MIAMI UNIVERSITY the Graduate School Certificate for Approving the Dissertation We Hereby Approve the Dissertation of Brian Whit

MIAMI UNIVERSITY The Graduate School

Certificate for Approving the Dissertation

We hereby approve the Dissertation

Brian Whitney Collier Jr.

Doctor of Philosophy

______Chair Denise Taliaferro-Baszile

______Dennis L. Carlson Reader

______Sally Lloyd Reader

______Paula Saine Graduate School Representative

ABSTRACT

I AM THE STONE THAT THE BUILDER REFUSED: SPIRITUALITY, THE BOONDOCKS AND NOT BEING THE PROBLEM

by Brian Whitney Collier Jr.

It is visible in academic dialogue, specifically educational research, that there has not been any substantial research published that constructs or examines The Boondocks animated series in a capacity that extends the discourse past stereotypical issues and paradigms that are associated with the inferiority of African American males and the marginalized experiences they encounter. One primary purpose of this study is to offer a counter argument to the negative conversations that surround The Boondocks comic and animated series. Because most arguments about the text stem from the images and language, the conversations surrounding anything positive or hopeful as it pertains to being a Black male, are left out. Furthermore, this media text is currently not perceived as a reference that can be used as a pedagogical tool. In this qualitative critical media analysis, I sought to answer the question: How does the curriculum of The Boondocks represent issues of race, spirituality, and masculinity? Although The Boondocks is typically understood and critiqued as a Black Nationalist text, I intend to look at the animated series through the lens of race, spirituality and Black Masculinity. I specifically examine the text through the theoretical underpinnings of Critical Media Literacy and Critical Race Theory. Methodologically, Critical Media Literacy, Critical Race Theory and Qualitative Media Analysis help to contextualize The Boondocks animated series. I ultimately argue that the animated series can be understood and used as a curriculum text.

Disclaimer:

This dissertation study does include explicit language. The visual and literary content of The Boondocks animated series does not reflect the personal views or practices of the researcher. The usage of any explicit or derogatory language has been done so primarily to maintain the integrity of the media text and the context in which this animated series is situated (comedic-political satire).

I AM THE STONE THAT THE BUILDER REFUSED: SPIRITUALITY, THE BOONDOCKS AND NOT BEING THE PROBLEM! A QUALITATIVE CRITICAL MEDIA ANALYSIS OF THE BOONDOCKS ANIMATED SERIES TO UNDERSTAND THE EMBEDDED CURRICULUM THROUGH THE LENSES OF RACE, MALENESS, AND SPIRITUALITY

A DISSERTATION

Submitted to the Faculty of

Miami University in partial

fulfillment of the requirements

for the degree of

Doctor of Philosophy

Department of Educational Leadership

Brian Whitney Collier Jr.

Miami University

Oxford, Ohio

2014

Dissertation Director: Denise Taliaferro Baszile

Brian Whitney Collier Jr.

2014

Table of Contents Dedication v Acknowledgments: vi Chapter 1: Introduction 1 Brief Description of the Text 4 Chapter 2: Review of Literature 8 The Text: Brief Introduction to the Characters 8 The Context: The Boondocks Comic Strip and the Animated Series 11 The Subtext: Critical Responses to The Boondocks and Describing the Problem 13 Review of Research on The Boondocks 15 Spirituality 19 African American Spirituality 21 Critical Spirituality 23 Theories of Race and Masculinity 28 Complexities of Maleness and Race 29 Chapter 3: Theoretical Framework and Methodology 35 Critical Media Literacy: My Epistemological Understanding According to Douglass Kellner and Others 35 Critical Race Theory: The Discussion of Race and Racism 41 Situating the CRT Tenets Applicable to This Study 46 Why Conjoining CRT, CML & Spirituality within Curriculum Theory is Important 48 Episode Selection and Method of Analysis 58 Method of Analysis 59 This Study’s Research Questions: 61 Documenting the Data and Thematic organization 62 Chapter 4:Introduction to Data 63 Season 1 Episode 15 “Passion of The Ruckus” 63 Season 2 Episode 19 “Stinkmeaner Strikes Back” 65 Season 1 Episode 9 “Return of the King” 69 Organization, Examination and Discussion of Themes 73 Race Unchained: An Interwoven Construct 74 The “Spirit” is Unwavering: Getting Beyond Traditional Conceptualizations 76 Breaking the Chains: Leroy’s in the Lost and Found 78 iii

Chapter 5:Analysis & Discussion of the Findings 81 Season 1 Episode 15 “Passion of the Ruckus” 81 Hearing the Calling 81 Exploring Whiteness: “White is Right” 82 “The Test of a Man”: Guilt by Association 85 Recognizing Limitations: “Walking Contradictions” 88 Season 2 Episode 19 “Stinkmeaner Strikes Back” 92 Exorcising the “Demons” 93 Society’s Historical Lesson Plan: “Stay in Your Place” 94 “A Nigga moment”: To be or Not to be? 99 Spiritual Epiphanies/ Occurrences: Peace be Still 104 Season 1 Episode 9 Return of the King 107 Rage Against the Machine: Will it be televised? 107 Generational Curses: Confronting History 112 Epiphanies in a Dream: A Dream Confirmed 118 Chapter 6: Conclusion 123 Explicit Curricula and Their “Objectives” 127 Non-Traditional Curricula 133 Race and Education 134 Spirituality, The Boondocks, and Schooling 136 Significance and Future Implications 139 References: 142 Appendix A: Glossary 150 Appendix B: Transcription of Episodes 155

Dedication And we know that all things work together for good to them that Love God, to them who are called according to His purpose. Romans 8:28

To ALL my Family… Those past and present… I love you!!! Kyra, Melanie, & Eden

Acknowledgments: I don’t want this to go on like an extemporaneous Baptist preacher; but I thank God for this blessing. It is not my of own doing but the gifting He has bestowed me with. All glory goes to God. “ For of him, and through him, and to him, are all things: to whom be glory for ever. Amen.” Romans 11:36 It is a privilege to even have the opportunity to engage in such a process. I sincerely thank any and everyone who has helped me through this academic process. First Raymond Terrell and Michael Dantley, you surrounded me in Buffalo Wild Wings and forced me to do this doctoral program, and for that I am forever in you debt. The wisdom you have provided is priceless. Denise T. Baszile, I thank you for being my chair and providing me with so many new ways of thinking. My committee, Dennis Carlson, Sally Lloyd, and Paula Saine, thank you for your patience and the wealth of knowledge you provided. My wife… Simply put, I Love you. No other phrase would substantiate or quantify your contributions and role. My darling daughters, you inspire me!

Chapter 1: Introduction

The stone which the builders rejected has become the chief cornerstone. Psalm 118:221

As a young Black male growing up in the city of St. Louis, I hated reading. I detested being called upon to read and on countless occasions refused to read aloud. In my rebelliousness, I projected my own issues with reading onto other students in two specific ways. In once instance, I hindered other students from reading fluently by interrupting their speech. This was a very simple but effective approach. The second method of distraction was to blurt out the difficult words some students struggled to pronounce. In retrospect, this was the most damaging method. What often ensued after my outburst were fifteen-minute lectures about being rude. I was constantly told in a very culturally relevant way, that I was allowing my cognitive ability and academic potential to atrophy. This was typically followed by some discipline or isolation inside of the already small classroom. Depending on the teacher, it was the musty coatroom that often reeked of shoes that recently trounced through poop. On other occasions, the smell was dank because the building was older than the “government cheese” the school served on their toasted cheese sandwiches for lunch. I recall these experiences vividly in my formative education years because they inclined me to dislike reading and the entire educative process. By the sixth grade, the only thing I actually enjoyed reading were the Sports Illustrated for Kids magazines that came in the mail. They always came with a cut out trading cards and double-sided posters. My grandmother gave this subscription to me, and I cherished the days they came in the mail. It cannot be stated enough that my mother attempted to procure every book she could that she thought might encourage me to read more. She searched the library for books that possessed characters that resembled me. The few books she found at that time I thoroughly enjoyed. It was overwhelmingly refreshing. Time and years would pass. Yet, the overwhelming content in schools were dictated and dedicated to those I could never relate. I successfully moved from the eighth Grade to High school and would eventually graduate with a diploma. For years, I read only the things I desired or knew were needed for the test. I read for

1 Scripture cited in Reference page 1

teachers that inspired me and provided academic content that was applicable to me. These texts included classics like The Souls of Black Folk and The Autobiography of Malcolm X. In the end, I read for my own sanity and desire to grow. Needless to say, my frame of reference at that time was very limited. I had heard about Carter G. Woodson, Langston Hughes, and Richard Wright but never understood their significance because it was not taught. Moreover, the resources I was directed toward most often were not indicative of who I was or the issues I was facing. It is difficult to enjoy any literature under those pretenses. After graduating High school, while working at the Library (a job my mother helped me to procure because she worked at one of the many branches in St. Louis), I was introduced to a comic novel called Birth of a Nation by Aaron McGruder, Reginald Hudlin, and Kyle Baker. This book was about the atrocities and political corruption that had taken place within East St. Louis, Illinois over the past 100 years. Not only did the book incline me to do more research on the topic, but also forced me to go back and read over a book that was gifted to me a year prior. It too was authored by Aaron McGruder. Here I was twenty years old, intrinsically motivated to learn. I was intrigued by McGruder’s work. It inspired me to read in a way I had not considered before. Reading became a spiritual practice in my life. It was cathartic because my frame of reference began to grow. My desire to learn about philosophy, spirituality, and theology all became very pronounced. Being one that detested books, reading was now a peaceful release. It was a release that could only be superseded by actual prayer and worship. I was always told, “knowledge is power”, but reading became an integral cog in attaining knowledge, wisdom, and understanding. It dawned on me that learning and education came in many forms and spaces. Learning was not just a natural experience that occurred through the process of reading, but also through critical reflection and “critical self-reflection” within the educative process. Although reading became a passion later on in my life, it is a passion I wish I had come to know a few years earlier. On a practical and psychological level, I wish I had the opportunity as an adolescent to look at television programming and embrace the philosophical questions I had concerning race. I would have preferred to understand that the images and messages I saw were not erroneous or crazy thoughts. It would have been nice to understand in my adolescent years that the racist and classist images put on T.V. and movies were not just apparitions or figments

of my overactive imagination. Like Dave Chappelle once said on “Inside the Actors Studio,” “the worst thing you can call someone is crazy, it’s dismissive.” Often times, that was explicitly how I felt being a minority male in school. This was especially true in education environments where the racial demographic was dominated by White students. This is, unfortunately, a common experience for students of color. In this critical media analysis, I consider how the curriculum of the Boondocks represents issues of race, spirituality, and masculinity? I focus on these concepts because educational research has not examined a media text that innately challenges the current social structure or political climate the way the Boondocks has in both newspaper and television. This interrogation is necessary because there are very few visual references or depictions of blackness in animated media. Moreover, there are none that critically examine African America culture in America. When examining this particular project, I specifically was infatuated with the lyrics from The Boondocks animated series theme song. The song’s hip-hop origins were a clear reference point, but the spiritual and culturally relevant nuances within the lyrics are what most inspired me. The lyrics to the song are as follows: I am the stone that builder refused I am the visual The inspiration That made lady sing the blues I'm the spark that makes your idea bright The same spark that lights the dark So that you can know your left from your right I am the ballot in your box The bullet in your gun The inner glow that lets you know To call your brother son The story that just begun The promise of what's to come And I'm 'a remain a soldier 'til the war is won2

Because the first line of the lyrics stem directly from a Biblical scripture, this song by African American Hip-Hop artist, Asheru, starts by telling a hope filled narrative that encompasses the African Diaspora history and culture that is rarely heard by minorities in America. It is a theme

2 Researcher transcribed the lyrics but other citations can be located via any web search. Citation is inserted in the reference page. 3

song that attempts to convey a message that reflect both the struggles and triumphs often associated with people of African descent in the United States of America. Furthermore, it is a song that used spiritual references that help to gird those who were marginalized because of their race. Those same spiritual references provided a sense of hope and faith necessary to persevere in a racist society and culture. It is with this same sense of spirituality that I approach this study. I do so primarily because the notion of spirituality is often relegated to one singular meaning. Most times it can be equated solely with religion. For this study, that is not the case. I use spirituality as a reference point for reading a media text that includes the experiences and cultural nuances that exist in the African diaspora. Spirituality within the African American context is an indelible and inescapable construct, hence the rationale for including it in reading and analysis of The Boondocks. Spirituality is not about Church, school, or any particular institution. Spirituality within the context of this study is about expanding hope and faith so the people can purposefully walk out their destiny. Comparatively, spirituality is like hip-hop. While hip-hop was a movement and culture that subversively gave voices to the voiceless, spirituality is an ethereal presence that provides hope to those who are hopeless. It brings life to dead situations. The definition that Michael Dantley offers suggests that spirituality be just as real and participatory as a living human being. “Spirituality is defined as the part of life through which individuals make meaning and understanding of the world. It includes the esoteric exercise of personal critical reflection and forms the basis for values and principles that inform individual personal and professional behavior” (Dantley, 2003, p.273). This understanding of spirituality inevitably inclined me to explore the representations of race, spirituality, and masculinity in the curriculum of The Boondocks. By curriculum, I mean both explicit and implicit moments of learning. Those learning moments can take place anywhere and in the case of The Boondocks many of their learning experiences came from interacting with both their peers and family members. Their lived curriculum taught them many lessons and provided them an alternative context to navigating the world. That should be the goal of any educational tool or educator.

Brief Description of the Text

The Boondocks franchise began in the University of Maryland’s student newspaper called the Diamondback. The comic strip was authored by Aaron McGruder and put into national

syndication by Universal Press approximately two years later on April 19, 1999 and continued until March 26, 2006. It was syndicated in 350 newspapers nationally. Aaron McGruder originally conceived the satirical comic strip as a television show, but he believed that it would be easier to present and publish his controversial content in newspapers than in the format of animation (Owen, 2005). The cartoonist has subsequently authored and co-authored five other books. He authored four of those books alone and the last is the co-authored text mentioned above. The comic strip and animated series were designed and illustrated to mimic the manga/ anime style of comic book artistry. The term manga is Japanese and refers both to comics and cartooning and is a term used outside Japan. The artistic style often refers specifically to comics originally published in Japan. This style of art was developed in Japan in the late 19th century. Anime specifically refers to Japanese animation and comes in many different formats. The word “anime” itself is the abbreviated adaptation of "animation". Within an “English” or “American” context, the art style has been defined as a Japanese-disseminated animation style often characterized by colorful graphics, vibrant characters, and fantastic themes. In the context of The Boondocks, the art style chosen may be ironic or purposeful, but it is very apropos because this satirical comic in no way resembles any traditional aspects found in American comic strips. This is supported by the fact that African American involvement in American popular culture has historically been stereotypical and overtly racist. Neither the comic strip nor the television show is in an American style. Throughout the run of McGruder’s comic strip, it was constantly criticized for its content. The critical interrogation of racial issues, politics, and wars in Afghanistan and Iraq, inclined many newspapers to remove the comic strip from their newspapers. This comic strip and show, unlike most comic strips produced on a daily basis, explicitly discussed the experiences of historically marginalized groups. Aaron McGruder has successfully chronicled and shared the narratives of past and current events from the African American context. Once again this is rare in mainstream media representation. According to Tia C. M. Tyree and Adrian Krishnasamy (2011) “there are less than a dozen popular African American syndicated cartoonists in mainstream American newspapers” (p.25). They suggest that The Boondocks is one of the most popular and controversial satirical comics and animated series created.

Much of the criticism around Aaron McGruder’s cartoon centers around the assumption that The Boondocks’s language and representations are damaging to adolescents who fail to understand the context and message of the political satire. By reading the series through the lenses of Critical Media Literacy and Critical Race Theory, I explore what The Boondocks teaches us about race, racism, spirituality, and masculinity in the US. In short, the purpose of this study is to answer the following question: How does the curriculum of The Boondocks represent issues of race, spirituality, and masculinity? The literature in chapter two should provide a basis for considering how The Boondocks as a curriculum text has taken an alternative approach to discussing race, racism, maleness and spirituality. I explore the notion of spirituality within the context of education because as John P. Miller (2000) has asserted, “Education in many cases has become a series of tests and hurdles rather than focusing on learning” (p.4) He goes further to reference Robert Sardello (1992) that:

Education instead has become an institution whose purpose in the modern world is not the make culture, not to serve the living cosmos, but to harness humankind to the dead forces of materialism. Education as we know it, from preschool through graduate school, damages the soul. (p.50; Miller 2000, p. 4)

Openly recognizing that the omission of spirit or soul from the educative process is indeed damaging to the holistic development of the student is the first step toward changing the test driven paradigm attached the current state of schooling. According to Miller, this does not mean that the standards in school become lax. Students should be innately considered capable of being functioning learners. Schooling from a spiritual context insinuates that “soulful education is education with high expectations; however, soulful learning seeks to restore balance between outer and inner lives” (p. 5). This means that the spiritual essence and growth of the student is just as important as the cognitive development. When connecting this to The Boondocks, reading the media series as a curriculum text acknowledges that spirituality examines both the immediately visible concerns as well as those that are not so evident. Miller continually asserts “by bringing soul more explicitly into the educational process we can have an education for the whole person rather than a fragmented self” (Miller, 2000, p.9). The goal of the study is to not

examine the fragmented pieces of each character; it is to examine totality of the character and the context in which they are situated. In chapter three, I discuss the theoretical underpinning on race, racism, within the frameworks of Critical Media Literacy and Critical Race Theory. Additionally in this third chapter, I draw on Critical Media Literacy and Critical Race scholarship to suggest that my study is theoretically situated as “critical race media literacy”. In Chapter 4, I explain the data and thematic structure of the three episodes I used for analysis. The episodes used in the project are The Return of King, Passion of the Ruckus, and Stinkmeaner Strikes Back. In the concluding chapter, I will summarize my findings and discuss my assertions as to why Boondocks is a valuable pedagogical tool that helps interrogate and contextualize the issues of race, spirituality and masculinity. In summation, I suggest that The Boondocks offers a popular media text where students of color can find familiarity, while gaining an understanding of identity representations, maleness, spirituality, and race within media.

Chapter 2: Review of Literature

In chapter two, a brief introduction of The Boondocks animated series and the characters within the show are discussed at the outset of the chapter. Understanding the series through the framework of text, context and subtext becomes important when infusing social constructs like race, gender and spirituality. After situating the series in these three ways of thinking, I continue the chapter by delving into peer-reviewed literature pertaining specifically to The Boondocks, spirituality (African American Spirituality and Critical Spirituality), race, and masculinity. I close the chapter by reiterating the study’s question, purpose, and position within curriculum theory.

The Text: Brief Introduction to the Characters

In November 2005, the inaugural season of The Boondocks animated series aired. The animated series mirrors the comic strip in setting and content. The details of each character are the same. Because the series is an animated show, there are more visual nuances captured in a series than were conceivably possible in the comic strip. I have only described the primary male characters of the series because this study focuses on examining African American males. I also did so because the creator has explicitly chosen not to focus on women throughout the comic and animated series. Thus far, Aaron McGruder has limited the number of episodes in which women have appeared, and I have not found any publicized or editorialized reason from the creator explaining why. The animated series still takes place in the suburban neighborhood of Woodcrest. Like the comic strip, the animated series starts out with two brothers, Riley and Huey Freeman. The two brothers are very resistant to being moved from their urban environment in Chicago and make their feelings well known to their guardian. Their move to Woodcrest is accompanied by their legal guardian Robert “Jebediah” Freeman aka “Granddad.” These three people are the central characters in the animated series. Huey Freeman is a ten-year-old revolutionary whose goal in life is to dismantle the White supremacist power structure. He is a young man that possesses the inspiration to change the Black plight, but does not have the advantage or social status to accomplish anything. According to his granddad, Huey is nothing more than an angry little boy bent on making his retirement a living hell. His younger brother Riley thinks he is only

a “stuck up hater” that refuses to have fun like “real Niggas.” For the predominately affluent White community of Woodcrest, Huey Freeman is much like Huey Newton, a threat and a terrorist. It is only because of his age that he is frequently laughed at and disregarded. His intelligence, race, and demeanor make people think of him as a source of entertainment, but the last thing Huey Freeman wants to be considered is a minstrel show. The antithesis of Huey Freeman is the character Uncle Ruckus. Historically speaking Uncle Ruckus is said to mimic the characteristics of Uncle Rastus and Uncle Remus. Uncle Remus was a fictional kind elderly slave that told folk tales to children. The word “rastus” came from the folk tales that were told. “Rastus” has historically been a derogatory term for a Black man. His visual presentation is much more aligned to Uncle Remus but embraces the derogatory nature of the word “rastus.” One huge difference between Uncle Remus and Uncle Ruckus is that he hates all Black people and believes that the White man was the best gift from God. Another absurdity that he perpetually reiterates is that he believes that he is White with reverse vitiligo or as he puts it “a disease opposite of Michael Jackson.” In medical terms, vitiligo is a medical disorder that causes depigmentation or a loss of pigment in the skin. He often purports with no scientific proof that he has “(re) vitiligo”. He has said that his life is much like that of Benjamin Button and the only difference being that Benjamin Button gets younger while he just gets “darker and blacker”. When Uncle Ruckus is not working one of his nine jobs in the city of Woodcrest, he sings and records music with racist country singers, hosts a television show on BET berating Black sororities and fraternities and has intense dreams receiving visions and missions from his favorite angel in heaven, Ronald Reagan. His apparent calling is to convince all Black people that they are inferior to Whites. The youngest character, Riley Freeman, tends to fit into and substantiate Uncle Ruckus’s stereotypes and ideologies concerning Black people and Black male youths in particular. Riley Freeman fits the persona that society loves to hate. He fits every stereotypical mold society has constructed and thrust upon him. Riley is a “thug” in the making. Riley watches all of the gangsta movies like Scarface. He mimics every rapper that has been viewed on BET and is a “bonafide” candy hustler. This 8-year-old claims to know all the “rules of the game”, and that does not matter if it is “the drug game,” “the rap game”, or “pimp game.” When this future rapper/basketball player is not watching TV, he is usually getting himself into some trouble. He

has been known to ride around in stolen cars and use grocery money to shop for “bling” and clothes. His claim to fame has to be that he possesses the ability to decide who and what being gay encompasses, yet when confronted by a gay rapper that he idolizes, he faints and believes it be a terrible nightmare. The oldest character in the show is also troubled with nightmares. According to Granddad, his nightmares are real and tangible. Robert “Jebediah” Freeman, or Granddad as he is most often called, never escapes his nightmare. Robert Freeman moved to Woodcrest for the peace and quiet but once he inherited his two grandchildren, his peace became turmoil. As he so frequently and eloquently says, his never ending and eternal nightmare are his two adolescent grandsons. He believes that he deserves better in his retirement. This is primarily because Granddad fervently claims that he is an old civil rights hero. Despite being recognized as a member of the Civil Rights movement, his contributions to the struggle have yet to be recognized and substantiated to his liking. He apparently knew Dr. King and Jesse Jackson. He also was on the bus with Rosa Parks that “fateful day” she was arrested. Lastly, he has claimed that Malcolm X owes him five dollars. Ironically enough, nobody knows his age or believes the words that come out of his mouth. The one fact they do know is that he is as old as methuselah. He typically handles Riley and Huey by using a very old but strong leather belt. To him, it is not child abuse, it is simply how things should be done. Robert only wants to enjoy his retirement, find himself a Beyoncé type woman on “MySpace” or “Facebook,” and eat pork. This leaves lastly, the Freeman’s neighbor, Thomas Dubois. His very name conjures up a host of complex identities. His identity issues are a central theme in all of his behaviors and ideas. The complexities associated with this character begin with his first and last name. The name Tom and its association with Black men is one that is steeped in negativity. “Tom” was often a name given to a black person that betrayed his own people or was always compliant to white people. It was also a name of the character in Harriet Beecher Stowe’s, Uncle Tom’s Cabin. Furthermore, the fact that Tom possesses the same last name as one of the foremost African American Scholars, W.E.B. Dubois, complicates the way his identity is constructed. Tom Dubois is forever in a warring state with himself, his skin, and his maleness. He is the perfect personification and embodiment of “double consciousness.” Tom lives his life for the most part in passivity and fear, yet he is married to a White woman and has a biracial child.

While Tom is a prosecuting attorney in Woodcrest, he is a man that is constantly afraid of going to prison and being raped. This is ironic because he is constantly sending African American males to a place he never wants to go. Tom Dubois had the opportunity of being the prosecuting attorney in the R. Kelly case but just before the trial took place, 8-year-old Riley with convincing rationality poked holes in his argument, diminishing his confidence and credibility as a lawyer. Again, the highlight of his life is that he is married to a White woman. What more can this successful Black man ask? As previously noted, the transition from a comic strip to television-animated series did not alter too much. The content and the conversations are very similar. Some critics openly suggest that the animated series depicts values of “Hip-Hop culture.” Depending on the context and how one is defining Hip Hop culture, this may be accurate. The show does explore and satirize what I would label commodified hip-hop values rooted in capitalistic and nihilistic thinking. These values are based on one glorifying and embracing reckless spending, dangerous decisions, and self-deprecating thought processes. The values of this commodified form of hip- hop encompasses homophobia, hedonistic consumerism, hyper-masculinity, and nihilistic violence. From its inception, the animated series has been on the cable channel Cartoon Network. It is responsibly labeled under the mantra “Adult Swim” because of it mature content. “Adult Swim” constitutes TV programming that typically contains mature content and usually airs late at night after children are supposed to be asleep. This category still did not stop the network from editing and banning some of the show’s content. Each of the three seasons produced is currently on DVD. Season one and two of the animated series has more recently been available on Netflix. According to recent blogs and news releases, the fourth season of the series is set to air on April 21, 2014.

The Context: The Boondocks Comic Strip and the Animated Series

Context or “the social situation surrounding the document in question must be understood to grasp the significance of the document itself, even independently of the content of the document” (Altheide & Schneider, 2013, p. 14). The conceptualization for The Boondocks was predicated on the idea that African American characters could raise poignant questions about American culture and the society they live in. The themes around the animated series include the

issues of race, class, gender, politics, sexual orientation and many other things. Aaron McGruder’s context is one that can be directly related to the animated series and is exemplified in each of the episodes. Born in Chicago, Illinois, Aaron McGruder is familiar with the setting his characters come from. The town McGruder moved to at six-years-old, Columbia, Maryland, was supposedly the basis for the town of Woodcrest in the animated series. When he began his comic strip, he did not want his product to reflect or resemble the work of any other comic strips drawn by Black comic strip artist. The decision to create an African American centered comic in a manga style is uniquely McGruder’s and with an Afrocentric and Black Nationalist influence, he provided a framework that is drastically different from any other comic strips. According to newspaper critics, McGurder, is “one of only a few prominent African American cartoonists, had been making waves in all the right ways, poking conspicuous fun at Trent Lott, the N.R.A., the War effort”(McGrath, 2004, p.1). Other African American cartoonists like Ray Billingsley (Curtis) also portrays the African American experience in their comic but it is not as satirically motivated or structured. Huey Freeman, the protagonist in The Boondocks series is often considered Aaron McGruder’s alter ego and thorough the understanding of Afrocentric and Black Nationalist ideals, he often asserts his ideologies despite the fact they go against traditional norms. The three main characters, Huey, Riley and Granddad, represent “three different facets of the sort of Angry-Black-man archetype” (McGrath, 2004, P. 3). McGruder is often purported to possess a sense of “militant cynicism” (p.152). In addition, he is often considered outspoken about his ideological views and has “grown accustomed to inordinately high expectations” (McGrath, 2004, p.2). This verbose and brash attitude can be attributed to Hip Hop music of the late 80’s and early nineties. “Rappers like KRS-One, Public Enemy and X clan” are referenced as his influences, and substantiate the context in which the characters are positioned (McGrath, 2004, p. 4) It is suggested by both McGruder and McGrath that these Hip-hop artists provided a basis for his ideologies and the subsequent animated series. In mainstream American media, African Americans have historically been marginalized and devalued. Since the interrogation of cultural identity and the intersectionality of media images are at the center of the study, the discussion of disproportionate representation in media and publications is paramount. Understanding the history of African American centered comic

strips and animated series becomes a very important step in understanding the historical context of this animated series. Within the context of the Boondocks comic strip and the animated series, the politics associated with the show are directly connected to marginalized groups having a voice in the America. In many cases, the politics of war, race, sexual orientation all play a significant role in understanding why the Boondocks and its satirical content is important to the discussion of curriculum. Within the context of the episodes I used in this study, the issues of masculinity and racism are always presents. Because hip-Hop music has played a significant role in the perpetuation and subsequent construction of male identity, the discussion around its assumed destructive nature is always a factor is academic conversations. It is paramount that the understanding of race, masculinity and spirituality is not limited to traditional ideas or definitions. Satirically, McGruder critiques each of these ideas as well as substantiates the importance of each concept. This comic strip and show, unlike most comic strips produced on a daily basis, explicitly discusses the experiences of a historically marginalized group. Aaron McGruder successfully chronicled and shared the narratives of past and current events from the African American context. Discussing the importance of slavery, Dr. Martin Luther King Jr. and Ronald Reagan all help to shape the context in which McGruder positions The Boondocks narrative. Each of the narratives speaks to the current conditions of Black masculinity, education, and the Black community. Unfortunate, these satirical images McGruder produces are rare in mainstream media representations.

The Subtext: Critical Responses to The Boondocks and Describing the Problem

On a positive note, Michael Moore wrote in the forward in the book “A Right to be Hostile,” that Aaron McGruder provides “bodacious wit in just a few panels…life, in America through the eyes of two African American kids who are full of attitude, intelligence and rebellion” (McGruder, 2003, p.7; McGrath, 2004, p.5). When examining the literature previously published about The Boondocks, I have found that reactions to the animated series fluctuate depending on the context. Within academic discourse, there has been a consistent concern with the classification of The Boondocks. Situating this study within the conversation of other research produced on the subject would be inaccurate because this study is situated in curriculum theory. Curriculum Theory has not engaged The Boondocks animated series.

To begin, some of the most visceral critiques of the show start as rhetorical stabs at the shows content. There are numerous blogs and online articles that examine the show, but many of the responses are not peer-reviewed articles or credible. Another noticeable concern when initially conducting the review of the literature had to be that I found arguments that solely critiqued and referenced the comic strip instead of the animated series. Although the comic is substantial in the analysis of The Boondocks, the two mediums are very different and provide a completely different experience. One of the major critiques of the animated series is its impact on youth and their perceptions. This is often directly correlated to the responsibility necessary when producing a satirical show about the politics race, class, and gender in America. “Larry Elder, African American radio host and frequent McGruder critic, suggested that an award for the “Dumbest, Most vulgar, Most Offensive Things uttered by Black public Figures…Maybe we should call the Award the “McGruder” (McGrath, 2004, p.5). There has been a constant debate over whether the show is doing damage to adolescents watching the animated series. This reoccurring theme arises in many critiques. Robert Johnson, former owner of B.E.T, also criticized McGruder for his constant attack on the cable network. He has gone so far to suggest that his employees did “more in one day to serve the interest of African Americans than McGruder has done in his life” (McGrath, 2004, p.7). Another critique questions whether the images are doing damage to the Black community as a whole. In several episodes, McGruder critiques B.E.T and the relevance of their television programming. The character Huey believes that B.E.T. is bad for anyone who watches it. In addition to both Larry Elder and Robert Johnson, Civil rights activist, Al Sharpton has often criticized the creator and the sitcom for using the “N-word” on national television. His critiques were exacerbated when McGruder chose to make Dr. Martin Luther King Jr. the center of one of his episodes. The critique of McGruder’s work becomes more compounded and complicated when including gender relations to the discussion of The Boondocks. Because many of the episodes in the animated series do not explicitly address women, it is often assumed that McGruder is explicitly sexist. Women are not outright omitted from all discussions within the series and they are visible in the series; they are visible in some episodes but they do not have any significant impact in the majority of them. This critique is often equated to McGruder maintaining and perpetuating a hegemonic idea of masculinity that only exacerbates the issues in

society. Deidre L. Wheaton (2008) wrote in her dissertation that McGruder’s conceptualization of gender indeed very biased and problematic. She states, “he constructs blackness as synonymous with maleness so much so that there are no Black women or girls represented” (p.188). This critique can be very damaging in the sense that it places Black males in a position to be viewed as an inherent threat. It also does not take into account the rationale as to why McGruder may have left females out of the comic strip or animated series. Moreover, it has the potential to implicate hip-hop culture as being the catalyst and reason as to why particular problems exist in the Black community. If blackness is equated to maleness than just about everything in Black culture is responsible, good or bad, is based on Black maleness. Assuming that this is Aaron McGruder’s position is unjust. Moreover, it could be alleged that the series substantiates the stereotype that all Black males that listen to Hip-hop are misogynistic and hypersexual. In this dissertation, I seek to complicate the ideas about The Boondocks animated series, and offer a reading of the text that situate it as a pedagogical tool, that helps both teachers and students use a text that is sorely maligned and criticized for being too radical.

Review of Research on The Boondocks

To start, research by Rockler (2002) explicitly discusses the impact of The Boondocks. This study of the Boondocks investigates the impact of the images and language usage. The goal was to understand how different groups of people (Black as oppose to White) react to The Boondocks vs. another comic strip. The results suggested that White people tended to react more negatively toward The Boondocks than the other text. In the same text, the researcher discussed what The Boondocks actually critiqued. According to the article, The Boondocks critiqued the suburban ideal and myth that African Americans can fit anywhere. It calls into question the normativity of whiteness by drawing attention to standards that suggests European Americans as race-neutral and it also explores internal African American cultural conflicts, and challenges the monolithic representation that is typically propelled on to the discourse (Rockler, 2002, p. 404). Ultimately, this study suggests, “that relevancy influences the degree to which audience members interpret texts oppositionally” (p.414). The study proceeds on to suggest that the subsequent interpretations of the text are contingent upon how “relevant” they believe race and racial politics are in society (Rockler, 2002, p. 4). Relevancy and privilege ultimately determined the perceptions of the two texts in question. 15

In another article, Rex Krueger explicitly discusses the nuances of both the comic strip and the animated series noting that the Boondocks is an evolutionary project that “emerges as a complex, highly inter- textual work with a large number of subtle cultural references” (Krueger, 2010, p. 313). He goes further to reiterate “there is little, if any, work being done on The Boondocks by literature or cultural studies scholars.” This reference by Krueger becomes even more evident when one extends the conversation of The Boondocks into the context of education, in particular, curriculum. He also asserts that it is due to the relative newness of the animated series that very little research or attention was given to The Boondocks. Although this article is a little over three years old, the search within the EBSCO host search engine still only renders 19 “hits” when one searches “The Boondocks Animated Series.” Despite the limited literature on the topic, Krueger still applauds the show for its visual effects and content. Krueger (2010) says that

The series is visually lush and populated by fully-formed characters. Each episode features a multi-layered plot and dense action. As animation, the show delivers much more than the strip promises, and has a kinetic, anime-influenced style. In short, the TV version of The Boondocks is much more than it needs to be – it exceeds expectations by delivering fully-developed characters, fluid animation, cinematic flashbacks to American history, and sharp action sequences. (p.314)

In addition, he discusses the nuanced differences between the comic strip and the sitcom’s content. He believes that the text itself is one that brings complexities that the comic strip never could. (Krueger, 2010, p.316.) Krueger also discusses racism and addresses how The Boondocks has approached the discussion of race relations. He references the episode “The It is” (McGruder, 2006) by merely describing the plot of the show. He discussed how the image of turning “the opening of a soul food restaurant into a comedic parable about the societal consequences of drugs and the dark motivations behind urban renewal” (Kruger, 2010, p. 328). His example, although not in depth, was still validation that these conversations do arise in the sitcom. Krueger begins to close his argument by explicitly discussing his assessment of Aaron McGruder and The Boondocks. He recommends and reaffirms others assessments of McGruder’s radical nature when he states that McGruder is a “very dangerous Black man” and perhaps the “most dangerous Black man in America” because of the views he expresses within

the comic strip (Kruger, 2010; Wickham, 2002, p. 11A). He further suggested that Aaron McGruder never discriminates when it comes to critiquing African American and White public figures, which included, but was not limited to politicians, civil rights leaders, and entertainers (Kruger, 2010; McGruder, 2005). He is the antithesis of Blacks who have “gone astray” as well as Whites whom he believes undermine the interests of his race (Kruger, 2010, Wickham, 2002, p. 11A). Moreover, the fact that McGruder has continually discussed difficult and controversial issues is another reason why he is deemed dangerous. As a result and in direct response to the content published in Aaron McGruder’s work, many publishers have chosen to not to publish controversial topics or offensive language in their newspapers. Consequently, the strip is no longer in syndication. These same difficulties arose when the television show was trying to find a network to work with. McGruder has stated on several occasions that Cartoon Network was the best choice because the cable network gave him the most freedom. “McGruder asserts that Fox’s status as a network (as opposed to a cable channel) would have made it impossible for him to use the kind of language and humor that are essential to the show. (Rabin, 2005: 2; Kruger, 2010, 328)” Ultimately, Krueger’s article highlight the important components within the animated series, but his work does not speak to the pedagogical possibilities for the animated text. In the article “Bringing Afrocentricity to the Funnies: An analysis of Afrocentricity within Aaron McGruder's The Boondocks,” the authors choose to examine The Boondocks through the context of Afrocentricity. They too acknowledge, “while research on comic strips and their content is extensive, there remains little research focused on African American comic strips” (Tyree & Krishnasamy, 2011, p.30). They assert that their research “attempts to do what has not been done in other research focused on The Boondocks by taking an applied approach to Afrocentricity theory.” In simpler and specific terms, the authors analyzed McGruder’s comic strips to locate the principles and concepts of Afrocentricity. They specifically examined and situated their study in the “10 principles of nommo.” The “ten characteristics often manifest themselves in the presence of nommo, which are rhythm, soundin’ out, call and response, stylin’, lyrical quality, improvisation, historical perspective, repetition, indirection, and mystification” (Tyree & Krishnasamy, 2011, p.28). In their textual analysis, they found that Boondocks reflected themes “liberation, peace, harmony, and does so in the “language” of African

Americans—Ebonics” (p. 39). This included “elements such as liberation and harmony, as well as the 10 manifestations of nommo. They suggested that the textual analysis method was best because it went “beyond simply counting instances of the presence of keywords within texts. Instead, it looks toward finding a deeper meaning within those texts” (Tyree & Krishnasamy, 2011, p.31). For this study, they specifically looked at Aaron McGruder’s “last complete book of compiled syndicated comic strips, Public Enemy #2: An All-New Boondocks Collection, was analyzed. The book was published in 2005, and “featured both daily and Sunday comic strips from March 13, 2003 to November 13, 2004” (Tyree & Krishnasamy, 2011,p. 30). While their findings suggested that there were components and characteristics of Afrocentricity, the study’s overall purpose was completely different from this study. Their research project is similar in the regard that it did attempt to reconstruct or counter the dominant narrative pertaining to The Boondocks.

In an article titled “Boys in the Burbs: A Critical Analysis of The Boondocks,” Alyse Nicole Jenkins discussed issues relating to family representation in the media. She wanted to bring to light the disparities of African American images in the media. Jenkins notes “while two out of three television programs are sitcoms, African Americans are underrepresented in these sitcoms, in literature on family interactions, and in media criticism” (Jenkins, 2011, p.87). In the study she chose to use a critical analysis approach with a focus on genre studies specifically (sibling interaction) to “examine the nature of the characters’ roles and experiences as a family” within context of the three main characters in The Boondocks (Jenkins, 2011, p. 91). The study aims to broaden the discussion and subsequent understanding if The Boondocks animated series and the curriculum when examined contextually. Jenkins (2011) observes that The Boondocks do not fit traditional norms or follow conventional language usage (p.98). She conveys in the close of article that the “study is limited as an overall generic analysis of African American animated sitcoms in that there is currently only one text of this type” (Jenkins, 2011, p.99). Lastly, she suggests, “further research could include season three, which was released after this current article was published. She closes her analysis by restating that her “study’s primary focus was on the family relationships within The Boondocks” and this is not the case for this study. As stated before, the purpose of this study is to understand the curriculum of race, maleness, and spirituality in The Boondocks. 18

Spirituality

Spirituality serves a very specific purpose in society. Depending on the culture, its significance varies and the representation of it looks very different. In the context of The Boondocks, spirituality can be personified and attached explicitly to the African American experience. This experience is one that typically is couched in Christian traditions and mimics the message of a Jesus Christ that was seeking to comfort and rescue those who have been oppressed. Because spirituality is typically situated along binary lines, the following section explores various conceptualizations of spirituality. The term spirituality was first seen and popularized in the Western discourse in the 1950s. According to Walter Principe (1983), the word spirituality originated from the Latin word spiritually, meaning “breath of life” (Shahjahan, 2010, p.475). This is with the clear understanding that the institutions of religion or religious activities are different from the denotation of spirituality. “Spirituality, unlike religion, is not concerned with codifying ethereal practices into a monolithic institutional structure” (Dantley, 2007, p.166). For this study, spirituality is not a monolithic concept. Even though much of this study’s spiritual language is rooted in Christian thought, it does not suggest that the term spirit or spirituality is centered on one particular religion. The notion of spirituality is inextricably connected to African Americans struggle and plight in this country. This will further be discussed in the section dedicated to African American spirituality. Religion and spirituality are explicitly seen as a duality and distinctly different.

