Author: Janell Hobson

Janell Hobson is professor of women's, gender and sexuality studies at the University at Albany. She is the author of When God Lost Her Tongue: Historical Consciousness and the Black Feminist Imagination. She is also the editor of Tubman 200: The Harriet Tubman Bicentennial Project.

Blood Money, Blues Women, and the Power of Price: How ‘Sinners’ Rewrites the Gothic South

Sinners is rightly recognized as a Black Southern gothic tale, with a plot driven by its male characters. Indeed, the film highlights the camaraderie and community of these men as sharecroppers working alongside their pregnant wives, or as wizened blues musicians who experienced and witnessed enough real-world evil to rival any vampirism.

However, if this “conjuring” is visceral and emotive through the blues music, it is the blues woman and conjure woman who provides its intellectual heft.

This film is a triumph and righteous rebuke of our present era of anti-DEI policies and ideologies. May this way of thinking survive and thrive beyond the vampiric impulse to erase and dominate. 

An American Requiem: Beyoncé’s Country Statement at the Grammys

With all the upheaval, just two weeks in, that has accompanied the second term of the current presidential administration, the 67th annual Grammy Awards show came and went Sunday night like a welcome distraction. Even calling the event a “distraction” misses the serious work of art and its purpose in troubled times: to mobilize the masses, reaffirm our values and spread joy and light amid the darkness.

The big night, however, went to pop star Beyoncé, who not only made history as the first Black woman to win Best Country Album, but finally earned Album of the Year for her politically salient album Cowboy Carter, after previously losing in the category. The album, which opened with a “requiem” for America and closed on a prayer that “we’ll be the ones to purify our fathers’ sins,” calls on all of us to witness this nation’s history and its present, to reckon with its “sins” of exclusion and discrimination and demand that we purify it toward the democratic promise it has always held out for all of us and not just a select few determined to set us back on a backward course.

2024’s Top Feminist Moments in Pop Culture

The year 2024 had promised an era of women rising to the top. This was spectacularly highlighted by the historic presidential run of Vice President Kamala Harris, who had mounted an unprecedented campaign in just over 100 days. Sadly, Harris fell short of the necessary votes.

2024 nonetheless demonstrated that women still hold powerful sway across our popular culture, even as they struggle for the highest political position. We continue to hold onto hope for a feminist future with more opportunities for gender and racial breakthroughs, which are still possible because they have been imagined and envisioned in our pop culture. Here are our picks for the year’s top 10 feminist moments.

Flying Free: Wicked’s Feminist Message

In Wicked, there are many parallels to our own universe: the rise of fascism in Oz; the vilification of a powerful woman (whose laugh some incidentally described as a “cackle”) concerned about the well-being of the most marginalized among us; a media enabling propaganda to villainize said powerful woman and prop up an empty shell of a man specializing in elaborate cons; and the failure of solidarity between women.

Part 1 ends with Elphaba’s ostracism from Oz, but the cinematic pan of her ascension in the sky looks less like tragedy and more like triumph. In times that require moral clarity, a perpetual outsider coming to self-actualization, freed from systems of power because she’s found her own, highlights that we have to look to different skies and different lenses to find a new kind of heroism.

The Political Life of Beyoncé’s ‘Freedom’

The sonic power of Beyoncé’s “Freedom” has done the work in freeing our minds to imagine women’s leadership on the world stage. It has found new life articulating a “Freedom” agenda for presidential nominee Harris. Harris’ campaign insists on forward movement. This freedom story of the nation and the world is far from over. It’s this possibility of leadership that is quite on brand with Beyoncé’s “Freedom.”

Ain’t I a Princess? Including Black Women and Girls in Fantasy and Play

It is only fitting that Netflix chose Juneteenth to debut the Shondaland-produced documentary film, Black Barbie. The film tells the story of Black women who worked at Mattel and gave us the titular doll, showcasing the joy of freedom through play. And yet, while the film shows that today’s Black children may no longer have feelings of being “ugly” or “bad,” as demonstrated during Clark’s doll experiment, they clearly understood Black Barbie wasn’t the “real Barbie,” wasn’t the “hero” of her own story. 

To that end, are we needing to ask a similar question about other fantasies: “Ain’t I a princess?”

It is not enough for Black women and girls to enter fantasy and play as “corrective” heroes. While we are as indebted to the Black women imagineers who worked on the new Disney ride, Tiana’s Bayou Adventure, as we are to the Black women at Mattel for giving us Black Barbie, we are equally in need of imaginations that transcend our limited realities and revel in our most whimsical dreams.

The Abolitionist Aesthetics of Patrisse Cullors, Co-Founder of Black Lives Matter

“Imagine if culturally we understood that protecting Black women meant protecting all of us,” said Patrisse Cullors, renowned for her activist work with Black Lives Matter, a global network she co-founded in 2013 with Alicia Garza and Ayo Tometi. “I think that’s what this show means to me.”

The show referenced here, “dedicated to all Black women and femmes around the world,” is the exhibit Between the Warp and Weft: Weaving Shields of Strength and Spirituality—an introduction to Cullors as an artist wielding her protection spell over Black women. The exhibit opens Saturday, June 15, at the Charlie James Gallery in downtown Los Angeles.