On April 27, Janelle Monáe released her latest project, Dirty Computer. Through it, the femdroid allows the listener to enter into a new realm of immovable and robust queerness, autonomy, and joy. With trans-inclusive songs about the triumph of love like Pynk; sexy and provocative songs like Make Me Feel; songs which demand space for Black women’s agency and independence like Django Jane; and songs which detail the complexities of her humanity like I Like That, Monáe finds a way to encapsulate the fullness of her blackness without ever trivializing or commodifying Black Death.
The same cannot be said for Donald Glover.
On May 6, Donald Glover—also known as Childish Gambino—released a song and visual titled This is America, where he raps about what it looks like to exist as a Black American in this current political climate.
As Gambino dances through the warehouse, in a chair sits a Black man playing the guitar. In one moment, you can see his face; in the next, his head is covered and, without warning, Gambino takes a gun and shoots him in the back of the head. The artist continues to dance through this empty warehouse, accompanied by young Black kids, as chaos ensues around him. After he finishes one of his dance takes, the camera pans to the inside of what is supposed to represent a Black church, specifically Emanuel African Methodist Episcopal Church—the historic church in Charleston, SC which also serves as the site for the murder of nine members at the hands of Dylann Roof. Gambino dances into the church as the choir sings. Then, for the second time, without warning, he opens fire on the entire choir. After both of these shootings, Gambino places the firearms neatly in a red cloth. I surmise that the red represents the blood of Black people and the care with which he handles the guns is intended to provide a visual for how little Black lives matter in America and how much guns matter to America.
It has been argued that This is America was intended to be a critique to/of Black people; as a way to say that we have long ignored, or turned away from, the chaos around us, using pop culture as an escape. It has also been argued that This is America was a message to white people as an attempt to engage their “moral consciousness”; to draw attention to the plight of Black American people. I am positing that, irrespective of who the intended audience was, Gambino’s commodification of Black Death was irresponsible and not impactful.
Since our very existence in America, Black people have resisted. We resisted the Transatlantic Slave Trade and enslavement through jumping ship, revolting, and building pathways which would lead to the freedom of tens of thousands of enslaved people; we resisted Jim Crow by demanding and carving out space which we were told could never be ours. We’ve resisted through the art and music of the Harlem Renaissance; we’ve resisted through Garvey’s Universal Negro Improvement Association (UNIA); we’ve resisted through the Montgomery Bus Boycott; through the sit-in era and the founding of the Student Non-Violent Coordinating Committee (SNCC); through the March on Selma; through the rise of the Black Panther Party and other armed-resistance movements; and today we continue in the tradition of radical Black resistance through anti-mass incarceration and police movements. And through each of these eras—through each moment of resistance—Black people have found ways to laugh, to love, to heal, to carry on in the face of adversity; not as a form of distraction, but as a form of self-preservation.
This remains true even if his intended audience is white. However, whiteness has no moral consciousness because whiteness is always already immoral. The very existence of whiteness is what makes room for anti-Black violences, for gun violence, for America to look the way that Gambino depicted it in his video. And since much of Gambino’s audience is white, and we exist under anti-Black capitalism, I’d argue that there is no way to produce content on his level without it being consumed by white people. Due to this, serving up Black Pain and Black Death on a silver platter as to appeal to the nonexisting consciousness of whiteness is counterproductive and only trivializes our trauma.
In 2014, after the months-long resistance in Ferguson that sparked a new wave of community organizing, organizers across the country did what we called die-ins as direct action. That soon transitioned out of our liberation toolkit, however, because it was more harmful than it was helpful. In the wake of the Black Lives Matter movement, there was rarely ever a moment where one couldn’t turn on the news and see a slain Black body. Because of this, at least in Atlanta organizing spaces, we realized that the circulation of more still, motionless Black bodies did not/could not/would not disrupt the moral unconsciousness of whiteness. Instead, it forced Black people to continue to visualize ourselves as lifeless. So, too, is this true for This is America.
