Alisha Gaines, Florida State University

A peculiar desire seems to still haunt some white people: “I wish I knew what it was like to be Black.”

This wish is different from wanting to cosplay the coolness of Blackness – mimicking style, aping music and parroting vernacular.

This is a presumptive, racially imaginative desire, one that covets not just the rhythm of Black life, but also its blues.

While he doesn’t want to admit it, Canadian-American journalist Sam Forster is one of those white people.

Three years after hearing George Floyd cry “Mama” so desperately that it brought a country out of quarantine, Forster donned a synthetic Afro wig and brown contacts, tinted his eyebrows and smeared his face with CVS-bought Maybelline liquid foundation in the shade of “Mocha.” Though Forster did not achieve a “movie-grade” transformation, he became, in his words, “Believably Black.”

He went on to attempt a racial experiment no one asked for, one that he wrote about in his recently published memoir, “Seven Shoulders: Taxonomizing Racism in Modern America.”

For two weeks in September 2023, Forster pretended to hitchhike on the shoulder of a highway in seven different U.S. cities: Nashville, Tennessee; Atlanta; Birmingham, Alabama; Los Angeles; Las Vegas; Chicago and Detroit. On the first day in town, he would stand on the side of the road as his white self, seeing who, if anyone, would stop and offer him a ride. On the second day, he stuck out his thumb on the same shoulder, but this time in what I’d describe as “mochaface.”

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Since September is hot, he set a two-hour limit for his experiments. During his seven white days, he was offered, but did not take, seven rides. On seven subsequent Black days, he was offered, but did not take, one ride. He speculated that day was a fluke.

Forster is not the first white person to center themselves in the discussion of American racism by pretending to be Black.

His wish mirrors that of the white people featured in my 2017 book, “Black for a Day: White Fantasies of Race and Empathy.” The book tells the history of what I call “empathetic racial impersonation,” in which white people indulge in their fantasies of being Black under the guise of empathizing with the Black experience.

To me, these endeavors are futile. They end up reinforcing stereotypes and failing to address systemic racism, while conferring a false sense of racial authority.

Going undercover in the South

The genealogy begins in the late 1940s with Pulitzer Prize-winning journalist Ray Sprigle.

Sprigle, a white reporter at the Pittsburgh Post-Gazette, decided he wanted to experience postwar racism by “becoming” a Black man. After unsuccessfully trying to darken his skin beyond a tan, Sprigle shaved his head, put on giant glasses and traded his signature, 10-gallon hat for an unassuming cap. For four weeks beginning in May 1948, Sprigle navigated the Jim Crow South as a light-skinned Black man named James Rayel Crawford.

Sprigle documented dilapidated sharecropper’s cabins, segregated schools and women widowed by lynching. What he witnessed – but did not experience – informed his 21-part series of front page articles for the Post-Gazette. He followed up the series by publishing a widely panned 1949 memoir, “In the Land of Jim Crow.”

Sprigle never won that second Pulitzer.

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Cosplaying as Black

Sprigle’s more famous successor, John Howard Griffin, published his memoir, “Black Like Me,” in 1961.

Like Sprigle, Griffin explored the South as a temporary Black man, darkening his skin with pills intended to treat vitiligo, a skin disease that causes splotchy losses of pigmentation. He also used stains to even his skin tone and spent time under a tanning lamp.

During his weeks as “Joseph Franklin,” Griffin encountered racism on a number of occasions: White thugs chased him, bus drivers refused to let him disembark to pee, store managers denied him work, closeted, gay white men aggressively hit on him, and otherwise nice-seeming white people grilled him with what Griffin called the “hate stare.” Once Griffin resumed being white and news broke about his racial experiment, his white neighbors from his hometown in Mansfield, Texas, hanged him in effigy.

For his work, Griffin was lauded as an icon in empathy. Since, unlike Sprigle, he experienced racist incidents himself, Griffin showed skeptical white readers what they refused to believe: Racism was real. The book became a bestseller and a movie, and is still included in school curricula – at the expense, I might add, of African-American literature.

Griffin’s importance to this genealogy extends beyond middle-schoolers reading “Black Like Me,” to his successor and mentee, Grace Halsell.

Halsell, a freelance journalist and former staff writer for Lyndon B. Johnson’s administration, decided to “become” a Black woman – first in Harlem in New York City, and then in Mississippi.