To be religious conveys an institutional connotation, prescribed rituals, and establish ways of believing; to be spiritual is more personal and experiential, and has to do with the deepest motivations of life for meaning and wholeness. The first is "official" religion, standardize and handed down by religious authorities; the second is "unofficial”, highly individualistic, religion "à la carte" as Reginald Bibby puts it (p.72; Shahjhan, 2010, p.477)

Within academic research, the word Spirituality has taken on several different meanings. Sometimes these conceptualizations are predicated on a particular religious affiliation. According to Joel Kovel (1991), “Spirit is not a substance or place, but a kind or relationship which happens at certain points of human existence. We do not have spirit; rather, we are spirit to the extent that we achieve a certain kind of being” (Kovel, p. 20). On the other hand, religion 19

is a concept that distinguishes religion as a communal institution of specified faith that has an established set of norms. (Tisdell, 2001, p.1) Religion has the potential to impact one’s spirituality, but it is not definite. “Spirit reaches beyond the material, historical world of economy and technology yet it is affected by the time and place at which it arises. Thus, spirit stands outside history, act within history, and is acted upon by history” (Kovel, 1991, p. 6). J. Randall Koetting and Martha Combs (2005) reiterate the same idea via Walton about the institution of religion. They state,

Religion may or may not play a role in an individual’s spirituality and is quite distinct from spirituality … Religion is described as a framework for beliefs, values, traditions, doctrine conduct and rituals… Whereas spirituality is a much more encompassing term…. Spiritual relationships are defined as relationships to self, others a higher power, or the environment that brings forth a sense of inner strength. Peace harmonious interconnectedness and meaning to life. (p. 237)

Religion in this context only inhibits the idea of spirituality. “Religion is the manifestation taken by spirit” (Kovel, 1991, p.3). Kovel goes further to suggest that there are five specific “meditations as it pertains to spirit.” It is seen from the “standpoint of power (as in being “full of spirit”), as an indwelling being (as in the “spirit of ancestors”); as authentic meaning (thee spirit of ‘76”); in relation to desire (the opposition of spirit to flesh; and as ultimate being (the problem of godhead” (Kovel, 1991, p. 5). On the Contrary, spirituality seeks to have individuals attain their own understanding. More importantly, it inclines those seeking to implement a sense of spirituality to recognize and embrace Paulo Freire’s (1998) notion of “unfinishedness” or incompleteness. This feeling of incompleteness has the potential to liberate oneself from the expectation of completeness or perfection. Kovel (1991) would suggest that,

Spirit occurs in the motion of the dialectic, as splitting is overcome, and a relation to the liberation of nature. Spirit is not opposed to matter, or the flesh; rather it is revealed, indeed created, in the freeing of matter and flesh; that is in the overcoming of splitting. In addition, spirit is not a by-product, or an indicator, of this overcoming; it is the lived process. Thus, liberation is spirit and spirituality is emancipatory. (p. 3)

Kovel’s elaboration on spirituality helps to segue into a completely different discourse. The next definition of spirituality is reminiscent of principles and concepts in Afrocentricity. Adisa A. Alkebulan (2003) “states that attaining spiritual harmony is possible, and a person’s humanity is

linked to his pursuit and fulfillment of harmony” (p.23). Spirituality, therefore, must be viewed as a practice that goes beyond traditional religious activities. Tisdell (2003), similar to other scholars posits “spirituality is fundamentally about how we make meanings in our lives, particularly as related to our over-all purpose” (p.31). For some, it could be described as a “non- material force within an individual in which people experience events that bring them to a place of “enlightenment, freedom, and wholeness” (Fontana, 2003, p. 11). What is universal is that the notion of spirituality is personal, unique, and individualistic. It is “the vital life force that animates African peoples and connects them to the rhythms of the universe, nature, ancestors and the community" (Wane, 2006, p. 89; Wane, 2011, p. 164). When applying these definitions to a specific ethnicity that has been marginalized, these denotations change. The explicit discussion of African American and subsequently Critical Spirituality will follow in the coming sections.

African American Spirituality

In order to begin engaging the conceptualization of spirituality that African Americans typically associate with, one must realize the conditions that stem from such an experience. As already noted, “defining spirituality is a demanding task because often notions of spirituality are automatically accompanied with those institutionalized religions” (Dantley, 2005, p.653). This has specifically been the case for African Americans that endured chattel slavery. Institutionalized religion and White supremacist interpretations of Christian theology helped to maintain racist practices and the status quo for marginalized people. According to Dantley (2005), “religion emphasizes conformity and adaptive behaviors, whereas spirituality inspires creativity, inquiry, and transformative conduct” (p.654). This understanding of spirituality allows African Americans to extend their conceptualization of spirituality. Having the ability to use spirituality in both a ritualistic capacity and as a means of navigating racist interactions on a daily basis allowed for them in many instances to remain sane. According to Carlyle Stewart (1999), “Black spirituality has helped Black people relocate themselves psychologically and spiritually within racist society and culture by equipping them with the capacity to transcend its constraints” (p.29). It is understood within the Black experience that African American spirituality encouraged and sanctioned enslaved African Americans not to define nor identify themselves according to their current predicament. Due to historical events, African Americans have been forced to examine spirituality differently. They 21

have historically and theologically examined Christ and the tenets Christian theology differently than those in the dominant group. For African Americans, Jesus Christ was more than a martyr; he was a liberator that provided hope and security. This inherently changed the outlook on spirituality. “African American notions of spirituality are laced with pronouncements of liberation and overcoming suffering and oppression” (Dantley, 2010, p. 215). Overcoming psychological issues associated with being enslaved and institutionalized racism that attempted to diminish African American humanity is exactly why spirituality is so important. Spirituality within the African American context has also served as a method of identification. “It forms notions of purpose and destiny as these are juxtaposed against an unhealthy nihilism that continually invades and chips at the psyche of many Black Americans” (Dantley, 2005, 657). Although the rituals within the Black experience come under scrutiny, they do have a pragmatic purpose. The institutionalized practices provide a space where commonly experienced struggle and pain can be exorcised. Stewart (1999) stated “the practice of African American spiritual beliefs have been critical; in helping Black Americans meet and exceed the excruciating demands of their human dilemma” (p .32). Once the acknowledgement of the African American plight has been addressed, one can begin to understand why spirituality was so integral to the African American community. The collective and individual psyche becomes a central place of healing and growth. Spirituality is also a place where African American can cultivate many other aspects within their culture. James H. Cone posited that “the formation of Black consciousness, culture and spirituality, which invariably compels African Americans to formulate, establish, and construct a unique matrix of human existence that reinforces the positive aspects of Black personhood and community” (Cone, 1997, p. 31). The positive nuances that stem from Black spirituality are directly connected to how the community strived for respect and recognition of their humanity. Because those positive characteristics and personas were stripped from them during slavery, the desire to reestablish them, while to contributing to social change, came through in their expressions of spirituality. From a socio-political standpoint, spirituality has been a reoccurring theme in producing social change. Several scholar and theologians have said, “spirituality in the Black Community has been the effectual foundation upon which many African American have built projects of resistance” (Cone, 1975 /1997; Dantley, 2005, p. 654; Stewart, 1999; West, 2004). Spirituality

has clearly been a source within the Black community where some semblance of unity has been prevalent. It has been a source of contestation and clarity. Spirituality gave African Americans a space where they could begin “to navigate and explore not only themselves in a self-reflective way, but also the system and institutions that marginalized them according to racist, classist and sexist paradigms” (Dantley, 2005, p. 655). African Americans had to realize that the experiences endured in this American context a reflection of themselves and the impact of racism on an individual person and the community. James Cones (1997) eloquently stated that a

Black perspective that brings free thinking in relation to our cultural history and thus enables us to hear the urgent call to speak the truth. In this context, truth is not an intellectual datum that is entrusted to Academic guilds. Truth cannot be separated from the peoples struggle and the hopes and dreams that arise from such trouble. Truth is that transcending reality, disclosed in the people’s historical struggle for liberation, which enables them to know that their fight for freedom is not futile. (p. 16)

Cone in essence allows experience to become a viable source of truth. This truth is directly related to hope and faith, which for many are intangibles and immeasurable. Spiritual experiences become tangible and explain the conditions people of African descent endured. In closing, “African American Spirituality is creative in that it allows Black citizens in the United States to envision life as it might be” (Dantley, 2005, p. 655). This conceptualization of spirituality based on hope and faith contradict how traditional knowledge is constructed and implemented. From a curriculum standpoint, this understanding of spirituality has the potential to open mindsets while changing paradigms about schooling. These paradigmatic shifts have the potential to alter the learning experiences for students of color.

Critical Spirituality

Spiritualty in this study can also be reference or thought of as Critical spirituality. By using this conceptualization of spirituality, this study can begin to engage African American spirituality as well as an understanding of spirituality that is guided by an ethic of social justice. The immediate argument that must be addressed within any discourse that includes the concept of spirituality is the notion of religion. Not every spiritual encounter can or will look the same. “Critical Spirituality is an amalgam of the tenets of African American spirituality (Stewart, 1997,1999; West,

1982,1993,1999) and critical theory” (Dantley 2010, p.215). Although he constructs and uses critical spirituality for the purposes of educational and school leadership, the usage of critical spirituality in this study is to apply his concepts to those who are not educational leaders. The tenets as it pertains to this study are applicable to everyone from curriculum theorist to the African American males at the center of this study. Dantley’s rationale for grounding African American Spirituality and critical theory, specifically within the context of schooling, helps one to thoroughly examine “the dissonance between what presently happens in schools that perpetuates the status quo and what could happen in school that would bring about marked change in these institutions” (p. 14). Dantley (2010) states:

Critical Spirituality is “critical” because it is grounded in the notions of asymmetrical relations of power as demonstrated in the contested terrains of race, class, gender and other markers of identity. It is spiritual because it is an active and personal search by educational leader for meaning, connectedness, resistance, and ultimate transformation of schools and their social milieu that have historically touted a marginalizing and undemocratic hegemony. (p.218)

Dantley’s emphatic addressing of marginalizing social constructs is only surpassed by the way he structures the four concepts that theoretically define the critical spiritual framework. Those four ideas within the framework are critical self-reflection, deconstructive interpretation, performative creativity, and transformative action (Dantley, 2007, p.160). Each tenet has a very definitive purpose. For example, the first tenet, critical self-reflection requires “the consideration of the rituals and performances in schools marginalize those who on account of their race, social class, gender, sexual orientation, ability, or religion find themselves outside the dominant cultural group that is given legitimacy in the public schools” (Dantley, 2007, p. 161). The first tenet explicit acknowledges again the relationship between power and those abused by power. This recognition of marginalization and “other” is an important theme. The second concept Dantley mentions in his conceptual frameworks is “deconstructive interpretations.” This term encompasses the very act and execution of a critical theory perspective in the realm of schools. The concept itself “asks how she (an educator or educational leader in Dantley’s framework) was so socialized as to embrace her personal positions on issues of race, class gender, sexual orientation, religion, and other markers of distinctions and identity” (Dantley, 2007, p.161).

These two concepts force the educator, curriculum theorist, community activist or even student to first active reflect on themselves and their own positionalities. The last two tenets are grounded in a sense of faith, hope, and action. They are not concepts that stand alone in theory; they are prophetic and pragmatic terms that require educators to go beyond the norm. The third term “performative creativity” requires the individual to be “radical or possess a progressive imagination, grounded in hope, to envision a radical reconstruction of the educational process” (Dantley, 2007, p.161). Dantley goes further to suggest that performative creativity use the outcomes of one’s critical self-reflection and deconstructive interpretation to ultimately disseminate and create new knowledge and socially just ideologies that will help to transform the current state of education and the antiquated practices that exist in schooling. The final tenet Dantley puts forth is “Transformative action”. This final tenet “takes the entire process from the context of “naval gazing” and moves into manifestation” (Dantley, 2007, p.161). Recognizing that educators and theorists are similar requires that both commit to action rooted in social justice. At some point, the full embrace of such tenets is required to actualize critical spirituality within an academic setting. Getting away from the notion of “naval gazing” requires one to actively engage the marginalizing issues that are evident in schooling. He states “those operating from a critical spiritual epicenter understand the necessity to legitimate the multiple voices of the learning community, even though many or most may be in a state of constant contestation with one another, within a democratic context” (Dantley, 2007, p.162). There are innate responsibilities that come with operating in a critical spiritual framework. It again asks an individual consistently to monitor his/ her ideologies and motives. From educational standpoint, critical spirituality requires current practitioners and those associated with school “to not only understand the realities of the lives of urban students, but also enhance their own roles as perpetuators of the status quo” (Dantley, 2010, 218). His statement does not suggest that those outside of the educational realm cannot conduct the same self-evaluation. This same method of self-reflection can be applied to organic intellectual and those who operate as activists in the community. Ultimately, the result of critical spirituality should be a rendering of critically conscious individuals that first have interrogated themselves. He states that, Critical Spirituality demands the deep, introspective grappling with all forms of marginalization, schools that operate from this focus cannot help, but deconstruct the 25

various ways that the school and those who operate it perpetuate, either knowingly or unwittingly, the hegemonic rituals and practices that regularly disenfranchise those who are outside the cultural mainstream. (Dantley, 2007, p. 172)

Addressing the internal epistemologies, ideologies and biases are a part of the journey to operating from a critical spiritual epicenter. A lack of doing so only perpetuates the problems marginalized students and people experience in a capitalist culture. Dantley believes “critical spirituality should motivate one to interrogate the ways in which traditional spaces, like schools and codified religion, perpetuate notions of racism, sexism, classism, ableism, and homophobia among a number of other undemocratic practices” (Dantley, 2007, p.166). A lack of critical engagement only contributes to undemocratic practices. Socially injustice acts should be viewed as inaction and complicity to the current issues plaguing schools must be rectified if all students are to be academically successful. Critical spirituality explicitly seeks to counter these practices. Dantley interfaces and continues the discussion of spirituality by using “faith” as a substantive theme. This theme will be discussed in the next few section. When synthesizing all of these denotations of spirituality, the conclusion one comes to is that some notion of faith is ever present. Faith is something that is not always tangible. According to Michael Dantley (2005), “faith is a transitive verb.” He goes further to state hat “faith is the antithesis of proof” and possessing faith independent of institutional or religious beliefs essential fully understanding spirituality. Moreover, each idea under the guise spirituality requires some component of “critical reflection.” The discussion above reaffirms why faith and a commitment to self-evaluation are important when operating within an educational or critical spiritual framework. In an educational sense, Freire discusses critical reflection as it is directly related to one’s practice. He posits, “critical reflection on practices is a requirement of the relationship between theory and practice. Otherwise, theory becomes simply blah, blah, blah and practice pure activism” (Freire, 1997, p.30). This conceptualization of “reflection” begins when introducing various concepts, specifically when applying spirituality directly to education and curriculum. A few of these ideas are “Radical democracy”, social justice, and critical spirituality. Freire (1970) goes further to state:

There is no such thing as a neutral educational process. Education either functions as an instrument that is used to facilitate the integration of the younger generation into the logic of the present system and bring about conformity to it, or it becomes "the practice of 26

freedom," the means by which men and women deal critically and creatively with reality and discover how to participate in the transformation of their world. The development of an educational methodology that facilitates this process will inevitably lead to tension and conflict within our society. (p. 34)

By conjoining radical democracy and critical spirituality, the concerns in schools can be challenged in a more critical and compassionate capacity. It takes a very purposeful approach when addressing the social norms and stereotypes attached to education. As it pertains to this particular project, it is important to remember that the text/ media source and primary demographic surround African American males. Paulo Freire’s work suggests that a “radical democracy” will be required to change the paradigms attached to marginalized groups that have been historically maligned. For Freire, a radical democracy would encompass a thorough and systematic overhaul in economic and political social structures. In education, this would also include changing the praxis of educational practitioners. According to Freire (1970): [T]he more radical the person is, the more fully he or she enters into reality so that, knowing it better, he or she can transform it. This individual is not afraid to confront, to listen, and to see the world unveiled. This person is not afraid to meet the people or to enter into a dialogue with them. This person does not consider himself or herself the proprietor of history or of all people, or the liberator of the oppressed, but he or she does commit himself or herself, within history, to fight at their side. (p. 39)

This radical democratic approach towards education allows for a more creative yet transformative approach toward changing society’s antiquated paradigms. The tenets of critical spirituality and Freire’s radical democracy provide an atmosphere where conversations around education and schooling can be broadened so that those who are marginalized, can contribute to the to subsequent crafting “of schools, classrooms and students that take an active role in meeting the learning, social and political needs of such a culturally diverse learning community” (Dantley, 2003, p. 289). According to Freire, this would include challenging hegemonic standards. The infusion of Michael Dantley’s Critical Spirituality allows for a radical approach to schooling, curriculum, and leadership. Dantley posits that the overarching goal of critical spirituality is to “critique and destroy undemocratic power relations blended with a spiritual reflection grounded in an African American sense of moralism and prophetic resistance” (Dantley, 2003, p.281). By conjoining Freire and Dantley’s approaches, schooling possibly becomes more socially just and nourishing for students. These conceptualizations put forth by

Michael Dantley become more apropos when beginning the discussion of race and masculinity. This radical approach to social justice and education repositions the discussions of race and masculinity in a way that seemingly dismantles traditional curriculum and pedagogy practices.

Theories of Race and Masculinity

Theories about race have many origins. Within the critical discourse and particularly this study, it can be attributed to Critical Legal Studies, which as a legal studies discourse gave birth to Critical Race Theory. One of the main proponents of both discourses was the late Derrick Bell. Race within this discussion is a concept that is socially constructed. The identification of race within this framework is not based on race being determined by one’s biological makeup but by the way hegemonic groups have chosen to label subordinate groups. The ability to convince those within a subordinate group to passively accept a marginalized positionality is rooted in the way power has been historically dispersed. Critical race theory operates under the idea that because race is socially constructed, subsequent laws and social behaviors are constructed within a historical context that is explicitly racist. Epistemologically, Critical Race Theory is not considered by most an explicit theory. In its simplest form, Derrick Bell suggests Critical Race Theory be defined and examined as a "body of legal scholarship” (Bell, 1995, p. 898). David Gillborn rearticulate this same sentiment by suggesting that this legal discourse (CRT) “offers a genuinely radical and coherent set of cultures they could revitalize critical research and education across a range of inquiries, not only self-consciously open" multicultural" studies" (Gillborn, 2006, p. 13). Other race scholars might suggest that CRT can be described as a social “movement” that’s sole purpose is to promote and incline organic intellectuals, (Gramscian theory) as well as traditional academicians to critically examine the issues of race. The usage of the term organic intellectual is done so for a few particular reasons. Regina A. Bernard-Carreño (2009) states:

The organic intellectual is trained to think hermeneutically and thus uses their consumed knowledge and applies it to their lived experience (race) thus, producing new forms of knowledge. In this, the organic intellectual is seen as less “experienced” in the forms of traditional knowledge. Race, gender, socioeconomics and ethnic history are a central part of their learning experiences, particularly at predominantly White institutions. (p.14)

When discussing further the role of an organic intellectual in an educational capacity, Bernard- 28

Carreño reiterates that a “Black and/or organic intellectual of color, their hermeneutical approach to producing and consuming knowledge is displaced, and unwelcome in many classrooms” (Bernard-Carreño, 2009, p.14). In so many words, they are openly suggesting that the experiences African Americans bring to the classroom are deemed unimportant yet their experiences are valid to their educative process. The infusion of social justice into the discussion of CRT particular speaks to the fact that further discussions surrounding the understanding of racial identity and the complexities/nuances within race. Although this text is centrally focused on African American culture, it does engage equity and social justice for other marginalized groups. That being said, when examining race, it is vital that one to understands the various epistemological standpoints or tenets within legal scholarships.

Complexities of Maleness and Race

Since the arrival of African slaves in the United States, there has been a reoccurring theme connected to bodies of color. That theme is one that resembles marginalization and oppressive practices. Willie Lynch said it best in 1712 when he cautioned advocates of chattel slavery to psychological practices that would help institutionalize people of color. Credited with making a statement, “ Take the body, keep the mind”, Lynch constructed the psychological process to shape and mold a slave. It is almost 300 years later and this method is often considered successful and the mechanism of control still exists. The literal bondage is prevalent in this culture for many people of color but Black males in particular. Mass incarceration within the American social structure is often the immediate connection to this idea. The barbaric torture tactics and the abusive psychological methods Willie Lynch used to control the Black male and Black family, ultimately helped to shape the way identity is viewed and perceived. His tactics not only conditioned the psyche of Black males but in many ways circumcised and even castrated Black males sense of spirit. To date, those methods of control have been continuously effective since the end of chattel slavery. Within the “American” paradigm, culture and society supposedly believes in in the democratic notion of freedom. Fortunately for some, freedom possesses a positive connotation and a “true” meaning. For others, it conjures up the image of Greek mythological god Atlas carrying the weight of the world on his shoulders. Within everyday life, Black masculinity goes through a labeling and defining process and traditionally this racial identifier has been relegated 29

to an identity construction that is actively created by the media and passively accepted by consumers of all races. In far too many instances, it has become a process that seeks to control the spirit, mind, and physical body. All the while, the hegemonically constructed identity has been divisive to the Black community and in many circumstances promoted tensions between generations and genders. This tension exist because, American culture promotes a sense of hyper aggressive behavior and hedonistic consumerism. Both concepts lead to the generational birthing of nihilism. When historically examining Black males, one can readily identify their positionalities within the American context. Black males were originally identified and labeled for two particular purposes, labor and reproduction. Once those individuals arrived, according to the hegemonic power structure, it was the responsibility of the dominant Whites to break them down and mold them into what was deemed socially acceptable. The psychological brainwashing was typically accomplished by making an example of the strongest male within the group. Within the White supremacist and patriarchal model, that meant establishing a hierarchal and very dominating presence/ personification. This force-fed dominance transcended all areas of human life for Black males and changed how they interacted with other Black males and females. bell hooks (2004) asserts:

Transplanted African men, even those coming from communities where sex roles shaped the divisions of labor, where the status of men was different and most time higher than that of women, had to be taught to equate their higher status as men with the right to dominate women, they had to be taught patriarchal masculinity. (p.3)

What hooks is describing is something that I would label behavioral insemination. The behavioral insemination that occurred can be construed as an explicit form of circumcision or castration. This form of circumcision most resembles the traditional male circumcision. The “traditional” rationale within the ancient Egyptian model for circumcising the male genitalia was based solely on exhibiting and exuding a particular social status. The uploading of a western, patriarchal conception of masculinity into these newly acquired “docile bodies” was a direct act of artificial insemination. The majority of narratives pertaining to Black males heard and discussed within curriculum theory are similar to that of The Boondocks. These narratives are constructed and told

in a way that positions Black males as someone in need of desperate help. This text particularly focuses on African American Males being satirically situated in culturally relevant experiences that critique the norms existing in dominant culture and the dominant narratives/ideologies of Black maleness. The discussion surrounding African-American males and the issues that they face on a daily basis is a part of this study, and is a substantive theme within this project. When discussing curriculum and Black males, gender identity continues to be an important issue. The notions of maleness and masculinity are also ideas that need to be discussed within the American social structure. African-American males are typically thought of as being unprepared not only for education, but for the rigors of life. This dialogue needs to be challenged and critically dritiqued. The notion of masculinity has gone through a ritualistic process of defining and redefining. Regardless of race, many boys go through the same rituals that define masculinity. Much like the traditional practice of circumcision, masculinity is and remains a rite of passage that is often conceptualized, defined, and dictated by a singular entity. Throughout every known analysis, the grappling over which definition reigns supreme is also a quintessential element to how masculinity has been traditionally thought and ultimately performed. When adapting these same ideas to the concept of Black masculinity, the conversation becomes more muddled. Scholars within the analysis of masculinity and maleness approach the study of masculinities from a social constructionist perspective (Kimmel and Messner, 2007; Harris, Palmer &Struve, 2011, p.49). The social constructivist epistemological standpoint becomes crucial when examining gender representation and performance as a “learned social behavior rather than "natural" or biologically determined behavior” (West & Zimmerman, 1987; Harris, Palmer &Struve, 2011, p.49). In the case of the animated series, each of the characters in the animated series is constructed based on certain images and stereotypes embedded in society. Their satirical construction helps to understand how complex masculinity is within this American context. One concept that constantly comes up within racial and socioeconomic discourses is the idea where the notion of “double consciousness”. Dubois’s work and usage of this notion have transcended time and been implemented in many scholarly works. Many scholars to use this concept is a way to understand how African-American people navigate a space that is not only oppressive, but one that is also inherently not their own. As Dubois would say, African-

Americans "Twoness, are being an American, and Negro; two souls, two thoughts, two reconciled strivings; two warring ideals in one dark body, whose dogged strength alone keeps it from being torn asunder” (Dubois, 1903, p.2). Double-Consciousness can be easily observed in how granddad struggles with desiring to be young. It is also indicative in how he tries to justify his (often) reckless actions with the fact he spent his youth fighting for freedom during the civil rights movement. His rationale is that since he paid his dues, he can now in old age do whatever he pleases. This is one example in the animated series that justifies the usage of spirituality. Spirituality in Granddad’s case would have provided balance and solace to his current dilemma. Spirituality offers a lens that provides clarity to chaotic situations. It is with intense hope that this project can extend past traditional ways of thinking and creating knowledge. At the same time, an inexplicit goal is to provide a counter narrative of maleness. Interestingly enough, even the idea of Black masculinity has been a concept that has also been fought over and despotically controlled. This particular study focuses primarily on how Black masculinity has been viewed within a White supremacist, capitalistic, and patriarchal power structure. When introducing and imposing the dominant position of masculinity toward African American males, it has become a task where control is considered necessary. The never- ending and concerted effort to maintain surveillance over this particular spirit, mind, and body has been one that has unequivocally come under attack. Furthermore, Black masculinity will continue to remain under the oppressive jurisdiction of the American culture unless a mass of critically conscious educators, organic intellectuals and grassroots organizers take ownership over their communities or particular spheres of influence. Because schools tend to promote one conceptualization of learning, the educative process becomes difficult for those who do not fit into that specific model. The mere perception that African American males are incapable of achieving a Eurocentric conceptualization of success is predicated on “imperialist White supremacist capitalist patriarchal culture” (hooks, 2004, p. 34). This same social and education system fosters a sense of competitiveness. Educational research for decades has suggested that individualistic and competitive conceptualizations of learning have not been effective for student of color (Bennett, 1986, p.23). The only difference noticeable among African American males is that the sense of competitiveness promoted in classrooms extends beyond the classroom and into various spaces. Some may even think that within the

current understanding of schooling, competitiveness for Black males rarely makes it into the classroom. For African American males, masculinity has been aligned with physical prowess. The competitive nature of current curriculum could be one that continues to exacerbate the aggressive notions of masculinity that African Americans are so often characterized as having both inside and out of schools. hooks contends that Black males are:

Groomed to remain permanent members of an underclass, groomed to be without choice and, therefore, ready to kill for the state in wars whenever needed, Black males without class privilege have always been socialized to believe that physical strength and stamina are all that really matter. (hooks, 2004, p.34)

This social and economic ideology has disproportionately and consistently placed African American males within one particular category. Moreover, the intrinsic acceptance of this ideology systematically coerces African American males to be attached an ideology that is designed to place AAM (African American Males) at a disadvantage. This disadvantage is often labeled as hypersexual, aggressive and violent. Examining masculinity specifically within the African centered context, this form of masculinity has typically consisted of the term “cool posing.” Majors and Billson (1992) suggests, “cool pose” as a word that identifies the “self” within the context of Black male identity. “Cool Pose is a ritualized form of masculinity that entails behaviors, scripts, physical posturing, impression management and carefully crafted performances that deliver a single, critical message: pride, strength and control” (Majors and Billson, 1992, p.4). Cool pose is expressed through unique styles of speaking, gesturing, dressing, wearing hair, walking, standing, and shaking hands (Majors, 2001; Majors & Billson, Harris, Palmer & Struve, 2011, p.50). These tactics are considered superficial at best. bell hooks (2004) and the other for mentioned authors would suggest,

Once upon a time Black male cool was defined by the ways in which Black men confronted hardships of life without allowing their spirits to be ravaged. They took the pain of it and used it alchemically to turn the pain into gold. The process required high heat. Black male cool was defined by the ability to withstand the heat and remained centered. It was defined by Black male willingness to confront reality, to face the truth, and bear it not by adopting a false pose while feeding on fantasy; not by Black male denial or assuming “poor me” victim identity. It was defined by individual Black males daring to self define rather than be defined by other. (p. 147)

Instead of cool posing being equated a progressive and positive attribute, it has instead been recognized by these same scholars as a concept that should be considered a coping mechanism or strategy to psychologically combat the rigors of being a minority “Being cool is an ego booster for Black males comparable to the kind White males more easily find through attending good schools, landing prestigious jobs, and bringing home decent wages” (Majors & Billson, p. 5; Harris, Palmer & Struve, 2011, p.50). William Oliver (1989) “characterized Black masculine expression as emphasizing sexual promiscuity, toughness, and deliberate physical expressions” (p.20). Again cool posing and subsequent conceptualization of masculinity are based on countering traditional hegemonic ideas of maleness. Although enacting oppositional conceptualizations of masculinities mediates some racial stressors for Black men, many of these behaviors have significant social consequences, particularly in education (Harris, Palmer & Struve, 2011, p.50). Ultimately, a change in both thought processes and spiritual engagement can alter the way Black masculinity is conceptualized. James Earl Davis (2006) has “argued for redefining masculinity by interrogating the various discourses and constructions of masculinity that adolescent males encounter, generate, and support” (p.291). I argue in this project that a sense of spirituality and intrinsic motivation in necessary for such changes. One’s spiritual encounters can help foster these changes and reading The Boondocks from this context should allow for ways to engage the Black male’s spirit.

Chapter 3: Theoretical Framework and Methodology By drawing on CRT and CML to read the curriculum of The Boondocks, I am suggesting and situating this study as a critical race media analysis that intentionally seeks to understand what The Boondocks teaches us about race, spirituality, and maleness in the U.S. I begin this chapter with a discussing the rationale for using Critical Media Literacy and Critical Race Theory. These two concepts are appropriate to this particular study because the media text can be easily understood when read and contextualized with the issues of race, spirituality and masculinity in mind. Moreover, the infusion of these theoretical frameworks allows this study the opportunity to discuss and further current ideas within curriculum theory. An apropos starting point for this research project would be discussing explicitly Critical Media Literacy and Critical Race Theory. When I began doing academic research, there were very few constructs that seemed to be culturally relevant and spoke to the research I wanted to conduct. The more I examined the discourses and how they fit the academic projects I chose, I found that both CML and CRT explained some of my life experiences and the direction I projected my research would follow. This initial reasoning undoubtedly presents an immediate researcher bias. The two critical discourses in question also fit well with the media text that I have chosen to examine. Racially centered conversations along with the satirical medium used gird the rationale for choosing both CML and CRT. In the coming sections, I will discuss both CML and CRT in depth and explain their connectivity to the animated series. I will close the discussion of these two critical discourses by situating my argument and study as a critical race media analysis. In this closing section, I will also explain how my reading of the text through the paradigm of spirituality influences a hopeful and faith based analysis of The Boondocks.

Critical Media Literacy: My Epistemological Understanding According to Douglass Kellner and Others

As previously noted, academic research, specifically educational research, has failed to produce any substantive research that critically interrogates or examines The Boondocks animated series In a way that propels the discussion past the obvious discussion of race and gender. Moreover, the discussions that have come from this discourse have yet to examine the pedagogical uses of The Boondocks. Critical Media literacy allows The Boondocks to become transferable to an educational setting that transcends both higher education and k-12 education. It 35

is my belief that The Boondocks can be an organic pedagogical tool that can be implemented inside of a barbershop or boys and girls club. According to the discourse of Critical pedagogy, theorist and scholar Paulo Freire presents a notion of generative themes. These themes are thought to help students read the word and the world. The process of reading the “word and the world has helped students connect what they decoded on the printed page and the world around them” (Kincheloe, 2004, p.15). This too is an important notion when examining Critical Media Literacy. Based on the work of Cathy Burnett and Guy Merchant (2011), the discourse of Critical Media Literacy

builds on a cultural studies perspective, with its roots in the work of the Frankfurt School. From this position, the culture industry is seen as a powerful force in reproducing dominant ideologies and, hence, a sophisticated instrument of social control. Critical Media Literacy work informed by this perspective is seen as an act of resistance or at least inoculation against media domination. (p. 44)

Critical Media Literacy has an explicit connection to critical pedagogy and it must be recognized. The explicit discussion of critical pedagogy will be limited to the explicit connections to CML. Joe Kincheloe explicitly stated “cultural studies, feminist theory, and critical pedagogy offer arsenals of research for this line of inquiry to question media representations of race, class, gender, and so on” (Kellner & Share, 2005, p.376). This sentiment is clearly shared within the discourse of Critical Media Literacy. Critical theoretical frameworks and critical pedagogy are vital to understand but is not mandatory for this particular part of the study. Critical Media Literacy pedagogically positions educators and students alike in a space where they must analyze the media, the audience’s consumption of the media, information or knowledge produce, and ultimately analyze the text so that the images or messages produced challenge the dominant narrative (Kellner & Share, 2007). This discourse interrogates texts in a critical capacity, but it specifically analyzes mass media. They specifically examine several media outlets in order to understand the production and consumption process within culture. The ability to discern and deconstruct the underlying social and political issues embedded in media is a primary goal of Critical Media Literacy. Several scholars believe “the purpose of engaging students in this aspect of Critical Media Literacy is to develop “within children and adolescents a critical awareness of the social, political, and economic messages emanating from popular 36

fiction, music, movies, comics, magazines, videos, computer games, and other popular culture forms” (Alvermann, Moon, and Hagood, 1999; Trier, 2008, p. 4). Again, pedagogically speaking, media literacy engages students in a way that allows them to take ownership over how specific texts could be read. It also makes the definition and understanding of pedagogy expand. The consumption of media and the production of alternative perspectives on media texts are the integral purpose of any student engaging in critical media inquiry or reading (Kellner & Share, 2007). These analyses and subsequent understandings of media provide alternative methods to deciphering how information in school and forms of curriculum are produced and implemented. Cathy Burnett and Guy Merchant (2011) have suggested that a strategic movement from critical theory into topics as diverse as critical pedagogy, critical disability studies and critical psychology mobilizes this concept of criticality to signal distance from mainstream practices, to stake out a territory for alternative views, and often encompasses a progressive or radical critique of the status quo. (p. 41)

Critical Media Literacy hopes to deconstruct and demystify the issues of race, class, gender, sexual orientation, and other social constructs. The goals for using Critical Media Literacy are numerous, but one consistent desire is to equip the masses (most often student) with a basic philosophical and theoretical basis that allows them to be prepared to discuss and understand media messages that could be damaging (Redmond, 2012, p.107). In order for this to be accomplished, there are five distinct core concepts that are recommended when seeking to engage in Critical Media Literacy. In the next section, the five core concepts will be discussed in depth to help firmly situate this study’s theoretical framework. . Douglass Kellner and Jeff Share’s research has frequently referenced the five core concepts of CML and their work is a repeated reference point for Critical Media Literacy. The five core concepts are:

Core Concept One: Principle of Non-Transparency: All media messages are ‘‘constructed’’ Core Concept Two: Codes and Conventions: Media messages are constructed using a creative language with its own rules Core Concept Three: Audience Decoding: Different people experience the same media message differently Core Concept four: Content and Message: Media have embedded values and points of view focuses on the actual content of media messages in order to question ideology, bias, and the connotations explicit and implicit 37

in the representation. Core Concept Five: Motivation: Media are organized to gain profit and/or power

Each idea above has a very particular role within Critical Media Literacy. Core Concept 1 discusses the “Principle of Non-Transparency.” It states, “all media messages are ‘‘constructed’’ (Kellner & Share, 2005, p. 374). As previously noted, the idea of construction is rooted in constructivism. The first core concept “challenges the power of the media to present messages as non-problematic and transparent” (Kellner & Share, 2005, p.374). It is their belief that the media (re) presentation of reality is beyond inaccurate and (re) presentations are only constructed through a hegemonic lens that is predicated on maintaining the status quo. Moreover, the discussion of Critical Media Literacy within schooling is counter to the way traditional education is conducted. CML is typically approached by scholars and students in non-traditional ways and recognizes that the “direct and/or indirect engagement with social worlds and are framed by teachers’ or learners’ meanings, in each the text is seen as significant to both representing and acting upon the social and cultural context” (Burnett & Merchant, 2012, p.46). In so many words, Burnett and Merchant suggest that learning is an organic experience where all parties actively and passively contribute to the educative process. This idea segues well into the next core concept. Core Concept 2 engages the idea of “Codes and Conventions.” Many of these ideas are rooted in cultural studies theorist, Stuart Hall. This view is rooted in the idea that “Media messages are constructed using a creative language with its own rules” (Kellner & Share, 2005, p. 374). “Language” in a critical media discourse is critical to reading and understanding the production of media texts. Connecting to this to The Boondocks animated series; language is integral to understanding the satirical messages in the animated series. The second concept:

relies heavily on semiotics to illustrate how signs and symbols function. From the study of semiotics, media literacy practitioners analyze the existence of dual meanings of signs: denotation and signifier (the more literal reference to content) and connotation and signified (the more associative, subjective significations of a message based on ideological and cultural codes) (Hall, 1980; Kellner & Share, 2005, p.374)

Semiotics are readily noticeable in media. When examining the issues of those who are marginalized, this becomes prevalent. The result of examining semiotics lies in the open acknowledgment that the dominant ideologies surrounding race, class, gender, and sexual 38

orientation are pervasive in marginalized communities. An explicit goal within education and the cultivation of a media literacy pedagogy is linked to encouraging students to “distinguish between connotation and denotation and signifier and signified” (Fiske, 1990; Kellner & Share, 2005, p.374). The task of distinguishing and comprehending such ideas only deepens that understanding one can have in a critical media discourse. It also must be taken into account that Critical Media Literacy is centered on “how texts – and the relationships they present and sustain – are patterned by power relationships, and has supplemented this through the production of new texts as a way of generating oppositional discourses through repositioning misrepresented or under-represented social groups” (Shor & Freire, 1987; Burnett & Merchant, 2012, p.43). This statement can not be more accurate when examining race, masculinity, and the power relations visible in the animated series. In The Boondocks text, the satirical content and the source of analysis provide substantive data critique and use. Core Concept three entails understanding and respecting the idea of “Audience Decoding.” This concept says, “people experience the same media message differently.” The idea suggests that “audience decoding” is the “ability of audiences to produce their own readings and meanings and to decode texts in aberrant or oppositional ways, as well as the ‘‘preferred’’ ways in tune with the dominant ideology” (Kellner and Share, 2005, p.375). This skill set or understanding of decoding provides various ways of reading and analyzing a text. From a cultural studies perspective, literacy according to Ien Ang suggests that textual critiques and the subsequent meanings do not exist solely in the text. He posits, “a certain text can come to mean different things depending on the interdiscursive context in which viewers interpret it” (Ang, 2002, p. 180; Kellner & Share, 2005; 2012). The open suggestion and acceptance that audiences are not weak or passive in the process of reading media texts promotes a positive ideology for youth seeking to find a voice in society and culture influence by media. This viewpoint becomes empowering for those who have historically been marginalized by media representations. Subsequent reinterpretations of textual meaning and socially constructed identities have the power to change impugning narratives. It is a belief for “many educators, that critical literacy and Critical Media Studies have held the promise of providing a curricula space for this kind of work” (Luke, 1997, 2000; Buckingham, 2003; Kellner & Share, 2007 Burnett & Merchant, 2012, p. 41). This project promotes such an implementation for media literacy and critical analysis.

Gaining an understanding for such a discourse allows richer student interaction and the discussion forth core concept, “Content and Message”. Core Concept four discusses the understanding of “Content and Message”. The fact that media has intentionally embedded hegemonic messages is not a new idea. This concept focuses on the actual content of media messages in order to question particular “ideology, bias, and the connotations explicit and implicit in the representation” (Kellner & Share, 2005, p.376). From a pedagogical praxis standpoint, media literacy is used to enhance students’ “critical thinking” skills so that they are capable of reading text critically. Ultimately, the goal is to equip and empower students with “ healthy skepticism so they might think carefully and critically about the media messages they encounter” (Thoman and Jolls 2004; Alvermann, Moon and Hagood, 2009; Hobbs and Jensen 2009; Redmond, 2012 p.107). The final core concept is predicated on the understanding of power relations. The fifth core concept binds the four previous concepts together. It states, “media is organized to gain profit and/or power” (Kellner & Share, 2005, p.377). The analysis of power in Critical Media Literacy helps with the deconstruction of racism, classism, and sexism. The discussion of power also promotes critical discussion and consideration as to the source and purpose of the media. One final question within this idea specifically asks why certain messages are permitted in mainstream media, while others are silenced. “Too often students believe the role of media is simply to entertain or inform, with little knowledge of the economic structure that supports it” (Kellner & Share, 2005, p.377). In closing, it is necessary to recognize that the five core concepts reflected in Critical Media Literacy is guided by the idea that student awareness and critical thinking is essential to a socially just educative process. When examining Critical Media Literacy and the five core concepts, it becomes apparent that CML is necessary marginalized populations. Student’s in an environment that promotes media literacy allows for substantive growth. The social and political nature of a Critical Media Literacy pedagogy is important to embrace. It suggests that the narratives of marginalized students are just as important as any other narrative. Joe L. Kincheloe (2004) reiterates this importance when he puts forth the idea that “education is always political as it supports the needs of the dominant culture while subverting the interests of marginalized cultures, critical pedagogy does not allow such omissions in the curricula it develops” (p.14). Although Joe Kincheloe is

speaking directly about critical pedagogy, the same approach can be applied to media literacy. When considering the educative process and the amount of context that is required to conduct a critical interrogation on any media text, the importance of understanding CML becomes clearer. More importantly, it brings relevance to what student experience on a daily basis. Applying CML to other forms of curriculum would seem to be obvious when trying to understand the diverse learning styles of marginalized students. Throughout this study, the emphasis on media literacy and its value will be expounded on because media has the power to create, disseminate, and ultimately control narratives and images. Those hegemonically constructed narratives have historically been crucial to the maintenance of power for certain people or institutions. For that reason alone, CML and one’s pedagogical understanding of the discourse within any academic setting would be useful. Outside of an academic setting, a teaching tool of this nature has the potential to dismantle and subsequently destroy generational cycles of ignorance that have historically crippled and disenfranchised people of color. It promotes a knowledge that no longer relegates marginalized people to positions of power that would be considered inferior. It is important to note that possessing knowledge and the ability to dissect texts is vital when attempting to produce social change in the political system that espouses conformity to hegemonic norms predicated on whiteness. Under the guise of Critical Media Literacy, Kellner states “the gaining of Critical Media Literacy is an important resource for individuals and citizen learning how to cope with a seductive cultural environment” (Kellner, 1995; 2005 p.1). Considering the current climate and technological advancements in curriculum and media, CML serves as a teaching tool that expands the conversation held within the education discourse.

