racism

rage TO BE BLACK

“The banality of violence can never excuse America, because America makes no claim to the banal.”

-Ta-Nehisi Coates

To navigate Black life in America is to understand hypocrisy. It is also to understand selective dissonance. It is to understand how innocuous action is typically ignored by all, and forceful appeals for humanity become admonished by many. It is to feel bewildered that such a simple request from the disenfranchised is met with a willing obtuseness, and, at most, a shrug and the promise of “needed discourse”. Such a blatant disregard for Blackness- a Blackness that is emulated only slightly less often than it is dehumanized- can only lead to anger. And to understand this anger is to truly understand America.

The embers always burn- too casually, even- in the back of Our minds, the omnipresent sense of hopelessness wrestling Our well-being into submission. We try Our best to ignore its’ persistent appearance into the forefront of Our consciousness like an emergent migraine at each disheartening article, video, or newsclip. The injustice befalls onto hearts cursed to break again and eyes long thought to be desensitized. Some seek solace in the forced insanity that is expecting justice, while others recognize- either innately or through years of witnessing those operating in bad faith- that there will be none. Both are tethered- the former to hope, the latter to grim realism- to an existence that is uniquely tragic and deeply depressing. Only then does that pain begin to arise, not because it was never present, but because We, yet again, are subject to the whims of those tasked with ensuring this pain is recurring.

The construction is taxing; it is the result of an assemblage of ideals built to revel in our collective disdain at their practiced song-and-dance. The construction has long become the device of those maliciously devouring our sense of safety, equality, and self-esteem while malnourishing Us with trite platitudes. The construction publicly acknowledges fault in words that remove any wrongdoing on their behalf- the way things currently stand cannot possibly be of their doing- while privately crossing their collective fingers in hopes that change will not disrupt their well-being. They will stand, not because of an intrinsic belief in all that is just, but because placation is the most direct route back to THEIR normalcy.

The construction is sanctimonious and pompous and misleading. The construction devalues the merits of Our righteous fury and instead champions the meekest and most docile among Us. The construction has long deemed protest to be noble and heroic and liberating and violent and contentious for some, while all other objection is painted in the unflattering undertones of savagery and unruliness. The construction values comfort. Please pardon, for I misspoke: the construction values their comfort, and acquiescence to this comfort is not only preferred, it is enforced. Beyond that, it is deputized. It is taught. It is highlighted and promoted as the most honorable value Our leaders possess, whether cherrypicked conveniently from Martin’s words, or delivered as a plea of compliance from our pulpits.

This is why We must never ignore those embers. They do not merely reside in Our psyches; they gnaw away at them. To be Us is to be constantly assaulted in ways that are both unique and unrelenting. Because the construction fears that WE are unique and unrelenting. To be Us is to understand the problem is inherently theirs. That the idea of Us and them is simply to explain injustice in a way that exonerates the culprits. To be Us is to understand this notion and to wholly reject it. To be Us is to understand Our exposure and nakedness to a world that expertly illuminates the trivial reconciliations of the past while never acknowledging the remaining darkness surrounding it.

Those flickering embers must never fade, for it is when the anger transforms into resignation that we are truly doomed. A quiet resignation then becomes a submission that accepts the tiniest pacifications. This is when the journey is recounted and the appreciation lies in the destination that is now amongst Us, and not beyond. This is when false equivalencies are made and hidden self-prejudices are revealed. This is when We somehow become responsible for a construct We neither created, nor willingly participated in. This is when the belief that transcending this construct is not only possible, but attainable by all with the gumption to do so. This anger must always continue to be present, unbridled in spirit while measured in pragmatism and action.

My plea is not for them in the same way my patience for their stagnation is no longer present. They are deserving of neither. There is no use appealing to some general decency that has been proven many times over to merely reside in theory. The construction is cold and overbearing, an efficiently operating system that is unaffected by nuance, sound reason, or civility. But as more ears become sympathetic to opposition of this construction, it is imperative that the sounds they hear are of loud defiance and resolute demands that will not be swayed by immoral negotiation, inducement, or hollow promises. My plea is for Us to continue to apply pressure to a construction that, for the first time in a long while, has been taken aback and appears staggered in their amoral resolutions.

I say all of this to not deride whatever earned celebrations, pleasures, and exuberance this country begrudgingly affords Us; I simply imply that joy is of Our own construction, and that the embers of Our rage should remain ablaze and directed towards those that seek to extinguish our collective desire for a land We dare challenge to be better. Anger- very much like trouble- can be good for Us. It is necessary for Us. We are not docile, nor are We scared to strip leadership to remove every inkling of Our silent acquiescence. This is America, right? And to be American SHOULD BE to vehemently deny injustice; for too long this notion has not been accepted as an all-encompassing right. To be in America is to also understand that the story of this country is rooted in violence and civil disobedience, which is to say…

Kindly fuck yourself if you don’t know, don’t show, or don’t care what the hell is going on.

A.J. Armstrong is the creator of The Fly Hobo and His World of Oddities

Blackface

I’ll get to Dear White People in a second, but in honor of Halloween, please peep what is quite possibly the greatest Twitter exchange EVER (read from the bottom up):

Freddie Gibbs

Okay, back to what I was saying.

Dear White People was supposed to be a brilliantly biting satire that held a mirror up to White America to let them know they could be kind of ugly at times. I really wanted to seek out the first white person in the theater, sit beside him, and cast knowing glances in their direction after each resonating scene. The movie was supposed to end with me standing directly in front of the screen at its conclusion and yelling ‘see?!? