Touré
Touré in 2006
Born	(1971-03-20) March 20, 1971 (age 41) Boston, Massachusetts[1]
Occupation	TV host, novelist, journalist, cultural critic
Language	English
Nationality	American

Touré (born Touré Neblett, March 20, 1971)^[2][1] is an American novelist, essayist, music journalist, cultural critic, and television personality based in New York City. He is the host of Fuse's Hiphop Shop and On the Record. He is also a contributor to MSNBC's The Dylan Ratigan Show and serves on the Rock and Roll Hall of Fame Nominating Committee.^[3]

Career[link]

Writing career[link]

While a student at Emory University, Touré founded the black student newspaper, The Fire This Time.^[4] He dropped out of college in 1992 and became an intern at Rolling Stone magazine but was fired after a few months. Weeks later he was asked to write record reviews and then feature stories. His first feature was about Run-DMC. Since 1997, he has been a contributing editor at Rolling Stone, writing primarily about hip hop.^[5] In April 2011 he wrote the Rolling Stone cover story about Adele.^{[volume & issue needed]}

Touré has written four books: The Portable Promised Land (2003), a collection of short stories, Soul City (2004), a magical realist novel about life in an African-American Utopia, and Never Drank the Kool-Aid (2006), a collection of his published writing between 1994 and 2005. In September 2011 Free Press published Who's Afraid of Post-Blackness?, a look at modern Black identity that includes a forward by Michael Eric Dyson and excerpts from over 100 interviews with notable people like Jesse Jackson.

He has also written about Dale Earnhardt Jr. in Rolling Stone magazine's "Kurt is My Co-Pilot", a story that ended up in The Best American Sports Writing 2001.^[6][7]

Television[link]

Touré interviewing DJ Spooky at the 2009 Brooklyn Book Festival.

His television career began in the late 1990s with occasional appearances on talk shows like The Today Show. In 2003, he became the host of Spoke N' Heard on MTV2, a weekly half-hour interview show. In 2004, he became CNN's first pop culture correspondent, covering the Oscars and the Grammys and talking about pop culture on a recurring segment on American Morning called "90 Second Pop," hosted by Soledad O'Brien and Bill Hemmer. In 2005, Touré left CNN and became a correspondent for Black Entertainment Television (BET), where he hosted a show called The Black Carpet. In 2008, he left BET and became a contributor to MSNBC. In September 2009, he became the host of the Hiphop Shop, a hiphop music video and interview show on Fuse. Touré has filled in as occasional substitute host of the arts and culture interview program The Leonard Lopate Show on WNYC, New York City's largest public radio station. His show I'll Try Anything Once aired on Treasure HD. The 13-episode, half-hour series featured Touré attempting challenges each week. He has hosted several shows on Tennis Channel including Top Ten Hottest Shots and Community Surface.^[8] Touré was one of the journalists interviewed for biographical insight into the life of rapper Eminem on the A&E Biography episode devoted to that musician.^[9]

On March 29, 2012, Touré criticized Piers Morgan's interview of Robert Zimmerman regarding his brother George's shooting of Trayvon Martin on Morgan's CNN talk show, Piers Morgan Tonight, stating that Morgan failed to ask Zimmerman challenging questions, and provided a platform for mendacity on Zimmerman's part. After Morgan and Touré initially traded personal insults, they agreed to an interview on the March 30, 2012 episode of Piers Morgan Tonight.^[10] The two continued their hostilities during the March 30 interview, with Morgan calling into question Touré's journalistic professionalism and Touré arguing that Morgan's relatively short time in the United States made him less empathetic to the American experience. The two continued to feud on Twitter after the show's taping.^[11]

Personal life[link]

On March 19, 2005, Touré married Rita Nakouzi on a beach in Miami, with Rev. Run from Run-DMC as the officiant and Nelson George as the best man. Touré and his wife live in the Fort Greene neighborhood of Brooklyn, New York.^[12] They have a son named Hendrix and a daughter named Fairuz.^[13]

References[link]

External links[link]

Wikimedia Commons has media related to: Touré

• Touré on Twitter
• Touré on Facebook
• Touré on Typepad blog
• The Career Cookbook Touré profile

This article is about the character from the Harriet Beecher Stowe novel, Uncle Tom's Cabin, and the resulting epithet. For the P. G. Wodehouse character, see Tom Travers.

A 1901 stage adaptation of Uncle Tom's Cabin containing mixed elements of Harriet Beecher Stowe's original Christian martyr and the stock minstrel character of later adaptations.

Uncle Tom is the title character of Harriet Beecher Stowe's 1852 novel, Uncle Tom's Cabin.

