Showing posts with label Bill Cosby. Show all posts
Showing posts with label Bill Cosby. Show all posts

Saturday, November 29, 2014

Rayfield Waller On the Death of His Mother And The Social Death of the United States


City of Children:  Why Ferguson Will Have Little to No Impact on America’s Conscience
by Rayfield A. Waller
The Panopticon Review

Photos:  Officer Darren Wilson's .40 caliber automatic revolver that Wilson used to murder Michael Brown and Black Elitist Avatar, Bill Cosby

"Negroes have always held the lowest jobs, the most menial jobs, which are now being destroyed by automation. No remote provision has yet been made to absorb this labor surplus. Furthermore, the Negro's education, North and South, remains, almost totally, a segregated education. And, the police treat the Negro like a dog."
 
--James Baldwin, 1966

7AM-- 28 November, 2014 - Detroit
 
My mother died this morning. An annoying if well-meaning nurse at the rehab center Mother spent her last year in prattled yesterday that Mother was about to ‘transition,’ and offered to provide my sisters and I with ‘grief counseling’ while passersby in the hallway called her death a ‘home going’.

Just a week ago I spent my last hour with Mother on the last completely lucid day she lived. It was difficult to hold a conversation with her by then; she was only speaking in whispers, with bouts of irrationality and memory loss.

“Are you feeding my cat at the house?” she kept asking me, and I kept gently reminding her that her cat, Mitzi, is no longer ‘at the house’ that mother left empty as her illness progressed, but that Mitzi lives with me now, and is eating regularly.

I mentioned to her that I was trying but was unable to write something about the young man who’d been killed in Ferguson. “Which one is that?” she asked. She had a television on in the room nearly 24 hours but she had not noticed the news reports. “A Ferguson, Missouri cop named Darren Wilson isn’t going to face any charges for killing an unarmed black teenager named Michael Brown,” I told her, and she then whispered to me secret—something I had long suspected or maybe just felt in my bones.

“They can do us any way they want to, the police, and they always made me feel like trash. They were always looking at me, talking to me, touching me.”

“Touching you? Who!? The police?” I asked her, shocked. “Yeah,” she whispered, matter-of-factly, focusing on me with a look almost of accusation, as if to draw my attention to what a fool I must be. “I had good hair in high school, you know,” she said. Indeed, she had been a very beautiful young woman in her teen years—looking like a cinema idol, like Lena Horne. “I was light skinned, and pretty. That was why I loved your father. He was dark skinned, strong, and he could protect me.”

A dozen lights went off in my head at hearing this. It didn’t seem she was talking about having been raped by the police, but rather something in some way more insidious: that she had spent her youth, under segregation, feeling eternally at risk of rape; that she had perhaps even been physically mistreated, pushed around, maybe even fondled by them. I could get her to say nothing more about it. She merely shook her head disdainfully, whispering, “I’d kill ‘em all if I could. They can do us any way.” She then went back to her whispered talk about how I should arrange the little windowsill Christmas decorations I had brought for her.

It had always been in the back of my mind: why my mother in the years of my childhood had been so strangely detached, lacking in many of the typical characteristics of ‘motherhood’. She never learned to cook very well, she was never very affectionate toward us; her love had an edge of spite to it, a coldness that both toughened me and left me wanting affection and attention—two classic drivers that have motivated so many artists, writers, pimps and stand-up comedians to seek an audience or a customer base for whom to perform their art. The benefits of neurosis.

My mother had for years been a shut-in, even when healthy; after my father’s death she had retreated into a world of her own—spoiled by me and my sisters, conceited, self-absorbed, allowing herself to physically degenerate by refusing to push herself, refusing to socialize with other senior citizens. She had the air of a deposed queen. My father had been her king, her entire kingdom made of his lifelong catering to her every serious need and passing whim. It had been hard for me to fill those shoes once he had died. Many times over the decade since his death I have joked that I wish I could dig him up and slap his face for the monster he created of my mother. If not for her flight from reality and from daily struggle after he’d died, her fight with cancer might have been an easier one: she refused to do the necessary physical therapy after cancer surgery that might have strengthened her enough to do chemo therapy, and had she done chemo, it might have saved her life.

