Who Is a Nigger?

There are many ways to address a friend: Hello. Hey! Wassup? But, in the Black community, another word has joined the lexicon of greetings: nigger.
According to Webster's Ninth New Collegiate Dictionary, a nigger is a member of any dark-skinned race or socially disadvantaged class of persons. This label of degradation is rooted in slavery, when European settlers used it toward Blacks. It was one of many psychological tools used to make Blacks feel inferior, and the verbal and physical abuse led to families being torn apart. And because Blacks were considered less than human even after slavery was abolished (thanks to Jim Crow laws), their suffering was seen as par for the course.
In recent years, some Blacks have rechristened the racial epithet as "nigga". They say they're empowering themselves by redefining the word as a term of endearment ... but by embracing such terminology, Blacks aren't just disrespecting themselves -- they're also encouraging other groups to look down on them.
Jews, Latinos, and Native Americans have also experienced the horrors of oppression ... but they don't use it as an excuse to denigrate themselves. They don’t call each other kikes, spics, and redskins -- despite dealing with genocide (the Holocaust), human smuggling, and forced relocation (the Trail of Tears). Meanwhile, Blacks have internalized the prejudice inflicted upon them ... and this behavior is best exemplified by Nas, whose latest CD is Untitled (unofficially known as Nigger).
Released on July 15, this derogatory word is a bold idea for a concept album because its execution is so tricky. (Full disclosure: I haven't purchased nor listened to it in its entirety.) Nas is well-versed in Black history, as demonstrated on songs like "I Can," and he's displayed lyrical prowess on tracks like "The World Is Yours" ... but the rapper's past achievements didn't help him this time around, for the CD received mixed reviews from fans and critics alike. This goes to show that America may not be as comfortable in confronting this dark chapter of its past as some people would like to believe.
If Blacks can't agree on when -- or how -- to use an ugly word that's part of our history, we're in no position to combat bigger problems such as poverty. While censorship isn't the way to go, we need to stop perpetuating the notion that we're not worthy of respect from our fellow human beings. After all, there’s nothing endearing about being held in low regard.

Every Picture Tells a Story

Those who don't know their history are doomed to repeat it. This proverb was lost on The New Yorker when they published a drawing of Barack and Michelle Obama on the cover of its July 21 issue.
Nearly six months ago, Golfweek found itself awash in controversy when it put a noose on its cover to illustrate the Kelly Tilghman-Tiger Woods story. Editor Dave Seanor lost his job over his handling of the situation, which occurred when Tilghman made an inflammatory remark about Woods. Race is an uncomfortable subject for many people, and the Illinois senator's candidacy for the White House is forcing them to confront their prejudices about Black people.
The New Yorker editor-in-chief David Remnick and artist Barry Blitt thought they were advancing political discourse by creating an image meant to mock stereotypes about the Obamas, but their decision to portray the couple in a satirical manner undermined the Democratic presidential nominee's efforts to debunk the myths that surround his faith (as well as his wife's comments about having pride in America). Satire is supposed to make you laugh as well as think; when done properly -- a good example is All in the Family -- the joke is self-explanatory. (I wasn't offended by the image ... but I didn't find it amusing, either.)
Seeing Remnick and Blitt go on the defensive about the provocative cover only shows that their attempt at humor was ineffective. It played on people's fears that the Obamas are militants who pledge allegiance to Osama bin Laden, not the American flag. They also did a disservice to correspondent Ryan Lizza, whose nearly-15,000-word story had no relation to the image.
There's a time to be funny and a time to be serious ... but, with so much at stake in this election, The New Yorker should stick to in-depth journalism and leave the comedy routine to Mark Russell.