Without consulting any Black woman before baking herself caramel in tropical suns and using Griffin’s doctors to administer vitiligo-corrective medication, Halsell initially planned to “be” Black for a year. But after alleging someone attempted to sexually assault her while she was working as a Black domestic worker, Halsell ended her stint as a Black woman early.

Although her experiment only lasted six months, she still claimed to be someone who could authentically represent her “darker sisters” in her 1969 memoir, “Soul Sister.”

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Turn-of-the-century ‘race switching’

Forster writes that his 2024 memoir is the “fourth act” – after Sprigle, Griffin and Halsell – of what he calls “journalistic blackface.”

However, he is not, as he claims, “the first person to earnestly cross the color barrier in over half a century.”

In a 174-page book self-described as “gonzo” with only 17 citations, Forster failed to finish his homework.

In 1994, Joshua Solomon, a white college student, medically dyed his skin to “become” a Black man after reading “Black Like Me.” His originally planned, monthlong experiment in Georgia only lasted a few days. But he nonetheless detailed his experiences in an article for The Washington Post and netted an appearance on “The Oprah Winfrey Show.”

Then, in 2006, FX released, “Black. White.,” a six-part reality television series advertised as the “ultimate racial experiment.”

Two families – one white, the other Black – “switched” their races to perform versions of each-otherness while living together in Los Angeles. While the makeup team won a Primetime Emmy Award, the families said goodbye seething with resentment instead of understanding.

A masterclass of white arrogance

Believing it would distract from the findings of his experiment, Forster refuses to show readers his mochaface.

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Even after confronting evidence forcing him to question his project’s appropriateness, like the multiple articles condemning “wearing makeup to imitate the appearance of a Black person,” he insists his insights into American racism justify his methods and are different from the harmful legacies of blackface. As he stands on the side of the road, sun and sweat compromising whatever care he took to paint his face, Forster concludes that racism can be divided into two broad taxonomies: institutional and interpersonal.

The former, he believes, “is effectively dead,” and the latter is most often experienced as “shoulder,” like the subtle refusal to pick up a mocha-faced hitchhiker.

Forster’s Amazon book description touts “Seven Shoulders” as “the most important book on American race relations that has ever been written.”

Indeed, it is a masterclass – but one on the arrogance of white assumptions about Blackness.

To believe that the richness of Black identity can be understood through a temporary costume trivializes the lifelong trauma of racism. It turns the complexity of Black life into a stunt.

Whether it’s Forster’s premise that Black people are ill-equipped to testify about their own experiences, his sketchy citations, the hubris of his caricature or the venom with which he speaks about the Black Lives Matter movement, Forster offers an important reminder that liberation can’t be bought at the drugstore.

Alisha Gaines, Associate Professor of English, Florida State University

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This article is republished from The Conversation under a Creative Commons license. Read the original article.

The Bridge is a section of the STM Daily News Blog meant for diversity, offering real news stories about bona fide community efforts to perpetuate a greater good. The purpose of The Bridge is to connect the divides that separate us, fostering understanding and empathy among different groups. By highlighting positive initiatives and inspirational actions, The Bridge aims to create a sense of unity and shared purpose. This section brings to light stories of individuals and organizations working tirelessly to promote inclusivity, equality, and mutual respect. Through these narratives, readers are encouraged to appreciate the richness of diverse perspectives and to participate actively in building stronger, more cohesive communities.

https://stmdailynews.com/category/the-bridge

Colette Gaiter, University of Delaware

The three qualities that matter most in real estate also matter the most to graffiti artists: location, location, location.

In Miami and Los Angeles, cities that contain some of the most expensive real estate in the U.S., graffiti artists have recently made sure their voices can be heard and seen, even from the sky.

In what’s known as “graffiti bombing,” artists in both cities swiftly and extensively tagged downtown skyscrapers that had been abandoned. The efforts took place over the course of a few nights in December 2023 and late January 2024, with the results generating a mix of admiration and condemnation.

As someone who has researched the intersection of graffiti and activism, I see these works as major milestones – and not just because the artists’ tags are perhaps more prominent than they’ve ever been, high above street level and visible from blocks away.

