Tuesday, May 02, 2006

The Price of the Ticket

In the 1920s my great-grandmother Isabella migrated with her parents to Cleveland, Ohio seeking a more prosperous life. At an early age she went to work at her family's store, a smoke shop and grocers, to support her parents and brothers during the Depression. As a young woman, she spent her days scrubbing the cold floors of Cleveland's elite. By night she felt the heat of the press as she laid creases in their tailored shirts and expensive dresses. Isabella worked hard to do the jobs that others would not - the jobs that built America.

Her story represents that of millions of people in the U.S., but don't be fooled; it is no immigrant narrative. Isabella was black, like me, and her story, rendered invisible by the current deliberation on immigrant civil rights, is that of many Black Americans.

There is little question that the current immigration debate, though coded and contrived otherwise, is entirely about race. Yet, the framing made popular by immigrants and their advocates is so hostile to Black people and our American experience that it seems impossible for us to stake a claim with this movement. Today's immigrants will find that without Blacks, and a commitment to challenge racism beyond the reach of immigration policy alone, their movement will lose both its moral authority and the practical victory it hopes to achieve.

The language of today's movement directly evokes a painful history. Immigrants who laid claim in the past to this re-imagined American dream colluded with a system of racism that made the hope of health, safety and happiness an empty promise for Black people. Immigrants on the march today threaten to go the way of the Irish, the Italian and the Jewish: they may pay the price of the ticket for American citizenship by yielding to a racial hierarchy that leaves Blacks at the bottom.

Immigrants and their advocates have gained attention by evoking the narrative of hard-working immigrants making good in the land of opportunity - the American Dream redux - with its attendant contradictions and contrivances. With cries that "immigrants built this country," a favorite calling card, this burgeoning movement at once revoked the history of slaves and their descendants and obscured important truths about power, migration and social mobility in this country. For my great-grandmother, and generations of Black people in this country before and after her, this lie is worse than silence. It is a critical and strategic omission that adds Mexicans, Salvadorans and Guatemalans to the annals of American history while relegating Black people to its shadows.

The narrative of the immigrant as the symbol of hard work that leads to opportunity can mean nothing but alienation for Black people precisely because we know this myth is false. Without our labor - not immigrant labor, but slave labor - in the fields and on the march there would be no market brimming with wealth and economic opportunity, nor a tradition of civil and political rights readily available for appropriation and exploitation.

So, listening to the language of immigrant rights in 2006, a sensible Black person might respond with ambivalence. It is difficult to take the cause seriously, much less call it our own. Immigrant rights advocates have the potential to speak broadly, and Black people more than any other group might champion an extension of human rights denied to those on the margins. But instead we are displaced from this movement by coded messages that celebrate a history of anti-black racism. That rhetoric, joined with an under appreciated economic conflict, has generated serious alarm in Black communities that headlines of 'Black/Brown Conflict' have largely missed or mistaken.

Immigration policy has routinely been used to check the mobility of Black people, blocking access to jobs, education and political rights. Whether European immigrants pulled into the economy during the industrial expansion of the early last century, or Asian professionals arriving in the 1970s and 1980s positioned as "model minorities," immigration policy has been crafted to subtly recast and reinforce this country's racial hierarchy. Immigration regulations, like all public policy, set the rules of the game and can predetermine its winners and losers; history has shown through centuries of migration that those rules have worked against working-class Black people. As we struggle for basic rights, every new immigrant group has moved faster and further up the ladder.

But the squeeze Black people articulate in response to the arrival of new immigrants goes beyond laws and regulations. While there is some dispute on how immigration impacts low-wage labor markets where Blacks are disproportionately represented, there is evidence that social and kinship networks in other communities of color directly block Blacks from jobs. Equal opportunity lawsuits are increasingly being brought against employers who "prefer" Latinos to Black workers, giving even more reason to take questions of immigration and racism between communities of color seriously. The result of innocent intentions, like hiring friends and family into much needed jobs, is an insidious form of racism that lurks beneath the current anger and frustration voiced by Black people across the country.

Clearly, there are plenty of reasons for Black people to be skeptical about U.S. immigration policy. The rhetoric of the movement has refused to acknowledge racism in the U.S. beyond a narrow agenda of legalization and vague "worker rights."

