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North Carolina: A State of Shock

...from any legal restraints (and public disclosure).21Michael S. Kang, "After Citizens United," Indiana Law Review 44, no. 243 (2010): 243–255. Whatever their differences, these corporate-funded groups are united by two...

Africana Archives: Making Art at the Schomburg

...repositories of Africana art, as places of historical significance in their own right, and as places and resources for Africana art making and creativity. Africana archives in the United States...

The Medicalized Border and the Politics of Exclusion

...death in the United States, of a Mexican toddler in Houston. Conservative talk radio pundits Michael Savage and Rush Limbaugh immediately linked the flu virus with "illegal immigrants," the incompetence...

Lift Every Voice and Sing: The Quilts of Gwendolyn Ann Magee

...of fancy.2Edith Mayfield Wiggins, telephone conversation with author, July 10, 2014. Hers was a childhood surrounded by art publications and crafts in various media, and included museum trips to New...

A Plague of Bulldozers: Celestine Sibley and Suburban Sprawl

...Celestine Sibley was one of the most read writers in the southeastern United States during the last half of the twentieth century. Her columns—some ten-thousand during her career—appeared almost daily...

Farmland Blues: The Legacy of USDA Discrimination

...labor-intensive to capital-intensive operations and, spurred by United States Department of Agriculture (USDA) subsidies, expensive machines and chemicals dominated remaining farms. Black farmers were often unable to obtain credit, information,...

Three Black Towns: An Excerpt from Black Landscapes Matter

...to Black people, the town was originally located on just over one hundred acres in what is now known as Greater Orlando.5United States Department of the Interior, National Park Service,...

A Real American Horror Story: On Steve McQueen's 12 Years a Slave

...too close to home, the horror that helped build the United States and continues to haunt us. Solomon Northup in his "plantation suit," ca. 1853. Engraving from Solomon Northrup's Twelve...

References
1.	David Denby, "Privilege and Bad Manners," The New Yorker, January 7, 2014, http://www.newyorker.com/online/blogs/culture/2014/01/steve-mcqueen-armond-white-controversy.html. In a statement to the Hollywood Reporter, White refers to himself as "the strongest voice that exists in contemporary criticism," and claims that several influential New York film critics are using the concocted incident as a chance to convene a "Communist-style special 'Emergency Meeting' supposedly in the interest of legislating 'decorum'—a meeting based entirely upon something that none of them actually heard and one that is really intended to purge me from the Circle." See Scott Feinberg, "Embattled Film Critic Armond White: I Never Heckled Steve McQueen," The Hollywood Reporter, January 7, 2014, http://www.hollywoodreporter.com/race/embattled-film-critic-armond-white-669032.
2.	Pitt's presence in the film is one of 12 Years a Slave's few missteps. Having such a recognizable star come in and play a kind of angel figure distracts us from both the miracle of Northup's staying alive and the power of Ejiofor's performance. Had the role been played by a younger, less well-known actor, it would have highlighted the randomness of Northup's delivery from bondage. This problematic choice to cast Pitt (perhaps made by Pitt himself in his role as producer) has had repercussions outside of the film itself, as a poster advertising 12 Years a Slave's Italian release featured a huge headshot of Pitt looming over a much smaller full-body profile of Ejiofor. The poster was quickly recalled, but not before it led to a backlash from critics who felt the marketing was focusing on the film's white stars (there was also a poster featuring Michael Fassbender, who at least has a lot of screen time) at the expense of its two black leads, Ejiofor and Lupita Nyong'o. The poster was made by a third-party distributor and reflects a long-term problem Hollywood has had in marketing films focusing on people of color, particularly in international markets.
3.	Recently, Phil Robertson, one of the stars of the astoundingly popular A&E television show Duck Dynasty, gave an interview to GQ in which he said (among many other things) that: "I never, with my eyes, saw the mistreatment of any black person. Not once. Where we lived was all farmers. The blacks worked for the farmers. I hoed cotton with them. I'm with the blacks, because we're white trash. We're going across the field. . . . They're singing and happy. I never heard one of them, one black person, say, 'I tell you what: These doggone white people'—not a word! . . . Pre-entitlement, pre-welfare, you say: Were they happy? They were godly; they were happy; no one was singing the blues." See Drew Magary, "Duck Dynasty's Phil Robertson Gives Drew Magary a Tour," GQ, January 2014, http://www.gq.com/entertainment/television/201401/duck-dynasty-phil-robertson.

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