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.

America’s Founding Feminists: Rewriting America’s Origin Story

Two hundred and fifty years ago, a small group of men declared that “all men are created equal,” casting a vision of liberty that has shaped the American imagination ever since.

Yet even as they debated freedom in Philadelphia, women were writing, organizing, governing, resisting and insisting on their place within the nation taking form. Some, like Mary Katherine Goddard, literally set their names in print; others, like Phillis Wheatley, wrote themselves into intellectual existence against a backdrop of enslavement and doubt. Still others left their mark through acts of refusal and flight, choosing freedom when the republic would not grant it.

A new series, Founding Feminists—launching at the start of Women’s History Month—unfolds over two months, twice a week. On this semiquincentennial of the United States, Ms. turns to these “founding feminists” not as anachronistic heroines, but as architects of an unfinished democratic project. There is no nation without women at its core—no democracy without their labor, intellect, resistance and imagination.

From Haudenosaunee matrilineal governance, to Black women’s freedom-seeking acts, from revolutionary manifestos to quiet domestic rebellions, our Founding Feminists series reexamines the past to illuminate our present moment of backlash and possibility.

If the Declaration of Independence set forth a promise of equality, it was women—across race, class, sexuality and nationality—who pressed the nation to live up to it.

Two hundred and fifty years later, their questions remain ours: What does freedom truly mean, and who gets to claim it?

Who’s American? Whose America? Bad Bunny’s Radical Halftime Message

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Thirteen minutes is how long it lasted, and global superstar Bad Bunny—full name Benito Antonio Martínez Ocasio—more than delivered. Set against pulsating Afro-Latin rhythms and brimming with the energetic dancing bodies of Black, Brown and other multicolored peoples, the 2026 Super Bowl halftime show transformed this historic moment of the first all-Spanish musical spectacle into a cultural reset. Now counted among the most watched halftime performances—with close to 130 million views—the Super Bowl was rightfully renamed the “Benito Bowl.”

Bad Bunny’s performance came just one week after he made history as the first artist recording exclusively in Spanish to win the Grammy’s top honor for Album of the Year. It arrived, too, amid escalating violence tied to ICE enforcement and the policing and deportation of Brown and Black communities. At a moment when the U.S. president is railing against diversity, equity and inclusion—and circulating virulently racist content targeting his predecessor and the nation’s first Black president and first lady during Black History Month—the cultural resonance of this halftime show feels all the more potent.

Bad Bunny’s dynamic performance is an affirmation of the same communities currently terrorized by state-sanctioned violence. At rallies and marches, people play Bad Bunny. In moments of grief and passion, people play Bad Bunny. His refusal to be silenced, to be forgotten, is an inspiration of hope and resilience for social movements. His music is music of the revolution, which was spectacularly televised in the middle of a widely watched football game.  

Octavia Butler Saw This Coming

The Huntington Library, located in San Marino, Calif., launches a new exhibit, Stories from the Library: From Brontë to Butler, on Dec. 13, 2025. This collection is especially renowned for its extensive archive on the personal writings and stories pertaining to science fiction author Octavia Butler, who died too soon at age 58 in 2006 due to a fall outside her home. The prolific writer and MacArthur Grant recipient leaves behind several series of novels and other works of fiction.

Janell Hobson spoke with Black feminist scholar and Butler biographer Susana M. Morris, who relied on the vast archive available at Huntington for her latest book, Positive Obsession: The Life and Times of Octavia E. Butler, which came out earlier this year.

“With Octavia Butler, we get cautionary tales. We could have just listened to her.”

Through Art and Storytelling, Artist Harmonia Rosales’ First Book Brings African-Centered Myths to Life

When Harmonia Rosales first unveiled The Creation of God in 2017—a reimagining of Michelangelo’s The Creation of Adam with a Black woman as the divine—she didn’t just challenge art history; she remade it in her image. With her brush, Rosales flipped the script on Western depictions of power, beauty and divinity, centering Black womanhood and African spiritual traditions long erased from the canon.

Her new book, Chronicles of Ori, continues that reclamation through story. A lushly illustrated volume rooted in Yoruba mythology, the work brings to life the Orishas, divine figures of West African cosmology, and weaves them together with familiar names like Eve—both biblical and mitochondrial—into a mythology that claims space for the African diaspora beyond enslavement.

“I felt that we needed a mythology,” Rosales told Ms. “We needed something to connect to besides enslavement, because that’s what seems to be in the Western canon.”

With Chronicles of Ori, she offers that connection: a world where African gods are unmasked, women embody creation itself, and the sacred is painted in brown skin. Through her art and her words, Rosales restores what history fragmented—melding spirituality, storytelling and imagination into what she calls a new kind of mythology, one that reclaims both memory and power.