The truth is, however, that Black people have been disproportionately supportive of virtually every other movement for human rights at home and abroad. Time and history have shown that the descendents of U.S. slavery do not support violence, oppression or the denial of rights to marginalized groups, least of all people of color. When the nation as a whole is swept up in red baiting, war-mongering and a "with us or against us" war on terror, Blacks overwhelmingLY support civil rights and sovereignty.

Yet our support for immigrant rights remains a murmur of uninspired, politically-corrected muddled statements of "unity," while the rising tide of Black popular opinion is at least seriously concerned about, and at worst flatly opposed to, the legalization of millions of undocumented immigrants.

But times change. If immigrants, from Latin America and elsewhere, want to win something more than the right to a poverty wage job without health care, it's time for them to craft an immigrant rights movement with language and a vision that Black people have a stake in. Incorporating Black folks is not only a moral question; it's really quite practical. New immigrants of color, unlike their European predecessors, should recognize that in passively accepting anti-Black racism in exchange for integration into U.S. culture and economy, they might issue a warrant for the future seizure of their own tenuous rights.

Mexicans, Salvadorans and Dominicans are not Irish, Italian and German. Racism, in its subtle sweep, touches every community of color. While it is true that Black people often end up at the bottom, other people of color, despite the comfort of an idealized immigrant narration, are nowhere near the top.

When my great-grandmother was my age in 1937, this country looked very different. Today, Black people are working harder than ever for less than ever. Working-class Black communities have been wounded by the decline of the American city and leveled by the gentrification of their resurgence. We share these urban landscapes with immigrant families, some here for generations others arriving daily. Our jobs, our schools, our hospitals, indeed, our lives overlap in a complex web of political, personal and economic relationships. We don't always see our fates as linked, but there is no question that we could. That would require non-immigrants and immigrants alike to look critically at our lived experiences, to think beyond our individual needs and envision the true dismantling of racism that blocks opportunity for us all. Black people are being called on to take that broader view, but it seems unlikely we will add our numbers to a movement that appears to forget our history and seems disinterested in our future.

Perhaps Black people and immigrants should be allies in demanding jobs that we can live on, a health system that cares whether we live or die, and schools that can prepare our kids to take their place as full citizens. It is becoming clear that if immigrant rights advocates do not commit themselves to a broad program of racial justice that includes both legalization and a wider set of structural changes, they won't expand the piece of the American pie we share, they'll simply have to fight us for the biggest part of a very small slice.

Andre Banks is the Associate Director of Media and Public Affairs at the Applied Research Center and the Associate Publisher of ColorLines magazine.

Tuesday, February 21, 2006

"The Andres" -- Top Ten Films of 2005

You loved them. You hated them. But most importantly, you saw them. That’s right; it’s time to look back on the brightest moments you spent in the dark in 2005.

Because my Top Ten list knows no rules, I’ve decided to mix it up. Instead of a straight list of 10 focused on performance like last year's list, you’ll get a taste of my best picture picks awarded by category.

I've handed out the statuettes in a private ceremony, but now I release the results for you, my audience, to scrutinize. I'm sure you'll make the most of the comments section...

Enjoy,
A. Banks

A HISTORY OF VIOLENCE – David Cronenberg
Andre Banks Award
For Best Overall Film of 2005

Aren’t we all afraid that the dark shadows of our past will eventually catch up to us? Do we truly know the people we love, or do their secrets hold a critical, unspoken truth?

A History of Violence takes these questions seriously and spins them into some of the most uncomfortable and affecting filmmaking this year. From the first frame, this Cronenberg mega-thriller puts the viewer on guard and leaves them there – relentlessly, improbably, and for the duration. By setting the chaotic moment when history catches up with the present against a backdrop of Midwestern banality, the film achieves a controlled chaos reminiscent of the best film noir, yet so cutting-edge you can believe it happened yesterday. The result: a rare psychological drama that is, in fact, thrilling and unpredictable.

A master director with a script of gold and a post-Aragorn Viggo Mortensen to boot, this is the film too ahead of its’ time to get an Academy Award, and consequently, at the top of my list for 2005.

