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Todrick Hall is Black Enough, But His White Gaze Concerns Me

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Photo Credit: Ramona Rosales for People Magazine

“Let me assure you that there is no such thing as a black racist. There is no such thing. ‘Black racism’ and ‘reverse racism’ are terms that were developed by intellectual white thinktanks in political circles to get you as African young people to feel guilty about discussing what has happened to you as African people in America. So when you start to discuss slavery, or the effects of slavery, or the effects of 500 years of domination, what they do is say, “Oh, you’re a racist.” When you react to the ugly things that they do or say to us, they say, “Oh, you’re a racist.” That is to get you to feel guilty about discussing, or organizing, or taking issue with the condition of African people in this country.” — Sister Souljah “We Are At War”

They say Google is your friend. Well, for the last few hours I’ve been searching for the historical context that would demonstrate that the term mayonnaise, when used sardonically to refer to the dominant racial group, upholds a racially-based hierarchy that leads to systemic inequities. Guess what? It doesn’t exist. Perhaps, mayonnaise is offensive, but racist it certainly is not. And considering that Mr. Hall does not belong to the mayonnaise group, why on Earth is he offended? That shot wasn’t even aimed at him.

Todrick Hall in his latest video titled ‘I’m Not Black Enough’ was filled with everything but a Taylor Swift cover of September (it had her tears though if you listened hard enough). Mr.Hall took 16 minutes out of his very booked schedule to respond to a video I made critiquing his new T.H.U.G. video. He said he wasn’t mad, but I suspect that he was, and I get it (y’all know how the Black V necks be). He claims that people accuse him of being in the sunken place, tap dancing and thinking he’s white. It sounds like he may have some internal conflict about his Black identity, which frankly, we all have to confront at some point because anti-Blackness is pervasive. It is the air we breathe, the TV we see, and the education we get. His feelings are hurt and good, they need to be hurt. Growth comes from pain.

Aside from that, Mr. Hall doesn’t owe me or anyone else an explanation about his brand of blackness, but since he offered one and directed it at me, I’ll take him up on his offer.

Let me give you the problem in a nutshell — Mr. Hall admits that he has been called out for his stereotypical portrayals of Black men and women in his older content, and he says he’s evolved since then; however, the T.H.U.G. video, to me, seems like more of the same.

What you will notice is that Mr. Hall builds his argument the same way the dominant racial group does — you know how they completely miss the point and start running down their list of Black affiliations and oppressions to let you know they, too, know the struggle. *insert side-eye here*

After running down the list of illustrious Black artists that he’s worked with over the past few years, Mr. Hall lets the viewer know that he doesn’t participate in the ‘woke Olympics.’ Evolving and loving your blackness ain’t hardly a competition but I get that he saw someone (who was probably being flamed for being problematic) say that on Twitter and he felt it fit this context.

@Todrick builds his argument the same way the dominant racial group does — you know how they completely miss the point and start running down their list of Black affiliations and oppressions to let you know they, too, know the struggle. Click To Tweet

Statements like “too woke” and “woke Olympics” are counterproductive. Woke is a term many have used to describe their new view of the world and the way in which white supremacy actually rules everything. Personally, I prefer to use the term “more informed,” which doesn’t mean I will ever be completely informed, but I am open to continuing to learn, and that’s what is important. The way he used “woke Olympics” tells me a lot about his view of the world and society.

Shall we begin?

Blackness is not a monolith. We are not homogenous people; we are not all the same.-Jesse Williams

Blackness exists on a spectrum. One can not be too black or not black enough. That itself sounds like a form of Olympics. We all exist.

Todrick, you say that not being Black enough haunts you, but what have you done about it? If many people have made similar points in their videos about your portrayal of black people, what does that say? We’re going to get there, trust me.

