OK, no Lifelines, no 50-50s, no Audience Participation if you want to be a millionaire: Name the first great African-American sitcom of the New Millennium... Correct! The 2000 presidential election, as perpetrated in Palm Beach and Duval counties.
Imagine, black people actually thinking they could vote. Cue the laugh track. Go to commercial.
If you're already nostalgic for the kind of pure entertainment value offered by the perversely fascinating Florida (bamboozled, indeed), don't fret. There's always the WB (as opposed to the GWB) or the United Plantation Network, to sustain your sense of cultural (dis)equilibrium--as well as a Lester Maddoxian sense of race separation. Ever watch The Steve Harvey Show? Yes? Well, don't be shocked but you may be black: The number-one rated show among African-Americans, it's been all but unknown among the rest of the population.
If the accession of George W. Bush illustrated anything--other than the awesome power of television to stand by and do nothing--it was the cyclical nature of black access to power in this country, on TV or off. In 1876--as we all know now--a rigged election signaled the end of Reconstruction, the rise of Jim Crow, the establishment of the hangman's noose as symbol of Southern recreation and, until the Scottsboro Boys case in 1931, a national coma as regards racial mending.
But only eight years after Scottsboro broke, Ethel Waters was asked to develop a show for a medium that was itself still in development. By the late 1960s, The Brady Bunch had taken the one institutionalized black figure on mainstream TV--the maid--and made her white. By 2001, Jerry Springer was refereeing an on-air fiasco that could only be described as a racist's dream, showcasing, as it does, the dregs of the population, black and white.
That so much of television's black content is currently in syndication--good or bad--is telling. Plenty could argue that Jim Crow is still alive and well on network TV, but it is hard to say that matters aren't better than they were: Many major programs have a major black character; Oprah Winfrey rules the waves. But it's also better than arguable that ever since lynch mobs became more or less unfashionable (except in Texas), television has exercised the kind of social/racial control over our culture that race laws once maintained, and via the same mechanism: Create an artificial universe, with artificial rules; give people little enough to keep them near-starved, but make enough noise about every crumb you do toss their way that the public will think you're a bomb-lobbing revolutionary.
The culture critic Donald Bogle doesn't ascribe so much power, or so much intelligence, to the medium he critiques in Primetime Blues: African Americans on Network Television. But he's certainly cognizant of the power of entertainment to skew one's perception. And oneself. Growing up in the Philadelphia suburbs, Bogle writes, he seldom saw black people he recognized on TV. Or situations, comedic or otherwise, that weren't filtered through a white consciousness. But he watched. And watched.
Early on, it was Beulah, with Waters--and Louise Beavers and Hattie McDaniel--refashioning for an all-new medium the near-mythic character of the wise and/or sardonic black servant. He watched the minstrelized antics of Amos 'n' Andy--which, to its credit, barely acknowledged the white world--as well as the caustic modernism of Eddie "Rochester" Anderson. Later, there were the "events" of Roots and The Autobiography of Miss Jane Pittman, programs reeking of network noblesse oblige. But it wasn't until The Cosby Show, he says, that he realized two things: a previously unknown familiarity with people he was watching, via a seemingly benign, but hugely influential--and successful--NBC sitcom. And an accompanying epiphany about the magnitude of network TV's failure to its black audience.
To no one's surprise, Bill Cosby emerges in Bogle's book as one of the three or four most influential black performers/entrepreneurs in the history of black television (along with Waters, the comedian Flip Wilson and the Wayans brothers, because In Living Color helped put Fox TV "on the map"). But Cosby also ties Bogle up. As a performer, Cosby has been averse to playing the race card for either laughs or points, and his silence has been eloquent. Bogle recognizes this, just as he recognizes that Amos 'n' Andy assumed an existential grandeur by existing in its own black world.
