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.

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.”

Kaila Adia Story on Why Queer Liberation Must Center Black Feminism

The Black Feminist in Public series continues with a conversation with Kaila Adia Story, professor of women’s, gender and sexuality studies at the University of Louisville, co-host of the award-winning podcast Strange Fruit and is the author of the recently published The Rainbow Ain’t Never Been Enuf: On the Myth of LGBTQ+ Solidarity.

“Black feminist thinkers and scholars are the blueprint for not only Black feminist liberation but queer liberation, trans liberation,” said Kaila Adia Story.

Artist Autumn Breon’s Requiem for Reproductive Freedom: Honoring Adriana Smith Through Performance

Autumn Breon is using performance and mixed media art to both celebrate Black women’s achievements and honor their struggles. Her latest performance, Dignity Denied, shines a light on the case of Adriana Smith.

“I wanted to show what lack of autonomy, what surveillance looks like, and durational performance felt like the best way to highlight her situation.”

“You might have a six-week abortion ban. You might have whatever other oppressive policies in place. We have always found ways to aid and abet each other, and we always will.”

A’Lelia Bundles Claims Family History and Black Cultural Legacies With New Book ‘Joy Goddess’

“Langston Hughes called [A’Lelia Walker] the ‘Joy Goddess’ of Harlem’s 1920s,” said A’Lelia Bundles, great-great-granddaughter of Madam C.J. Walker and author of Joy Goddess: A’Lelia Walker and the Harlem Renaissance, out June 11.

“Now, her life was not always happy. But I think his idea was that she used her wealth, her influence and her homes to create a joyful space and a welcoming space for a wide range of people.”

The Feminist Leadership Syllabus: Where History, Politics and Pedagogy Meet

When women assume a position of power, does she represent feminist leadership? Can she govern according to feminist principles? What is the difference between women’s leadership and feminist leadership?

This public syllabus on feminist leadership, assembled by Ms. contributing editor Janell Hobson and students in her graduate research seminar at the University at Albany, is an attempt to respond to these questions by exploring different examples of feminist leaders and feminist movements—both globally and historically.

We hope this syllabus can educate us on the kind of feminist leadership that will move us forward toward an inclusive democracy.

(This is Part 2 of a two-part series on women leaders and feminist leadership. Part 1—out last week—breaks down Angela Bassett’s role as U.S. president in the latest and final installment of Mission: Impossible, and how her representation on screen blurs the line between the impossible fictions and possible realities of women’s power in American politics.)

Documenting Harriet Tubman’s Leadership: Pulitzer Prize-Winning Edda L. Fields-Black on the Combahee River Raid

The Combahee River Raid was a military operation during the American Civil War led by Harriet Tubman on June 1-2, 1863. Historian Edda L. Fields-Black—this year’s winner of the Pulitzer Prize in History—reflects on Tubman’s revolutionary Civil War raid and the power of preserving Black history in the face of political pushback.

“What I speculate is that the Union told the enslaved people who she was. And her presence facilitated the enslaved people in trusting the Union. We know, from some of the sources I’ve brought together in [my latest book] Combee that Harriet Tubman was on the ground in the raid, that she participated in the burning of buildings, and that she went to the slave cabins and coaxed the people there to come onto the boats and come to freedom. So how she convinced them to do that, we don’t know, but they did trust her, even if they didn’t know her entire backstory.”

Could Hollywood’s Vision of a Black Woman President Help Make It Possible?

Mission: Impossible—The Final Reckoning featured Tom Cruise’s action hero Ethan Hunt deep-sea diving through a submarine 500 feet under the sea, swimming naked in sub-zero temperatures, and sky diving in the middle of a plane duel. And yet, perhaps the most implausible fiction was… a Black woman president of the United States?!

Black male presidents in film and TV set the stage for Barrack Obama’s election. Could more depictions of Black female leaders pave the way for a Black woman president?

(This is Part 1 of a two-part series on women leaders and feminist leadership. Part 2—out Monday, June 2—continues with a public syllabus.)

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.