Todrick actually opens the video by telling me how I should have framed my critique of him, how I should have reached out to him directly. But then does the same thing.  Hypocritical much? No one gets to tell someone how to protest or how to react. I’m not telling you how you should react either. My video was done to challenge some of your past and present work in the hopes that your future work has more equitable representation for Black people in particular. Call me the Ghost of Past, Present, and Future

Todrick does make one good point in the video — I have not seen his full body of work. That is true.  Because of the history of some of his previous “problematic parodies,” I didn’t think it would be best (I’ll explain more later). However, from what I have seen, I feel comfortable saying that I have not heard him shine a positive light on Black men, which is why the T.H.U.G. video caught my attention, and it was the first video that I came across from his Forbidden visual album.

I was really rooting for him, but alas, it’s just more of the same. The video seemed to sexualize black men, and the song is called thug — you know, the term white people in the media use to describe black men when they can’t say, nigger. Honestly, I’m just thankful it wasn’t titled BBC, but that’s neither here or there. Todrick’s rapping and singing about his new found interest in eggplants and melanin is a complete departure from his usual, so you can imagine, I was quite perplexed. Where did this come from? I literally screamed when I heard him use the word “trade”. Since when sis? The first verse sounds like a white woman wrote it, see how he shouted out the queens of problematic white women?

Yo, yo, yo
I used to f*cks with them Ken doll types (mwah)
Them femme doll types
I had to switch up the hims I like (switch)
Get a cap with the brims I like
He got that whip with the rims I like (woo, woo)
Get that good right swipe
Type that the Khloe and Kims all like
Kims all like, yep (yeah, yeah, yeah)

“I used to f*cks with them Ken Doll types.” 

 

 

Back in 2016,  Todrick released a video titled ‘Color’ featuring Jay Armstrong. They both sing to each other throughout the video describing their affection towards another. It is a visually stunning video that shows the great love affair between a white man and a black man, which isn’t groundbreaking, considering the majority of Black same gender loving men we see in media are paired with non-Black men. The problem is in Jay Armstrong’s lyrics in which he says that “I don’t see color.” In the “I’m Not Black Enough” video, Todrick Hall tries to connect this lyric to his obsession with the Wizard of Oz. Okay. But within the context of my critique about his racially insensitive imagery and lyrics, ‘I don’t see color is another way to minimize the experience of Black and Brown people in a world that absolutely does see color and makes it a point to keep “colored” people out of everything but prison.

That makes my skies blue
And whenever we’re through
All I can do is see color
There’s something ’bout us
When we’re together
Whenever you’re there, darling I swear
I don’t see color

“I don’t see color.”

Even though Todrick didn’t utter the words out of his mouth, words mean things, and he is responsible for the lyric by proxy. He responded that he wasn’t the one who sang that exact part but he is one of the writers, and this is your video soooooo…

 

 

Back to the mayonnaise — Todrick seemed to be exceptionally “salty” about my use of mayonnaise which I’ve already said could be construed as offensive, but then Mr. Hall had to take it one additional step and call it reverse racism? Who in 2018 don’t understand that reverse racism ain’t a thing? White people, that’s who.

“…if it was really in our interest to find out the truth about that person we would watch the whole body of work and then make an assessment a judgement but even then we would upload a video that was nice and kind and really trying to get to the bottom of the situations instead of dragging someone over and over and over and ultimately making reverse racism remarks. Whereas if a white person uploaded this exact video replacing all the times that he said “mayonnaise” with something that is offensive towards black people this video would be going viral and people would be upset and saying that that person was racist.”

Black people can never be racist – we never had the tools or power to institutionalize racial oppression.- Sobantu Mzwakali

We also have a sitting president that has used many offensive terms to describe people of color. This is what so many before me have tried to explain in so many ways to Todrick, but yet he insists on not getting it.  He’s too busy listening to respond instead of listening to understand, which is why he’s doing a reaction video instead of reflecting in a quiet place about his creative choices.

Let’s do a quick project — I would like for you to go find “mayonnaise” or “cracker” or any so-called “racist” term that might offend white people on a birth certificate.

