Black Culture Discussion Thread

‘Black Branding’ — How a D.C. Neighborhood was Marketed to White Millennials
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https://www.washingtonpost.com/loca...0e4656c22aa_story.html?utm_term=.5ddd6438c24d

Street crime in moderate doses doesn’t deter white millennials from swarming to take over traditionally black urban neighborhoods. On the contrary, they take pride in moving into an edgy, “authentic” community — and even brag about the violence.

That’s what American University professor Derek S. Hyra argues in his new book, “Race, Class, and Politics in the Cappuccino City,” about gentrification in the District. At one point during his four years of field research in the Shaw/U Street neighborhood, he attended a local fundraiser where white recent arrivals seemed to boast about crime in their adopted neighborhood.

“They described neighborhood carjackings, shootings, and purse snatchings with laughter and jokes,” Hyra writes. “It seemed that the neighborhood violence gave some newcomers ... something interesting to talk about at parties.”

Hyra’s book applies a sophisticated, academic approach to studying social tensions at the forefront of current politics, development and culture in the District.

The book raises an ominous warning about a cherished dream of District politicians and activists: that they can build neighborhoods that achieve harmony among diverse races and economic classes.

Instead, Hyra found that when mostly white millennials move into traditional African American communities, the two groups interact little and frequently chafe with each other.

For instance, the young, affluent newcomers tend to take over political and civic organizations and promote their own interests — a phenomenon on display in the recent explosion of bike lanes, dog parks and upscale coffee shops.

Many older, working-class blacks are able to remain, because of the District’s progressive affordable housing policies, and they welcome some benefits, such as a decline in crime.

But they also resent giving up both their former political influence and the character of their community. In one case, lobbying by new arrivals cost black churchgoers a long-standing convenience of parking in a school playground on Sunday mornings. Small, black-owned businesses that served as public gathering places have shut their doors.

Longtime residents “basically feel lost in the neighborhood they grew up in,” Hyra said in an interview. “We haven’t built bridges between people in diverse populations who are living next to each other.”

Hyra, who is white, is director of the Metropolitan Policy Center at AU’s School of Public Affairs. His research included a year volunteering for a grass-roots group, ONE DC, that advocates for low-income people in Shaw.


In one of the book’s most eye-opening chapters, Hyra casts light on a pair of phenomena — “black branding” and “living the wire” — that reveal a lot about racial dynamics in early 21st century America.

“Black branding” describes how developers and other mostly white business interests actively promoted Shaw’s historic black identity as a marketing strategy to attract white renters and buyers. Their success helped tip the neighborhood’s demographics from 70 percent black in 1970 to 30 percent in 2010.

The Shaw/U Street area was an ideal candidate for such a sales job. U Street was known as the “Black Broadway” in the 1920s and 1930s, and the neighborhood nurtured cultural giants including musician Duke Ellington and poet Langston Hughes. Both are now memorialized in names of plush residential properties--”The Ellington” and “Langston Lofts.”

The advertising pitch represented a dramatic shift.

“Not long ago, an urban community’s association with blackness was mostly perceived as detrimental,” the book says. “But nowadays ... neighborhood-based organizations, real estate developers, restaurant owners and urban planners commodify and appropriate aspects of blackness to promote tourism, homeownership, and community redevelopment.”

Hyra dubs a related trend as “living the wire” where whites in their 20s and 30s seek the titillation of living in a community with a hint of the urban grit of the Baltimore ghetto portrayed in the TV series “The Wire.”

He also faults the practice as a new form of urban slumming.

“Living the wire refers to newcomers’ preferences for moving into an inner-city neighborhood because it has been branded as hip or cool, which, to a certain extent, is associated with danger, excitement, poverty and blackness: iconic ghetto stereotypes,” the book says.

Although whites may relish “living the wire,” Hyra says, African Americans unhappy about crime are “living the drama” of residing in a dangerous community.

Hyra’s findings represent a challenge to the housing and economic development strategies advocated by the city’s elected officials and urban planning advocates. Their goal is building communities with a broad mix of races and income groups.