But in Primetime Blues--a companion to Toms, Coons, Mulattoes, Mammies, & Bucks (Continuum), his study of blacks in film--Bogle is torn: There's the sense that every opportunity given, majestically, African-Americans on TV (itself a repugnantly patriarchal concept) should be used to promote a positive image or political message. Conversely, there's the Realpolitik of mass entertainment. It's rather unclear whether he thinks Julia, the landmark series that debuted in turbulent 1968, starring Diahann Carroll as a widowed mother and nurse (working for the crusty-but-benevolent Lloyd Nolan), was rightfully criticized for not having more truthfully represented black people, whatever that means, or was a landmark nonetheless. When he says that the characters in a show like Sanford & Son might have portrayed real anger about their status and thus taken the show in a different and provocative direction, he doesn't say whether he thinks very many viewers would have bothered to follow along.
In this, Bogle skirts the two basic aspects of television's nature: First, that it is craven, soulless and bottom-line fixated. And second, that it is aimed at morons. Sure, Bogle can cite hundreds of examples of African-Americans being portrayed in a patronizing or demeaning fashion, but how many real white people ever show up on the tube? Shows like The Jeffersons and Good Times were cartoons, the latter perpetrating what Bogle dubs neo-"coonery" via comedian Jimmie Walker. But between The Honeymooners and Roseanne, how many regular series represented white America as other than upper-middle-class, Wonder Bread-eating humanoids? Television, in its democratic largesse, has smeared us all.
Some worse than others. If the only place you saw white people was on the evening news--the one slot where blacks were always assured better-than-equal representation--you'd have a pretty warped idea of white people, too. Which is why, Bogle makes plain, it's always been so important to get respectable blacks on network TV.
The history itself is fascinating. Waters, who acquires a quasi-Zelig-like presence in Bogle's account of TV's early age, personified the medium's ability to diminish whatever talent it sucked into its orbit. The original Ethel Waters Show included scenes from Waters's hit play Mamba's Daughters; eleven years later, she'd be back as Beulah. By 1957, she was destitute, dunned by the IRS and had offered herself up as poignant fodder for Edward R. Murrow's Person to Person, talking about Christian faith and a need for money. Finally, television, never sated, asked one more sacrifice and got it, when Waters tried to quiz-show her way out of debt via a show called Break the $250,000 Bank.
Waters remains a towering figure in twentieth-century American culture; after the fanfares of both Bogle and jazz critic Gary Giddins (whose Bing Crosby: A Pocketful of Dreams ranks her alongside Crosby and Louis Armstrong in her importance to American pop singing), she may be due for a full-fledged resurrection, replete with boxed sets and beatification by Ken Burns. But she isn't the only one the author resuscitates. In trying to achieve as complete as possible a history of the medium-in-black, Bogle also tells the unsung stories of other pioneering African-American performers--such people as Tim Moore, Ernestine Wade, Juano Hernandez, James Edwards--who more often than not had one hit show then went on hiatus, and from there to oblivion.
Among the encores given by Bogle (author of a first-rate biography of the actress Dorothy Dandridge) are Bob Howard, star of The Bob Howard Show, a fifteen-minute weeknight program of songs that went on the air in 1948 and was the first to feature a black man as host. It lasted only thirteen months. Howard doesn't seem to have stretched his material beyond renditions of "As Time Goes By" or "The Darktown Strutters' Ball." But the most interesting thing, besides his race, was that the network didn't seem to notice it--didn't seem to have a problem with bringing an African-American into white homes. Of course, the networks had yet to hear the five little words that have echoed down through the annals of black TV (and any other progressive programming, for that matter):
What about the Southern affiliates?
Hazel Scott was hardly the 1950s version of Lil' Kim: The elegant, educated and worldly host of the DuMont Network's Hazel Scott Show had already come under fire from both James Agee and Amiri Baraka for allegedly putting phony white airs on earthy black music--so, if anything, she should have been the darling of the powers of early television. But no. Allegations in the communist-watchdog publication Red Channels dried up sponsorship for her show. And even though Scott demanded and got a chance to plead her patriotism before the House Un-American Activities Committee, her show was canceled after just three months. Scott's fate indicated even at this early stage that television would flee from any sign of controversy, especially political controversy, writes Bogle, who is correct--except when money is involved.