Critical Race Theory: The Discussion of Race and Racism

I have chosen three CRT tenets that are key to understanding The Boondocks as critical race curriculum. Those tenets are as follows: racial realism, interest convergence, and experiential knowledge/counter-storytelling. Race and racism are two reoccurring concepts and themes in Aaron McGruder’s work. These terms within the discussion and rationale of this study are significant and must be done so by critically examining the historical nature of race and racism within the context of America. Within the discourse of The Boondocks series, several

theoretical frameworks arise. The theoretical framework currently embedded in this discussion is Critical Race Theory. According to many critical race scholars, one can examine and subsequently implement school reform by using the concepts within the CRT discourse. Part of the goal of any CRT project is that at some point scholars, educators, and activists are able to revolutionize and (re) construct current educational pedagogies and practices so that they will innately consider the historical atrocities associated with racism and the social construction of race. It must be reiterated that the author of The Boondocks and the animated series itself are grounded in a Black nationalist/Afrocentric paradigm. This model or way of reading the world is one that constantly analyzes the institution of whiteness and White supremacy. All subjects or people directly connected to such discourse are subject to critique. Although Black Nationalism and Afrocentric thinking are relevant frames of reference for the show and this project, they will not be the focal point of this research. This project approaches the discussion of race with Critical Race Theory as a frame of reference. Critical Race Theory guides this study, but the interrogation of race and racism is vital when discussing this media text. What one must first begin to address within the social construction of race, specifically within the discourse of education, one must recognized that the concept of race is one that possess several denotations. Race within The Boondocks is the most obvious and overtly addressed concept in the comic strip and animated television series. Almost all of the characters are African American and each of them have had at some point an opportunity to discuss and grapple with the idea of race. The character’s struggle with understanding race and the daily experiences allows this media text to be deconstructed and interrogated with very specific historical contexts in mind. Some scholars of color, specifically those in Critical Legal Studies discourse, posit that the ways to challenge race and the power stem directly from interrogating racialized discourses. The Boondocks on many occasions addresses racialized discourses within both American and international contexts. The discourse of race recognizes that the American culture and legal system are structured in a way to maintain the status quo. The maintenance and desire to maintain the status quo is imbedded in the social fiber of this country, and doing so suggests that there must be a dominant and marginalized group (Delgado & Stefancic, 2001, p. 19). Considering that the conceptualization of race is a continual commonality throughout the animated series, its usage and association to this study becomes obvious and constitutes a

primary reference for much of the analysis. As previously noted, race has various meanings and exists differently within particular cultures and discourses. Therefore, the conceptualizations of race within one’s neighborhood versus the conceptualization in an academic space are different. This is primarily suggested because the context in which race is discussed within The Boondocks suggests that race itself is situated in the lived experiences of people and ultimately the characters in the animated series. Within the discourse of social theory, one might suggest that within the social constructivist paradigm, it is paramount that one understands how race operates in multiple ways. This paradigm too is paramount when reading this text. As noted in the glossary under the definition social constructivism, constructivism, its literal denotation means “The world is socially constructed—what we know about the world always involves a knower and that which is to be known. How the knower constructs the known constitutes what we think of as reality” (Kincheloe, 2005, p.2). In this project, race as a concept is both socially constructed and an ideological construction that shapes the way individuals view circumstances in life. When race is socially constructed, it is made within a specific context usually based on paradigms of the current context. Within the context of The Boondocks, each character exhibits this in their own capacity. Huey Freeman (the main protagonist) exhibits this with his critically conscious perspectives on race, class, and gender. Ultimately beyond the animated sphere, this includes relationships, environments, and praxis. When race is viewed as an ideological paradigm or construct, the understanding of race is strategically manipulated to produce a sense of hegemony. Race is thereby in the discourse of CRT recognized as being a verb instead of a noun. By changing the grammatical context of the concept of race, the word and conceptualization becomes an active process known as racialization. The term racialization or sometimes situated as racial formation, which was put forth in the text Racial formation in the United States by Michael Omi and Howard Winant. According to these two scholars,

Racialization is the formal process a racial interpretation being implemented or aimed at a specific group of people for the sole purpose of maintaining power and control over it. It’s thereby a long-standing cultural norm not only in the American, capitalistic conceptualization but also in a capacity that tends to transcend nationalities, religions, ethnicities, language and culture (Omi &Winant, 1994, 55-56).

Robert Miles describes the process of racialization as 43

a dialectical process by which meaning is attributed to particular biological features of human beings, as a result of which individuals may be assigned to a general category of persons which reproduces itself biologically…. The process of racialization of human beings entails the racialization of the processes in which they participate and the structures and institutions that result (Miles 1989, p. 76).

Yehudi Webster (1992) defined the concept of racialization as "a systemic accentuation of certain physical attributes to allocate persons to races that are projected as real and thereby become the basis for analyzing all social relations" (Webster, 1992, p. 3). Webster (1992) also stated "the second foundations of racialization are provided by social scientific research on race relations, in which the disciplines of history and sociology play an eminent role" (p. 4). In essence, this means that the process of racialization is socially and historically structured. Examining the racialization process ahistorically would be inaccurate. Omi and Winant (1994) substantiate in their work and the concept of race by acknowledging that race is indeed a social construction. They define racial formation (racialization) as a “sociohistorical process by which racial categories are created, inhabited, transformed, and destroyed…Race is a matter of both social structure and cultural representation” (p. 56). Both of the denotations listed in this project help to summarize the term that Omi and Winant began to popularize within the discourse of race. Other concepts like “racelessness” are also apparent in the discourse of The Boondocks. By its denotation, “Racelessness” according to David T. Goldberg (2005):

encompasses an overtly “neoliberal” quest to passively address the historical and racist atrocities that created and perpetuated the inequities that are visible systemically and institutionally. In addition, this is explicitly done in a manner that includes never overtly discussing or addressing the social ills that have existed for centuries. The self-acceptance and uncompromising acceptance of a lack of dialogue only reinforces a sense of denial. In this sense, ignoring the compounded pain that has been embedded most individuals daily practices. (p. 59)

Goldberg’s argument is sound in the sense that he acknowledges this country’s reticence in acknowledging the self-inflicted wounds attached to racial atrocities. Goldberg expounds further and states that this form of resistance is a conscious and “systematic” method to maintain control on a specific demographic.

Notable Critical race scholar Gloria Ladson –Billings (2003) states, "race continues to be powerful social construct and signifier” (Ladson-Billings, 2003, p. 2). Race has essentially become "a way of referring to and disguising forces, events, and expressions of social decay and economic division far from threatening the body politic in biological race ever was” (Ladson- Billings, 2003, p. 2). The debate over whether race is biological or socially constructed is old. “Racism evolved with the singular goal of White supremacy or White power domination by the global White minority over the vast non-White global majority” (Kunjufu, 2005, p.4). Racism in many regards has been reduced to broad generalizations about another group based on the color of their skin. It has become an individualized construction, as opposed to a social and/or civilizational construct (Scheurich & Young, 1997; Young & Laible, 2000; Lopez, 2003, p. 69). By allowing racism to be relegated to an individualized conceptualization, one erases the history connected to the term. I do not agree that individualized conceptualized understanding of race erases the history connected to the term, but I do believe that history of the word and the individualized experiences become more contextualized. What must be recognized it that, throughout the history in this country, racism has yet to be eradicated or even dissipated. “Racism has never waned in society; it has merely been manifested in different forms. However, the discourse on racism has shifted through time, such that overt and/or blatant acts of hate (e.g., name calling, lynching, hate crimes, etc.) have only been identified as being racist” (Crenshaw, 2002; Hayman & Levit, 2002; Lopez, 2003, p. 70). This assertion does not suggest this phenomenon is confined to this continent or hemisphere. Thanks to several cultures disregard for humanity, “racism is viewed as a global behavior power system with a constant and specific set of power relationship” (Kunjufu, 2005, p.4). “The fact of the matter is that racism is alive and well in this country and has never waned despite the passage of federal and state mandates that prohibit discrimination on the basis of race” (Bell, 1995a, 1995b, 1995c, 1995d; Crenshaw, 1995; Delgado, 1995a, 1995b, 1995c, 1997; Matsuda, 1996; Matsuda, Lawrence, Delgado, & Crenshaw, 1993; Lopez, 2003, p. 82). The ugly “reality” of racism is that it has yet to be addressed in a way that allows for any true healing or growth. Racism is still prevalent because for some groups, the perpetuation of racism is still vital to their existence and domination. Jawanza Kunjufu (2005) posits “whether consciously or unconsciously it (racism) evolved as a survival necessity for the tiny global White minority due to their genetic recessive status as

albino variants” (Kunjufu, 2005, p.4). This thought is very similar to Francis Cress-Welsings 1974 Theory of Color Confrontation. Regardless of the denotation of race and racism one operates under, it is evident that the institutions and structures that adhere to such antiquated notions only reify why the critical race discourse exists. This trite conversation only provides more credibility as to why the issue of race and racism needs to be further discussed in educational spaces and this particular media text. In the next section, some of the tenets and theoretical underpinnings that structure to this project will be discussed. Particularly in education, the discussion of inferiority and learning ability has been rampant for years in educational research. These forthcoming sections hopefully will shed light on how the race discourse The Boondocks find themselves aligned.

Situating the CRT Tenets Applicable to This Study

Several concepts and tenets from the legal studies discourse will help examine the social construction of race in The Boondocks. One of the first tenets or constructs is known as “Voice.” The idea alludes that those marginalized by race have a perspective that is unique to their narrative and experiences. For example, Delgado and Stefancic (2001) believe and have written on multiple occasions “powerfully written stories and narratives that may begin a process of adjustment in our system of beliefs and categories by calling attention to neglected evidence and reminding readers of our common humanity” (p. 49). The idea of “voice” will be crucial in this study because it is in many ways the basis for how The Boondocks narrative is structured. Another concept that is often discussed in CRT is the notion of “racial Realism.” Bell posits that racial realism is the acknowledgment that “race” is an imperishable facet within our social structure. It is the “view that racial progress is sporadic and that people of color are doomed to experience only infrequent peaks followed by regressions” (Delgado & Stefancic, 2001, p. 154). In Derrick Bell’s text Race Racism and American Law, Professor Hochschild expounds on the definition more. She discusses racial discrimination in depth and: finds that the continued viability of racism and supports arguments “that racism is not simply an experience on a fundamentally healthy liberal democratic body is part of what shapes and energizes the body.” Under this view, “liberal democracy and racism in the United States are historically, even inherently, reinforcing; American society as we know it exists only because of its foundation in racially based slavery, and it thrives only because racial discrimination continues. (Bell, 200, p.78)

As discussed earlier in the introduction to the animated series, the recognition that race and racism are unequivocally woven into the fabric of this country’s ideology, and it is, therefore, interwoven into The Boondocks because it openly critiques the norms associated with being “American.” It also must be restated that this notion of racial realism is an attribute in the premise of The Boondocks series. It is a particularly influential tenet because it helps to situate and contextualize some of the racial satire that is produced in this animated series and this particular political project. In order to understand further how race and racism fit into this particular topic, understanding the language often associated with race and racism becomes important. The usages of counter storytelling and interest convergence in this study are needed. As a frame of reference, the two concepts address different topics that arise in The Boondocks. The first tenet attached directly to the animated series would be the idea of “interest convergence.” This idea suggests that the interests of African Americans and other racially marginalized groups be placed in a position of consideration only when they “intersect” with those who possess power. As stated by bell, the interests of Blacks achieving racial equality will be accommodated only when it converges with the interests of Whites. (Bell, 1980, p. 22) He continues in his discussion of interest convergence by asserting:

racial remedies may instead be outward manifestations of unspoken and perhaps subconscious judicial conclusions that the remedies if granted, will secure or advance, or at least not harm societal interests deemed important by the middle and upper class Whites. Racial justice or its appearance- may from time to time, may be counted among the interests deemed important by the courts and by society’s policymakers. (p.22)

Bell’s assertions clearly suggest that those within the dominant or hegemonic groups make decisions on how life and laws are dictated based on what needs they require or by how much power is to be gained or lost. The last tenet applicable to this current discussion and which will be used throughout this study is counter-storytelling. It has been incorporated to explain in depth the characters and how their individual narratives affect and provide an understanding of race within the context of curriculum theory and pedagogy. The idea of counter-storytelling, within the characters unique contexts, subsequently provides each character with a counter narrative and an alternative way of reading the world. The notion of counter storytelling as defined by Solórzano and Yosso (2002), 47

states that, counter storytelling "as a method of telling the stories of those people whose experience are not often told” (i.e., those on the margins of society) (p.32). The counter story is also a tool for exposing, analyzing, and challenging the majoritarian stories of racial privilege. Counter-stories can shatter complacency, challenge the dominant discourse on race, and further the struggle for racial reforms. Counter-stories need not be created only as a direct response to majoritarian stories (Solórzano & Yosso, 2002, p. 32). When using the term majoritarian, it is tempted typically denoted as a term associated with deficit models or deficit thinking. Originally, most deficit models are based on biological assertions or explanation. An example of this within education could be the “Bell Curve”. Derek Bell specifically comments on the bell curve in his review, "who's afraid of Critical Race theory?” What is reiterated many times throughout that specific Law Review is that the “Bell Curve” theory is" most basically about the issues of race and how that construct is used and it specifically seeks to critique challenge, and legal system which disempowers people of color” (Bell, 1995, p.900). In the instance of this study and educational discourses, examining specific curriculum and the structures in place must be critiqued. These structures could resemble school boards, actual school buildings, teacher unions, and the list goes on. In this study, the expansion into the media literacy discourse should allow for further critique. Although race is one of the primary constructs negotiated in the animated series, it is not the only one. David Stovall suggests that race “simply as ‘identity politics’ ignores the necessity of narrative in developing coalitions across racial and class boundaries” (Stovall, 2006, p. 251). Stovall’s suggestion is only a singular way of saying that the construction race and the results of racism cannot and is not situated by itself. These conversations must cross over into other socially constructed ideas. Multiple narratives and counter narratives are needed and have to be told. The following social issues surrounding the critical discourse inclines most to strategically assess how race, masculinity and spirituality are discussed in the realm of education. to be seen beyond its traditional conceptualizations.

Why Conjoining CRT, CML & Spirituality within Curriculum Theory is Important

The purpose of this qualitative inquiry is to understand the curriculum within The Boondock series and explicitly what it has to say and can teach about race, masculinity and

spirituality in The Boondocks. The four core arguments I make throughout this study are predicated around contextually understanding The Boondocks animated series. The first argument centers on understanding the discourse of race, masculinity, and spirituality within The Boondocks. The second argument made in this study is rooted in the belief that the animated series can be used as a pedagogical tool for students despite the mature content. The third argument suggested in the study realizes that the complexities of African American masculinity have historically made the educative process in and outside of the classroom made learning for this group difficult. The last argument made in this study centers around CRT and CML providing an alternative understanding of the implicit, explicit, and hidden curriculum in The Boondocks, while recognizing the challenges provided by modern culture. As suggested earlier, academic research, specifically educational research, has failed to produce any substantive research or dialogue that constructs or examines The Boondocks series and satire. Research has not in any capacity extended the conversation of The Boondocks past constructed stereotypes and cultural differences. The social and cultural differences are often limited to the language the characters use and the image/ identity the characters choose to (re) present. Within the context of identity construction, many African American males face a barrage of stereotypes before even opening their mouths. One primary goals of this study is to offer counter arguments to the negative conversations that surround not just The Boondocks comic and animated series, but also African American males in both education and media. Throughout the study, I infuse an understanding of spirituality that attempts integrate the ideas of faith and hope. These two conceptions should provide new perspectives on race, maleness, spirituality and the embedded curriculum in The Boondocks series. Most critical arguments about The Boondocks animated series stem from the satirical images and strong language. Critics find the series too controversial and it is suggested that the conversations critiquing racist views is done irresponsibly. It is my argument that the subsequent subversion of those images and stereotypes could be used as pedagogical teaching tools. The Boondocks should be perceived as a pedagogical tool that seeks to understand the issues of race, masculinity and spirituality. The questions as to if the text could render a positive social, cultural, and educational outcome is important. I believe that if one examines the images critically with a spiritual mindset, the shows educational possibilities are counter to the norm.

In this study, the media source is used as a pedagogical tool to uncover new ways of examining race, masculinity and spirituality discourses. It is through the paradigm of spirituality, that I hope this study’s analysis can begin to offer suggestions to the way curriculum theory is conceived and how masculinity, race and spirituality are used in media text and schooling. An understanding of both spirituality and maleness within the context of curriculum are assumed outcomes. The practical purpose within the study is to identify ways this popular medium can progressively adapt and cultivate different discussions around a curriculum that reflects an understanding of media literacy. The social issues interfaced in the animated series and facing African American males, particularly in curriculum and education, have always been a source of debate and research. At the crux of those issues and particularly this research project entails grasping an understanding of how race, masculinity and spirituality plays an influential role in the educative process inside and outside of the classroom. Most of the curriculum suggested in this text occurs and references the social and cultural experiences in everyday lived experiences. Conducting this study by using CRT and CML, I assert that this text can offer an alternative perspective of The Boondocks and the centralizing concepts. Because denotation and understanding of spirituality within this study accounts for a specific cultural background and experience, arriving at an alternative understanding of race should garner new approaches to addressing race and masculinity in curriculum. The goal of this study has continued to be to (1) understand the curriculum of The Boondocks and (2) understand how race, masculinity, and spirituality have the potential to shape curriculum through the textual analysis of The Boondocks. These two primary questions subsequently should allow for the discussion of how traditional curriculum has shaped the discourses of curriculum, race, and even maleness. The research question that will always be the focal point is “what is the curriculum The Boondocks animated series when examining them through the lenses of spirituality, race and masculinity?” Within previous research on The Boondocks series provides several themes that have been suggested as controversial but central to the African American experience. Those themes include but are not limited to “the traditional family structure,” “maleness,” “Afrocentric thinking,” the impact of social media, and spirituality (Jenkins, 2011;Tyree & Krishnasamy, 2011; Wheaton, 2008). These themes are undoubtedly important, but the primary methods of analysis have been solely media analysis within the context of communication theory. On

limited occasions, the animated series has been critiqued through the understanding of social theory. What must be considered is the lack of academic research surrounding The Boondocks animated series within current educational discourses. Research concerning The Boondocks as curriculum or even using The Boondocks to understand the curriculum embedded in the text is lacking. The research that is presented most often is related to educators adopting and implementing media literacy within the classroom. I openly suggest that this media text with the proper format and presentation can be used inside and outside the classroom. I propose that the animated series as a text can use media literacy theory to specifically help students understand how identity, culture, and specific ideologies are constructed. This research project obviously has to explore some of these same themes listed above, but its goal is to provide an alternative outlook for each of those themes. Using CRT, CML, and a paradigm of spirituality should offer such alternative understanding of race, masculinity and curriculum. Referring back to what connects the three concepts together, I assert that it is the actual theme song that initially conjoins CML, CRT, and spirituality. At this point, introducing Asheru’s lyrical content and the vocalization of the animated series theme music, would be apropos because he is providing a narrative that speak of spirituality and race. The lyrics from the song go as follows: I am the stone that builder refused I am the visual The inspiration That made lady sing the blues I'm the spark that makes your idea bright The same spark that lights the dark So that you can know your left from your right I am the ballot in your box The bullet in your gun The inner glow that lets you know To call your brother son The story that just begun The promise of what's to come And I'm 'a remain a soldier 'til the war is won.

Theoretically, the song could be read as a manifestation of not only the author’s journey/evolution, but also the evolution of the characters within the series. In some regards, the author and I could both be considered the proverbial “stone that the builder rejected,” in 51

American society and culture. That is not to suggest that I am extending this sense of connectivity in the realm of theology nor am I suggesting that Huey Freeman or I am the “chief cornerstone.” I am merely stating that the persecution associated with Christ is something that the African American male can comprehend. Moreover, I suggest that African American existence within the American social structure does resemble the relentless persecution of Christ. Ultimately the context of masculinity depends on the individual lived experiences. The narrative provided are “real,” lived narratives and experiences. Contextually speaking, most marginalized citizens trapped in a capitalistic system predicated on maintaining the status quo, can relate to such an idea and struggle. Moreover, besides the lyrics being partially taken directly from a scripture in the Bible, I believe its usage within the lyrics is one that critically recognizes the historical relationship between humanness and spirituality. In other sections of the lyrics, one can recognize how the author discusses to how power and hegemony have affected the psychological processes African American males. Asheru recognizes that African American males must continue to endure and openly challenge the barriers and standards that were designated for them. Contrary to the satirical narrative embedded in the show, there are several instances where the animated series’ imagery and content provide hopeful nuggets and faith- based, self-affirming positionalities that marginalized groups of people have historically had to embrace until they were able to achieve their social, political, and educational goals. It is specifically through the lens of CRT that this study begins to understand The Boondocks and the narrative of race within the show. In any age, literacy has been a quintessential tool and vehicle for success and prosperity. In an instructional age, Critical Media Literacy has similar value. “Acquiring literacy in the culture of power requires not only mastering the discourse of whiteness, but learning and performing the habitus of the dominant White culture” (Bourdieu 1977; Delpit 1988 & Vaught 2004). One media source that openly challenges this notion of whiteness is The Boondocks. The popularity of this show has propelled people to critically review “blackness,” “whiteness,” “Black male identity,” and a multitude of other social constructs. I propose that CML method of analysis and interrogation should not just apply to this television show, but also other mediums like CNN, textbooks, and other teaching tools. Media literacy within this study is used in various contexts and allows for the interrogation of social and political issues outside of an

academic setting. An understanding of CML becomes even more important as social media cements its role as a foundational component within this society’s culture and method of communication. Examining media literacy from a curriculum standpoint, the study’s aim is to read this text through the view of CRT and CML. For some, the popularity of this sitcom has propelled researchers and critics to only analyze “blackness” and “Black male identity.” For some researchers, the language and satirical messages inevitably makes them cringe and hate the open engagement/discussion of race and racism within America. It must be reiterated that the constructs of maleness and race are not the only social constructs within the show. These are discussions some “Americans” avoid and have no desire to engage. Ironically enough, minority males engage these same race based discussions daily from the time they come out of the womb. The discussion of race has become an inherited birthright. Their fight to define themselves is one that has gone on for years. “For the Black man in this country, it is not so much a matter of acquiring manhood as it is a struggle to feel it his own” (Grier and Cobbs, 1969, p.49). This is part of American History and it cannot be erased. Moreover, this study suggests that it is within all forms of media that the interrogation of Black masculinity has been apparent since the advent of papyrus. One must acknowledge that within any era or time frame, literacy in schooling and the subsequent construction of knowledge have been directly connected to the maintenance of power. The issues of power and subjugation have also been true when examining curriculum and its effect on marginalized groups of people. This examination is only exacerbated when infusing the discussion to the realm of schooling. The debate over how to educate African American boys is one that continually arises in academic research. One glaring construct rarely considered in this racialized curriculum research is the notion of spirituality, hence the rationale for including this paradigm. This too is the rationale for needing to infuse such a construct. In this project, the concepts CML and spirituality immediately align with the visual images that are provided and being read. These images are aligned primarily because the episodes chosen directly reflect many of the spiritual attributes within the Black church and an African American understanding of spirituality. In this study, the goal has been to read the animated series with an ethic of social justice in mind. Furthermore, a sense of spirituality guides this ethic. This ethic of justice and

conceptualization of spirituality not only inclines one to move toward a socially just society, but adjusts the way the text can be read because the two concepts immediately assumes that African American males should not be relegated to a social status that labels him a pariah. Moreover, it does not equate his value or worth to his physical prowess or athletic ability. It recognizes that African Americans and African American males are not monolithic. The critical media discussion surrounding published research delves specifically into understanding how Aaron McGruder (Creator) constructs and deconstructs assumptions about Black maleness. The notions of maleness and spirituality are readily visible in The Boondocks, but it is the understanding of race within all of these contexts that a deeper understanding of curriculum can be explored. Ultimately presenting a research study that encapsulates the essence of the animated series and shows how curriculum can be examined and used practically is paramount. When using a political satire of this nature, curriculum can be viewed and defined in many ways. The conversations concerning media representation and changing the status quo can also be extended to the way curriculum is designed and implemented. Research has shown a recurring phenomenon in the way curriculum has been designed. That phenomenon is that students will learn when they are engaged and ready to contribute to the learning process. These educational and situational experiences inherently challenge, grow, and gird one’s ethical positionalities so much so that it potentially changes the way a person identifies not only themselves, but also how they fit into the social cultural dynamics in which they are situated. Recognizing that the current landscape of education is always shifting, the influx social media recognizes that the insertion of media literacy should be included in more pedagogical practices. Realistically, the way American schools are currently designed and operationalized, most students within the American education system are marginalized and categorized. I suggest that social media and media literacy have the potential to reach more students. It also must be recognized that a lack of access to these resources have the potential to broaden the gap. Depending on the geographic location, this subjugation varies. In far to many instances, students are far to often considered high achieving or low achieving. Typically, those low achieving statuses are designated to poor, Black and brown bodies. In a media inundated culture, society is accustomed to the subjugation of minority groups. Often, the same culture does not want to take explicit responsibility for the demise of minority student. Instead it is blamed on the community,

parents and even students social status. An American capitalistic culture rooted in individualism approves an attitude that condones the systematic oppression experienced by marginalized groups. Most people within the hegemonic group would reject the idea that they have been co- opted into racist and classist practices. Hedonistic consumerists culture/society values require the ideas of meritocracy, individualism, and instant gratification. These three ideas are counter to the cultural experiences of minorities. The problem with espousing such a frame of reference, is that it immediately provides a standard that says collaboration and patience are irrelevant. However, social media and CML have the potential to change that current way of schooling and that archetype. Both concepts have the potential to provide an immediate space that allows a critique of any overtly classist, racist, or sexist images/representation/practices. The influx of social media has the potential to fundamentally change how curriculum is understood and implemented. One could suggest that society’s worldview and conceptualization of curriculum have obviously changed since the advent of television, radio, music, and other forms of visual media. Allowing for the interrogation and the critical examination of The Boondocks, text forces one to adapt to the way CML suggests images and curriculum are viewed. Using CML within this study allows for the exploration of the popular media text that has come under come under great scrutiny because of the racial, sexual, and political topics. The animated series deserves respect within the context of cultural studies and curriculum theory because it does interrogates social issues that marginalize targeted groups. For that reason alone, Critical Media Literacy and its praxis within any form of curriculum would be helpful to understand the explicit issues of spirituality, maleness, and curriculum. The Boondocks as teaching tool has the potential to destroy generational cycles that have crippled and disenfranchised people. From a spirituality and curriculum context, this has been the case historically in the African American community. Spirituality for generations has empowered African American to have some semblance of “faith.” Faith is something that is explicitly taught during church, holidays, family reunions, and everyday life experiences. The critical interrogation allows disenfranchised groups to interpret, reinterpret, and deconstruct the way media not only portrays minorities, but also those who possess different forms of power. Critical questions must be asked within this study because one must understand how the way the world works and how one must engage people in the world. The only way one can truly learn the world in which they live. As Paulo Freire (1967) might

say, students need to learn to "Read the world” and in a media driven culture, CML help with this reading process. Possessing the knowledge and aptitude to dissect the norms is vital to producing social change within a hegemonic society predicated on whiteness. The knowledge one received from the process of doing a critical race media analysis and deconstructing media texts is important because one can now see and understand the world from a very different perspective. This project should complicate the thought processes of traditional curriculum theory. Using specifically race, masculinity and spirituality to understand how curriculum can be implemented and what tools can be used to reach students that are usually deemed “unreachable” is necessary. Consequently, the gaining of “Critical Media Literacy is an important resource for individuals and citizens learning how to cope with a seductive cultural environment” (Kellner, 2005). The apropos questions interrogated in this study entail deciphering and understanding what the implicit or explicit curriculum of The Boondock animated series is when examined through the three aforementioned paradigms. If one combines Critical Race theory and spirituality, what curricula can be seen and gleaned from such an experience? The Boondocks television show can be considered a form of the hidden curriculum for some. Like Hip Hop, The Boondocks television program has been the voice of the voiceless. Curriculum theory from this perspective should begin to reflect the voices that are considered voiceless and bestow upon them a voice capable of telling their counter-narrative. For those using social media (i.e. Facebook or Instagram) it allows for an immediacy that was once not available. For those who are not lyricist like Asheru, it gives them an opportunity to find and create their own narrative or voice. The curriculum possibilities are endless when examining media, mediums, and the text three concepts that help thematically organize this study. Considering technology and media will continue to shape many worldviews, schooling and curriculum must now adapt new methods. In a media driven world, the CML as a theoretical framework and pedagogical practices is necessary. The intersectionality of multiple ideas creates more complexities within certain paradigms. In all forms of media, the interrogation of social concepts and constructs is apparent. Albeit the concepts take form in many ways, (i.e. Race, class gender, etc.) the people involved directly with the issues must address concerns most prevalent and looming over their struggle. Within this particular study, race is a primary

example. Issues of race have typically been told from one particular context and narrative. Narratives that have dominated Black male discourses include hypersexuality, aggressive, and destructive behavior. In the analysis of CML, recognizing the power to create, disseminate and ultimately control stories and images have been essential to maintaining power within the dominant group. Lisa Delpit posits the “rules of the culture of power are a reflection of the rules of the culture of those who have power” (Vaught, 2004). The issues of power and privilege are deconstructed and analyzed in The Boondocks series on several occasions. In this animated series, because race is a consistent construct, examining power and privilege from a Machiavellian or Marxist discourse would be appropriate because typically within this conversation of race and gender there is dominant and subordinate positionality within both concepts. In Marxist, Machiavellian, and critical thought, the subordinate groups in question are typically discussed hierarchically. In this show, the hierarchy is directly related to top down models of power. Understanding how power coincides with the discussion race, class, gender and sexual orientation, becomes important when integrating into media discourses. From a postmodern discourse, specifically taken from a Foucauldian discourse, power is a construct that is fluid or is transferable. It has the potential to transfer from one group to another. Privilege when attached to critical theory is also typically thought of as a term associated with those who possess and wield power within particular social structures. Within this particular study, power and privilege within the analysis of race and the curriculum within The Boondocks will be found, analyzed, and discussed further. By delving into The Boondocks text and the different conceptualizations/ denotations of curriculum through the lens of CRT, CML, and spirituality, it is within reason that curriculum and society’s view African American males in both the media and education can become more positive than presently exhibited in most media outlets. As it relates to curriculum and educational praxis, its conceptualization and implementation should inclines one to actively interrogate what curriculum looks like within multiple contexts. Moreover, critically analyzing and interpreting such texts like The Boondocks could incline students and teachers to critically analyze the discourses within their immediate academic surroundings. The critical questioning within this study allows for an alternative perspective and introduces a text that can be deconstructed in a manner that leaves a sense of hope and faith embedded in the discussion

African American males. It is my assertion that a continuation of the study of race, gender, and spirituality are necessary. In an ever-changing educational climate, it may be a requirement. Navigating these social, political and epistemological nuances are needed inside and outside of academia. There is still substantive work that must be done in the era of “post-racialness.” (A concept I do not believe). It is with the changing of marginalizing paradigms that race can be discussed in the media or education with openness and honesty. This is a hopeful thought, but something that must be actively engaged in and present in academic research.

Episode Selection and Method of Analysis

In this study, three episodes have been selected for analysis. Those episodes were chosen because their content can be easily transferred and understood in the context of curriculum, spirituality, and the masculinity discourses. I also chose the episodes because they allow for an interrogation that cover an array of sociopolitical issues that exist in today’s culture and this particular media text. Even though there are many other cultural and political issues, race, masculinity, and spirituality will be the focal point. The three episodes chosen for the study are “Return of the King”, “The Passion of Reverend Ruckus”, and “Stinkmeaner Strikes Back”. Each of the previously mentioned episodes has been aired on Cartoon Network’s Adult Swim programming. The first episode used for this study is “The Passion of Reverend Ruckus”. This episode was the fifteenth episode of The Boondocks animated series. It aired on March 19, 2006. In this episode, Uncle Ruckus starts the show in a dream state. While he is in “White heaven,” he has a poignant conversation with a former president. The audience would later be able to infer that the rationale for the dream is because Uncle Ruckus is diagnosed with terminal cancer. He chooses to devote his life to mission placed on him by White God’s spokesperson. Uncle Ruckus’s pedagogy entails teaching and preaching that the Black man is cursed and the White man is not. In other sub themes, Huey plans a break out a prison inmate who was unjustly convicted. This episode serves as the final episode of the first season. In the second example, I examine the episode “Stinkmeaner Strikes Back”. This episode is the fourth episode of the second season. This episode aired on October 29, 2007. In the episode, an evil presence decides to return to the earth realm from hell to torment the Freeman family. The spirit of Colonel H. Stinkmeaner is seeking revenge for his premature death. 58

Throughout the episode, this spirit finds ways to complicate various characters’ lives. His disrespectful and destructive nature inclines those who are “literally living” to get rid of him by the method of exorcism. The final episode of the analysis, "Return of the King”, was the ninth episode of the series. It was originally aired on Cartoon Network and broadcast on January 15, 2006. In the episode, Huey imagined that Dr. Martin Luther King Jr. did not die after his assassination attempt. Instead, he was in a coma for thirty years and he woke up to a world that he no longer recognized. This episode would later go on to win a Peabody Award in 2006. I specifically chose these three episodes because of the obvious visual connections to spirituality. Most of the images can be directly connected to one distinct religious context and that is Christianity. Moreover, the language and experiences most associated with African American spirituality is believed to be applicable when considering that the context of the show is rooted in discussing race within the framework of Black Nationalism and Afrocentricity. Afrocentric thinking does not suggest that this study’s primary question will get answered, but it is the context that must be considered when reading these texts. Again, I assert the context of spirituality can be used to understand the curriculum of The Boondocks in depth. I am theorizing that curriculum and pedagogy from the context of spirituality has no singular outlook or outcome. The visualization and understanding of race varies on the spirit of the pedagogue. In the process of choosing episodes, I chose not to include the third season primarily because I desire to continue the research in depth. There are other episodes like “Pause” that I believe would be useful in this examination.

Method of Analysis

Qualitative media analysis addresses research that examines texts and documents to specifically understand some aspect of culture. “Qualitative analysis is a process that requires the exploration, organization interpretation and integration of research materials (data)” (Davidson & Gregorio, 2001, p.636; Altheide & Schneider, 2013, p.5). The premise behind any “media logic is that any modern form of communication or media are contextualized according to certain media principles” (Altheide, 1995; Altheide & Snow, 1979; Altheide & Schneider, 2013, p. 3). The methodological approach suggested by David Altheide and Christopher Schnieder (2013), states that their approach encompasses the 59

“traditional notion of objective content analysis with participant observation from ethnographic content analysis or how a researcher interacts with documentary materials so that specific statements can be placed in the proper context for analysis” (p.4). Understanding The Boondocks animated series within the proper context cannot be overemphasized. Like McGruder and the main protagonist Huey, the purpose of such a method is ultimately to provide qualitative researchers with “understanding of culture, social discourse and social change.” This is accomplished by studying documents as representation of social meanings and institutional relations (Altheide & Schneider, 2013, p.5). The documents or texts I am using throughout this study are both visual and textual. The visual media in this study consists of three episodes from the animated series. The literary text being used are episodic transcriptions from both personal transcription and online transcription references of the animated series. “Primary documents, which are the objects of study can be seen in many different examples. These examples include newspapers, magazines, TV newscasts diaries, text messages, photographs/videos, and even archeological artifacts” (Altheide & Schneider, 2013, p.6). Document as denoted by Altheide and Schneider (2013), are “any symbolic representation that can be recorded or retrieved for analysis” (p.5). They go further to suggest, “most human documents are reflexive of the process that has produced them. This means that the context (political and economic) medium, logic, content, format and presentation of the material can be gleaned from the document” (Altheide & Schneider, 2013, p.5). Within this form of analysis, the “idea is to interrogate what one reads, sees and explores and integrate it with research and scholarly interests” (Altheide & Schneider, 2013, p.8). This study’s scholarly interest entails understanding a culture and the paradigms associated with maleness, spirituality, and race within curriculum. It can not be reiterated enough that research takes place in a historical-cultural context, ultimately meaning that all research is a social activity and, therefore, research methods used are developed in and influenced by social contexts (Altheide & Schneider, 2013. p.13). It is with this in mind that the theoretical frameworks become even more relevant to this study. Qualitative media analysis operates under the methodological stance of an analytic realism. This positionality is predicated on the assumption that the “social world is an interpreted world, not a literal world, always under symbolic construction (even everyday life is informed by social contexts and uses of evidence)” (Altheide

& Schneider, 2013, p.13). All of the previously mentioned theoretical frameworks consider the social and political contexts within the data collected. The Boondocks as a text is predicated on and pulls its satire from the interpretation of the creator. It is, therefore, the most logical approach to use in this study.

This Study’s Research Questions:

The three questions listed were asked of each episode. These questions specifically seek to understand how The Boondocks is understood through the lens of race, masculinity, and spirituality. The three questions were each constructed with CRT, CML and QMA in mind.

1. How are the tenets of CRT communicated through the visuals, dialogue, and tone of each episode? 2. How is spirituality used in relationship to race in the visuals, dialogue and tone of each episode? 3. How is Black masculinity represented in the visuals, dialogue and tone of each episode?

Throughout the analysis, I will mimic the method CML, CRT, and QMA. Each allows for a critical reading of The Boondocks animated series. According to Kellner, within the context of media literacy and cultural studies, there are different types of analysis for different methods. He states that,

each critical method focuses on certain features of a text from a specific perspective: the perspective spotlights, or illuminates, some features of a text while ignoring others. Marxist methods tend to focus on class, for instance, while feminist approaches will highlight gender, Critical Race Theory spotlights race and ethnicity, and gay and lesbian theories explicate sexuality. (p. 7)

In this study, as I have previously stated, I will focus on examining race. One dimension I attempt to accomplish is the idea of multiperspectival. My intention is to avoid a sense on “one- sidedness.” I do so by inserting spirituality, which is systematically omitted from curriculum. Kellner suggests to avoid the one-sidedness of textual analysis approaches, or audience and reception studies, I propose that cultural studies itself be multiperspectival, getting at culture from the perspectives of political economy, text analysis, and audience reception, as outlined above. Textual analysis should utilize a multiplicity of perspectives and critical methods,

and audience reception studies should delineate the wide range of subject positions, or perspectives, through which audiences appropriate culture. (p. 10)

The goal within the study is to provide a different perspective that may shed a different light on curriculum and the way all of the concepts are examined.

Documenting the Data and Thematic organization

I have chosen to organize the next chapter thematically. Each episode will have its own analysis organized under the category of race, masculinity, or spiritualty. Some of those themes overlap. The subsequent themes will be organized according to the data analyzed in chapter four. The curriculum embedded within The Boondocks will be determined by the literary, visual, and auditory analysis seen and heard in the media text. Even though I only use three episodes from the series, operationalizing the study will be done by using all three seasons of the animated series. Reading all three seasons is necessary to understanding the full context presented in the animated series. Each episode within the animated series lasts approximately 22-24 minutes. Within each season, there are on average 15-18 episodes. Again, the characters in the animated series range in age and SES. There are White characters in the show and their roles are auxiliary. Some discussion surrounding their roles by default has to be a part of the analysis. The data collected prior to analysis was originally color coded according to themes. Those themes were then organized in an Excel Spreadsheet, which included the recognition of race tenets, variables within race & spirituality, gender within CRT, race as a pedagogical tool, and explanation of race through media. Both the main themes and sub themes will be discussed in further detail in the next chapter. The recognition of race tenets was color coded red. Prior to the data, being inserted into an excel spreadsheet; the themes dealing with race and gender were coded with the color green. Data under the theme race and spirituality were coded with the color blue. The theme race as a pedagogical tool was labeled with the color yellow. Within the color- coding schemes, I recognize potential commonalities and connectedness between two or more ideas. This is the primary reason I focus solely on race, spirituality, and maleness in the text. Even though race serves as an obvious focal point of this media text and study, I recognize that the overlapping of themes will occur on multiple occasions.

Chapter 4:Introduction to Data

In this chapter, I provide an overview of the episodic content embedded in each episode used throughout this study. Each episode provides and discusses the three contexts alluded to in previous chapters. The titles for those three episodes are Passion of the Ruckus, Stinkmeaner Strikes Back, and Return of the King.

Season 1 Episode 15 “Passion of The Ruckus”

The Passion of Reverend Ruckus is the fifteenth3 episode in the inaugural season of The Boondocks animated series. It aired on March 19, 2006 and continues to be available on media outlets like Netflix. It is the final episode aired in the first season. The primary characters in this episode are Huey Freeman and Uncle Ruckus. Other characters like Granddad, Riley, Tom Dubois and Shabazz K. Milton Berle serve as auxiliary characters. This does not suggest that they do not play a major role in the show, they just are not the primary focus this episode. Their dialogue and contributions are notable and substantial. The primary issues facing Uncle Ruckus are his internal struggle with being Black. Huey is consistently fighting an oppressive system he feels inherently traps Black men in prison. The episode starts with Uncle Ruckus in the midst of a dream in White heaven. His diagnosis of cancer is assumed to have prompted this ethereal moment. The dream starts with Uncle Ruckus' approaching the gates of heaven and instead of seeing St. Peter; the gatekeeper is none other than former president Ronald Reagan. The former president goes through his resume of destruction and proposes to Uncle Ruckus that "White Heaven" is where he wants to live out eternity. He tells to Uncle Ruckus that Blacks do go to heaven but it is just not the same as White heaven. Uncle Ruckus relishes in this idea and eventually asks Ronald Reagan what he has to do to be allowed into White Heaven. President Reagan ultimately tells Uncle Ruckus that preaching the message of “White Heaven” and “White Jesus” will allow him a special place in heaven upon death. He is told by former President Reagan that his mission on earth is integral to Uncle Ruckus gaining access to “White heaven”. Uncle Ruckus is told he

3 The Passion of Reverend Ruckus - The Boondocks Wiki. (n.d.). Retrieved from http://boondocks.wikia.com/wiki/The_Passion_of_Reverend_Ruckus

should spend the remainder of his life “preaching” about greatness of the White man and the depravity of African Americans. As part of his reward, Ronald Reagan would transform Uncle Ruckus into a White man once he gets to White heaven. Upon the close of the dream, Uncle Ruckus looks at his face in a reflecting pool and sees the transition of a brown face and brown eyes into an image that reflected a blue-eyed White man with blonde flowing hair. Once Uncle Ruckus awakes he immediately begins the mission that he was imparted onto him. He quickly began to spread the "good news." His friend Robert Freeman is convinced that Uncle Ruckus has lost his mind. Throughout the episode, Robert (Granddad) is committed to getting Uncle Ruckus help. Huey Freeman spends the episode planning the escape of a former Black Panther who has been unjustly imprisoned for a murder committed by a White person. Huey’s planning process starts in a scene where Huey and Jazmine call to order their escape committee meeting. While they discuss plans to visit Shabazz K. Milton Berle, an inmate on death row, Huey realizes that Jazmine’s commitment is not the same as his own. This struggle extends to his family members, as well. In the case of helping out this inmate, Huey was alone. This sense of isolation and desertionb inclined Huey to take drastic measure and make false accusations about the Governor of the state. During the correspondence with Shabazz, he learned that the state pushed up his execution date. His stay of execution and all of the legal appeals were denied. As a means of creating more time, Huey tells Shabazz who wrote a letter to the governor threatening to reveal his gay affair. The rationale for doing so was rooted in the idea that this country frown upon homosexuality and it would in turn impact his political career. Meanwhile, Uncle Ruckus continued preaching, but as the episode progressed, he and his ministry gained momentum. His method of preaching was presented in very traditional way. He would merely find the nearest open public spot and stand on his “proverbial” soapbox and talk about the message from Ronald Reagan. He also reiterated the benefits of going to White heaven and compelled many to join his crusade. Considering that most people in the town of Woodcrest are White, this message is well received and goes unquestioned. At the outset of his preaching, Robert Freeman and Tom Dubois hear the message of hate and ask Uncle Ruckus if he's all right. Their level of concern is heightened and Uncle Ruckus revealed that he was diagnosed with a tumor on his back. Doctors were positive that he would soon die from the

tumor. Uncle Ruckus would continue to discuss his dream and emphasize that in his remaining days he was instructed to spread the word of “White God.” He continually claims that Black people can be redeemed and ultimately gain admittance to White Heaven through the process of self-hatred and the hatred of those who looked Black or African American. After hearing Uncle Ruckus preach, Robert Freeman comes to the conclusion that Uncle Ruckus is crazy and eventually tells Uncle Ruckus to stop being stupid. Robert Freeman’s message clearly was not received because Uncle Ruckus and his message had been received and embraced by the masses. He was now visible on television and received support from wealthy benefactors to host a sold- out revival in the town of Woodcrest. By the close of the episode, Huey’s plan was thwarted at the last minute when Granddad tells him he cannot give him a ride to the prison. Without any other options, Huey decided to go with Tom and Granddad to Uncle Ruckus' revival. While waiting on the revival to conclude, he decides to take a walk and adhere to the advice of both Jazmine and Granddad. Huey finds himself at the top of a hill praying for his incarcerated friend Shabazz. As Huey is crying, the scene switches to the governor. While reading Huey's blackmail letter, the governor panics over someone knowing his relationship status and the ramifications if the public somehow finds out this information. As the governor reaches for the phone to cancel the execution, Uncle Ruckus begins to assert that, "If any of my words do not come directly from the almighty God himself, then may I be struck by lightning right this very instant! Hallel-" At that moment same, Uncle Ruckus is struck by lightning. This lighting strike not only knocked out all of the light in Woodcrest, but it stopped the execution and ultimately cured Uncle Ruckus of the cancerous tumor in his back. In the end, Uncle Ruckus lost all of his following and he realized that he too was Black. It is revealed Governor is gay and in an affair. Lastly, even though Shabazz is not free, Huey considers his mission a minor success.

