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The Strange History of White Journalists ‘Becoming’ Black

SACRAMENTO OBSERVER — Three years after hearing George Floyd cry “Mama” so desperately that it brought a country out of quarantine, Canadian-American journalist Sam Forster donned a synthetic Afro wig and brown contacts, tinted his eyebrows and smeared his face with CVS-bought Maybelline liquid foundation in the shade of “Mocha.” Though Forster did not achieve a “movie-grade” transformation, he became, in his words, “Believably Black.”
The post The Strange History of White Journalists ‘Becoming’ Black first appeared on BlackPressUSA.

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2 years ago

June 30, 2024

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By Alisha Gaines, Florida State University | The Conversation | Word In Black | Sacramento Observer

(WIB) – A peculiar desire seems to still haunt some white people: “I wish I knew what it was like to be Black.”

This wish is different from wanting to cosplay the coolness of Blackness — mimicking style, aping music and parroting vernacular.

This is a presumptive, racially imaginative desire, one that covets not just the rhythm of Black life, but also its blues.

While he doesn’t want to admit it, Canadian-American journalist Sam Forster is one of those white people.

Three years after hearing George Floyd cry “Mama” so desperately that it brought a country out of quarantine, Forster donned a synthetic Afro wig and brown contacts, tinted his eyebrows and smeared his face with CVS-bought Maybelline liquid foundation in the shade of “Mocha.” Though Forster did not achieve a “movie-grade” transformation, he became, in his words, “Believably Black.”

He went on to attempt a racial experiment no one asked for, one that he wrote about in his recently published memoir, “Seven Shoulders: Taxonomizing Racism in Modern America.”

For two weeks in September 2023, Forster pretended to hitchhike on the shoulder of a highway in seven different U.S. cities: Nashville, Tennessee; Atlanta; Birmingham, Alabama; Los Angeles; Las Vegas; Chicago and Detroit. On the first day in town, he would stand on the side of the road as his white self, seeing who, if anyone, would stop and offer him a ride. On the second day, he stuck out his thumb on the same shoulder, but this time in what I’d describe as “mochaface.”

Since September is hot, he set a two-hour limit for his experiments. During his seven white days, he was offered, but did not take, seven rides. On seven subsequent Black days, he was offered, but did not take, one ride. He speculated that day was a fluke.

Forster is not the first white person to center themselves in the discussion of American racism by pretending to be Black.

His wish mirrors that of the white people featured in my 2017 book, “Black for a Day: White Fantasies of Race and Empathy.” The book tells the history of what I call “empathetic racial impersonation,” in which white people indulge in their fantasies of being Black under the guise of empathizing with the Black experience.

To me, these endeavors are futile. They end up reinforcing stereotypes and failing to address systemic racism, while conferring a false sense of racial authority.

The genealogy begins in the late 1940s with Pulitzer Prize-winning journalist Ray Sprigle.

Sprigle, a white reporter at the Pittsburgh Post-Gazette, decided he wanted to experience postwar racism by “becoming” a Black man. After unsuccessfully trying to darken his skin beyond a tan, Sprigle shaved his head, put on giant glasses and traded his signature, 10-gallon hat for an unassuming cap. For four weeks beginning in May 1948, Sprigle navigated the Jim Crow South as a light-skinned Black man named James Rayel Crawford.

Sprigle documented dilapidated sharecropper’s cabins, segregated schools and women widowed by lynching. What he witnessed – but did not experience – informed his 21-part series of front page articles for the Post-Gazette. He followed up the series by publishing a widely panned 1949 memoir, “In the Land of Jim Crow.”

Sprigle never won that second Pulitzer.

Cosplaying as Black

Sprigle’s more famous successor, John Howard Griffin, published his memoir, “Black Like Me,” in 1961.

Like Sprigle, Griffin explored the South as a temporary Black man, darkening his skin with pills intended to treat vitiligo, a skin disease that causes splotchy losses of pigmentation. He also used stains to even his skin tone and spent time under a tanning lamp.

During his weeks as “Joseph Franklin,” Griffin encountered racism on a number of occasions: White thugs chased him, bus drivers refused to let him disembark to pee, store managers denied him work, closeted, gay white men aggressively hit on him, and otherwise nice-seeming white people grilled him with what Griffin called the “hate stare.” Once Griffin resumed being white and news broke about his racial experiment, his white neighbors from his hometown in Mansfield, Texas, hanged him in effigy.

