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Black History Month: Does It Fuel Racism?
Black History Is Recognized as Part of American History, Right? So Why Have It Anymore?
By BRYAN ROBINSON , ABC News

Feb. 1, 2006 — Recently, Larry Watson saw proof in one of the college classes he teaches that Black History Month was needed more than ever.

"I asked the students in my class whether they knew who their Senate representative was," said Watson, who teaches music and sociology at three colleges in Boston. "No one knew. And when I asked who was Sen. Edward Kennedy -- the most activist senator in our country -- the only thing most of my students could say was that he was fat and that he was drunk. I hate to think what would have happened if I'd asked who was Shirley Chisholm."

For the record, in 1968, Chisholm became the first black woman elected to Congress. In 1972, she ran for president, receiving 151 of the delegates' votes at the Democratic National Convention. And Kennedy has represented Massachusetts in the Senate since 1962.

"Our schools do not teach the importance of politics to history," Watson continued. "Black History Month is needed now more than ever and needs to be taught all year around."

Academy Award-winning actor Morgan Freeman raised eyebrows when he called the concept of Black History Month "ridiculous," noting that there was no white history month.

"You're going to relegate my history to a month?" he said, during an interview aired on CBS' "60 Minutes" in December. "I don't want a black history month. Black history is American history."

As February -- and another annual Black History Month -- begins tomorrow, debate on the necessity of the celebration continues.

"It's a shame that it [black history] hasn't been integrated into history courses all year round," said Dwayne McDuffie, a TV writer and co-founder of the now-defunct Milestone Comics, which showcased a line of comic books featuring black superheroes in the 1990s.

"It's important because you need to see yourself reflected in history. It's important for Asians to hear what they have contributed to [American] history, it's important for Latinos to hear what they have given to history. It is important also just to remind white people that they didn't do everything."

The Corporate Kidnapping of Martin Luther King Jr.

Black History Month has its roots in 1926, when historian and scholar Carter G. Woodson launched Negro History Week to bring attention to the contributions of black people to American history.

He chose the second week of February to recognize black history because it marked the birthdays of Frederick Douglass and Abraham Lincoln. Negro History Week ultimately became Black History Month. Woodson had hoped, however, that one day the need to have a special recognition of black history would be eliminated and that black history would be fully recognized as fundamental to American history.

However, some critics argue that Black History Month has become a celebration full of clichés, familiar praises of Martin Luther King Jr., and "Living the Dream" commercials that focus on black leaders and sports and entertainment figures.

Year after year, you can count on hearing reflections on the horrors of slavery, and the bravery of Rosa Parks and the civil rights movement. Politicians and dignitaries invoke King's name as they say that much has been achieved. But much more needs to be done to fully realize "The Dream." The contributions of the black press, New York's legacy of slavery, or the existence of black slave owners are rarely publicized.

You can count on seeing flashback scenes of King's "I Have a Dream" speech but hardly any mention of his later, more controversial speeches that criticized the Vietnam War and called for economic reform. Someone with no knowledge of American history might believe that King was always universally loved. But universally loved, noncontroversial figures don't get death threats, don't have their homes firebombed, aren't watched by the FBI, and are not assassinated.

"There has been a transformation of values to a too-sanitized, corporate convenience mode that markets a 'Dream' motif," said Loretta Williams, director of The Gustavus Myers Center for the Study of Bigotry and Human Rights in Boston. "There is a tide that extols -- and extolled -- the wisdom of Dr. Martin Luther King in a way that says that we are moving onward and upward. There is this tone of triumph that we have seen President Bush use when talking about the war in Iraq."

The Black Student in Class Must Know Black History, Right?

Conceptual artist damali ayo, the author of "How to Rent a Negro," who prefers to have her name lower-cased, said black history was not so much clichéd as forgotten, even though black history courses are often very popular -- they fill up quickly at Fordham University, New York University, Harvard and Yale, according to university officials.

