By Sarah J. Jackson
Shifting understandings and ongoing conversations approximately race, megastar, and protest within the twenty-first century demand a more in-depth exam of the evolution of dissent via black celebrities and their reception within the public sphere. This e-book makes a speciality of the best way the mainstream and black press have lined circumstances of arguable political dissent by means of African American celebrities from Paul Robeson to Kanye West. Jackson considers the next questions: 1) What certain business enterprise is on the market to celebrities with racialized identities to offer reviews of yankee tradition? 2) How have reporters in either the mainstream and black press restricted or facilitated this enterprise via framing? What does this say concerning the various function of journalism in American racial politics? three) How have framing developments concerning those figures shifted from the mid-twentieth century to the twenty-first century? via a sequence of case reviews that still contains Eartha Kitt, Sister Souljah, and Mahmoud Abdul-Rauf, Jackson illustrates the moving public narratives and historic moments that either restrict and permit African American celebrities within the wake of constructing public politicized statements that critique the authorised racial, monetary, and army platforms within the United States.
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Additional info for Black Celebrity, Racial Politics, and the Press: Framing Dissent
Urla Hill, “Racing after Smith and Carlos: Revisiting Those Fists Some Forty Years Hence,” In Reconstructing Fame: Sport, Race, and Evolving Reputations, ed. David C. Ogden and Joel Nathan Rosen (Jackson: University Press of Mississippi, 2008): 102–126; Jane Rhodes, Framing the Black Panthers: The Spectacular Rise of a Black Power Icon (New York: New Press, 2007); Herman Gray, Cultural Moves: African Americans and the Politics of Representation (Berkeley: University of California Press, 2005). 46.
52 The Chicago Tribune constructed the concertgoers and the volunteers who were charged with protecting the singer at the second concert as a hostile military force. ”53 Not noted by the Tribune is that the men who served as protectors of Robeson and the concert grounds during the second concert were organized only after the violence committed against the crowd and the failure of the police to protect them the first time around. 55 Certainly a large crowd of “armed” and “recruited” “Negro” and “Communist” men could more easily be constructed as a violent threat needing suppression than a multi-racial, pro-equality crowd made up of families.
59. Farred, What’s My Name. 60. Spivey, Sport in America. 61. Zang, Sports Wars. 62. Hauser, Muhammad Ali; Farred, What’s My Name? 63. Zang, Sports Wars. 64. : How Blacks Are Winning and Losing in Sports (Champaign, IL: Human Kinetics, 2008); Aaron Baker, Contesting Identities: Sports in American Film (Champaign: University of Illinois Press, 2003). 65. From Brian Ward, who defines the African American Freedom Struggle as a post-WWII political, cultural, and artistic move by African Americans to express resistance and publicize the validity of their identities and cultural forms in a variety of ways, of which the civil rights and Black Power movements were only a part.