For his work, Griffin was lauded as an icon in empathy. Since, unlike Sprigle, he experienced racist incidents himself, Griffin showed skeptical white readers what they refused to believe: Racism was real. The book became a bestseller and a movie, and is still included in school curricula — at the expense, I might add, of African-American literature.

Griffin’s importance to this genealogy extends beyond middle-schoolers reading “Black Like Me,” to his successor and mentee, Grace Halsell.

Halsell, a freelance journalist and former staff writer for Lyndon B. Johnson’s administration, decided to “become” a Black woman — first in Harlem in New York City, and then in Mississippi.

Without consulting any Black woman before baking herself caramel in tropical suns and using Griffin’s doctors to administer vitiligo-corrective medication, Halsell initially planned to “be” Black for a year. But after alleging someone attempted to sexually assault her while she was working as a Black domestic worker, Halsell ended her stint as a Black woman early.

Although her experiment only lasted six months, she still claimed to be someone who could authentically represent her “darker sisters” in her 1969 memoir, “Soul Sister.”

Turn-of-the-Century ‘Race Switching’

Forster writes that his 2024 memoir is the “fourth act” — after Sprigle, Griffin, and Halsell — of what he calls “journalistic blackface.”

However, he is not, as he claims, “the first person to earnestly cross the color barrier in over half a century.”

In a 174-page book self-described as “gonzo” with only 17 citations, Forster failed to finish his homework.

In 1994, Joshua Solomon, a white college student, medically dyed his skin to “become” a Black man after reading “Black Like Me.” His originally planned, monthlong experiment in Georgia only lasted a few days. But he nonetheless detailed his experiences in an article for The Washington Post and netted an appearance on “The Oprah Winfrey Show.”

Then, in 2006, FX released, “Black. White.,” a six-part reality television series advertised as the “ultimate racial experiment.”

Two families — one white, the other Black — “switched” their races to perform versions of each-otherness while living together in Los Angeles. While the makeup team won a Primetime Emmy Award, the families said goodbye seething with resentment instead of understanding.

A Masterclass of White Arrogance

Believing it would distract from the findings of his experiment, Forster refuses to show readers his mochaface.

Even after confronting evidence forcing him to question his project’s appropriateness, like the multiple articles condemning “wearing makeup to imitate the appearance of a Black person,” he insists his insights into American racism justify his methods and are different from the harmful legacies of blackface. As he stands on the side of the road, sun and sweat compromising whatever care he took to paint his face, Forster concludes that racism can be divided into two broad taxonomies: institutional and interpersonal.

The former, he believes, “is effectively dead,” and the latter is most often experienced as “shoulder,” like the subtle refusal to pick up a mocha-faced hitchhiker.

Forster’s Amazon book description touts “Seven Shoulders” as “the most important book on American race relations that has ever been written.”

Indeed, it is a masterclass — but one on the arrogance of white assumptions about Blackness.

To believe that the richness of Black identity can be understood through a temporary costume trivializes the lifelong trauma of racism. It turns the complexity of Black life into a stunt.

Whether it’s Forster’s premise that Black people are ill-equipped to testify about their own experiences, his sketchy citations, the hubris of his caricature, or the venom with which he speaks about the Black Lives Matter movement, Forster offers an important reminder that liberation can’t be bought at the drugstore.

Alisha Gaines, is associate professor of English, Florida State University

This article is republished from The Conversation under a Creative Commons license. Read the original article.

The post The Strange History of White Journalists ‘Becoming’ Black first appeared on BlackPressUSA.

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2026 Lucid Air Grand Touring Review — Is This $136K EV Sedan Worth It?

AUTONETWORK ON BLACKPRESSUSA — Finished in Stellar White Metallic with the Tahoe Grand Touring interior, this Lucid makes a strong first impression. The shape is sleek and low, but it still feels elegant instead of trying too hard. Features like soft-close doors, powered illuminated door handles, 20-inch Aero Lite wheels, and the Glass Canopy Roof help the car feel expensive before you even start it.

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May 3, 2026

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The 2026 Lucid Air Grand Touring is the kind of luxury EV that makes people stop and ask a simple question: Is this really better than a Tesla Model S, Mercedes EQS, or BMW i7? At $136,150, it has to do more than look futuristic. It has to feel special every time you get in it.

