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Why Voting Is Actually Important…

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I’m mad. And not just the regular mad I’ve been since White people elected their president, I am rabid dog angry, fightin’ mad.

I am angry at the number of Black, seemingly well-educated people who are currently posting these philosophical rants about why voting doesn’t matter, how voting is irrelevant, how voting means nothing, how some radical Black movement is going to come by and save us all.

Side note – The last time a gang of Black people were all on the same page to do some radical shit was the 1955 Montgomery Bus Boycott, and even then, the wayward negro had to be threatened and cajoled to keep it going. I would love to see a radical movement that brings Black people together across skin color, social, class, gender, and sex lines. I would love to see it, but it’s just not feasible.

Don’t listen to what these intellectuals are telling you online, take your Black ass to vote. Click To Tweet

Yes, gerrymandering, voter suppression, and the dismantling of the Voting Rights Act has significantly reduced the democracy inherent in voting. And yes, those in power have systematically made it much more difficult to vote, especially for people living in low income communities, who often do not have the flexibility to take off work to vote (to learn more about the dismantling of the voter’s rights act, here is a good article), but that doesn’t mean that we have to give up on voting.

Here are six good-ass reasons to vote.

1. Voting is your civic duty.

The first time I voted in a presidential election, the candidates were George W. Bush and Al Gore. For my second presidential election, I had to choose between George (again) and John Kerry. I can tell you that neither of those options gave me wet dreams. I wasn’t that excited to Rock the Vote…but rock the vote I did because, for me, it was important to make my voice heard.

And it sucks because I remember the fervor and passion people had about President Obama’s campaign. People were lined up for hours to vote. Black people, across the country, were fired up in a way that they hadn’t been fired up about voting since Bill Clinton played that saxophone on Arsenio Hall.

Side note: We talked cash shit about Hillary Clinton and that Crime Bill, and as someone who actually lived during that time, I can tell you that most of the Blacks and the Whites were 100% supportive of that Crime Bill. Yes, now we know better, obviously, but I think revisionist history put a stank on Hillary that she didn’t deserve.

A candidate that lights your political fire and gets your panties wet is a rarity, and that’s just real. Voting isn’t usually fun and mostly, you’ll be rolling your eyes as you pull the lever or fill in the bubbles, but it’s like any other chore you have to do – mow the lawn, rake the leaves – you just get it over with.

2. Voting actually does work.

I’d like to pooch on down to Brazil and have a look at their history and current political climate to illustrate my point. First, Brazil was the last country to abolish slavery, is reported to have imported more Africans for enslavement than any other country, and was considered one of the most brutal places to be enslaved (the average life expectancy of a slave was four years). The racism, police brutality, and abject poverty experienced by Blacks in Brazil rivals anything you’ve seen anywhere, including America. The country is currently ruled by President Michel Temer who aside from snatching services from millions of impoverished people, is a blatant advocate of violence as a tactic to suppress social justice movements. The safety of Black life is so precarious in Brazil that most activists have been terrorized into submission and silence.

Who should emerge in the midst of this but Marielle Franco. Marielle Franco, a Brazilian activist turned politician, was an outspoken activist against police brutality and extrajudicial killings, and a staunch supporter of the rights of Black women, and LGBTQIA people. Franco ran for city council and was supported by votes from primarily poor Black women and people living in favelas (these are the poorest of slums). On March 14, 2018, leaving a meeting, she and her driver were murdered by masked gun men – shot down in her car. You know what happened next — 1,237 Black women are now on the ballots for local, state, and federal elected positions in Brazil. These women have been activated to make change. They understand that change begins in the voting booth. They know that’s the place to demonstrate their power. Protests don’t matter because they are ruled by an administration (much like the one in America) that doesn’t give a damn about their little protests and will actually kill you in the street for having the audacity to hold up a sign critiquing the government. Knowing this story, and the story of all those who came before makes it hard for me to understand how people can say voting doesn’t matter. If these Black women, living under the shadow of the murder of their fearless leader can get the courage to not only vote, but to run for office, then I (and you too) can certainly go vote. It is the absolute LEAST we can do. #MarielleResists

