section 501(c)(3) organizations are absolutely prohibited from directly or indirectly participating in, or intervening in, any political campaign on behalf of (or in opposition to) any candidate for elective public office. Contributions to political campaign funds or public statements of position (verbal or written) made on behalf of the organization in favor of or in opposition to any candidate for public office clearly violate the prohibition against political campaign activity.

Were 501 (c) (3)’s created to absorbed the progressive energies of women while also giving them a wage?

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What happens to Black girls employed in 501 (c) (3)’s when the executive directors don’t know that they are magic, and attempt to relegate their duties to to administrative realm ?

Don’t get me wrong, I have been an admin before, and I enjoyed the work, because not only was I good at it, but I was also recognized for it. I can run your office. Trust. Without an awesome admin, you don’t have an office.

However, if you are a Black woman who is a policy expert, health expert or finance expert and you have to keep struggling to not have your position turned into one that is increasingly administrative and less focused on your expertise, it feels both racialized and gendered. Our mothers and fathers did not sacrifice and fight tooth and nail for us to go to school, only to be treated like administrative mammies in the workplace. #DamnthatwasaTangent. #HadsomeShittoSay.

Which leads me to the question of how does this rule impact the lives of women in general, women of color in particular?

How does the creation of 527’s impact the lives of women of color?

How different would community organizing look of 501(c)(3)’s could participate in electoral politics?

Black Girl 501 (c) (3) thoughts? I wonder what Latoya thinks…

Why Black Women Film Directors?

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NY Times article on Black Film in the early 1990’s titled “They’ve Gotta Have Us” by Karen Grigsby Bates

Note: There will be a few blog posts on Pariah and Black women’s directors over the next few weeks as I move like a squirrel with a flashlight trying to finish this paper. I cannot have boss bear calling me trifling.

 

The trouble with being erased for so long is that you come to think of your erasure as being natural. ~ Lorraine O’Grady in “The Cave, Lorraine O’Grady on Black Women Film Directors“

Last week my homie James asked me why it was significant that Cooper and Rees fundraised to make Pariah when Black filmmakers were doing that waaay back in ’91.

The early 90’s were interesting years for Black films, but these films were primarily by black men directors featuring the narratives by and large of Black men and boys. To my knowledge and correct me if I am wrong the only films  that had major theatrical distribution that was directed by a Black woman were Leslie Harris’s Just Another Girl on the IRT and Julie Dash’s Daughters of the Dust.

The fact that Harris and Dash are the only Black woman from that era that directed a feature length film with major distribution must be noted. Furthermore, the other side of the Harris- Dash coin is the quasi over-representation of Black women’s stories in the recent economic market place.

I say quasi over-representation because we see stories being produce that feature Black women’s bodies but they are not the directors.
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Chris Rock, Tyler Perry, Lee Daniels, Bill Duke and Tim Story are 5 black men who have released films in the last 3 years that feature stories about Black women. Which begs the question, where are the Black women directors, directing features with major distribution?

Then there is the Black Woman Can’t Get a Man industrial complex where “The Washington Post”, “CNN”, “MSNBC”, The Economist, scholars (Ralph Banks) and various other magazines explore possible reasons for the “low” marital rates for US heterosexual Black women. #jesusbeaFence. Every time I look up somebody has some something to say about the Who, Where, When, How and Why about Black women’s dating lives. I personally think that the these stories function as a way to make us seem deviant in this current historical moment.

Have Black women directors of feature films been erased for so long that we consider their erasure natural?

Hortense Spillers says that Black women are the beached whale of the sexual universe and that we are awaiting our verb.

Honestly, when I think about the politics of listening to Black women’s stories I am reminded of a scene in Ava Duvernay’s documentary “My Mic Sounds Nice” on women in rap music. In this documentary there is a moment where Stephen Hill states that in some ways the reason why there are very few Black women emcees rapping is because rap music is a male dominated genre where many of the stories are talking about women, so in other words, why would rap audience members want to hear these women speak back?

#Peace to Kasi Lemmons.

Some Historical Ideas on Race, Class and Neighborhoods in DC

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Map detailing borders of the Mt. Pleasant Neighborhood in DC.

I am a board certified nerd. Meaning, I have library cards from three states, and I would get one more if they would let me.

Given my card carrying nerd credentials I am one of those people who takes pamphlets from museums and libraries. One recent pamphlet that I picked up is titled “Village in the City” Mt. Pleasant Heritage Trail, not from a museum, but from a library.

When I look at neighborhoods and their racial and class make up, I am not only concerned with the movement of raced bodies, but the movement of capital/money/investments as well.  Who is moving in, who is moving out, how much does it cost and who is paying for it. The development of cities and the development of the suburbs is  a narrative of certain raced bodies being allowed to move into certain neighborhoods, and other raced bodies being kept out.

Well, what does this mean?