Couldn’t find it could you? You know what you can find on some birth certificates, the words “negro” and “colored” which we all agree are actually offensive. My grandmother, only two generations before me, has it on hers. She also shared with me that she was alive when one of her family members was lynched in Mississippi. As a matter of fact, the last word that the nearly 10,000 Black people who were lynched in this country between 1899 and 1960 heard was ‘nigger.’ I advise that you, Todrick Hall, understand the historical context behind racist words and refrain from comparing an offensive word such as mayonnaise with a racist one. The pain ain’t the same, boo.

Todrick also admits that the parodies he’s done in the past were problematic, but he isn’t interested in taking them down. As I’ve already admitted, I have not seen the full body of his work. To be better informed in my future critiques (because you know I ain’t stopping) I’ve decided to take his advice and get to know more of his content. Remember when I said I was going to explain why I wasn’t as interested in watching the full “body of work?” Here’s why.

Let’s start with ‘Snow White and the Seven Thugs’ (2014) since we’re in this situation because of a video called T.H.U.G.

Mirror, mirror, on the wall, who’s the most problematic of them all? The video starts with Snow White singing to Iggy Azalea’s ‘Fancy’. Need I say more? She makes her way into the hood and falls asleep in a home with 7 thugs. Ashy, Nappy, Tooty, Fruity, Musty, Crusty and Dopey. Their costumes are hoodies, and the one with the gold chain is Orlando Brown. The evil queen played by Kimberly Cole turns into the witch to get Snow White to eat an apple. Remember how the evil witch looked in the cartoon? Well, Glozell played that character and yes Glozell had her wig and green lipstick on.

The Hungry Games’ (2013) is a parody of  The Hunger Games‘ with Fatniss Everdeen played by a dark skin character with a loud personality — a cross between the Mammy and the Sapphire trope. It’s important to point out the actress’ skin tone because it adds to the stereotype of darker skinned women being heavyset and loud. In this parody, Fatniss gets her name called and she loudly and thankfully says “Gurl I won!” She pushes the white women out her way while wearing a bandanna.  It doesn’t stop there. In one scene, Fatniss and other victors fight over fried chicken from KFC and watermelon. I was at a loss for words. KFC, really? Black people eat Popeye’s. If you’re going to do the stereotype, do it right. 

We all know the negative connotations behind fried chicken and watermelon when it comes to African Americans. Did I mention even though they were fighting for their lives in this parody they still had gold chains? Cleary they won’t be getting into Blake’s in Atlanta with this dress code.

Titaniqua (2015) is a parody of the Titanic movie with a ratchet spin and a dash of gold because every parody of blacks needs gold. A white woman falls in love with a gangster/thug drug dealer? More stereotypical black characters portrayed through the lens of whiteness.

Todrick’s character Jack sits at the table with a gold grill while talking to Rose’s mother and friends. He’s asked what does he do and he replies “I sell that good good.” He’s also an up and coming rapper and has a song called ‘Jiggle That Booty Meat’ which he performs at the dinner table leaving the white people at the table confused.

 

Hocus Broke-Us (2015) features The Sanderson Sisters from Hocus Pocus but they’re black and of course, they’re ratchet. Todrick plays Seyoncé and the witches are looking for “chirren“. Why do the Sanderson Sisters have to be broke? Why do weave and ratchet have to be implied so much?

Beauty and the Beat (2013) A parody of Beauty and the Beast with a white Disney character strolling through the hood while holding an Ebony magazine. 

These videos are still monetized. Which means Todrick Hall is still collecting revenue from them. Maybe this a reason why he isn’t in a hurry to take them down.

Listen, the white gaze is a motherfucker. It’s so easy to create content based on the regular schmegular tropes that already exist about black people. Stereotypes work because they are shortcuts, and content creators don’t have to work as hard to tell the story. And the truth is, I’ve chuckled at some of these parodies; I’m sure we all have. The point is Todrick’s audience is majority white, and it makes a difference. Are they laughing with Todrick Hall or laughing at him? Even that question is tricky because Todrick doesn’t seem to completely understand the breadth of racism. That’s not his fault; I ultimately put the blame on white supremacy and I also admit that I used to be like him, hard-pressed to assimilate by poking fun at racial stereotypes to fit in with the dominant culture. This is why we have to hold him accountable. He has a huge platform.  Audiences see these parodies, and it reinforces stereotypes about African Americans.