Finished in Stellar White Metallic with the Tahoe Grand Touring interior, this Lucid makes a strong first impression. The shape is sleek and low, yet it still feels elegant rather than trying too hard. Features like soft-close doors, powered illuminated door handles, 20-inch Aero Lite wheels, and the Glass Canopy Roof help the car feel expensive before you even start it.

Inside is where the Air Grand Touring really makes its case. The 34-inch Glass Cockpit Display and retractable Pilot Panel screen give the cabin a clean, modern look that still feels different from other EVs. The Tahoe Extended Leather and Lucid Black Alcantara headliner lifts the sense of occasion, and the front seats are a highlight. They are 20-way power-adjustable, heated, ventilated, and include massage. That matters because luxury buyers at this price expect comfort first.

Rear passengers are not ignored either. You get 5-zone heated rear seating, a rear center console display, and power rear and rear side window sunshades. Add in the Surreal Sound Pro system with 21 speakers, and the Air feels like a true long-distance luxury sedan.

Lucid also gives this car serious EV hardware. The dual-motor all-wheel-drive system, 900V+ charging architecture, and Wunderbox onboard charger are big talking points. Buyers in this segment care about range, charging speed, and everyday ease, not just raw performance. That is where the Lucid continues to stand out.

On the technology side, the Air Grand Touring includes DreamDrive Premium, with 3D Surround View Monitoring, Blind Spot Warning, Automatic Park In and Out, Automatic Emergency Braking, and a Driver Monitoring System with distracted and drowsy driver alerts. This one also has DreamDrive Pro, which adds future-capable ADAS hardware.

There are still some real-world annoyances. Based on your notes, the windshield wiper control is hard to find and use, and that matters more than people think in a high-tech car. When controls become less intuitive, even a beautiful interior can feel frustrating.

Still, the 2026 Lucid Air Grand Touring succeeds where it matters most. It feels luxurious, advanced, comfortable, and thoughtfully engineered. For buyers who want an EV sedan that feels truly premium and less common than the usual choices, this Lucid makes a very strong case.

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Snoop Dogg Celebrates 10 Til’ Midnight at the Compound

LOS ANGELES SENTINEL — The album is paired with a film that stars Snoop Dogg, Hitta J3, G Perico, and Ray Vaughn, and one of the strongest elements of the whole project is that the production stayed rooted right here in Los Angeles.

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May 3, 2026

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Snoop Dogg celebrated the premiere of 10 Til’ Midnight at his Inglewood recording studio & multipurpose facility, The Compound, but the night felt like much more than an album release. It felt like Los Angeles. It felt like legacy. And it felt like another major move from one of the city’s greatest cultural architects as he continues to prove that he is not just dropping music — he is building moments, shaping narratives, and pushing the culture forward in real time.

What made the event so powerful was the clarity behind the vision. During a panel conversation with DJ Hed, Snoop opened up about the heart behind 10 Til’ Midnight, explaining that the project was created to help bridge older and younger generations while also speaking to the long-standing divisions between Bloods and Crips in a unique way through film. That alone gave the project a different kind of weight. This was not just about songs. This was about using creativity as a tool for connection. This was about taking a story rooted in Los Angeles and telling it in a way that could bring people together.

Snoop Congratulated By Rapper & Fellow 10 Til Midnight Cast Member G Perico (CreativeLB/KreativeKapturez)

The album is paired with a film that stars Snoop Dogg, Hitta J3, G Perico, and Ray Vaughn, and one of the strongest elements of the whole project is that the production stayed rooted right here in Los Angeles. The film was shot in the city, including at WePlay Studios in Inglewood, which gave the entire project an even deeper hometown feel. It was not just a West Coast story in content — it was a Los Angeles-made production from the ground up.

That matters because, in a city like this, authenticity still carries weight. Snoop understands how to make sure that what he creates does not just represent Los Angeles on the surface, but actually comes from it.

What also makes 10 Til’ Midnight significant is that it represents another major step in Snoop’s evolution as both an artist and executive. Public reporting around the project identifies it as his 22nd studio album, but the bigger story is what it represents in this season of his life. This is one of several consecutive moves he has made in his 50s that show he is still building, still expanding, and still finding new ways to reinvent what the next chapter looks like.