I learned in looking at the historical development of Oakland pre-post crack that as Whites left cities before the onset of the crack epidemic, the local and federal governments funded the movements of working class and middle class Whites to the surburbs of Oakland such as San Leandro, Hayward, Alameda etc. This funding is in the form of home housing finance and loans. This often followed a pattern of divesting in “inner city neighborhood’s. There is a relationship here. Imagine my surprise when I heard Black activists in Oakland in the 1970’s describe Oakland as a daggumit colony.

Given my understanding of Oakland, it was really interesting to learn about the history of Mt. Pleasant and Columbia Heights.

Which brings me to the Mt. Pleasant pamphlet, published by the DC Cultural Tourism Board, which describes Mt. Pleasant in the 1890’s saying,

The new residential developers restricted commercial activities to the streetcar routes. Soon, the 14th Street corridor became an important, large scale business district…The arrival in the mid 1920’s of the grand new Riggs Bank building and the 2,500-seat Tivoli Theater sealed the deal.
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These imposing buildings reflected the status of Columbia Heights residents, who were mostly Whites and upper-middle- class. Among them were senators, supreme court justices and an enclave of successful Jewish  business owners. Some builders wrote race-restrictive covenants  into deeds to keep areas west of 13th street white. In the 1920’s upper-crust African American families, many of them associated with Howard University, began moving to blocks just east of the divide.

Columbia Heights Central High school , at 13th  and Euclid streets, were considered the gem of DC Public Schools’ complexion had changed and Central’s student population had dwindled. At the same time many “colored” schools were practically bursting at the seams. After intense lobbying by African American parents, and despite strong resistance from white citizens and Central alumni, the school board transferred Central’s students elsewhere, and moved the African American  Cardozo’s Business high school  intro Central’s building.

A few years later legal school segregation ended. Soon most of the neighborhoods remaining  white residents, and much of the white business capital, had left for the Virginia and Maryland suburbs….

I chose this quote to illustrate the historical racial and class changes that occur in US cities.

I also chose this quote to demonstrate the connection between the overdelopment of suburbs and the underdevelopment of cities, especially in the 1960’s, 70’s and 80’s. This also leaves me wonder that given the rise of low income folks living the suburbs, how will this affect the racial make-up and raced influenced Bank finance in both suburbs and cities.

Did you know about the history of the connection between “restrictive covenants” and “illegal” racial segregation?

Are neighborhoods that “started off as White” in the early 1900’s in DC, that are now becoming more white, returning to the past? (Let me be clear here, I understand that this land had a history prior to White settlers and I acknowledge the ways in which Native Americans were systemically removed from Native land).

Thoughts?

The Choices that Creatives Make

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Image via Metro Times

Dedicated to Jonzey and our conversations about Hennessy / Carol’s Daughters sponsored art.

This post is about money, artists and how corporations are deliberate and never neutral.

Spending the last few months teaching a multiracial group of young people about race, art, class, history and feminism, I have learned a lot about how challenging it is to teach people about topics that force them to question basic assumptions that they have held nearly all of  their lives.

Especially when it comes from a body that reads as one that some are not socialized to see as being “an authority” on intellectual topics, ideas and teaching.

Some were clearly resistant to learning how race, hue, class position and gender structure our day to day lives. Others LOVED being taken seriously, Loved examining their own social position as it relates to others, Loved thinking about questions of agency and gender roles.

They also wanted to derail on sexuality, but I was not going there, not yet.

The topic that arguably it was most challenging for my students to understand is that corporations are not not neutral. Now, they KNEW that corporations are set up to make money, but they had a hard time making the connection between the fact that they are set up to make money and how the desire to make money means that corporations will and have looked the other way when a crime or many crimes occurred as a direct result of the pursuit of profit.

Yesterday a friend of mine asked me “How Do I make money”? I waited before I responded because I was unsure where her intentions were. I thought, why, you have a freelance writing job for me? I also thought to myself, and I didn’t know if it was true, so I kept it so myself, clearly the daily labor invested in teaching and writing original knowledge production is not being seen as all encompassing as it is.

If you or your partner cannot overcome your problems and blame each viagra online in canada other, then we can tell you that you will stay energetic, enthusiastic and fit without facing frequent weakness. Let me share with cialis 20mg tadalafil you why it happens. This means the active drug in this field is the strongest http://secretworldchronicle.com/tag/blacksnake/ order cialis and most effective one with its power to provide sustained erections for long periods of time , thereby making it the most sought after drug to treat ED . Also the physician would tell you certain precaution that you need to take generic sildenafil is procuring your medicine from the right place. Having taught about corporations, I am very clear about them. As someone who studies the political economy of Black cultural productions, which is fancy way of saying that I study Black pop culture (Beyonce, Tyler Perry), how much money they earn, why they are allowed to earn the money they they do, the ideas conveyed within their productions, how their work relates to the history of Black movies and music, and how these ideas shape how we see ourselves regarding gender roles, race, sexuality etc.

