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By David J. Leonard

Commodified and Criminalized examines the centrality of recreation to discussions of racial ideologies and racist practices within the twenty first century. It disputes favourite refrains of racial development, arguing that athletes sit down in a contradictory place masked through the logics of recent racism and dominant white racial frames. participants talk about athletes starting from Tiger Woods and Serena Williams to Freddy Adu and Shani Davis.Through dynamic case stories, Commodified and Criminalized unpacks the dialog among black athletes and colorblind discourse, whereas hard the assumptions of up to date activities tradition. The individuals during this provocative assortment push the dialog past the taking part in box and past the racial panorama of activities tradition to discover the connections among activities representations and a broader historical past of racialized violence.

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Additional info for Commodified and Criminalized: New Racism and African Americans in Contemporary Sports (Perspectives on a Multiracial America)

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398). Like Berlant, we contend that despite their progressive appearance, such representations of America’s racial future are aligned with a regressive racial politics. This racial politics is embedded in a national familial politics that, by our view, has accompanied and is inseparable from the crisis of white masculinity. In its most recent version, a prominent masculinity is figured around the popular belief that white men (the future minority) are the new persecuted majority. Moreover, in post–civil rights America, minuscule advances made by women and people of color are imagined as the impediments to white men’s access to the means of making their own destinies.

As he reaches the apex of his follow through, “I am Tiger Woods” in white text appears in the bottom center of the frame, followed by Nike’s international-national sign, the obligatory swoosh. Less than three months earlier, the “Hello World” campaign had enabled, despite its immediate displacement, the possibility of reading Woods as an outspoken racial insurgent. Now, Woods was clearly rearticulated into a multicultural figure who, like his young imitators, was framed as the prepolitical and posthistorical embodied manifestation of contemporary racial politics.

Moreover, while previous annotations to the burgeoning Woods phenomenon exploited his difference in ways that maintained a nonthreatening ambiguity concerning his precise racial identity, the “Hello World” campaign flouted such American racial propriety by “determining” his African Americanness. According to Henry Yu, a professor of history and Asian American studies at UCLA, the “Hello World” campaign was evidence of Nike’s attempt to African Americanize Woods: “To Nike (at least at this juncture), he was African American” (Yu 1996, p.

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