There were two kinds of Negroes. There was the old house Negro and there was the field Negro. And the house Negro always looked out for his master. When the field Negro got too much out of line, he held him back in check. He put ’em back on the plantation.
The house Negro could afford to do that because he lives better than the field Negro. He ate better, he dressed better, and he lived in a better house. He lived right up next to his master—in the attic or in the basement. He ate the same food his master ate and he dressed in the same clothes. And he could talk just like his master—good diction. And he loved his master more than his master loved himself. That’s why he didn’t want his master hurt.
If the master got sick, he’d say, “What’s the matter, boss, we sick?” [Laughter] When the master’s house caught afire, he’d try and put the fire out. He didn’t want his master’s house burned. He never wanted his master’s property threatened. He was more defensive of it then the master was. That was the house Negro.
The daughter of African immigrants to the American Midwest, Hind Makki (@HindMakki)has long been interested in understanding the impact of migration, race, religion on shaping the development of Western Muslim consciousness. Hind has appeared on Al Jazeera’s “The Stream,” Chicago Public Radio and Huffington Post Live; her work is featured in Alarabiya News, AltMuslimah, The Cambridge Companion to American Islam, Common Ground News, The Economist, The Huffington Post, Islamic Horizons, National Public Radio, PolicyMic; and she has published pieces in The New York Times and The Washington Post. Hind holds a degree in International Relations from Brown University.
The author of The Green Deen, Ibrahim (@IbrahimSalih) is a former National Urban Fellow and policy advisor to Mayor Bloomberg. He spends his days pounding political and executive corridors to find integrated solutions to complex business and social challenges.
Nsenga Knight (@Nsenga_K) is an interdisciplinary artist and filmmaker. Her work expands upon the common aesthetic and conceptual inclinations in Islamic Art, American and European abstraction and the conceptual arts movement, reflecting her interests in ritual, subjectivity, history, archiving and intervention. Nsenga’s artistic process is as tied to the medium of drawing and performance art as it is to photography and the aesthetics of cinema, particularly experimental films. For more on her work, see her web site here.
WHAT IS THE STREAM?
The Stream is a social media community with its own daily television program, focusing on stories that are ongoing, global, and sourced from social media. The Stream is an aggregator of online sources and discussion, seeking out unheard voices, new perspectives from people on the ground and untold angles related to the most compelling stories of the day. We also share the platform with artists, celebrities and intellectuals who are an integral part of the social media community.
The program is critically acclaimed, having won the prestigious Royal Television Society Award in the UK for ‘the most innovative news show’ and an Emmy nomination in the US for its “best new approaches to news and documentaries”.
The show appears live on Al Jazeera English TV channel and repeats at 04:30 GMT, 08:30GMT, 14:30GMT.