Nominated for 3 Emmys, 'Misfits' Book Dropping Sept. 7, Michaela Coel Joins Black Panther

Michaela Coel photographer by Gareth McConnell for The New ork Times Magazine Best Actors Review, December 13, 2021

Michaela Coel’s 3 Emmy Nominations

The Michaela Coel show continues to roll on, with the news that the actor, director, screenwriter received three nominations for ‘I May Destroy You’. Broadcast on Sunday, September 19 on CBS, Coel has been nominated for Outstanding Directing For A Limited Or Anthology Series Or Movie - 2021; Outstanding Lead Actress In A Limited Or Anthology Series Or Movie - 2021; and Outstanding Writing For A Limited Or Anthology Series Or Movie - 2021.

In December 2020, Michaela Coel was part of an impressive creative presentation by The New York Times Magazine, with its focus on today’s best actors. The magazine writes: “With ‘I May Destroy You,’ she set out to disturb, first by making us laugh, then by going to all kinds of extremes.”

‘Misfits’ Book Out September 7

The talented creative’s book ‘Misfits: A Personal Manifesto’ is due out September 7, 2021 in British and American bookstores.

The book will focus on topics covered in Coel’s MacTaggart lecture at the Edinburgh Festival in 2018. In her speech, which drew audible gasps from the audience, Coel spoke in astounding clarity and factual detail about the barriers and racism she had experienced as a young black woman working in the television industry, as well as her own sexual assault.

A video of the speech is embedded in AOC. The Guardian quotes British publisher Ebury saying that in the book [Coel] “makes a compelling case for radical honesty”. It will be a rousing and bold case against fitting in and a powerful manifesto on how speaking your truth and owning your differences can transform your life.”

Michaela Coel Goes to Wakanda

Variety broke the news on July 21 that Micaela Coel has joined the cast of Black Panther: Wakanda Forever’. Details of her character are in the lock box, but the actor as joined “director Ryan Coogler at Atlanta’s Pinewood Studios, where production began last month,” writes Matt Donnelly.

Lastly — for the moment — the BBC UK said in May that Michaela Coel is working on a new television series.

“It’s truly in Michaela’s head and it’s not for me to second guess that too much at this point,” the network’s drama chief Piers Wenger responded to questions about the plot’s potential ties to ‘I May Destroy You."‘ “It’s at relatively early stages, but I wanted to let the fans of ‘I May Destroy You’ know that there is a new show coming along…What relationship that show will have with the original series, [is for Michaela to decide].”

Related MIchaela Coel articles on AOC.

Explaining Critical Race Theory: What It Is and What It Is Not

By David Miguel Gray, Assistant Professor of Philosophy, Affiliate, Institute for Intelligent Systems, University of Memphis. First published on The Conversation

U.S. Rep. Jim Banks of Indiana sent a letter to fellow Republicans on June 24, 2021, stating: “As Republicans, we reject the racial essentialism that critical race theory teaches … that our institutions are racist and need to be destroyed from the ground up.”

Kimberlé Crenshaw, a law professor and central figure in the development of critical race theory, said in a recent interview that critical race theory “just says, let’s pay attention to what has happened in this country, and how what has happened in this country is continuing to create differential outcomes. … Critical Race Theory … is more patriotic than those who are opposed to it because … we believe in the promises of equality. And we know we can’t get there if we can’t confront and talk honestly about inequality.”

Rep. Banks’ account is demonstrably false and typical of many people publicly declaring their opposition to critical race theory. Crenshaw’s characterization, while true, does not detail its main features. So what is critical race theory and what brought it into existence?

The development of critical race theory by legal scholars such as Derrick Bell and Crenshaw was largely a response to the slow legal progress and setbacks faced by African Americans from the end of the Civil War, in 1865, through the end of the civil rights era, in 1968. To understand critical race theory, you need to first understand the history of African American rights in the U.S.

The History

After 304 years of enslavement, then-former slaves gained equal protection under the law with passage of the 14th Amendment in 1868. The 15th Amendment, in 1870, guaranteed voting rights for men regardless of race or “previous condition of servitude.”

Between 1866 and 1877 – the period historians call “Radical Reconstruction” – African Americans began businesses, became involved in local governance and law enforcement and were elected to Congress.

This early progress was subsequently diminished by state laws throughout the American South called “Black Codes,” which limited voting rights, property rights and compensation for work; made it illegal to be unemployed or not have documented proof of employment; and could subject prisoners to work without pay on behalf of the state. These legal rollbacks were worsened by the spread of “Jim Crow” laws throughout the country requiring segregation in almost all aspects of life.