But now I was considering for the first time what must lie beneath my mother’s (and my father’s) strange behaviors. My mother’s family, light skinned, fine haired, half Choctaw from Alabama, had not taken kindly to Mother marrying into a dark skinned, broad nosed, though solidly middle-class Waller family full of distinctly Mandinka descended men, the mirror opposite of the somewhat yellow and ‘Dapper Dan’ haired men on my mother’s side. All my life my parents had been almost sickly sweet on one-another, at times even besotted with their devotion. Even during periods of conflict, several separations (but never a divorce), and even when paired off with other partners and lovers, the gravitational attraction between them would always draw them back together.

During my father’s slow degeneration and death in a nursing home my mother dutifully visited him regularly, washed his clothing, fed him by hand, and sat talking to him hour after hour, just as he had brought her offerings of food almost nightly after work, even though they no longer lived under the same roof. I recall an old photo of them just after marrying, before children. The contract between his muscular blackness and her lithe, vivid yellow beauty is arresting.

Despite all my degrees, my being a professor of history, and despite all I certainly know of America’s crimes against us, still I was brought up short by this casual, whispered voice of reality from my terminally ill mother; this reminder of just how rank and ugly America’s treatment of us has been, and that all of us have been touched by it, if not personally, than through the inheritance of pain and humiliation our own parents and grandparents have suffered.

The bitterness and the hurt that I heard in my Mother’s whisper for that moment could have lit the dark side of the moon. Of course she was in love with my father. My father’s own seething resentment of white supremacy during my childhood made him an apt protector of us all. He once tossed an offensive White insurance salesman off the front porch like so much potatoes in a sack, partly because he had leered at my mother—a sharp and clear memory of my childhood, but the meaning I now realize, may have been lost on me: I came to know my mother and father in the 1970s—my earliest coherent memories of them—during a time of uproar and of protest; a time when Black power was giving efficacy and a voice to my family and to all the adults around me.

But my parents did not come into existence in the 1970s. They were both born in the 1930s just after the grip of the depression had released my grandparents but while lynching, violence, and the most horrifying brutality was still legal or at least permissible in the United States. Even after the two sides of my family migrated North, the more urbane forms of brutality and threat to Black life and limb lived on in the occupational forces that terrorized Black men and women in the cities: the police.

Of course my mother, beautiful, intelligent, gifted (she might have been a great visual artist had she not been born Black in Detroit, and the consensus among her family and friends were that she would certainly have been a famous model or an actress), made a choice early in her life to be SAFE rather than to risk disapproval or worse yet, too much attention from Whites. Of course my mother retreated into the strong Black arms of my father, retreated from risk, from the world of Whites, retreated even from her own beauty and genius, and though she forever regretted not becoming an artist, contented herself with being safe.

We live in a country that prides itself on memory loss, on repression of real feeling and thought.

On the morning before she died, I was inundated by many of the medical workers, surrounding patients who’d made friends with Mother, nurses, and other people around me with the kind of psychic dissonance that is common in the presence of imminent death. Losing my mother was bad enough without having to also endure the hardship of maudlin American folkways and platitudes. In the United States the bourgeois language of death is a presumptuous syntax whose vocabulary of clichés is often thrown like so many bric-a-bracs at our heads. I am only at the start of the ritual, for I still have the indignity of selecting a final overpriced catafalque and an ignominious hole in the ground, with a funeral as the necessary linking verb. Having begun in the death room itself yesterday the spectacle will now move to a wake and a funeral, ending with a gathering of strangers posed as family at some agreed-upon grave site somewhere under the dubious, soothing anointing of a priest or minister or a rabbi. All of them, earnest as they will be, able to  say nothing that can fill a void in us as easily as the void of the grave will straightaway be filled by a narrow box.

This ritual response to death may comfort some, but on the day of Mother’s departure from me it all seems insultingly mollifying to anyone who must endure death or witness it happening to loved ones. It is meant to garble our emotional responses to a primal experience of pain when the beloved is torn from us. Death after all is humanity’s most dreaded consummation, father of a hundred thousand poems, threnodies, and Kaddishes of lament. Like war and childbirth, death is one of the universal terrors implicit in the rite of adulthood. If one is inclined to this, it must be comforting, I suppose, but if not so inclined it seems an insult to have one’s proper adult grief sullied by clumsy rituals or superstitious folkways meant to blunt the reality of the finality of separation. “My mother,” I snapped at a rehab worker, is not ‘going home,’ she is going off into oblivion.” It is I’m sure, just that; the same oblivion we are all bound for and that rounds our lives into a perfect circle from somebody’s womb (the mother I’ve lost) to everyone’s  tomb (Mother Earth), and I’m fine with that—if people would just stop prattling and leave me alone with my grief. It was a cruel thing to say to the innocent but it was the only way to make the nurse leave me alone. She later wheeled into the death room a cart laden with ‘Chips Ahoy” cookies, graham crackers, and a carafe of coffee for me, my sisters, and my two brothers in law.