But the extent of black history curriculum is a bit sketchier in grammar and high schools. And some black adults remember being expected by their classmates -- and sometimes their teachers -- to know everything about black history when the topic was explored each February.

"That's just not fair because they're there to learn, too," ayo said. "Much of the responsibility lies with the parents to make their children aware, but the schools have a responsibility to educate the children. I was very fortunate in that my parents made me very aware at an early age. I grew up in a Marcus Garvey-type household, and many times I found myself correcting the teacher in my classes."

Checking the Box -- and the 'Delusion of Inclusion'

Freeman, the actor, argued in his interview that one way to stop racism was "to stop talking about it." However, critics say those who suggest that Black History Month is just not necessary anymore or is a hindrance instead of a help in race relations have been deluded into thinking that the struggle for equality ended with integration and ignore arguments that racism today is just not as blatant as it once was.

"I call it the delusion of inclusion," said Watson, the college professor. "There are many people who benefited from the system of affirmative action -- checked the box -- got their education and left their communities. And instead of returning and uplifting their communities, they either never returned or when they did return, they looked upon it with scorn or had some denigrating remark.

"We've lost a lot of that courage that was shown in the civil rights movement, shown by those single mothers who kept on keeping on in their communities and raised their children," Watson added. "People are too busy trying to make sure they stay invited to that reception, that they get that next house. They've lost their integrity."

It's debatable whether Woodson would have believed that Black History Month was unnecessary. He believed that recognizing the past was the key to the future, and, indeed, the contributions of blacks to U.S. history and society are recognized more than ever today. But it's also important to remember that Black History Month is more than a "dream."

Reparations: A Cause For All Americans

Did you know that the United States of America in l990 paid $1.2 Billion dollars to Japanese Americans, in 1986 32 Million dollars to Ottawas of Michigan, in 1985 $105 million to Seminoles of Florida and 1 Billion +44 million Acres of Land to the Alaska Native Land Settlement. There is not even a monument in our capital that memorializes the millions that were victims of slavery.

The concept of Reparations for Africans in America is a movement that must involve all stratum of the Black community. We cannot allow such an important debate only be framed by those who spend most of their times in the hallowed halls of academia. The African American artist continues to play a critical role in breaking down the jargon of the academic and making it plain to the brothers and sisters who want redress. James Brown's recording of Say it Loud, I am Black and I'm Proud..., Nina Simone's Mississippi God Dam capture the civil rights movement through song. As a songwriter I offer the following lyrics:

We're the poor and used
The disdained and abused
Yes! a promise was made
Now its time to be paid!!!!!!

We want Reparations
For the African Nation
No more Deliberation
We're losing our patience

Don't Think I've forgotten..
What you've done to me
Bombings, castrations, lynchings, killings
Apart of my reality.

This just can't go on..
I won't be your slave
Butler, Nanny, negro,"quick trade,"
Driver or your maid

Can't you see I determined to be free..
We shed to many tears over the years
Don't give me your lie I still have my pride
All the hell you raise still my people do survive
As I look around our future seems so Bleak
Black babies dying from drugs like PCP
I know we can turn my people around
Pay your debt with interest and a new Black Nation will rezound

If you're seeking some worthy New Year's resolutions, pay heed to Larry Watson's songbook. This powerful baritone, who easily swoops up to the tenor range, sings with a groovy beat lyrics that convey messages both smoothly delivered yet relevant to the black cause. He's a respectful inheritor of the Great Black Music tradition of blues, jazz, gospel but his own man too.

Expect songs that are a champagne cocktail laced with a jolt of Barry White's sensual rock, a sizable dash of wisdom for the mind and soul, and all of it bubbling with that fabulous Watson energy that is the singer's personal vibe.

A deep concern for the betterment of black people and the human race generally was always evident in the lively set he presented recently at Sculler's. His rendition of James Weldon Johnson's anthem "Lift Ev'ry Voice and Sing" arranged with a quick pace like a grand march into a bright star lit future set the room to rocking. Watson sang this song of a new day for Nelson Mandela's visit to Boston.