Snoop Dogg at the Premiere of 10 Til Midnight (CreativeLB/KreativeKapturez)

Now, as the head of Death Row Records and the newly aligned leader of Death Row Pictures, he is taking the brand into a new dimension. That is what made this moment feel bigger than music. Snoop is not just protecting the legacy of Death Row — he is stretching it. He is expanding it beyond records and into film, visual storytelling, and larger creative worlds that can continue carrying the label’s impact forward. Public reporting has noted that this project arrives as part of that broader cinematic push.

That is a major Los Angeles move because the city has always been built on the intersection of music, film, neighborhood identity, and cultural storytelling. With 10 Til’ Midnight, Snoop is leaning all the way into that intersection.

The room at The Compound reflected that. It felt like a private premiere, but it also felt like a statement — a reminder that Snoop Dogg’s staying power has never been based only on nostalgia. It comes from his ability to remain connected, remain visionary, and remain in tune with how to move the culture without losing the essence of who he is.

That is why this premiere mattered. It was not just about celebrating another album. It was about witnessing a Los Angeles legend continue to evolve, continue to unify, and continue to use art to tell stories that hit deeper than entertainment alone.

In that sense, 10 Til’ Midnight became more than a project launch. It became another example of how Snoop Dogg is still taking Los Angeles to the next level — using music, film, and legacy together to build something bigger than a moment.

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OP-ED: Small Businesses Need Minnesota to Act on Pass-Through Tax Policy

MINNESOTA SPOKESMAN RECORDER — A Twin Cities immigrant entrepreneur who built several businesses including grocery stores in underserved neighborhoods is calling on Minnesota lawmakers to extend the Pass-Through Entity tax option before it expires, warning that its loss would hit small businesses already recovering from Operation Metro Surge with higher federal tax bills.

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May 3, 2026

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A Twin Cities Small Business Owner Is Urging Minnesota to Extend a Tax Policy That Could Save Thousands of Businesses

By Daniel Hernandez | Minnesota Spokesman Recorder

I came to the United States as a teenager with a clear goal: to build something meaningful through hard work. I put in long days in construction, restaurants, and landscaping; doing whatever it took to learn, save, and eventually start my own business.

Over time, I built and ran several successful ventures, including an event photography company, a magazine, a tax and accounting firm, and now grocery stores serving neighborhoods across the Twin Cities where other retailers chose not to invest. I’ve created jobs, supported families, and committed to communities that deserve stability and opportunity.

That’s why I’m speaking out now.

Small business owners in Minneapolis and the communities we serve are recovering from serious disruptions, including the impacts of Operation Metro Surge. That event hit immigrant communities especially hard. In my own case, I lost nearly half of my 60 employees and saw revenue drop by about 85%. While I worked to provide competitive wages, health benefits, and paid time off, the real hardship fell on the people who lost their jobs and income.

Even as we rebuild, small businesses are facing another challenge. The Minnesota Legislature is considering letting an important tax policy expire: the Pass-Through Entity tax option.

Here’s what that means in plain terms.

Many small businesses, including mine, are pass-through businesses. That means the business itself doesn’t pay income tax. Instead, the owners report the income on their personal tax returns. But under current federal rules, there’s a limit on how much state tax we can deduct. That often leads to higher federal tax bills.

The Pass-Through Entity option fixes that. It allows the business to pay the state tax directly, which means the business can fully deduct those taxes on its federal return and lower the total amount of income taxed federally. The result is straightforward: small business owners pay less in federal taxes, without reducing what the state collects.

This policy is not new or controversial. Thirty-six states already offer it. It doesn’t cost Minnesota anything, it’s revenue neutral. And it benefits more than 66,000 businesses across the state.

In a state where the cost of doing business is already high, it’s hard to understand why we wouldn’t offer the same basic tax treatment as states like California and Illinois.

Small businesses have carried a heavy load in recent years, through a pandemic, rising costs and public safety disruptions. We’ve adapted, reinvested and stayed committed to our communities. What we need now are practical policies that support that work, not make it harder.

If the Minnesota House does not act soon, many businesses will face significantly higher federal tax bills. That’s money that could otherwise be used to hire workers, raise wages or reinvest in local neighborhoods.

I urge Gov. Tim Walz and members of the House Tax Committee to pass House File 3127 and extend the Pass-Through Entity election.

Small businesses are the backbone of our communities. We’ve proven our resilience. Now we need our state leaders to show the same commitment to us.

Daniel Hernandez is the owner of Colonial Market located at 2100 E. Lake St.

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