I later apologized to her. Suffer the children, right?

As I said, this is a country that renounces deep reflection or critical analysis of any sort, and in which not even many Black people will face the actual scars we all carry of a real history of brutality and exploitation meted out even against our families’ older generations. Far less likely are White liberal TV news analysts or White policy makers or elected official to look honestly at the balk the Negro carries and see their own Anglo identity and their own possible future, or see their own European Ethnic grandparents’ perhaps too-shameful past as refugees rousted from their shtetls,  ghettos, forest encampments, villages, and peasant shanties across Europe, to be cast afloat on a desperate journey to New York Harbor and packed like cattle onto Ellis Island to have their ethnic names scoured and sanitized via Anglicizing them, next to  be processed like so much chum, before flooding into the tenement kingdoms of early twentieth century industrial America that surely then and does now have a plan for them and for making a profit off of them.

Not even those who are proclaiming their identification with the murderers of Michael Brown and of Trayvon Martin (Trayvon’s killer himself a son of a Cuban immigrant and a white American) can or do honestly confront the actual inner lives of their own grandparents. Not every TV yawping head is a Dave Zirin; too many are cut rate Sean Hannitys who’ve conveniently forgotten their Irish immigrant roots. We are living out the myth of Sisyphus. No progress ever can nor ever will be made in terms of race, because we are constitutionally unable to face the original crime of race in America: the Transatlantic Corporate Slave Trade and the human chattel industry it nurtured; the settling of North America by the clearing project of genocide against Native peoples followed by the multi-BILLION Pounds Sterling and American Greenbacks in primitive accumulation through slave labor (a model for later industrial and current service industry WAGE SLAVE LABOR) that literally built an entire continent, cleared the woodlands, harrowed and excavated the mineral wealth of the wounded Earth, established an agricultural base, then founded a new industrial power, with its attendant continental infrastructure of roads, bridges, waterways, ports, railways, and highways. All of these things were either constructed literally by captured African labor or by the wealth produced by captured African labor.

All the putrid, red herring debates going on now in the media over whether or not Michael Brown struck Darren Wilson about the face until he was blushed, rushed at Wilson, attacked him, whether or not Mike reared up ‘like hulk Hogan’, like ‘a demon’ or mighty beast and roared, sending shards of fear through the poor defenseless (except for his .40 caliber automatic service weapon) cop who in his raw, gut wrenching terror at Giant Negro Mike’s superhuman monstrosity had no choice but to shoot him repeatedly until dead, are absurd and typical avoidance of the point. What if Mike did rush headlong into certain death (after all, even Hulk Hogan himself would have been put down by several shots from a 40 caliber automatic)? What if Mike, like me with my mother’s nurse, like you stopped on your own doorstep by the cop who doesn’t believe you really live in your house, or like hundreds of thousands of other Black men in America, felt on that day that he was tired of being tall, hefty, strong, but restrained by the social conditions he lived under? Or, what if he was just like so many other young Black men—like the hundreds of young Black men I have seen in my university course, who are full of testosterone and energy and frustrated force and who lacked good judgment since after all, he was just a mannish CHILD despite his physiogamy? Likely if he had lived he’d have been a child tried as an adult for assaulting a police officer. Since he’s dead, it is his murderer, an adult, who seems right now to be going through public trial as a child. Again, Americans would rather preoccupy their public discourses with potboilers, spectacle, lurid gossip, thrillers, and titillation rather than the history of repression and containment by occupational forces posing as police, who, in the case of Darren Wilson LITERALLY ‘demonize’ our children as beasts.

How does history square with Darren Wilson’s apparently unconscious, overt appeal to Black male ‘brute’ mythologies? His rankly racist testimony to the grand jury he sat before, the transcripts of which are now available but whose shockingly primitive, backward leaning, old 1800’s anthropological racism few news outlets other than MSNBC and few commentators other than Dave Zirin have the willingness or the intelligence to directly comment on, was sprinkled heavily with classic, absurd claims of feeling ‘like a child under attack’ by the supposedly hulking, brutish, superhumanly mighty beast-like assault of an unarmed young Black male whose very Blackness was and is a deadly weapon requiring the use of deadly force to mitigate or to subdue.

