Black Contemporary Social Movements, Resource Mobilization, and Black Musical Activism
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VYTAUTAS MAGNUS UNIVERSITY Brenna Adams I CA B EA
VYTAUTAS MAGNUS UNIVERSITY THE FACULTY OF HUMANITIES DEPARTMENT OF LITHUANIAN STUDIES Brenna Adams “I CAN’T BREATHE”: A DISCOURSE ANALYSIS OF THE 2020 BLACK LIVES MATTER PROTESTS IN AMERICAN MEDIA Master of Arts Thesis Joint study programme “Sociolinguistics and Multilingualism”, state code in Lithuania 6281NX001 Study area of Linguistics Supervisor Prof. Dr. Jūratė Ruzaitė ________ _________ (signature) (date) Approved by Assoc. Prof. Dr. Rūta Eidukevičienė ________ _________ (signature) (date) Kaunas, 2021 Table of Contents 1. Introduction………………………………………………………………………….1 1.1. Aim and Scope………………………………………………………………….3 1.2. Materials and Methods………………………………………………………….6 1.2.1. Corpus Compilation……………………………………………………..7 1.2.2. Data Processing: A Combined Approach to Corpus-Assisted CDA……8 2. Literature Review………………………………………….……………………….13 2.1. Anti-Black Racism in the United States………………………………………..14 2.2. The Black Lives Matter Movement……………………………………………16 2.3. Raciolinguistics and the Language of Protest…………………………………17 3. A Discussion of Racist Discursive Practices in Mainstream Media……………….20 3.1. Discursive Practices Concerning the Protesters and Protests………………….21 3.1.1. Discursive Practices Concerning the Protesters………………………..21 3.1.2. Discursive Practices Concerning the Protests………………………….26 3.2. Discursive Practices Concerning the Police…………………………………...29 3.2.1. Metonymy of Police Vehicles………………………………………….30 3.2.2. Passive Voice Construction…………………………………………….31 3.2.3. Police Brutality as a Collocation……………………………………….34 3.3. Discursive Practices Concerning George Floyd……………………………….39 3.3.1. Topical Focus on Floyd………………………………………………...39 3.3.2. Narrative Construction of Floyd’s Murder as the Spark……………….43 3.3.3. Deployment of Public Memory through Other Black Victims………...45 4. Conclusion…………………………………………………………………………48 5. References………………………………………………………………………….51 6. Appendix A. -
Black Lives Matter Syllabus
Black Lives Matter: Race, Resistance, and Populist Protest New York University Fall 2015 Thursdays 6:20-9pm Professor Frank Leon Roberts Fall 2015 Office Hours: (By Appointment Only) 429 1 Wash Place Thursdays 1:00-3:00pm, 9:00pm-10:00pm From the killings of teenagers Michael Brown and Vonderrick Myers in Ferguson, Missouri; to the suspicious death of activist Sandra Bland in Waller Texas; to the choke-hold death of Eric Garner in New York, to the killing of 17 year old Trayvon Martin in Sanford, Florida and 7 year old Aiyana Stanley-Jones in Detroit, Michigan--. #blacklivesmatter has emerged in recent years as a movement committed to resisting, unveiling, and undoing histories of state sanctioned violence against black and brown bodies. This interdisciplinary seminar links the #blacklivesmatter” movement to four broader phenomena: 1) the rise of the U.S. prison industrial complex and its relationship to the increasing militarization of inner city communities 2) the role of the media industry (including social media) in influencing national conversations about race and racism and 3) the state of racial justice activism in the context of a purportedly “post-racial” Obama Presidency and 4) the increasingly populist nature of decentralized protest movements in the contemporary United States (including the tea party movement, the occupy wall street movement, etc.) Among the topics of discussion that we will debate and engage this semester will include: the distinction between #blacklivesmatter (as both a network and decentralized movement) vs. a broader twenty first century movement for black lives; the moral ethics of “looting” and riotous forms of protest; violent vs. -
Applicant V. DERAY MCKESSON; BLACK LIVES MATTER; BLACK LIVES MATTER NETWORK, INCORPORATED Defendants - Respondents