Primetime Blues stands as a history of African-American television, but there's more than enough subject matter to fill two books--a sequel could deal solely with the current ghettoization of the evening airwaves--so Bogle steers mostly clear of analyzing white television (you wish he'd at least dug deeper into the influence of black TV on white TV). But he can't ignore All in the Family. Not only did it spin off one of the most successful black sitcoms ever--The Jeffersons--it had a stronger kinship, albeit an ironic one, to black sitcoms than it did to white. It might even have been a black sitcom, sort of the way Bill Clinton was a black President, by the nature and limits of its experience.
Bogle places himself in the rather illustrious camp (Laura Hobson, author of Gentleman's Agreement, was one critic of the show's "dishonesty") contending that Carroll O'Connor's bigoted Archie Bunker, who brought "hebe," "coon" and "spade" into prime time--and ended up one of TV Guide's Fifty Greatest Characters Ever--did nothing to break down racial barriers but in fact reinforced the very racist attitudes the buffoonish Bunker was supposed to make look ridiculous. Cosby hated it; Lucille Ball (who, it is left unsaid, had one of the top-rated Nielsen shows before AITF premiered) weighed in too, comparing Norman Lear's groundbreaking comedy to the days when "the Romans let human beings be eaten by lions, while they laughed and drank."
CBS pooh-bah William Paley, who originally thought the show offensive, became a big supporter once it became a smash--to the point of ordering that a study he'd commissioned, one that confirmed what critics of the show were saying, be destroyed: What can we do with it? Paley asked. If we release it, we'll have to cancel the show.
Bogle is good at comparing Amos 'n' Andy to In Living Color--shows whose humor would never be viewed the same way by black and white audiences. And he appreciates that while early performers like the Randolph sisters--Lillian (It's a Wonderful Life, Amos 'n' Andy, The Great Gildersleeve) and Amanda (The Laytons, Amos 'n' Andy, Make Room for Daddy)--could add nuance and dimension to otherwise cardboard domestic characters, their roles were mostly nonexistent outside the sphere of their white employers. But he misses what I think is the lasting point of All in the Family: Archie Bunker, a furious, frustrated vessel of negative energy, was defined solely by his hate, solely by his proximity to the people he considered inferior or worse. He existed in a parallel zone to the one that had been created as a ghetto for black performers for decades past--a zone that defined him not by what he was, but what he wasn't. America didn't get it, of course, and CBS didn't intend it, but what All in the Family turned out to be was a perverted version of Amos 'n' Andy.
The grand ambition of the Rev. Al Sharpton.
In many instances, those who fetishize holy objects or sacred places are the very ones who exhibit the most depraved indifference to human life.
In the near future we plan to expand our faith-based initiative, Holy Terror Sandblasting and Demolition Corp. New York City Mayor Rudolph Giuliani finds much merit in our proposal for a workfare program in which homeless people (men only, naturellement!) would be trained in medieval theology, art criticism and the use of explosives. Please send dollars and the floor plan of the Brooklyn Museum. Or else.
Dear Professor DiIulio,
With medical costs going through the roof, you'd think there'd be a better way. And now, with the Lord's help, there is! Our idea is to buy up struggling inner-city hospitals and turn them into profit centers--no doctors, no nurses, no fancy-shmancy machines and best of all, no messy malpractice suits. Just the blessed healing power of prayer, provided 24 hours a day at bedside by recovering drug addicts as part of their therapy. It's total win-win--the government saves, the patient is saved--if not in this world, the next. And that's the world that counts, right?
Rev. Tommy Johnson
Pentecostal Holiness Church, Memphis, TN
People say communism is just another religion, and they're right! We have everything the other faiths have--an all-encompassing worldview, sacred texts, meetings (and how!), schisms, excommunications and declining numbers and influence. We'd like to reverse that last item with funding for our workfare proposal: First, we provide welfare mothers a crash course in job readiness, parenting skills and the works of Karl Marx. Then, we get them jobs in daycare centers, where they pass their new "faith" on to the next generation, hopefully in time for the stock market crash. Don't count us out--a god that failed is still a god.