The childlike non-response of media, of average folks on the street, of commentators, and slack-jawed, slack-minded politicians betrays just how underdeveloped Americans are intellectually, at this point in American devolution.America is more like an enormous city than a country. Burgeoning, low-brow, and petty, this glorified city. Every state has the same stores, the same eateries, the same non-news stories, the same fondling of shop-worn myths and lies, the same retreat into nostalgic, self-protective racism deployed by Anglos who wish to guard against looking at their own oppression under late capitalism, via the tactic of demonizing Blacks and Latinos. There is in city to city the same meandering, illiterate retreat into ferocious consumerism by young American Blacks who desperately want to guard against the daunting task at hand, which ought to be their historical imperative to continue their grandparent’s legacy of freedom struggle. Each state, like a glorified neighborhood in a city, is populated by the same people—the smug but fragile middle classes, the beat down though still struggling working classes--some of whom manage gamely to keep the union movements and anti-foreclosure movement afloat, the sold-out, cynical elder Black opportunists whose avatar, we now see, must have always been alleged rapist, Bill Cosby—the 60 and 70-something Blacks who once waged a civil rights struggle but who now recline on the residual economic benefits bled for by the masses but now accrued by a Colored elite. The same things coast-to-coast, the same people, many of them thinking and doing the same things, believing the same lies. One might think there is no originality or creativity left to the place—it’s like a great big mean spirited mall.

But last week Mother had these words for me also: she told me as I was about to leave that she loved the Christmas decorations I’d tediously arranged for her under her whispered direction. “That’s so beautiful. I like beautiful things. I wish I could give you something.”

I kissed her forehead and smiled down at her. “You gave me a childhood, Mother,” I said, “And from that I made myself an adult.”

This is the challenge of this glorified city, city of children that is America. We won’t learn anything at all from this latest destruction of a young Black life, but mark these words, you’ve heard them before: when we finally embrace who and what we all really are and where we came from, when it becomes just as routine for young Anglo lives to be destroyed with impunity by a barbaric, militarized police force, the lesson will suddenly become quite clear. That and only that will mark childhood’s end in this petty little city we call America.

Where ever you are now, Bessie Lee Dukes-Waller, I love and thank you for the life you gave to me.

Monday, November 23, 2009

Bill Cosby and Corporate America Attacks the Black Poor and Working Class for Fun & Profit




REPORT FROM DETROIT

Bill Cosby: A Paradigm of Black Self Hatred
By Rayfield A. Waller


"You're nobody, son. You don't exist – can't you see ... that? The white folk tell everybody what to think – except men like me. I tell them; that's my life, telling white folk how to think about the things I know about…But you listen to me: I didn't make it, and I know that I can't change it. But I've made my place in it and I'll have every Negro in the country hanging on tree limbs by morning if it means staying where I am."
-Dr. Bledsoe, from Ralph Ellison's “Invisible Man”


Approximately two years ago in a then widely reported visit to Detroit's working class Wayne County Community College (WCCCD), Black actor, comedian, and Jello pudding peddler Bill Cosby delivered a college-wide lecture to faculty, students, staff, administrators, and local media. Although WCCCD is a Junior College ensconced in a poverty stricken, predominantly Black Detroit urban setting, Cosby, during his lecture fiercely attacked poor Black America for its embrace of 'ghetto culture' and for what he made clear he felt was rap music-inspired 'bad behavior.' I was present at that lecture, and though the audience's initial response to his humorless extirpation was uneasy silence, a large portion of the audience quickly warmed to his broadside, offering up both applause and laughter. Since that lecture, it has become clearer and clearer, as he's subsequently gone about the country repeating his slander upon Black identity, that Cosby has actively taken up the dubious mantel of nouveau Uncle Tom, or Dr. Bledsoe.

Since that visit he has twice returned to Detroit, and both times he's repeated what's become his habit of making provocative statements before the media, against underclass Black life and Black youth culture. One subsequent appearances was just months ago: a private faculty and staff gathering, again at WCCCD. As a faculty member I was allowed into this private command performance and witnessed yet another Cosby attack on the 'bad behavior' of American Black youths whom Cosby insinuates have created their own impoverished circumstances through that very same behavior.