They also get to the heart of how money and politics can make individuals feel powerless – and how art can reclaim some of that power.

Two cities, two graffiti bombings

Since late 2019, Los Angeles’ billion-dollar Oceanwide Plaza – a mixed-use residential and retail complex consisting of three towers – has stood unfinished. The Beijing-based developer was unable to pay contractors, and ongoing financing challenges forced the company to put the project on pause. It’s located in one of the priciest parts of the city, right across the street from Crypto.com Arena, where the 2024 Grammy Awards were held.

Hundreds of taggers were involved in the Los Angeles graffiti bombing. It may never be publicly known how the idea was formed and by whom. But it seemed to have been inspired by a similar project that took place in Miami during Art Basel, the city’s annual international art fair.

In November 2023, the city of Miami announced that a permit to demolish One Bayfront Plaza site, an abandoned former VITAS Healthcare building, had been filed.

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Miami is known for its elaborate spray-painted murals. There’s also a rich tradition of graffiti in the city. So Miami was a natural gathering place for graffiti artists during Art Basel in December 2023, and One Bayfront Plaza became the canvas for taggers from around the world.

Over the course of a few days, graffiti artists – some of whom rappelled down the side of the building – tagged the brutalist, concrete structure with colorful bubble letters spelling their graffiti names: “EDBOX,” “SAUTE” and “1UP,” and hundreds more.

The response to the Miami bombing was more awe than outrage, perhaps because the building will soon be torn down. It elicited comparisons to 5Pointz, a collection of former factory buildings in the Queens borough of New York City that was covered with graffiti and became a landmark before being demolished in 2014.

Meaning and motivation

In the early 2000s, when I started researching street graffiti, I learned that there are different names for different graffiti types.

“Tags” are pseudonyms written in marker, sometimes with flourishes. “Fill-ins” or “throw-ups” are quickly painted fat letters or bubble letters, usually outlined. “Pieces” involve more colorful, complicated and stylized spray-painted letters.

The tradition of painting ornate graffiti names made me think of Paul Cézanne, who painted the same bowl of fruit over and over. The carefully chosen names and their letters become the subject that writers use to practice their craft.

But I also wanted to know why people graffitied.

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Many graffiti writers tagged spaces to declare their existence, especially in a place like New York City, where it is easy to feel invisible. Some writers who became well known in the early 1970s, like Taki 183, scrawled their names and street numbers all over the city.

During my research, I spoke with one New York graffiti artist whose work had garnered a lot of attention in the 1980s. He explained that his writing had no concrete political messages.

“But,” he added, “the act of writing graffiti is always political.”

Another graffiti artist I interviewed, “PEN1,” stood with me on a street in lower Manhattan, pointing out one of his many works. It was a fill-in – huge letters near the top of a three- or four-story building, very visible from the street.

“Those people have paid so much money to put their message up there,” he said, pointing to nearby billboards, “and I get to put my name up there for free.”

Through my project, which I ended up titling “Unofficial Communication,” I came to understand that writing graffiti on walls, billboards and subway cars was a way of disrupting ideas of private ownership in public, outdoor spaces.

It involved three different sets of players. There were the taggers, who represented people defying the status quo. There were the public and private owners of the spaces. And there was the municipal government, which regularly cleaned graffiti from outdoor surfaces and tried to arrest taggers.

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In cities across the U.S., then and now, it’s easy to see whose interests are the priority, whose mistakes governments are willing to overlook, and which people they aggressively police and penalize.

Loud and clear

The names painted on the Los Angeles skyscrapers are the faster and easier-to-complete fill-ins, since time is at a premium and the artists risk arrest.

These vertical graffiti bombing projects on failed skyscrapers, deliberately or not, call attention to the millions of dollars that are absorbed by taxpayers when private developers make bad investments.

Because the names painted on the buildings are fill-ins, they’re not especially artistic. But they did, in fact, make a political statement.

A former graffiti artist who goes by “ACTUAL” told The Washington Post that he’d come out of retirement to contribute to the Los Angeles project.

“The money invested in [the buildings] could have done so much for this city,” he added.

Some of the graffiti artists in Los Angeles were arrested, and the Los Angeles City Council is demanding that the owners of Oceanwide Plaza remove the graffiti, described as the work of “criminals” acting “recklessly.”