That arrangement from Watson and Miklos Malek, which will appear on Watson's new CD "Reparations -- from Togo to Arkansas," was followed by their original song "Reparations." This hard hitting call for redress starts out with "We've been the poor, and the used and the disdained and the abused...DWB Driving While Black; WWB Walking While Black; SWB, Standing While Black."

Watson's mantra for the evening was your casting the black vote and urging your neighbor to do likewise. With a voice full bodied and sweet toned, he donned a choir robe so to speak for the Staple Singers classic "I'll Take You There." A tribute to Sarah Vaughn, "Tenderly," shaped phrases with a sagacious jazz inflection. Watson has articulation to make a speech teacher swoon for its crystal clarity and, yes, its sexy tone.

To try Larry Watson's rapturous voice out before the first night of the new year, take a listen to his first CD, "the Journey," which contains some of the songs mentioned here but is on more of a love voyage. For more information about the Boston based multitalented musician you can e-mail him at:

LARYWATSON@AOL. com
or write to
Save Ourselves Productions;
POBox 2438,
Jamaica plain, MA 02130
617-825-9600

"This local performer mixes jazz and gospel, part of a national trend toward blending the genres into a smooth melange that is both inspirational and radio-friendly."

Anyone who has sat around the Hatch Shell or lounged in the Westin Hotel's jazz bar and heard Larry

Watson blow away an audience with his baritone voice will appreciate Watson's new debut CD, "The Journey." After many years of making a name for himself performing on his own Boston turf in various venues, Watson has finally come out with a much anticipated CD. Appropriately titled "The Journey," he takes listeners all over the musical map on a joyous ride that touches on beautifully executed ballads (like the plaintive "September Love Song" about love and loss) to pulsating dance tunes (like "For the Rest of My Life," which has an infectious house music beat) and gospel songs ("God Answers Prayers"). The songwriting, much of it done by Watson and co-writers, is fresh and meaningful. There is some excellent saxophone work by Larry Terry and Michael Steward. And the backup vocals are so good they threaten to take center stage. "The Journey" is a trip well worth taking. . ."
- Sandy Colman, The Boston Globe, October 23, 1997

An Appeal to Hip Hop Artist: Restore the Coalition Between Artist and Activist!
By Lawrence Watson

Black music, drama and dance until recently entertained and complimented the rhetoric of the civil rights movement. "Money, Money, Money" recorded by the Ojays,"Living in the City" by Stevie Wonder, Alvin Aileys' "Revelations" and August Wilson's many dramatic productions created "win-win" situations for both the artists and the entertainment industry. Both profited monetarily and the artists presented an expressive voice that spoke to our collective commitment to justice for African descent people.

How could such a powerful coalition be so thoroughly destroyed? Once Nina Simone, Stevie Wonder, Judith Jameson, and August Wilson formed a natural and powerful alliance with great orators like Malcolm X, Martin Luther King, and Shirley Chisholm. Now contemporary Black song, dance and theater are used as weapons dismantling and destroying the last remnants of a "Black is beautiful" mantra. " Say it Loud, I'm Black and I'm proud," and "A change is gonna come" are cliché hooks with no home in today's musical industry.

Contemporary song, dance and theater glorify platinum and the acquisition of material possessions. In the midst of increased poverty for the underclass, increased segregation in almost all social institutions in America, one of the most popular songs by the "Big timers" focuses on white symbols of wealth at the expense of the most sacred core values that have characterized the Black experience in America:

Gator boots
With the pimped out Gucci suits
Ain't got no job
But I stay sharp
Can't pay my rent
'Cause all my money's spent
But that's okay
'Cause I'm still fly
Got a quarter tank of gas
In my new E class Benz
But that's alright
'Cause I'm gon' ride
Got everything
In my mama name
But I'm Hood Rich
La-da-da

Reparations, the most important political development in civil rights history since the psychological conversion we made from Negro to Black, receives little support from contemporary singers, dancers and playwrights. The recent black Pulitzer Prize winning Broadway production of "Top Dog Under Dog," ends with the ultimate Black on Black crime. One blood brother kills the other. Black dancers parade their bodies daily on MTV, BET and VH1 simulating a pathological sex orgy. The hedonistic, narcissistic and materialistic preoccupation of the top forty Billboard hip-hop songs exemplify the American dream laid bare and taken to its ultimate nihilistic conclusion.