STATE OF LOUISIANA 2021-CQ-00929 LOUISIANA SUPREME COURT OFFICER JOHN DOE, Police Officer Plaintiff - Applicant v. DERAY MCKESSON; BLACK LIVES MATTER; BLACK LIVES MATTER NETWORK, INCORPORATED Defendants - Respondents OFFICER JOHN DOE Plaintiff - Applicant Versus DeRAY McKESSON; BLACK LIVES MATTER; BLACK LIVES MATTER NETWORK, INCORPORATED Defendants - Respondents On Certified Question from the United States Court of Appeals for the Fifth Circuit No. 17-30864 Circuit Judges Jolly, Elrod, and Willett Appeal From the United States District Court for the Middle District of Louisiana USDC No. 3:16-CV-742 Honorable Judge Brian A. Jackson, Presiding OFFICER JOHN DOE ORIGINAL BRIEF ON APPLICATION FOR REVIEW BY CERTIFIED QUESTION Respectfully submitted: ATTORNEY FOR THE APPLICANT OFFICER JOHN DOE Donna U. Grodner (20840) GRODNER LAW FIRM 2223 Quail Run, B-1 Baton Rouge, Louisiana 70808 (225) 769-1919 FAX 769-1997 [email protected] CIVIL PROCEEDING TABLE OF CONTENTS TABLE OF AUTHORITIES.. ii CERTIFIED QUESTIONS. 1 1. Whether Louisiana law recognizes a duty, under the facts alleged I the complaint, or otherwise, not to negligently precipitate the crime of a third party? 2. Assuming McKesson could otherwise be held liable for a breach of duty owed to Officer Doe, whether Louisiana’s Professional Rescuer’s Doctrine bars recovery under the facts alleged in the complaint? . 1 STATEMENT OF JURISDICTION. 1 STATEMENT OF THE CASE. 1 A. NATURE OF THE CASE. 1 B. PROCEDURAL HISTORY. 12 1. ACTION OF THE TRIAL COURT. 12 2. ACTION OF THE FIFTH CIRCUIT. 12 3. ACTION OF THE SUPREME COURT. 13 4. ACTION OF THE FIFTH CIRCUIT. 13 C. -
Hip Hop Feminism Comes of Age.” I Am Grateful This Is the First 2020 Issue JHHS Is Publishing
Halliday and Payne: Twenty-First Century B.I.T.C.H. Frameworks: Hip Hop Feminism Come Published by VCU Scholars Compass, 2020 1 Journal of Hip Hop Studies, Vol. 7, Iss. 1 [2020], Art. 1 Editor in Chief: Travis Harris Managing Editor Shanté Paradigm Smalls, St. John’s University Associate Editors: Lakeyta Bonnette-Bailey, Georgia State University Cassandra Chaney, Louisiana State University Willie "Pops" Hudson, Azusa Pacific University Javon Johnson, University of Nevada, Las Vegas Elliot Powell, University of Minnesota Books and Media Editor Marcus J. Smalls, Brooklyn Academy of Music (BAM) Conference and Academic Hip Hop Editor Ashley N. Payne, Missouri State University Poetry Editor Jeffrey Coleman, St. Mary's College of Maryland Global Editor Sameena Eidoo, Independent Scholar Copy Editor: Sabine Kim, The University of Mainz Reviewer Board: Edmund Adjapong, Seton Hall University Janee Burkhalter, Saint Joseph's University Rosalyn Davis, Indiana University Kokomo Piper Carter, Arts and Culture Organizer and Hip Hop Activist Todd Craig, Medgar Evers College Aisha Durham, University of South Florida Regina Duthely, University of Puget Sound Leah Gaines, San Jose State University Journal of Hip Hop Studies 2 https://scholarscompass.vcu.edu/jhhs/vol7/iss1/1 2 Halliday and Payne: Twenty-First Century B.I.T.C.H. Frameworks: Hip Hop Feminism Come Elizabeth Gillman, Florida State University Kyra Guant, University at Albany Tasha Iglesias, University of California, Riverside Andre Johnson, University of Memphis David J. Leonard, Washington State University Heidi R. Lewis, Colorado College Kyle Mays, University of California, Los Angeles Anthony Nocella II, Salt Lake Community College Mich Nyawalo, Shawnee State University RaShelle R. -
DEEN FREELON CHARLTON D. MCILWAIN MEREDITH D. CLARK About the Authors: Deen Freelon Is an Assistant Professor of Communication at American University
BEYOND THE HASHTAGS DEEN FREELON CHARLTON D. MCILWAIN MEREDITH D. CLARK About the authors: Deen Freelon is an assistant professor of communication at American University. Charlton D. McIlwain is an associate professor of media, culture and communi- cation and Associate Dean for Faculty Development and Diversity at New York University. Meredith D. Clark is an assistant professor of digital and print news at the University of North Texas. Please send any questions or comments about this report to Deen Freelon at [email protected]. About the Center For Media & Social Impact: The Center for Media & Social Impact at American University’s School of Communication, based in Washington, D.C., is an innovation lab and research center that creates, studies, and showcases media for social impact. Fo- cusing on independent, documentary, entertainment and public media, the Center bridges boundaries between scholars, producers and communication practitioners across media