The older I have gotten I have come to the conclusion that “all money ain’t good money and all head ain’t good head”. I say this to mean that while we do all have bills, and we have all done what we have to do to keep the lights on (I have waitressed), having taught how  corporations are not neutral and HAVING taking the course “corporations” (<<<the fucking irony) I am particularly sensitive to how creatives may be inclined to make choices, in a political economy in 2012 which forces individuals to align with a corporation who at best, can only see you as temporary, expendable and replaceable.

What kind of facts are those?

What kind of terms are those?

This is not to say that folks do not align with them, or I have judgement if they do. No. Going into 2012 in some ways, aligning with one is a means of survival.  What I ask though, is that we acknowledge they are not neutral. That we acknowledge that you can learn a lot about a corporation based on who they protect, who they exclude, who they include. That we can acknowledged that you can learn a lot about a corporation based on how they deal with systemic patterns of harm that are premised on age, race and class. Penn State.

In fact in teaching the students about corporations not being neutral, I had to do a 5 min South Africa, Apartheid, Coca Cola explanation. Geez, laweese, I was not ready for that. And I had to say that I am NOT an expert on South Africa, but you all are too young to remember this AND it serves as an example of young people leveraging pressure on corporations (Universities and Schools) in the 80’s who were invested in upholding racist and oppressive regimes in South Africa. They couldn’t believe it.

I think that learning early on that a corporation isn’t neutral is an incredible tool. I also think that in 2012 creatives, it may benefit us to think about this seriously, especially creatives of color.

Thoughts?

You accept the idea that a corporation is neutral?

You remember Coca Cola & South Africa?

On Kim Kardashian’s Empire and Race

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On Clutch Danielle Belton has an excellent and problematic post titled, “Celebrating the Black Beauty on White Women”. She discusses in general the politics of race and women’s bodies as well as the politics of White artists performing what has historically been seen as Black music (see Eminem, Elvis and Adele).

I am really interested in the politics of race and Black women’s bodies AND I have been wanting to write about Kim Kardashian every since that I learned that there were some black communities (notice I used a plural because we are not all the same) who felt that she did not deserve to be in a Tyler Perry film.

The post is awesome because Belton interrogates the different ways in which some Black men may desire say a curvy Black woman with light skin who looks like Kim Kardashian versus how some Black men may desire a curvey White woman because she is just that; affluent, curvey and White. Belton writes,

If society tells you, from birth, that you should dream of marrying Blake Lively, but dream of screwing Nicki Minaj, a woman with Blake’s face and Nicki’s ass is going to trade high on the “male gaze” market.

Which brings us back to Kim Kardashian. (And by proxy, her sisters, Ice-T’s wife Coco, Angelina Jolie’s lips who are gorgeous on her, but “ordinary” on every other black girl in America, etc.) This goes beyond just physical beauty.

Belton then goes on to discuss how “everyone likes Black stuff when it isn’t on Black people”. Which brings me to another thing.

We need to talk about race.

Race is an unstable category and identity marker. So is gender. Race is unstable, dynamic and always changing. Read Omi and Winant for more about this.

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If race were a fixed category and identity marker we could never have a conversation about whether President Obama is  “really” Black. 

Race is a moving target. So is sexuality and gender and this makes people hella uncomfortable.

In fact, it is precisely because ideas of race, and markers of race are unstable and dynamic that we have these conversations in the first place.

So, the title of the post doesn’t reflect the actual content of Belton’s post but I want to address it because it is problematic. To say that Black beauty equals curves suggests that there is only one kind of beauty on Black women.

Ideas of beauty are subjective. Meaning that they are personal value judgements based on individual standards that vary from person to person.

And.

Black women’s bodies and beauty come in a variety of shape and sizes. We are not all the same.

We have to be very mindful of the kinds of beauty standards that we set up.

In fact, I think that with regard to Kim Kardashian the issue isn’t so much that she is an attractive White woman who is curvy, the issue appears to be that she is an attractive White woman who is curvy who enjoys dating Black men and who has leveraged her sexuality into a multi-media empire.

I mean, didn’t the folks complaining about her being in Tyler Perry’s new movie because she is “a bad influence” on Black children because of her sex tape etc. How many of these same folks bump R. Kelly hard (Trapped in the Closet series and all), despite his penchant for teenage Black girls. Remember ya’ll he married Aaliyah.

Why is Kim Kardashian a “bad influence” but R. Kelly gets a pass. No I am not saying that they are trafficking in the same material, nor am I saying that she is as talented in the same way that he is. I am, however, asking why some do Black people’s moral respectability police come out for Kim Kardashian and not for R. Kelly?

Young girls are taught from a young age that their most important value is how pretty they are. In some ways, in a society that devalues women over men, a society that teaches women that their primary value is their beauty, a society that emphasizes the visual, the rise of a woman who embodies Kim Kardashian’s beauty makes sense.