LAND OF THE DEAD– George Romero
Patriots Act! Award
Most Enjoyable Political Film of the Year

There is no political allegory that outshines the dark horror of the zombie film. And George A. Romero, who brought the undead into our popular lexicon with his trilogy of films beginning with Night of the Living Dead, is the master of the genre. This year’s Land of the Dead, complete with the budget denied his earlier efforts, does not disappoint. Trust me, when you see the mass of zombies lulled into complacency by fireworks, the penultimate of patriotic pyrotechnics, and then annihilated, the equation becomes clear: Social commentary + Horror = An excellent time at the theater.


GRIZZLY MAN – Werner Herzog
Van Gogh Award
For the Brilliantly Insane Documentary

This film is about people being eaten by wild bears. Seriously.

Director Werner Herzog acquired thousands of hours of beautiful and disturbing film footage taken by the late Timothy Treadwell, a naturalist eaten alive while living in the Alaskan wilderness documenting the grizzly bear. Somehow, Herzog manages to unite the shocking images yielding a bizarre, but brilliant documentary. Interspersed with the director’s excruciating (and hilarious) interactions with Treadwell’s friends and colleagues, and footage of the uniquely unbalanced Treadwell himself, Grizzly Man, like the bears who have a starring role, is disturbing, awesome and beautiful.


BATMAN BEGINS -Christopher Nolan
ACTION Award

The franchise has been redeemed! This movie was so good even Katie Holmes couldn’t ruin it (though she tried).


BROKEBACK MOUNTAIN – Ang Lee
The Academy Award

Possibly the most hyped (and well-reviewed) film of the year, E. Annie Proulx’s tale of a life-long love between two cowboys, rendered elegantly on the screen by the mysteriously versatile Ang Lee, is all but sure to take home Oscar gold. And what’s more, it actually deserves it, particularly its haunting score (seriously folks, put it in on your ipod).

In the movies, gay romance is about sex (at best), but this film made us believe in a deeper connection between these two archetypes of straight masculinity. It made us ache for them in a way so human and universal that we could almost feel the social fabric start to tighten. Can a film do that? I’m sure I don’t know; but this one certainly tried, and for that, we are all better off.

But…However…

If I have to hear one more person say, “I wish I could quit you,” impersonating Jake Gyllenhall impersonating a cowboy, I swear I’m moving to Wyoming myself.


CAPOTE – Bennett Miller
The Bio-I-Pic Award

Joaquin Phoenix: eat your heart out.

I recently described Phillip Seymour Hoffman as the white Don Cheadle. Delivering solid supporting performances in critically acclaimed films, he’s a scene-stealer who rarely has the chance to show his mettle as a leading man. That is, until now. As literary demi-god Truman Capote, Hoffman translates his skills as a character actor into a rare lead performance. Subtle and seductive, his Capote is filled with the nuance and contradiction of the man himself. Where biopics usually devolve into an actor’s bland mimicry of some national icon or hero, Capote challenges the viewer and the genre. Hoffman’s Capote-effete manner is, of course, impressive; but it is the nuance through which he exposes the man’s genius as well as his cowardice, that helps us finally understand how a man the world loved grew to hate himself.


PARADISE NOW (Palestine/Israel) – Hany Abu Assad
Foreign Language

Palestine. Israel. Terrorist. Friends. Family. Politics. Suicide. Genocide.

I’m sure I’ve already annoyed/upset/offended every reader. And that’s the sad state of our national discussion of political violence in Palestine and Israel. Thankfully, Paradise Now has done what the best foreign films do, that is, make its subjects less foreign.

A movie chronicling the suicide bombing placed in the hands of Palestinian friends could easily achieve notoriety for its controversial topic alone. But Paradise Now takes us into Palestine and shows (without proselytizing) the contradictory, violent and unpredictable union between political repression and the individual.

This film takes the time to reflect on the million small sparks ignored before the one that finally ignites.


CRASH – Paul Haggis
Paddy Chayefsky Award
Best Screenwriting

Because our racial lexicon pretty much begins and ends with “I have a dream,” I appreciated Crash’s attempt to push a boundary or two (or three) even if it didn’t get everything right. Honestly, my bar on race flicks is low (a multiracial movie that doesn’t involve a plot line with the asian gang versus the black gang gets props).