production, media impact, public policy, and audience engagement. The Center produces resources for the field and academic research; convenes conferences and events; and works collaboratively to understand and design media that matters. www.cmsimpact.org Internal photos: Philip Montgomery Graphic design and layout: openbox9 The authors gratefully acknowledge funding support from the Spencer Foundation, without which this project would not have been possible. We also thank Ryan Blocher, Frank Franco, Cate Jackson, and Sedale McCall for transcribing participant interviews; David Proper and Kate Sheppard for copyediting; and Mitra Arthur, Caty Borum Chattoo, Brigid Maher, and Vincent Terlizzi for assisting with the report’s web presence and PR. The views expressed in this report are the authors’ alone and are not necessarily shared by the Spencer Foundation or the Center for Media and Social Impact. -
Police Arbitration
Vanderbilt Law Review Volume 74 Issue 4 May 2021 Article 4 5-2021 Police Arbitration Stephen Rushin Follow this and additional works at: https://scholarship.law.vanderbilt.edu/vlr Part of the Law Enforcement and Corrections Commons Recommended Citation Stephen Rushin, Police Arbitration, 74 Vanderbilt Law Review 1023 (2021) Available at: https://scholarship.law.vanderbilt.edu/vlr/vol74/iss4/4 This Article is brought to you for free and open access by Scholarship@Vanderbilt Law. It has been accepted for inclusion in Vanderbilt Law Review by an authorized editor of Scholarship@Vanderbilt Law. For more information, please contact [email protected]. Police Arbitration Stephen Rushin* Before punishing an officer for professional misconduct, police departments often provide the officer with an opportunity to file an appeal. In many police departments, this appeals process culminates in a hearing before an arbitrator. While numerous media reports have suggested that arbitrators regularly overturn or reduce discipline, little legal research has comprehensively examined the outcomes of police disciplinary appeals across the United States. In order to better understand the use of arbitration in police disciplinary appeals and build on prior research, this Article draws on a dataset of 624 arbitration awards issued between 2006 and 2020 from a diverse range of law enforcement agencies. It finds that arbitrators on appeal reduced or overturned police officer discipline in 52% of these cases. In 46% of cases involving termination, arbitrators ordered police departments to rehire previously terminated officers. On average, arbitrators reduced the length of officer suspensions by approximately 49%. Arbitrators gave several common justifications for reductions in officer discipline. -
The Matter of Black Lives a New Kind of Movement Found Its Moment
The Matter of Black Lives A new kind of movement found its moment. What will its future be? By Jelani Cobb, THE NEW YORKER, March 14, 2016 On February 18th, as part of the official recognition of Black History Month, President Obama met with a group of African-American leaders at the White House to discuss civil-rights issues. The guests—who included Representative John Lewis, of Georgia; Sherrilyn Ifill, the director- counsel of the N.A.A.C.P. Legal Defense and Educational Fund; and Wade Henderson, who heads the Leadership Conference on Civil and Human Rights—were intent on pressing the President to act decisively on criminal-justice issues during his last year in office. Their urgency, though, was tempered by a degree of sentimentality, verging on nostalgia. As Ifill later told me, “We were very much aware that this was the last Black History Month of this Presidency.” But the meeting was also billed as the “first of its kind,” in that it would bring together different generations of activists. To that end, the White House had invited DeRay Mckesson, Brittany Packnett, and Aislinn Pulley, all of whom are prominent figures in Black Lives Matter, which had come into existence—amid the flash points of the George Zimmerman trial; Michael Brown’s death, in Ferguson, Missouri; and the massacre at the Emanuel A.M.E. Church, in Charleston, South Carolina—during Obama’s second term. Black Lives Matter has been described as “not your grandfather’s civil-rights movement,” to distinguish its tactics and its philosophy from those of nineteen-sixties-style activism. -