3. You do realize there’s more than just presidential candidates on the ballot, right?

After you fill in your bubbles or pull your lever for the President or Senator or House Rep, you have the opportunity to vote for local issues, like allocation of funds for schools, youth programs, or new roads, like sheriffs and judges, like raising the minimum wage which research shows helps everybody. So do you really care about your community or are you just talking about it, because if you actually care, these are the kinds of issues that your vote directly affects, almost immediately?

4. I know you know this, but Black people died for this right to vote, and we shouldn’t forget that.

Listen, I know it’s been said to death but I feel compelled to say it again — Black people died, literally died, for the right to vote. During Reconstruction when Black people were trying to figure out how to survive in a country where they had nothing and no rights to get anything, one of the first demands was the right to vote because they recognized that their power was in their collective vote. Their collective vote was probably one of the only things they had during that time of deep, overt racism, aggression, and subjugation. Their collective vote was the only way they had to demonstrate their humanity. And if you don’t have some reverence in your heart for that, well, that’s a damn shame.

5. If the Supremacists and Republicans are working so hard to suppress your vote, it must be powerful.

Bruce Carter, who founded Black Men for Bernie, was seduced into the Trump campaign and paid good money by Trump and ‘dem to convince Black people to vote for Trump or not vote at all. According to Charles Blow’s op-ed, Russian interference in the 2016 election included direct attacks at the “woke” black vote. And it didn’t help that several prominent voices in the Black community – Colin Kaepernick, Mark Lamont Hill, Killer Mike, Michelle Alexander, J. Cole – were either dead set against Hillary Clinton or publicly denounced the act of voting. During one of Trump’s rallies, he is reported to have said in reference to the huge reduction in Black voters, “They didn’t come out to vote for Hillary. They didn’t come out. And that was a big — so thank you to the African-American community.”

Side note – I think we can all agree by now that Hillary Clinton, 1994 Crime Bill transgressions and all, would have been a far better leader than who White people elected. I think we can also agree that Black men who either didn’t vote or decided to vote third party like stupid ass Marc Lamont Hill, let misogyny outweigh their good sense.

Have you noticed that the same rhetoric used by supremacists to deter Black voters aligns with the rhetoric of the “I’m Black and too woke to vote” crew? If your argument against voting aligns with the arguments of Russian bots, you need to sit down and re-think your entire life because it went very, very wrong somewhere.

6. For now, with this current administration, voting is the most radical thing you can do.

They don’t want you to vote – their policies, their rhetoric, their rejection of your political needs proves that. That makes voting that much more important. Have you noticed that the fervor of the Black Liberation Movement has died down since Trump has been in office? By no fault of their own, their movement doesn’t matter in the same way it did with President Obama in office because these current dummies in office don’t care, at all, they aren’t even pretending to care. However, your local politicians who need your votes to stay in office, they actually might care a little, and the way the world is going, that sliver of possibility is enough for me.

 

Don’t listen to what these intellectuals are telling you online, take your Black ass to vote.

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For The Culture

“Instagram Impostors: Twitter Exposes White Womens’ “N*ggerfishing’ Tactics”

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On election night, while the nation waited with bated breath over poll results, Twitter user, Dee (@yeahboutella) shared a series of Instagram screenshots on Twitter regarding their dismay and shock over a white woman outed for being white. Now you may be asking yourself how is someone is outed regarding race in 2018 and especially as white? Evidently, a Swedish white woman Emma Hallberg, who goes by the username @eemmahallberg on Instagram, was accused of sleeping with braids to give her hair a fuller and more textured look, spray tanning her skin until it was five or six shades darker, and using foundation to deepen the appearance of her skin.