Paul Haggis (writer of last year’s Million Dollar Baby) manages to spin a spectacularly interweaving tale with a huge cast of characters to excellent dramatic effect. Aside from a shameful trick on our emotions toward the end, Crash shows that the drama raging on America’s color line is urgent, insistent, and most notably, important.


MYSTERIOUS SKIN – Gregg Araki
Netflix Award
The Best Movie I Missed in the Theater

Small town youths come of age. <>

This film caught me completely off guard. Joseph Gordon-Leavitt’s performance as a teenage hustler was one of the best I saw all year. The relationship between its two lead characters, who share a total of 10 minutes of screen time, was exceptionally rendered. And it will make your childhood seem like the Cosby show.

Move it to the top of your queue.


MANDERLAY – Lars von Trier
House un-American Activities Award
The Most Controversial Film of the Year

I would not call Lars von Trier a progressive. He does, however, have a keen eye for, and take a certain sick enjoyment in, exposing American hypocrisy. In his follow-up to Dogville (which made this list last year), Manderlay takes on the legacy of racism in its sparse neo-Brechtian style.

When the heroine Grace finds herself at the Manderlay plantation 60 years after emancipation she finds Blacks still in chains. Without ruining the film, the white liberal heroine emancipates, turns the plantation into a worker-owned collective, obsesses over her favorite Mandingo and, well, that’s the straightforward stuff. The nihilism engendered by American racism has rarely been so palpably and clearly rendered on the screen. This one is definitely worth watching.

(Critics note: If I read one more review of this film that refers to Lars von Trier as a “baby” or “throwing a tantrum,” or the “Bad boy of Danish cinema,” I swear the New York Critics Circle is going to get a nasty letter. I mean, come on, infantilizing the creator and subject matter is right out of the critics handbook, chapter titled: What to Do when on Deadline and I Just Didn’t Get It?)

Now that we're done with winners, here's are some losers, just for kicks (while they're down...)


KING KONG – Peter Jackson
David Duke Award
Achievement in Extraordinarily Racist Filmmaking

I mean, seriously, did the studio order a remake of Birth of a Nation? This shit (sorry kids) was racist as hell. Granted, the story is about a white lady who falls in love with (and tames) a huge Black monkey – a union that all authorities must rapidly and dramatically tear asunder. (Can you say, “cautionary tale”?) I guess I shouldn’t have expected much…

But, ok. That part with the dinosaurs, that was pretty cool. But the rest was totally racist! Leave it in the dustbin of history.

Other Worsts:

Constantin

Charlie and the Chocolate Factory

Me You and Everyone We Know

In My Country

Alright. That's it. Let me know how I did. And feel free to post your own faves below.....

Friday, January 06, 2006

Anybody can get an op-ed in the Times...

in response to this repugnant opinion piece, i sent the following note


To the Editor:

The sad irony in the title "Their Eyes Were Reading Smut" (Op-Ed,
January 4) was not lost on me, though clearly it escaped the author.
Many of "Their Eyes Were Watching God" author Zora Neale Hurston's
contemporaries also made hypocritical, self-righteous pleas to save
the race from its tendency toward "sexualization and degradation".
This theme has been shouted from the top of many a Black upper class
roof as its favorite sons jockey to become the voice of a "new" Black
America. Unfortunately, Mr. Chiles is the latest to repeat this
regrettable pattern in Black intellectual and social life.

To be clear, I think "street lit" is often badly written and
uninteresting. But then again, I feel the same way about Danielle
Steele novels, and I hardly think the author would decry her ever
increasing volumes as a "tasteless collection of pornography".
Moreover, let us not hypocritically judge the writing of others. Mr.
Chiles' latest novel
(co-written with his wife) tells the story of
childhood friends who become lovers as adults. The twist: she is a
white collar professional and he the barman in a strip club...(and
then there's that whole tryst with stripper Cocoa...)

It seems there is a fine line between the ghetto and the ivory tower;
and I suppose that is exactly my point.

Andre Banks, ColorLines magazine
New York, NY

***we'll see if it gets any attention from the 4th estate.....

Thursday, November 03, 2005

Race in the News: Maryland Dems "state the obvious" by Knocking Black Republican with Oreo Cookies

In a bizarre twist for even Maryland politics, Black Democrats this week showered Black Republican Lt. Governor Michael S. Steele with, get this, oreo cookies.

