If you don't see the video above, click here.
Mae Jackson is a New York City based writer, poet, dreamer and doer whose record of activism on behalf of her people stretches back to SNCC. A founder of Art Without Walls, an art program for the children of imprisoned women, she is well acquainted with the difference between surface change, and fundamental, revolutionary change.
Here are a few minutes of her address to the crowd at May 31, 2009 event memorializing the early 20th century Harlem activist Hubert Harrison, in which she lays out a clear understanding of whose lips move when our First Black President speaks. Referring to some of Barack Obama's widely acclaimed orations at the Democratic convention, atop Lincoln's tomb, and other places, she tells us
“..those wonderful speeches made by the young man from Chicago were actually crafted, that's written, by three young white men 25, 26 and 31 years old. We got the unfortunate opportunity once again to see the world through their eyes. Obama was the spokesperson. Same as when you buy a painting, that doesn't make you the painter...”
She explains how the establishment turned took the politics out of activism, neutralizing and de-politicizing young political activists by turning them into “community organizers."
Maurice Carney is the Executive Director of Friends of the Congo. He joins us to discuss the ongoing humanitarian and political crisis in eastern Congo, where the Rwandan government continues its…
Tag, a Spirit of Mandela coordinating committee member, joins us to talk about their upcoming community forum at Medgar Evers College in Brooklyn on Saturday, February 1st. This is the first in a…
Margaret Kimberley was recently a guest on Jamarl Thomas's YouTube podcast. She discussed her latest Black Agenda Report article on “The Death of DEI.” The issues surrounding DEI are contradictory.…
Black people must be discerning about racist attacks on DEI programs while also acknowledging that “diversity” can be a con that damages Black politics, just as it was meant to do.
Langston Hughes’s 1943 poem against fascism is precise, droll, and eternal.