These white women are physically altering themselves to look like mixed-raced women of African descent for social and monetary capital. Click To Tweet

Replies to Dee’s thread consisted of equally shocked Twitter users, and one tweet even featured a stark contrast between @eemmahallberg’s appearance in 2016 and 2018. Another tweet revealed a shot of her Youtube video showing the disparity between her darker foundation and her naturally fairer skin. Writer Wanna (@WannasWorld) who has masterfully framed Black women in the hood and their direct influence on fashion, asked her followers to add more women like Hallberg, who essentially cosplay racially ambiguous mixed-race women of African descent to showcase the Instagram phenomenon. Moreover, she brilliantly highlighted it as a “ni**erfishing epidemic.” Replies flooded Wanna’s tweet and even prompted accounts dedicated to exhibiting what can only be described as something along the lines of racist body dysmorphia.


So what is the issue here besides the complete absurdity of it all? Well, for one, there are multiple issues with this. Let’s look at the most obvious: these white women are physically altering themselves to look like mixed-raced women of African descent for social and monetary capital.

Due to the vigorous erasure of unambiguous Black women in mass media, the market for mixed-raced and racially ambiguous women has skyrocketed. To illustrate this point Black women’s representation drastically shifted from the Afrocentric look in the 1990s to what we have seen and continue to see in contemporary eras of the 2000s and 2010s, which is a more “universally appealing” look generally found in women who are not monoracially Black. The abundance of Black women who cannot be cosplayed by white women such: members of En Vogue, Blaque, Brownstone, SWV; Brandy, Lauryn Hill, Tatyana Ali, and Nia Long dwindled in preference to: Zendaya, Kehlani, Alexandra Shipp, Amandla Stenberg, Jhene Aiko, Cassie, Yara Shahidi, and Cardi B.

The high demand for women with features that are Black enough to provide the exoticism and white enough to appeal and provide accessibility to white women created the space for literal imposters — or ni**afishes. ‘The look,’ popularly known as ‘Instagram Baddie,’ relies on Black women as its foundation, but because Blackness fails white beauty standards it has to be adequately removed from Blackness to appeal to white women. The Instagram Baddie aesthetic for non-Black women results in more likes on social media which operates as social currency thus inadvertently; however, more times than not, intentionally garners recognition from beauty corporations invested in exploiting the insecurities of women for profit.

The high demand for women with features that are Black enough to provide the exoticism and white enough to appeal and provide accessibility to white women created the space for literal imposters — or ni**afishes. Click To Tweet

 

Brands reach out to non-Black Instagram baddies, at remarkably higher rates than the Black women whose looks create the foundation for the aesthetic. These corporations provide the “universally appealing” women with lucrative opportunities such as brand ambassadorships; all expense paid trips, advertising deals, and free products. The business becomes cyclical: white and non-Black women alter their appearance to become ‘Instagram Baddies,’ they gain social validation through likes which subsequently increases financial profits on both the woman and brands side, and it reinforces a beauty standard at the ironic exclusion of Black women.

Disappointingly, because the Black folks — en mass — continue to uphold and adhere to the racist one-drop rule, racially ambiguous mixed-race women are seen as Black although their sociopolitical and economic experiences are measurably different in comparison to Black women. The differences between the two groups of women is an iteration of the colonial three caste system in Southern Louisiana, a part of U.S. history that isn’t as widely interrogated as it should be although it set a precedent for colorism the United States.

Now, in the modern-age, racial ambiguity has afforded mixed-raced, and consequently white women, the privilege of trapezing a broader demographic. For whites and non-Black people of color Instagram baddies are ‘exotic,’ and to Blacks, these women are still seen as Black because there may be a little bit of Black in them, even when it turns out there isn’t any at all. This more expansive demographic translates to higher opportunities for marketability and monetary profit because diverse groups of people will consume the image of these women more favorably.