Mayor Muriel E. Bowser (D) sums up that approach by calling her program “inclusive prosperity.” One of her signature objectives is preserving affordable housing in gentrifying neighborhoods.

Partly as a result of such policies — also pursued by Bowser’s predecessors — the District has had more success than many cities in allowing low-income residents to remain as their neighborhoods transform, according to Hyra and local housing experts.

Without support from the city and churches that sponsor subsidized housing, Hyra said, blacks’ share of Shaw’s population would be a third of what it is today.

But while the groups share physical proximity, they remain isolated from one another in a pattern that Hyra calls “micro-segregation.”

The divisions break along more than racial lines. The neighborhood also has experienced frictions between conservative, religious residents and gays, and between upper-class and lower-class African Americans.

“While there are signs that we are becoming a more tolerant society, preexisting social categories, such as race, class and sexual orientation, help to explain intense neighborhood conflicts,” the book says.

What’s the solution? Hyra urges creating more “third spaces” like corner stores and recreation centers where all groups can feel comfortable. He also wants more funding for non-profits that encourage community cooperation and more subsidies for long-standing Mom-and-Pop businesses.

It’s not clear that such steps would be sufficient. But they would be necessary if the District is to fulfill its aspiration of seeing black and white, rich and poor, enjoy the city together.
 
#goodtalk, if maybe not really arriving anywhere but many interesting angles/perspectives...the topic of cultural appropriation is tough because it is also tends to be how culture is disseminated...

 
#goodtalk, if maybe not really arriving anywhere but many interesting angles/perspectives...the topic of cultural appropriation is tough because it is also tends to be how culture is disseminated...



Sista with the braids giving Bruno that work :lol
 
The problem with Bruno is sampling is one thing but dude is straight up taking whole songs, clothes, dance steps. Everything. Like sheesh. I was listening to his first EP back in 2010 and thought dude was talented but these last few years he's coming up off doing karaoke.
 
#goodtalk, if maybe not really arriving anywhere but many interesting angles/perspectives...the topic of cultural appropriation is tough because it is also tends to be how culture is disseminated...



I think this group needs a bit more tone diversity. They sound overly intellectual and boujee at times.

Bruno has been and always will be corny to me. Yes Bruno Mars is cultural appropriates but black people cosigned that corny music like they do with every white person that shows up on a Apollo stage. Home girl with the braids was on point with her facts about there being so many Black artist that have done what Bruno has done and better but we threw them by the waist side like most rather than uplifting them. I think if black people stopped supporting cultural appropriators like Michael Rappaport, Bruno Mars, Justin Timberlake, Bieber, Every non-black new wave rapper, Kardashians, Racially ambiguous Love and Hiphop women, Katie Perry, Macklamore, Logic or any other half breed who denounces his or her blackness etc. we just wouldn't have these kinds of problems. Stop caring about grammy's and white acceptance and just support our own waves.
 
I think this group needs a bit more tone diversity. They sound overly intellectual and boujee at times.

Bruno has been and always will be corny to me. Yes Bruno Mars is cultural appropriates but black people cosigned that corny music like they do with every white person that shows up on a Apollo stage. Home girl with the braids was on point with her facts about there being so many Black artist that have done what Bruno has done and better but we threw them by the waist side like most rather than uplifting them. I think if black people stopped supporting cultural appropriators like Michael Rappaport, Bruno Mars, Justin Timberlake, Bieber, Every non-black new wave rapper, Kardashians, Racially ambiguous Love and Hiphop women, Katie Perry, Macklamore, Logic or any other half breed who denounces his or her blackness etc. we just wouldn't have these kinds of problems. Stop caring about grammy's and white acceptance and just support our own waves.
So true
 
Isn’t Bruno an Afro Rican? Puerto Rican people are basically black.
 
I think this group needs a bit more tone diversity. They sound overly intellectual and boujee at times.

