but was not able to afford him the luxury of traveling to the United States. In 1961, he arrived here in Orange County, California. He lived with his family in Anaheim and he attended Anaheim High School. At that time his school was one ourth Hispanic, but he still managed to make a friend. He was here from the beginning of the civil rights movement. He was young and influenced to join in on the marches. However, he had to be cautious not to get caught because he had not yet established his citizenship. This still did not stop his ambitions to support the occurring events. His aspirations to become a teacher came from his father. He pursued his educational endeavors and obtained multiple degrees. Dr. Gethaiga specifically, became an English Major, a Science Major, a major in Education and Anthropology, and earned a Doctorate in Education and Administration. The reason Doctor Gethaiga chose Cal State University Fullerton, is because they chose him. The university was looking for more versatility and experience. He has been at CSUF for
approximately 36 years. Some of the dreams he has for the Afro-Ethnic department would are: a) Department growth, more funding, faculty and students, b) for the program to be more institutionalized, c) To engage more students in branching out into the areas of AfroEthnic Studies. Lastly, when asked about thoughts of retirement, Doctor Gethaiga answered “I don’t think about it.” He has, however, just become a part of the Faculty Early Retirement Program (F.E.R.P). He feels as though there needs to be more room for new hires in the future, and he states “God Willing, I will be here at CSUF for five years or more before completely retiring”.
Remembering our past...
Charlotta A. Bass stands among the most influential African Americans of the
twentieth century. A crusading journalist and extraordinary political activist, she
was at the forefront of the civil rights struggles of her time, especially in Los Angeles, but also in California and the nation. Over time, her role as an activist evolved from championing local business concerns, to strengthening the labor movement, fighting fascism at home and abroad during World War II, and showing a global concern for world peace. Her leadership, courage, truth-telling, and tenacity were an effective force in Los Angeles, and the world, that yielded greater equality for Blacks, workers, and other people
facing oppression. Bass paid a price for her outspokenness. Her life was threatened on numerous occasions. The FBI placed her under surveillance on the charge that her newspaper
was seditious and continued to monitor her until her death. Accused of being a Communist, in 1950, she was called before the California Legislature's Joint Fact Finding Committee on un-American Activities. The accusations began to take a toll on her effectiveness in the community and her ability to sell her newspaper. In
1951, she sold the paper and continued her work in the political realm. Bass ran for several elected offices, including the Los Angeles City Council, Congress, and the United States Vice Presidency. She was also a founding member of California's Independent Progressive Party, part of the national Progressive Party,
a third party movement. Moreover, she founded, led, and participated in numerous civil rights organizations, where she met and befriended prominent activists such as Paul Robeson and W.E.B. DuBois. While she was always active at the national level, Bass devoted her greatest energy and activism to the pursuit of civil rights in
Los Angeles. Though many viewed Los Angeles as a racially harmonious paradise, Bass used her positions as journalist, candidate, and activist to expose and eliminate racism and injustice in the city.
Revitalizing Our Roots
By Nate Jackson
Upon taking a greater look at the current state of media and entertainment that we as
Americans find ourselves submersed in today, one might call it an understatement to simply
suggest that African Americans have contributed a strong impact on nearly every facet and
scrap of pop culture. Indeed, it seems that much of what American youth (or youth around the
world for that matter) has embraced as hallmarks of our generation, particularly in music, stem
directly from the black community. Obvious case and point…Hip Hop.
Since its conception in the late 70’s and early 80’s, the sounds, slang and culture of
hip hop has embedded itself within the Lexicon of the teenage tongue, specifically in the black
teenage population. And with the birth of MTV in 1983, Black music was provided with a
soapbox unparalleled in decades past. The rise of hip hop and Rhythm &Blues artists is almost too numerous to name in this short editorial. It seems as though African Americans virtually dominate the world of popular music. This is not something entirely new in America since the Civil Rights era and the exposure of black music to a wider cultural audience.
That’s all well and good. But lately it seems that in the minds of a percentage of
black youth a question begs to be answered…where have all the black rockers gone? It seems
that (at least on mainstream playing fields), the lack of musicians, writers and fans in the rock market is staggering when compared to Hip Hop and R&B statistics. Last time I checked, we were the originators of the rocker style too, Chuck Berry, Little Richard, Muddy Waters…..remember? It makes me wonder why a black art form with such a strong history has not managed to make such an impact on mainstream media as the saturation of Hip Hop and R&B? Not only that, how have we let things slide to the point where we as black youth now find ourselves on the outside looking in on what is now perceived as a predominantly “white”
art form? Is it a question of economics? Is the fact that the cash cow of African American music
lies in break beats instead of guitar strings a natural deterrent for black youth? Or is it a social
question? Do the common themes, sounds and expressions of rock music not speak as loudly
to the bulk of our generation? This writer believes that it is a mixture of both, plus an injection
of staunch racial stereotyping, both inside and outside of the black community, that has led to
an unspoken parting between the widely accepted prototype of black youth and the black
rocker.
For the average Orange County African American teen who frequents rock, punk and “indie” shows (I include myself in this category to a degree), it can be a bit disheartening to be the only speck of pepper in a room full of salt…if you catch my drift. Whether its on stage or in the crowd, one thing is apparent; for the most part the black fan base for rocker bands is few and far between. I think for some of the more hesitant, closet fans of the rock scene, the fear of “breaking rank” from their stereotyped racial identity or somehow appearing “less black” for going to a punk show is a contributing factor to the lack of visible participation in the scene. The sad part is that in reality, I personally have found nothing but acceptance in most, if not all rock venues and social circles. Don’t be afraid, come on in; the water’s fine guys…really.
To end this observation on a good note, it has been brought to my attention by a number of local bands and peers that the diversity situation in current rock music is getting better. About a week ago, I got a chance to interview the band Oslo, an awesome five piece experimental modern rock group from Los Angeles I sat down with them after a show at the Titan Student Union on campus during “Pub Thursday”. The band itself could be considered fairly diverse at its core; two of the members are African American (Gabriel McNair and Kerry Wayne James on guitar and bass respectively) and the singer, Matilla Borrani, is white. After sitting down to talk to them about some of the issues listed above, I got a few hopeful responses. “It seems like a lot of kids get drawn into Hip Hop by default,” says Gabe, “but I’ve noticed, especially in the L.A. area, that our fan base gets progressively more diverse as time goes on, which is good to see”. All of the members shared names of bands and stories that inspired their current path as musicians. “My friends and I were always open to anything,” says Kerry, “no one was ever an outcast for liking a certain type of music.”
Oslo is just one great example of the underground surge of black participation in rock. As of late, a new crop of artists are even gaining national exposure and praise. Bands like T.V. on the Radio, Bloc Party, God Forbid, Robert Randolph and the Family Band, and Ben Harper are just a spoonful of names that have helped bridge the gap and create a fan base for contemporary black audiences. All in all, things could be better, but they are taking steps in the right direction. All this writer asks for is an open mind, open ears and a little head banging every once in a while; even if it’s in the privacy of your dorm….with the door locked.
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