Although his schtick is nothing new, Cosby in recent years has amazed us by forging himself into a present day Dr. Bledsoe, antagonist from Ralph Ellison's novel, “Invisible Man.” He has appeared to become our own paradigm, indeed, he sometimes seems our phenom of self hatred and of snarling cynicism.

Though there are numerous historical figures who fit the paradigm it is perhaps only in literature that we can find sufficiently resonant examples that seem periodically to emerge inexplicably from our midst, we the children of one of the four greatest holocausts of modern times (the other three being, arguably, the Jewish Shoah, the Aboriginal holocausts of North Amerindian and South Amerindian aboriginals, and the genocide against the Armenian peoples).

With his intermittent spates of angry media appearances (such as a particularly invidious turn he took on "Meet the Press" along with cut buddy and Harvard meercat, Alvin Pouissant, in January, 2009), Bill Cosby has in recent years enthusiastically participated in some of the most overtly racist, reductive, and slanderous mass media denigrations of Black American identity and social reality since the mendacious 1965 'Moynihan Report'.

The Report, a 78 page attack on the integrity of the "Negro family" was authored by then Assistant Secretary of Labor and soon to be United States senator, Daniel Patrick Moynihan, and was entitled, “The Negro Family:The Case For National Action Office of Policy Planning and Research United States Department of Labor, March 1965.” In it, Moynihan, who possessed some modicum of Harvard training in social science, nevertheless committed a decidedly a-sociological act of slander against Blacks in America. In the words of Gordon Marshall, author of “A Dictionary of Sociology (1998)”, Moynihan presented not a thoroughgoing attack on the prison industrial complex, the woefully inadequate funding of urban schools, segregation, racism, economic exclusion and racially biased capitalist political economy, all of which caused both Black (and white and Latino) urban poverty in the sixties; instead he presented:

"...a highly selective account [that] seemed to place responsibility for being poor on the victims themselves, mainly because the ‘lower-class sub-culture’—in particular that of Blacks—was said to be dominated by ‘matriarchy’, emasculated males, educational failure, crime, delinquency, and drug addiction, all of which ultimately were attributable to the breakdown of the family structure. In the words of the report, ‘At the heart of the deterioration of the fabric of Negro society is the deterioration of the Negro family. It is the fundamental source of weakness of the Negro community at the present time … The white family has achieved a high degree of stability and is maintaining that stability. By contrast, the family structure of lower class Negroes is highly unstable, and is approaching complete breakdown."

Recently, America was afforded an opportunity to witness “The Coz” in the throes of yet another of his most exemplary sneering harangues against Black America's working class and 'underclas's when he appeared, on “Meet The Press" Some of the damage done by that particular January 2009 appearance can be tracked by the plethora of reactionary responses found in the media and on the internet.

This kind of backward anti-materialist analysis is only fostered by the way in which Cosby, an enabler of American bourgeois assumptions, is speaking along with rather than in critique of, the mass media echo chamber of a decidedly racist, and viciously unconscious, ahistorical post Reagan America, an America which, although a Black man has achieved the presidency, is still being held hostage to the social backwardness of an entrenched contingent of right wing religious, economic, and political reactionaries who fiercely oppose all forward progress on the socio-economic front.

The effect on our society of this entrenched faction's willingness and ability to lobby, to exercise influence, and to block social, urban, and domestic reform has been to delay and to sabotage what ought to be change that the progressive coalition had anticipated emerging from the Obama victory: a new WPA initiative, universal health care legislation, a swift end to government discrimination against gay and lesbian citizens, a swift end to the wars, and renewed spending on public education, urban infrastructure, and arts funding, as well as a rollback of Reagan-Bush tax cuts for the wealthy that are arguably the real root and cause of US urban disaster and collapse. Instead, those entrenched, reactionary factions have proven to be ferociously recalcitrant. As they blithely disregard what are the most salient material realities of the era, essentially leaping over a mountain of inequity just to plant their spikes in the backs of victims, Black conservatives or just plain black demagogues such as Cosby, come off as being fools at best, and insane at worst (Michael Eric Dyson's book, “Is Bill Cosby Right: Or Has The Black Middle Class Lost Its Mind?” speculates convincingly that insanity might be the correct call).

