Greenidge’s story starts in summer 1990 with a scenario both more and less extreme than Ellison’s. Much like the “Battle Royale” episode that begins Ralph Ellison’s Invisible Man, Kaitlyn Greenidge’s provocative first novel We Love You, Charlie Freeman dramatizes the peculiar circumstances that turn African Americans into anthropological specimens of white curiosity. Dylan’s song, Newton explains, throws into sharp relief the absurdity of such pastimes-and the myopic indifference of those who can’t see it. Newton explains how the song captures the way “racism is perpetuated.” He describs white people who “sometimes take a Sunday afternoon off and … go down to the black ghettoes to watch the prostitutes and the decaying community … just trying to live.” These ethno-tourists pathologize black deprivation and fetishize its manifestations for spectacle and entertainment. Jones and says, “How does it feel to be such a freak?” Jones, pays to see a geek-a washed-up circus performer-do the only job the circus will give him: eat a live chicken in a cage. Newton draws Seale’s attention to a verse in which the song’s subject and target, the clueless Mr. The record that endlessly spins in the background during layout is Bob Dylan’s “Ballad of a Thin Man,” and Seale asks party co-founder Huey P. In his autobiography Seize the Time, Black Panther Party Chairman Bobby Seale recalls the night the Panthers put together their first newspaper.
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