Season 2 Episode 19 “Stinkmeaner Strikes Back”

The episode Stinkmeaner Strikes Back is the nineteenth episode in the second season of The Boondocks animated series. It aired on March 19, 2006 and more recently became available on media outlets like Netflix. The primary characters in this episode are Robert Freeman

(Granddad, Colonel Stinkmeaner/Tom Dubois, and Huey Freeman. Uncle Ruckus and Riley serve as auxiliary characters. The episode begins with Colonel H. Stinkmeaner, an old man whom Granddad killed in season one, finds himself in hell fighting having the time of his life. In all his fighting and anger, the devil can not do anything but commend Colonel Stinkmeaner for his evil demeanor. Once Colonel Stinkmeaner is done fighting, the devil gives him a chance to return to the earthly realm to exact his revenge on Robert Freeman. The devil ultimately wants Stinkmeaner to “spread ignorance and chaos among the Black community.” In the interim, in the land of the living, Granddad is learning how to use social media with the help of his grandson. His desire to find a date inclines him to ignore the bad feelings that Huey is having. Huey’s negative feelings are predicated on the notion that Stinkmeaner is going to return and the result of his return will not positive for the Freeman family. In the next set of scenes, the character most impacted and used is Colonel Stinkmeaner/Tom Dubois. Colonel Stinkmeaner is a spirit, while Tom is a corporeal being. Throughout the remainder of the episode, they are inextricably connected. Their connection initially begins in parking lot at Tom Dubois place of employment. While he is parking his car, another driver trying to attain parking a spot, rudely cuts him off. This act ignites what Huey calls a "Nigga moment." As Tom Dubois gets out of his vehicle and attempts to confront Black male that boorishly obliged himself to Tom’s parking spot, the abrasive and aggressive man responds by insulting and threatening to assault Tom. As Mr. Dubois, walks away, the ethereal essence of Colonel Stinkmeaner takes the opportunity to possess Tom Dubois. This becomes a space of contestation because Tom Dubois is usually the one character that could never be considered “a Nigga” or involved in “Nigga moments”. Tom being possessed by Stinkmeaner then yells his own insults. These insults serve as the catalyst to more violence. Once the man hears Tom, he turns around to confront him again except this time possessed Tom Dubois kicks the man in the chest and across the parking lot. After the assault, Tom Dubois regained corporeal control of himself not knowing what just happened. He promptly attempts to help the accosted man up off the ground. This similar behavior would continue as Tom was in the courtroom trying a legal case. At one point in the case, Tom approached the defendant to begin his argument and Colonel Stinkmeaner possesses him again. This possession prompted Tom Dubois

to approach the witness with derogatory language that nobody in the courtroom was expecting. Tom’s actions were even more erratic than the first outburt. So much so that he began to jump on the defense bench and kick and stomp on the table. He ended this interaction by telling the judge "Fuck yo' court Nigga!" In this moment, Tom Dubois notices that something is drastically wrong quickly exits from court. However, he is unable to leave without spewing one more rude comment. Once he gets to the bathroom, Stinkmeaner once again possesses Tom. While standing at the sink in the mirror, he notices his reflection, as he becomes the reflection of Colonel Stinkmeaner. In classic Tom Dubois fashion, he runs away. In the next scene, Huey Freeman finds himself still confused and is still disturbed by the dream he had the previous night. Another ethereal moment occurs again. The “ghost” of rapper Ghostface Killah appears to Huey. He explicitly appears to give Huey advice on the current Stinkmeaner situation. The most help Ghostface Killah gives him is to continue contemplating solutions that may end the “messy” situation they are currently immersed. In another room, Robert Freeman has gone about his day and ignored the message Huey gave him that morning. It is apparent that Granddad’s arranged date is far more important. He is obsessed with making the perfect impression on a woman who he met online and is much younger than him. He is focused on preparing for his date and dismisses Huey’s desire to talk. In the end, Granddad sends Huey and Riley to their room and instructs them to not come out for any reason at all. As the night proceeds, Tom Dubois arrives home, but it is not Tom. Stinkmeaner instantaneously takes over and greets Tom’s wife at home after being hugged. It is insinuated that Stinkmeaner possessed Tom Dubois again just to have sex with his wife. Seconds later, the scene shifts back to the Freeman House. Granddad, as usual, is naked on the toilet. Possessed Tom Dubois interrupts Granddad in the midst of his online dating conversation. Tom viscously chops through the bathroom door with an axe and scares granddad. Granddad immediately sends an email to Riley from the bathroom before managing to escape. Once Huey figures out that it is weird to send an email from the bathroom, they both decide to go check on Granddad. The immediate result of Huey and Riley’s arrival is the revelation that Stinkmeaner is in control of Tom’s body. The next thing that ensued was a fight between Stinkmeaner and the three family members. After taking a brief beating, the three characters were able to subdue Colonel Stinkmeaner. This occurred just before Granddad’s date arrived. Huey is irate at the fact that

Granddad only told them to tie Tom in Riley's bed. As Robert goes downstairs for his date, he instructs them to stay in the room and keep quiet. After running downstairs, Robert greets his guest very happily. The only issue is that he did not have on any pants. As time passes and Stinkmeaner awakes from being knocked unconscious. Granddad's date begins to question him about the noise coming from upstairs. After lying many times, the date decides to leave. She said her leaving was not because there was a possessed man upstairs, but because Granddad lied about having a possessed man upstairs. Now having his date ruined, Robert focuses his attention on the spirit in Riley’s bed. Robert finally calls the “National Headquarters of the Catholic Church,” but no one answered the phone to assist them. Granddad then chooses to get help from a local exorcist: "Reverend Father" Uncle Ruckus. Uncle Ruckus begins the exorcism by attempting to scare the possessed Tom with a nightstick. He then attempts to exorcise Stinkmenaer by forcing him to read a book and a job application. His final tactic is to physically castigate Tom Dubois with a whip and other items. Uncle Ruckus accomplishes this beating by recruiting Granddad, Riley and Huey, all the while reciting the “holy phrase,” "Nigga, get yo Black ass outta here!" Huey chose not to participate and watches the three of them beat Tom for several hours. Ghostface Killah's spirit shows up again to make Huey tell them to stop beating Tom before they kill him, but Ghostface did not instruct Huey explicitly how to do so. After Huey questions Ghostface Killah, Ghostface says “Peace.” Huey realizes something profound and intervenes in the exorcism. Peace is required to settle any “Nigga moment.” Huey was reminded that a "Nigga moment" can not be solved by violence, but only through “peace and understanding.” Once Huey intervenes on the beating of Tom and starts the racist, yet, peace driven conversation between Stinkmeaner and Uncle Ruckus, it is not until they both are laughing that Stinkmeaner realizes he was tricked. It was not until they shared their hate for Black people and all things Black, did a sense of “good will” arise between them. Stinkmeaner is finally exorcised successfully from Tom Dubois. The close of the episode shows Mr. Dubois the next day awakening tied to the bed. Riley Freeman is very upset because the exorcism took place in his bed. Granddad walks from the room reiterating to Tom that he will have a substantial bill to pay due to the damage he and Stinkmeaner did in the Freeman house.

Season 1 Episode 9 “Return of the King”

The episode Return of the King is the ninth episode in the inaugural season of The Boondocks animated series. Return of the King aired on January 15, 2006. It is considered by many to be one of the most egregious and offensive episodes produced by Aaron McGruder and aired by Cartoon Network. The primary characters in this episode are Huey Freeman and Martin Luther King Jr. Granddad, Uncle Ruckus, and Riley all still play pivotal roles throughout the telling of this episode.

At the beginning of the episode, Huey Freeman begins by narrating the Story of Dr. Martin Luther King Jr. He provides a drastically different set of historical events in his narrative of Dr. Martin Luther King Jr. In his version history still has the civil rights leader. In Huey’s version, there was an attempt on Dr. King’s life, but instead of being deceased, on April 4, 1968 Dr. Martin Luther King Jr. was shot and remained in a coma for 32 years. On October 27, 2000, he eventually awoke in a hospital much older and oblivious to the changes that have occurred. His first interaction with the world was one that was not pleasant. Dr. King attempted to vote for a candidate in the 2000 U.S. presidential election, but he was "turned away due to voting irregularity." As the episode progressed, it scrolled through news clippings of Dr. King’s lack of ability to vote. He was then seen walking along a street that happened to bear his name. Not even two seconds later gunshots rang out, causing everyone on the street and the surrounding area to disperse. It was later said and understood "streets named after him weren't the very safest." Dr. King and the issues he faced in this new society did not stop but got progressively worse.

In the next scene, Dr. King began to experience some temporary success. Martin Luther King Jr.’s image and reputation were revitalized by the acquisition of a book deal and by settling on an agreement to produce a biopic. In the episode they show an image of actor Cuba Gooding, Jr. playing the role of Dr. King. The biopic King agreed to do was directed by Oliver Stone, which automatically “pisses off” Spike Lee. It would turn out that the movie began showing in theaters the week after the September 11th terrorist attacks, instantaneously causing the film to flop at the box office. Soon after the disappointing film debut, Dr. King appeared on the satirical late night television show Politically Incorrect with Bill Maher. On the show, he is harassed about the attack on 9/11 and he interjects that the Christian faith teaches its followers "turn the other cheek, even when considering his enemies. In this case, the enemy was “terrorist” group 69

Al-Qaeda. Dr. King’s comments outraged the panelist and silenced the audience. His commentary would immediately come under great scrutiny and malicious, vitriol comments came from the White House Press Secretary and many other media outlets, namely CNN and Time Magazine. The adverse reactions to his comment and ideologies subsequently cause his popularity to descend as rapidly as it rose.

At the outset of the next scene, Dr. King is situated at one of his book signings half asleep. At the empty book signing, Dr. King by happenstance runs into Robert “Jebediah” Freeman and Huey Freeman. They start a conversation with well wishes. Robert interjects that he sent Dr. King a card while he was in the hospital, but Dr. King fails to remember. Moments later (during a flashback in time), Uncle Ruckus walks in and begins to harass Dr. King about his politics. He reminds Dr. King that, in the 1960s, he use to throw bricks at Dr. King. It is later revealed that Dr. King and Robert were acquaintances from the Civil rights Movement. By the end of the discussion, Robert invites Dr. King to dinner and the store worker tells Dr. King he can leave since nobody is purchasing his books. As everyone is exiting the bookstore, Uncle Ruckus asks Robert and Dr. King if they would “turn the other cheek” and invite Uncle Ruckus to dinner.

While at dinner in the Freeman home, Dr. King and Granddad, began to reminisce on the Robert Civil Rights era where they became acquainted. In their discussion of the past, it is revealed that Granddad prank calls Rosa Parks out of retaliation. There is then a flashback to the day Rosa Parks refused to give up her seat. Robert Freeman’s participation throughout the Montgomery Bus Boycott goes unnoticed and is ultimately told to be a good boy. His gripe with sister Rosa Parks is that she received all of the notoriety and he received none. Robert Freeman’s positionality is reflective of Claudette Colvin’s narrative. The Freeman’s a while after learn that Dr. King has been staying in a Holiday Inn Express, and he indeed feel smarter for doing so. Granddad offers another invitation to Dr. King at the close of dinner and tells him that he could stay at their house. As Granddad instructs Riley to begin to clean up, he continually disrespects Dr. King. The disrespect shown to Dr. King initially began during dinner. After calling Dr. King Morgan Freeman, Granddad decided to remove his belt and began whooping Riley. Riley’s animosity for Dr. King grew even in the midst of his beating. As the evening progressed and everyone headed to bed, Huey and Dr. King had a conversation about the state of Black 70

America. While watching B.E.T., the both express the dissatisfaction they have for both Black culture and the Black community.

As the next scene came on, a new day began and Huey has to forcefully persuade King to try to reach out to people and community like he once did in the 1960s. During lunch at McWuncler, Huey convinces Dr. King that the two of can organize a new political party. As Huey and Dr. King begin to publicize their new political party, they receive opportunities to go on cable news channels to discuss their political party’s agenda. Ultimately, Dr. King appears on a television show to explain the philosophy of his new party, but his philosophies are immediately under verbal attack and he is never provided the opportunity to articulate the political party’s positionality. Because a rude, aggressive, and hostile right-wing conservative host frequently interrupts Dr. King, Huey responds in a violent and counterproductive way. Before a commercial break, Huey launches himself toward the stage after hoisting a chair at the host. Interestingly enough, the news network hurries to shut off the cameras as Huey is caught physically thrashing the TV show’s host. Afterwards, Dr. King reminds Huey on the tenets of non-violence and decided to spread their message and political party agenda “the old-fashioned way.” The scene closes with them both passing out flyers on foot and door-to-door.

Once their door-to-door solicitation is complete, they reconvene at party headquarters. Their political party has another setback when Dr. King decides to hire an "urban promotions firm" to publicized the political party's planning meeting. It is advertised on an FM radio music station as a "party." Huey realizes the damage of Dr. King’s decision, but Dr. King himself is dumbfounded.

That night as both Huey and Dr. King arrived at the church, they noticed a multitude of young Black people. What Dr. King and Huey realized is that the young attendees came to the party dressed and prepared for “clubbing experience.” A bouncer at the front door is hesitant to allow Huey and Dr. King into their meeting. He is insistent on them giving him a monetary donation. They ultimately pay the fee just to enter their meeting and church. Once they enter, they are shocked and appalled by the disrespectful and unconscionable behavior. The attendees in some cases are intoxicated and fighting in the church. In this scene, different individuals find their way to the podium and give ridiculous speeches. Those participating in the speeches are rappers, crooked televangelists, and other random individuals. After paying another bribe to a 71

different bouncer, Dr. King finds a way to get to the podium. Initially, in a respectful and restrained way, Dr. King tries to quiet the crowd by using positive, uplifting language (e.g. brother and sisters). This tactic fails miserably and is forced to speak to them in the only manner they would understand. In a moment of sheer frustration and anger, he boisterously says, "Will you ignorant Niggas, please shut the hell up?" The crowd immediately pauses and is in a state of dismay. Dr. King continues in the fashion of his infamous “I Have a Dream” speech and asks, "Is this it? This is what I got all those ass-whoopings for?" (Boondocks, Jan.8, 2006) Throughout the speech, he repeatedly refers to the audience as "Niggas" and does so primarily out of frustration. He is disgusted that there is a generation of Black people and Black communities that passively accept negative and demeaning racial stereotypes. His lambasting does not stop with Black people, but it ventures into the world of Black popular culture. Media empires such as Black Entertainment Television come under great scrutiny. Dr. King closes his speech by providing an alternative ending to his “I Have a Dream” speech. He says, "I've seen what's around the corner, I've seen what's over the horizon, and I promise you, you Niggas have nothing to celebrate! And no, I won't get there with you. I'm going to Canada." (Boondocks, Jan.8, 2006) As Dr. King walks off the stage he thanks for his help and courage and advises him to "do what he can."

In the closing scene, Dr. King’s speech made national headlines. The media exposure of his new speech propelled African American citizens to action. Images of angry men and women were reminiscent of the fight and struggle of past revolutions. The episode concludes with protestors of upset and ready for drastic changes in policy. In the final set of images, the show depicts the cover page of a newspaper from 2020. It shows that Dr. King has died in Vancouver, British Columbia at 91 and, Oprah Winfrey had been elected president. Huey narrates the close of the episode by saying "It's fun to dream.” This narration reiterates that the entire episode wasa dream of Huey's interpretation as to what potentially could have happened if Dr. Martin Luther King Jr. lived.

In the next section, the understanding of the thematic organization will be discussed and the subsequent analysis of these three episodes will be discussed in chapter five. In each episode, I will focus on how this text can be understood from the context of race, spirituality, and

maleness. By reading this text from these contexts, I should be able to understand this text and its curriculum in a different way.

Organization, Examination and Discussion of Themes

As previously noted in chapter three the primary themes/strands in the study specifically examine the conceptions of race, spirituality and masculinity. When attempting to construct themes within the confines of maleness, spirituality, and the curriculum of race within The Boondocks animated series, there were many different images and context that were observed. These three themes have been organized in an excel spreadsheet as a mean to visibly understand the reoccurrences of common language and word usage. The interrogation of these three concepts was to answer the primary research question. That question entails understanding the curriculum of race within The Boondocks animated series through the lens of spirituality, race and masculinity. Those themes include but are not exclusionary to recognition of race; cultural experiences within race and spirituality, gender identity in race, understanding race as a pedagogical tool, and the discussion and explanation of race through media. These themes have been labeled a specific color throughout the three animated series transcripts. Both the main themes and sub themes will be discussed in further detail, in the next chapter. This discussion will surround and be articulated by using tenets and questions posited by both Critical Race Theory and Critical Media Literacy. Even though race serves as the focal point of this study, the overlapping of the aforementioned themes should show the connectivity between the media text and the theoretical frameworks that guide this study. The themes throughout this analysis were constructed based on the language, images, and context of The Boondocks animated series. Each theme is structured to explicitly arrive at and answer the initial question of the study. Again, this is done through the specific lenses of race, maleness, and spirituality. The themes in this study have been labeled and organized the following way because it made reading and analyzing the data more coherent and objective. The obvious numerical reoccurrences helped to validate the usage of the language and images used in this analysis. Each theme is indicative of the language and images provided in three particular episodes. The sub themes help specifically place the terms, language, and images into a context that will help answer the research question. I will discuss curriculum of race in every facet of this study because the original question entail understanding the curriculum of The Boondocks. Dissecting 73

the curriculum of race into two other specific discourses (gender and spirituality) allows for a more in depth analysis of the animated series. Additionally, it has been a goal to understand specifically how spirituality can be infused in more cultural /educational studies discourses. This is apparent in every episode, but is probably most apparent in episodes where Huey has an abundance of monologue. Huey does monologues in every episode, but depending on if he is in the midst of a dream or commenting on situational circumstances, his monologues are spiritual and reflective. Those episodes, to name a few, include “Return of the King” (Season 1, 2006),” Stinkmeaner Strikes Back,”(Season 2, 2008) and “Pause” (Season 3, 2010). There are numerous examples of this throughout the animated series’ three-season stint. Some of the controversial episodes produced will be exemplars these tenets and theoretical ideas. The next three sections provided an overview of the themes if race, spirituality, and masculinity as they are reflected throughout the Boondocks series.

Race Unchained: An Interwoven Construct

In The Boondocks animated series, race and racism are embedded in the content of the show. It is satirically and explicitly situated in the context of the animated series and raises many issues that are often avoided in mainstream media. One immediate example that can be addressed is the language different characters use throughout the show. Some of the language used is intergenerational and others have their own context. The best example of this is word “Nigga.” The word has historically taken on several meanings. The version most commonly used in the animated series is one that is considered a “term or endearment.” That does not suggest that depending on the character and the moment in which it was said, the context or meaning was not intended for something else. I specifically use this version of the word “Nigga” because it is the most reoccurring version of the word. The western etymology of the word is rooted in the socially construction of a particular ethnic identity. The word was originally constructed for the sole purposes of perpetuating asymmetrical power relations between the dominant and subservient group. In the case of The Boondocks, particularly the three episodes I examined, the word “Nigga” showed up or was used seventy-four times. This version again still has many spellings and contexts. It cannot be stated enough that the context of the character and the conversation have a lot to do with understanding the full meaning of the use of the word. The

word “Nigger” was used eighteen times. This word can be connected to the original western etymology of the word and can be directly associated with racist ideologies. The word’s intent is to disenfranchise and demoralize the psychological and spiritual attributes of a targeted group. In the case of The Boondocks Uncle Ruckus, the Black racist, primarily used this variation of the word. The last two variations of the word “Nigga” or “Nigger” can be considered and classified as terms indicative of both racist’s history and racial distinction. The word “Negro” was less commonly used. It was used a total of three times and mainly referenced and reflected a specific context. The pretext to the usage was predicated on partially understanding the evolution of Black people’s identifying labels in America and context in which the word Negro is used. This same idea would also apply to the word “Black.” The usage of the word “Black” occurred 39 times, most of which directly referenced race or something that reflected the Black cultural experience. In this particular instance, when examining The Boondocks animated series, Granddad offers a quintessential example of particular CRT tenets, more specifically, racialization and intersectionality. Based merely on his age and life experience, his narratives pertaining to slavery and the civil rights movement, he exemplifies each of the elements of racialization and intersectionality. His behavior, language and dispositions on race, social class, gender all show the complexities associated with being not only human, but also a Black male who has traversed some of the most traumatizing eras in this country’s history. Other concepts like “racelessness” are also apparent in the discourse of The Boondocks. The character that can attribute most behavior associated with this concept is Tom Dubois. His name in itself identifies with two historical images that dealt with the warring of African American male identity construction and in some instances, destruction. The Boondocks provides substantive discourse concerning the narrative of premeditated denial. Tom Dubois even though he is obviously African American, his persona, and performance is portrayed and ultimately viewed in a way that one might compare him to a castrated African American male slave. This is a direct issue concerning the notion of double consciousness. McGruder address this in several episodes and themes throughout the animated series. Contrary to Tom Dubois, Uncle Ruckus’ racist rhetoric provides an in-depth and compelling position on the discussion of race and racelessness.

The four racial signifiers listed above lay the foreground for the discussion of race in The Boondocks animated series. The language used throughout the show would further substantiate how race plays a significant role in understanding the animated series. In addition, these four signifiers are not the only references that validate this theme. Embedded throughout the animated series there are phrases, dialogues, and images that substantiate the validity of race within this study.

The “Spirit” is Unwavering: Getting Beyond Traditional Conceptualizations

In The Boondocks animated series, the idea of spirituality can be viewed explicitly and implicitly. Many of the examples I used to substantiate its presence throughout the text are grounded in both religious and cultural experiences. The three sub themes within this analysis I focus on the context of spirituality and is labeled/ defined as “walking contradictions,” “Ethereal Experiences” and “Dreamy Epiphanies.” The notion of “walking contradictions” entails instances and images that allude to a sense of unfinishedness. It is the open recognition that people are faulty and at times contradict their own ideologies, ways of knowing, and ways of being. I constructed the theme “Ethereal experience” so that the discussion included the experiences within spirituality that some would constitute “Good or Evil.” In this study, these experiences look heavenly and can be construed as positive or negative. Finally, the idea of “Dreamy epiphanies” include different occurrences that transpire based on the actualization of faith, but also leaves room for the experiences or occurrences that have yet to come and serve as prophetic moments. This does not suggest the only examples contextually limited to one conceptualization or institutional belief, but considering the text and the demographic the show depicts, the immediate connections are valid. This is essential in this particular project because in the animated series, they clearly make a distinction between the two notions. This can be viewed in several episodes. For example, in the "Return of the King,” Season 1, Episode 9, McGruder clearly deconstructs the responsibilities of the institution, specific roles within the church, operating the church, distinct stereotypes and behaviors attached to a Black church experience. Spirituality is explicitly discussed and observed other episodes like "Stinkmeaner Returns." This is apparent when one of the characters is possessed by a "spirit" throughout the episode and is later exorcised by a "priest/spiritual leader." This exorcism was executed in a very untraditional

way. In the episode, the main protagonist constantly analyzes the traditional notions of religion and it’s institutional practices. He also has his own encounters with a spiritual entity. Some of the most profound evidence used to depict the understanding of spirituality entailed the episode selection. I specifically chose these three episodes because they provided the most data when examining the concept. Because the protagonist, Huey Freeman, is constantly dialoguing and reflecting on his own experiences and ideologies, every episode provides some feedback and conversation around spirituality. In the case of this study, “Passion of Ruckus,” “Return of King,” and “Stinkmeaner Strikes Back” serve as that primary reference to understanding the possible understanding and impact of spirituality. Other episodic examples that could be used are “A Huey Freeman Christmas”, the “S-Word”, “The Story of Catcher Freeman,” “Stinkmeaner 3: The Hateocracy,” “Pause,” and “The Color of Ruckus.” All of these episodes speak to the understanding of spirituality and race. From a spiritual context, they each allow the explicit and implicit visualization of what spirituality encompasses. For example, in the “A Huey Freeman Christmas,” they explicitly discuss the struggle with traditional cultural and religious practices associated with this Christian holiday. Moreover, it interrogates the internal struggles that are associated with a holiday that typically omitted people of color. Of the episodes listed, three of the episodes come from season three. They too address different experiences within Christian spirituality and the spirit of hate associated with racist ideologies. As said before, throughout the study reoccurrences of various religious themes arose. Terms like heaven and hell both appeared. Images within both spaces were conceptualized and portrayed in two of the three episodes chosen. Reference to both White God and White Jesus occurred nine times. All of these occurrences were during “prayer” or explicitly used as exaltation to a person/entity within faith. In addition, the direct usage of spirit and Holy Spirit occurred in all three episodes. Their subsequent usage both were about and in reference to an understanding or set of beliefs that are mostly defined as conceptual and deemed intangible by most. Episodes that represent characters possessed by spirits or dreams of a world that included Martin Luther King Jr. alive, validate why spirituality is evident and pertinent to answering the research question. This is particularly true when considering the African American experience in America.

Breaking the Chains: Leroy’s in the Lost and Found

The Boondocks offers a multiplicity of views on gender identification, and specifically in this series, maleness takes center stage. In this analysis, gender is as complicated as Marc Anthony Neal’s explanations of maleness in his latest work Looking for Leroy. His assessment of maleness helps to understand the complexities historically aligned with Black males. This analysis of race will further the discussion of race and gender. This discussion will particularly occur in the way race has affected maleness. The perpetuation of certain stereotypes and hegemonic conceptualizations accepted by the masses are sources of great concern. The three sub themes labeled in this study deal with the struggle of understanding maleness and the conflict often associated with being a Black male. The first theme questions whether “To be or not to be,” one’s authentic self. The first theme was constructed and labeled in this way because the images and language used by the characters describe a constant struggle with being a “Nigga” in this country. As stated in previous sections, the usage of the word “Nigga” differs depending on the context. This theme entails embracing every aspect of being an “African American” in this current social and political climate. The idea of “Guilt by association” relegates the Black male to single phenomena. Regardless of difference, the commonality automatically spells doom for the Black male. Black masculinity in this context is not only a mental struggle, but its association within an American context for constitutes type of pathological validation. The last theme, “Generational psychological paralysis” is represented and addressed in a way that shows the positionalities and ideologies that have passed through generations of Black men. When addressing issues of sexuality, McGruder deconstructs these notions of maleness throughout the animated series. He challenges traditional notions of hetero and homosexuality while attaching both concepts to curriculums inside and outside of the classroom. McGruder in his work goes further to deconstruct the different stereotypes associated with maleness and masculinity in the church, in the arts, in parenthood, and across generations. One example within the series includes a conversation between Riley Freeman and an inmate in prison. Because sensitivity is often construed as weakness, expressing feeling is often considered gay. Because Riley and the inmates interaction is based on the idea that one male cannot express any emotion over another male, Riley expresses his disappointment in someone who is supposed to be tough. An example of this goes:

Inmate: Psss, I don't know. He's so detached. We used to spend all our yard time together. We used to lift weights together every day. He doesn't even spot me anymore. I think there's somebody else. Riley Freeman: Jail Nigga, you gay. (Boondocks, Mar. 19, 2006)

This exact same sentiment is also expressed in another episode as one brother; Huey is attempting to share in a loving relationship with Riley. Their conversation goes as follows:

Riley Freeman: Damn Morpheus, what you bout to do? Huey Freeman: I love you man Riley Freeman: Uhhh Nigga you gay (Boondocks, Mar. 19, 2006)

For a media outlet, this is rare, especially coming from a context that is traditionally marginalized and constantly critiqued. The perpetuation of such ideas is fundamentally connected to the curriculum within the school and the greater social structure. It is a belief that the infusion of spirituality that the conceptualization of maleness and ultimately curriculum can begin to change and be adapted in a capacity that in more inclusive of African American males. Substantive terms associated with these themes are somewhat interwoven with the initial discussion of race, masculinity and spirituality. Most often when gender or maleness was discussed or used in the series, the word Nigga was freely inserted as a substitute. The number of times the word was used was substantial. Other terms, like boy and brother, were used a minimum of 32 times. Both words were used in the context of race and gender. In the context of race, it was typically about maintaining relationship based on power. Other usages were a direct reflection of intergenerational familial relationships. There was very few occasions where language was used that one might perceive as of respectful dialogue. Of the main characters, only the main protagonist consistently used “positive” language. He used the word “brother” most often as a substitute to Nigga. In some instances, that did not stop Huey from using the word “Nigga,” but its usage was contextually and situationally inserted. Ultimately, all of the terms extracted for the analysis have a different meaning depending on the user and their context. In closing, all of the themes suggested will be further discussed in chapter five. This discussion will allow for intentional and poignant analysis of the animated series and the analytical/assessment questions provided by CRT and CML. At the close of the discussion, the 79

understanding of the data and the text will show that curriculum of The Boondocks is substantial and very meaningful.

Chapter 5:Analysis & Discussion of the Findings Season 1 Episode 15 “Passion of the Ruckus”

Hearing the Calling

Even though the animated series’ content is satirical, the conversations stemming from the social constructs addressed are applicable to the curriculum of The Boondocks. As stated before, Uncle Ruckus puts forth a curriculum that is predicated on consuming, embracing, and perpetuating a White supremacist ideology. Throughout the series, McGruder actively challenges those notions as well as allows Uncle Ruckus to operate in his own contradictions and complexities. The theme of this ideology and curriculum was labeled here, as “White is right!” Whenever Uncle Ruckus openly denigrates the African American race, the African or African American culture, or even referenced himself as having a debilitating skin disease that made him darker each year, it helps to able to recognize the narrative that guides such thoughts. The narrative Uncle Ruckus supports suggests that whiteness is the pinnacle of racial relevance. In this particular episode, he starts validating whiteness in the first minutes of the show. Uncle Ruckus begins this episode with an ethereal experiencing heaven. In the episode, Passion of the Ruckus, this experience was explained and depicted through Uncle Ruckus’s experience with cancer. Possessing the burden of carrying a cancerous tumor is conceivably unbearable and in this experience Uncle Ruckus came to the realization that he did not have much time to live. Seemingly, the spiritual experiences that occurred once this news was revealed undoubtedly changed Uncle Ruckus’s outlook on life. It seems that in the midst of his tumultuous situation, he began to not only evaluate his life, but also decided to take a proactive approach to the mission he received in his ethereal moment. In his dream/vision, while riding in an ornate chariot with Ronald Regan, he gets a profound history lesson in White supremacist practices. His first lesson is from one of the staunchest racists in history and provides the methods and tactics by which White supremacy can be maintained. Their conversation goes as follows:

Uncle Ruckus: My stars and God…It’s President Ronald Regan… My Hero… Is this heaven. Ronald Regan: Oh not just Heaven Ruckus, White Heaven. You see There are many different types of people Ruckus. So God created many separate but well for the most part equal heavens Uncle Ruckus: You Don’t say… 81

Ronald Reagan: White heaven is for decent, good, god fearing Christians who just happen to, well, hate everyone and everything relating to Black people. That means no Muhammad Ali, no hip hop music, and no fucking Jesse Jackson. Uncle Ruckus: What about Whoopi Goldberg? Ronald Reagan: Nope Uncle Ruckus: Oh, this is Heaven. Ronald Reagan: Turns out that God really doesn’t have that much of a problem with racism. He doesn’t even remember slavery, except in February. Personally, I hate Black people, Ruckus. That’s why I did everything I could to make their lives miserable. Crack? Me. AIDS? Me. Reaganomics? C'mon. I'm in the name. And God has rewarded me. Know why? Uncle Ruckus: uh…cause if you rub two Niggas and two quarters together it don’t add of to a dollar Ronald Reagan: Well that… And because God Loves White people. and if you teach everyone on earth love the White man, you too can join us in White heaven Uncle Ruckus: Praise White God4 (Boondocks, March 19, 2006)

In the next section, the explicit analysis of both Ronald Reagan’s ideologies and Uncle Ruckus’s acceptance/ perpetuation of White supremacy is situated in the thematic context of “White is Right.” Within CRT discourses, this would immediately fall under the tenet of interest convergence. Their conversation and Uncle Ruckus’s subsequent religious crusade on blackness from both a media and CRT context serve as an explanation to why McGruder’s discussion of race is so profound.

Exploring Whiteness: “White is Right”

One continuous theme and word used throughout the beginning of this episode is the idea of White or whiteness. For both characters, the history of the world, be it spiritual or natural, has been created and structured solely for the purposes of maintaining power and dominance over everyone that is not White. In this example, supernatural places like heaven is fundamentally racist yet God does not acknowledge it. In this satirical exchange, God does not acknowledge the pain or struggles of humanity. It is with these satirical statements that I believe McGruder is acknowledging the lengths to which those in power would go to deny, eradicate, and devalue other narratives that are contrary to their own. In that same breath, I suggest that this view would

4 Researcher conducted episode transcription, but other online references provide different transcriptions that offer additional commentary and interpretations. Those references are noted in the works cited. They were not used because the researcher felt some commentary used offered an alternative interpretation to the text. 82

be confirmed in the presence of other staunch racist. Like Uncle Ruckus, I believe more would willing to acknowledge their contributions to the demise of a marginalized group, simply because is provides a space of commonality. It almost as if in their conversation, Ronald Reagan was a spiritual conduit for Willie Lynch and he was discussing how to contribute to the demise of Black people. This reality is explicitly forced upon the psyche of African Americans and anyone within the African diaspora. Throughout Uncle Ruckus’s and Ronald Reagan’s communication, they sought to eliminate any and all prominent figures in the Black community. From a spirituality context, if one’s identity can be constructed from a White supremacist conceptualization, the dominant narrative told inevitably shapes one’s spiritual identity. In the case of African Americans, this particular narrative has been told for centuries. It is not until an exploration of African centered sense of spirituality that one can begin to engage the dominant narrative critically. In the case of Uncle Ruckus, his denial and refusal to engage such a narrative has him confined to believing that there is only one way to examine life. By the end of the episode, Uncle Ruckus’s attitude and demeanor is forcibly altered despite his resistance and outright refusal to acknowledge the contradictions in his thoughts. Conceptually, Uncle Ruckus’s character and ideology aligns well with the racial discourse idea, interest convergence. When examining the animated series, there are several images available that exude the tenet interest convergence. The one Boondocks character that happily exudes this behavior is the incomparable Uncle Ruckus. The theory of interest convergence is an idea that suggests that the interests of African Americans and other racialized groups are only considered and eventually acted upon because they intersect with interests of those within the dominant group. (Delgado & Stefancic, 2001, p.7) I use the example of Uncle Ruckus because it is evident within his comments and opinions the he is reminiscent and representative of Blackface or Minstrel Shows. The only difference between Blackface and Uncle Ruckus is that he is actually black and he willingly allows his ignorance to perpetuate these conceptualizations as truth. Also in the episode titled “The Passion of Reverend Ruckus,” Uncle Ruckus makes it known that his admiration for Ronald Reagan and attitude toward African Americans was the best way to display the concept of whiteness. This subversive method of assimilation was exacerbated by an erroneous promise from Ronald Reagan. Once Uncle Ruckus is presented with the offer of White heaven and the promise of being turned pasty

White, he immediate begins to attempt to co-opt African Americans into an ideology of self-hate. This is an explicit example racism and shows Uncle Ruckus’s active role in the process of interest convergence. The question that must be asked whenever the idea of interest convergence is implemented, is whose interest is being served. It is obvious that Uncle Ruckus will get something from the deal he makes with President Reagan, but what is perpetuated is the conception of whiteness. His willingness to accept the mission is understandable. The task of convincing a community that all White people were safe and automatically going to Heaven seems easy because society holds whiteness in high regard. According to Uncle Ruckus, it should be just as easy to convince Black people to embrace hating themselves in order to enter heaven. Ultimately, this is all substantiated by the idea of whiteness. In so many words, the perceived superiority associated with witness should become a fixed construct in American society. Uncle Ruckus’s final reward was to become White upon death and thereby cementing his righto enter into White heaven with all of his hero’s and favorite people. There is no doubt that Uncle Ruckus could be considered a modern day minstrel show. His approach and positionalities are clear and concise examples of “Interest convergence”. Uncle Ruckus’s demeanor is in inherent conflict and inevitably causes problems because he cannot get away from the point; he too is “Black as the ace of spade.” The question of whose interest does Uncle Ruckus’s behavior and ideologies advance constantly resurfaces throughout Huey’s critique. Subsequent interactions with Uncle Ruckus are usually predicated on their differing positionalities about race and racism. I use this example because in its historical context, the usage of blackface served the interest of some Black people because it gave them some form of economic prosperity. This level of prosperity often came at the expense of what some believed was too costly. Sacrificing your self-worth was never a reason financial gain. This is ideology is reflective in many of Huey Freeman’s comments. In addition, blackface also benefited those in the dominant culture and in many regards helped to substantiate the logic, thoughts, and agenda they possessed for Blacks in this country. Delgado stated “racism advances the interests of both White elites (materially) and working class physically), large segments of society have little incentive to eradicate it” (Delgado & Steancic, 2001, p. 7). This view is clearly seen in blackface and this in my opinion is exactly what Uncle Ruckus represents. His presence allows

the audience to see and address the complexities that exist within their own ontological perspectives. Uncle Ruckus’s behavior is another example that could easily be placed under the umbrella of “Interest Convergence”. The conception of interest convergence could resemble the “White Male Principal and teachers” visible in The Boondocks series. Because schooling has typically been run by white males, it is a belief that there only needs to be one conceptualization of leader. All of the leaders in this show are white. This again benefits dominant groups because they maintain full power, while other remaining groups are forced to be satisfied with having a job. Although Uncle Ruckus is a knowledgeable and willing participant, the people he is “preaching” to throughout the episode are not as aware of his or President Reagan’s motives. The two characters that actively resist such thinking the entire time are Granddad and Huey. Interestingly enough, Huey even challenges those of the same racial makeup yet he is having difficulties with those who still possess co-opted hegemonically constructed ideologies. In the next section, this can be illustrated better through the conception of maleness.

“The Test of a Man”: Guilt by Association

At the beginning of this project, I began by presenting an allegory/parable discussing particular factors within life and education that typify the experiences associated with African American males. These educational experiences are explicit and at times contradictory to what one may constitute as “democratic or progressive education.” In The Boondocks, these experiences are not limited to what goes on in a classroom atmosphere. In the context of this study, and the episodes chosen shows this in the way one of the characters was wrongfully sentenced and imprisoned. In the show, Shabazz K. Milton Berle was working as an intern for the Black Panther Party in 1970’s and while doing some paperwork; he heard a gunshot outside his window. Naturally after hearing a gunshot, Shabazz inquired as to what was going on. He eventually heard a man shout that he had committed a murder. The individual in question promptly identified himself without any coercion and dropped the weapon at the scene of the crime (with his fingerprints clearly marked in chocolate frosting from the donut he had been eating, and with the registration tag attached) (Boondocks, March 19, 2006). None of this mattered at the time and two officers apprehended Shabazz never considering he was already away from the scene of the crime in the Black Panther party office. Later on in during the trial, (as explained in Huey’s dialogue during the scene) a court stenographer happened to be there to 85

record the confession of the murderer. In addition, the dying officer’s last words implicated the killer, Eli Gorbenski. This name is drastically different from Shabazz K. Milton Berle. Lastly, the monologue reveals that an amateur home video was available and corroborated all of the previous evidence. Despite all of the evidence, which one would assume would exonerate of any wrongdoing, the jury convicted him and sentenced him to death. This situation alone substantiates the work that Michelle Alexander’s and the book “The New Jim Crow,” but also that, in this American society, an African American males life is not valued the same. The show satirically depicts that the justice system is fundamentally flawed and needs to be fixed. It is apparent that being Black places in America relegates marginalized people to a position that says you are guilty until you are proven guilty. Innocence is not a factor. Those contexts include but are not limited to “Driving While Black” (DWB), being tracked into Special Education Classes or the practice of excessive suspension. The last casualty in this discussion includes how each of these an aforementioned contexts contributes to the fatality rate among young African American males. That allegory is deeply ironic because it has the potential to resemble two of the most profound works in African American literature. Those two texts are The Souls of Black Folk by W.E.B. Dubois and The Miseducation of the Negro by Carter G. Woodson. The notion of hegemonic masculinity within the process of schooling has the potential to be the most devastating curricula mentioned. It is rare that masculinity is explicitly discussed and it usually occurs after a traumatic event. Subsequent litigation and potential execution shed light on these issues and in far too many stances the only images revealed and publicized in the national media. These notions truly do shape different practices and interactions in school systems. Unfortunately, far too many educators advocate classifying children. “Some people feel comfortable when they can put children into categories” (Kunjufu, 2005, p. 16). More specifically, “Black boys are labeled slow learners in the classroom and yet on the streets and in the military, they understand math and science applications very well” (Kunjufu, 2005, p. 97). Kunjufu provides one example where improvisation in curricula is most apparent. Curriculum in this country will continue to be fundamentally flawed where the education of minorities is concerned because the current curriculum implemented and disseminated continues to resemble a Eurocentric framework and ideology. When extending this to the idea of masculinity, these notions resonate heavily with African American males in school.