Deray Mckesson, Johnetta Elzie and Co. Launch Campaign Zero to End Police Brutality
DeRay Mckesson, Johnetta Elzie and Co. Launch Campaign Zero To End Police Brutality The "data-informed" platform was launched at the end of last week by prominent black activists, presenting a 10-point platform for eliminating police brutality. Sameer Rao Aug 24, 2015 12:14PM EDT Colorlines Screenshot of Campaign Zero's platform graphic, taken August 24, 2015. Colorlines Screenshot Share This! DeRay Mckesson and Johnetta Elzie teamed up with activist/Ferguson Commission appointee Brittany Packnett and data scientist Samuel Sinyangwe to launch Campaign Zero at the end of last week, offering a formalized and accessible new tool in the fight against police brutality. Campaign Zero acts as a data-driven platform for the broader struggle against police violence and offers policy points for how to ultimately reform the problematic structures that have resulted in law enforcement violence for so long. The ten points, as outlined in the graphic attached to Mckesson's Twitter post (and which can be seen here) are as follows: 1) End Broken Windows Policing 2) Community Oversight 3) Limit Use of Force 4) Independently Investigate & Prosecute 5) Community Representation 6) Body Cams/Film the Police 7) Training 8) End For-Profit Policing 9) Demilitarization 10) Fair Police Union Contracts Campaign Zero also offers a tracking tool for the 2016 presidential election, outlining where various candidates from both parties stand on the ten policy points, among other graphic tools outlining the statistical impact and story of contemporary police violence. Visit Campaign Zero's website to see more. . -
Of Producing Popular Music
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 6-26-2019 1:00 PM The Elements of Production: Myth, Gender, and the "Fundamental Task" of Producing Popular Music Lydia Wilton The University of Western Ontario Supervisor Coates, Norma. The University of Western Ontario Graduate Program in Popular Music and Culture A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Music © Lydia Wilton 2019 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Musicology Commons Recommended Citation Wilton, Lydia, "The Elements of Production: Myth, Gender, and the "Fundamental Task" of Producing Popular Music" (2019). Electronic Thesis and Dissertation Repository. 6350. https://ir.lib.uwo.ca/etd/6350 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract Using Antoine Hennion’s “anti-musicology”, this research project proposes a methodology for studying music production that empowers production choices as the primary analytical tool. It employs this methodology to analyze Kesha’s Rainbow, Janelle Monáe’s Dirty Computer, and St. Vincent’s Masseduction according to four, encompassing groups of production elements: musical elements, lyrical elements, personal elements, and narrative elements. All three albums were critical and commercial successes, and analyzing their respective choices offers valuable insight into the practice of successful producers that could not necessarily be captured by methodologies traditionally used for studying production, such as the interview. -
Making Black Lives Matter: Fanonian Notes About Today’S (Shifting) Front Lines
Making Black Lives Matter: Fanonian Notes About Today’s (Shifting) Front Lines By Tracey Nicholls Emmett Till, say his name. Amadou Diallo, say his name. Trayvon Martin, say his name. Aiyana Jones, say her name. Sandra Bland, say her name. This a small selection of lyrics from “Hell You Talmbout”, a song recorded by Janelle Monáe and Wondaland in 2015 to protest the endemic racialised violence that African-Americans face everyday in encounters with law enforcement. It is a memorialisation of the human beings whose legally- sanctioned homicides have produced searing, horrifying story after story in the American news for decades. Emmett Till was lynched in 1955. Freddie Grey, another of the names in the lyrics, was fatally injured in the custody of Baltimore police in the year this song was released. This song is more than a monument to lives lost to racism and hatred; it is an anthem