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8/17/22

By Karen Shih ’09

For Black Americans, the simple act of eating can be fraught. Gathering for a barbecue in a public park can lead to run-ins with the police. Dining on traditional dishes, developed through ingenuity and necessity out of generations of slavery and poverty, can lead to racist ridicule. In her latest book, “Eating While Black: Food Shaming and Race in America,” which is available in print this week, American studies Professor Psyche Williams-Forson breaks down how unfair scrutiny of what Black Americans eat keeps society from addressing systemic inequities.

Why did you want to write this book?
Shaming Black people for what and where they eat is not new. It began during enslavement; the ways farms and plantations were set up were about surveilling Black bodies. And it’s moved straight into the contemporary moment, such as the (2018) arrest of the young Black men at a Starbucks in Philadelphia. People feel they’ve been given permission to overcorrect Black people’s lives, from music to clothing to language to food, because these things go against the grain of whiteness and “correctness.”

We all need to eat, so it’s easy to dismiss the unseen power dynamics around food. But if we are going to have conversations about people’s freedoms, we need to talk about food.

What’s an example of how Black Americans are food shamed?
My book opens with the D.C. Metro worker who was eating on the train in uniform, when a woman took her picture and blasted it on social media. The employee was literally going from one part of her job to the next, trying to fit in a meal. She knew Metro was no longer issuing fines for eating so she did so. Then she has her life exposed.

What are some food misconceptions that you address?
People like to criticize fast-food restaurants, but they are major gathering hubs for the elderly and other people who are alone. Farmers markets aren’t utopias. If you don’t set up in Black neighborhoods, offer food that’s culturally relevant and accept Black vendors, people won’t feel welcome. Also, dollar stores can be important sources of food. If you’re on a fixed income, and you can go in and buy 20 items with $20, that can make a difference in people’s lives.

How can the conversation about Black food culture be harmful?
We hear a lot about Black people and their diets, and how they’re unhealthy and obese because of soul food—but you can’t blame ill health squarely on food. Look at “the stroke belt,” which stretches across the South. These are states with repressive policies and laws. There’s a lot of wage inequality, people who are unhoused, people who are unemployed. Society wants food to do the heavy lifting because it takes our focus away from systemic inequalities that keep people mired in oppression, which contributes to psychological and physical disease.

2/16/23

Co-edited with Eileen Boris, Heidi Gottfried, and Joo-Cheong Tham, Julie Greene has published Global Labor Migration: New Directions with the University of Illinois Press. This project brings to fruition a long-term project of the Center for Global Migration Studies.

According to the publisher, "Around the world, hundreds of millions of labor migrants endure exploitation, lack of basic rights, and institutionalized discrimination and marginalization. What dynamics and drivers have created a world in which such a huge--and rapidly growing--group toils as marginalized men and women, existing as a lower caste institutionally and juridically? In what ways did labor migrants shape their living and working conditions in the past, and what opportunities exist for them today?

Global Labor Migration presents new multidisciplinary, transregional perspectives on issues surrounding global labor migration. The essays go beyond disciplinary boundaries, with sociologists, ethnographers, legal scholars, and historians contributing research that extends comparison among and within world regions. Looking at migrant workers from the late nineteenth century to the present day, the contributors illustrate the need for broader perspectives that study labor migration over longer timeframes and from wider geographic areas. The result is a unique, much-needed collection that delves into one of the world’s most pressing issues, generates scholarly dialogue, and proposes cutting-edge research agendas and methods."

See the publisher's website here for more information.

2/15/23

By Sala Levin ’10 

Feb 15, 2023

Which version was better: the original “Nothing Compares 2 U” by Prince, or the cover by Sinéad O’Connor, who turned his funky number into a haunting breakup lament? How about “I Will Always Love You”? Was it more successful as Dolly Parton’s plaintive tune or as Whitney Houston’s power ballad?

For pop music diehards, bickering over the merits of cover songs and their original versions is as much fun as debating whether the art on the “Sgt. Pepper’s Lonely Hearts Club Band” album is meant to tell listeners that Paul is dead. Stephanie Shonekan, an ethnomusicologist and new dean of the College of Arts and Humanities, has turned these amiable arguments into fodder for her podcast, “Cover Story.

