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hello and welcome
for week eight we're going to be looking at the black arts movement uh...
really starts in the
nineteen sixties becomes a real cult culture of course the nineteen sixties
just as we see in the sixties and seventies the emergence of the feminist
art movement and as many of you who wrote the *** theory paper are aware
also the
gay liberation movement at lotsa movements that were standard on
recognizing
identities that were not white male identities and making them
uh... part of
the
cultural mainstream uh... a process that has been going on for a long time and
you know it has become
i think maybe four
people who are
uh... that uh... up-and-coming generation don't have any memory of of
it being a it and any other way that you know we have a sort of
multicultural society but that wasn't always the case you haven't done it
images in the viet
found the people who have positions of power uh... all of that was really
really kind of um...
and i would say homogeneous
and it's really in this period of the fifties and the civil rights movement in
the nineteen sixties with these other identity movements also although we will
be talking about of course the american indian movement
that there's a real place for a change in
the culture and and whatever he said it is a little bit about the emergence of a
kind of
and
art world version of this among black artists so thats will be looking out for
this lecture
and i don't want korean you a little bit to the history of this time period more
broadly speaking just to give you a sense of the kind of momentum for change
that was going on
by the time of the nineteen sixties in the nineteen seventies with the black
hearts movement more generally of course you have
that very active civil rights movement of the nineteen fifties and sixties
where
african-americans especially in the south but also in the north were really
agitating
political change
to an end to discriminate to revive and practices in america
uh... this was famous sleep course led by a couple of very prominent leaders
we've remembered quite most but mostly we remember martin luther king junior
who was then have assassinated in nineteen sixty eight
martin luther king junior who
was famous for his application of
non-violent resistance to
unfair of lies
and for organizing marches for organizing sit-ins at lunch counters
that door boycotts of buses that would discriminate against and black writers
happiness leaky wedding march from selma alabama nineteen sixty-five images of
which were aired on television and really kind of
galvanize the nation to realize that there was a need for change
and when you start
police in selma alabama actually seeking police dogs and little children
uh... who words simply marching
for uh... civil rights okay
uh... also there is to really two strains of the civil rights movement one
that advocated
peaceful non-violent resistance
like martin luther king junior and then
more
i would say
maybe uh... app
proactive or more militant stands on the part of people like malcolm x malcolm x_
he said
and you have to put this in the context of the day when you have people being
lynched uh... tanah
fairly regular basis are
not just in southern towns but also hearing in indiana
four
really fervent mob activity would find a young black man and
uh... execute him you know um... extra vehicle e
that's another mac said you know recapping violence with violence and if
we need to arm ourselves
and claim our civil rights through violence then so be it uh... malcolm x_
also is the athlete in the nineteen sixties and i bring you news it because
i want to get a sense of the feeling of
pressure and crisis that is building in the country and dave
they'd be really
deep seated need for change and for advocacy that is felt
apa specially in an effort in new york and at this time
it later nineteen sixties you also have
major race riots in the biggest cities in uh... in the country including
detroit los angeles new york in chicago and elsewhere as well
uh... where people who
whose neighborhoods where blighted work people who were being an
unfairly targeted by police were resistance simmering tensions that boils
up in this summer's at sixty seven sixty eight
in nineteen sixty eight south of the democratic national convention in
chicago which
was the scene of a lot of uh...
uh...