This ethical myopia on the part of Black demagogery is in itself reason enough to call into question Bill Cosby's ability to do a political analysis, if not call into question his sanity. While draconian forces contradict the very idea that the last presidential election cycle supposedly brought to power a national progressive coalition, myopic Black public 'commentators' such as Cosby, James McWhorter (Manhattan Institute), Prof Walter E. Williams (Economics, George Mason University), Shelby Steele (Hoover Institution), Thomas Sowell (Columnist and Hyek/Friedman right wing economist), William Raspberry (Washington Post columnist) and the rest of that ilk manage to do untold damage to the psyche and public persona of Black Americans, using the power of access and of right wing patronage (McWhorter, et. al.), and of celebrity (Cosby) as cover for their sniping. The uncommon access to the public stage that performer Cosby enjoys extends to television, print media, and even to his ability to enact insurgent penetrations into urban communities to stand before the masses themselves and openly insult them to their faces.

He uses that privilege, one not even McWhorter, Sowell, Steele, or Raspberry can match, to cynically reinforce vicious stereotypes rather than intellectually and actively challenge the underlying corporate and social exploitation that those very same stereotypes obscure and enable. He does this, of course, because he is himself the product of, and a toady of, that very same corporate and social exploitation. He has nursed at the teat of corporate commercial culture for nearly two generations now, and he would rather bite the people who birthed him than bite the hand that feeds him Jello residuals.

Dig: he has first hand knowledge that Black ‘achievement’, what ever that means, can and will be tolerated in the U.S. only on an individual basis (and even then only in prescribed and narrow avenues of endeavor such as the low avenues he his individual self was confined to). Surely he knows that when we collectively achieve power, pride, grace, wealth, and literacy we run the risk of being murdered for it (Rosewood, Detroit and the Algiers Hotel, Tulsa, etc.).

Why, for example, Cosby demands to know, do Rap artists perform and front such vile, hateful, violent material? Surely Cosby ought to be able to reason and understand the causality of a profit obsessed recording industry and entertainment industry that controls Rap at every level now from creation to packaging, to promotion and distribution, a mendacious control that also adversely affects every other artistic, commercial, political, and economic expression in America. These forces of control have systematically sought to destroy the promotion and distribution of progressive and revolutionary artists such as Public Enemy, Disposable Heroes of Hypocrisy, Rage Against The Machine, Eric B. and Rakim, Jungle Brothers, A Tribe Called Quest, House of Pain, Roxanne Shante, De La Soul, KRS One, etc., etc., etc. The global media corporations that own Rap music in America are the very same ones affiliated with Kodak film, Coca Cola, Jello, and Kool Aid and E.F. Hutton ("because it's my money")-- Cosby's patrons; the corporations and financial institutions that made him rich and put him in Bentleys and knit sweaters.


So corporate Rap bears this much resemblance to cocaine: some young Black males may sell it, indulge in it, glorify it, and pass it between themselves, but they surely cannot and do not globally distribute it. So how else does gangsta rap travel from East Coast Black community to West Coast Black community and back again? From white suburb to white suburb? From North coast Great Lakes to South Coast Lake Okeechobee and from the U.S. to Germany, Brazil, Port Au Prince, France, Spain, Brixton, and Italy?


As has been pointed out by Black scholars and cultural critics like Amiri Baraka, Michael Eric Dyson and Cornel West, white corporate America is the culprit. Corporate America in the form of Columbia, Atlantic, and Warner Bros., moved stealthily and shrewdly to lay down the framework for an eventual economic takeover of Rap even as Hiphop of the late 70's and early 80's took America by storm. A vibrant, politically outspoken, consciousness raising and pride promoting cultural movement, Rap music as it emerged in the late 1970s was informed by dynamic, new urban forms of dance, song, vernacular, music, clothing design, visual, and techno art. The music's rapid development spawned literally thousands of wealth-nurturing, economically empowering, community based, ingenious, free market, profit generating businesses and collectives from Brooklyn, to Atlanta, to Miami, to Detroit, to Chicago, to Dallas, to LA.

As a result the national recording industry moved to co-opt, to dominate, to control, and then eventually to direct the very evolution of what it saw as being, for itself, the most lucrative aspect of Hiphop culture: Rap music, the music Bill Cosby so truculently attacks. The question must be asked: What really lies at the heart of Cosby's bitter attacks on his own people and his ultimate defense of the master culture and economy that won't let his people go? If it walks, talks, and squawks like it, we can and should call it by its name: Black self hatred, spelled out with pudding pop sticks.


Rayfield A. Waller is a poet, cultural critic, labor activist, and political journalist who teaches literature, history, and the social sciences at Wayne State University and Wayne County Community College in the postindustrial city of Detroit, Michigan.