Shonekan’s podcasting career began in 2015, when she was chair of Black studies at the University of Missouri-Columbia. It was a tense time on campus, as students protested racism at the university, ultimately leading to the resignations of the chancellor and the system president. She decided to launch a show called “#Black,” where members of the campus community could come together weekly to talk about the struggles Black people faced at the university and around the country.

In 2020, Shonekan returned to Mizzou after a few years at the University of Massachusetts. KBIA, the local NPR affiliate that had produced “#Black,” asked her to come back. “I definitely wanted to continue podcasting, but I wanted something a little more joyful, a little bit more uplifting, a little bit more reflective of all the ways Black people live, not just at the brunt of white supremacy,” she said.

So she turned to her work in ethnomusicology. The daughter of a Trinidadian mother and a Nigerian father, Shonekan had grown up with the sounds of calypso music and West African highlife, full of jazzy horns and guitar plucking. She learned that she could tell “who people are by the music that they create, the music that they disseminate, the music that they consume, the stories that are told in that music,” she said.

In each episode, Shonekan and a guest—music fans from different walks of life—discuss two versions of a song, analyzing their differences and merits. In all cases, either the song’s initial artist or the cover artist (or both) are people of color.

In the show’s first season, which debuted last spring, Shonekan and her guests mulled over “Yesterday,” “Piece of My Heart” and “Before I Let Go.” They take up songs like “Respect” and “Ghost of Tom Joad” in the second season that began in October.

Some “Cover Story” episodes delve into the personal memories associated with specific songs. In season two, Shonekan invited her husband as a guest to talk about “their” song, “I Believe in You and Me,” originally recorded by the Four Tops and covered by Whitney Houston. “It was great to have a conversation around love and life and how it started and how it’s going, and how that song remains true to our relationship.”

But some marital disputes can’t be fixed with a song. Shonekan insists that the Houston version is better, but her husband remains solidly Team Four Tops.

1/27/23

“The Ghost of Tom Joad” is a song that spans American literature and music history: It was written by Bruce Springsteen for a 1995 album, but it was inspired by “The Ballad of Tom Joad” by folk musician Woodie Guthrie. And Guthrie was inspired by the 1939 book by John Steinbeck, The Grapes of Wrath.

So it’s a song that embodies decades of social consciousness in America -

This song took on new meaning when the band Rage Against the Machine covered it, transforming the song’s message of “no home, no job, no peace, no rest” from the dust bowl era to the hard-driving grunge sound of early-2000s Los Angeles.

Ian Chang is Stephanie’s guest this episode - he’s a musician and DJ who was born in Hong Kong, spent time as a kid in the UK, and California - and Ian and I met at a party and bonded over our memories of Top of the Pops and Boyz 2 Men.

In this conversation Stephanie and her guest debates these two versions of “The Ghost of Tom Joad” - and use it as a jumping off point to talk about everything from Mavis to Van Halen.

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Cover Story is a podcast that uncovers the covers — that is, the stories, meanings, and histories behind our most classic songs. Each episode features host and musicologist Stephanie Shonekan and one guest. Together they take one classic song, two popular renditions, and discuss: Who did it better, and why?

This season’s episodes feature The Four Tops vs. Whitney Houston, Bruce Springsteen vs. Rage Against the Machine, Ken Boothe vs. Bread, Otis Redding vs. Aretha Franklin, and Fantasia Barrino vs. Cynthia Erivo.

This is a show about the music we love. But the conversations uncover intimate stories about our own personal connections with the songs. Cover Story with Stephanie Shonekan reconnects us with great music and the diverse perspectives, histories, and identities of the artists and the fans who enjoy that music.

Cover Story with Stephanie Shonekan is produced by Janet Saidi, Ryan Famuliner, Aaron Hay, and Stephanie Shonekan. This season was edited by Aaron Hay and Ryan Famuliner.