The Communist Party, USA
Dear Brother in Christ,
Did you know the Chicago Archdiocese has an exorcist on staff? Our faith-based initiative, The Exercist, would get this superbly trained but underutilized man out of the apse and into the community, where he'd help the so-called mentally ill get their sillies out with a carefully graduated low-impact aerobic workout that goes beyond head swiveling and projectile vomiting to get at the real nitty-gritty of diabolical possession! Then, everyone cools down with a sharing session, novena and group hug: because admitting you're possessed by the Devil is half the cure!
Hope to hear from you soon,
Msgr. George O'Reilly
Roman Catholic Archdiocese of Chicago
Dear Prof. DiIulio,
For ten years we've been trying to get our own public school district so our kids wouldn't have to go to school with goyim. The courts keep turning us down. Then we wanted buses with only male drivers and sex-segregated seating, and the self-hating Jewish liberals said no to that too. So we would like to become a Faith-Based Initiative with ourselves as clients. Our project is, we stay in our own town and only talk to each other. Because that's what G-d wants. Eventually we hope to get NEA funding as a conceptual art project ("The Choice: Chosen People Choose Themselves"), but a starter grant from your office would really put us on track.
Let us know,
Rabbi Shlomo Greenblatt, Kiryas Joel, NY
Ever wonder what's really behind that weird weather of recent years ? Hint: It's a long time between burnt offerings. How about paying some deadbeat dads to slaughter a herd of oxen and throw those fabulous thighbones on the barbie? Everybody benefits: They learn the meat business, you get fruitful harvests, favorable winds and calm winedark seas, and we get a decent meal. Reply soonest--the wife is pushing me to zap you with a thunderbolt.
Death Row Dad is a moving story of one father's embrace of capital punishment--despite his own imminent execution! While his ACLU lawyer tries frantically to turn up new evidence even as his own marriage unravels, and beautiful crusading nun Helen Prejean pleads with the governor for a stay, Leroy, who is in fact innocent, wants only that his son renounce his homosexual lifestyle and accept Christ as his personal savior. Soon the whole prison--even the crusty warden and a pair of racist guards--is praying for Leroy to get his wish. Jack, I promise you, when Leroy looks up from the gurney just before the lethal injection, sees his son standing there with his new girlfriend, and rejects the last-minute stay of execution ("I reckon the Lord is waitin' for my sorry self"), the audience won't know whether to cheer or go down on its knees. Morgan's people think yes for the lead, Julia's very interested in doing the nun. A major studio is ready to greenlight the minute your office comes through with co-financing.
Talk to you after the prayer meeting,
How about a grant where I become a lay minister and practice laying on of hands? There's a whole heck of a lot of lonely women out there with big spiritual needs. I mean, really big.
Net worth, more than any other statistic, shows the depth of racial inequality.
In our retrograde era, "the personal is political" might better be put "politics sure messes up progressive lives." This past December, just after the Supreme Court completed the electoral coup that imposed the Bush presidency upon us, I spent a miserable snowy afternoon in my Chicago-area university office trying to winnow down a set of readings for a graduate seminar on race, ethnicity and nationalism. Glumly predicting the sorts of Cabinet appointees and White House policies that have indeed come to pass in the weeks since, I found myself unable to pare down the list. Instead, mindful of the racist renaissance we are likely in for in the coming years--not that Clinton's two terms, characterized by the police-state crime bill and the evisceration of AFDC, were exactly models of antiracist governing--I shoveled back in masses of old Bell Curve-era readings on New Right cultural politics.
The Talmudic reading load imposed by a punctilious and politically depressed lefty professor on hapless grad students is, of course, the least of the burdens of newly enhanced conservative rule. But as we attempt to assess and contest the worsened life conditions, from Colombia to Cairo to Kazakhstan to California, about to be produced by Bush Administration policies, we need new analytic tools to help us envision the meanings of race and ethnicity in shifting national and global political economy. And Claire Kim's fresh study, Bitter Fruit: The Politics of Black-Korean Conflict in New York City, offers precisely such tools.