The preeminent non-Black women to ni**erfish in the contemporary era are the Kardashian-Jenners. They may not have been duped the public into believing that they are Black; however, they tap into Black women’s aesthetic for their marketability as well as steady proximity to Blackness by way of their male partners and high-profile Black women friends. It is not by chance that Kim and her family have dominated ‘urban’ blogs like Bossip and The Shade Room and have become household names among Black America in comparison to other non-Black and white celebrities like a Sofía Vergara or Jennifer Lawrence who are also positioned as standards of beauty.

Rapper and ex-boyfriend of the youngest of the Kardashian-Jenner klan, Kylie, recently spoke about the deliberate efforts the Kardashians make in co-opting Blackness. Regarding Kylie’s drastic shift from ordinary white girl to an Instagram baddie, he said, “you gotta look at the before and after. She always had a platform, and she was always destined to be what she was going to be regardless, but, when I stepped in, there was a lot of codes being taught.” By codes it can be inferred he means Black codes, presumably the way Black women pose in pictures, dress, and wear their hair and makeup. He followed up by saying “…it was like, you could do this, you should start this, you should start doing your hair like this, you should add that because you need black people to f— with you…” “…if you ain’t got Black people behind you, you ain’t got nothing.”

It was one thing for the Kardashian-Jenner family to satisfy the Black Male Gaze but by donning the entire custom of racial ambiguity and signaling cues of Blackness is how they fascinated the community as a whole. Their shape-shifting allowed them to not only sell their products to white women desperate to look more interesting, seen in the timing of Kylie’s lip kits and her lip filler debacle but also to Black women who also aspire to attain a look that receives widespread approval, particularly from Black men.

A hard truth in this trend is the complicity of Black people. As Tyga truthfully articulated, “…if you ain’t got Black people behind you, you ain’t got nothing.” There has to be a substantial investment in racially ambiguous mixed-race women and an affirmation of their Blackness even when it is not being asked for by them in order for them to pull the con off.

For Black men, their internalize anti-Black racism is projected through implicit and explicit violence against Black women. They shame and vilify Black features and characteristics on Black women with colorism and featurism yet praise and seek out white and non-Black women who have transformed themselves into caricatures of Black women. Moreover, because they are still men, the act of women contorting themselves to appease them is an added ego-boost. Partnering and creating progeny with these women ultimately fulfill their white male penis envy and erases the parts (or entirety) of Blackness they wish did not exist in themselves.  

For Black women, their participation in the elevation of these women is a more woeful tale. Because they desire to be desired by Black men they follow whom they see appealing to Black men. Because patriarchal domination transcends sexual orientation, the desire is not solely based in cisheteronormativity but rather the general oppression of women. Their added media erasure — which has not yet happened to Black men — creates a void in healthy self-esteem building. Thus, allowing for any representation no matter how fictitious to serve their need to be seen and affirmed. Capitalism, racism, and patriarchy become the driving forces that create the environment for Black women become reliable and loyal consumers for racially ambiguous mixed-raced women and now white women who advance their erasure and sell their image back to them.

So, yes the ni**erfishing trend is ridiculous, and the name — coming from a Black woman — may make you let out a hearty chuckle, but the implications are dire. Not only have mixed-race women replaced Black women in spaces designated for them thanks to the one-drop rule but because of their easily mimicable features, white women and non-Black can now take up space and opportunities that were already hard for Black women to access and now make it all but impossible for Black women to do so. More importantly, outside of the monetary and social capital, the diet blackface only further complicates an already complex sense of self among Black women. Unlike women like Hallberg, Black women’s race-based body dysmorphia has not and is not met with light-hearted Twitter jokes or compassion but instead vitriolic shaming and silencing. Since social capital, in this case, is controlled by users of social media platforms, shifting your following and likes to unambiguous Black women is an excellent starting point to remedy the damage caused by ‘ni**afishes.’

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What’s Beef: Rap vs. Feminism

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There is a serious lack of solidarity in rap/hip-hop despite the third wave of feminism that’s swept mainstream culture. Why do you think that is?