This podcast is a collaboration between KBIA and Vox Magazine, with funding from the University of Maryland College of Arts and Humanities, MU’s College of Arts & Science, and the Missouri School of Journalism.  

You can follow the podcast and other special projects on Twitter at @VoxMag, and @KBIA, and on Instagram at @voxmagazine and @kbianews. 

“Cover Story with Stephanie Shonekan” Season 1 was produced by Janet Saidi, Kristofor Husted, Fernando Narro, Rehman Tungekar, and Ryan Famuliner, with host and producer Stephanie Shonekan. Season One was edited by Rehman Tungekar and Ryan Famuliner.

1/20/23

Cover Story is a podcast that uncovers the covers — that is, the stories, meanings, and histories behind our most classic songs. Each episode features host and musicologist Stephanie Shonekan and one guest. Together they take one classic song, two popular renditions, and discuss: Who did it better, and why?

This season’s episodes feature The Four Tops vs. Whitney Houston, Bruce Springsteen vs. Rage Against the Machine, Ken Boothe vs. Bread, Otis Redding vs. Aretha Franklin, and Fantasia Barrino vs. Cynthia Erivo.

This is a show about the music we love. But the conversations uncover intimate stories about our own personal connections with the songs. Cover Story with Stephanie Shonekan reconnects us with great music and the diverse perspectives, histories, and identities of the artists and the fans who enjoy that music.

Cover Story with Stephanie Shonekan is produced by Janet Saidi, Ryan Famuliner, Aaron Hay, and Stephanie Shonekan. This season was edited by Aaron Hay and Ryan Famuliner.

This podcast is a collaboration between KBIA and Vox Magazine, with funding from the University of Maryland College of Arts and Humanities, MU’s College of Arts & Science, and the Missouri School of Journalism.  

You can follow the podcast and other special projects on Twitter at @VoxMag, and @KBIA, and on Instagram at @voxmagazine and @kbianews. 

“Cover Story with Stephanie Shonekan” Season 1 was produced by Janet Saidi, Kristofor Husted, Fernando Narro, Rehman Tungekar, and Ryan Famuliner, with host and producer Stephanie Shonekan. Season One was edited by Rehman Tungekar and Ryan Famuliner.

1/16/23

Shay Hazkani's recent book, Dear Palestine: A Social History of the 1948 War (Stanford University Press, 2021) has won the 2022 prize for Best Book in Israel Studies. The prize is given by the Azrieli Institute and Concordia University Library. From their website "The Azrieli Institute of Israel Studies is a multi-disciplinary research center at Concordia University in Montreal, Canada. Since its foundation in 2011, the Institute has supported the advancement of Israel Studies through educational programs, publications, and financial support for students and faculty." Shay's book was one of four finalists for the award. 

12/30/22

Prof. Jorge Bravo's book Excavations at Nemea IV: The Shrine of Opheltes recently received a fabulous review by Michelle Valerie Ronnick in The Classical Journalwhich is available online. The Classics Department wishes to join the reviewer in saying: "Bravo to Bravo!"

12/7/22

New York, NY – 7 December 2022 – The Modern Language Association of America today announced it is awarding its twenty-ninth annual Modern Language Association Prize for a First Book to La Marr Jurelle Bruce, associate professor of American studies at the University of Maryland, College Park, for How to Go Mad without Losing Your Mind: Madness and Black Radical Creativity, published by Duke University Press. 

The MLA Prize for a First Book was established in 1993. It is awarded annually for the first book-length publication of a member of the association that is a literary or linguistic study, a critical edition of an important work, or a critical biography.

The MLA Prize for a First Book is one of nineteen awards that will be presented on 6 January 2023, during the association’s annual convention. The members of the selection committee were Grace Lavery (Univ. of California, Berkeley); Christopher M. Lupke (Univ. of Alberta); Tobias Menely (Univ. of California, Davis); Brian Russell Roberts (Brigham Young Univ.); Mikko Tuhkanen (Texas A&M Univ., College Station), chair; Christophe Wall-Romana (Univ. of Minnesota, Twin Cities); and Michelle Zerba (Louisiana State Univ., Baton Rouge).