Bitter Fruit is based on a meticulous account of the 1990-91 black-led "Red Apple" boycott of two Korean-run produce stores--Family Red Apple and Church Fruits--in the Flatbush neighborhood of Brooklyn, a boycott that arose in response to allegations that Family Red Apple's store manager, Bong Ok Jang, beat an older Haitian woman customer, Ghiselaine Felissaint, during an argument at the cash register. But Kim, a younger politics and ethnic studies professor at the University of California, Irvine, uses that narrative to reframe the ways in which even we progressives, influenced by public culture despite our best efforts, tend to see the history and contemporary realities of race, immigration, representation, politics and poverty in American cities. Most political, ethnographic or other analyses of urban lives--with key exceptions in works like Brett Williams's Upscaling Downtown and Dwight Conquergood's "Life in Big Red"--focus on only one population, whether black street vendors or Latina or Chinese sweatshop workers. One of Kim's strengths, making her the Anna Deavere Smith of the poli-sci set, is her careful consideration, through extensive interviewing, of the voices of all the players in the Red Apple imbroglio--Haitian immigrants and longer-term residents, black American political activists and elected officials, Korean merchants and community politicians of different generations, the various mainstream and alternative media--and her clearheaded recognition of their differential access to power and resources.
This is the key to the issue and the real innovation in Kim's work. She lays out for us the "conventional wisdom" about black/Korean conflict:
Shut out of the mainstream economy by historical discrimination and hit hard by recent global economic changes, urban-dwelling Blacks are frustrated and angry. Enter Korean immigrants, who open stores in poor black neighborhoods and rapidly achieve economic success by virtue of their hard work and thriftiness.... Blacks lash out at them, irrationally venting their accumulated frustrations on this proximate, vulnerable, and racially distinct target. Korean immigrants...simply get caught in the wrong place at the wrong time.
Kim then disassembles this "racial scapegoating" narrative for us. She notes that "historical discrimination, economic competition, Black rage, immigrant dreams and prosperity" are all genuine phenomena but that this formulation "isolates these features and rips them out of the overall context of how racial power operates in America." Racial power, in Kim's analysis, is linked to racial ordering, the economic and ideological process through which populations are evaluated relative to one another. These constructions rely not on notions of ongoing white conspiracy or intentionality but on the reproduction of political-economic structures and discursive frames, the very ways in which we talk about the subject. Racial power "finds concrete expression in a wide variety of...processes that tend cumulatively to perpetuate White dominance over non-Whites. Putatively impersonal forces such as global restructuring and deindustrialization are in fact mediated by racial power so that Whites systematically accrue greater benefits from and suffer fewer burdens from these developments than do non-Whites." The racial scapegoating story turns out, then, to veil the "'bitter fruit' of deeply entrenched patterns of racial power in contemporary American society."
Central to contemporary American racial ordering are the empirically false and mutually interdependent constructs depicting a feckless and violent black and brown urban underclass and a hardworking, bootstrapping Asian "model minority." The model-minority myth presents "Asian Americans as culturally superior to Blacks and yet culturally distinct from Whites and detached from politics." As the American economy improved over the 1990s, as crime plummeted because of improved economic prospects, demographic transition, mass imprisonment and rising youth common sense, and as the impoverished were thrown off public assistance without much public outcry, we have heard less and less about the dangerous minority poor who have only themselves to blame for their circumstances. (Given the bear market and other recent indicators, though, watch this space.)
Representations of Asian model-minority behavior, though, dating from the 1960s, continue strong in mass media. Kim traces the origin of model-minority ideology to the use of Asian-American "success" stories--with mom-and-pop stores in the forefront--"as an explicit rebuke to Blacks involved in collective demand making of one kind or another." "Consider the two myths as mirror images," Kim invites us:
The underclass is lazy, undisciplined, lacking in family values, criminally inclined, unable to defer gratification, deviant, dependent, and prone to dropping out; the model minority is diligent, disciplined, possessed of strong family values, respectful of authority, thrifty, moral, self-sufficient, and committed to education. Whites--the unspoken overclass to the underclass and majority to the model minority--are factored out of the picture as if they were neutral, colorblind, wholly disinterested observers.
This triangulated racial ordering helps to rationalize common-sense "colorblind talk" that serves to mask both white power and the innately relational character of all racial systems.