culvert underground political activity as well as those you know about gramm
political activity of the convention their words and things like abbie
hoffman
trying to use them disrupt the convention
there were m
it there there's just a sense of the late sixties are baghdad
deep burning for change in america and that is where you're going to see the
black arts movement emerging
well that c_n_n_ just mention these so i'm not going and go into these too much
but i do have a reading on the website of one if you do this is this spam
first exhibit al plaque artists in and
major new york museum the metropolitan museum of art some harlem on my mind
nineteen sixty-nine exhibition
which became the flash point for
a group of artists in new york to say we really need to do something in fact they
organized a group called the black emergency cultural coalition b
bcc
which was in
group of working
professional artists if you said
you know the problem with the metropolitan museum of art exhibit as
you well know from reading
is that it's not really in art exhibit it is a sociological exhibit it's
pictures of harlem by photographers it's not actually are created by artists in
harlem it's not a real exhibit
we're not being treated
like artists the way that white artists are being treated were being treated as
a kind of curiosity
our exhibit in the metropolitan so
there was a real
sense
uh... need to change the way that
pat that bad people in karen institutions
understood
or a recognize or even realize that there was black art
so the black emergency cultural coalition advocated for stuff like
having a black curator and the staffs at the major museums in new york like the
whitney museum of american art
they also advocated for the creation of the museum it's still there the studio
museum of harlem which actually is a space that devotes itself to
uh... exhibiting african-american artists
artist not ads
you know sociological curiosity
so this will be one of the things that is a driving
kind of you know motivating force behind the creation of some of the artist
groups that
uh... are and merge in the nineteen sixties
and seventies the one that we're going to look at is a particular group and
some of the these
folks are still around unfortunately i mean as time has moved on some of these
that original members that africa oprah had passed away in the past few years
back
africa over is one of the groups that emerge from this and seen and that's
what we'll be talking about and i wanted to just show you some images today
before i need to africa over i just wanted to show you
uh... the kind of unicef that's going on working artists in the nineteen forties
uh... that fifties before the emergence of the east cc in culver and after
covering all of that
norman lewis was actually abstract expressionist
peter who ordinance intimate with people like
jackson pollack and i will be coming with whom he was friends
this thing about normal to listen to experience that he had that was fairly
unfortunately typical for african-american artists was
he actually told the story of being an opening about pat abstract expressionist
paintings that of which one of his paintings was on the exhibit
and being mistaken for the
e gallery staffing being handed in empty during class to take away
uh... ended this is you know it seemed like a small incident but it's the kind
of things that isn't damaged in the culture of the time the assumption that
a black person in the gallery is not there is an artist but is there because
they're part of the cleanup staff
and in fact
much like with women artists who were part of the abstract expressionist
circle who found that you know they could apply for jobs with their event
dates as teachers in college but they couldn't get them out of their husbands
could
um... the same kind of thing happened to you
african-american artists they couldn't
normal who is actually ended up founding um... program at the y in harlem where
he taught young
people in harlem um... art but even though he had and i think agree he was
able to find out of work in a job working as a professor even though he
was examining what the abstract expressionist even though he was kind of
a member of that circle
um... there were certain institutional and cultural barriers that were in his
way so
to show you one of his paintings from the nineteen forties
and have a couple of wine out norman willis
ehrlich other abstract expressionist as his career went on he became more and
more politically engaged teens teaching kids and harlan he became part of one of
the
predecessor's of that b_c_c_i_ group called spiral
didn't it exists for long but was another cave one of these attempts and
that part of that group of ab effort in american
artists you create an advocacy group
organize exhibits into promote
black arts
uh... so normal lewis's paintings also take a shift to any kind of more hands
substance or subject oriented
uh...
approached
then you would seem a bit more so than you would see that the other abstract
expressionist
case in point this is his nineteen fifty-five painting which i think it's
the is stew
working in this abstract expressionist loaded it's not particularly
representational
it's an of large canvases painted all over
out of this
tumbling sort of non representational composition but did it has a title that
suggests that they're is
it related social content here
harlan turns white from nineteen fifty five
and then back in nineteen sixty three getting even
warranty this boat here is his again it has sensibilities that stacked
expressionist paintings as you can see rights and all over at large composition
it's very brasserie painted
but as you're looking at it i think you can probably see
there are some of
things going on in this painting where he is referencing stuff that's happening
in the larger world and remember he's
working at a time eddie's conjures up the kinds of social things that are
going on in the country so evening rendezvous from nineteen sixty two
if you look at it first i hope you notice that they have been colors that
have been merged in that great background are read by in blue
second i hope that you notice that the white figures
by the white splotches the white areas of the canvas
resolve themselves into looking like they're uh... wearing hats leaked and
the things that caps of the ku klux ***
and carrying crosses
these are of course to the major i cannot refuse of the ku klux *** this
extra legal
i would call them terrorist group that in the nineteen love really through the
twentieth century
particularly prominent in the thirties forties fifties
and sixties
that while you were seven thirty span anyway that they that one of the ways
they attempted to you
uh...