In an interview discussing her compilation album, Protest Anthology, Nina Simone—an artist best known for using her love for music as a medium for her activism during the Civil Rights Movement—stated that an artist’s duty was to reflect the times. I believe that she was correct. Art, especially Black Art, has a particular and significant responsibility to insight and to amplify. Through This is America, I believe that Gambino was making an attempt to do just that. However, I do not believe that art requires us to reproduce imagery that is already inescapable. Art does not demand that we subject ourselves (and others) to the already-inescapable trauma of existing as Black in America. In the visual for Beyoncé’s Formation, she makes a similar critique of America through the drowning of a police car in the New Orleans water and having a little Black child dance in the face of New Orleans police. While there is room to critique her display of the aftermath of Hurricane Katrina and what that might trigger for Katrina survivors, she never once trivialized Black Death by placing the literal murders of Black people on display in the way that Gambino does.The ability to uplift Black women while postulating the death of the state—and not of Black people—is what's genius. It is because of this that I believe that Janelle Monáe deserves to be celebrated and uplifted as Black Genius. Click To Tweet
Kendrick Lamar, J. Cole, Drake, Kanye West, and Donald Glover are just a few of the names of Black cisgender, heterosexual men who rap that have been labeled as “genius.” Men whose misogyny and sexism, heterosexism and cissexism, and blatant anti-blackness have been excused and justified to preserve their status as genius while women like Janelle and Beyoncé are either overlooked or deemed overrated. This begs the question: who is Black Genius reserved for and, with Gambino’s recent video, when will space be created to broaden that definition?
We do not have to plaster our blood on walls or lay our bodies on cold ground to discuss our blackness in America. To me, the ability to create a comprehensive album which struggles through the joys of being Black and queer while also discussing the ills of existing with those same identities in America, while never having to showcase murdered Black bodies, is what’s genius. The ability to uplift Black women while postulating the death of the state—and not of Black people—is what’s genius. It is because of this that I believe that Janelle Monáe deserves to be celebrated and uplifted as Black Genius. That this fresh project she released, which brings the intersection at which blackness and queerness meet to mainstream conversation, makes her Black Genius. Her ability to dream up entire worlds, conjuring the Black Arts Movement with her own particular twist, makes her Black Genius. There is something subversive with naming her work (and, thusly, herself) as “dirty” as a queer Black woman—three identities which have long been viewed as impure and unclean—and making it mean something that is complex and stern, yet joyous and hopeful.
I do not believe that we should pull our politic from celebrities. I believe that for as long as “Celebrity” exists, it is their job to pull from and amplify those of us whose voices are not as clearly heard. I do not believe that any true uprising will be led by The Celebrity. Said again, any real revolution must be led by poor and working-class people. The role of Celebrity—until it, too, is abolished—is to make space for those of us who are doing liberation work on the ground. However, seeing as how the term “pansexual” was the top searched word on Merriam-Webster post-release of Dirty Computer, I believe that Janelle has proven that Black Art is not reserved for cisgender, heterosexual Black men. It is for this reason that she, to me, represents Black Genius.
What mainstream or underground black women artists do you support?
Seven Year Old Dies in Border Patrol Custody
In a devastating development, a 7-year-old Guatemalan girl has died in the care of Border Patrol. Until autopsy results confirm her cause of death, Americans are left with more questions than answers.
A group of 163 migrants attempted to cross the border illegally and were then apprehended in New Mexico. Among them were the victim and her father. Shortly after their detainment, the group was transported to a facility in El Paso, Texas. It was there that the 7-year-old began having seizures within hours of being in Border Patrol custody. Claiming “Border Patrol agents took every possible step to save the child’s life”, the CBP is now under investigation.
Initially reported by The Washington Post, emergency responders measured her temperature at 105.7 Fahrenheit, just two degrees shy of incurring brain damage. A Customs and Border Protection (CBP) agency statement indicated the child “had not eaten or consumer water for several days”. Needing further care, emergency responders called for a helicopter transport to Providence Children’s Hospital, where the child went into cardiac arrest. She was “revived” but ultimately could not recover, passing at the hospital less than 24 hours after arriving for treatment.
Facing blame from the ACLU, CBP has been called out for a “lack of accountability, and a culture of cruelty.” Offering nothing but their “sincerest condolences”, CBP will continue to draw the scrutiny of the public as this is the second death of a child in their care. A toddler passed six weeks after being released from an ICE facility. Having contracted a respiratory infection from receiving poor medical care, the toddler’s mother is not suing for the loss of her child.
