By Sarah J. Jackson
Shifting understandings and ongoing conversations approximately race, megastar, and protest within the twenty-first century demand a better exam of the evolution of dissent by way of black celebrities and their reception within the public sphere. This booklet makes a speciality of the best way the mainstream and black press have lined instances of arguable political dissent through African American celebrities from Paul Robeson to Kanye West. Jackson considers the next questions: 1) What detailed employer is accessible to celebrities with racialized identities to give opinions of yankee tradition? 2) How have reporters in either the mainstream and black press constrained or facilitated this supplier 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 creating public politicized statements that critique the permitted racial, monetary, and armed forces structures within the United States.
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Extra info for Black Celebrity, Racial Politics, and the Press: Framing Dissent
For full list of sources included in each chapter see Appendix Table 1. 67. , A Handbook of Media and Communication Research: Qualitative and Quantitative Methodologies (London: Routledge, 2002). 68. Kim C. Schroder, “Discourses of Fact,” in A Handbook of Media and Communication Research: Qualitative and Quantitative Methodologies, ed. Klaus Bruhn Jensen (London: Routledge, 2002): 116. 69. Stuart Hall and Doreen Massey, “Interpreting the Crisis: Doreen Massey and Stuart Hall Discuss Ways of Understanding the Current Crisis,” Soundings 44 (2010): 57.
51 Such conspiracy discourse in the mainstream press allowed for the possibility that, at best, Robeson and his fans were dupes of a larger organized move against American values—at worst, they were active traitors. Along with the construction of Robeson as instigator or puppet for “Communist causes,” many stories in the mainstream press also suggested that Robeson’s fans had not only come with the intent of instigating “trouble” but the intent to commit physical violence. Multiple sources reported that at the second concert “Robeson men .
Donald Spivey, Sport in America: New Historical Perspectives (Greenwood Press, 1985). 49. : Black Vernacular Intellectuals (Minneapolis: University of Minnesota Press, 2003). 50. Spivey, Sport in America; Remnick, King of the World; Mike Marqusee, Redemption Song: Muhammad Ali and the Spirit of the Sixties (New York: Verso, 1999). Introduction 19 51. Ibid. 52. Farred, What’s My Name? 53. Some accounts contend that Ali’s statement was “I ain’t got no quarrel with the VietCong,” while others report variations of both.