During this week’s oral arguments on California’s Prop 8, Justice Samuel Alito questioned whether the court could take a stand on gay marriage, which, he claimed, was “newer than cell phones or the internet.” Questionable logic aside, Alito’s insistence that wariness represents the appropriate response to any sort of “new” arrangement of sexual politics attracted… Read more →
By Austin McCoy
Long before Jesse Jackson, Hillary Clinton, or Barack Obama, Shirley Chisholm launched a campaign for the presidential nomination of the Democratic Party. Unfortunately, we rarely mention her efforts when we look at the history of U.S. presidential politics in the last forty years. It would seem easy to forget how Chisholm blazed the trail for the likes Jackson, Clinton, and Obama after Clinton’s and Obama’s 2008 nomination battle. But the sexism that Hillary Clinton endured and the racism that Obama faced in 2008 arose from a longer context of racism and sexism structuring the outcomes of U.S. party and presidential politics. Chisholm stood as the first to confront the closed nature of national (and black) politics. Defending her campaign to the broader Democratic Party would seem par for the course; yet, Chisholm also battled the established black male leadership in quest to secure the nomination. In doing so, however, “Fighting” Shirley Chisholm, as she called herself, utilized various political styles and strategies seen in later candidates like Jackson, Clinton, and Obama.
On June 3, Hot97 DJ Peter Rosenberg took to the stage at MetLife Stadium to address the crowd at the radio station’s annual hip hop concert, Summer Jam 2012. While warming up the crowd, Rosenberg shouts, “I see the real hip hop heads sprinkled in here…I see them. I know there are some chicks here waiting to sing ‘Starships’ later – I’m not talking to y’all right now…I’m here to talk about real hip hop.” Rosenberg’s comments referred to Nicki Minaj’s hit song. In one swift moment, Rosenberg not only alienated Minaj and her fanbase, he drew the line between “real” hip hop and “pop” not just in terms of aesthetics, but in a disrespectful, public, and gendered manner.