Apparently Black Democrats have had enough of the turncoats across the aisle. After Steele attended a golf outing at an all-white country club that has never offered a Black person membership in its 127 year history, Maryland Black Democrats went on a rampage. According to the Washington Times today,

Even the spokesman for Mr. Mfume's [former NAACP president] campaign said pelting Mr. Steele with Oreo cookies and calling him an "Uncle Tom" are simply "pointing out the obvious."

And that is actually the denouement to this scandal. Last week Steve Gilliard, a New York writer, placed a doctored picture of Steele entitled "Simple Sambo wants to move to the big house" on his popular News Blog. Defending attacks against the neo-minstrel image, Gilliard told the Baltimore Sun:

"My point is that politicians like Michael Steele insult us, use us as whipping boys and then run to their white supporters to show how loyal they are. The suffering and problems of black Americans are beyond their concern," said Gilliard, who lives in New York City. "I find it wildly humorous that Lt. Gov. Steele calls me, a black man, racist, but then refuses to condemn the governor attending an event at an all-white country club."

Since our racial lexicon doesn't really afford us any tools to articulate the special toxicity of Black people who gain power by working against the interests of other Black people, I suppose this whole Oreo throwing thing might catch on nationwide...

Tuesday, November 01, 2005

Thomas Sayers Ellis Honored with Literary Prize

Thomas Sayers Ellis, the Black, D.C. based poet, has just been awarded the Whiting Award for emerging authors "judged to demonstrate exceptional talent and promise".

I first heard of T.S. Ellis when a friend took me to a reading this spring for his book The Maverick Room at Karibu books outside of D.C. A packed crowd in a small bookstore on a Friday night greeted each of his poems not with polite applause, but laughter and nods of approval; there was an energy I've rarely seen at a reading.

The next day, as chance would have it, I ran into him on the street in DC. I gushed about the reading in general, and a particular poem in specific, and he was gracious, charming and all too modest.

Today I'm posting a poem from his new book Song On (WinteRed Press) to celebrate this poet on the rise. Enjoy.

Afro (Fisted) Pick


A symbolic growth tender-headed as protest,
The genre beneath
Blackness.
All red, black and green
Without being
Red, black and green.
All social work
And struggle.

The revolution at the root
Of every groove
Of grooming.
Soul wouldn’t be Soul
Without it
And neither would America
Or where America
Bogarts peace.

A vaginal fist,
A phallic wrist.
Love’s survival motion,
An anthem, left all day
In some sista’s
Or brotha’s dome.
Negritude’s nitty-gritty
Upper Room

(like God)
Originating itself
In darkness.

from Song On forthcoming from WinteRed Press, October 2005

Thursday, October 27, 2005

The Colored Section

If you don't know the name Tayari Jones, you better ask somebody. Quick.

This Atlanta native burst onto the literary scene with her ground-breaking debut novel about the Atlanta child murders of the 80s, Leaving Atlanta. Our friend Lauren introduced us in New York during the tour for her new book, The Untelling, which has just won the Lillian C. Smith Award for New Voices.

Contemporary, Black, Female, Intellectual, and yet transcending all labels, Tayari Jones is definitely worthy of your attention.

Maud Newton
has recently run a great non-fiction piece by Tayari about the Colored Section in your local bookstore. Thoughtful and measured, you won't spend a better 10 minutes today; Check it out.

Tuesday, October 25, 2005

No Poser Here


Kehinde Wiley Paints Black Masculinity Anew

Kehinde Wiley talks about passing and posing -- the themes of his critically acclaimed paintings -- with an infectious excitement. Surrounded by the giant canvasses that line the walls of his studio, the artist is earnest and modest; his inspirations are as playful and original as his art work about black masculinity.

For his Passing/Posing series, Wiley says he wanted to explore whether black masculinity is “defined by hypersexuality, anti social behavior and a propensity towards sports, or is it something that is more authentic and elusive?”

The artist approached black men in Harlem and had them pose to emulate the iconography of classical European painting. The paintings, which now go for at least $ 20.000, have graced the cover of the prestigious Art in America magazine and won praise for Wiley, who has completed a residency at Harlem’s Studio Museum, and exhibitions at the Brooklyn Museum and Deitch Projects in New York.