Providing clear empirical proof of the bankruptcy of this vision, Kim locates both blacks and Koreans in the historical political economy of New York City. She uses other scholars' work to establish the persistent and unique residential segregation of black populations--so extreme, both locally and nationally, that Douglas Massey and Nancy Denton label it "American apartheid"--and reprises the record of brutal and deadly actions by outer-borough whites against "trespassing" blacks throughout the 1980s. She uses sociologist Roger Waldinger's research to demonstrate the ways in which blacks have been excluded from the changing urban occupational "ethnic queue." Even their relative success in public-sector jobs in the 1970s, the result of federal antidiscrimination legislation, tripped them up when the public/private balance shifted and they lacked networks and resources to gain access to burgeoning business opportunities.
Kim cites abundant evidence that New York employers, like those elsewhere in the United States, operate on the basis of "old-fashioned racism--or discrimination based on the construction of Blacks (especially Black men) as undesirable (lazy, dishonest, unreliable) employees." Even the conservative business newspaper Crain's New York Business lamented in 1989 that "being black reduces the prospects for entrance and advancement in nearly every sector that defines the economic life of the city."
The cumulative national effects of residential segregation and systematic credit discrimination, in addition to specifically regional oppression (for example, Koch administration refusal to grant city contracts to nonwhites), explain both Afro-Americans' generally low levels of self-employment and the particularly extreme paucity of black small businesses in New York. The per capita rates in Los Angeles, for example, are 2.5 times as high.As a result of combined governmental and private-sector actions, by the late 1980s "increasing rates of overall and extreme poverty, deepening income inequalities, and persistently low labor-force participation rates shaped the lives of most Black New Yorkers."
Haitian migrants to the United States, and New York specifically, beginning with 1960s waves of anti-Duvalier activists fleeing certain death, were immediately racialized as black and subjected to the same discriminatory treatment, with two additions. In the first place, blackness "is a source of great pride" in the first independent black nation in the Western Hemisphere, and Haitians had to come to terms with its often degraded American status. Then, as black foreigners began arriving in the 1970s in larger numbers, and with the rise of the AIDS crisis, Haitians were further coded as dirty, diseased and dangerous.
In this overall context of extreme antiblack racism, finally, Kim documents how ordinary patterns of ethnic political succession in New York City have never included Afro-Americans. In the period in which blacks were winning City Council seats and mayoralties, and influencing (if largely in the interests of the better-off) urban policy elsewhere, Ed Koch's and then Rudy Giuliani's long mayoral reigns, through finagling with the Board of Estimate and the City Council, were dedicated to wholesale black exclusion. Kim notes dryly that "this sheds some light on why Black efforts at empowerment eventually migrated outside of traditional political channels, resulting in the new Black Power movement of which the Red Apple Boycott was part." The Afro-American David Dinkins's short-lived stay in Gracie Mansion would be, among other political disasters, haunted by the boycott, begun only seventeen days after his inauguration.
The experiences of new Korean immigrants run entirely counter to this pattern. In the first place, Kim places post-1965 Korean immigration to the United States in the context of "America's protracted efforts to influence economic development and shore up repressive anticommunist regimes in a non-White nation located on the periphery, resulting in significant migration from periphery to core." That migration, in response to the explicit economic policy embedded in the Hart-Celler Immigration Act, was largely of educated, white-collar Koreans with small but significant savings to invest. Then these migrants were "racialized as Asian Americans and triangulated between Blacks and Whites.... It is in this way that the very economic opportunities that are closed to Blacks become the ticket to upward mobility for Korean Americans."
Thus, while they were certainly victimized by American racism, these Korean immigrants, unlike blacks, were not subject to its more extreme forms--residential segregation, pervasive violence and abuse on the streets and in the criminal justice system. They were, however, forced into the "status derogation" of small business by both their poor English skills and employer discrimination against them as "foreigners." Extensive Korean exploitation of retailing niches created ethnic business networks allowing them to take over entire urban retail sectors--greengrocers in New York and liquor stores in Los Angeles, for example. Relatively privileged but stressed and squeezed, Koreans in small business tended to subscribe even more extensively than white Americans to victim-blaming underclass mythology. The stage was set for the Red Apple boycott.