The committee’s citation for Bruce’s book reads:

In How to Go Mad without Losing Your Mind: Madness and Black Radical Creativity, La Marr Jurelle Bruce offers us a new practice of Black criticism by focusing on the generativity of what has most frequently been pathologized and dismissed: Black madness. While the study is rooted in a Foucauldian critique of psychiatry, Bruce counters the Eurocentrism of Continental philosophy by demonstrating the ways that jazz solos, slapstick routines, rapped verses, and other forms of cultural expression have theorized Black life and Black resistance. Bruce develops original and provocative readings across media and genres, and the impact of his work will be felt in multiple fields and disciplines.

The Modern Language Association of America and its over 20,000 members in 100 countries work to strengthen the study and teaching of languages and literature. Founded in 1883, the MLA provides opportunities for its members to share their scholarly findings and teaching experiences with colleagues and to discuss trends in the academy. The MLA sustains one of the finest publication programs in the humanities, producing a variety of publications for language and literature professionals and for the general public. The association publishes the MLA International Bibliography, the only comprehensive bibliography in language and literature, available online. The MLA Annual Convention features meetings on a wide variety of subjects. More information on MLA programs is available at www.mla.org.

Before the establishment of the MLA Prize for a First Book in 1993, members who were authors of first books were eligible, along with other members, to compete for the association’s James Russell Lowell Prize, established in 1969. Apart from its limitation to members’ first books, the MLA Prize for a First Book follows the same criteria and definitions as the Lowell Prize

The MLA Prize for a First Book is awarded under the auspices of the association’s Committee on Honors and Awards. Other awards sponsored by the committee are the William Riley Parker Prize; the James Russell Lowell Prize; the Howard R. Marraro Prize; the Kenneth W. Mildenberger Prize; the Mina P. Shaughnessy Prize; the MLA Prize for Independent Scholars; the Katherine Singer Kovacs Prize; the Morton N. Cohen Award; the MLA Prizes for a Scholarly Edition and for Collaborative, Bibliographical, or Archival Scholarship; the Lois Roth Award; the William Sanders Scarborough Prize; the Fenia and Yaakov Leviant Memorial Prize in Yiddish Studies; the MLA Prize in United States Latina and Latino and Chicana and Chicano Literary and Cultural Studies; the MLA Prize for Studies in Native American Literatures, Cultures, and Languages; the Matei Calinescu Prize; the MLA Prize for an Edited Collection; the Aldo and Jeanne Scaglione Prizes for Comparative Literary Studies, for French and Francophone Studies, for Italian Studies, for Studies in Germanic Languages and Literatures, for Studies in Slavic Languages and Literatures, for a Translation of a Literary Work, for a Translation of a Scholarly Study of Literature, for African Studies, for East Asian Studies, for Middle Eastern Studies, and for South Asian Studies; and the Aldo and Jeanne Scaglione Publication Award for a Manuscript in Italian Literary Studies. A complete list of current and previous winners can be found on the MLA website.

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Read the full press release below.

11/29/22

By Tressie McMillan Cottom

I have food on my mind. The few weeks between Thanksgiving and the end-of-year holidays are a time when eating becomes something more than a utilitarian need or even a personal pleasure. Now is the time of year when food’s cultural significance takes center stage in our overscheduled lives. We may eat standing at a desk most of the year, but during the holidays we are reconnected to food’s deeper meaning.

My grandmother died 10 years ago. The last Thanksgiving I had with her was also the last time I ate her sweet potato pudding. She made it just for me, once a year. I have no idea where the recipe came from or even if there was one. I have tried versions since she died. Online recipes have different names. Custard. Casserole. None of the recipes are quite right. Some add flour. I am sure that she did not. Others insist on coconut. She would never.

None of the recipes I have tried match the texture or depth of the dish my grandmother made: layers of buttery, grated sweet potato soaked in spices and baked until crispy on the outside and mushy in the center. I started thinking that maybe what didn’t work about these other dishes I tried was not the recipe but the ingredients.

