The story goes that Angry Black Women scare babies, old people, and grown men. We are told we are irrational, crazy, out of touch, entitled, disruptive, and not team players. Angry Black Women get dismissed all the time.
Owning anger is a dangerous thing if you’re a fat Black girl like me.
But it’s unclear whether we are really being taken seriously. Black women who hold their communities together also hold our broader American community together. Black women turn to sass when rage is too risky-because we have jobs to keep, families to feed, and bills to pay. But this is not a sassy Black girl’s tale. Not wanting to offend this woman who I otherwise really liked, I simply said, “We’re not all like that.” She looked disappointed. She loved it, she said, when Black women put their hands on their hips and swiveled their necks in protest. To her, these stereotypical portrayals made Black folks seem understandable, even though to me, her descriptions felt like we were exotic others. My Malaysian roommate, who had seen many episodes of the old nineties sitcom Family Matters, told me that she loved Black women because we were sassy like Harriette and Laura Winslow, the main Black female characters on that show. Years after that, I was doing a summer abroad in South Korea. When I looked at her with question marks in my eyes, she said, “You know, they mean the way I talk to them and roll my neck,” and demonstrated it for me. In my first terrible job after college, my boss, an older white woman, told me that the students at the predominantly Black school at which we worked had deemed her an honorary Black woman. You know, those caricatures of finger-waving, eye-rolling Black women at whom everyone loves to laugh-women like Tyler Perry’s Madea, Mammy in Gone with the Wind, or Nell from that old eighties sitcom Gimme a Break! These kinds of Black women put white folks at ease. When it comes to Black women, sometimes Americans don’t recognize that sass is simply a more palatable form of rage. And that’s the place where more women should begin-with the things that make us angry.
To be clear, I’m not really into self-help books, so I don’t have one of those catchy three-step plans for changing the world. These women want to change things but don’t know where to begin. This is a book for women who know shit is fucked up. This is a book for women who expect to be taken seriously and for men who take grown women seriously. If you wish to have this post removed please contact us directly and we will be happy to do so immediately.This is a book by a grown-ass woman written for other grown-ass women. They have all been sourced from open source platforms and no infringement of copyright is intended by this post. *These films are posted with the intention of sharing, inspiring and informing. “We hope that the program will also reveal Stieglitz as a charismatic, complex and fascinating individual ‘whose idealism wrestled with his human frailties.’” “It will help to restore his rightful place in the history of 20th century art and culture,” she said. Adato told PBS she was confident the film would help reawaken interest in Stieglitz, whose fame in recent decades has been overshadowed by that of O’Keefe. The documentary is rounded out by interviews with leading Stieglitz scholars and museum curators. For 19 long years, eight large flat reels of 16mm film (work-print and synced mag track) lay buried in the storage room of my house in Westport, CT. The 1980 project for a film about Stieglitz using this footage was never realized. This film, rare during her lifetime, became unique after her death in 1986. O’Keeffe talks about Alfred Stieglitz–the student, the man, the photographer, the pioneer in the introduction of avant-garde European art to America, the defender of struggling young American modern artists her own views on the artists of the famed “Stieglitz circle” and of their life together. On camera in her home, her garden and her studio, she speaks frankly and intimately, her reminiscences salted with her dry humor. In 1980, at the request of O’Keeffe herself, I had flown to New Mexico with a small film crew and interviewed the artist at great length about Stieglitz. “We knew we had an ace up our sleeve–unique, invaluable, never-seen film footage of Georgia O’Keeffe speaking about Alfred Stieglitz. Having shot many reels of film showing O’Keefe talking about Stieglitz, Adato was a natural choice to direct a full-length documentary on Stieglitz. Alfred Stieglitz: The Eloquent Eye was directed by Perry Miller Adato for the PBS American Masters series, and builds on her earlier documentary work on Stieglitz’s widow, the painter Georgia O’Keefe.
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