The phrase "Uncle Tom" has also become an epithet for a person who is slavish and excessively subservient to perceived authority figures, particularly a black person who behaves in a subservient manner to white people; or any person perceived to be a participant in the oppression of their own group.^[1][2]

Original characterization and critical evaluations[link]

Detail of an illustration from the first book edition of Uncle Tom's Cabin. Depicts Uncle Tom as young and muscular

At the time of the novel's initial publication in 1851 Uncle Tom was a rejection of the existing stereotypes of minstrel shows; Stowe's melodramatic story humanized the suffering of slavery for White audiences by portraying Tom as a Christlike figure who is ultimately martyred, beaten to death by a cruel master because Tom refuses to betray the whereabouts of two women who escape from slavery.^[3][4] Stowe reversed the gender conventions of slave narratives by juxtaposing Uncle Tom's passivity against the daring of three African American women who escape from slavery.^[3]

The novel was both influential and commercially successful, published as a serial from 1851-1852 and as a book from 1852 onward.^[3][4] An estimated 500,000 copies had sold worldwide by 1853, including unauthorized reprints.^[5] Senator Charles Sumner credited Uncle Tom's Cabin for the election of Abraham Lincoln and Lincoln himself reportedly quipped that Stowe had triggered the American Civil War.^[3] Frederick Douglass praised the novel as "a flash to light a million camp fires in front of the embattled hosts of slavery".^[3] Despite Douglass's enthusiasm, an anonymous 1852 reviewer for William Lloyd Garrison's publication The Liberator suspected a racial double standard in the idealization of Uncle Tom:

Uncle Tom’s character is sketched with great power and rare religious perception. It triumphantly exemplifies the nature, tendency, and results of CHRISTIAN NON-RESISTANCE. We are curious to know whether Mrs. Stowe is a believer in the duty of non-resistance for the White man, under all possible outrage and peril, as for the Black man… [For whites in parallel circumstances, it is often said] Talk not of overcoming evil with good—it is madness! Talk not of peacefully submitting to chains and stripes—it is base servility! Talk not of servants being obedient to their masters—let the blood of tyrants flow! How is this to be explained or reconciled? Is there one law of submission and non-resistance for the Black man, and another of rebellion and conflict for the white man? When it is the whites who are trodden in the dust, does Christ justify them in taking up arms to vindicate their rights? And when it is the blacks who are thus treated, does Christ require them to be patient, harmless, long-suffering, and forgiving? Are there two Christs?^[6]

James Weldon Johnson, a prominent figure of the Harlem Renaissance, expresses an ambivalent opinion in his autobiography:

For my part, I was never an admirer of Uncle Tom, nor of his type of goodness; but I believe that there were lots of old Negroes as foolishly good as he; the proof of which is that they knowingly stayed and worked on the plantations that furnished sinews for the army which was fighting to keep them enslaved.”^[7]

In 1949 American writer James Baldwin rejected the emasculation of the title character "robbed of his humanity and divested of his sex" as the price of spiritual salvation for a dark-skinned man in a fiction whose African-American characters, in Baldwin's view, were invariably two dimensional stereotypes.^[3][8] To Baldwin, Stowe was closer to a pamphleteer than a novelist and her artistic vision was fatally marred by polemics and racism that manifested especially in her handling of the title character.^[8] Stowe had stated that her sons had wept when she first read them the scene of Uncle Tom's death, but after Baldwin's essay it ceased being respectable to accept the melodrama of the Uncle Tom story.^[3] Uncle Tom became what critic Linda Williams describes as "an epithet of servility" and the novel's reputation plummeted until feminist critics led by Jane Tompkins reassessed the tale's female characters.^[3] According to Debra J. Rosenthal in an introduction to a collection of critical appraisals for the Routledge Literary Sourcebook on Harriet Beecher Stowe's Uncle Tom's Cabin, overall reactions have been mixed with some critics praising the novel for affirming the humanity of the African American characters and for the risks Stowe assumed in taking a very public stand against slavery before abolitionism had become a socially acceptable cause, and others criticizing the very limited terms upon which those characters' humanity was affirmed and the artistic shortcomings of political melodrama.^[9]

Inspiration[link]

A specific impetus for the novel was the Fugitive Slave Act of 1850, which imposed heavy fines upon law enforcement personnel in Northern states if they refused to assist the return of people who escaped from slavery.^[4][10] The new law also stripped African Americans of the right to request a jury trial or to testify on their own behalf, even if they were legally free, whenever a single claimant presented a sworn affidavit of ownership.^[10] The same law authorized a $1000 fine and six months imprisonment for anyone who knowingly harbored or assisted a fugitive slave.^[10] These terms infuriated Stowe, so the novel was written, read, and debated as a political abolitionist tract.^[4]

Stowe drew inspiration for the Uncle Tom character from several sources. The best-known of these was Josiah Henson, whose autobiography was originally published in 1849 and later republished in extensively revised editions after the publication of Uncle Tom's Cabin.^[11] Henson was enslaved at birth in 1789.^[11] He became a Christian at age eighteen and took up preaching.^[11] Henson attempted to purchase his freedom for $450, but after selling his personal assets to raise $350 and signing a promissory note for the remainder Henson's owner raised the price to $1000; Henson was unable to prove that the original agreement had been for a lesser amount.^[11] Shortly afterward Henson was ordered on a trip south to New Orleans, and when he learned that he was to be sold there he obtained a weapon and contemplated murdering his white companions, but decided against violence because his Christian morals forbade it.^[11] A sudden illness in one of his companions forced their return to Kentucky, and shortly afterward Henson escaped north with his family, settling in Canada where he became a civic leader.^[11]