My grandmother usually bought small sweet potatoes from a local grower. She had her favorite sources. A distant cousin, Eugene, grew some of the best sweet potatoes, by her standard. He put aside some for her over the holidays. If he was busy, there were other local suppliers: a roadside pickup truck and stand with fresh vegetables sold by the bucket, for example. In a pinch, she would go to a local “country food store” that sold food not fancy enough to be sold at the local chain grocery stores.

Something about my normal store-bought sweet potatoes does not measure up. They’re too big, too tough, too sweet or not sweet enough. The last time I ate my grandmother’s sweet potato pudding was the last time I tasted the culture that made that pudding possible. I wish I had known it was the last time.

This is how food has roots in culture, place, family and history. I recently talked with Prof. Psyche Williams-Forson about food memories. Williams-Forson is the chair of American studies at the University of Maryland, College Park, and a food studies expert who has written several books about race, gender, class, culture and foodways. “Foodways” is a popular academic term for the complex ways that we produce, consume and give food meaning. When a custard is not a pudding and when a sweet potato connects a North Carolina roadside vegetable store to the African diaspora, that’s an example of a complex foodway.

We talked about Williams-Forson’s new book, “Eating While Black: Food Shaming and Race in America,” at a public event in Chapel Hill, N.C. It was moving to discuss her book, which connects ideas about moral value to the food that we cherish. It brings up a lot of feelings about migration, class, poverty and identity.

A member of the audience stood up during the Q. and A. to ask how his rural church could create healthier local foodways for its community. Like a lot of nonprofit organizations these days, his church wants to plant a community garden. But it doesn’t want to reproduce the classism of “clean eating” movements that label some food as clean and other food dirty. The people who eat clean food are good people. The people who eat dirty food — food associated with poor people or immigrants or formerly enslaved people — are bad.

Williams-Forson reminded us that the only difference between a back-porch garden in a low-income community and an organic garden in a high-income urban area is branding. She challenged the audience not just to think about utopian visions but also to figure out how people are supposed to eat “in the meantime.” The meantime is a space between the food systems of the near past and the food systems we will have to build in the near future. How can we support people not just to eat better but also to eat in ways that don’t limit how other people choose to eat and live in the meantime?

For this year’s annual Opinion giving guide, I encourage readers to support the organizations in your area that build capacity for localized food systems. You can always support national efforts like Farm Aid. I attended this year’s annual festival of music, food and agricultural education. The music stage is a big draw. But it is the exposition area, where I learned about how people produce food in this country, that raised my consciousness. I met advocates who educate people on how systemic racism and political polarization make it hard for farmers to pivot to more sustainable practices. In 2019, Vann R. Newkirk II did a great long-form piece on racism and U.S.D.A. policy. It is worth reading and thinking about how racism makes us more vulnerable to the ravages of climate change.

It is also worth supporting the Black Farmers Fund. The fund supports social impact investing in Black farmers, growers and agricultural businesses. Some people worry about losing family recipes. I am one of those. But I also worry about losing the foodways that made those recipes possible.

Some of us are losing them faster than others. I have not lost my grandmother’s recipe as much as I have lost a link to home. It may be too late for my sweet potato pudding. But it is not too late to become the people who caretake foodways that help local food cultures thrive, equitably and without shame.

 

11/17/22

   
‘Flight and Metamorphosis’

By Nelly Sachs (Farrar, Straus and Giroux)

First published in 1959, Nelly Sachs’s “Flucht und Verwandlung” has been bought back to life in a fresh translation by Joshua Weiner (with Linda B. Parshall). Sachs, a Jewish writer who fled the Holocaust to Sweden in 1940, wrote compressed, spiritually intense poems composed in short, tentative lines that quiver with solemnity and anxiety. Reading them, you feel like you are being enticed toward an encounter with some unknown divinity, then left trembling on the verge: “For there’s no refuge / to be found / in the flying dust / and only the windscarf / a movable crown / signals, still flickering, / blazoned with restless stars / the course of the world—”

 

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