keep the so the status quo keep bill social order with white people having
power and black people being disenfranchise astute
intimidates people
to threaten violence to dress up in these white rose in the middle of the
night
plant across on someone's line and lighted on fire as a way to send a
message of intimidation
so this is something that normal lewis is actually referencing in his painting
and that of course they making it a red white and blue painting he's making some
suggestions perhaps formally here
ways in which racism perhaps is permeated through american society so
again unlike other abstract expressionist who really remains
uh... apart from politics norma bill is particularly as leader paintings really
becomes engaged in politics
and that will be one of the hallmarks of
the placards movement is
when you have pop artists doing
stings a blitzer formally similar
uh... bit
pop artist like andy warhol i mean in the case of these artists of the black
arts movement they are going to be very specifically political in their content
where
pop artist might be you know lake tongue-in-cheek an ironic
have a place so what's the here's another example here is that
from uh... spirals one show in nineteen sixty five
uh... so-called black and white in which all the paintings were done and all the
images were supposed to be black and white this is another one of the artists
at the placards movement reginald gammon
out his painting freedom now
in shades of black and white very much that kind of uh... a pop art style a
very graphic style i would say uh... program innocent of something
might expect to see coming from andy warhol a silk screen artists or
something like that
but here what he's done it has taken in newspaper image obvi
civil rights march and herded into alla and oil paintings so where are you would
have a right lichtenstein taking a sunday paper
and turning that into an oil painting
forum
you know it and playing with batteries of high above your reginald gavin is
taking the same kind of source in putting into came to a higher media but
he's got a very
explicitly engaged political reason for doing so
and here's just one of the many kinds of images that you can see in the papers at
that time
backgammon would have taken ads his uh... as his inspiration
but see here's another one of the artists of this
spiral groupelabrie puritan um... just died about ten years ago romley beard
and really really
important as any art historian for african-american art as well as a uh...
practitioner as a as an artist in this is his
and one of his series to them
from neither one of these images from the series called prevalence of ritual
and uh... this was in the spiral black-and-white show where the subject
matter that he's taking is specifically african-americans so
he drew inspiration from
the streets of the city where he grew up from knowing uh...
uh...
well from from
from his background and then putting
figures of people
or the idea of um...
figures of people that he would have known
in collage foreign into
these kinds of compositions
uh... one partitioned by reverend puritan
this is not as far as part of my two of the care
have also just to show you he's developing what that means that a lot of
these artists of the sixties and seventies decide they're going to
self-consciously development african-american is that it works
and africanist setting as opposed to the prevailing
uh... white aesthetic in galleries so here's robbery puritans three-fourth
musicians from nineteen sixty seven breeze working in this collage format
where he would cut out
uh... it was a combination of you know cutting out newspaper and magazine
images and using it on
well-paid
in this case he's doing
as you can see three folk musicians wearing overalls and wearing madonna
uh...
sort of country clothing
playing guitars and banjos the banjo being a quick pace pacific lee
african-american instrument actually musicologist think that the banjo the
actual physical form in the banjo comes from
a west african musical instrument instead that the history of the banjo is
one of the memory
making these um... instruments the stringed instruments in west africa
comes across in the middle passage and then when people of african
origin are in the uh... in the colonies and then the united states
they have remembered how to make these instruments in this develops into the
banjo
anyway while getting off track here three folk musicians is actually a
rip-off of the picasso painting from the nineteen twenties he's using a similar
composition he's using similar colors
at using his own
his own style the and that
references to african-american figures as opposed to these harlequin figures
he's by picasso
asa doing extended african american version of this modern classic and i
have that in the next five just to show you
so there is the three musicians from nineteen twenty one where picasso
has done this kind of and synthetic eunice painting of three musicians
playing
the department beilin
uh... them
uh... clarinet
as opposed to murmuring puritans qatar and tangents
okay well
that is that one of their a couple of the trends they we see developing in
black part of the nineteen sixties and seventies
developing a self-consciously africanized aesthetic
and which is one strand of that it also political engagement political and
cultural engagement
to try to that change in society
that all comes together
in this group called the organization of black american
winds in nineteen sixty seven
started h
public our project in the wall mural on and uh...
this side of the building
in on the south side of chicago not too far from their actually
you know in the same neighborhood where
ab louis farrakhan's ministry worker his his hand took the nation of islam uh...
muskie's
this was not too far away from there too so it's a sort of at the center out
uh... an emerging black cultural nationalism that you've been reading
about hopefully peed in reading all the stuff i had posted
in blackboard
uh... on the south side of chicago
mural include
figures like uh...