In his Passing/Posing paintings, Wiley reshapes and plays with popular constructions of black masculinity, giving new meaning to old poses and historical context to contemporary style. The artist was driven by several provocative questions: “How is it that they arrived in these poses? What are they passing for? What is this universe that’s being created?”



the immediacy of the pose

The path to success for Wiley started at the age of 11 when his mother enrolled him in a free arts program funded by the city of Los Angeles. Kehinde went on to attend the Los Angeles County High School for the Arts. “I always felt this was going to be a life for me,” he says on a summer afternoon at his studio in Williamsburg, Brooklyn. “I always felt like this would be something that I would do – whether I was a professional artist full-time or an artist who had a day job supporting my art habit.”

His love of art and desire for advanced formal training took him to the San Francisco Art Institute and then East to pursue an MFA at Yale University. After graduating, he accepted an offer to serve as artist-in-residence at the prestigious Studio Museum in New York City’s Harlem, a move that would have a significant impact on both his career and methodology.

Describing himself as “ignorant of [the Studio Museum’s] stature,” he focused his early time there experimenting with the bustling Harlem community, similar yet very different to his home of South Central L.A. “In the space of 5 blocks you get the chance to shop, eat, peacock, parade and be seen, "says the artist. "It’s violent in the shocking immediacy of people’s presence. For me, its incredibly engaging…something I wanted to somehow grapple with in my work.”

This desire to connect his new community and his work led to the early stages of creating the Passing/Posing series. Wiley walked those five blocks in Harlem showing men photos of his portraits and urging them to become a subject themselves. The approach initially yielded traditional studies of what he calls “alpha-male types. People who had this sort of energy surrounding them.” From those works, Wiley began discussing art history with these models, eventually having them thumb through his art books and choose poses to recreate. It was an important turn that, along with the motivation to challenge the viewer’s ability to step into the still image, led to the creation of the ongoing series.

It is exactly this freeness to question and confuse that define Wiley’s work. Though even the most surface examination of his work would identify the political questions raised around issues of race, gender, sexuality and the distance between subject and artist, Wiley doesn’t identify his painting as a political act.

In fact, his methodology is based on “a very radical association with play, as opposed to any sort of political or moral corrective. I came out of art school at a time when people where questioning the role of the black artist….but we are bound by time, bound by history, bound by circumstance and bound by meaning…And so there is no sense in which post-black can ever free itself from blackness. It is a function of blackness.”




From War To VH-1


For his new show, Rumors of War, Wiley moves into a firm discussion of the power of men and of war, using the iconography of old military portraits. To create the poses, Wiley hired what he calls “Hollywood horses,” horses trained to pose in studio settings and body doubles in addition to models recruited from Harlem and Brooklyn to stage the massive portraits. Wiley is working double time to finish the show, which is set to premiere at Deitch Projects in November.

" Over time there evolves a language involving white male agency," says Wiley about what inspired his new work …" It becomes a set pattern not only surrounding the portrayal of their power but also the story of their deaths and how they live their lives…I’ve been thinking about how I can manipulate that vocabulary.”

This summer, Wiley was also preparing for the VH-1 Hip Honors which were premiered in September. He was commissioned to paint the portraits of this year’s honorees, including L.L. Cool J, Ice T, Big Daddy Kane, and hip hop duo Salt N’ Pepa with their DJ Spinderella.

Wiley’s eyes light up as he describes L.L. Cool J coming to his studio and posing in the chair that he’s currently sitting in. Then, he unveils the completed 8 foot painting of Ice T posed in a near perfect reproduction of a painting of Napoleon on a throne along with the original image in the book that the rapper chose it from. Laughing, he describes the project: “It’s playful fun stuff. I took [my work] outside this high art vernacular, though it’s nothing I really consider part of my oeuvre (laughs)”. Despite his modesty, these paintings have the power to affect. Thanks to his rendering, Ice-T seems every bit as at home on a throne as Napoleon.

Wiley is already at work on more traditional painting along with works in several other mediums and continues to take it all in stride. “My life has changed radically," he says. "From sleeping on the floor of the Studio Museum and trading paintings for cigarettes to arranging to meet with magazines and working in television…things change. But in the end, I’m applying colored paste with hairy sticks to pieces of fabric, something I’ve been doing from the get go…there’s no fuss in that.”