Grassroots struggles for civil rights were constant in post-Civil War America. Some historians even refer to the period from the New Deal Era, which began in 1933, to the present as “The Long Civil Rights Movement.”

The period stretching from Brown v. Board of Education in 1954, which found school segregation to be unconstitutional, to the Fair Housing Act of 1968, which prohibited discrimination in housing, was especially productive.

The civil rights movement used practices such as civil disobedience, nonviolent protest, grassroots organizing and legal challenges to advance civil rights. The U.S.’s need to improve its image abroad during the Cold War importantly aided these advancements. The movement succeeded in banning explicit legal discrimination and segregation, promoted equal access to work and housing and extended federal protection of voting rights.

However, the movement that produced legal advances had no effect on the increasing racial wealth gap between Blacks and whites, while school and housing segregation persisted.

What critical race theory is

Critical race theory is a field of intellectual inquiry that demonstrates the legal codification of racism in America.

Through the study of law and U.S. history, it attempts to reveal how racial oppression shaped the legal fabric of the U.S. Critical race theory is traditionally less concerned with how racism manifests itself in interactions with individuals and more concerned with how racism has been, and is, codified into the law.

There are a few beliefs commonly held by most critical race theorists.

First, race is not fundamentally or essentially a matter of biology, but rather a social construct. While physical features and geographic origin play a part in making up what we think of as race, societies will often make up the rest of what we think of as race. For instance, 19th- and early-20th-century scientists and politicians frequently described people of color as intellectually or morally inferior, and used those false descriptions to justify oppression and discrimination.

Second, these racial views have been codified into the nation’s foundational documents and legal system. For evidence of that, look no further than the “Three-Fifths Compromise” in the Constitution, whereby slaves, denied the right to vote, were nonetheless treated as part of the population for increasing congressional representation of slave-holding states.

Third, given the pervasiveness of racism in our legal system and institutions, racism is not aberrant, but a normal part of life.

Fourth, multiple elements, such as race and gender, can lead to kinds of compounded discrimination that lack the civil rights protections given to individual, protected categories. For example, Crenshaw has forcibly argued that there is a lack of legal protection for Black women as a category. The courts have treated Black women as Black, or women, but not both in discrimination cases – despite the fact that they may have experienced discrimination because they were both.

These beliefs are shared by scholars in a variety of fields who explore the role of racism in areas such as education, health care and history.

Finally, critical race theorists are interested not just in studying the law and systems of racism, but in changing them for the better.

What critical race theory is not

“Critical race theory” has become a catch-all phrase among legislators attempting to ban a wide array of teaching practices concerning race. State legislators in Arizona, Arkansas, Idaho, Missouri, North Carolina, Oklahoma, South Carolina, Texas and West Virginia have introduced legislation banning what they believe to be critical race theory from schools.

But what is being banned in education, and what many media outlets and legislators are calling “critical race theory,” is far from it. Here are sections from identical legislation in Oklahoma and Tennessee that propose to ban the teaching of these concepts. As a philosopher of race and racism, I can safely say that critical race theory does not assert the following:

(1) One race or sex is inherently superior to another race or sex;

(2) An individual, by virtue of the individual’s race or sex, is inherently privileged, racist, sexist, or oppressive, whether consciously or subconsciously;

(3) An individual should be discriminated against or receive adverse treatment because of the individual’s race or sex;

(4) An individual’s moral character is determined by the individual’s race or sex;

(5) An individual, by virtue of the individual’s race or sex, bears responsibility for actions committed in the past by other members of the same race or sex;

(6) An individual should feel discomfort, guilt, anguish, or another form of psychological distress solely because of the individual’s race or sex.

What most of these bills go on to do is limit the presentation of educational materials that suggest that Americans do not live in a meritocracy, that foundational elements of U.S. laws are racist, and that racism is a perpetual struggle from which America has not escaped.

Americans are used to viewing their history through a triumphalist lens, where we overcome hardships, defeat our British oppressors and create a country where all are free with equal access to opportunities.

Obviously, not all of that is true.

Critical race theory provides techniques to analyze U.S. history and legal institutions by acknowledging that racial problems do not go away when we leave them unaddressed.

Hip-hop Prof A.D. Carson Invites Dialogue with World's First Peer-Reviewed Rap Album

Hip-hop professor A.D. Carson. Dan Addison, CC BY.

By A.D. Carson, Assistant Professor of Hip-Hop, University of Virginia. First published on The Conversation.

As a rap artist who is also a professor of hip-hop, I always make it a point to have my songs reviewed by other artists I admire.

So when I released “i used to love to dream” – my latest album – in 2020, I turned to Phonte Coleman, one half of the trailblazing rap group Little Brother.