ella fitzgerald duke ellington muhammad ali
the loneliest monk
high achievers in it
various fields professions and whatnot in
and various important figures in american culture
that people walking by on the street could look at that and feel proud about
and realize that these are people upgrade accomplishment
and they look like me
so the wall of respect
was aid
self-consciously
political
piece of art
meant to raise consciousness and to instill a sense of pride
meant to
uh... drill into the brains of people on the street walking by that you know you
can be more
all right so meant to change the culture meant to up with society
uh... led to proclaim to the world not white as well as that is black
you know these are significant achievements in american cultures so the
wall of respect
and early example of this organization emerging inch
probably in the nineteen sixties leader nineteen sixties
uh... petty but you know corollary to that
other kinds of agitation that are going on at the time
so opec's walla respected chicago nineteen sixty seven
and sorry to say this is no longer there this building was actually turned down
by order of uh... probly sem
some functionary in the city of the mayor's office or whatever
in nineteen sixty-nine so this mural didn't stay up one but it is a good
kind of example of them
very politically in gauge public art that is part of their placards movement
many thing of course to note here is that it had been in fact some of the
artist of this movement had had even said this
they couldn't get there are ten regular galleries so if you can get your art
irregular gallery you might as well put it on the side of the building because
then at least it will be seen by somebody right so here
this kind of inside the galleria outside the gallery tension that we saw with the
feminist art movement is something that's going on here as well
the organization of black american culture v cons in that nineteen sixty
nine dash seventy africa
cobra
uh... the coalition of bad relevant artist bad in this case means good
business since nineteen sixties seventies slang sort of like that
became kind and sick recently have been uh...
slang terms for it meaning something good so africa a breath
the ad of the
coalition a bad relevant artists around
co grad they're actually had been a cobra nineteen twenties in europe and so
this is a reworking of that idea of the revolutionary society to affect changed
and finance pestilence available and blackboard
key parts of the manifesto are talking about what we're going to do what we
want to do is to raising a consciousness to make people aware of being black that
to you in braces idea to black is beautiful
this is another nineteen sixties movement uh... and actually goes back
farther than that but this idea of negative that that black is beautiful
that becomes
i keep feature in africa lovers art celebrating the beauty of black
americans black women uh... the manifesto also says we need to develop a
black aesthetic and we need to develop one that has the maximum impact maximum
visible impacting you'll see all of that when we look at africa over art
desperate just a word that refers to a group of people who come from one place
but have been scattered around the world and in the nineteen sixties one of the
things that people start talking about is this idea of an african diaspora
it is true that because of the transatlantic slave trade
pat people who artpad african origins
maybe now the many generations back but not always
uh... living all over the globe particularly in north and south america
as well as on the continent of africa
this movement in america and to sort of towards black liberation black cultural
natural nationalism black pride
happens to coincide with that
bass vestiges of colonialism in africa in the nineteen sixties and what i mean
by that is that
haven't been there
eighteen hundreds
and early nineteen hundred's africa had been carved up and turned into you
basically colonies of european powers
in the nineteen sixties the very last of the european controllers of governments
in african countries
polled out and so there was his decolonization in africa in the nineteen
sixties
so you have the sense that hot
african peoples or
peoples of african descent around the globe
finally getting
parity finally getting control finally being at you know uh... out from under
the chains of uh... uh...
of oppression and so
his pan african idea is another thing that you see in the work out these
artists in the nineteen sixties
so we'll just take a look at some of this p m damndest this should be no
outside the things you can read
now you can cause this light if you want to add it is that like this quote from
wearing heels black hearted black liberation talking about what it is that
the placards movement has to do right
we have to see ourselves in positive terms we have to
daryl
artistic language we have to drive our own sources because white european
sources
denigrate awesome you know people don't betray
africans as beautiful
people done for trade
us in a fair lights and we have to develop our own
representation
so you can cause this to read it if you want
so you see a couple of examples that are a couple of things to know too
doesn't change a route was um... mary to while courts around there was a member
of africa abrupt
j_j_ well actually was a kind of fashion designer and here she is
as she has created a m nineteen sixties
uh...
a new kind of uh... at issue that i really like this this is the
revolutionary suit if you look closely you can see that look hell of her jacket
is actually and cartridge belts and ammunition belt
that has been uh... tacked onto this very
proper nineteen sixties leaving like suits so she has
and embrace this idea of uh... uh... militants you know black activism
uh... another thing that's going on here since we're in what's called an afro
natural hair style
that uh... that is
don't use any chemicals don't use any st mary's grow your hair out the way that
god intended it the way that nature intended it
that it is beautiful just as it is it doesn't need to be
straightened it doesn't need to be tamed it doesn't need to be yet nothing has to
be done to make it is beautiful as he did so
the event i don't know people are aware of this anymore but the afro
style on men and women in the nineteen sixties and seventies was actually very
strong political statement about the idea
my hair is beautiful just as it is it doesn't need to be corrected it doesn't
need to be changed
uh...