Contemporary hip- hop artists reject the hat in hand approach of their parents who fervently believed that hard work and patience would yield increased opportunities for Black people. Unfortunately, the veteran artists we promote as role models too often are in the news for substance abuse and bankruptcy. It is therefore not surprising that these new hip hop artists embrace and emulate the worst in America.

The most successful hip-hop artists sport 1.5 million dollars of jewelry and embrace the real American dream of "bling bling" and "money, cash, ho's!" These urban children have grown up idolizing the movie character "Scarface." Celebrity rappers pay homage to the characters in Mario Puzo's "Godfather" as their ultimate heroes. They emulate Jeffrey Skilling, Donald Trump, and Kenneth Lay whose actions demonstrate that success in America means "getting laid" and "getting paid." We find ourselves in a generational war for the hearts and souls of our young. Our movement has been highjacked by the electronic media and the American music industry. They exploit hip-hop artists using them as pawns to reframe our political struggle for human dignity into a cash and carry race to see who can amass the most things.

We must reach this generation of young people and appeal to them to use their incredible talents and spheres of influence to resurrect a confused civil rights struggle. We must restore our people to the dignity that comes with envisioning a world where what we stand for supersedes what we wear. Despite the continued exploitation of the most talented in this generation and the pervasive image of us as aspiring to nothing more than sexual and materialistic gratification, we have the power to create our own reality. Our current stage and screen icons have the power to galvanize this generation to honor the sacrifices made by their predecessors. We must redirect their hero worship to musical giants like Gamble and Huff. These successful R&B producers and songwriters continue to make significant investments in their inner city Philadelphia neighborhood.

This summer I directed a group of young artists between the ages of 9 to 16. We searched to identify songs to perform that could be enjoyed by grandparents, parents and their peers. Almost every contemporary song spoke of fornification, perverse materialism and dysfunctional sexual relationships. Not one of the young people knew about the Reparations movement, but they all knew verse and detail about the R. Kelly scandal. They could recite the words to every song on the Black Billboard charts, and felt little shame when the lyrics described Black women as repositories for Black men's sperm. They did not know the words to "Lift Every Voice and Sing", the Black National anthem, but they could recite perfectly these lyrics by Ludicrous:

The bitches want me to fuck em...
Get my dick sucked, what are yoouu doin?...
"Sidelinin my fuckin business
Tryin to get my paper, child support suin
Give me that truck and take that rental back
Who bought these fuckin T.V.'s and jewelry bitch,
tell me that?
No, I ain't bitter, I don't give a fuck
But I'ma tell you like this bitch
You better not walk in front of my tour bus...
Move bitch, get out the way
Get out the way bitch, get out the way
Move bitch, get out the way
Get out the way bitch, get out the way

These present day superstars of hip hop must realize that the Reparations struggle is committed to repairing the lives of so many left in our inner cities with no hope and no future. Black progressives need the support of the young successful contemporary Black artist. Together we can recapture the imagination of this generation and redirect people's attentions to the black core values that have "brought us thus far along the way."

After all we have endured, we cannot allow robber barons of our culture to convince our young that the dream has been attained and victory is won, because a few among us are passing the Courvoisier, driving Escalades, wearing Gucci, and filling cavities with platinum.

Lawrence Watson resides in Boston MA. He is an educator and international performing artist. He teaches voice and performance studies at Berklee College of Music, Blacks in the Electronic Media at Boston College and Sociology at The Art Institute of Boston at Lesley University.