What Todrick Hall does not show you in his video is the section of my video where I pay homage to his work ethic and his creativity. I called him a creative genius with mad talent, and I still feel that way. To have created a lane for himself as an openly gay Black man in a very outwardly homophobic industry is something that deserves all the credit.  Can you imagine what he could do if he used his powers for good?

For the record, I have no personal issue with Todrick Hall. Although I directed my video to Todrick Hall, my issue is bigger than him. We all have to be held accountable, especially those who have a voice. I’ve been held accountable and will be held accountable in the future, and I will look back at this very moment and learn from the experience.

With great power comes great responsibility.” A corny quote that Uncle Ben gave Peter Parker in Spiderman but it has so much meaning. Todrick, you have the power, so what is your responsibility?

In case you need any help answering this question, here are some suggestions for what you can do today to be better:

  1. Start by taking down the videos that reinforce stereotypes of African Americans.
  2. Reach out to your critics for constructive feedback if that’s what you want. You can contact me at [email protected]
  3. If you’re truly interested in growing, make time in your busy schedule to have a conversation. No, it will not be backstage. I need your full undivided attention.

 

You have a voice and the platform to amplify it and that’s what makes you dangerous.

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For The Culture

From Segregation to Gentrification – Same Racism, Different Decade

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Before we called it gentrification, we called it plain ole’ segregation, you know, separate and supposedly equal. Gentrification is basically white people snatching back the neighborhoods they forced us to live in. From Reconstruction to the Civil Rights Movement, public officials created policies and supported practices that made it socially acceptable and legal to maintain racial segregation in neighborhoods. Through exclusionary lending practices, local customs, and angry white folks, black and brown people were excluded from certain communities and relegated to live in neighborhoods with little to no resources. However, as black people often do, we made a way out of nothing, and we turned these neighborhoods into our own cultural enclaves, which made them even more enticing to some white folks. But, since it was primarily black and brown people living in those racially segregated neighborhoods, property (for non-blacks mostly) was selling for the cheap, cheap. Once developers purchased the property for the low, they renovated it to make it pleasing for a certain “class” of people. Then, when a good number of that “class” of people moved in, they opened up these cute little tapas bars and specialty coffee shops and micro-brewery pubs because, you know, this new “class” of people need somewhere to go. They can’t go to the corner liquor store or the corner Chinese food store with the glass partition or the greasy carryout that has no tables or chairs. God forbid.

 

And guess what happens next – now they want everything, including the homes black families have lived in for years, but they can’t just burn a cross on your front lawn like they did in the past, they have to be a little sneakier about it. Plus, we do have these federal laws which supposedly protect people from discrimination and reduce overt racial exclusion. Instead, the practice of racial segregation and exclusion are cloaked in the push for redevelopment, historical preservation, and community transformation. Gentrification is absolutely about exclusion, which encompasses segregation but points to more sinister methods to keep people of color racially isolated and disenfranchised.

 

 

Fifty-two years ago, my mother’s family was the first family to integrate an all-white neighborhood. This would be my mother’s first home as they previously lived in public housing in D.C., so you can imagine my mother and her siblings were excited. On move-in day, they walk into their new home to find it completely trashed. Evidently, the previous owners, knowing a black family was moving in, spent their last days in the home kicking holes in the wall, tossing beer and soda bottles everything, and emptying bags of trash all through the home, which my mother and her family were tasked with cleaning up. Can you imagine being 12-years-old and walking into your family’s first home to find it trashed for no other reason than you are black? Can you imagine how my grandmother and grandfather felt, who both fled South Carolina in the 1930s to have a better life in the north? Anyway, you know the rest of the story — all the whites eventually fled, all the blacks moved in, the neighborhood fell apart when crack swept through the area in the late 80s, the neighborhood pretty much remained depressed throughout the 90s and early 2000s. Now, in 2018, the whites are back, and homes are worth half a million dollars. Funny how life happens, right?