but now i mean i was very powerful statement and this is another example
alarm if they mean feminist believed this to you that the idea that the the
body
and control of the body and who
mood is allowed to determine whether is acceptable and unacceptable
this it is
not just personal choice it is it
political in nature and that sort of where jade iran's revolutionary seem is
going
sorry about that probably most famous of these m
the zack roses warren here by angela davis is a great university california
professor
uh... who was associated with the black panthers and was arrested
uh... for revolutionary written subversive activity
as she made the after a fantasy you know this very beautiful
woman wearing a natural appareil as opposed to having her hair chemically
straightened this was at the canterbury
theory based
kind of political statement but she's making
in africa culbreth this manifest itself in paintings like jeff donaldson's wives
of saying go where you can see that he has taken j_j_ rails revolutionary suit
intern that idea
we've got a couple of women wearing
these m
cartridge belts everybody how they all have
afro hairstyles and here at this is uh... painting that's meant to showcase
and celebrate the idea of
these women as beautiful and as revolutionary and as powerful
here's that ben jones
blackface and army unit where he's taking me the colors and the patterns
that you would find
in west african textiles and has applied them to you
these manikins these mannequin
arms and faces
but see here's another
for example in africa over artist is network by jack donaldson it's from a
little later but it again has the kind of africa over aesthetic that bright
laid collars
patterns that suggest uh... african textiles
then
the whole
uh... what it said reference to the idea of them chassis music you can see the
keyboard there in front
and they've figured armed with those great fingers kind of coming out from
the wave pattern and that um...
hearing about having playing the piano since its nineteen
evoke the idea and there's a m
singer to right
uh... you can just see that yellow line going up to the right there holding up a
microphone and then there's her face and then you can see the bass player on the
left hand side you can just make out those strings going up
to the web so it's a representation of jazz music which again
african american art form
celebrating
and celebrating african music it or african origins of music effort african
hispanic frightfully colors
uh... in this barge it'll help
ab back to the nineteen seventies here's a good example of the kind of um...
africa brace that a quick break cooley colors this simple wearing a simple
clear message
he reviewed night this was actually again wall mural
meant to obviously be seen by lots and lots of people in here you have
the word unite repeated over and over through the background of the
proposition
you have that many figures in the foreground
painted in a style that it's reminiscent of pop art but again unlike pop art
which has this kind of ironic distance friend its
content
this is very purposefully meant to be
antes del political peace
uh... what these folks are doing is holding up one fist in the black power
saloon so this is an idealist is a
the idea of
uh... unifying
eat pan african movement uh... and the idea of power
here's another example from mid-nineteen seventies of one of these wild murals
missus unite africa
and do it by another one of these artists nelson stevens and here again
you've got to break cooley color isn't that good clear simple message here if
you read the actual words on the wild says work to unify african people
your using the very center of the world
eight map of africa
the colors that are being you
used green yellow black and red private
colors the
uh... african national congress this is the political party that in south africa
was working to and apartheid in there
fifties sixties and seventies and beyond
out of those colors are as sociated with
pan african unity as well
so the colors
are specifically political
the messages political even if it has a pop art aesthetic to is not pop art
because it has this very specific political engagement
and finally just wanted to show you this city
classic example from nineteen sixty nine uh...
the difference between pop arts and um...
black the placards movement of the nineteen sixties this is by an artist
you may have run across as a children's book author in more recent years this is
for nineteen sixty-nine
peace at its a flag and it was done for a flag show actually people's plaxo and
you can't just make out here and i would just get worn you i've got a do some on
uh... unpleasant language here
when we get to the next slide i think if you smoke
carefully you can probably see
the word that's incorporated into the flag here so let's look at the next
fight
sustained wrinkles
flag to the moon from nineteen sixty nine remember nineteen sixty nine is the
year at the moon landing
uh...