Government officials have since spoken out about the tragedy. Beto O’Rourke has called for full transparency in the investigation of the child’s death. Congressman Joaquin Castro also asked for a full investigation by the Inspector General and Congress. Without autopsy results that could take weeks to receive, the country is talking about ways we can do better as a nation. As a country, we’re holding out hope we can rise from this humanitarian crisis.
Where is Justice for Cyntoia?
Time and time again we have seen the justice system fail Black people in America. This week, its victim is Cyntoia Brown.
Where Black or brown women & girls who are victims of sex trafficking get 51 years in prison for defending themselves against sexual predators….
… but white men who are sexual predators go to the US Congress, the Supreme Court & the White House.#CyntoiaBrown
— Bishop Talbert Swan (@TalbertSwan) December 8, 2018
The Tennessee Supreme Court has ruled that Cyntoia Brown must remain in prison for 51 years before she is eligible for release. This news comes as a response to a lawsuit that states Brown’s life sentence is unconstitutional. Violating the U.S. Constitution, a mandatory life sentence without parole is still what Cyntoia faces with judgment requiring imprisonment until the age of 69.
Having run away from home, Cyntoia, 16, was living with a pimp named “Kut Throat,” who abused her and forced her into the life. He was 24 at the time. After days of being drugged and sexually assaulted by various men, Cyntoia was passed off yet again. Purchased by Johnny Allen, a 43-year-old child predator, Cyntoia found her limit. She killed her abuser but has not received the same justice many women in her position have found.
Justice only comes in one color
As children, we grew up hearing stories about women like Francine Hughes, famous for the Burning Bed. A battered housewife, Francine set her husband on fire as he slept, freeing herself and her children from his tyranny. The prosecution and the defense agreed her plight was sympathetic. She was found not guilty.
In June 2016, a woman killed her husband in an argument over another woman. As punishment, she will serve one year in jail and 9 years on community corrections. In his judgment, Criminal Court Judge Stacy Street said:
“The lack of remorse in this case concerns me so much that I think Ms. Delaney needs to be reminded of what she has done, what she has taken from her children and from the victim’s family. I’m ordering her to serve 30 days in jail every June beginning June 1 through June 30 for the entire 10-year sentence.”
The modification of her judgment came out of concern for her high-risk pregnancy. What a luxury! Just Friday, new broke that New York City police officers forced a 27-year-old woman to give birth shackled to a hospital bed, in full violation of state law. The privilege of justice in this country only comes in one shade.
At this moment, there is a petition urging the judge hearing Cyntoia’s case to grant her clemency. It currently has 500,000 signatures but needs 1.1 million. I encourage everyone touched by her story and seeking justice for her to sign.
Charlottesville Driver Could Face 419 Years
Charlottesville driver, James Alex Fields Jr., could face life in prison plus 419 years. The sentence was recommended by jurors this afternoon.
Fields stands convicted of killing Heather Heyer, who was in a group of counterprotesters during the 2017 rally. Mowing through the crows, Fields has racked up five malicious wounding charges and one charge of leaving the scene of the accident. Jurors made their recommendation after listening to statements from Heather’s mother as well as those who were injured.
Deliberations took roughly four hours over two days, the jurors presented the judge with their decision. However, the judge will not formally sentence the driver until March 2019. On top of the 419-year sentence, the jurors also recommended $480,000 in fines.
Entertainment1 week ago
Offset and Cardi: “It’s Over!”
Entertainment1 week ago
Kevin Hart Resigns from Oscars over Homophobic Tweets
Entertainment4 days ago
Beyoncé Performs at Private Wedding in India
LGBTQ6 days ago
When “Jokes” become reality: A Las Vegas Queer Couple Story of Survival
Trending4 days ago
Breakfast Club Capes for Offset
Entertainment3 days ago
Nicki Minaj’s New Beau, Spilled Tea
Entertainment1 week ago
Millions Fooled by Travis Scott Impersonator
King Of Reads TV1 week ago
Cardi B Leaves Offset (Finally)