Is Southern culture perpetuating unequal practices or such thinking? For instance, the accused shooter, Dylann Storm Roof, in Charleston had Confederate license plates on his car, and the Confederate flag is sometimes used as a symbol of post-Civil War white supremacy.

Southern culture in particular and American culture in general often casually perpetuate racism in the present, often by recrafting narratives of the past. The Confederate flag, which flies over South Carolina, was not a long-lived historical symbol — it was the symbol of a rebel force against the United States. The “heritage not hate” trope conveniently skips over the central issues of the Civil War, the position of black people who labored in the antebellum South, as well as the costs that the war had on the nation. Symbols like the Confederate flag are common among hate groups, but also are part of the state’s image. The history of those symbols, along with the large number of schools and statues named for Confederate soldiers and even [Ku Klux] Klan members, create a hostile environment for those who understand the history of race in the nation, and those whose ancestors were painfully forced to labor under those flags during and after the end of slavery, and who had their lives terrorized by groups like the KKK.

Dylann Storm Roof is seen in his booking photo after he was apprehended as the main suspect in the mass shooting at the Emanuel African Methodist Episcopal Church that killed nine people on June 18, 2015, in Charleston, South Carolina.

Were you surprised by Roof’s age of 21? Why do you think a young white man from a young generation could be motivated to commit a racially motivated hate crime?

I was not surprised by Roof’s age. Outspokenness of white supremacists may be on the decline, but white supremacist ideology exists in a range of ages. Hate groups often have events where children are socialized into racial hate. As well, the Internet has democratized access to white supremacist information. If I am a white high-schooler who feels he has been mistreated while racial minorities have been favored, I’m only a couple of clicks away from a myriad of sites and message boards where I’ll find kinship with folks who are in legion of racial hatred or racial nationalism.

Read it all here.

Recently, Lupe Fiasco has been catapulted to national media attention, not (just) for his music but his political commentary. Two weeks ago on an internet interview with CBS Fiasco said, “To me the biggest terrorist is Obama in the United States of America. I’m trying to fight the terrorism that’s causing the other forms of terrorism. You know the root cause of terrorists is the stuff the U.S. government allows to happen. The foreign policies that we have in place in different countries that inspire people to become terrorists.” While this set off a firestorm of angry comments and media attention about Lupe’s uncritical eye and virulent condemnation of the continuing trope of Barack Obama as a terrorist, most of these comments miss the mark. Lupe Fiasco, as his name signals, routinely finds himself in controversial positions that are both contradictory and illuminating at the same time. Lupe’s comments about Obama and politics, in a way, channel Malcolm X’s and Martin Luther King Jr’s political commentary.

In November of 1963, Malcolm X commented on President John F. Kennedy’s assassination by suggesting the violence that took Kennedy’s life were “chickens coming home to roost.” At this time, Kennedy was thought of as a friendly president to Black folks and ultimately this became a wedge comment that alienated him from many Black Americans who identified as politically progressives but found his comments irresponsible given the contentious political climate.

Less well known, but equally allegorical Fiasco’s remarks eerily reflect Martin Luther King’s speech in 1967 at Riverside Church in Harlem where he said, “They ask if our own nation wasn’t using massive doses of violence to solve its problems, to bring about the changes it wanted. Their questions hit home, and I knew that I could never again raise my voice against the violence of the oppressed in the ghettos without having first spoken clearly to the greatest purveyor of violence in the world today — my own government.” While Lupe is no Martin Luther King, both were concerned with the government’s role in supporting violence locally and internationally. At the time of King’s comments the United States was enmeshed in a war that he found unconscionable and history would reveal was unnecessary.

In many ways Lupe has been outspoken about Obama’s military advocacy and in 2008 found himself in a flap with another Chicago rapper turned political candidate RhymeFest. Fiasco is no stranger to politically complex views, which he laments are often “dumbed down” into sound bites. Later in the CBS interview, Fiasco states that he does not vote and that his own beliefs about what a vote endorses keep him from the ballot box. Not surprisingly many have responded “If you don’t vote you can’t complain.” To Lupe’s credit he follows in a long line of Black commentators and activists who chose not to vote but offer critical commentary. For many, including Fiasco, voting in a two party system connotes support for a system that they find too limiting and non-representative. In “Words I Never Said”, Fiasco outs himself as a non-voter, “Gaza strip was getting bombed, Obama didn’t say sh*t/That’s why I ain’t vote for him, next one either.” His decision not to cast a ballot doesn’t curtail his speaking or even wearing his politics on his chest. Fiasco, as an avowed Muslim, has been known to rock “Free Gaza” shirts on stage just as easily as he does designer fashions. For Lupe, the continued instability of the Middle East is directly linked to United States involvement which makes Obama culpable given he is Commander-in-Chief of the US Military.

While we may not all share Lupe’s critical stance on Obama or American politics (and most of us don’t read the wikileaks wires, though we should) there is a line of logic and historical precedence for his comments. In listening to the knee-jerk responses to Fiasco’s words the significance of his hit single “Words I Never Said” rings out. The song is a critique of the curtailing of rights, particularly free speech, in an era of perceived freedom and liberty. If we don’t listen and take Lupe’s words seriously, it’s almost as if we’ve made his point even louder.

I can’t imagine what it must be like to be a white man nowadays. Spending years of your life preparing to be a Supreme Court justice—attending the right schools, slogging your way through state supreme courts, appeals courts and circuit courts, writing opinions, writing dissents and finally when an opening appears, the choice goes to another equally qualified candidate based on her race and gender.

Oh, wait! I can imagine it. As a black woman in the professional world, I’m very familiar with the concept, and not just because I’ve studied it in school CONTINUE READING

The second piece, by Sherrilyn Ifill, discusses Sotomayor, race, and the Ricci case in New Haven (my hometown). The perpetual labeling of consideration of race as racism frames the suggestion Sotomayor is racist.

The vitriolic and unwarranted charges of racism lodged against Supreme Court nominee Judge Sonia Sotomayor this past week constitute a new low in confirmation character assassination. CONTINUE READING

Lastly, Media Matters, rightly places context around the quote, “”I would hope that a wise Latina woman with the richness of her experiences would more often than not reach a better conclusion than a white male who hasn’t lived that life” that has been exploited by the Right to bolster racial paranoia around Sotomayor’s nomination.

Alright kids, that’s what I have for you today on the Sotomayor round-up. There are a lot of things happening locally that I’d love to comment on, but just haven’t had the time. I’ll be back!