when an american flag quite famous we planted on the surface of the moon
adhere the subtitle is dying maker
what is faith ringold saying in this painting this boil painting that
this is what jasper johns had taken the flag and done lots of auto paintings of
the flag but clearly he wanted to you as he said no
is a symbol of the so familiar was drained about meeting it meant nothing
in it became a vehicle for this sort of surface texture that he was working with
revolve has a very different agenda with flag for the moon
uh... and what she seems to be suggesting is that racism is
hold only in and it came to you
totally embedded into the culture inseparable from the flag it actually
makes up the strides in the stars of this flat rate
so a priest wrong political statement being made in this painting a very
strongly critical statement critical of the united states
so
day at the polar opposites suggest for jobs basically
uh... here's another example of the ways in which the black arts movement of the
nineteen sixties and seventies becomes very politically engaged here's betty
sears liberation of aunt jemima from nineteen seventy two and this is
basically it's like a little box that has
a sculpture in it
now if you look carefully at you can see the back of the box has the smiling face
of the edge of my america's icon uh...
uh... popular culture this i kind of advertising
there even though there is this very crudely caricatured figure out uh...
manny type you know very very
group b_ and
drug features unfair crudely sculpted features of the face indicated curved
metal midsection there is another kenneth
this is actually early twentieth century
typical them you could buy postcards like this you couldn't see advertising
like this
about black mini holding a white baby and then in front of her you have the
black
in one hand into my knot or gives me anything here which is her ancestor
as holding a brutal in her other hand she's holding a shotgun so the black
characters from the shotgun
in that
uh... in this
milieu within two-minus suggesting that
something is going to seize right here again this is very different than the
way the pop artist of the nineteen sixties bike as likely to see you would
take advertisements and make them into oil paintings completely
without anything
intent to
yelled seems society and i i really do
somebody like lichtenstein
although he was shocking to the gallery world of the time looks kind of tame
compared to betty sears liberation of into mine i think
i here you've got her taking on advertising in pop culture and making a
very different commentary at that
uh... in case you're not familiar with the stuff i got in the next fight a
couple of examples of images of into my vent that are the things that that is
sayre is working against in this little image here
so let's see there at the bottom you've got a creamer and
creamer and sugar bowl of uh... uh... these many figures that you might be
able to find
uh... that were commonly sold and tell you cross america and they've now become
collectibles but they were commonly sold calmly scene
uh... well into the nineteen sixties and seventies
there in the right isn't it by looking cake flour this is an early example
embittered by the pancake flowers actually introduced to the eighteen
ninety three units and really fearful of the tree park advertising her
on the left is a nineteen
four teams
abit ended here you can see that kind of um... caricatured language that insipid
in this mainstream out that would have been in like bike magazine body folks
showed she has a fluffy energizing into mind the paintings
again this is stuff that was considered acceptable doesn't set the people
thought of as mainstream is the stuff that this is the typical representation
of a black woman
uh... had entered people's consciousness and it was the kind of thing that jeff
donaldson the wives of saying goes working against sad sad angela davis
with her after i was working against
that um... betty seer is taking on directly in her liberation and aunt
jemima
and here's another example is the male version of the edge of my not so here's
a nineteen forties ad
for whiskey
and there's a
who'll be the loyal servant you know we're happy that we have been put on his
uh... white
and in this case the employer but basically uses you know redoing the
whole plantation legend is the kind of big
that these artists in the nineteen th six sixties and seventies art
wanted to throw over
here's another example is is married delays them had to buy the section
twenty two from nineteen sixty eight health watch all of these artists of the
placards movement to finance a minor because he had to mind though was such a
iconic figure in the american imagination and this idea of the man he
was so iconic in new york and imagination so there you can see
sees taking her out *** twist concedes getting ready to on storm out
she's got a breast baird avs is a reference to dalat plaza um... uh...
image of of liberty meeting the people you know
there she is getting ready to start out of the inter-mountain making clara
barton go heaps of by right
so um...
this is the the the dung
basic training
either the placards movement that i want to be gat is the difference between
uh... our attitude that political engagement of these r_t_c_ issues of the
time especially issues that are concerning to the african-american
community
and that is there a couple of words that he knows he can pos in this flag need to
to have them to make sure that you know what we're talking about here
uh... imagine marginalization by name but that's this idea that you know
there's one
there's one set of standards dorm of american and that sort of a white guy
and that anybody who doesn't think that paradigm is on the margins not
represented is not part of um... regular culture
that sent and uh... next time we'll be moving on into the nineteen scenes