‘Freeing Black Girls’ and ‘Loving Black Boys’: Tamura Lomax on Revolutionary Mothering During Troubled Times

Tamura Lomax, a trailblazing Black feminist religious scholar, is on a mission to deliver a “Black feminist Bible on racism and revolutionary mother” with two companion books. The first, Freeing Black Girls, was published this year (2025); the second, Loving Black Boys, comes out next year.

Ms. contributing editor Janell Hobson spoke with Dr. Lomax about her latest works and the radical vision of “revolutionary mothering” that guides them.

“Black feminist mothering becomes this experiment. If people can teach sexism and hatred and racism, can we teach Black feminist politics? Is that possible? If we just do it from birth, and it’s just normal everyday talk it’s not this lesson that happens once at the dinner table but it’s just part of our everyday living. Can we do that the same way that we teach hatred?

“Revolutionary mothering is teaching those Black feminist politics everywhere—in the car, on the couch, during movie night, after the basketball game, in the football stands. It’s teaching a radical politics of our rights, our collective right to bodily autonomy first and foremost.”

University Leaders Must Act: An Open Letter on the Threats Facing Critical Interdisciplinary Programs Like Women’s and Gender Studies

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Academic leaders today face a defining test. As the Trump administration seeks to strip research funding, eliminate diversity and inclusion, and give political appointees sweeping control, presidents and provosts must decide what legacy they will leave. The attacks on women’s, gender and sexuality studies—as well as Africana, Indigenous, disability and other interdisciplinary programs—are part of a broader campaign to delegitimize fields that challenge systems of privilege. We are again in turbulent times, not unlike past eras when leaders had to defend the teaching of evolution, admit women and Black students, or resist political interference. The choices made now will echo for decades.

Despite claims that these programs are too small or unsustainable, the evidence tells a different story. These courses draw students across disciplines, fulfill general education requirements, and prepare graduates for a diverse global workforce. Market data show they are often cost-effective, with faculty teaching across departments and reaching wide audiences. Employers stress the importance of the very skills our graduates carry: critical thinking, collaboration and cultural humility. The question for higher education leaders is clear: Will you stand with these programs that represent the best of our democratic values—or allow them to be dismantled by political opportunism and short-sighted cuts?

The Great American Jeans Debate: Racializing Beauty and Democratizing ‘Good Genes’ in Commercial Media

“Sydney Sweeney has great jeans.” Get it?

The issue is, we all get it and cannot avoid the ad’s uncomfortable truths about how women’s bodies convey different symbols and meanings. As a symbol of beauty, Sweeney certainly fits the bill as an attractive, voluptuous young woman who has capitalized on her looks. However, when the camera emphasizes Sweeney’s blue eyes just after panning across her body as she gives a quasi-scientific lesson on how “genes” get passed down, beauty is no longer just about whether a young woman is attractive enough to serve as an ad campaign’s spokesperson. It’s about which type of woman gets to define beauty and promoting scientific fixation on “good genes,” a holdover from the era of eugenics (which literally means “good genes”). 

The best “all-American jeans” advertisement should capture this sense of aspirational dreaming. And Ralph Lauren “Oak Bluffs” ads do just that. These campaigns depict the collegiate, bougie aesthetic of Black middle-class life—represented by those African Americans attending HBCUs and vacationing in Oak Bluffs at Martha’s Vineyard during the summertime—and resonates more positively for a wider audience than American Eagle’s exclusionary “great genes” messaging.

Built on Magic: Black Women’s Spiritual Legacy in American History

The “Black Feminist in Public” series continues with a feature on Lindsey Stewart, an associate professor at the University of Memphis, whose latest book, The Conjuring of America: Mojos, Mermaids, Medicine, and 400 Years of Black Women’s Magic, released this week. A native Southerner, born and raised in South Louisiana, Stewart draws on the literary and cultural traditions of Black women in this region, also highlighted in her first book, The Politics of Black Joy: Zora Neale Hurston and Neo-Abolitionism (2021). With our popular culture now learning to celebrate “conjure women”—from Beyoncé to HBO shows like Lovecraft Country and recent films like The Exorcist: Believer (2023) and this year’s Sinners, The Conjuring of America could not have come at a better time.

Ms.’ Janell Hobson spoke with Lindsey Stewart earlier this summer to discuss her latest book.

“So many of the things that we interact with in our daily lives have hidden origins. And Black people are not just Black people, but magic. … I’m interested in how Black women used magic, used conjure to create a sense of safety in their communities. It was a type of luck management.”

“One of the things I’m trying to do with this book is to debunk the scariness and the association with evil that comes out of conjure, because when you look at Black culture, it’s present in so many of the sayings, superstitions, and practices that we use everyday, even though it’s been rejected in these Christian spaces.”

“There’s another lineage of Negro Mammies, another story about Negro Mammies that’s powerful. They were amazing women. And one of the things I wanted to do with this book is help Black women get closer to their ancestors and release the shame about how we survived. These women were powerful.”