 

Rap/Hip-Hop has been a mainstay within Black culture since its arrival in the mid-70s. The colorful art of spoken word over beats was no different than 50s beat poetry and to many, it provided a positive means of expression. As a genre, rap/hip-hop gave many the voice to speak truth to power while inspiring and encouraging the community it was birthed from. But as time went on, the genre changed, adopting many of the societal tropes that saw women as objects, victims, and targets to exploit. This misogyny, while easily recognizable when coming from male aggressors, is incredibly nuanced, particularly when its perpetrators are female.

“The misogynist lyrics of gangsta rap are hateful indeed, but they do not represent a new trend in Black popular culture, nor do they differ fundamentally from woman hating discourses that are common among White men. The danger of this insight is that it might be read as an apology for Black misogyny.” – Leola Johnson, Academic

Genesis

At the dawn of a rap era with hits like “Bitches Ain’t Shit” by Dr. Dre, Queen Latifah’s anthemic “U.N.I.T.Y” was a breath of fresh air. Directly attacking the unconscionable language and endorsed behavior directed at the sole demographic that has always been the pillar of support for men of color, Latifah proudly questioned a growing trend of oppressive black male patriarchy. Standing strong at a small but mighty crew of female emcees, “U.N.I.T.Y.” was a call to action in a genre that did not respect women, let alone provide them with opportunities to shine. From the inception of gangsta rap, female rap artists have spent their careers fighting for their place in a genre where their success is contingent upon subordination. But the addition of in-fighting as a means to assert dominance leaves many disappointed in the wake of the most female empowered era of the game.

Internalized Misogyny

Aside from the lack of solidarity among female artists, more troubling is the complicity of rapstresses who stand by men who maintain misogynist ideals. Remy Ma really sat on a panel in silence with Joe Budden as he was gaslighting Scottie Beam and claimed, unintelligently, that the false female empowerment movement was devoted to picking [women] up when they are wrong. Her ability to sit idly by as Scottie provided opposition and depth on the topic is exactly the type of cosign that enables men to continue that negative behavior. Never mind the fact that she would later defend R.Kelly, who faces decades of accusations of assault exclusively against Black women.

We live in a time where people argue that silence is acceptance and that we should separate the art from the artist. But we are asked to do the latter when the targets of violence are almost exclusively female. Imagine being asked to give your assailant a pass because they write good music. When we examine why there is a lack of solidarity in the Hip-Hop community, we must consider that it’s due to the long-term effects of misogyny/misogynoir.

Learn From This

Seeing popular female artists pitted against one another in a genre where 22 to 37% of the lyrics contain misogyny is painful. Hip hop’s authenticity is traditionally graded on a scale of masculinity, where even the ownership of one’s own objectification works against the artist and leads to further marginalization. Female rap artists are victims of an industry that forces them to take the side of their oppressors and attack artists who fit their style as a means to find success. This most recent blow-up between Nicki and Cardi is proof of that, but this problem dates back to the origins of female rap.

Emcees like Mc Lyte, Lil Kim, Foxy Brown, and Trina have all contributed to the complex legacies of rap artists with music that detracts and affirms the worth of Black women. How is it possible that in a time where we sing “Formation” and “God is a woman” we are unable to find positive female relationships among rap artists? Name one mainstream female only rap collaboration from this year. Don’t worry, I’ll wait.

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French Montana Creates Preschool Classrooms in Morocco

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The Moroccan born rapper, French Montana, is following in his boss Diddy’s footsteps. The “Pop That” musician is working with the Sabae School of Fida-Mers Sultan district to fund two preschool classrooms. His contribution to the classrooms will do wonders for the school by making sure they have all of the supplies they need and that it can stay open for years to come.

This is not Montana’s first humanitarian act for Africa. According to TMZ, he raised $500K to build a hospital in Uganda that is now helping serve around 300,000 women in about 40 villages.

Let us hope this trend of building schools and other resources continue in our communities.

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