 

When I purchased my home two years ago in Baltimore City, I knew I was moving into a neighborhood that was transitioning. When I moved in, there were several vacant homes, and there were some random gun shots, some burglaries and some vandalized cars — all the regular crimes that come with neighborhood disinvestment.

 

Before we called it gentrification, we called it plain ole’ segregation, you know, separate and supposedly equal. Gentrification is basically white people snatching back the neighborhoods they forced us to live in. Click To Tweet

 

Two years later, my home is worth about $30,000 more than what I paid for it. The reason my home has increased in value is because all those vacant homes are now full of new young, white couples and their cute little dogs and their dainty little smart cars. Along with my new white neighbors, there’s also been a heavy police presence. I can’t walk my own dog more than 2 or 3 blocks without seeing an officer on foot or in his car patrolling the community. We have all these nifty little amenities too, the field that was overgrown is not mowed regularly and has become an impromptu dog park. The block behind me (which only has 1 black family that still lives there) even gets their street swept weekly. The additional city services are all a byproduct of the neighborhood’s gentrification and since I live here, I get to take advantage of it too, right? Well, maybe.

 

 

The problem is, every single time I leave my home, I am filled with anxiety. Why?  Because a few weeks ago, a white woman called the police on a black family having a barbecue in the same public park they’d been barbecuing in for damn near 20 years. The white woman decided those people didn’t belong in her newly gentrified neighborhood and called the police. And then three black women were detained by several officers as they were leaving the Air BnB home they rented in a white neighborhood because they didn’t smile and wave at the neighbor. I also don’t smile and wave at my neighbors. And before that, a 22-year old was shot dead by police officers in his grandparents’ backyard because the cell phone in his hand was mistaken for a weapon. And then before that, a 12-year old boy was shot dead by police officers while he was playing in a park. It goes on and on and on. Maybe my white neighbors are different. Maybe they are good, culturally competent people, but I can’t tell who’s who just like the police can’t tell a gun from a cell phone.

 

White people have been allowed to use fear as an excuse for their racist behavior for too long. And yes, we know that some of it is about how black and brown people are portrayed in media, but most of it is about the fact that white people absolutely believe they are the only ones that deserve rights, freedom, guns, anger, wealth, and peace. They really are like that insolent, only child yelling ‘mine’ every time you touch one of “their” things. And what makes it worse is that the police, regardless of race, seem to go along with it.

White people, if you’re scared, go to church…but wait, isn’t that where all this fear originated?

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Janelle Monáe, Donald Glover, and the Exclusivity of Black Genius

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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.

Childish Gambino//This Is America

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.

Embed from Getty Images

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?

Janelle Monáe//Dirty Computer

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?

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Black Exploitation or Art? People Aren’t Feeling Childish Gambino’s #ThisIsAmerica Video

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Childish Gambino aka Donald Glover dropped new music this weekend during his SNL appearance. The video received some nods and some started to unpack some of the meaning. Let’s just say some on Twitter were not feeling it. Take a look at his video below.

I cringed while watching some scenes but I wasn’t sure if it were just me. So I took to social media and it was lit up like 4th of July.

Support Zalika here.

Watching Childish Gambino’s new video late Saturday night took me to a place where the admission fee was black pain and my black pain isn’t for sale. I felt myself wonder what was his overall intent for the video. How many more black bodies do we have to see on the street to wake up? Honestly, the video gave me Bill Cosby ‘Pound Cake’ speech teas. Pull up your pants and pay and attention.

After watching it a second time I reached out to some friends to have a conversation about their feelings on the video. I wanted to seek some understanding and I got it.

Check out the videos below on my conversation with Jatella, Da’Shaun & Raekwon

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