More importantly, these frameworks of learning have a potential complicate the way students potentially construct their identity. According to Blount, “gender norms have been structured into school employment and, by implication, the implicit curriculum” (Blount, 2007, p.63). Even though Blount is specifically interrogating the space of employment in school, it does inevitably trickle down to the students being served. For example, when African American males never see a male teacher in a school, it teaches them an explicit lesson. Teaching for them is, can be seen, as a woman’s' work or work for men of a different race. Blount goes further to reaffirm that “teaching not only had become demographically feminized work, but also it had come to regarded as work the demeaned the masculinity of men” (Blount, 2007, p. 65). This systematic process of emasculation within this particular occupation disproportionately places African American males in a position to never see a person that resembles them in their educative process. The idea of cultural reproduction is used to describe how existing disadvantages and inequities are passed down from generation to the next” (Adams, 2007, p. 312). This in itself is a form of socio-cultural reproduction. In this case, the only ideas being reproduced are another generation African American males that will grow up believing there are no Black teachers. In the case of this Boondocks episode, one of the issues the main protagonist, Huey is trying to address is the idea that life is not fair when your skin is Black. For Huey, being a revolutionary only compounds the issues and problems. While Huey is striving attain the release of a former Black panther, he realizes that you do not have to be guilty to be maligned and castigated in this American sociopolitical structure. Again, the theme situated throughout is one that says Black men are and will constantly be considered targets. Their skin color and their maleness automatically make them guilty. If any problem or circumstance arises in their immediate proximity, they should be blamed because historically they have been considered the biggest threat to the maintenance of White supremacist power structures. In the episode, this specifically occurred with Shabazz K. Milton Berle. The following narration tells the story of his wrongful conviction. Huey: [Narrates Shabazz’s Story and case] Shabaazz K. Milton Berle was actually interning at the Black panthers in the early 1970. He hadn’t even earned his Black barrette and leather jacket. One fateful day he heard a gun shot. And the words [Eli Gorbenski talking] “I Eli Gorbenski hate deputy sheriffs. In fact, I’d go so far as to say I hate all police officers and parking enforcers and that’s why I, Eli Gorbenski shot this 87

here deputy sheriff. [Huey starts narrating] Shabazz never investigated the gunshot or the oddly expressitional phrase Eli yelled out yet within minutes cops had busted busting down the door to the Black panther office supply shed and arrested Shabazz for the murder of the deputy sheriff Gary Fyre. Several people witness the murder. One had 8mm video footage. Another happened to be stenographer who had it all transcribed. Including Eli’s confession. Which he oddly enough signed and dated. The murder weapon had Eli’s prints all over it. Which were clearly visible since he had been enjoying a chocolate donut at the time of the shooting. There are also a receipt of sale attached to the gun and the manufacturer warranty card was filled out signed and dated by Eli. During the trial, footage of the incident confirmed in the stenographer notes that Gary’s last words were actually, “Eli Gorbenski killed me.” After only twenty minutes of deliberation, Shabazz K. Milton Burl was sentenced to death. [Shabazz] Man ain’t this a Bitch. (Boondocks, March 19, 2006)

Huey in detail narrates all of the evidence that would exonerate Shabazz, yet the outcome was still one that relegated this specific Black male to a place of institutional confinement. What does this message inherently send to other men of color? If one puts this in the context of schooling and there is a Black male that is regularly sent to in school suspension or detention wrongfully, what does this say about the institutions students are attending? More importantly, what does it say about the practitioners in the schools? In Shabazz K. Milton Berle’s case, he was a part of a “radical” organization. Being aligned with any militant group has historically gotten men and women black listed by those in power, be it the police or the national government. I believe that the show fundamentally exposes the threat Black males have historically faced and continue to face. Despite the data, in some instance in this country, evidence is deemed irrelevant and the idea that all men are created equal and/or have equal rights and privileges under the law is purely a fallacy. The issues they must address on a daily basis need pragmatic solutions. Questions as to how one engages in combatting White supremacist paradigms without becoming a martyr are natural. This sentiment is evident in numerous historical and modern court cases where racist acts were the catalyst. The creator of this show emphatically critiques the treatment of Black males and gives credence to the assertions that current racist institutions exist only to perpetuate the idea of White supremacy. Considering this country is predicated on free speech, White supremacy should be openly challenged without fear or censorship.

Recognizing Limitations: “Walking Contradictions”

Within the final theme of this section, a sense of spirituality was present throughout the

entire episode. From the moment the episode started, there was a spiritual sense of reflection. Most of the characters in this episode went through some reflective encounter. When looking at this particular episode Uncle Ruckus experiences this toward the end of the episode. Other characters like Riley Freeman experiences this throughout the animated series and it directly deals with maleness and sexuality within the African American experience. These experiences are in direct conflict to traditional Hip Hop conceptualization of maleness and masculinity. Needless to say, Riley Freeman is an example of a walking contradiction when examining maleness. When referencing Uncle Ruckus, he is a clear walking contradiction because he openly acknowledges his positionality within the African diaspora and the White supremacist power structure. The difference is that he openly denies every aspect of his Africanness. He openly accepts that he must “embrace” hating the marginalized aspects of his past and current paradigms associated with people of the African descent. Conversely, within Uncle Ruckus positionality his denial and open confession of White supremacist ideologies, there was still an internal discussion and connection to the idea of self- reflection. Uncle Ruckus possesses the belief that if “minorities” critically examine themselves, they will also be able to address some of their own problems. For Uncle Ruckus, this kind of critical self-reflection delves into the realm of spirituality. I am not in complete disagreement, but my analysis of the satirical content and the overall ontoepistemological underpinnings of the satirical show suggests that principle of pride and self-ownership takes an African centered approach. Uncle Ruckus instead suggests that a White supremacist paradigm will coerce the African American community to make substantive changes. Some race based theories use a self- reflective process, as well. Specifically these theories examine “the interplay of power and authority within minority communities and movements” (Delgado & Steancic, 2001, p. 51). Automatically, the analogy of “crabs in a bucket” can be made when thinking of how African American see others being successful. For Uncle Ruckus, this can all be avoided if the Black community accepts its role within the White man’s world. This comparison is one that is noticeable in several episodes. It is noticeable each time Uncle Ruckus preaches publicly or visits a talk show to express his views on Blonde haired, blue eyed Jesus. This animated series frequently uses characters that are inconsistent and fundamentally flawed to discuss complex issues. Yet, it is in in their complexity and flaws you can see exactly where growth is necessary.

Uncle Ruckus is one of the many prominent images that I believe people can relate to because the flaws associated with being human, reflect the views of many people. This has been visible and is a part of The Boondocks curriculum. In regards to the particular setting of Woodcrest and the characters in The Boondocks, the aspects that are readily associated with race discourse and “Looking Inward” or reflection are the concepts of intersectionality and “assimilation.” “Intersectionality” means the examination of race, sex, national origin, and sexual orientation, and how their combination play out in various settings” (Delgado & Steancic, 2001, p. 51). The town of Woodcrest is easily personified and labelled as a “suburban setting.” Under the literal denotation, Woodcrest emphatically encapsulates each of those ideas described in the definition of intersectionality. By examining the atmosphere of the town, the characters, and the social constructs named, it is by these lens that provide multiple spaces for discussions. Within both Uncle Ruckus and the town of Woodcrest, the ideas of assimilation are so much more visible and stategically used by those in power. In this episode, Uncle Ruckus is seeking that power. It may seem simplistic to understand when watching the animated series, but there are a multitude of situations and scenes that complicate power dynamics between races, genders, ages, and classes. This occurs in a way that allows marginalized people to have a voice and provide a valid narrative and positionality. Often times those views are counter to those in power seeking to maintain their status. Those scenes in the animated series are a validation of hegemony and the hegemonic power structures that use institutional racism and classism as a means of exclusion. Within the current context there is always a valid rationale as to why certain groups of people deserve to be constantly surveyed and monitored. The characters that present this assimilationist persona are Uncle Ruckus, Riley Freeman and Tom Dubois. It is recognizable that these character’s sense of spirituality operates superficially and is typically confined to what they immediately see and believe. I chose these three characters for the sole purposes of explaining how even assimilationist epistemes still have a spiritual source. The first two character is question, Uncle Ruckus and Tom Dubois, have made the conscious choice to assimilate their image to align with the notion of whiteness. Although Uncle Ruckus’s personality is more racist than Tom Dubois, Tom’s potential to be racist is extended whenever he is influenced by others. While Riley’s behavior and mannerism at

times assimilates more towards a capitalistic ideology and his understanding of race and class relations are limited, he still passively accepts White supremacist power structure by buying into hedonsitic consumerism. Unbenounced to him, he is still perpetuating the stereotypes associated with being a “belligerent adolescent.” Interestingly enough, Riley’s immersion into rebellious hip hop culture offers a counternarrative of sorts. If I were to remove Riley’s race, it is important to note that I believe youth culture would still reamin under a specific amount of scrutiny. This has always been the case in every society and culture. Unfortunately, this feeling of constant criticism only breeds contempt and animosity. Dealing with such animosity for these characters has caused repressed angst in various episodes. Tom’s struggles have dealt with his career choices and marriage to a caucasian woman. I the case of Riley, he has continued being “ Hood” in light of being positined in a predominately White neighborhood. Ultimately, within racial discourse positive interaction and progress comes when one “ tries to understand our social situation, but to change it; it sets out not only to ascertain how society organizes itself along racial lines and hierarchies, but to transform it for the better” (Delgado & Steancic, 2001, p. 3). In this instance, their assimilationist behaviors and their self-reflective moments, contradict. Throughout the episode, the character’s positionalities have been something that was a part of their ontological perspectives. This being the case, a need for psychological and spiritual interventions/shifting is required. Specifically for Uncle Ruckus, this occurred in the way of being struck by lightning. The narration before he gets struck by lightning goes as follows:

Uncle Ruckus: Now let us pray. Lord, I have spent my whole life hatin’ you for makin’ me Black. And now I see I must hate myself and all those like me, and cause them misery just like your savior Ronald Reagan did. And If any of my words don’t come directly the almighty God himself, then may I be struck by lightnin’ right this very instant! Halle…. Aahhhhhhm 5 (Boondocks, March 19, 2006)

Even though he still never openly conceded to the fact that he was indeed Black, his resistance to accept help from another person of color and his visceral reaction to being struck by lightning

Researcher conducted episode transcription, but other online references provide different transcriptions that offer additional commentary and interpretations. Those references are noted in the works cited. They were not used because the researcher felt some commentary used offered an alternative interpretation to the text. 91

by the “White Jesus” he was honoring throughout the duration of the episode, served as an affirmation that he was committing blasphemy the entire time. Satirically speaking, one can assume that denying yourself and your essence catches up to you. This was obviously case when considering Uncle Ruckus. Moreover, the reality that his cancerous tumor had been miraculously removed and his ticket into “White heaven” was not puched, dejected Uncle Ruckus to the point of humility. Uncle Ruckus’s message of self hate heard in his dream clearly did not align with the all powerful spirit that struck him with lightning. When examining the psychological implications of this episode, one must understand how the impact of media affects minorities. Spirituality or spiritual intervention impacts the individual. The way Uncle Ruckus reacted was not the same as Huey, Riley or Tom throughout the episode. It has to be an individual’s personal goal and desire to achieve. Because there has been a constant attack on African American males within media and educational spaces, a constant critique of power structures is necessary to garner fundamental change. McGruder has made this a part of his work since the inception of the comic strip. The interrogation of these hegemonic relationships relies on an unwavering acceptance and implementation of social justice. Understanding the “notions of social justice, when originally introduced to the educational leadership discourse, troubled the field through the acrid interrogation of the issues of race, class, gender, sexual orientation and other signifiers of identity” (Dantley, 2007, p.159). What is accomplished with the contradictory nature of Uncle Ruckus and the other characters is that each character provides an image which forces one to critically question their intrinsic motives. For many of these characters, this was a self-reflective experience, while for Uncle Ruckus it was an ethereal experience that allowed a new revelation.

Season 2 Episode 19 “Stinkmeaner Strikes Back”

In the 19th episode of The Boondocks animated series, Granddad’s nemesis resurfaces. In this instance, the spirit of Colonel H. Stinkmeaner is allowed to come back from Hell and possess Granddad’s neighbor Tom Dubois. The goal of Stinkmeaner’s return is to torment the entire Freeman family. The episode begins by going over the equation that creates a “Nigga moment.” In essence, a “Nigga Moment” happens when two Black males consciously choose to participate in a habitual conflict over nonsensical or diminutive things. McGruder introduces the concept of “Nigga synthesis” in season three. In this particular episode, the characters do not 92

reach full “Nigga” synthesis because all parties involved do not agree or have the same belief about violence. Because complete disaster is avoidable, the phrase “Nigga synthesis” cannot be used. The primary reason “Nigga synthesis” cannot be used is because a violent death of a Black males does not occur. In this episode, the death of a Black male did not occur but the vicious beating of a Black man ensued toward the close of the episode.

Exorcising the “Demons”

History often plays a significant role in the shaping of identity, ideologies, and epistemological positionalities. This same history that cannot be escaped for marginalized groups because scars from such traumatizing experiences incline an individual to harbor negative or damaging practices. This occurs even when methods of self-preservation are implemented. In The Boondocks, the historical atrocities that occurred to African American and other people of African descent are addressed. In the case of the episode title “Stinkmeaner Strikes Back,” one central theme surrounds control. Control in this episode, includes, the control over the mind, body, and spirit. It is surmised that different conceptualizations of control are attached to the notions of surveillance, policing, and conformity throughout the analysis of the episode. When immediately examining and addressing the characters within The Boondocks animated series, there is a direct correlation between the systemic/ institutional power structures presented in the show and how the identities of each character are structured. From a critical and racialized context, each character exemplifies different ideological, epistemological, and ontological positionalities. Within a critical race discourse, this may come in understanding of counter storytelling, intersectionality, and scholar and activist. I have already discussed one of those three concepts and within this episode; I will explicitly focus on counter storytelling. The counter narrative in this episode comes in the format of Black males finding an alternative way to handle conflict. Regardless of the method, I firmly believe that in order to become a healthier society marginalized groups must find alternative ways to handle internal and external conflict. After the discussing of counter-storytelling, I will examine Huey Freeman’s and how he fits within the CRT tenet as scholar as activist. I introduce the concept now because the main protagonist’s activism is always present, but in this case (like most) his activism serves as a solution to the problem. The problem that arose in this episode entailed controlling the Black male body, mind, and spirit via a curriculum rooted in racist assumptions and behavior. In this 93

episode, the only way a solution could be actualized was by allowing a spirit of peace to supersede historical atrocities. One conviction that is ever present in the study of Black identity is the struggle and debate around African Americans warring with themselves in a racist space. W.E.B Dubois’s notion of double –consciousness is present in every male character in the animated series. In this episode the main person dealing with both natural and spiritual dualities is the character Tom Dubois. This well to do lawyer has described himself as having a caramel complexion. When considering the history behind privilege and skin color this is problematic. Tom’s aversion to being black makes him a perfect target for the spirit that is looking to return. I use the word target because Tom is chosen by an “evil” spirit (Colonel Stinkmeaner) to come back and bewitch his mind, body, and soul. The main goal for possessing Tom’s body is to come back to an earthly space and wreak havoc on another Black male’s life he holds a grudge against. Being possessed becomes readily noticeable in each character’s internal and external struggles. Their possession is not as obvious as Tom Dobois’s but inevitably each of the characters in the show are forced to face these dualities. Sometimes these dualities further complicate their current conceptualizations about manhood and life but they are vital to their progression and growth.

Society’s Historical Lesson Plan: “Stay in Your Place”

When analyzing The Boondocks through a critical lens, the most prominent discourses portrayed begin to resemble several African centered and critical race discourses. For example, if examining through the lens of CRT, the animated series helps to synthesize how we “determine who has, power, voice, and representation and who does not” (Delgado & Stefancic, 2001, p. 55). In addition, the images and language used throughout The Boondocks help to shed light and affirm many of issues facing African American males within an established curriculum. More specifically, I assert that language and images used within the satirical context provides minority males with a pedagogical tool that resembles themselves and forces them to critically and introspectively assess their own ideologies. For instance, if I return to the concept of “double consciousness” as defined by Du Bois, it becomes a centralizing concept that helps one to interrogate different levels of consciousness. Unpacking various levels of consciousness within both maleness and spirituality is not easy and if examined through the context of education, one must immediately recognize that the curriculum associated with Black 94

males becomes more complex. In a critical race discourse, this view is expanded and renamed “multiple consciousness.” “The idea of multiple consciousness holds that most of us experience the world in a different way, on different occasions because of who we are” (Delgado & Steancic, 2001, p. 55). Multiple consciousness’s have become especially true when discussing the topic of race. According to Delgado, “when we are tackling a structure as deeply embedded as race, radical measures are required” Delgado & Steancic, 2001, p. 63). Everything must change at once “ otherwise the system merely swallows up the small improvement one has made and everything remains the same” (Delgado & Steancic, 2001, p. 57). One can associate this primary ideology with the main protagonist Huey Freeman. In the episode Stinkmeaner Strikes Back, one character is the antitheses of Huey Freeman and while two others are considered radical but they are radical in a self-defeating and nihilistic way. Black conformist and White supremacist ideologies are overwhelmingly present within this episode. White supremacist tactics can be best exhibited towards the end of the episode as self-ordained Reverend Ruckus is exorcising a possessed Tom Dubois. The person I consider nihilistic is the self-loathing character Colonel H. Stinkmeaner. This nihilistic way of thinking and being is exuded early in the episode. At beginning of the episode, Colonel H. Stinkmeaner, while, in conversation with the devil, he gets permission to go back to the earthly realm. The irony behind him being sent back is that Stinkmeaner is apparently too “evil” for even hell to contain him. The images depicted in the show and transcription from this scene serves as a form of curriculum. The scene goes as follows: The Devil: He was the baddest motherfucker that hell had ever seen... Colonel Stinkmeaner: Colonel Motherfuckin' Stinkmeaner, holla at ya boy, I gets money! The Devil: He trained like a beast... Colonel Stinkmeaner: Ya'll gonna have to kick me out of this bitch! I'm having the time of my life! The Devil: He was so bad, he even called me, the Devil himself, a... Colonel Stinkmeaner: (Hollering) BITCH ASS NIGGA! Colonel Stinkmeaner: This is how you break your foot off in a motherfucker's ass! Hi- yaaah! Colonel Stinkmeaner: Oooh! You cold-hearted Nigga monsters tryna swarm on a Nigga, huh?! Colonel Stinkmeaner: You just got a two-piece combo with a biscuit, ho! Colonel Stinkmeaner: I got three-stick nunchucks!! AAAAAAH!! Got ya, Nigga! I see ya, I see ya!

Within this segment the proposed curriculum promotes a conceptualization of maleness that is predicated on anger, physical dominance, and the maintenance of ill feelings even after the altercation is over. Hence, this is the basis for the understanding of “Nigga moment”. Innately, the discussion of a “Nigga moment” is primarily to start dialogue about violence and how Black on black crime represents a very illogical and pathological nature present in the Black community. It is an explicit curriculum that leads one to conclude that conflict resolution is only done so with violence. The fact that he was able to go through a “Nigga Moment” and subsequently goes to hell (successfully) recommends that there have been no fundamental changes in the way Colonel Stinkmeaner thinks. It explicitly suggests that the most traumatic situation and consequences will not change a Black males positionality. In this instance, it has become a belief that he is bred and predisposed to acts of violence and internal conflict. Within this paradigm, peace for black is not achievable. The absence of peace was apparent in this opening scene and continued until those demons were exorcised. Interestingly enough, in two instances the devil and Colonel Stinkmeaner discuss the notion of the “heart”. Both characters acknowledge that Stinkmeaner’s heart is irreconcilable and cannot be healed. These assertions would suggest that the only things that could fix his heart are ideas and practices he has chosen to deny. Later in the episode the audience would find out that the only thing that serves as a solution to these inherent conflicts/Nigga moments is “Peace.” The discussion about this particular curriculum can best be discussed with three specific characters. The curriculum within the Boondocks that addresses the pathological mindsets perpetuated by Black males can be seen in Tom Dubois, Colonel H. Stinkmeaner, and Uncle Ruckus. I start these three characters because the complexities each one brings nuances and understanding to very specific learned behaviors. The behaviors stem from a curriculum learned in their experiences and indoctrinated ideologies. The personas of Possessed Tom Dubois aka Stinkmeaner, Tom Dubois and Uncle Ruckus help to understand some explicit curriculum associated with Black males. That curriculum resembles the theme of conformity and staying in

one’s place. This reoccurring theme of controlling one body, mind, and spirit is profound in the sense that this has been the dominant curriculum for marginalized people. Aaron McGruder makes this known in his satirical animated series and shoes the harsh realities of a generational indoctrination. I believe the indoctrination of certain groups perpetuates historical ideologies around marginalized groups’ subordinate positions and automatically makes racist, oppressive behaviors natural. Although McGruder finds multiple ways to make one laugh about those issues, he also forces one to think critically about the society and the larger implications of hegemonic practices. The ability to treat human beings with decency and respect is far too many times overlooked. Even though the previous statement will be viewed solely as humanistic, it seems that the idea power has a way of dehumanizing people. The concept of power has always been predicated on someone or something being considered an object or commodity. For some theorist, power is established by standardizing what is normal and abnormal. For others, it may entail how knowledge is used to validate what is deemed truth. Both conceptualizations of power present an alternative to how ethical leadership can be implemented and understood. In this episode, this arose towards the end of the episode. In the scene where Granddad, Uncle Reverend Ruckus, and Riley were all seeking to exorcise Colonel Stinkmeaner from Tom Dubois, the scene suggested that the only way to get rid of a Nigga or his “niggertry” it is to torture him to death. Tom Dubois behavior is ironic because the entity causing such behavior was already deceased. The complexity of this situated in the fact that all of the parties involved were willing severely injure or kill another African American male. Symbolically, the ultimate goal was to get rid of the Black male. The transcription of this scene suggests that the only ways to exorcise the ignorance of the “Nigga” are to employ things and practices that inherently cause him fear. Uncle Ruckus: May White God bless you, Robert. I came as fast as I could. Huey Freeman: So, this is the plan. Uncle Ruckus. Uncle Ruckus: Let's get this party started. Possessed Tom Dubois: (Hollering) YOU GOT BAD CREDIT, ROBERT!!! Uncle Ruckus: Removing an evil nigger spirit from a Negro is as hard as removing the stink of a hunk of shit. We must use these tools that the great god has given us to fight niggers... a whip, a noose, a nightstick, a branding iron. These things strike fear into a nigger's heart. A job application… Avoid conversation with the nigger. The nigger will

lie. The nigger will make excuses. He will use words he don't really know. If he gets really desperate, he may start to rap or dance. [Ruckus approaches the boys' door] Possessed Tom Dubois: You all testicles and no shaft. What happened to your shaft, Robert! Uncle Ruckus: Oh, yeah. There's powerful niggertry at work here. Possessed Tom Dubois: Who in the hell are you? Uncle Ruckus: Nigger, my name, is Reverend Father Uncle Ruckus, no relation. In the name of White Jesus and all great White men who have come thereafter, I command thy Black nigger soul back to the depths of hell! Possessed Tom Dubois: Is that all you got Nigga? Uncle Ruckus: Oh, no, nigger. That's just the tip of this iceberg. Read, nigger, read! Uncle Ruckus: Now, Robert! Now! Just hit him with anything! Come on! Everybody, join in! Use your powerful hand. Let's whup this nigger's ass! Repeat after me with the holy phrase, "Nigger, get your Black ass out of here!" Robert Freeman: Nigga, get your Black out of here! Uncle Ruckus: Keep going. (Boondocks, Oct. 19,2007)

Throughout this scene, there are many fundamental threats made. These threats within both historical and current contexts suggest that the ways to control a Black male are to threaten him with education, remove the opportunity for financial security, and employ physically threatening tactics associated with being policed. Historically speaking, physical violence with a slave cracker’s whip or the cattle branding iron was normal. Both methods symbolically represented a form of control or incarceration. One can deduce that those methods and practices are used to maintain control and power over this group. Power relations between dominant and subordinate groups become complicated when the subordinate group analyzes these practices critically. For example, in Michel Foucault’s understanding of power relations, he chooses not to focus solely on “centralized power relations or institutions. Foucault, does not believe the “power operates solely in a top-down capacity” (Joseph, 2003, p. 164). Foucault goes further within his theoretical framework to reposition Antonio Gramsci’s notion of hegemony. He believes that hegemony is not solely about consensus and consent. Social cohesion extends into the “practices, techniques and methods, which infiltrate the minds bodies, cultural practices which cultivate behaviors and beliefs, tastes, desires” (Joseph, 2003, p.163). If one makes this assertion in the context of the Boondock, on e recognizes that each participant in the exorcism has an active role in the way they contribute to the marginalization process. This ultimately substantiates how power-relations are constructed

and “social cohesion is dependent upon exclusion” (Joseph, 2003, p. 163). Hence, the labeling process of “normal and abnormal.” Although Reverend Uncle Ruckus is explicit in his intent, Riley and Granddad are complicit in the beating and exorcism of Colonel Stinkmeaner. In a White supremacist power structure, each of their behaviors could be considered normal. It was in this circumstance that Huey’s lack of participation becomes so profound. His lack of participation said a lot about his ideologies. The questioning process Huey went through along with the lack of critical interrogation serves as a counter narrative to Huey’s typical persona and validated the historical castration and abuse of Black males. In most situations, Huey’s behavior would be construed as abnormal. By doing so, McGruder successfully shows how a lack of knowledge and spirit can contribute to the detriment of a person. In summation, there are entirely too many normal reactions to the historical abuse of oppressed groups of people.

“A Nigga moment”: To be or Not to be?

There have been many debates on the use of the word “Nigga.” The debate on who can use it, who has the power to use it, and even the origin of the word has been debated. My task in this study is not to engage that dialogue. I use the actual word and several variations of the word because the text does. The explicit decision to use the word instead of currently popular version “n-word”, was done so because there is an entire episode addressing this discussion. Moreover, I have concluded that language for this animated series is just as important as the images. The usage of controversial language and the images in conjunction convey a more powerful message. Omitting either of them from the conversation and study omits an entire context. Furthermore, the critique solely of language or media images, allows for a continued miseducation on this particular demographic. In media, especially discourses surrounding African American males, omitting context has always been an issue. Media has a huge impact in shaping the attitudes of many Americans toward Black men and women (Hutchinson, 1997, p.109). This project focuses heavily on this premise and the animated series critiques these attitudes directed at African American males. Without a change in racist ideologies or an empathetic understanding of African American males, the paradigms within education will not change. When applying and examining different ideas to the Black male image, specifically in media, “the image of the malevolent Black male is based on a durable and time resistant bedrock 99

of myth, half-truth and lies” (Hutchinson, 1997 p. 14). As Hutchinson (1997) might suggests, these myths began when: Slavery temporarily blurred the gender lines. Black men and women were brutalized, dehumanized, stripped of their culture and language. Black men and women were physically, economically, and legally powerless to form, build, nurture and defend their families or develop permanent social relationships. The slave master was the only man on the plantation. (p.106)

Much of the images associated with Black males are negative and typically driven by sexuality, violence, and indolence. Aaron McGruder analyzes each of these stereotypes in his work. These hegemonic images were psychologically ingrained in African American males for a specific reason. Those stereotypes were historically “imposed to maintain power and control, and create the persona that all Black men were savage and hypersexual” (Hutchinson, 1997, p. 15). The constant assumption that “Black men are not like normal people. With all that muscle and brawn, men are supposed to be impervious to injury and pain” (Hutchinson, 1997, p. 52). Notions like this only perpetuate the stigmas attached to this demographic. Historically, those images and conceptualizations only help to denigrate the Black male image to an irreparable position in the eyes of jaded hegemonic structures and people. These notions mentioned help to begin the discussion surrounding the usage of Nigga in this text and the theme associated with being a “Nigga” or not being a “Nigga.” These concepts and issues constantly arise for African American males. More importantly, it must be understood that language does indeed have a context and ignoring or displacing the context is just as dangerous as never fully understanding the language or history of the language. A discussion of the “A Nigga Moment” began at the open of the episode. It briefly describes what a Nigga moment is: Unknown Male voice: Now if yall was paying attention to last season, yall know what a Nigga moment is a Nigga moment is when the mind of a perfectly logical Black man is overwhelmed by some stupid Nigga shit…like when a Nigga steps up on ya sneakers and fucks ya kicks up or hit yo car or some shit and a Nigga get mad like its yo fault, you fucked up, so ignorance makes you act crazy and the next thing you know Niggas “beefn’,” “shootin’,” “fightn’,” and somebody ends up dead… But yo, not even death can stop a Nigga moment. (Boondocks, Oct. 19, 2007)

In the context of culture, the “Nigga moment” constitutes a complex and contradictory circumstance. A “Nigga moment” may vary depending on social, historical, and ideological

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context. In this episode, it is predicated on a few things. One is proving one’s maleness. Showing strength and maintaining a perpetuated image passed on through generations becomes vitally important to one’s existence. I believe there are connections between each of these aforementioned concepts and maleness. It presents maleness or masculinity as a holistic construct that is still being defined and often contested. Again, depending on the discourse or context, maleness takes on a different definition and persona. In the instance of Black males, this is also true. One main consistency in research suggests that African American males have historically chosen to define their maleness based on White supremacist conceptualizations of maleness. There is a need to get away from such practices and Huey attempts to do in the show. He attempts to enlighten his family and others, but often he is ignored. I believe reflecting on Antonio Gramsci’s notion of hegemony serves a good springboard for understanding this culture. Additionally, Gramsci’s idea shows how the conceptualization of maleness is defined for this specific group. Huey often refers to the notion of “the man” or someone in power, yet it goes unnoticed by the rest of the characters. Sometimes that reference is directed towards Mr. Wuncler, the Government, and the B.E.T. Corporation. In all instances, he is critiquing the power structure in place. The concept of hegemony emphasizes “rulership cannot be based solely on coercion, but also require a large degree of consent” (Joseph, 2003, p. 36). Unlike Marx and Engels, Gramsci’s notions do not emphasize or focus solely on economics. It does, however, within politics and culture, desire to maintain a sense of social cohesion. Hegemony specifically refers to “the level of consent reached in civil society opposed to the most coercive sphere of political society or the state” (Joseph, 2003, p. 45). Ethically speaking, those who are aware of the concept of hegemony must take into consideration the relationships between “state and civil society”. It becomes paramount to understand hegemony when engaging in issues that transcend different social, economic, political and cultural power relations. Huey Freeman is very aware of this and he actively challenges the structures in place. His character is predicated on being socially aware and conscious of his positionality. He is also aware of those who possess social and cultural privilege. Other characters that have some semblance of social status are Tom Dubois and Ed Wuncler. Both characters understand these power dynamics from a position of privilege. Other character like Riley, Granddad, and Uncle Ruckus understand hegemony within their specific positionality and cultural context. Culture in this sense has the potential to shape

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the philosophical, axiological, and theoretic contexts. When tying all of this into masculinity, it becomes clear that traditional notions of masculinity are doing damage to the psyche of black males. Their psyche is one that is structured by ideas originally designed to keep them oppressed. When looking specifically at the images and conversations that were surrounding the “Nigga moment,” there is a specific pedagogy of maleness that can be gleaned and ultimately implemented. The images depict different variations of a “Nigga moment.” While some of the images embedded in the show are reflective of the internal conflict associated with a “Nigga moments”, other images show the external effects of such occurrences. The following transcripts from the episodes explicitly discuss the Nigga moment. The narration delves deeper into how conflict begins and how it is maintained. In these instances, conflict can only occur when there are two parties involved. Huey begins this conversation by explaining the conditions of a Nigga moment. He starts the scene and subsequent interaction by saying:

Huey Freeman: Some people are scared of zombies and vampires. But the thing that scare Black people the most, are Niggas and Nigga moments. Tom DuBois was as far from a Nigga as a Black man could be. But Stinkmeaner knew that every Black man's spirit is weakened during a Nigga moment. Tom Dubois: What the...? Oh, come on, you... you... ni...nincompoop! You can't do that! Hey!! Come on! Huey Freeman: Nigga moments can happen to ANY Black man at ANY time. Tom Dubois: Hey!! That was my space! I had my blinker on and everything! Young Black Man: Fuck you, punk-ass, pussy-ass hook-ass, Nigga! (Tom flinches) I'll beat your motherfuckin' sadiddy ass, Nigga! Don't never in yo' LIFE ever try to holla at me Nigga! (starts to walk away) Fuck with me, Nigga, and I'll pop da trunk on yo' bitch ass, Nigga, get my motherfuckin' Uzi, Nigga. Possessed Tom Dubois: (Yelling) WHAT DID YOU SAY, NIGGA!!!?? Young Black Man: You know what, motherfucker? Eat a dick, Nigga. I'm tired of this mothaf… Possessed Tom Dubois: OH YEAH! Look at you! You were talkin' all that GOOD SHIT a second ago and then you got KICKED IN YO' CHEST! YOU EAT A DICK NIGGA, YOU EAT A DICK! Tom Dubois: Oh, my god! Sir, are you ok? Who did this to you? What did he look like? Did anyone see who accosted this man? (Boondocks, Oct. 19,2007)

This scene suggests that the way one thinks is inherently connected to his actions. The behaviors that they have learned or co-opted are a part of their persona. What implicitly is shown throughout the episode is the need to handle conflict in a different way. Although the main protagonist does this explicitly, the struggle between Tom Dubois’s dueling spirits gives 102

credence to the idea that there are multiple ways of handling conflict and masculinity. This becomes more difficult when one is trying conceptualize their own ideas maleness and how should be implemented. Using Huey Freeman as an example, his ways of thinking would assert that harmony and liberation are not just external forces to the African American community or African American males. Although it took Huey a while to figure out a solution, the solution was still one that emphasized continuity and harmony. Asante (2003) posits there can be no freedom for African Americans until there is a freedom of the mind (p.41). Afrocentric discourse is a powerful tool in bringing liberation and raising consciousness in the African American community. Black voices of resistance are often silenced by those committed to maintaining the racial status quo. An attempt to silence has occurred on numerous occasions with Huey. The fact that he is actively ignored serves as a reminder that his efforts to change the paradigm associated with Black males is one that should be done, but is often met with passive resistance. It is within Eurocentric thinking that marginalized groups stay in their same social status. Huey’s African centered or Afrocentric positionalities state “a critical component of Black studies allows scholars to have a different perspective to understand the intellectual works of Africans and African Americans that is not Eurocentricity” (Asante, 1998, p. 58; Tyree & Krishnasamy, 2011, p. 27). The White supremacist ideologies associated with “a Nigga moment” only perpetuate the issues Black males face. It was continuously shown in this episode that “non-Afrocentric people operate in a manner that is negatively unpredictable, disparages traditions that give people of African descent hope, and trivializes his own mobility” (Asante, 1998, p. 3). This notion can be applied once again to Colonel Stinkmeaner and Uncle Ruckus. At the close of the episode, an Afrocentric mindset was implemented despite the racist positionalities held the two similar entities. Afrocentricity is the centerpiece of human regeneration; it challenges and takes to task the perpetuation of White racial supremacist ideas in the imagination of the African world and, by extension, the entire world (Asante, 2003, p. 2; Tyree & Krishnasamy, 2011, p. 27). This Afrocentric approach worked well in the case of Tom Dubois and the spirit that possessed him. This theme of peace and harmony will be clarified further in the coming section.

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Spiritual Epiphanies/ Occurrences: Peace be Still

In this section, an explicit discussion around spirituality and the discourse of growth is readily visible. Besides Huey’s open methods of reflection, he does experience on several occasions spiritual events that the other characters do not experience. In this episode, Tom Dubois is the other individual who is directly impacted by a spiritual occurrence. It is through this experience that the character all experiences multiple conceptualizations of maleness and spirituality. It is through these individuals that an understanding of a healthy spirituality and maleness deduced. Recognizing that these experiences are rarely easy, shows the importance of ascertaining a personalized conception of spirituality. At the close of the episode, the “peaceful” understanding of spirituality comes to fruition. More specifically this spiritual encounter and change comes in a way that resembles Carlyle Stewart’s “street corner theology.” This term was introduced in the review of the literature. I mention this now primarily because although this current episode has an array of spiritual components, street corner theology can be better understood through the episode “Return of the King.” That is not to suggest that the basic tenets of Street corner theology cannot operate with consistency and relevance. To start, one must be recognize that “spiritual freedom is the infrastructure to social and political freedom” (Stewart, 1999, p. 13). In this episode, it has been emphasized that spiritual freedom can happen when one engages in “a Nigga moment.” The epiphany occurs in this scene when the reader realizes that there is a lack of control or critical consciousness. A positive outcome of a “Nigga Moment” lies in the hopeful reactions to negative situations. In the coming transcription, Huey recognizes this. Huey Freeman: This isn't exorcism. It's a beating. Uncle Ruckus: Just very little different. Possessed Tom Dubois: Oh, you niggers ain't shit. Your mother ain't shit. Huey Freeman: Several hours later, the exorcism of Tom DuBois had made no recognizable progress. Robert Freeman: Is the nigger still in him? Uncle Ruckus: As long as he's Black and breathing, he's got nigger in him? Ghostface Killah: What the fuck is wrong with you, Huey? You retarded or some shit. You gonna beat the man's brains in, and what you gonna say to the cops? "Sorry, officer, we killed the nigger cause he an evil spirit?" 104

Huey Freeman: Ghost, it's late. Can you just me what I'm supposed to do so I could go to bed.

Ghostface Killah: I can’t believe you haven’t figured this shit out yet. Peace. Possessed Tom Dubois: (not visible) You got an imaginary friend? Huey Freeman: Peace. Peace. Stinkmeaner, you hate Black people, don’t you? Possessed Tom Dubois: I sure do! I mean, I hate everyone in general, but Black people especially. Huey Freeman: And Ruckus, you hate Black too? Uncle Ruckus: I wouldn’t exactly call them people, but yeah. Yes I have a deep distaste for Negros. Huey Freeman: Right and Stinkmeaner, you hate rap music? Possessed Tom Dubois: If you can call that stinky booty gorilla noise music. Uncle Ruckus: (laughs at possessed Tom’s comment) Stinky booty. I must say that’s a brilliant observation, Meaner. Huey Freeman: (narrating) I have forgotten that a Nigga moment cannot be resolved through violence, but where there is harmony and peace. Possessed Tom Dubois: Huh, What’s happening? No, you tricked me. Huey Freeman: A Nigga moment cannot exist. Possessed Tom Dubois: No… You tricked me. I’m gonna get you Robert. You used me Nigga!!! Tom Dubois: (wakes up) Hey… Guys… What am I doing here? 6 (Boondocks, Oct. 19, 2007)

Within the context of Street Corner theology, this conceptualization of spirituality is understood through a particular context. Carlyle Stewart (1996) states that: The structural framework and theological method of street corner theology are presented in narrative form, which is closest to African and African-American oral traditions. The narrative methodology of indigenous Black theology thus posits the basic raw materials and preserves the simplicities of African-American life and culture. In its primordial forms, the narrative more effectively reveals the peculiar textures and nuances of the African American experience. The oral transmission of knowledge and the information emblematic of African American culture is best conveyed through the narrative form and is more closely aligned with authentic folk traditions. (p.3)

In essence, I am suggesting that no progress or growth come to fruition unless one tells his or her narrative in its completion. It is only then one’s individual understanding of identity and

6 Researcher conducted episode transcription but there are other online references that provide other transcriptions that offer additional commentary and interpretations. Those references are noted in the Works cited. They were not used because the researcher felt they some commentary used offered an alternative interpretation to the text.

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conceptualizations of culture can begin to be understood. When examining The Boondocks in this episode, this definition of street corner theology is exemplified in the resolution put forth by Huey and Ghostface Killer. Throughout the show, the spiritual being Ghostface Killer was instructing Huey how to diffuse the situation in very subtle ways. It was not until their final interaction that Huey fully understood the process to diffusing the conflict. The first thing he realized is the way Reverend Ruckus decided remove the spirit. His method resembled the tactics white slave-owners used to control Black men. These are methods that have been historically taught and psychologically engrained. In this case, it was through physical violence. Not only did Ruckus contribute to the beating, but also he recruited two other complicit people to assist in the “breaking” of Black male body. It was in these moments that Huey realized Ruckus’s exorcism process was dangerous and not conducive to changing any of the behaviors in a Nigga moment. In this case, the method chosen by Uncle Ruckus could not even remove the soul attached to this situation. Within the discourse of spirituality, this takes on a different image. When one critically reflects through a lens of spirituality, the process is drastically different. In the following moments, Huey realized that the colloquial usage of the word of “peace” by the spirit Ghostface served as the solution. As Ghostface was leaving the solution to their problem was actual peace. Peace in this instance was not in the form of a treaty, but instead they resided in the commonalties of both Uncle Ruckus and Stinkmeaner. For both Stinkmeaner and Reverend Ruckus, their hate for Black people superseded everything else. They found joy in using racial epithets that demeaned people of color. Although they still were operating in an idea of self-hate, their contradictions aligned them enough to create a radical change in the situation. Their commonality of hate inclined them to show affinity and appreciation for each other’s ideas. I propose that, through their convoluted commonalities, they develop their understanding of street corner theology. Their experiences, sacred or profane, allowed them to by faith reach a sense of peace. Even though they did not see it or understand it to be a spiritual connection, their connection is driven by something unseen. According to Stewart (1996), it is African-American spirituality that constitutes the cohesive center, the solid foundation of indigenous African-American faith and belief. It is this spirituality that differentiates Black indigenous thought from all other indigenous interpretations and establishes the principal foundation of street corner theology. (p. 10)

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Even though neither Stinkmeaner nor Uncle Ruckus would acknowledge their Africanness, by default of their skin color and the historical connections with those that look like them, still impact their spirit. Africanness also means acknowledging that their spirit is not necessarily one that is ethically or morally guided. At the same time, change ultimately occurred when their spirit became more positive and compromising. Their reactions verify that a positive spirit does have the capacity to change paradigms.