“Just listened to the album. S— is dope!” Phonte texted me after he checked it out. “Salute!”

I responded with sincere appreciation for his encouraging words. I told him they meant a lot to me, especially coming from him.

“Nah, bro. The bars are on point,” he replied. “Much love and respect.”

This informal conversation with a highly esteemed rapper – one whose work I’ve studied and hold in high regard – is perhaps the most resounding affirmation I can ask for as an artist.

The situation is similar in academia. That is, in order to establish oneself as a serious scholar, an academic must get their work – typically some sort of written product – published in a peer-reviewed journal, which is a journal in which works are evaluated by others in a given field to ensure their relevance and quality.

As a rap artist and academic, I wondered if I could do the same thing with my new album. Could I get my album “published” through an academic press?

Thankfully, I have discovered that the answer was “yes.” In August 2020, my album became what Michigan Publishing described as the “first ever peer-reviewed rap album published by a university press.” This is a development that I believe could open doors for scholars from all kinds of different backgrounds – including but not limited to hip-hop scholars – to contribute new forms of knowledge.

New Methods

“With this new form of scholarship comes a new approach to the peer review and production process,” the University of Michigan Press stated in an article about my work.

But in order to get a peer-reviewed rap album, it’s not like I just went into the studio, rapped over some beats and hoped for the best. I presented liner notes and created a documentary about how I made the album, which I refer to as a “mixtap/e/ssay” – an amalgamation of the words “mixtape,” which is a sampling of an array of select songs, and “essay.” I also submitted articles that help explain how the music relates to certain academic conversations, events in society and my own life.

For instance, since the album is semi-autobiographical and I am from Decatur, Illinois, I note how in May 2020, my hometown was listed as America’s third-fastest shrinking city. Since my album deals with Black life, I note how USA Today ranked Decatur as one of “the 15 worst cities in America for Black people” in terms of various metrics, such as household income, educational attainment, homeownership, incarceration and life spans.

My album – which is free and open source – deals with topics that range from race and justice to identity and citizenship.

Confronting Societal Ills

In the lyrics, I reflect from where I am now – in my career as an assistant professor of hip-hop at the University of Virginia in Charlottesville – on my memories growing up and living in the central Illinois town.

The content of the album demonstrates this, covering issues like the war on drugs and its legacy in the 1980s and 1990s and contrasting it with the current opioid crisis on the song “crack, usa”; the seeming inevitability of police killings of Black people and how we might prepare ourselves and our loved ones on “just in case”; and the trap of incarceration and institutionalization presented on “nword gem.” It also provides space for processing mental health matters like trauma, alienation, alcoholism and depression with tracks like “ampersand,” “stage fright” and “asterisk.”

I published my album with University of Michigan Press because I believe it’s important that hip-hop – and hip-hop scholarship – occupies a space that’s not an “exotic other” and, instead, functions as a way of knowing, similar to, but distinct from, other resources such as a peer-reviewed paper or book.

Professor A.D. Carson and students in the Rap Lab at the University of Virginia. Miguel 'MiG' Martinez, CC BY

In order to review my album as an academic work, the academic publisher had to “come up with appropriate questions for the evaluation of a sonic, rather than written, work.”

“The press’s standard peer review questions consider purpose, organization, and audience,” the University of Michigan Press has stated. “While many of those general themes were captured in the questions developed for ‘i used to love to dream,’ the process for coming up with new questions was much more collaborative.”

Is Higher Ed Ready?

I must admit – both before and during my doctoral studies – I was skeptical of the formal peer-review process. My thought was, what is the university to ask hip-hop to prove itself?

But my skepticism faded once I saw the responses from the anonymous scholars who reviewed my album. Based on their insightful feedback, I got the sense that they truly understood Black music and Black rhetoric. They encouraged me to consider how to present the album online in a way that would help audiences better understand the content, which is part of the reason I included the short documentary about the making of the album.

I appreciate that hip-hop is sometimes celebrated in the academic world, but it seems to me that a lot of the excitement focuses on hip-hop as a particular kind of content rather than what it teaches people about other things in the world, many of which aren’t hip-hop.

For me, hip-hop is like a telescope, and the topics I discuss are like celestial bodies and galaxies. Taking that astronomical analogy a step farther, I would ask: Does it make sense to spend more time talking about the telescope that brought those faraway objects into focus and a sharper view? Or should more time be devoted to discussing the actual phenomena that the telescope enables people to see?

I can fully understand and appreciate how hip-hop – being not just a telescope but a powerful telescope – would generate a fair amount of discussion as a magnifier. At the same time, at some point society should be able to both focus on the potency of the lens of hip-hop and also concentrate on what hip-hop brings into view.