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Meanwhile, the developers of buildings that have sat, unfinished, for years, in the middle of a housing crisis, have broken no laws.

Some reckless acts, apparently, are more criminal than others.

Colette Gaiter, Professor of Art and Design, University of Delaware

This article is republished from The Conversation under a Creative Commons license. Read the original article.

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Los Angeles, a city renowned for its bustling streets and iconic freeways, is taking significant steps towards revolutionizing public transit in the San Fernando Valley. In a major development, the Los Angeles County Metropolitan Transportation Authority (Metro) has been awarded an $893 million grant from the U.S. Department of Transportation. This substantial funding will propel the construction of the new 6.7-mile East San Fernando Valley Light Rail Transit Project, signifying a monumental advancement in public transportation infrastructure.

A Vision for a Connected Valley

The upcoming light rail line promises to transform public transit in one of the Valley’s busiest corridors—Van Nuys Boulevard. Marking a significant return, it’s the first local stop, commuter rail service to grace Van Nuys Boulevard in over seven decades, with the last Pacific Electric “San Fernando Valley Line” urban electric railway serving the area until 1952.

This new light rail initiative is not merely a transportation project; it’s a bridge to greater connectivity. It will seamlessly integrate with an array of existing and planned regional transit services, including Metrolink, Amtrak, and various Metro lines. For the residents of Van Nuys, Panorama City, Arleta, and Pacoima—many of whom rely heavily on public transportation—this project isn’t just about transit upgrades; it’s about accessing broader opportunities across the region.

Federal Support and Local Impact

Thanks to the collective efforts of local leaders, including Senator Alex Padilla and Congressman Tony Cárdenas, and the backing of the Biden-Harris Administration, this project has secured the necessary federal support under the Full Funding Grant Agreement (FFGA) governed by the Federal Transit Administration’s Expedited Project Delivery Pilot Program. This program is designed to fast-track significant capital projects, ensuring quicker improvements and enhancements to public transport infrastructures.

Metro Board Chair and LA County Supervisor Janice Hahn highlighted the transformative potential of this project, emphasizing it as a direct, rapid transit connection to the expanding Metro system that would profoundly benefit the community. Echoing this sentiment, L.A. Mayor and Metro Board Member Karen Bass noted the collaborative efforts that have made this significant step toward reality possible, bringing closer a future of enhanced transit connectivity.

Cultural Sensitivity and Community Engagement

Metro has introduced an innovative element to this project—a Cultural Competency requirement in the project contract. This requirement is a tailored strategy aimed at appreciating and engaging the diverse cultural landscape of the San Fernando Valley. As explained by Jacquelyn Dupont-Walker, Metro Board 2nd Vice Chair, this plan ensures comprehensive community engagement, allowing residents, local businesses, and community groups to stay informed and involved throughout the project’s development.

What’s Next?

Construction activities, including advanced utility adjustment work and minor street improvements along Van Nuys Boulevard, are set to commence later this year. With 11 new light rail stations planned, the project is scheduled to open in 2031 and is expected to create over 18,000 direct and indirect jobs. This endeavor is not just about enhancing transport but is also a strategic move towards economic stimulation and job creation in the region.

A Brighter Future for the Valley

The East San Fernando Valley Light Rail Transit Project stands as a beacon of progress for the Valley, representing a major shift towards sustainable and efficient public transportation. With this significant federal investment, Metro is poised to deliver a project that not only meets today’s mobility demands but also fosters a more equitable, connected, and sustainable future for all residents of the San Fernando Valley.

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For more updates on this transformative project, stay tuned to Metro’s official communication channels.

Visit Metro’s project page for more details.

Read the press release from LA Metro:

https://www.metro.net/about/l-a-metro-awarded-an-893-million-u-s-department-of-transportation-grant-to-help-fund-new-6-7-mile-east-san-fernando-valley-light-rail-transit-project

Source: LA Metro

STM Daily News is a vibrant news blog dedicated to sharing the brighter side of human experiences. Emphasizing positive, uplifting stories, the site focuses on delivering inspiring, informative, and well-researched content. With a commitment to accurate, fair, and responsible journalism, STM Daily News aims to foster a community of readers passionate about positive change and engaged in meaningful conversations. Join the movement and explore stories that celebrate the positive impacts shaping our world.

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