Season 1 Episode 9 Return of the King

In this section of the analysis, the episode Return of the King focuses on the natural and spiritual experiences associated with the black community as a whole. That unifying space within the black community has historically been the Black church. Although only a portion of the show takes place in the church’s physical space, the central character in the episode is the epitome and historical personification of what the Black church exuded. This character is Dr. Martin Luther King Jr. His legacy and impact within this country’s history and the Black community are undoubtedly significant. He and many others made contributions towards society becoming more socially just. According to Dr. King he envisioned a society that represented a “beloved community”. McGruder and this animated series attempted to satirical engage the audience with a narrative that critiqued the way most look at African American hero’s and the way the Black community critically examines itself. I propose that the goal of this episode was to change the paradigm associated with mediocrity and self-deprecating behavior.

Rage Against the Machine: Will it be televised?

At its most basic level, The Boondocks animated series is based on a young boys desire for systemic change and revolution. Huey’s goal is to change the status quo for marginalized groups. In this episode, change comes in the form of culturally relevant information. Adopting a critical consciousness that reminds one to examine the usage of power and the intent behind its usage helps to make society more socially just. The act of openly challenging society’s norms was a goal of Dr. Martin Luther King Jr.’s in the 1960s and it was an explicit goal of Huey freeman in this episode. Huey also critiques how society privileges the dominant group in order to perpetuate the ideologies associated with racism, capitalism, and sexism. In the case of Dr.

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King, it is imperative that his historical impact is recognized. Moreover, the satirical interpretation suggested by McGruder in the animated series becomes just as significant to understanding the ways media contributes to the narrative of African Americans. Dr. King’s impact on the American social structure in the 1950s and 1960s is undeniable and apparent in this episode. Moreover, one can assume that his assassination substantiates his reputation. Dr. King’s fervor for justice and his devotion to equality are only surpassed by the sacrifice he made. His legacy serves as a reminder that changes come at a great sacrifice. McGruder begins to change this conversation when he chooses to keep Dr. King alive and in a coma. The hypothetical coma shown in the animated series becomes a profound restructuring of historical events. If this had actually occurred, what would a schools curriculum (explicit, implicit, null or hidden) resemble? Some facets of American history would be drastically different. From a socio-cultural perspective, I believe that McGruder placed Dr. King in a higher position of prominence and ultimately recognized his leadership as something that could be understood specifically through a cultural and political context. Max Weber as a theorist posited a similar thought in the context of both politics and culture. “Weber sees politics and culture as the main terrain on which conflict, cohesion, and consent develop” (Joseph, 2003, p. 94). In the context of this American capitalist culture, one may need to initially interrogate Weber’s analysis of bureaucracy in order to connect how culture is socially stratified. I believe that history has socially stratified certain people and their ideas to maintain a certain position of power. Moreover, Weber effectively looks at how bureaucracy and those power relations transcend and translate into how society views its peoples and the relationships garnered from it. “Bureaucracy is a power instrument of the first order… a form of power relation is established that is practically unshatterable” (Weber, p.21; Joseph, 2003,p.110). He goes further to suggest that: …[the] bureaucratic form of social organization… lends itself to the control and domination of society and the individuals within it and generates as a by-product, a social alienation that puts managers and workers, bureaucrats and citizens, in opposite cams, thus leading to conflict between those who control and govern and those who are controlled and governed at all levels of society. (Weber, p.23; Joseph, 2003,p. 109)

The portrayal of those ideas could extend the analysis McGruder has about the abuse of power, most notably in the way Dr. King is being marketed. It is my belief that Dr. King and his narrative have been socially stratified. Because of this stratification, his image and story are often

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preferred over people like Malcolm X and Marcus Garvey. In this episode, Even Dr. King receives a level of disregard that other unpopular social activist receive regularly. On two occasions, he suggests that he should have control over his image. The lack of control over his image not only disturbs him but informs him of how controlling society has become. In the next set of transcription there are two instances where Dr. King recognizes his lack of power.

1st Instance: Huey Freeman: what people need s the truth and not the pretty truth… the horrible awful terrible truth that hurts people feelings. The truth that makes people get angry and get up and do something. Martin Luther King Jr.: Huey, I just don't think I belong in this new world. I don't know if I need the twenty-gig iPod or the forty gigs... I tried to download some Mahalia Jackson, but I lost my iTunes password. I really should have approval over this kind of thing. 2nd Instance: Martin Luther King Jr.: a political party Huey Freeman: Not just any political party, a Black revolutionary political party Martin Luther King Jr.: But why ask me? you should ask Oprah to do it. She’s more popular and if you ask me a darn pretty lady…Oh, snap. No they didn't. A boneless rib sandwich? What will they think of next? I know I shouldn't eat these... but, they're for a limited time only... I really should have approval over this kind of thing. (Boondocks, Jan. 8, 2006)

Once again I suggest that Dr. King’s lack of control over his own image is also indicative of society’s lack of control over powerful institutions. The lack of control also represents a certain amount of consensus and consent within the American social structure. Society has bought into the idea that they have no power and corporations have the ability to do whatever they please. It is because of people over consumption of goods and images that society willingly consent to corporations. The amount of “hedonistic consumerism” 7visible throughout the show is palpable

7 Hedonistic consumerism- Hedonistic in its literal terms means “the pursuit of pleasure.” Consumerism’s literal denotation is “the belief that it is good for people to spend a lot of money on goods and services.” (Merriam Webster online dictionary)“Hedonistic Consumerism sustains and directs mass consumption by elevating the satisfaction of wants at the same level of needs’ satisfaction, and by equating individuals’ participation in the market (both as producers and consumers) to participation in society.” (Migone, 2004, P. 11) Therefore, I surmise that “hedonistic consumerism” constitutes and promotes individual desires over the masses and is direct correlation to the undemocratic practices that exist in American culture 109

to say the least and it shows the impact capitalism has had on youth culture. Hedonistic consumerism in the context of race and spirituality ultimately means recognizing the fragmentation of society and the conflicting binaries visible in everyday life. For example, as Dr. King and Huey attempt to navigate along those social and racial binaries their understanding of society progressively changes. Once those two characters began to consider the systemic changes that needed to occur, they realized that embracing monolithic ideologies is dangerous and should not exist in mainstream society. Within this study, this means not staying affixed to one way of thinking. Being confined by one frame of thinking limits the possibilities by which one can understand or even consider social justice in a holistic capacity. Ultimately, the idea of social justice leads to an analysis of power. This analysis immediately extends into both culture and ethics. In this study, spirituality rooted in an axiological curriculum often reflects the views embedded in Christian theology. Dr. King’s entire agenda in both his life and the animated series served as validation of this Christian theological understanding of justice. From a political aspect, Dr. King’s explanation of his party affiliation and the philosophical beliefs that girded his personal episteme was indicative in the way Dr. King enlightened Huey on his methods of non-violence and peaceful resistance. These poignant words came after Huey accosted a man for berating Dr. King about his patriotism and ideological beliefs. The persona that Huey possessed bears resemblance to Malcolm X’s persona and mindset. It too was aligned with equity but his philosophy entail achieving equity and justice “by any means necessary.” Dr. King’s response to Huey directly reflects the ideology that there are more positive ways of handling competing viewpoints and ideological differences. Their discussion on this topic, although short, goes as follow: Martin Luther King Jr.: You know Huey, those of us that do adhere to the philosophy of non-violence, frown upon the throwing of furniture to resolve our political differences. Huey Freeman: How did people go for information before cable news? Martin Lither King Jr.: We can do it like we did back in the day. We’ll go into the street and tell the people. (Boondocks, Jan. 8, 2006)

Their conversation denotes and explains a particular set of beliefs on how change can occur peaceably. It represents a possible curriculum that is rooted in respecting others and positively contributing to the process of social change. In the realm of education, the distinction between equitable progressivism and power

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assumes a specific definition and image. Progressive thinking, along with socially just practices are viewable in the episodes that directly demonstrates the educative process. In the case of this episode, the cultural examples that are depicted serve as an explicit curriculum. Since most conceptualizations of education are designed within a Eurocentric or western epistemology, marginalized groups rarely have an opportunity to succeed. The overlooked power relations residing within the paradigm of education needs intense consideration and reform. Using this model of thinking, the traditional role of education has resembled, as Paulo Freire would call it, a “banking system.” This idea of banking places students to a position that inclines them to only receive information. The banking system does not allow students to understand how knowledge is constructed nor does it show the various ways knowledge can be disseminated. It turns the process of learning and education into one that is purely objective and devoid of any communication. Schooling has become purely cognitive and unless the paradigm about schooling changes, the culture of schooling will remain one that actively supports individualism and meritocracy girded in privilege. It is with these thoughts in mind that The Boondocks continuously interrogates issue that have systematically indoctrinated people on what curriculum means. In this show, learning has continued to be constituted as process that occurs in everyday lived experiences. When it comes to Black males, they have been provided with a curriculum that has historically banked nihilistic behaviors and ideologies that becomes self-fulfilling prophecies. Although these prophecies are ordained and created by a White supremacist power structure, they still come to reality because African American males passively resist the trappings embedded in American culture. Power in the instance of education is based on how much knowledge one can attain. The construction and maintenance of power in schools is based on the values of Eurocentric epistemologies. Schools do not values oral traditions passed down by generations and rarely equate the oral traditions to any values associated with mainstream society. Oral traditions in the Black community have had influence on society but those traditions have little meaning to those controlling the dominant narrative. Power and knowledge are based on who can control the dominant narrative. Marimba Ani analyzes this Platonian conception of power in her text Yurugu. Her examination of power relies on the fact that rationality and objectivity are fundamental and essential. In order to dismantle the traditional conceptualizations attached to knowledge, power must be attained and used to change what is

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considered knowledge. Her explicit critique of power, rational knowledge, and emotional (irrational) knowledge help to explain why certain paradigms are included and excluded from certain discourses (Ani, 1995, p. 45-46). Subsequently returning to the ideas of power and knowledge reifies the potential within curriculum to shape what is considered acceptable. Education, culture, and power are no different from any other concepts. The ultimate goal of the curriculum within a social justice paradigm ensures that the needs of the marginalized are addressed and made better in some way. Huey faces these issues in every episode. In this episode, Dr. King is trying to get the Black community mobilized and moving towards growth. He is seeking alternative ways to heal the mind, physical body, and the spirit.

Generational Curses: Confronting History

Under the theme “Generational Curses: Confronting History,” I address the concerns that seem to plague generations of African American people. I openly suggest that many of the social, cultural, and gender issues that the Black community possess, are in fact an intergenerational problem. The discussion surrounding intergenerational dynamics must be addressed because the episode Return of the King produces a narrative that reflects on both past and present conceptualizations of maleness and spirituality. All of the aforementioned concepts and narratives contribute to the miseducation of African American males. I emphatically assert that the curriculum design for African American males is fundamentally and strategically flawed. Within a hegemonically structured sociopolitical system, all students are expected to learn but privilege is not a perceived requirement in this equation. Privilege of any kind has rarely been at the disposal of most Black and brown individuals in this country. It is an unsettling thought that schooling and learning rest on so many variables. Dr. King’s introduction back into society visibly shows the differences within the discourse of power and privilege. In one particular scene, he is seen in a news article headed to go vote and then the next morning’s newspaper shows him being rejected from the polls. Dr. Kings voting privileges are supposed to be constitutionally protected. Even after the Voting Rights Act being passed and an additional thirty years of being in a coma, he still does not possess the privilege to execute his inalienable right. In this episode, Dr. King realizes that in this country’s current context, marginalization is not limited to Black men, but includes anyone deemed disposable.

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One can surmise similar ideas from the way Aaron McGruder’s discusses the streets and communities named after Dr. King. His critique of these streets and the violence associated with the neighborhood, he clearly believes that the Black community cannot respect Dr. King’s legacy as much as it purports. It is apparent that the events that occur on these streets are examples as to how much society, particularly the Black community, truly reverences Dr. King’s dream and ideas. One can assume that the failure to address such issues has led to the decline of such neighborhoods. Moreover, issues like violence could be sighted as the catalyst for other issues that plague the Black Community (i.e. mass incarceration). Again, this does not to suggest that McGruder has nihilistic and cynical viewpoints or that everyone in this marginalized group is immersed in self-deprecating thoughts, but this is a vital when discussing the dilemma African American males face. These explicitly taught thoughts damage the psyche of Black males in the long run. In the animated series, racist White supremacist ideologies are frequently recognized. Even when Black males express and actively resist such notions, the ideologies are still pervasive. These ways of knowing and thinking are working continuously to perpetuate the miseducation of African American males. Robert J. Freeman “aka” Granddad serves as an example of this thought. He provides an explicit connection between “miseducation” and maleness. For example, when he recalled his involvement in the 1955 Montgomery Bus Boycott this was most obvious. The analysis of this scene is not to take any credit from Rosa Park’s involvement nor do I think that was the intent when this scene was created. I do think that McGruder was attempting to show how Claudette Colvin felt during the 1955 bus boycott. Based on the actions of the male participants in this scene, I believe the goal was to address how Black males have been disregarded in society. In addition, I believe that the male’s demeanor throughout the scene shows how much verbal abuse they were forced to endure. Although racist experiences look different depending on the circumstance, this bus situation easily showed how blatantly disrespectful the culture in the south was at that time. The following transcription depicts both the emasculation of two males and the dismissal of another. Flashback to 1955 Black male1: Ok this is it brothas, remember no matter what they do nobody gives up their seat ya dig Black male 2 We shall not be moved Young Robert J Freeman: Umm Hum 113

White buss driver: ok. Yall can gone head on to the back Black male 2: Weez movin Mr. boss man Black male1: weez movin Mr. boss man [both shuffle back to rear of the bus like Sambos (music plays)] Black male 2: I sho do wish these feet could move faster Mr. boss man White buss driver: move boy boy (Black male 1 or 2 in back ground says if I had on roller skates I could move real quick this here far enough for ya Mr. boss man. I can press myself up against this cold glass window…this good) Young Robert J Freeman: No! [with conviction] White bus driver: You? (Speaking to Rosa) Go ahead to the back Rosa Parks: No I am not going to move White Bus driver: [in shock] gasps at her response Entire bus goes into shock and all people gasp for air Black male1: Mr. Bus driver sir… sh. She aint move White Bus driver: How dare you refuse to give up your seat woman. What are you ? some kinda history making crusader for justice Young Robert J Freeman: Yes weeee are White Bus Driver: You think you’re gonna change history on your own… is that what you think woman, all by yourself White male passenger: that lady sure has courage Young Robert J Freeman: aye aye what about me? I got courage One of the two Black males (cant be seen, they are out of the frame): You want me to fetch the police for you Mr. Bus driver sir. White Bus Driver: Hey can someone get me the sheriff colored woman who don’t wanna give up her seat [Robert’s face cringes] person in the crowd says” stay string sista Rosa another says” well love you forever”) Young Robert J Freeman: That’s right take us to jail… we’re not afraid White Bus Driver: [put hand on Robert’s shoulder] stay out of trouble (mumbles nigger) Flashback ends (Boondocks, Jan. 8, 2006)

This scene inclines one to view Black males in a very particular way. If the images were not satire, one might immediately suggest that the stereotypical ideologies about Black males are and have always been correct. One might believe that they are inept and devoid of any sense of loyalty or courage. In addition, the fact that these two men danced a “jig” on their way to the back of the bus suggested that they were willing to be complicit in the maintenance of a racist practices. Because the men internally felt the needed to debase themselves when addressing the White bus driver, their compliant behavior implies that they have an innate fear of the consequences. The outright refusal to bump against the controlling power structure rendered them traitors and weak. Reading this text uncritically would lead one to believe that McGruder 114

views African American males as weak social pariahs that are easily controlled. Obviously, I don’t believe this to be the case but the characters lack of desire and courage constructs that narrative. On a positive note, this scene does provide an alternative image of maleness that exudes a sense of courage. This level courage and fortitude is blatantly ignored and dismissed but his actions are still undeniable. Even though Granddad often comes off as selfish and constantly seeking validation, these psychological issues are only exacerbated after being disregarded in history. On the bus, Granddad is constantly overlooked and this causes him great angst and turmoil. It causes so much pain that he still pranked called Rosa Parks 40 years later. Although circumstances vary, similar internal issues are prevalent and discussed in almost all of the male characters in the show. Examining the closing minutes of the episode can summarize the internal and external issues present in the African American community. This specifically occurs when Dr. King and Huey decide to go to the political rally at the church. Once they arrived, they began to witness all of the reasons why the African American community seemed to struggle so much. According to McGruder’s satire, all of the following images I discuss are a glimpse into why there are so many concerns. This does not suggest that he is passing judgment, but I believe his critique of the Black community entails taking a critical look into the proverbial mirror. Throughout the show, Aaron McGruder attempts to describe and depict where the priorities of the Black community lie. Upon arriving at their rally, Huey and Dr. King realize that all their effort was thwarted by one small mistake. By allowing a “street team” to promote their political awareness rally, they opened the floodgates to a number of issues. The first issue occurred when they arrived at the door. The fact that a bouncer stood at the door critiquing their style of dress, says a lot about the values this culture and society holds. They were then required to pay an exorbitant amount of money to enter into their own function. Once they were passed one roadblock, they soon run into another. In both instances, the most important and consistent critique was that they did not have on the proper dress attire to be considered acceptable or fashionable. Neither Dr. King or Huey spent enough time or money on their appearance to fit into what are now considered “traditional” norms. This norm is also based on a capitalist and consumerist paradigm. Moreover, the massive consumption of alcohol and the continuation of the party, speaks directly to the larger issues interwoven in the Black community’s fabric. Those

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issues largely speak to the passive acceptance of damaging ideologies. All of these issues essentially stem from recruiting a street team. In what seemed like a traditional method of communication and advertisement, Dr. King happily recruited the team. Unbeknownst to Dr. King, a “street team” is nothing more than an aggressive party publicist. Huey knew that result of Dr. King’s actions would be a huge party in the middle of their meeting. What ensues next in the show and transcription personifies the ideologies and priorities of the community further.

Black male in the pulpit: Im just sayin…Im just sayin its only right if you reconize all the king, you know what im sayin’…The kings of comedy, the king of rap, Rodney king, the king of beer, king kong, don king Black woman [walks to pulpit clapping the Black male off stage] whoo that Nigga was deep…ok we all got to stop and give thanks to my Nigga God [everyone bows their head and pipe organ begins to play] thank you White Jesus for makin’ al this positive Black shit possible. Aman…Ok lets keep dis muthafucka movin’ hhhaaa Huey Freeman: While we waited, the first Black political party was everything you expected it to be. There were the hustler preachers. Hustler preacher: That’s why you have to go buy my new book… so God can help you lose weight and get a husband with the benefits Huey Freeman: The rapper truce (two rappers embrace and kiss each other on the cheek) Huey Freeman: Oh yea and it was also the inevitable fight (Two men start fighting in back of the church while a group of people watches) Black woman: Whoa whoa whoa…. Security come get these ghetto ass Niggas. Niggas always gotta mess some shit up! Damn! (Church is filled with people dancing, drinking and having fun during a political rally) (Boondocks, Jan. 8, 2006)

In the narration by the protagonist, there are many conceptualizations of what is believed to be acceptable behavior. There are also images that depict maleness in its current context. None of the images illustrated constitute as a counter narrative in the eyes of Huey or Dr. King. Almost all of the actions seen are those that have been detrimental to the discourse surrounding Black males. This can be visibly understood in the erratic statements given by the first Black male. His irrational rant could be equated to a lack of knowledge or schooling. On the other hand, commodified hip-hop culture also uses rap lyrics that have no logical connections. This scene could have been this characters platform to show his range in “knowledge.” Although he

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actually makes himself look worse, his rant further supports the idea that Black males should not be taken seriously when they speak. The next person that comes to the podium shows a higher level of ignorance. The prayer offered by the Black woman shows that a culture exists within the black community that explicitly shows little to no reverence for the Black church. Considering this particular institution help carry the Black community through several revolutionary eras, one might assume that the church would be the last space the Black community would show disrespect. Her language speaks to the brazenness of the culture and community. The fact that participants continue to fight in the background serves as a prophetic moment for this episode and group of people. It shows that despite the church being a place of worship and fellowship, the current cultural climate suggests that there are still instances when Black people willfully and unapologetically make decisions that have the potential to destroy themselves and those that look like them. The last person discussed in this image has to be the hustler preacher. This image and the comments that were made by the preacher openly suggest that it is partially the fault of the “church” for the decay of the “Black church” and Black community. The amount of emphasis the hustler preacher puts on capital, be it fiscal or social, suggests that a specific identity is directly correlated to a certain level of success. One way he eludes to this idea is by saying it is up to women to go buy his book so they can ultimately find the man God sent them. In essence, the man is not responsible for attracting or attaining a wife with class. His message implies that sexist behavior can exist in the church and should be palatable for the congregation he is leading. For both Dr. King and Huey, these behaviors and images are unacceptable and outright convoluted. The behaviors in this scene only get worse once the examination of the rest of the crowd begins. Based on initial assessment, the crowd obviously behaved deplorably and in a rapid state of decadence. If the “street teams” motives were aligned with Huey Freeman or Dr. King, the subsequent crowd would have looked different. Again examining this critically, I could also suggest that the “street team’s” approach was actually a better idea and method because it forced both Huey and Dr. King to reach out to a population that needed drastic change. What seemed to initially be a mistake, turned out to be the perfect solution. When thinking about education, Dr. King’s approach would undoubtedly be considered a non-traditional way of addressing a

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problem. The only other image that immediately comes to mind is Principal Joe Clark in the film Lean on Me. Using culturally relevant methods that speak to the masses is not only important but shows a level of care that is necessary to all human growth. The behavior shown during the rally ultimately became essential because those involved were required to self-evaluate and change themselves. Their deplorable behavior served as a catalyst to their change.

Epiphanies in a Dream: A Dream Confirmed

In this final section, one of the more profound speeches in history was repurposed to address the Black community. From a spirituality context, it served as a prophetic message or proclamation to the Black community. Specifically in the show, this message was also a catalyst for their subsequent change. The following transcription of Dr. King’s shows him in his most passionate moment. The speech that follows discusses each of the issues Huey and Dr. King witnessed while being in the church.

Martin Luther King Jr.: Will you ignorant Niggas PLEASE shut the hell up?! Crowd: (Everyone in the audience gasped for air) Martin Luther King Jr.: Is this it? This is what I got all those ass-whoopins for? I had a dream once. It was a dream that little Black boys and little Black girls would drink from the river of prosperity, freed from the thirst of oppression. But lo' and behold, some four decades later, what have I found but a bunch of trifling, shiftless, good-for-nothing Niggas; and I know you some of you don't want to hear me say that word. It's the ugliest word in the English language. But that's what I see now — Niggas. And you don't want to be a Nigga. Because Niggas are living contradictions. Niggas are full of unfulfilled ambitions! Niggas wax and wane, Niggas love to complain, Niggas love to hear themselves talk but hate to explain! Niggas love being another man's judge and jury! Niggas procrastinate until it's time to worry! Niggas love to be late! Niggas hate to hurry! Black Entertainment Television... is the worst thing I've ever seen in my life! Usher, Michael Jackson, is NOT a genre of music! And now I'd like to talk about Soul Plane... I've seen what's around the corner! I've seen what's over the horizon! And I promise you, you Niggas have nothing to celebrate! And no, I won't get there with you- I'm going to Canada. (Boondocks, Jan. 8, 2006)

Dr. King’s frustration with his people was apparent. His irritation was not just the behavior he witnessed in the church was reprehensible. His frustration stemmed from his experiences on the streets named after him, the images he saw in television after being in a coma after 30 years and the regression of certain societal values. He realized the he was in an era where people became complicit participants to the status quo. Their complacency only aggravated the issues in the 118

Black community. The mere fact that Dr. King felt the need to say Nigga or shut the hell up was a direct contradiction to what he previously believes was unnecessary. Moreover, McGruder used the one person most African Americans revered and thought would never to deliver this explicit message. At this moment, the satirical version of Dr. Martin Luther King’s decided to meet this generation of African Americans exactly where the were. Linguistically, he used explicit language that would get their attention. He used a tactic and language that made would make most people from the civil rights era cringe. Contrary to critic’s belief, I believe the persona McGruder chose to use, matched the audience’s intensity and disregarding bravado. He continued using derogatory language all while teaching the audience. He instructed them on why they did not want to perpetuate the same ways of thinking. Considering the initial words Dr. King used (ignorant Niggas and shut the hell up), I offer that these were the last comments the crowd expected to come from the civil rights leader. Moreover, they did not expect him to continue to use the word “Nigga” throughout his speech. He placed each person in the audience in a very uncomfortable position. He made them realize how uncomfortable the derogatory word was. Some might suggest that this is radical method necessary whenever discussing the race or any other controversial discourse. In his speech, Dr. King was speaking clearly speaking from the context of African American spirituality. It embraced African American spirituality in more ways than one. Not only did he approach the speech with an African centered understanding of theology but also in the way he presented his message. Although his method and theology shifted somewhat because of the audience, his message was still clear and concise. The basic premise of Dr. King’s message was that the Black community find a way intrinsically motivate itself and do better for future generations. Stewart stated, “Indigenous Black theology, while both personal and cosmic in scope, is equally concerned with the political, social, economic, material, and spiritual condition of African American people (1996, p.9). Dr. King emphasized Stewart’s ideas in his speech and he emphatically addressed the negative issues that beguile the African American community. Dr. King accomplished this in a way that forced the community to the examine stereotypes minorities were currently operating under. He wanted to make sure that he provided a message that conveyed cynicism and nihilism are not conducive behaviors when one is trying to grow. One example that he uses is Black Entertainment Television. This is another major

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theme throughout the series. His disdain of B.E.T and its content are damning to say the least. Moreover, Dr. King brings to their attention that they are doing nothing, but mimicking behaviors exhibited on T.V. and desired by the masses. This attack on media is nothing new for Huey Freeman or McGruder. Huey has always attacked the conditions present in the media, particularly in Black television. In one episode, Huey does this impromptu critical media ethnographic study. It was conducted for the purpose understanding the plight of African Americans and the adverse effects of watching shows catered towards Black people. He found that living in a racist, capitalistic culture was a lot more damaging than he initially anticipated. Within the context of this particular character, Huey, epistemological standpoints that are rooted in Civil Rights, Black Power, Black Nationalism, and Afrocentric discourses. This sentiment is most obvious when Dr. King talks about B.E.T., Usher, and Michael Jackson. Although Dr. King’s initial methods were not radical at the outset of the episode, towards the close of the show, he too had to grow. Dr. King had to adjust his method to service a completely audience, era, and culture. From an educational practitioners standpoint, this is also this is always the case and crucial to diverse groups of students learning. Dr. King’s goal in this episode was to get those who possessed his ethnic and cultural background to examine themselves in a critical way. I believe that Aaron McGruder’s intentions within this episode’s satire are to deconstruct and address the systemic issues of race, identity, and racial justice. Dr. King did that by serving as the community’s metaphorical mirror. This metaphor forces one to recognize the truth within themselves and their surroundings. The ramifications of his speech are a direct result of a shift in African Americans thought process. It is also representative of a subtle change within the dominant cultures paradigm. In the final set of transcriptions, the recognition of Huey’s vision and the ability to dream is what becomes essential to understand.

Huey Freeman: That was the last time I saw Dr. King, but the story doesn’t end there. King’s speech was replayed the entire next day on the cable news channels. Then, something unexpected happened: people got angry. Reporter: Nobody knows exactly what to attribute to the sharp decline in African American dropout rates... Reporter 2: ...every African American player in the NBA refusing to play until there is a full troop withdrawal from...

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Reporter 3: ...Billionaire Bob Johnson apologizing to Black America for the network he founded... Reporter 4: ...the White House and Congress are receiving an unprecedented amount of calls from irate African Americans... Huey Freeman: and the revolution finally came. News Anchor: The mob is refusing to disperse (Crowd of African American are in front of the White house protesting…the security fires tear gas and it enrages then crowd more) Cut to: Newspaper, dated 2020, sub-headline: Martin Luther King Jr. dies in Vancouver, B.C. at 91 years old Zoom out to reveal main headline: Oprah Winfrey Elected President Huey Freeman: It’s fun to dream. (Boondocks, Jan. 8, 2006)

Proverbs 29:8 says “Where there is no vision, the people perish”, and in this case, a vision and in some instances the lack thereof serve as the most prominent theme. The first reason I suggest this because the entire episode is situate as a dream. Huey Freeman has a dream about Dr. King and a new movement. This dream serves as the Black community’s mobilizing vision. The mobilizations and outrage portrayed in the episode reflects exactly what is needed a when group people decide begin a revolution. In order for paradigms to shift, frustration must inevitably bleed over into outrage. Change has historically taken place when one’s mindset moves from complacency to active resistance. Typically social movements have severe casualties, but in those revolutionary moments, some dreams do become realities. These are some essential components to social change. Other components within this particular study would include the media. In the case of this episode, the media perceptions of Black Americans fully shifted. This behavioral and ideological shift automatically caused some fear in the dominant group. Historically, this country has not dealt well with revolutions or revolts lead by people of color. For those who have social status to lose, panic ensues naturally. The only thing those in power feel they can do is react in forceful ways. Consequently, once that has happened the next step for both sides has been to resort to violence or threaten each other with deadly force. In this episode, the threat of violence was no longer an issue or concern. The Black community at that point in the episode had reached their breaking point. Violence was not a desired outcome but it was merely a roadblock to the justice they required and demanded. Lastly, I think McGruder strategically placed one foundational idea in this episode. He inserted the concept faith into the discussion of systemic change. Faith is a concept that is exuded by Dr. King as well as Huey at the close of the episode. The fact that McGruder created this episode is in the format of a dream

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shows that he too has a certain amount of hope and faith in the Black community. Being critically minded does not mean that you are devoid of a positive outlook. Moreover, the idea that Dr. King lived to see his “Dream” actualized, means that his work was not in vain. Dr. King’s contributions and the democratic aspirations associated with his philosophical beliefs should be continually recognized. Finally, the fact that the lasting image of the show is one of Oprah Winfrey being recognized as the President of the United States, says that a certain level of sexism and paternalism has been addressed. Society’s understanding of sex and gender in this scenario has been fundamentally addressed. Not all issues may have been solved, but the discussions have been recognized. It is with these images and words that McGruder can foster critical discussions that many people avoid. These episodes have the potential to give society a sense of hope when is comes to addressing oppressive ideologies and behaviors. Albeit they are difficult discussions, they can occur, even if they are discussed in the format of a dream.

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Chapter 6: Conclusion

In the closing chapter, a summary of the study’s analysis as well as the future implication for this study within the context of education and curriculum will be discussed. There are four particular conversations gird the summation of this study and the first includes the discussion how race, masculinity, and Spirituality fit within the discourse of curriculum theory. The second conversation encompasses the explicit, implicit, and null curricula’s within the educative process. Since this study surrounds the concepts of race, spirituality, and masculinity, the primary assertions suggested in the summary implies that traditional methods and ideas of schooling do not work for African American males. The third discussion within this summary examines the concepts of race and education within the context of this study. This section offers alternative methods of interrogating race. In the last section, I offer spiritually girded recommendations that I believe provide an alternative perspective to pedagogical practices. I suggest that this media texts satirical critique of the status quo and the process by which education is currently implemented, are inextricably connected. The animated series satirical critique offers not only an alternative view but also a sense of hope. When connecting the animated series to the way African American males and marginalized students are educated, my final assertions suggests that a pedagogical position that infuses spirituality is essential to educating groups of people who have been historically marginalized. In The Boondocks animated series, I believe that Aaron McGruder showed that the Black male condition and psyche is one that has been historically shaped and molded by hegemonic structures. From a Critical Media discourse, I believe, through his animated series, he sought to answer questions, critique stereotypes, and analyze the identity of African American men. By interrogating the main characters multiple identities, he successfully shows that our complexities arise from old and new events. In order to begin to understand many of the nuances within the Aaron McGruder cartoon, one must first thoroughly embrace that the animated show is intended to be comedic satire. This implies that the very nature of the show is to spark debate and raise critical political questions. Douglass Kellner (2011) states “media images help shape our view of the world and our deepest values; what we consider good or bad, positive or negative, moral or 123

evil” (p.7). The deconstruction of McGruder’s satire occurs through various lenses, but for in the instance of this study, the analysis was contextually conducted through the understanding of Critical Media Literacy and Critical Race Theory. Both theoretical frameworks help to understand the perceived assumptions that can be identified as Black maleness/masculinity. I posit that McGruder holds a firm position that the Black Male identity is not stable or stagnant in many capacities. From the singular position of generational differences, this is readily noticeable. Black male identity constructions are not monolithic and each representation of black masculinity are diametrically different depending on the context. Each character throughout each season has continually undergone some significant change in the way their identity is represented. The second tool within CML consists of understanding social languages. These “situated meanings,” recognizes there there are very specific instances where context is imperative. It recognizes that “words” have meanings that are specific to and positioned in actual contexts of their use. An example of this could be the usage of the word “Nigga.” I use it explicitly in this context instead of N-word because the two words have very different meanings depending on the context and who is using it. I heavily use the controversial word as an example because it is used in the show/comic strip and shying away from it does a disservice to the creator and the show. Words, phrases, and utterances in use act as clues or cues that guide active construction of meaning. (Rogers, 2005, p.44) For this particular example and discourse, meaning is constantly being made and reshaped. The constant flux of Black male identity and curriculum within their individualized contexts unquestionably makes Black maleness construct that must be contextually defined. Curriculum and Schooling

Within the conversation of schooling, the construction of knowledge is debated on frequently and many scholars possess competing viewpoints. In particular, schools looking at mechanisms that use curriculum to produce students solely for the purposes of tracking should be recognized as antiquated. The task of tracking student into specific societal roles has and will continue to be an issue in American schools as long as we look at students homogeneously. (Kozol 1991,2005;Lareau and Horvat, 1999, Sakura-Lamessy, Carter Tellison, Sakura-Lemessy, 2009, p.408). According to the same article, as cited by Rojewski and Kim's (2003), "research

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revealed that earlier reproduction theorists had argued – the curriculum program placement is predicated less on achievement and merit: they found that Black and lower class students with equal tests scores as middle of and upper-class peers were disproportionately enrolled in vocational education and lower tracked classes” (Sakura-Lamessy, Carter Tellison, Sakura- Lemessy, 2009, p.408). It is with this knowledge that we can begin to understand how curriculum tracks certain group of people and imminently shape students’ social psychological predispositions towards upward mobility and learning expectations (Macleod, 1995; Blau, 2003; Lynch, 1989; Mortimer, 1996,Sakura-Lamessy, Carter Tellison, Sakura-Lemessy, 2009, p.409). The predisposition associated with minority student learning process is one that is typically assumed to be slow and incapable of achieving. A problem with this way of thinking entails the established norm. Educators must recognize that the “standard” definition of achievement is based on what and how the dominant group defines success or achievement. In order to fundamentally change how those standards are applied to marginalized student’s, educators must start in a different place. Within a critical theoretical framework, theorists believe " the official school curriculum as a culturally specific artifact designed to maintain a White supremacist Master script” (Ladson-Billings, p.21). Gloria Ladson-Billings goes further to reiterate that, "master scripting means stories of African-Americans are muted and erased when they challenged dominant cultural authority and power” (p. 21). Huey in The Boondocks series seeks to do the same thing in a very informal capacity. In an episode analyzing the context of Christmas within the American social structure, the creator and the main protagonist provide the perfect example as to how someone can challenge traditional notions of curricula inside and outside the traditional classroom. What most fail to realize is that, within the structure of traditional schooling, African-Americans and students of color are vital contributors to knowledge and their particular standpoint epistemologies within their context does, in fact, contribute to their learning experiences. African Americans often feel as though their stories, "histories, experiences, cultures, and languages are devalued, misinterpreted, or omitted within formal educational settings”(Delgado-Bernal, 2002, p.106). The contributions African Americans bring to the classroom should be accepted and respected. Simply because the experiences and narratives are different from the norm, this does not mean in any way that the marginalized narratives are deficient to the dominant narrative.

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When extending spirituality into the realm of education, it becomes a discussion of progressing past traditional notions of education and into issues that are not most obvious. An obvious example within educational discourse has to be a lack of questioning from students. This lack of participation only reinforces a preordained behavior that is deemed acceptable. Accordingly Eisner suggests (2002): Compliant behavior is only one form of several kinds of behavior that schools foster. Competitiveness is… fostered by the grading system... [And]…also by the differentiation of classes into ability group… [And the] impact of time on the students’ perception of what counts in school… the structure of the school day itself has educational consequences for both students and teachers. The timetable teaches. (p. 91- 95) I unequivocally believe that this has been the process of maintaining control in the schools yet the process does not contribute to learning. This must become more a part of the dialogue within schooling and those involved in the process. The discussion around schooling needs to actively seek a cognitive design that would transform the current assumptions about student of color in school. Slightly shifting or maneuvering around old paradigms is no longer acceptable. In Freire’s text, Pedagogy of Freedom (1997), he realizes schooling is not an endeavor in which the transference of knowledge can occur via the process of osmosis. “Spirituality and education are related through the discussions of transformational experiences” (Vella, 2000; Koetting & Combs, 2005, p. 84). For most people, the transformational experiences considered most important in schooling are directly related to some form of an explicit curriculum. The realization that the explicit curriculum for Black and brown students is one of generational and systematic failure is no surprise and has been a consistent trend in educational research. The fact that remains within this way of thinking is far too many educators limit themselves to these singular definitions. These singular denotations of curriculum and education are yet again indicators that there needs to be a shift in the educational discourse. The oversimplification of schooling allows for the continuance of watered-down explanations of the curriculum. In my opinion, this immediately relegates curriculum of any kind as something that in inherently despiritualized. The process of despiritualization which is defined by Kovel (1991) “ as the pressure or tendency in social institutions to devalue the spiritual dimension, render it irrational, or even suppress its expression altogether” (p.6). The despiritualization of curriculum limits the possibilities one can imagine when trying to implement school reform.

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Explicit Curricula and Their “Objectives”

When one begins to study the way African American males, schools, and how them education process, I recognize that my experiences are inextricably connected and by default included. The current landscape of the American schools system is not drastically different than it was 15 years ago. The explicit curriculum for Black and brown students is one of generational and systematic failure. This culture still embraces the idea that the goals of curriculum are to teach students “to read and write, to figure and to learn something about the history of the country, among them” (Eisner, 2002, p.87). The major difference between now and fifteen year ago lies in the desire to infuse STEM into every facet of schooling. Schooling in many regards has become a mask for training and actual learning has become an accepted myth. It is said that the curriculum of the school, or a course, or a classroom can be conceived of as a series of planned events that are intended to have educational consequences for one or more students (Eisner, 2002, p. 31). When looking at school in this fashion, it is easy to understand why black males struggle in school. In traditional education this is undeniable and very problematic. The mere thought that “curriculum is a program that is intentionally designed to engage students in activities or events that will have educational benefits for them,” does not allow for the abundance of possibilities that are connected to the term curricula (Eisner, 2002, p.31). This the reality existing within schools and under these pretenses. By staying in these paradigms, far too many educators are doing damage to the educative process of students. In American schools, I believe discipline serves as the number one form of explicit curriculum. This idea is compounded when looking across gender and racial lines. For African American males, the first lesson that should be learned and vehemently adhered is that schooling is a system with a set of ideologies that teaches students how they should and shouldn’t behave. Of course, “compliant behavior” is an obvious goal within the format of schooling, but for Black males, it is sometimes a process that resembles the reincarnation of Jim Crow laws. This has historically been the case for African American Males in this country. Eliot Eisner (2002) immediately recognizes “one of the first things a student learns – and the lesson is taught throughout his or her school career, is to provide the teacher with what the teacher wants or expects” (p. 89). Many scholars have reiterated on many occasions that far too many teachers 127

desire in the current model of k-12 schooling because it reinforces is a sense of rigid conformity. The process of implementing any conception of the Socratic method into public schools is not received well. When intersecting the social construct race into the conversation, it quickly becomes more problematic. bell hooks states “the curiosity that may be deemed a sign of genius in a White male child is viewed as a trouble making when expressed by Black boys” (hooks, 2004, p.36). These types of racist assumptions toward Black males only stymie a student’s growth and perpetuate the assumed stereotypes. As a result of racist stereotypes, a lack of concern and questioning from students only reinforces behavior that is compliant and considered acceptable. When looking at the other curricula practices, one can see how African American males and other adolescents become co-opted into a specific curriculum paradigm. As previously mentioned, performance plays a major role in curriculum. Next to texting, behavior within the paradigm of schooling is probably the most critiqued issue. Intellect is often equated with social skills and behaviors, but these skills become imperative in a diverse world and its practice needs to be integrated. bell hooks in her text We real cool, begins her chapter on schooling Black males by immediately stating “more than any other group of men in our society Black males are perceived as lacking in intellectual skills” (hooks, 2004, p.33). The essential word used here is perceived. The mere perception that African American males are incapable of achieving a Eurocentric conceptualization of success is predicated on “imperialist White supremacist capitalist patriarchal culture” (hooks, 2004, p. 34). This same system is what fosters a sense of competitiveness. The only difference I have noticed is that among African American males the sense of competitiveness flows constantly from the classroom to every environment they enter. Some may even think that within the current paradigm of schooling competitiveness for Black males rarely makes it into the classroom. These fundamental issues are addressed in The Boondocks animated series. In each episode, they unpack and grapple with the psychological issues associated with being oppressed. This oppression is not limited to encounters with the police, but it extends to the practices in school. Moreover, I suggest that the competitive nature of schooling and curriculum could be one that is used to exacerbate a notion of maleness that negatively situate African American males. For African American males, this has been typically aligned with physical prowess, not their

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cognitive ability. hooks (2004) asserts this idea in We Re Cool by saying they (African American males are): Groomed to remain permanent members of the underclass, groomed to be without choice and, therefore, ready to kill for the state in wars whenever needed, Black males without class privilege have always been socialized to believe that physical strength and stamina are all that really matter. (p.34)

Although she is specifically speaking about the socialization of Black males in a capitalist society, she connects the socialization process to their education process. This social and economic ideology embedded in this country’s fabric has disproportionately and consistently placed African American males within one specific category and image. Moreover, the intrinsic acceptance of this ideology systematically coerces African American males to attach their identity to an ideology that is designed to position AAM (African American Males) at a disadvantage. This disadvantage is often labeled as hypersexual, aggressive, and violent. According to Patricia Hill Collins, “physical dominance aggressiveness and the use of violence to maintain power constitute a central feature in definitions of hegemonic White masculinity that AAM must confront” (p. 86). Satirically, McGruder addresses this well. Riley Freeman and Granddad are the best examples. Riley Freeman is the epitome of hypermasculinity. Everything from the way he dresses to the language he uses substantiates the persona associated with being and AAM. Unbeknownst to Riley, McGruder offers character conflicts within those images. He does so by allowing Riley to question his own motives and ideologies on different occasions. He shows Riley doing the exact opposite of the stereotype. Even Riley’s depiction of dominance is for the purposes of sustaining a sense of identity throughout society. This belief and desire to dominate has transferred into the classroom. In an article, Research at the margin: Mapping Masculinity and Mobility of African American high school dropouts, James Earl Davis substantiates the usage of hypermasculinity in high school as a coping mechanism. Hypermasculinity is also used as an avoidance tool to keep certain groups or people at a “safe” distance. Unfortunately, this sense of competitiveness translates well into ta hegemonically structured classroom because it deemed an interesting and effective method depending on the activity and academic content. Once again, as a researcher’s who attended in a predominately White, affluent secondary institution, I can personally substantiate the research from Davis, hooks, and Hill-Collins.