Bruno has been and always will be corny to me. Yes Bruno Mars is cultural appropriates but black people cosigned that corny music like they do with every white person that shows up on a Apollo stage. Home girl with the braids was on point with her facts about there being so many Black artist that have done what Bruno has done and better but we threw them by the waist side like most rather than uplifting them. I think if black people stopped supporting cultural appropriators like Michael Rappaport, Bruno Mars, Justin Timberlake, Bieber, Every non-black new wave rapper, Kardashians, Racially ambiguous Love and Hiphop women, Katie Perry, Macklamore, Logic or any other half breed who denounces his or her blackness etc. we just wouldn't have these kinds of problems. Stop caring about grammy's and white acceptance and just support our own waves.

the crew could definitely be better served with some different voices...tho i think the 'problem' with that show is exactly that there are too many voices...

this isn't commentary on these folks respective talents or whether i think they make good music, but i do feel bruno, iggy azalea, perry, miley, bieberveli, maclemore and the like have been kinda corny...to go into to why might be too much of a tangent but i really do think part of reason black people do support them is because when these types come in they tend, or at least are presumed to be fairly sincere, and/or studied, and/or transparent in their appreciation, in ways that i feel like many black artists tend not to, don't have to, and maybe are not presumed to be...

i completely understand the rationale of the woman in the cornrows, what she said about white audiences seeming distaste for black music from black artists and the orders of magnitude of people of color was a strong argument i hadn't really heard put that way, but i think she makes assertions about artists' motives that, while maybe not totally unfounded, are nevertheless unknowable about artists' motives; though it has long been accepted that the industry/labels generally do decide to invest & push certain artists based on the demographic(s) to which they appeal...seems unlikely but miley might have really been interested in trap'n & twerk'n music and then decided to go in a whole different direction? we could ask the alternate question of when black artists crossover, experiment, or take creative risks dabbling with different genres are we as accepting of them in the same way(s)?

but to seasoned vet's point:

but we keep discussing it like that man owes us something

he doesn't

artist make things, often beginning with copying before evolving into their own thing or at least their own spin of the old thing. originality is not only overrated but usually it isn't that compelling to most, and usually does take for someone else to come along and distill it into something more 'palatable;' and sometimes the result, though maybe well done, is corny...to try to take 'appropriators' to task for consuming culture strikes me as too expectant and restrictive of 'art/culture' even if it is entangled in/with commerce, and is more time applied inconsistently and/or haphazardly done...

i do find convos around the responsibility that people want to put on these artists sometimes enlightening, and always interesting; for example there was a write up i remember linking to explicitly about white rappers, with almost exclusively white audiences, and no traditional (or at least openly public) co-sign from/through black artist(s). which really highlights the point that whether or not black people support these artists, they still can carve out quite successful niches that may eventually put them in position to be placed in the forefront.

in the abstract, paying homage or crediting inspiration seems obvious but in practice doesn't seem all that tenable and is rife with its own problems of 'proper' attributions & comparisons (how often should one pay homage? what happens when tings are references of references like the kardashian 'bo derek' braids come up? is riff raff's persona an elaborate play on the wu's odb or is he an odd dude from houston texas that likes hip hop?); i found it funny that aaron hall was mentioned in the discussion when i thought is was fairly known that he thinks r.kelly came along a took his WHOLE vibe in the early/mid 90s?

the point that black folk need to create and take seriously our own awards/creations as a good thing, but i think the point often minimized by people using the "stop caring about the -insert establishment award/cultural signifier/recognition here- " argument, is that we're talking about art(ists); or more generally people competing in the world of ideas...broadly every one would ideally hope their reach to go as far as is possible and the exposure that often comes with the establishment platforms is the potential promise of those things, it doesn't have to be mutually exclusive though it seems to play out that way...

Isn’t Bruno an Afro Rican? Puerto Rican people are basically black.

i don't know if he is of african descent, though many puerto ricans are it is worth keeping in mind that ethnicity & nationality are distinct things...
 
mofos needs to start taking DNA test....if you 50% African by blood then you can claim black, all these damn people with 5% African in them walking around like they black is killing me

81% African right here fam
 
Isn’t Bruno an Afro Rican? Puerto Rican people are basically black.

Bruno isn't black on paper and not all(or most don't) Puerto Rican's are black or identify as black. Like sugafree sugafree said those are 2 completely different cultures and mentalities that just so happen to cohabitate and cross paths frequently.
 
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