that is shaping and giving moral force to the Black Lives Matter movement. Despite its clear call for diversity in mobilising people to fight for recognition of black people’s humanity and the right of African-Americans to live their lives in the context of respect and security that white middle class Americans take for granted, BLM is frequently the target of criticism that it is promoting an exclusionary “black nationalist” agenda. Black Lives Matter (BLM) was founded in 2013 by three American women of colour – Alicia Garza, Patrisse Cullors, and Opal Tometi – to rally popular resistance against this deadly state-sponsored violence and to build “a world where Black lives are no longer systematically targeted for demise” (blacklivesmatter.com). -
A Concept Album
Merrimack College Merrimack ScholarWorks Honors Program Contracts Honors Program Spring 2020 The Power of Protest Music: A Concept Album Matthew Patterson Merrimack College, [email protected] Follow this and additional works at: https://scholarworks.merrimack.edu/honors_component Part of the Music Commons, and the Political Science Commons Recommended Citation Patterson, Matthew, "The Power of Protest Music: A Concept Album" (2020). Honors Program Contracts. 20. https://scholarworks.merrimack.edu/honors_component/20 This Project - Open Access is brought to you for free and open access by the Honors Program at Merrimack ScholarWorks. It has been accepted for inclusion in Honors Program Contracts by an authorized administrator of Merrimack ScholarWorks. For more information, please contact [email protected]. 1 Matthew Patterson Dr. Anne Flaherty and Dr. Laura Pruett Music and Politics FAA/POL3171 6 May 2020 The Power of Protest Music: A Concept Album Introduction: This semester, I decided to create an honors contract for one of my favorite classes offered at Merrimack, Music and Politics. Both music and politics are two of my biggest interests, so I felt that this class would allow me to create a very unique final project. For my project, I decided to create my own political concept album that would analyze the role of music in certain social and political movements. Inspired by old vinyl records, this curation will contain 12 songs that are divided evenly on each side of the record. Side A will contain six songs that are considered anthems of the Civil Rights Movement, while Side B will contain six songs that are considered anthems for the Black Lives Matter Movement. -
The Revolution Will Not Be Televised…But It Will Be Streamed”: Spotify, Playlist Curation, and Social Justice Movements
“THE REVOLUTION WILL NOT BE TELEVISED…BUT IT WILL BE STREAMED”: SPOTIFY, PLAYLIST CURATION, AND SOCIAL JUSTICE MOVEMENTS Melissa Camp A thesis submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Music in the School of Arts and Sciences. Chapel Hill 2021 Approved by: Mark Katz Aaron Harcus Jocelyn Neal © 2021 Melissa Camp ALL RIGHTS RESERVED ii ABSTRACT Melissa Camp: “The Revolution Will Not Be Televised…But It Will Be Streamed”: Spotify, Playlist Curation, and Social Justice Movements (Under the direction of Mark Katz) Since its launch in 2008, the Swedish-based audio streaming service Spotify has transformed how consumers experience music. During the same time, Spotify collaborated with social justice activists as a means of philanthropy and brand management. Focusing on two playlists intended to promote the Black Lives Matter movement (2013–) and support protests against the U.S. “Muslim Ban” (2017–2020), this thesis explores how Spotify’s curators and artists navigate the tensions between activism and capitalism as they advocate for social justice. Drawing upon Ramón Grosfoguel’s concept of subversive complicity (2003), I show how artists and curators help promote Spotify’s progressive image and bottom line while utilizing the company’s massive platform to draw attention to the people and causes they care most about by amplifying their messages. iii To Preston Thank you for your support along the way. iv ACKNOWLEDGMENTS I would first like to thank my thesis advisor, Mark Katz, for his dedication and support throughout the writing process, especially in reading, writing, and being the source of advice, encouragement, and knowledge for the past year.