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When discussing how ability is conceptualized, understanding how African American males are placed disproportionately in special needs classes or left out of advanced courses, sheds light on how this population is truly viewed. When it comes to African American males, they are rarely given the opportunity to establish or show their cognitive abilities. Even when adopting a Eurocentric paradigm, what they are able to contribute is often not recognized or it is designated for them. Their passions and interest are rarely considered because in a western paradigm, math, science, and literature are the only spaces of valid knowledge. Other culturally relevant paradigms are omitted. James Beane (1997) notes: Teaching, the democratic way, means involving young people in decision making whenever possible and to whatever degree possible. Giving students a voice in this way, no matter how restricted the teacher may feel various mandate is a step in the democratic direction. (p.46-47)

If one ascribes to this denotation of democratic education, the current state of education is visibly flawed and democratic education does not exist, especially for African American males. For democratic education to truly exist, African American males would need to be treated more as human beings. Black males far too often are merely considered a statistic in the realm of education. James Beane (2005), author of the book “A Reason to Teach,” he explicitly discusses democratic education and its purposes in depth. He states: In a democracy, the principle of human dignity insists that people have a say in the decisions that affect them and their say counts for something… probably no idea is more widely associated with democratic classrooms than the involvement of young people in making decisions about what and how things are done. (p.19)

Beane is asserting that, with a more democratic classroom, educators allow students to developed in a way that promotes collaboration. In the current educational climate, schools and classrooms are frequently designed to do exactly the opposite. This ultimately would imply that an educational environment rooted in democracy fosters and supports the belief that each student should have the autonomy to develop cognitively through various transactional experiences. Unfortunately, cognition in this American context has not always been so idealistically connected to rational, critical thinking skills. If anything, this form of education is the antithesis of what occurs in schools. This is especially the case when examining the plight and experiences of African Americans in this country. Adopting Beane denotation of democracy could in turn foster an intrinsic sense of dignity that grows organically in students. One may need to come to 130

the realizations that in order to attain this level of dignity, a true grasping of “freedom” needs to occur. In order to pursue and make equitable decisions about the learning processes, educators must possess high expectations for all students and some semblance of social justice. Regardless of the paradigm, the need for a curricula that takes into consideration that context and circumstances are paramount. When interacting with populations that have been historically marginalized, it is important to acknowledge the background in which they understand and originate. Historically when considering African American males, the separation of racism and curriculum becomes complicated and in nearly impossible. When reflecting on the previous dialogue on ability and intelligence, the discourse that critical pedagogues associate with themselves allows for them to acknowledge that the environment in which these youth are raised. Their environment and family become an explicit cog within their curriculum. “Critical educators feel that it is an outrage to separate environmental factors from efforts to measure ability or intelligence” (Kincheloe, 2008, p. 14). Realistically, these environmental factors do play a significant role in the education process. What is readily noticeable in critical theory is the fact that a critique of hegemonic standards and practices must be challenged. As most things learned, I believe that it would be more beneficial to incorporate a critical perspective into the paradigm of African American males sooner rather than later. Dantley (2007) posits, “students must be given the opportunity to confront and challenge the historical discourse that marginalizes and excludes those who do not perpetuate the traditional American historical grand narrative” (p. 174). An immediate addressing of such issues may render a positive result for future African American males in this particular curricula discourse. Critical Media Literacy in this regard could only contribute to a student’s growth. Even though one may not understand the process of critically reading a text or media source until after the explicit implementation, each tenet within CML could be used within the process of understanding the null curriculum. This understanding of the null curriculum becomes especially important for disenfranchised groups. By attempting to implement such a curriculum, the statistics concerning minority students can change. The regurgitated research assertions that “Black males disproportionately lead in special education placements, suspensions and athletic scholarship” are trite and very demoralizing (Kunjufu, 2005, p.87). These very ideas and beliefs should be eliminated from an educator’s ideology and lexicon. Kunjufu later goes on to mention

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“African American males are 8 percent of public education school students nationwide, but consist of 37 percent of the suspensions” (Kunjufu, 2005, p. 108). “You cannot teach a child you do not love. You cannot teach a child you do not respect. You cannot teach a child you do not understand. You cannot teach a child you fear. You cannot teach a child before discarding your political baggage e.g., sexism and racism” (Kunjufu, 2005, p. 94). The examples that Jawanza Kunjufu provides are substantive examples of curriculum that are explicitly seen inside and outside classroom atmosphere. Although students may not openly discuss the perceptions provided by teacher comments, behaviors, and mannerism, they know when a teacher does not care about them of if they are learning. It is unfortunate that the negative assertions discussed by Kunjufu are in fact the most common forms of curriculum seen and implemented in schooling. From a critical context, this can only be combated by the infusion of Paulo Freire notion of “radical love.” Joe Kincheloe expounds on this notion of in depth. Kincheloe (2007) reiterates Freire’s notion when he states:

Paulo Freire always maintained that education had as much to do with the teachable heart as it did with the mind. Love is the basis of education that seeks justice, equality, and genius. If critical pedagogy is not injected with a healthy dose of what Freire called “radical love,” then it will operate only as a shadow of what it could be. Such love is compassionate, erotic, creative, sensual, and informed. Critical pedagogy uses it to increase our capacity to love, to bring the power of love to our everyday lives and social institutions, and to rethink reason in a humane and interconnected manner. (p.3)

Recognizing this level of humanity and love conjoined with a sense of spirituality, allows students to embark on their own sense of education. Implementing different methods of assessment and along with infusion of Critical Media Literacy helps students have an active role in the educative process. Admittedly, this is only one suggestion I believe will help African American males. This way of examining schooling goes against the traditional structure of schooling. As systemic and fixated structures, “schools must realize that intelligence can be measured in other way besides a left-brain abstract exam” (Kunjufu, 2005, p.13). Getting away from such a practice can only help students grow. As a discourse, “critical pedagogy will not stand for these mechanisms of social and educational stratification that hurt socially, linguistically, and economically marginalized students so badly” (Kincheloe, 2004, p 15). This sentiment is also evident in the implementation of Critical Media Literacy. The purpose and objective of any critical philosophy or pedagogy are 132

to ultimately demystify conceptions that tend to perpetuate the status quo or norm. When examining this particular project and the way curriculum and pedagogy are implemented, there is nothing stopping academic research from continually expanding how curriculum is viewed.

Non-Traditional Curricula

Previously, the discussion of explicit curricula and the framework of critical pedagogy were heavily discussed. The conversation must now segue into the importance of the null/hidden curricula in educational settings. The differences between explicit curriculum and these other two forms of curriculum are that the null and hidden curriculum often venture into spaces that are not typically considered academic. In some ways, Null curriculum has the potential to positively change more within disenfranchised groups than any explicit curricula taught in school. That is not to say that the explicit curriculum does not allow for specific kinds of growth, but it does not cover the issues that may be most important to students in disenfranchised positions. Moreover the explicit curriculum rarely addresses social issues inside and out of their family or community. Within the understanding of the null curricula, this is where marginalized students may find their most useful and reoccurring knowledge. Spending time on the null curricula for some is pointless. Do so may minimize what some have come to “value” about education. This inevitably render education or the subsequent curriculum as non-educational. “A comprehensive, multicultural pedagogy uses a variety of lesson plans and evaluation instruments…by making it Multicultural and Afrocentric, it has the potential to make it relevant. You cannot separate the curriculum from the disseminator, they are apart of the same package” (Kunjufu, 2005, p.97). What is understandable and known is that schools are currently designed in a capacity that views the process of education as hierarchal and disseminating. That being said, the null curriculum does not stop once a student leaves the classroom. The null curriculum is something that is always being taught and experienced. For disenfranchised students, this can be an array of things. Again, the concept of banking comes to mind. Paulo Freire discusses explicitly his concept of “banking” in the Pedagogy of the Oppressed, but upon further review, that model can extend into the realm of the hidden curriculum. One curricular question that may be proposed, specifically when discussing the null curricula is the issue of racism and its effect on the curricula. This construct is one that may be “banked” explicitly and implicitly. Within 133

the null curriculum, there are “options that a student are not afforded, the perspectives they may never know about, much less able to use, the concepts and skills that are not a part of their intellectual repertoire” (Eisner, 2002, p. 107). Ultimately, depending on the environment or the student culture, the hidden curricula could easily resemble learning how to traverse through four different gang territories. It could also resemble learning the nuances of DWB (driving while Black). In either case, one learns a very specific lesson and adopts different methods of reading the word and world.

Race and Education

The subsequent social issues’ surrounding critical discourse inclines most to assess strategically how race is discussed in the realm of education. This ultimately forces the notions of race, racism, curriculum, and a host of other concepts to be seen beyond its traditional conceptualizations. When beginning to contextualize and examine the discourse of education and what this historically looks like in this country, one can readily see and understand the ways minorities have been mistreated. When implementing race as a concept, it forces educators to analyze the norms in education. Again, one of the questions and goals within this project is to understand how The Boondocks animated series is a form of curriculum. In order to interrogate that question, there must also be an understanding into how race is represented in education. Both Gloria Ladson-Billings (1998) and David Stovall (2009) wrote explicitly on what race and racism explicitly do in education. From the perspective of race scholars, the political project in education becomes the attempt to: 1. Name and discuss the pervasive, daily reality of racism in US society which serves to disadvantage people of color. 2. Expose and deconstruct seemingly ‘colorblind’ or ‘race neutral’ policies and practices which entrench the disparate treatment of people of non-White persons. 3. Legitimize and promote the voices and narrative of people of color as sources of critique of the dominant social order, which purposely devalues them. 4. Revisit civil rights law and liberalism to address their inability to dismantle and expunge discriminatory socio-political relationships. 5. Change and improve challenges to race neutral and multicultural movements in education, which have made White student behavior the norm. (Ladson-Billings, 1998, Stovall, 2006, p. 244) Ladson-Billings successfully accomplished many things in the construction of this list.

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The most obvious connection has to be a historical connection between the issues of race and racism and the process of schooling. She openly acknowledges that these are yet open spaces for critical interrogation. The socio-political implication of not examining education through the critical and racialized lens suggests that schools have the potential to only reproduce the hegemonic norm or status quo. David Stovall in his research extends this conversation outside of the classroom. He acknowledges that the incorporation of race when examining roles, the parent and community, they too are all integral cogs in the education process. Recognizing that students and parents will potentially encounter discrimination in various ways (language, socioeconomic status, or stereotypes) is all a possibility when examining race and the effects of it in schools. (Stovall, 2006, p. 245) An understanding of race and the deconstruction of certain racialized myths is an active way of confronting White supremacy and hegemony. Stovall (2006) alleges that this can be “in the form of the power of Whites in the school system and the resources that the majority wealthy White districts have and refuse to relinquish (e.g., school funding in the US based on property taxes” (p. 248). Other scholars would openly suggest that in the realm of education, non-traditional conceptual frameworks work best when using race as a central theme. According to Solórzano and Yosso, this is specifically structured under five essential premises.

One, it critiques separate discourses on race gender and class and, therefore, focuses on the inter centricity of racism within other forms of subordination; Two, challenges dominant idea ideology that supports the deficit theorizing prevalent in educational and social science discourse; three focuses on the experiences of students and communities of color to learn from their racialized experiences with oppression; Four, works toward social justice and education as part of a larger goal to promote a liberatory or transformative solution to racial, gender, and social subordination and five, utilizes the interdisciplinary knowledge based on ethnic studies, women studies, sociology, history, and the law to better understand the experiences of students of color. (Solórzano &Yosso, 2002, 156)

The five concepts Solórzano and Yosso conceptualized easily extend into the discourse of critical spirituality, The Boondocks, curriculum, and Critical Media Literacy. From an education standpoint, the ideas resemble one of the goals embedded in Critical Race Theory. Other concerns that are rarely addressed within most educational discourse surround policy issues and how those political decisions impact the community. “One need only

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investigate public policy and the damaging effects it has on communities of color. Where language is less overt than edicts of the Jim Crow South, the de jure interpretations of policy remain racialized” (Stovall, 2006, p. 250). Failing to realize the importance of policy only allows future generations to remain ignorant to the power they possess. According to Stovall, marginalized communities inherently relinquish their power due to a lack of knowledge. Tying this back into the text, The Boondocks, this understanding policy and power within the space of schooling and education is as much of the purpose this project as figuring out if the animated series is a viable form of curriculum. Because policy does play an integral role in the educative process, failing to give the topic adequate attention is a disservice to the series considering Huey Freeman constantly critiques institutions and systems.

Spirituality, The Boondocks, and Schooling

The major theoretical frameworks addressed in this analysis have been rooted in Critical Theory. Since a sense of spirituality guides this study, it has been framed through multiple conceptualizations of spirituality. What has become most apparent when researching and examining the historical context attached to spirituality, The Boondocks ,and African American males in education, the paradigms often associated with this racial demographic are disproportionately negative. It is with John Miller’s (2000) “Principles of soulful learning” that these negative personas or images be altered. First, as a society, educators and schools must recognize that test-driven culture has led to the “repression of the spiritual life” (p.139). This first principle acknowledges one’s spirit has just as much importance as their cognition. In the context of Black males, encouraging their creativity and providing them hope, instead of disproportionately biased discipline is required. Secondly, awareness of the potential of the soul and its restorative power is paramount (Miller, 2000, p. 140). Miller’s constant reference to “balance” and order, within the realm of education, proclaims that current imbalance is unhealthy. This unhealthy imbalance is exacerbated because racist schooling practices have historically hindered students of color from achieving academically. Moreover, it must be realized within both the context of schooling and everyday living. Students and teachers alike must understand that the soul and spirituality is not and cannot be limited to religious/institutional experiences (Miller, 2000,p.142). It is ultimately through a sense of

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spirituality and its subsequent integration into the daily schooling practices will students begin to have an educative experience that “nourishes” student’s holistically. As a researcher, I recognize that some may interpret this viewpoint and analysis of The Boondocks animated series as purely religious. Because spirituality is immediately attached to an institutional organization, researchers assume that the ideologies associated with both spirituality and religions are naturally exclusionary. This is to be expected when speaking about spiritual or religious discourses. In this study, that is not the case. I use spirituality and certain theological context because they guide my faith. Moreover, the religious institution I attend and the “ritualistic practices” I partake in do not hinder the way I view spirituality or its usefulness in education. Those experiences do however provide me with an alternative context to schooling. I do recognize that certain religious practices are embedded in the text but those practices are also within the historical context of African Americans. Moreover, it would be naive to not recognize the fact that my experience do affect the context in which I read The Boondocks animated series. Although the experiences of the Black church have been discussed explicitly in this project, it purpose throughout the study has always been to connect the experiences associated with being Black directly to the discussion of education. In many instance the church was the original schoolhouse for African Americans and failing to recognize its history and connectivity is irresponsible. In addition, the usage of any biblical scripture in this study has been to first connect The Boondocks to spirituality. The theme song accomplished this in the first few seconds of the show. Dr. King, Uncle Ruckus and Colonel Stinkmeaner accomplish this in the other episodes. In these instances, I openly suggest that this text has the potential to provide academic research with an alternative view of curriculum. It immediately connects spirituality to the African American experience. In this study, it particularly connects to curriculum and the ways curriculum is perceived and subsequently dispersed. The perceptions of the curriculum in The Boondock are guided by the satirical media images provided by McGruder. Although some are stereotypical they are vitally important to the growth process. The examination of the stereotypical media images is not novel, but the interrogation of maleness, spirituality, and curriculum within the context of The Boondocks does allow for a different perspective on education, schooling, and the construction of the African American male identity. The images provided by The Boondocks series allows for the interrogation of

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curriculum that seeks to upset the status quo. Historically, the initial perceptions directed towards African American males are directly connected to White supremacist thought and oppressive hegemonic practices. James H. Cone wrote, “ the White imagination, the image of a Black man was transformed from hostile slaves and harmless "Sambo’s," to menacing "Black beasts rapists," the most serious threat to the White women and the sanctity of the White home” (Cone, 2011, P.6). Although, Dr. Cone was speaking in a post civil war context and the era of “reconstruction,” it still is apparent in today’s American context. The examination of both Oscar Grant and Trayvon Martin are prime examples. According to Freire (1970), "The oppressors do not favor promoting the community as a whole, but rather selected leaders" (p. 143). Freire’s comment validates why Dr. Kings image is so profound. Not only does he set the standard for morality but he also covertly sets the standard for maleness. Reflecting back on History, most people preferred Martin Luther King Jr. to Malcolm X because his image was safe and non-threatening. This same sentiment is still perpetuated today in the media. Patricia Hill Collins (2006) states “African American men find themselves between a rock and a hard place of being unable to achieve masculinity within the standards reserved for White men resisting the forms of Black masculinity offered to them by those White men”. Yet, African American males are stigmatized and associated with physical dominance, hypersexuality, identity construction, and identity performance. All of these conceptualizations of maleness have been co-opted into the discourse education. Haroon Kharem discusses the historical and contemporary politics of race and education at length in A Curriculum of Repression: A Pedagogy of Racial History in the United States. His text and these racist ideas against African American males would essentially suggest that regardless of the physical space, African American males must negotiate and navigate their identity before any learning or educative progress can be made. Furthermore, this becomes more difficult when one considers the fact that education for Black males has been an intergeneration issue. Education and schooling comes at a great cost when considering the generational effects of racism. The navigation process that African American males go through daily, directly impacts their experience in schools. Patrice McClellan’s states “student alienation via culturally irrelevant curricula, culturally insensitive teaching practices, and/ or culturally precompetent leadership perceptions of student identity and ability coupled with deficit perspectives that blame students, parents, and teachers further establish the need to prepare

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leaders committed to inclusive and socially just practices (McClellan, 2010, p.89).” Looking at African American males, addressing the hegemonic ideologies, as well as the psychological issues within antiquated ways of knowing, is apparent and paramount to this conversation. In doing so, we can begin to confront “the added dimension to the hegemonic paradigm of educational leadership… calling for the establishment of schools as sites not only of academic pursuits, but arenas of critique and spaces of social justice and the deconstruction of undemocratic forms and structures as well (Dantley, 2003, p.182). The usage of Michael Dantley’s Critical Spirituality is useful in this discussion and study because it interrogates academia and the leadership models most commonly used or suggested in schools. His ideas actively interrogate undemocratic pedagogical practices and ideologies. The primary purpose for constructing this research around such ideas is to explore the different possibilities of presenting a controversial media text within any learning environment. Having the space and opportunity to present this information as an alternative method of envisioning curriculum is necessary is the schooling of African American males.

Significance and Future Implications

In all forms of media, the interrogation of Black maleness and the construction of his identity have been a continual space for research. From an educational perspective, this discussion has been under great scrutiny. This specific analysis looks at a particular media text. This medium requires the usage of Critical Media Literacy and Critical Race Theory as a framework. It uses Qualitative Media Analysis as a research method. In the end, I presented Qualitative Critical Media Analysis that sought to discuss the curriculum of The Boondocks animated series. This study recognizes that literacy is essential to the construction of knowledge and can be directly connected to the maintenance of power. This is also be applicable when infusing curriculum and the effects racist curriculum have on African-American males. This study’s significance is predicated on the fact that there is little to no research surrounding curriculum, spirituality, and maleness within the context of education. The task of analyzing and investigating each of these concepts through the medium of The Boondocks animated series is even more rare. The amount of research published is limited and most of the research published does not explicitly discuss embedded curriculum in The Boondocks. Most

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research relegates The Boondocks to the discussion of media representation. This topic has not been used within the realm of education or curriculum theory. Simply put, leaving the discussion of The Boondocks in the communications discourse or Black studies discourse does a disservice to what can be learned from the text. Expanding this discussion to education allows for curriculum theorist to begin investigating another space and teaching tool that may help marginalized student population. This study has the potential to transfer into many other critical and postmodern conversations. Two immediate discourses that are comparable are hip-hop pedagogy and culturally relevant pedagogy. The conversations and curriculum that stem from this study does not only contribute to the discourse of critical theory but also curriculum theory and media literacy. Within media literacy, this is paramount to developing different conceptualizations as it directly pertains to the construction of one identity. This qualitative critical race media analysis respects that the research and the data collection process is inherently tied to the researcher. The goal has been to shed light on the issues and concerns that face African American males, curriculum, and spirituality. It is also important that this project seek out a new insight into how this group makes sense of maleness while examining The Boondocks text and the insertion of spirituality. The preliminary issue I believe McGruder is trying to explain and convey is that Black males have often looked to other forces or experiences to define the concept “male.” What is also relevant when interrogating The Boondocks main characters, one must look at how McGruder frames each character’s identity. To start, each characters name has significant meanings. For example, one example could be the Freeman family’s last name. In this very first episode, McGruder makes sure to have the name exaggerated and pronounced “FREE MAN.” This is significant for many reasons because even in the town they reside (Woodcrest) they are not Free Men. They are still outsiders in a place where a White businessperson owns everything. This one White man owns everything in the town, from the bank to the very house they reside. This example and those in previous chapters provide the basis of understanding as it pertains to Black males. McGruder substantiates through his work that Black masculinity is indeed a complex construct. The rationale for a study of this nature is predicated on effectively interrogating the stereotypes and narratives associated with African American males in the media and in

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schooling. In this project, the participants (the characters) are the tangible examples of Black maleness, spirituality, and curriculum. I believe the author/creator is attempting to get the audience to understand the cultural context of Black masculinity. In addition, he is allowing an opportunity for people to deconstruct the preconceived assumptions associated with being a Black male. The capacity to do this at an early age and within the confines of the school would help students read media text and the world better. The initial reason for choosing this satirical discourse was multifaceted. As an adolescent, I enjoyed a comic book given to me by my mother. She found a book by the creator of the animated series in the library and thought that I might actually read the book. I primarily read the book because it had an individual on the cover that looked like me. In retrospect, this text was the one way she thought it could help me learn to enjoy reading. As I grew older and experienced the animated series, I realized how much of an impact the animated series had on my undergraduate counterparts. What I most noticed in this experience had to be the receptiveness and affinity for a perceived truth and critical critique. I noticed that those who looked me also enjoyed laughing at themselves and their condition. In a comedic way, the show forces one to question the social ills that are often disregarded in mainstream society. This ultimately brought me to this current project. The lingering questions now forced me to interrogate the curriculum and social practices embedded in the show and in the educative process. In future research, my goal is to expand this conversation of The Boondocks and Black maleness. In addition, that research would hopefully allow for the context of hip-hop pedagogy to be inserted. Although in some regards that discussion has begun to occur in this project, an explicit endeavor into hip hop pedagogy and more culturally relevant pedagogies is paramount. The continual identification of different pedagogical practices is necessary. Furthermore, the insertion of culturally relevant practices that reflect the lives and experiences of marginalized groups are important as populations in this country and world become more diverse. I close this study with a strong belief that if The Boondocks series is critically analyzed, an understanding of curriculum through the lenses of spirituality, race, and masculinity can shed light on how institutions can develop and implement useful curriculum tools and pedagogical practices.

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Appendix A: Glossary

In the following Glossary constructed, the term chosen were done so, so that the readability of the dissertation is easier and more succinct. Many of the terms selected are also key concepts within the framework of the study and allow for the author and reader to spend more time on understanding the findings and implications of the study, than spending the times on the literal denotations of the terms in any of the chapters or sections in the dissertation.

Afrocentrism – a theory of personal and social transformation. The primary aspirations are to counter the negative effects of White supremacist ideologies on post enslavement, postcolonial African thinking and generally, on ways of thinking about Africa and its people. This theory addresses the interpretations or reinterpretation of reality from perspectives that are centered by and within the processes that maintain and perpetuate African life and culture. (Grant & Ladson Billings, 1997, p. 11)

Bad Faith- “ to choose and to examine one determined attitude which is essential to human reality and to examine one determined attitude which is essential to human reality and which is such that consciousness instead of directing its negation outwards in toward itself. This attitude, it seems to me, is bad faith (mauvaise foi)... We can tentatively call bad faith as the effort to hide from the responsibility for ourselves as freedom. Jean Paul Satre describes the phenomenon where people under pressure from societal forces adopt false values and disown his/her innate freedom to act “authentically.” It is closely related to self-deception. (Gordon, 1995, p.8), (Wyrick, 1997, p. 38 & 172)

Black Maleness/ Masculinity- “ conditioned by western hegemonic contexts and inscribed through discourse, resulting in scripts… racial scripts are recreations, reinventions or alterations of the self in motion ”. (Jackson & Hopson, 2011 p. 113; Jackson, 2006, p.75); “the image of Black masculinity that emerges from slave narrative is one of the hardworking men who longed to assume full patriarchal responsibility for family and kin”. (hooks, 2004, p.4)

Black Nationalism- advocates a racial definition (or redefinition) of national identity, as opposed to multiculturalism. There are different indigenous nationalist philosophies but the principles of all African nationalist ideologies are unity, and self-determination or independence from European society.

Capitalism- an economic system based and constructed along a public vs. private binary. Private ownership provides the means of production and the production of goods or services for profit. “Capitalism is based on the voluntary sale of the worker’s labour-power to the capitalist. This does represent an economic agenda more than a political agenda. The capitalist system generates its own ideological legitimation. Capitalism bring with it a new stage in the division of labour within the production process.” (Joseph, 2003, p, 8); system in which market forces dictate economic decision and most property is privately owned. (Delgado & Stefancic, 2001, p.143)

Discourse- Formal, extensive, oral or written treatment of a subject; the way we 150

Constructivism- “A range of approaches which treat what we commonly thought of as independent, real objects as social or cultural ‘constructs’. Some constructionists extend this approach to the natural world.” (Carib, 2011, P. 231)

Critical Legal Studies- Legal movement that challenged liberalism from the Left, Denying that law was neutral, that every case had a single correct answer, and that rights were vital importance. (Delgado & Stefancic, 2001, p. 144) Critical Media Literacy- “Literacy involves gaining the skills and knowledge to read, interpret, and produce certain types of texts and artifacts and to gain the intellectual tools and capacities to fully participate in one’s culture and society. (Kellner& Share, 2005, p.369) To the domains of reading, writing, and traditional print literacies one could argue that in an era of technological revolution educators must develop robust forms of media literacy, computer literacy, and multimedia literacies, thus cultivating ‘‘multiple literacies’’ in the restructuring of education.1 Computer and multimedia technologies demand novel skills and competencies and if education is to be relevant to the problems and challenges of contemporary life, engaged teachers must expand the concept of literacy and develop new curricula and pedagogies. (Kellner& Share, 2005, p. 370) Critical Media Literacy builds on these approaches, analysing media culture as products of social production and struggle and teaching students to be critical of media representations and discourses, but also stressing the importance of learning to use the media as modes of self-expression and social activism.4 Developing Critical Media Literacy involves perceiving how media like film or video can be used positively to teach a wide range of topics, like multicultural understanding and education. (Kellner& Share, 2005, p.372) The Center for Media Literacy (CML) has taken many of these foundational ideas of media literacy and simplified them into a framework that is more accessible to teachers and applicable for students. The CML (http://www.medialit.org/ bp_mlk.html) identifies five core concepts that lie at the heart of media literacy and can be understood as follows. Core Concept 1. Principle of Non- Transparency: All media messages are ‘‘constructed’’. (Kellner& Share, 2005, p. 374) Core Concept 2. Codes and Conventions: Media messages are constructed using a creative language with its own rules. (Kellner& Share, 2005, p. 374) Core Concept 3. Audience Decoding: Different people experience the same media message differently. (Kellner& Share, 2005, p. 375) Core Concept 4. Content and Message: Media have embedded values and points of view. (p.376) Core Concept 5. Motivation: Media are organized to gain profit and/or power. (p. 376)

Critical Race Theory- is an intellectual movement that is both particular to our postmodern (and conservative) times and part of a long tradition of human resistance and liberation. The movement highlights a creative – and tension-ridden- theoretical self-reflection, formal innovation, radical politics, existential evaluation, reconstructive experimentation, and vocational anguish.” (Crenshaw, 1995, xi) “The focus of racism’s centrality to the sociopolitical, legal and educational systems” is one of the many focal points of Critical Race Theory. (Adams, Bell, &Griffin, 2007 p. 25); Radical legal movement that seeks to transform the relationship among race, racism, and power. (Delgado & Stefancic, 2001, p. 144)

Critical theory- Critical Theory generally refers to the theoretical response to Marxist thought developed by the Frankfurt School, a group of writers connected to the Institute of Social

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Research at the University of Frankfurt, Germany. Reflecting on the practical intent of fostering a critique of the existing social order- the repressive, alienating, and exploitative social reality- in order to advance the struggle for human freedom and social justice, critical theory utilizes a negative dialectic. In other words, critical theory reveals how the given fact of our ordinary, everyday reality, which appear as the positive index of truth, are really the negation of truth, such that truth can only be revealed through the deconstruction of facts (i.e. determinate negativity)”

Culturally Proficient-Cross et al. (1989) refers to cultural proficiency being an inside out process of personal and organizational change. It is “predicated on your ability and willingness to recognize that change is an inside-out in which we are students of our assumptions about self, other and the context in which we work with others. It is a worldview that carries explicit values, language, and standards for effective personal interactions and professional practices. (Terrell & Lindsey, 2009, p. 20)

Culturally Relevant Pedagogy- “an approach to teaching and learning that empowers students intellectually, socially, emotionally and politically by using cultural referents to impart knowledge, skills and attitudes” (Ladson Billings, 1994) The cultural referents in this pedagogical perspective are not merely vehicles for bridging or explaining the dominant culture; they are aspects of the curriculum in their own right. (Grant & Ladson-Billings, 2003, p. 62)

Deconstruct or Deconstruction- “It refers to a critical project of intervention in philosophical and literary studies and was promulgated in the 1960s and 1970s by the French philosopher Jacques Derrida.” (Grant & Ladson-Billings, 1997, p. 83) It is “a post structuralist concept most closely associated with Derrida; it refers to the systematic analysis of text to show how they ‘construct’ their object and give the impression that they refer to some definite ‘presence’ – external reality, or an unquestionable foundation of knowledge.” (Carib, 2011, P. 232); “Intellectual approach that targets traditional interpretations of terms, concepts, and practices, showing that they contain unsuspected meanings or internal contradictions. (Delgado & Stefancic, 2001, p. 145)

Discourse- Formal, extensive, oral or written treatment of a subject; the way we speak about something. (Delgado & Stefancic, 2001, p. 145)

Faith-“Faith does not make rational sense because it taps into parts of our selves that does not respond to empirical interpretation. To simply engage in a dialogue on faith requires that one juxtaposes the customarily adopted need to have quantifiable evidence to substantiate any and all claims against the intuitive understanding that many events taking place in time and space occur without rational deduction…Faith simply is the extension of one’s beliefs in the existence or the nature of something or someone. It is the suspension of our confidence in linear, empirical quantifiable data to confirm the actuality of things. A critical faith actively interrogates the essentialisms that are produced through hegemonic rites, constructions and institutions (Dantley, 2005,p. 6.).” “Faith is a kind of transitive verb that demands an object for its action” (Dantley, 2005, p. 11).

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Hegemony – refers to the process in which dominant groups in society come together to form a bloc to sustain leadership and control over subordinate groups. One of the most important implications of this concept is that it implies that a power bloc does not necessarily have to rely on coercion to control. .” (Grant & Ladson-Billings, 1997, p. 130) Gramsci’s theory of hegemony argues that social cohesions and consent is established on the basis of the interests of the dominant hegemonic bloc- albeit within definite socio-structural limits. (Joseph, 2003, p.2); Domination by the ruling class, and unconscious acceptance of state affairs. (Delgado & Stefancic, 2001, p. 147)

Hidden Curriculum- refers to the unintended outcomes of the schooling process. Critical educators recognize that schools shape students both through standardized learning situations and though other agendas, including rules of conduct, classroom organizations, and the informal pedagogical procedures used by teachers with specific groups of students. The hidden curriculum also includes teaching and learning styles that are emphasized in the classroom, the, messages that get transmitted to the student by the total physical and institutional environment, governance structures, teacher expectations and grading procedures. It deals with the tacit ways in which knowledge and behavior get constructed, outside the usual course materials and formally scheduled lessons. (McLaren, 2003, P. 212)

Marginalized/ Marginalization- “ When people speak of being marginalized or being on the margins, they are referring to their position on the periphery of social, political, cultural, economic, and educational life.” (Grant & Ladson-Billings, 1997, p. 164)

Popular Culture-is simply culture which is widely favoured or well-liked by many people; culture which is left over after we have decided what is high culture; a residual category there to accommodate texts and practices which fail to meet the required standards to qualify as high culture; popular culture is mass produced commercial culture, whereas high culture is the result of an individual act of creation; a culture which originates from ‘the people’. (Storey, 2006, p. 4- 7); a site where the construction of everyday life may be examined. The point of doing this is not only academic – that is, as an attempt to understand the process or practice- it is also political, to examine the power relations that constitute this form of everyday life and thus reveal the configurations of interests its construction serves (Turner, 1996, p. 6) (Storey, 2006, p.9)

Race- “a concept that signifies and symbolizes sociopolitical conflicts and interests in reference to different types of human bodies. Race is understood in common sense terms as a matter of biological variation among humans, but there is actually as much differentiation within particular racially defined groups as there is across groups (Cavalla-Sforza & Cavalli-Sforza, 1995) (Grant & Ladson-Billings, 1997, p. 227)

Racism- “a set of beliefs about the superiority or inferiority of a group of people based on race. A set of beliefs that accepts a notion that human groups can be ranked on the basis of inherited biological traits that produce unequal mental, personality, and cultural characteristics. Racism occurs on multiple levels- individual, institutional, scientific and cultural. (Grant & Ladson- Billings, 1997, p. 231)

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Social Construct/Social Construction/Social Constructivism/critical constructivism- Process of endowing a group or concept with a delineation, name or reality; a social mechanism, phenomenon, or category created and developed by society; a perception of an individual, group, or idea that is 'constructed' through cultural or social practice (Dictionary.com); individual seek understanding of the world in which they live and work. They develop subjective meanings of their experiences – meanings directed toward certain object or things. “The world is socially constructed—what we know about the world always involves a knower and that which is to be known. How the knower constructs the known constitutes what we think of as reality…Not only is the world socially and historically constructed, but so are people and the knowledge people possess. We create ourselves with the cultural tools at hand. We operate and construct the world and our lives on a particular social, cultural and historical playing field.” (Kincheloe, 2005, p.5)

Social Context- “a background, the broader environment or setting relevant to particular events or actions. The notion of context is often represented as a set of concentric or embedded circles or boundaries, with the individual (e.g., the teacher or student) or dyad (e.g., teacher student interactions) in the center, surrounded by various proximal and increasingly distal levels of context: the classroom, the school, the district, the community, the city, and so forth. (Grant & Ladson-Billings, 1997, p. 244)

Social Justice- deals with the institutionalized patterns of mutual action and interdependence that are necessary to bring about the realization of distributive justice. Citizens have a personal obligation, mediated through political obligations, to help create a society in which the concern for concrete needs of all persons and the creation of reciprocal interdependence are fundamental. Spirituality-an exceptionally fashionable and almost indefinable contemporary term that is the source of much disagreement. The overall meaning is to indicate the non-material, the no sensual, the non-rational, and the experiential intere in inner emotional life that is oriented to what some call the “soul.” (Wexler, 2009, p.100) spirituality is defined as the more general desire and process of making meaning of life, identifying an individual’s purpose and place in the world, and the quest for a holistic definition of self, while also establishing a relationship with the sacred

Whiteness- Quality pertaining to Euro-American or Caucasian people or traditions. (Delgado & Stefancic, 2001, p. 156); related to and complicated by understanding class (Roediger, 1991) gender (Frye, 1992; Frankenberg, 1993) Jewish Identity (Kay/Kantrowitz, 1992) and sexuality. Whiteness appears to be an often-overlooked identity position for many Whites; therefore the discussing and contestation that follow are exploratory and partial. Dyer (1988) defines White and Whiteness in the context of film. He states that Whiteness is a culturally constructed category that is represented in Hollywood films as the norm, the natural, inevitable, ordinary way of being human. (Grant & Ladson-Billings, 1997, p. 255)

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Appendix B: Transcription of Episodes

The Passion of Ruckus Uncle Ruckus: My stars and God…Its President Ronal Regan… My Hero… Is this heaven … Ronald Regan: Oh not just Heaven Ruckus, White Heaven. You see there are many different types of people Ruckus. So God created many separate but well for the most part equal heavens Uncle Ruckus: You Don’t say…

Uncle Ruckus: What about Whoopi Goldberg? Ronald Reagan: Nope Uncle Ruckus: Oh, this is Heaven. Ronald Reagan: Turns out that God really doesn’t have that much of a problem with racism. He doesn’t even remember slavery, except in February. Personally, I hate Black people, Ruckus. That’s why I did everything I could to make their lives miserable. Crack? Me… AIDS? Me… Reaganomics? C'mon. I'm in the name. And God has rewarded me. Know Why? Uncle Ruckus: uh…cause if you rub two Niggas and two quarters together it don’t add of to a dollar

Ronald Reagan: Well that… and because God Loves White people… and if you teach everyone on earth love the White man, you too can join us in White heaven. Uncle Ruckus: Praise White God HueyFreeman: Ok, so this meeting of the executive board of the committee to free Shabazz k Milton Burrell has now officially commenced …Lets see now … attendance all in attendance say here… Jazmine Dubois: Here… Here (Jazmine is speaking for Ms. Wellington in higher pitched voice)

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Huey Freeman: Jazmine, Ms. Wellington isn’t a member on this board… Now First item on the agenda… Our planned bus trip tomorrow to visit our illegally imprisoned brother and offer him moral support…have we assembled the reading material and baked Goods for Brother Shabazz? Jazmine Dubois: Check I have the latest edition of Highlights and two and a half fig newton’s Huey Freeman: Two and a half? Jazmine Dubois: Ms. Wellington got hungry Huey Freeman: What about the snack for the 2-hour bus ride. Jazmine Dubois: I got part of a lunchable and a half a bottle of Snapple. Huey Freeman: Oh So you just gonna drink the White mans poison… Jazmine Dubois: I don’t…. Huey Freeman: High Fructose Corn Syrup…Read about it … It will Kill you... Great we’ll just get a head count for the trip… everybody that’s going raise they hands…Awww c’mon Jazmine, the man is on death row. He needs moral support. Jazmine Dubois: I’m not allowed to go past the second light post. Huey Freeman: I hope you don’t treat me like this when I’m on death row Jazmine Dubois: I’ll go next time, I promise. Huey Freeman: Well he will be dead next time but I will tell him you said hi. Jazmine Dubois: This is uncomfortable.

Uncle Ruckus: God bless you Robert. How are you this fine morning? Granddad Freeman: You not a Jehovah Witness now, are you? Cause I’m in the Jehovah Witness protection program. Uncle Ruckus: Robert, I’m dying. That’s right. Went to the doctor this morning. I only got six months to live... tumor on the back. They call it "bigus backus tumoritis," or some other big word that my tiny Negro brain and big lips can’t pronounce. Doctors say they can’t operate, but praise be to White God and his son, White Jesus! Granddad Freeman: Well, I’m sorry to hear that, Ruckus. You’re not contagious, are you? Uncle Ruckus: Just contagious with the Holy Spirit of our Caucasian savior. I’m on a mission from God. And let me share his word with you. Come child of God…Come…

Tom Dubois: Do you know what’s going on?

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Uncle Ruckus: Please Everybody… Everybody please gather round to hear the good news. God is White and he loves everybody but he love the White man above all others… Random White Guy… Alright… Whoooo- Hoooo… Yeah gather round to hear the good Uncle Ruckus: the White man above all others… Random White Guy: Sorry yeah .

Uncle Ruckus: Don’t be sorry White man. Only Nigga and Mexicans are sorry… Be joyful. God loves you, that’s why he made his only begotten son in your image God hates darkies… Tom Dubois: Well actually, I am more of a caramel complexion… But I’m still outraged all the same

Uncle Ruckus: Here ye Here ye, White God is a good God, even darkies can rejoice but even those curse with the skin of coal can enter the gates of paradise if he hate his own Blackness in White Jesus’s name, Amen! Granddad Freeman: What? Uncle Ruckus: That’s right Robert freeman… You must hate thyself to save thyself. White guy # 2 but uh… where ok? Uncle Ruckus Excuse me? White guy # 2: White People? Where ok right? Uncle Ruckus: Of course White guy # 2: Cool? Uncle Ruckus: So, who among this flock will join me, so that the world can hear the joyful message of love and redemption? Granddad Freeman: You done lost it this time. You really dying? Uncle Ruckus: Praise God yes I am…Heed the word darky. White Guy: I think you’re on to something. Tell me more. Uncle Ruckus: Well first of all the Gipper was standing at the pearly gates, then he went all White suit and White tennis shows on Huey Freeman: At this point we’re resorting to what I call “desperation tactics.” Shabazz K. Milton Berle: Such as? Huey Freeman: I’ve sent anonymous letters to the governor threatening to expose his gay lover. Shabazz K. Milton Berle: I wasn’t aware the governor was gay…

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Huey Freeman: He probably isn’t. But I figure ten percent of the population is gay, and probably about half of people cheat on their spouses; so I figure that plan has about a five percent chance of success. Better than nothing. Shabazz K. Milton Berle: Huey… Huey Freeman: What? You always say I should have faith. Well that’s me having faith. Random anonymous Blackmail... Shabazz K. Milton Berle: Huey they turned down the final appeal. The execution date is in two months Huey Freeman: Two Months, that’s so soon. Shabazz K. Milton Berle: I have had a long time to come to peace with this? Huey: It’s not over yet. Riley Freeman: Why don't you just holla at him? Inmate: Psss, I don't know. He's so detached. We used to spend all our yard time together. We used to lift weights together every day. He doesn't even spot me anymore. I think there's somebody else. Riley Freeman: Jail Nigga, you gay.

