Images of fond memories are often posted from friends and family, and subsequently, artists often turn these beloved photos into illustrations and mixed-media works. It's likely you've seen many of these portraits and other illustrated tributes on your social media feeds lately posted with the Black Lives Matter hashtag — and the work these artists do is important.
After outrage over the police killing of George Floyd drove citizens into the streets for mass protests, a number of spontaneous musical eruptions have helped define the moment. A series of bellwether songs in the past half-decade — to say nothing of the hundreds of rhymed couplets in rap tracks — have come out of Southern California that explore issues of race and power in America. The five essentials are: “Sweeter” (Leon Bridges ft. Terrace Martin), “We Have Come Too Far to Turn Around” (Charles Lloyd and Lucinda Williams), “Divide Us” (The Interrupters), "Power" ( Rapsody feat. Kendrick Lamar and Lance Skiiiwalker), “The Immigrants”（Gaby Moreno and Van Dyke Parks）.
"The systematic looting of language can be recognized by the tendency of its users to forgo its nuanced, complex, mid-wifery properties for menace and subjugation. Oppressive language does more than represent violence; it is violence; does more than represent the limits of knowledge; it limits knowledge. Whether it is obscuring state language or the faux-language of mindless media; whether it is the proud but calcified language of the academy or the commodity driven language of science; whether it is the malign language of law-without-ethics, or language designed for the estrangement of minorities, hiding its racist plunder in its literary cheek - it must be rejected, altered and exposed. It is the language that drinks blood, laps vulnerabilities, tucks its fascist boots under crinolines of respectability and patriotism as it moves relentlessly toward the bottom line and the bottomed-out mind. Sexist language, racist language, theistic language - all are typical of the policing languages of mastery, and cannot, do not permit new knowledge or encourage the mutual exchange of ideas."
This documentary, King in the Wilderness, chronicles the final chapters of Dr. Martin Luther King Jr.’s life, revealing a conflicted leader who faced an onslaught of criticism from both sides of the political spectrum. While the Black Power movement saw his nonviolence as weakness, and President Lyndon B. Johnson saw his anti-Vietnam War speeches as irresponsible, Dr. King’s unyielding belief in peaceful protest became a testing point for a nation on the brink of chaos.
This documentary explores the "intersection of race, justice, and mass incarceration in the United States;" it is titled after the Thirteenth Amendment to the United States Constitution, adopted in 1865, which abolished slavery throughout the United States and ended involuntary servitude except as a punishment for conviction of a crime.
Director DuVernay contends that slavery has been perpetuated since the end of the American Civil War through criminalizing behavior and enabling police to arrest poor freedmen and force them to work for the state under convict leasing; suppression of African Americans by disenfranchisement, lynchings and Jim Crow; politicians declaring a war on drugs that weighs more heavily on minority communities and, by the late 20th century, mass incarceration of people of color in the United States. She examines the prison-industrial complex and the emerging detention-industrial complex, discussing how much money is being made by corporations from such incarcerations.
I Am Not Your Negro
This documentary film, directed by Raoul Peck, is based on James Baldwin's unfinished manuscript Remember This House. Narrated by actor Samuel L. Jackson, the film explores the history of racism in the United States through Baldwin's reminiscences of civil rights leaders Medgar Evers, Malcolm X, and Martin Luther King Jr., as well as his personal observations of American history.
Selma is a 2014 historical drama film directed by Ava DuVernay and written by Paul Webb. It is based on the 1965 Selma to Montgomery voting rights marches initiated and directed by James Bevel and led by Martin Luther King Jr., Hosea Williams, and John Lewis.
Although the Civil Rights Act of 1964 legally desegregated the South, discrimination was still rampant in certain areas, making it very difficult for blacks to register to vote. In 1965, an Alabama city became the battleground in the fight for suffrage. Despite violent opposition, Dr. Martin Luther King Jr. (David Oyelowo) and his followers pressed forward on an epic march from Selma to Montgomery, and their efforts culminated in President Lyndon Johnson signing the Voting Rights Act of 1965.
The Hate U Give
The Hate U Give is a 2018 American drama film. Starr Carter is constantly switching between two worlds -- the poor, mostly black neighborhood where she lives and the wealthy, mostly white prep school that she attends. The uneasy balance between these worlds is soon shattered when she witnesses the fatal shooting of her childhood best friend at the hands of a police officer. Facing pressure from all sides of the community, Starr must find her voice and decide to stand up for what's right.
The film is based on a true story. Though he once spent time in San Quentin, 22-year-old black man Oscar Grant (Michael B. Jordan) is now trying hard to live a clean life and support his girlfriend (Melonie Diaz) and young daughter (Ariana Neal). Flashbacks reveal the last day in Oscar's life, in which he accompanied his family and friends to San Francisco to watch fireworks on New Year's Eve, and, on the way back home, became swept up in an altercation with police that ended in tragedy.
Host Kimberlé Crenshaw (a leading scholar of critical race theory) explores different topics through an intersectional lens. The most recent episodes are part of a series about COVID-19, titled “Under the Blacklight.”