Review: Hung - A Meditation on the Measure of Black Men in America



by Scott Poulson-Bryant

Doubleday, 224 pages

Reviewed by André Banks


Hung is a mix of entertaining personal anecdotes and sweeping pop-culture criticism that takes on one of our culture's deepest obsessions: the supposedly prodigious endowment of Black men. Scott Poulson-Bryant, founding editor of Vibe magazine, brings the collective obsession with Black dicks up for air and poses critical questions even while equivocating on some of the answers.

Does the myth of the big, Black dick compromise the humanity of those forced to carry that symbolic weight between their legs? Bryant argues, at times lucidly, that despite the general ambivalence of our society, and indeed, Black men themselves, the myth is alive, well and still possessed of a destructive power.

But rather than build a weighty case that supports this reality, Bryant leaves the reader to wonder exactly why he believes this to be true. Is it because our capitalist society has denied Black men the opportunity to be truly “endowed” with economic power? Has the machinery of pop culture obsessed over the magic in his lap to such an extent that even the Black man must swear allegiance to the Magnum flag?

Following this path, Bryant has written a sweeping meditation. From hip hop history and Hollywood power plays to interracial porn and Mapplethorpe photographs, Hung reaches into every corner of our popular culture to find answers.

Though this reach occasionally begins to feel a bit stretched, his mix of personal memoir and cultural criticism yields moments of enlightenment sure to engage and, in many cases, shock the reader. This is particularly true in the chapter on pornography. Here Bryant delves into the popular Little White Chicks series featuring “some of the biggest studs Black porn has to offer….as they search out lonely/bored/horny white girls and sexually ravage them into submission….”

Bryant digs deep to understand why interracial love in Hollywood continues to be taboo, while “an explicit representation of…the marauding black beast [is] selling some of the largest product in the marketplace.” To make sense of the paradox he goes to that territory so often neglected in discussions of black male sexuality. “This is about desire,” he writes, “the desire of white men wanting to watch (and symbolically participate in) the degradation of white women using a big black stud as the weapon of choice.”

As the author delves into the semiotics of porn, we see the complex symbols at play on the field of this American obsession. It is often through the symbolic that the hung myth takes hold (deriving sexual satisfaction from a stereotype made real in a porn flick, for example). It is here, in the attachment to these all too American symbols, where the impossibly fantastic view of Black men began, where it lives, and where one day it must end.

The strength of Bryant’s book is in his ability to elicit the hung myth from what seems like anyone. Whether talking to a white friend at a bar or black porn superstar Lexington Steele, Bryant, for our clarity and enjoyment, allows his subjects to speak for themselves. He manages this with an improbable humor, particularly when self-deprecation is his target, as can be seen is his college tale of “Scott Pulsing-Giant.”

In the tour of Ivy League college friends, hip hop execs, Wall Street brokers, fashion stylists, and professional athletes, the reader is taken with Poulson’s journalistic skill and the vibrant personalities of his glamorous and intelligent friends, colleagues and aquaintances. But it also leads a reader to wonder if these sources, despite their diversity, don't just represent a certain strata of Black culture brokers. Those hip, in the know, big city types whose insights, though sharp and important, may not tell the entire story.

Missing in their commentary is a sustained analysis of the implications of public policy and interpersonal behavior rooted in the myth of the predatory, hypersexual, super-hung Black man. Bryant acknowledges this connection in the double entendre of his title, meant to evoke both an image of a massive endowment and a lynching. But the voices he brings to life so vividly seem removed from a world where racist juvenile and criminal justice systems are locking up supposedly hung Black men at astonishing rates even as the public debates how they measure up below the belt.

Bryant’s Hung shows us that racism can be incoherent and contradictory; it may reside in a distant place in our unconscious, but those facts make its presence and impact no less real. The hung myth, and racism in general, exists simultaneously on many levels: individual, institutional, political, cultural, and psychological. Hung works hard to illustrate this fact in all the shadows of contemporary pop culture.

In the end, the book that Bryant has put together is, in fact, a meditation. He tells us in his voice, and in those of his peers that the myth of the hung Black man is alive and well. And in the process inspires a dialogue that is desperately needed, and perhaps more importantly, a possibility that a myth created by racism might some day be destroyed.