Uncle Ruckus: Well you see the Blackness in our skin represents skins, which is why God wants us to hate the Black in us. Random Light skin woman: Yes…Yes Hate the sin not the sinner [group in agreement]

Uncle Ruckus: You got to pray lil’ girl… you cant…. Jazmine Dubois: Do you believe in God, Huey? … I believe in God. Riley Freeman: First of all, I'm gonna live forever, but if I do die I'm gonna smack God upside the head and go tell him to get me a grilled cheese sandwich and some tacos... Jazmine Dubois: When I want something, or I'm afraid about something, I pray. Have you ever prayed? Riley Freeman: ... And I dare God to say something. I be like, "Say somethin' God! Say somethin'! Yea I thought so..." Jazmine Dubois: You should pray for Shabazz — God'll get him out of jail. They have to listen to Him... He's God. Riley Freeman: ...And if God say somethin' I be like this… Take that God… I be beatin' God's jaw like blika, blaa.

Armstrong elder: Excuse me Reverend

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Uncle Ruckus: You’re Armstrong elder. I seen you on the TV news… You the only darky I ever seen make any sense on the TV news... Hallelujah. And you talk White too, that’s very impressive for a monkey, no offense Armstrong elder: uh none taken. I would like to talk to you about expanding your message. Uncle Ruckus: I bet you got a White wife. Armstrong Elder: Yes, I do have a White wife. Uncle Ruckus: Can I see a picture her? Huey Freeman: Its called operation Black steel Jazmine Dubois: We should call it… Huey Freeman: We’re calling it operation Black steel. I like that name. We not changing it… What’s your suggestion? Jazmine Dubois: Jazmine and Huey’s plan to get his friend out of jail. Huey Freeman: Why is your name come first? Jazmine Dubois: Because I thought of the name. Huey Freeman: I’m calling it operation Black steel. Jazmine Dubois: Suite yourself …you’ll be sorry Huey Freeman: …What? Whatever, operation Black steel works as follows…Shabazz K. Milton Berle will be executed exactly 63 days from now. That night there will be a candlelight vigil. Granddad, who refuses to take an interest in the fate of brother Shabazz will probably stay in the car and watch Friday …One hour before brother Shabazz’s execution he will be taken from his cell and brought to the prison hospital where he will receive final examination. At precisely that time I’ll fake a massive heart attack … The guards will have no choice but to bring me into the prison hospital while Shabazz is there. They’ll have no idea I’m a Black radical freedom fighter ‘til its too late. I will only be able to tranquilize two of the guards right away after that I’ve got the stun baton… We’ll be gone before they knew what hit them. Jazmine Dubois: What happens then? Huey Freeman: Then I move to Cuba for the rest of my life… That’s assuming I’m not killed in the break out…Yea this is a good plan

Huey Freeman: Shabaazz K. Milton Berle was actually interning at the Black panthers in the early 1970. He hadn’t even earned his Black barrette and leather jacket. One fateful day he heard a gun shot. And the words…“I Eli Gorbenski hate deputy sheriffs. In fact, I’d go so far as to say I hate all police officers and parking enforcers and that’s why I, 159

Eli Gorbenski shot this here deputy sheriff… Shabazz never investigated the gunshot or the oddly expressitional phrase Eli yelled out yet within minutes cops had busted busting down the door to the Black panther office supply shed and arrested Shabazz for the murder of the deputy sheriff Gary Fyre . Several people witness the murder. One had 8mm video footage. Another happened to be stenographer who had it all transcribed. Including Eli’s confession. Which he oddly enough signed and dated. The murder weapon had Eli’s prints all over it. Which were clearly visible since he had been enjoying a chocolate donut at the time of the shooting. There are also a receipt of sale attached to the gun and the manufacturer warranty card was filled out signed and dated by Eli. During the trial, footage of the incident confirmed in the stenographer notes that Gary’s last words were actually, “Eli Gorbenski killed me.” After only twenty minutes of deliberation, Shabazz K. Milton Berle was sentenced to death. Shabazz K. Milto. Berle: Man aint this a Bitch.

Uncle Ruckus: Amen! White Jesus tells us in order to enter paradise we must hate ourselves to save ourselves… Sounds pretty simple don’t it. Granddad Freeman: I can’t believe this crazy fool is actually trying to start a church Huey Freeman: Ruckus had partnered up with famous Black conservative Armstrong elder to help market his ministry… Elders was a media vet. He knew just how to package ruckus for the masses

White News Anchor: So you believe God is White: Uncle Ruckus: First of all White man let me say that I love you, honor you envy, enjoys yo smell and celebrate you in the name of White Jesus White anchor: uhhh Thank you? Uncle Ruckus: Naw thank you… look at that that’s a handsome young man aint it. Now if God look like Isaac Hayes you think his son would look like this White Anchor: So Black people are…

Uncle Ruckus: Cursed… Cursed… Cursed… Just look around you, that’s why we in the ghettos, that’s why we in jail, that’s why we on UPN becasuse God dint like us. You think if God wanted to change it he couldn’t. He changed water into wine… he coulda changed UPN into CBS. White anchor: Reverend Ruckus and his peculiar message of race-based redemption has begun to spread and fast. How fast… reverend ruckus will be holding a revival here at 160

Woodcrest pavilion tonight and tickets are expected to sell out. Coming up next, time has run out for condemned man many say is innocent…after this

Tom Dubois: I don’t get it. Who would actually follow uncle ruckus? Granddad Freeman: We have to put a stop to this. We’re going?

Huey Freeman: Yea Shabazz K. Milton Berle: I’m calling you to say Goodbye Huey…and thanks for everything you did. It means a lot. Huey Freeman: It’s not over, I promise. I can’t say much cause I know people are listening but I promise you Shabazz K. Milton Berle: Goodbye Huey.

Riley Freeman: Damn Morpheus, what you bout to do? Huey Freeman: I love you man Riley Freeman: Uhhh Nigga you gay

Huey Freeman: But granddad you promised to take me to the prison tonight… Granddad Freeman: Not tonight …somebody has to talk some sense into Ruckus. Huey Freeman: But I’m tryin’ to save my friend! Granddad Freeman: Me, too. Huey Freeman: But I promised him! I gave him my word I’d be there! Granddad Freeman: He’s gonna die, and there’s nothin’ you can do about it. Granddad Freeman: You should pray for your friend, Huey. That’s all anyone can do Uncle Ruckus: Martin Luther King and all the colored folks that died before Huey Freeman: What makes your God any less made up than his?

Uncle Ruckus : So hate the Black one in you Tom Dubois: Rows H seats 44 and 45… Lets roll

Huey Freeman: Operation Black Steel…the mission to liberate Shabazz K. Milton Berle… was aborted... 'cause I couldn't get a ride. Uncle Ruckus: People say to me Ruckus, huh who said just how do I make it to White heaven? Well start by asking yourself how is my relationship with the White man? Do

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you celebrate the White man goodness everyday? Do you stop and thank him for the food you eat and the clothes you wear. Huh well if you don’t you goin to hell. Now I want every body who isn’t White to turn to a White person and say thank you…

Tom Dubois: Thank you…Thank you so much Uncle Ruckus: Well, there are those of you who say I’m a racist there are those of you who say I’m wrong for hating Niggas…well I call yall all hypocrites. Cause Each and every one of you can name ten Niggas you hate right now if you had to. Tom Dubois: I never thought about it like that. Theres Tyrone, Leon, Eddie Uncle Ruckus: You don’t have to admit it…that’s ok. Cause I know you done already counted off five Niggas in your head… you like I hate that Nigga Jamal… aww I hate Otis, I can’t stand Usher Tom Dubois: Oh my God He’s right hate usher too Granddad Freeman: What? Tom Dubois: He’s right. I think I hate Black people Granddad Freeman: Tom ... Stop being so stupid. Tom Dubois: No I think I hate them all. I don’t like Puffy… I don’t like Kobe…I don’t like. I don’t like any of them. Granddad Freeman: Tom snap out of it. Lets go we’re leaving Uncle ruckus: That’s right somebody out there is feeling the spirit Tom Dubois: I am …I am… I feel it Uncle Ruckus: If you Black as skin and full of sin, come forward so I can lay my hands on you …Black be gone…praise White Jesus Uncle ruckus: Now I want everybody to find the nearest Black man and lay hands on them but first make sure yo hand is balled up in a fist so you can beat the Black out his soul God smiles when you hate Blackness so you beat that darky in the name of the almighty, Hallelujah! Granddad Freeman: People have lost their damn mind…What’s wrong with yall? Hey! Uncle ruckus: That’s right Ronald Regan sent me to whoop Niggas ass and go to heaven. God is good

Huey Freeman: I never prayed before. I don’t even know who I'm prayin’ to. Maybe I'm too young to know what the world is supposed to be. But it’s not supposed to be this. It can’t be this. So... Please

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Man: Governor! Governor: What is it? Man: They found out about Raoul!

Uncle Ruckus: Now let us pray. Lord, I have spent my whole life hatin’ you for makin’ me Black. And now I see I must hate myself and all those like me, and cause them misery just like your savior Ronald Reagan did. And if any of my words don’t come directly from the almighty God himself, then may I be struck by lightnin’ right this very instant! Halle... ahhhhhhhh!

Prison guard: What just happened? Shabazz K. Milton Berle: Would somebody like to get that? I think it’s for me.

Huey Freeman: The lightning bolt that saved Shabazz’s life seemed to have struck Uncle Ruckus on his tumor. Doctors would find no remaining signs of his cancer. Some called it a miracle. And maybe there are forces in this universe we don’t understand. Uncle Ruckus: Get Yo Black banana peeling hand off me? Huey Freeman: But I still believe we make our own miracles. Governor: I don’t know how they found out about us Raoul but we have to end it

Huey Freeman: Shabazz K. Milton Berle was not yet free, but for now, the mission had been accomplished. I decided to take the rest of the day off... I wonder if there's anything good on TV.

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Stinkmeaner Strikes Back

Male voice: Now if yall was paying attention to last season, yall know what a Nigga moment is a Nigga moment is when the mind of a perfectly logical Black man is overwhelmed by some stupid Nigga shit…like when a Nigga steps up on ya sneaakers and fucks ya kicks up or hit yo car or some shit and a Nigga get mad like its yo fault, you fucked up , so ignorance makes you act crazy and the next thing you know Niggas beefn’, shootin’, fightn’ and somebody ends up dead… But yo, not even death can stop a Nigga moment

The Devil: He was the baddest motherfucker that hell had ever seen... Colonel Stinkmeaner: Colonel Motherfuckin' Stinkmeaner, holla at ya boy, I gets money! The Devil: He trained like a beast... Colonel Stinkmeaner: Ya'll gonna have to kick me out of this bitch! I'm having the time of my life! The Devil: He was so bad, he even called me, the Devil himself, a... Colonel Stinkmeaner: (Hollering) BITCH ASS NIGGA! Colonel Stinkmeaner: This is how you break your foot off in a motherfucker's ass! Hi- yaaah! Colonel Stinkmeaner: Oooh! You cold-hearted Nigga monsters tryna swarm on a Nigga, huh?! Colonel Stinkmeaner: You just got a two-piece combo with a biscuit, ho! Colonel Stinkmeaner: I got three-stick nunchucks!! AAAAAAH!! Got ya, Nigga! I see ya, I see ya! The Devil: Stinkmeaner, your heart of darkness has earned you a trip back, you have my blessings to exact vengeance on the Freeman family and to spread ignorance and chaos in the Black community, they will be no match for you. Colonel Stinkmeaner: Hell ain't shit! I'm gonna get you, Freeman!

The Devil: Stinkmeaner, your heart of darkness has earned you a trip back, you have my blessings to exact vengeance on the Freeman family and to spread ignorance and chaos in the Black community, they will be no match for you. Colonel Stinkmeaner: Hell ain't shit! I'm gonna get you, Freeman! Granddad Freeman: So she's on my friendslist?...Mmmhhmmm wow so she’s on my friends list Riley Freeman: Yep, she's your very first cyber friend, and you’re her 3,000,000th Granddad Freeman: Yeeaa boy, I love technology! Huey Freeman: My granddad had recently discovered online dating Riley Freeman: You should post more pics, ho's love pictures Granddad. 164

Granddad Freeman: I'm starting to feel like Shamar Moore up in here, Hoo! Boy lets get some music on, turn on the Mypod lets get on the ISpace Riley Freeman: Aye, What outfit you want next Grandad? Granddad Freeman: The leather vest, the one with the rhinestones (Huey walks in) Huey Freeman: Granddad, I.... I can come back Grandad Freeman: Boy, get over here and take this picture, now whats wrong with you? why the long face? Huey Freeman: I had a bad dream about.... Grandad Freeman: Talk and shoot at the same time boy. Riley Freeman: Granddad! You want "Beat It" or "Thriller"? Grandad Freeman: Hmmmm, that's a tough one, take them back, go get my purple speedo Riley Freeman: Purple speedo? That’s gay. Grandad Freeman: All right boy, so you had a bad dream Huey Freeman: It was a really bad dream about... Riley Freeman: I don't see the purple one. Granddad Freeman: Did you check the speedo drawer? Go ahead boy, bad dream and....? Huey Freeman: It was about Stinkmeaner. Riley Freeman: Leopard-print's all I could find. Granddad Freeman: Aww man… damn these things are tight, what about Stinkmeaner? Huey Freeman: He was in hell, and he was coming back to get us Granddad Freeman: Stinkmeaner? don't be crazy Riley Freeman: Stinkmeaner? you mean that old man Granddad killed for no reason? Granddad Freeman: No reason? that man was a psycho, he almost killed your granddaddy Riley Freeman: He was blind, you killed a blind old man Granddad Freeman: Col. Stinkmeaner was a menace, and I sent him to hell where he belongs Riley Freeman: Yeah, Granddad real tough with the handicap, he probably gonna beat up some retarded kids next. Granddad Freeman: Yeah, this retarded man is gone whoop your little ass that's what he's gonna do... wait...you know what I meant. What were we talkin about? Ohh yeah your dream, look boy, Stinkmeaner aint comin back, he cant hurt you, me, or any of us ok...now lets get one more picture. 165

Huey Freeman: Some people are scared of zombies and vampires. But the thing that scare Black people the most, are Niggas and Nigga moments. Tom DuBois was as far from a Nigga as a Black man could be. But Stinkmeaner knew that every Black man's spirit is weakened during a Nigga moment. Tom Dubois: What the...? Oh, come on, you... you... ni...nincompoop! You can't do that! Hey!! Come on! Huey Freeman: Nigga moments can happen to ANY Black man at ANY time. Tom Dubois: Hey!! That was my space! I had my blinker on and everything! Young Black Man: Fuck you, punk-ass, pussy-ass hook-ass, Nigga! (Tom flinches) I'll beat your motherfuckin' sadiddy ass, Nigga! Don't never in yo' LIFE ever try to holla at me Nigga! …Fuck with me, Nigga, and I'll pop da trunk on yo' bitch ass, Nigga, get my motherfuckin' Uzi, Nigga. (Tom gets very angry, and starts to violently convulse, as Stinkmeaner's spirit possesses him) Possessed Tom Dubois: (Yelling) WHAT DID YOU SAY, NIGGA!!!?? Young Black Man: You know what, motherfucker? Eat a dick, Nigga. I'm tired of this mothaf… Possessed Tom Dubois: OH YEAH! Look at you! You were talkin' all that GOOD SHIT a second ago and then you got KICKED IN YO' CHEST! YOU EAT A DICK NIGGA, YOU EAT A DICK! Tom Dubois: Oh, my god! Sir, are you ok? Who did this to you? What did he look like? Did anyone see who accosted this man?

Granddad Freeman: I got a date? I can't believe it! Riley Freeman: Of course you got a date, Granddad! Everything on your page is a lie! Granddad Freeman: NO IT IS NOT! Riley Freeman: Granddad you don't skydive, you not Brazilian, and you never was a member of G-Unit- Granddad Freeman: Mind your damn business! Riley Freeman: -And she probably a man! Granddad Freeman: SHUT UP!

Ms. Juan's Lawyer : So, Ms. Juan, there you were NOT carjacking Mr. Tyson Mintley, beating him senseless with a nine-iron, stealing his wallet… Ms. Juan: Grab your wallet, bitch! Ms. Juan's Lawyer: -- And driving his car into the laundry section of the JCPenney. Ms. Juan: Correct. Ms. Juan's Lawyer: I have no further questions. Tom: Now Ms. Juan, lemme ask you a question. Possessed Tom Dubois: Wus good NYUKAAA?! 166

Tom Dubois: Aaaaah! …Oh my god! Judge: Excuse me Mr. Dubois? Tom Dubois: I said um… Possessed Tom Dubois: Wuts really good!!! Judge: Is there something 'really good' you'd like to share with the court Mr. Dubois? Possessed Tom Dubois: FUCK YOUR COURT, NIGGAH! Judge: Mr. Dubois! Possessed Tom Dubois: FUCK…YOUR...COURT...NYUKKAH!!!... FUCK...YOUR…COURT! Possessed Tom Dubois: Lady Liberty's got balls! Colonel Stinkmeaner: Wuts good, NIGGAAA?!

Huey Freeman: meanwhile, I couldn't shake the feeling that an evil force was gathering… I must be crazy. Ghostface Killah: Nah, you ain't crazy… Stinkmeaner's comin' back. Huey Freeman: But Stinkmeaner died. Ghostface Killah: What you gonna tell me, ghosts don't exist? Then what the fuck do I look like to you? Huey Freeman: Ghostface Killah isn't even dead. Ghostface Killah: Now, you say what you want, that old crazy goofy-lookin' mothafucka's comin' back. Your granddad's Nigga moment ain't dead yet. Huey Freeman: Then what am I supposed to do? If death can't stop Stinkmeaner, what can? Ghostface Killah: Think about it. Peace.

Granddad Freeman: (humming) Huey Freeman: Look, granddad I'm really worried about Tom. Granddad Freeman: Watch it boy…don't step on my roses! Huey Freeman: Then why are you putting them on the floor...? But, anyway, I know this is gonna sound crazy, but I really think Stinkmeaner is... Granddad Freeman: Oh hush boy, I ain't got time for that, now it's DATE NIGHT and you know the rules, now you get in that room I don't care if u hear a scream and hear the house shake like an earthquake, YOU DON'T LEAVE...! Now get!

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Tom Dubois: Honey, I'm home. Sara Dubois: Hey honey!(Tom's face turns menacing, as he's possessed by Stinkmeaner) Possessed Tom Dubois: OH YEAH!... I think I wanna have sexual relations! Sara Dubois: Tom, what's gotten into you? Possessed Tom Dubois: Same thing that's about to get into you! [Later, upstairs showing their bedroom window outside] Sara Dubois: Oh, Tom! Possessed Tom Dubois: Oh Yeah!!! Imma make it do what it do!

Granddad Freeman: Well, I'm in the studio with Snoop Doggy Dogg and Tha Pound tonight but how 'bout tomorrow cutie pie? Granddad Freeman: Aaah! What the! Who's out there! Boys! Boys! Help me! Possessed Tom Dubois: I'Mmmm BAaaaaCK!! NYukka! HAHAHAHAHA! Granddad Freeman: OH LORDI… LORD, GOOD LORDI… LORD! Granddad Freeman: TOM! What the hell is wrong with you!? Tom! Oh lord oh lord! What the hell! Tom! What’s going on? Tom! Go away! I'm gonna call the police! Possessed Tom Dubois: I'm gone get that old ass! Huey Freeman: Did you hear that? Riley Freeman: Man I can't hear nothin’ over granddad's gay ass music, look out, new message awwww man its a old dude with his shirt off wait! That's granddad ewwwww, he in the bathroom, probably just ran out of toilet paper again and I ain't gettin it for him neither, nope. Huey Freeman: Why would he send a message from?... Riley Freeman: Hey Granddad Freeman: WHAT THE HELL! Tom! What’s goin’ on? oh my goodness! Tom! What’s goin’ here!? Oh help me son! Help me! Huey Freeman: C'mon Granddad Freeman: Oh my goodness! He's practically crazy! Goodness gracious! The life! Tom, what's wrong with you? You on that stuff? Snap out of it Tom, cocaine is a hell of a drug!

Possessed Tom Dubois: You don't remember ME? You don't remember my name?! Possessed Tom Dubois: What's my name, nyugga? Granddad Freeman: AAAAH! 168

Possessed Tom Dubois: "AAAAH" ain't my name. My mama didn't name me "AAAAH". What's my name, nyugga?! WHAT'S MY NAME?! Huey Freeman: Stinkmeaner! Possessed Tom Dubois: DING-DING-DING-DING! THAT'S RIGHT, NYUGGA! Riley Freeman: Mr. Dubois...? Huey Freeman: I don't know how you got here, Stinkmeaner, but you're going back to Hell! Possessed Tom Dubois: Oh yeah! I'm going back! And I'm takin' ya'll with me in the first-class cabin on the Ass-Whoopin' Express! All aboard! WHOO WHOO! Possessed Tom Dubois: You ain't too little to get that ass whooped! bring it on Huey Possessed Tom Dubois: alright here we go…Is that all you got? Hahaha Get yo balls up? NYUKAAA!! Grandad Freeman: [catch Possessed Tom with his Belt] I gotcha now. Possessed Tom Dubois: Get off me… Bitch ass…faggot ass… Riley Freeman: Slams lamp on possessed Tom Granddad Freeman: Not the lamp Damnit boy you know how much that lamp cost? Possessed Tom Dubois: I’m gonna Kill you. You beat me in a parking lot huh Granddad Freeman: Not the vase Riley Freeman: Slams vase on possessed Tom Possessed Tom Dubois: I want my parking space Granddad Freeman: oh no… Granddad Freeman: Boy…Not the geisha, it’s a collectable Riley Freeman: Slams Geisha Girl figurine on possessed Tom… That’s what you get mufukka punching me in my stomach Possessed Tom Dubois: “Ave Maria”

Riley Freeman: Why we got to put the nigger in my bed? Robert Freeman: What the hell got into Tom? Huey Freeman: He's possessed by the ghost of Stinkmeaner. Remember the dream I had? Robert Freeman: Boy, don't nobody listen to you. Riley Freeman: My bed ain't the only bed up in here. Robert Freeman: Should we take him to the doctor? Riley Freeman: What if he pees in the bed? Or vomits? Or shoots a dookie? Robert Freeman: Oh, lordy, No. My date. Huey Freeman: Granddad. Tom is possessed by an evil spirit and just tried to kill us. Lives are at stake. Robert Freeman: Coming... Well, hello, cutie pie. 169

Robert's Date: Well, hello. Robert Freeman: Uh, sorry about earlier. I was rushing. Robert's Date: I think men who are comfortable with their bodies are very sexy, especially men with big, round bellies. Robert: Really. Robert's Date: And I like to cook...mostly pork. I like to clean, too. Robert Freeman: Wow. You're not a man, are you. Robert's Date: No!

Possessed Tom Dubois: Robert Freeman! You a bitch Nigga! Where are you Robert? Come here and fight me like a man, you fat-ass Nigga! Granddad's Date: Who's that? Granddad Freeman: Uh, nothing! Possessed Tom Dubois: I know you can hear me, Robert! I know you hear me! I will not be ignored! I'm not a bitch! Riley Freeman Dubois: Ain't this a bitch? Got a possessed Nigga up here, and Granddad's worried about his date! Possessed Tom Dubois: Ah-hah! Get off me! You've got a date Robert? Did you tell her you have two sets of genitals! A vagina and a coochie! Oh, that's a conjunction! A vagina and a coochie! Granddad's Date: What is going on? Granddad Freeman: Oh, th-that? that's just the television. Eh, boys, turn the television down! Possessed Tom Dubois: This ain't no TV show, Nigga! This is real talk, Nigga! Granddad's Date: Uhh! My friends warned me that there were weirdoes on MySpace! Granddad Freeman: Wait! No! That's just the TV! Granddad's Date: It's not the fact that you obviously have a man possessed by an evil spirit, strapped to a bed upstairs! Granddad Freeman: It's not? Granddad's Date: No. It's the fact that you lied about it! Grandad Freeman: Huh Voice recording: You’ve reached the Headquarters of the catholic church. No one is available to take your call. If you would like to report sexual abuse…

Robert Freeman: Damn, there's got be somebody we can call for an exorcism. Possessed Tom Dubois: You is a bitch!

Uncle Ruckus: May White God bless you, Robert. I came as fast as I could.

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Huey Freeman: So, this is the plan. Uncle Ruckus. Uncle Ruckus: Let's get this party started. Possessed Tom Dubois: YOU GOT BAD CREDIT, ROBERT!!! Uncle Ruckus: Removing an evil nigger spirit from a Negro is as hard as removing the stink of a hunk of shit. We must use these tools that the great god has given us to fight niggers... a whip, a noose, a nightstick, a branding iron. These things strike fear into a nigger's heart. A job application… Avoid conversation with the nigger. The nigger will lie. The nigger will make excuses. He will use words he don't really know. If he gets really desperate, he may start to rap or dance. Possessed Tom Dubois: You all testicles and no shaft. What happened to your shaft, Robert! Uncle Ruckus: Oh, yeah. There's powerful niggertry at work here. Possessed Tom Dubois: Who in the hell are you? Uncle Ruckus: Nigger, my name is Reverend Father Uncle Ruckus, no relation. In the name of White Jesus and all great White men who have come thereafter, I command thy Black nigger soul back to the depths of hell! Possessed Tom Dubois: Is that all you got, Nigga? Uncle Ruckus: Oh, no, nigger. That's just the tip of this iceberg. Read, nigger, read! Uncle Ruckus: Now, Robert! Now! Just hit him with anything! Come on! Everybody, join in! Use your powerful hand. Let's whup this nigger's ass! Repeat after me with the holy phrase, "Nigger, get your Black ass out of here!" Robert Freeman: Nigga, get your Black out of here! Uncle Ruckus: Keep going.

Huey Freeman: This isn't exorcism. It's a beating. Uncle Ruckus: Just very little different. Possessed Tom Dubois: Oh, you niggers ain't shit. Your mother ain't shit. Huey Freeman: Several hours later, the exorcism of Tom DuBois had made no recognizable progress. Robert Freeman: Is the nigger still in him? Uncle Ruckus: As long as he's Black and breathing, he's got nigger in him? Ghostface Killah: What the fuck is wrong with you, Huey? You retarded or some shit. You gonna beat the man's brains in, and what you gonna say to the cops? "Sorry, officer, we killed the nigger cause he an evil spirit?" Huey Freeman: Ghost, it's late. Can you just me what I'm supposed to do so I could go to bed.

Ghostface Killah: I can’t believe you haven’t figured this shit out yet. Peace. Possessed Tom Dubois: You got an imaginary friend? Huey Freeman: Peace. Peace. Stinkmenaer, you hate Black people, don’t you? Possessed Tom Dubois: I sure do! I mean, I hate everyone in general, but Black people especially. Huey Freeman: And Ruckus, you hate Black too? Uncle Ruckus: I wouldn’t exactly call them people, but yeah. Yes I have a deep distaste for Negros.

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Huey Freeman: Right and Stinkmeaner, you hate rap music? Possessed Tom Dubois: If you can call that stinky booty gorilla noise music. Uncle Ruckus: Stinky booty. I must say that’s a brilliant observation, Meaner. Huey Freeman: I have forgotten that a Nigga moment cannot be resolved through violence, but where there is harmony and peace. Possessed Tom Dubois: Huh, What’s happening? No, you tricked me. Huey Freeman: A Nigga moment cannot exist. Possessed Tom Dubois: No… You tricked me. I’m gonna get you Robert. You used me Nigga!!! Tom Dubois: Hey… Guys… What am I doing here? Uncle Ruckus: Well, another nigger successfully exorcised and/or beaten. I'll send you an invoice, Robert. Granddad Freeman: Possessed or not, you gonna fix my damn house or you gonna have another demon. It's gonna be my foot up your ass. Tom Dubois: Why am I in Riley's bed? Riley Freeman: You know, that's a real good question. Why are you in my bed? All the beds in this house and I got the possessed nigger in my bed. Ain't this a bitch? Some old bullshit.

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Season 1 Episode 9 Return of the King

Huey Freeman: Dr. Martin Luther King, Jr. was shot in Memphis, Tennessee on April 4, 1968…. He was critically injured. Dr. King fell into a coma. The world waited for news of his fate. There were no riots. Time passed. King faded into memory. There was no national holiday. Then, on October 27, 2000, 32 years after he was shot, Martin Luther King, Jr. came back. King amazed the world when on November 2, seven days after awaking from a 30-year coma, he showed up to vote in the 2000 Presidential Election, he was turned away due to voting irregularities. People took to the streets to celebrate the return of their King. He learned that streets named after him weren't the very safest. King inked a seven-figure deal to write his autobiography called "Dream Deferred". Columbia Pictures green lit a $100 million biopic of Dr. King starring Cuba Gooding, Jr. Oliver Stone was attached to direct. Spike Lee was pissed. “Kingmania” was at a fever pitch when, on August 1, 2001, he present Video of the Year with Puffy at the MTV Video Music Awards.

Martin Luther King Jr.: Well you know Puffy, like you I cant stop I wont stop I don’t even know how to stop. People clap… And now the nominees for video of the year. Huey Freeman: "King" was released the week of September 21, 2001. One week after 9/11. Then, on October 15, during an appearance on "Politically Incorrect,” King shocked the country.

Bill Maher: Dr. King: Okay... you're an advocate of nonviolence, but guess what? How do you think the United States should respond to the terror attacks of 9/11? Martin Luther King, Jr.: Well, as a Christian, we are taught that you should love thy enemy, and if attacked, you should turn the other cheek. Huey Freeman: America was outraged.

Press Secretary: The president was very concerned by some comments made by some "ex-civil rights leaders" and those people in question should uhh... watch their goddamn fucking mouths. News anchor: Of course an Al-Qaeda lover like Martin Luther King wants us to just roll over and let the terrorists win... because he hates America. My suggestion? Go take another thirty-year nap commie bastard. Huey Freeman: In December 2001, CNN named Martin Luther King one of the ten most unpatriotic Americans. His book was canned; his house was vandalized. King renamed his book, Dream Deterred, and it was finally released by a small publisher. It was called "unimpressive" by the Woodcrest Post-Gazette.

Martin Luther King Jr.: oookkk Now And who am I making this out to? Huey Freeman: Huey Freeman

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Granddad Freeman: Son of a Bitch tried to take my parking spot. I shoulda whipped his ass. Martin Luther King Jr.: Robert Freeman! Granddad Freeman: Dr. Martin Luther King Jr.! Martin Luther King Jr.: I never thought id see you again Granddad Freeman: I though you was dead Martin Luther King Jr.: Well I was shot and had a bit of a coma for a few decades Granddad Freeman: Yea I heard I sent you a card did you get it? Martin Luther King Jr.: Well I… Don’t remember Granddad Freeman: You would remember this one. It was a get well card especially for people who got shot and I thought this would be perfect for Martin Luther king…. They didn’t sell them separately, I had to but the whole pack. You know, I been thinking about starting my own greeting card line… hey you should come over to the house for dinner. I live right down the road Martin Luther King Jr.: Well I believe I am suppose to be signing books for a couple of more hours Worker in the store:Dude just go. Granddad Freeman: Where they got you staying? Martin Luther King Jr.: I’m staying at a holiday inn express, I feel smarter already Granddad Freeman: Oh That’s nonsense Uncle Ruckus: You boycotting baboon stand still you goddamn chunky cheating monkey

Granddad Freeman: What the hell is wrong with you? Uncle Ruckus: Don’t interfere Robert, this is between me and Martin Luther so called King. Only king I know is Elvis Presley. God rest his soul. oh oh…you don’t remember me? Well I been throwing bricks at you marching ass since 1959

During Flashback Younger Martin Luther King Jr.: And so brothers and sisters, you know I … Younger Uncle Ruckus: aye shut the hell up ya Black son-a-bitch. What wrong wit yall. Thank God for the White mans infinite mercy Martin Luther King cause if it was up to me I’d unleash the hounds and turn all yall niggers into puppy chow…I was happy at the back of the bus Flashback ends 174

Uncle Ruckus: Jut wait til I get me another brick or maybe a large rock of the tiny lil cement blocks, why’d you have to go mess with the natural order of things. Id a shot you myself but I realize the White man has got better aim Granddad Freeman: Stop acting crazy… we’re going back to my house for dinner Uncle Ruckus: turn the other cheek and take me with you. I’m Hungry

Martin Luther King Jr.: You know Robert I spoke to sister Rosa before she passed. She said you had been prank calling her again. Granddad Freeman: she was lying Martin Luther King Jr.: She had the caller Id Robert Tom Dubois: You prank called Rosa Parks? Granddad Freeman: She stole my thunder! Martin Luther King Jr.: Robert you got to let it go. Tom Dubois: What did Rosa Parks do to you? Martin Luther King Jr.: Robert was a member of the Montgomery bus boycott strategic planning committee in 1955. He was on that bus with sister Rosa that fateful day. Tom Dubois: Nooooooo!

Flashback to 1955 Black male1: Ok this is it brothas, remember no matter what they do nobody gives up their seat ya dig Black male 2 We shall not be moved Young Robert J Freeman: Umm Hum White buss driver: ok. Yall can gone head on to the back Black male 2: Weez movin mr bossman Black male1: weez movin Mr. boss man Black male 2: I sho do wish these feet could move faster Mr. boss man White buss driver: move boy boy …if I had on roller skates I could move real quick this here far enough for ya Mr. boss man… I can press myself up against this cold glass window…this good) Young Robert J Freeman: No! White bus driver: You? Go ahead to the back Rosa Parks: No I am not going to move White Bus driver: In disbelief. Black male1: Mr. Bus driver sir… sh. She aint move White Bus driver: How dare you refuse to give up your seat woman... What are you? Some kinda history making crusader for justice… Young Robert J Freeman: Yes… weeee are White Bus Driver: You think you’re gonna change history on your own… is that what you think woman, all by yourself??? White male passenger: that lady sure has courage Young Robert J Freeman: aye aye what about me? I got courage

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One of the two Black males:You want me to fetch the police for you Mr. Bus driver sir. White Bus Driver: Hey can someone get me the sheriff …colored woman who don’t wanna give up her seat… Young Robert J Freeman: That’s right take us to jail… we’re not afraid White Bus Driver: stay out of trouble …nigger Flashback ends

Tom Dubois: Robert you didn’t’? Granddad Freeman: They laid her in state. They aint gone lay my Black ass at state. They gone lay me at the Johnson fucking mortuary up the street. Hmmm Tom Dubois: Well, anyway, Doctor King, I just wanted to say that even though you've been catching a lot of flak recently, we're very honored... to meet you. Really... Riley Freeman: Get off his dick... OWWW! Man, I'm just sayin' Mr. Dubois ridin' Dr. King like a rodeo show... OWWW! Granddad Freeman: Stop it. Riley Freeman: You don't look famous. What are you, an actor? Is you Morgan Freeman? OWWWW! Granddad Freeman: Boy stop acting crazy. You know that's Martin Luther King. Now go clear the dishes. Riley Freeman: Why can't this Morgan Freeman-King dude clear the dishes? Shoot, the Nigga just had a free meal. Granddad Freeman: Riley! Come here. Riley Freeman: No! Granddad Freeman: How Dare you embarrass me in front of Dr. Martin Luther king? ... what is wrong with you? Riley Freeman owwww… stop… I hate Morgan freeman king. I wish he never came here

Martin Luther King Jr.: Oh Lord…ummm ummm what happened Huey what happened to our people Huey Freeman: I think everyone was waiting for Martin Luther king to come back. Martin Luther King Jr.: The Martin Luther they are waiting for is gone forever.

Huey Freeman: Dr. King? Dr. King... It's time to get up, you got an interview today. Martin Luther King Jr.: I'm not goin'. I quit. Huey Freeman: Dr. King! Martin Luther King Jr.: I don't wanna. Huey Freeman: Dr. Martin Luther King, Jr. you get out of that room and continue to fight for freedom and justice this instant! Huey Freeman: C’mon

Huey Freeman: Think about it Dr. King you missed out on four decades of media revolution. Uncle Ruckus…Sorry Mr. White man…aaahhh 176

Huey Freeman: what people need s the truth and not the pretty truth… the horrible awful terrible truth that hurts people feelings. The truth that makes people get angry and get up and do something. Martin Luther King Jr.: Huey, I just don't think I belong in this new world. I don't know if I need the twenty-gig iPod or the forty gigs... I tried to download some Mahalia Jackson, but I lost my iTunes password. I really should have approval over this kind of thing. Martin Luther King Jr.: a political party Huey Freeman: Not just any political party, a Black revolutionary political party Martin Luther King Jr.: But why ask me? you should ask Oprah to do it. She’s more popular and if you ask me a darn pretty lady…Oh, snap. No they didn't. A boneless rib sandwich? What will they think of next? I know I shouldn't eat these... but, they're for a limited time only... I really should have approval over these kind of things.

Martin Luther King Jr.: And so the philosophy of this new political party might be considered extremely leftist by some people... Host: Do you love America? Martin Luther King Jr.: I'm sorry? Host: You sure as hell are, buddy. Why can't liberals ever answer that question with a simple "yes?" Huh? If you ask me if I love America, I say, "yes!" Why can't you say yes? Say you love America right now. Say it. Martin Luther King Jr.: ...The party's basic philosophy is... Host: Say it! Martin Luther King Jr.: Sir, I will not be... Host: Say it, or SHUT UP... We'll be back with more fair and balanced coverage aft... Huey Freeman: Abruptly and viciously attacks man on stage Audience: In disbelief Huey Freeman: I thought that went well. Martin Luther King Jr.: You know Huey, those of us that do adhere to the philosophy of non-violence, frown upon the throwing of furniture to resolve our political differences. Huey Freeman: How did people go for information before cable news? Martin Lither King Jr.: We can do it like we did back in the day. We’ll go into the street and tell the people Scene Description:Huey and Dr. king Knocks at a home… they begin to spread news about political party…. Gain more community recognition while the political party’s office is being set up and eventually run… Huey is listening to the radio and the DJ just finished a song when a commercial for the political rally comes on… a lady has just won herself a ticket to the Martin Luther King action partay

Huey Freeman: Dr. King, why are they giving away tickets to our emergency action- planning meeting on 95.5 WFRK, The Freak?

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Martin Luther King Jr.: Well, Huey, I thought about what you said about not having enough experience with modern media. So, I hired an urban promotions firm to help get the word out. Uh oh, was that bad. Martin Luther King Jr.: Huey are you sure we are in the right place? Bouncer: Excuse me Bruh…Wassup? Huey Freeman: My name is Huey… Bouncer: I'll tell you right now. Y'all ain't gettin' in without no female. Huey Freeman: What? Sir, we need to get in 'cause… Bouncer: I'll tell you right now. You ain't gettin' in with those shoes. Huey Freeman: What's wrong with my shoes? Martin Luther King Jr. : Excuse me, sir. I'm Martin Luther King. Bouncer: And I'm Malcolm X, nigger. You still ain't gettin' in here with them shoes. Huey Freeman: Sir please. Bouncer : Fifty bucks. Huey Freeman: What!!! Bouncer : fifty bucks…each… you wanna get in or not Huey Freeman: Oh hell naw…C’mon… Bouncer: Clears His throat Huey Freeman: We gotta get back there. Bouncer: I'll tell you right now. Y'all ain't gettin' in without a wristband. Huey Freeman: A what? Bouncer: a wristband Huey Freeman: This is Martin Luther King Bouncer: Surprised they let you in here with those shoes.

Black male in the pulpit: Im just sayin…Im just sayin its only right if you reconize all the kings, you know what im sayin’…The kings of comedy, the kings of rap, Rodney king, the king of beer, king kong, don king Black woman : whoo that Nigga was deep…ok we all got to stop and give thanks to my Nigga God… thank you White Jesus for makin’ al this positive Black shit possible. Aman…Ok lets keep dis muthafucka movin’ hhhaaa Huey Freeman: While we waited, the first Black political party was everything you expected it to be. There were the hustler preachers. Hustler preacher: That’s why you have to go buy my new book… so God can help you lose weight and get a husband with the benefits Huey Freeman: The rapper truce Huey Freeman: Oh yea and it was also the inevitable fight

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Black woman: Whoa whoa whoa…. Security come get these ghetto ass Niggas. Niggas always gotta mess some shit up! Damn!

Martin Luther King Jr.: Excuse me... brothers and sisters, please Can someone just... turn off... Huey Freeman: King looked out on his people and saw they were in great need, so he did what all great leaders do: he told them the truth. Martin Luther King Jr.: Will you ignorant Niggas PLEASE shut the hell up?! Crowd: Everyone in the audience gasped for air Martin Luther King Jr.: Is this it? This is what I got all those ass-whoopins for? I had a dream once. It was a dream that little Black boys and little Black girls would drink from the river of prosperity, freed from the thirst of oppression. But lo' and behold, some four decades later, what have I found but a bunch of trifling, shiftless, good-for-nothing Niggas; and I know you some of you don't want to hear me say that word. It's the ugliest word in the English language. But that's what I see now — Niggas. And you don't want to be a Nigga. Because Niggas are living contradictions. Niggas are full of unfulfilled ambitions! Niggas wax and wane, Niggas love to complain, Niggas love to hear themselves talk but hate to explain! Niggas love being another man's judge and jury! Niggas procrastinate until it's time to worry! Niggas love to be late! Niggas hate to hurry! Black Entertainment Television... is the worst thing I've ever seen in my life! Usher, Michael Jackson is NOT a genre of music! And now I'd like to talk about Soul Plane... I've seen what's around the corner! I've seen what's over the horizon! And I promise you; you Niggas have nothing to celebrate! And no, I won't get there with you- I'm going to Canada. Martin Luther King Jr.: Thank you Huey Huey Freeman: No thank you Dr. King Martin Luther King Jr.: Do what you can.

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Reporter 4: ...the White House and Congress are receiving an unprecedented amount of calls from irate African Americans... Huey Freeman: and the revolution finally came. News Anchor: The mob is refusing to disperse. Cut to: Newspaper, dated 2020, sub-headline: Martin Luther King Jr. dies in Vancouver, B.C. at 91 years old Zoom out to reveal main headline: Oprah Winfrey Elected President Huey Freeman: It’s fun to dream.

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