Here Kim really shines as an analyst. She disabuses us of "the conventional notion that the boycotters were venting their frustrations on Koreans instead of on Whites" by placing the event inside the "resurgent Black Power movement in New York City." She identifies the heterogeneous players in and the politics of that movement, characterized in mainstream media as a solid bloc of crazy white-haters, and places them in the context of the public and private antiblack onslaught of the Koch years. Kim demonstrates how always-latent black nationalism became the lowest common denominator "frame repertoire" for organizing the boycott, despite the more developed left politics of the dominant black American December 12th Movement, which took over from the original Haitian agitators. And she notes the ultimate irony that this group, which was vilified as violently anti-Asian, "had presumptively positive feelings toward Koreans," encouraged black patronage of all Korean greengrocers except the two under boycott and had even engaged in pro-Korean unification demonstrations.
Kim also carefully lays out the roles of mainstream, black, Haitian and Korean media in motivating the boycott and the backlash against it. As a long-term lover of the neglected public media of black and Latino radio, I particularly appreciate her coverage of the key organizing functions of minority radio stations. Kim shows effectively how their very different transnational as well as American placements structured Korean and Haitian interpretations and actions. During the boycott, for example, to offset their losses, the two storeowners received $150,000 from Korean-American and other sources. While this capital infusion was important, the real battle of the boycott occurred in the realm of the political. The "multiple layers of contested meaning" created by activists and their associated media inevitably resolved themselves into the overwhelming mainstream-media narrative, in which "colorblind talk," heavily appropriating civil rights-era references, "garbled and distorted" the boycotters' message and defined them solely as crime-prone anti-Korean racists. Michael Kinsley, for example, "the putative representative of the left on CNN's Crossfire, said simply: 'You don't mediate between out and out racism on the one hand and a hardworking entrepreneur on the other. And that's what's going on.'" Kim justly observes that "the most striking aspect of the regular news coverage of the Red Apple Boycott was its univocality."
This single voice put David Dinkins "squarely on the hot seat." Already having been accused, before taking office, both of pandering to black extremists and of selling out communities of color, Dinkins could only lose on the boycott issue. His early refusal to send in the NYPD to move the protesters off-site enraged the city's elite, who claimed he was ruining New York City's business climate. But his final capitulation to white pressure, a televised speech opposing "any boycott based on race," stung his black supporters. Al Sharpton accused Dinkins's speech of being like "a James Brown record--talking loud and saying nothing." And attorney Vernon Mason declared that "he ain't got no African left in him." Overwhelmed by bad publicity, the boycott lost steam and collapsed after only eight months of picketing. Kim notes the key role it played in New York electoral politics: "David Dinkins made history again by becoming the first breakthrough Black mayor in American history to lose office after only one term." In 1993 Rudolph Giuliani "won a highly racially polarized election to become only the third Republican mayor of New York City since 1930." And we all know what happened then!
Kim ends her fine study with a riff on W.E.B. Du Bois's twentieth-century color-line aphorism: "It seems likely that the problem of the twenty-first century will be that of the multiple color lines embedded in the American racial order." She rightly asks, "When is 'voice' really voice?"--querying claims of American democracy in the context of centralized and corporate-controlled mass media (and, we might add, of differentially efficient and functional voting machines). I would have liked her to deal with the gendered dimensions of the Red Apple boycott, write more extensively about non-Korean Asian-American politics around the event and trace out the implications of her work for other faulty analyses of the dilemmas of "middleman minorities" in the American and global past and present. But no one book can accomplish everything, and Kim's Bitter Fruit sets an incisive new pattern for our understanding of class in multiracial politics as we live through the bitter years ahead.
Is there a more contemptible poseur and windbag than Elie Wiesel? I suppose there may be. But not, surely, a poseur and windbag who receives (and takes as his due) such grotesque deference on moral questions.
What's at stake in faith-based politics
After a bruising fight fopr the presidency, George W. Bush is stocking his cabinet with figures from the far right, none more so than John Ashcroft.
Thousands of citizens can't register or have been wrongly thrown off the rolls.