Stowe read the first edition of Henson's narrative and later confirmed that she had incorporated elements from it into Uncle Tom's Cabin.^[11] Kentucky and New Orleans figure in both Henson's narrative and the novel's settings, and some other story elements are similar.^[11]

In the public imagination, however, Henson became synonymous with Uncle Tom.^[11] After Stowe's death her son and grandson claimed she and Henson had met before Uncle Tom's Cabin was written, but the chronology does not hold up to scrutiny and she probably drew material only from his published autobiography.^[11]

Epithet[link]

Uncle Tom, from an 1885 magic lantern series.

The term "Uncle Tom" is used as a derogatory epithet for an excessively subservient person, particularly when that person perceives their own lower-class status based on race. It is similarly used to negatively describe a person who betrays their own group by participating in its oppression, whether or not they do so willingly.^[12][13]

The popular negative connotation of "Uncle Tom" has largely been attributed to numerous derivative works inspired by Uncle Tom's Cabin in the decade after its release, rather than the original novel itself, whose title character is a more positive figure.^[3] These works lampooned and distorted the portrayal of Uncle Tom with politically loaded overtones.^[5]

History[link]

American copyright law before 1856 did not give novel authors any control over derivative stage adaptations, so Stowe neither approved the adaptations nor profited from them.^[14] Minstrel show retellings in particular, usually performed by white men in blackface, tended to be derisive and pro-slavery, transforming Uncle Tom from Christian martyr to a fool or an apologist for slavery.^[5]

Adapted theatrical performances of the novel remained in continual production in the United States for at least eighty years.^[14] These representations had a lasting cultural impact and influenced the pejorative nature of the term Uncle Tom in later popular use.^[5]

Although not all minstrel depictions of Uncle Tom were negative, the dominant version developed into a stock character very different from Stowe's hero.^[5][15] Stowe's Uncle Tom was a muscular and virile man who refused to obey when ordered to beat other slaves; the stock character of minstrel shows became a shuffling asexual individual with a receding hairline and graying hair.^[15] To Jo-Ann Morgan, author of Uncle Tom's Cabin as Visual Culture, these shifting representations undermined the subversive layers of Stowe's original characterization by redefining Uncle Tom until he fit within prevailing racist norms.^[14] Particularly after the Civil War, as the political thrust of the novel which had arguably helped to precipitate that war became obsolete to actual political discourse, popular depictions of the title character recast him within the apologetics of the Lost Cause of the Confederacy.^[14] The virile father of the abolitionist serial and first book edition degenerated into a decrepit old man, and with that transformation the character lost the capacity for resistance that had originally given meaning to his choices.^[14][15] Stowe never meant Uncle Tom to be a derided name, but the term as a pejorative has developed based on how later versions of the character, stripped of his strength, were depicted on stage.^[16]

Claire Parfait, author of The Publishing History of Uncle Tom's Cabin, 1852-2002, opines that "the many alterations in retellings of the Uncle Tom story demonstrate an impulse to correct the retellers' perceptions of its flaws and "the capacity of the novel to irritate and rankle, even a century and a half after its first publication."^[4]

See also[link]

• Acting white
• House Negro
• Jump Jim Crow
• List of ethnic slurs
• Tom Shows
• Uncle Tom syndrome

References[link]

Notes[link]

• Osofsky, Gilbert, ed. (1969). Puttin' On Ole Massa: The Slave Narratives of Henry Bibb, William Wells Brown, and Solomon Northup. Harper & Row. ISBN 978-0-06-131432-2. 
• Mohammad Ali (2009). Thrilla in Manilla (Documentary). USA: HBO. 

External links[link]

• An article on the Uncle Tom caricature
• An article from EveryGirls 1931 by Olive Burns Kirby

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House Negro (also House Nigger) is a pejorative term for a black person, used to compare someone to a house slave of a slave owner from the historic period of legal slavery in the US. The term comes from a speech, Message to the Grass Roots, given by African American activist Malcolm X, where he explains that during slavery, there were two kinds of slaves: "house Negroes," who worked in the master's house and "field Negroes," who performed the manual labor outside. He characterizes the house Negro as having a better life than the field Negro, and thus unwilling to leave the plantation, and potentially more likely to support existing power structures that favor whites over blacks. Malcolm X identified with the field Negro. The term is used against individuals^[1][2], in critiques of attitudes within the African American community,^[3] and as a borrowed term for critiquing parallel situations.^[4]

See also[link]

• Uncle Tom

References[link]

Further reading[link]

Malcolm X Speaks, George Breitman, ed. (New York: Grove Weidenfeld Publishers, 1990). ISBN 0-8021-3213-8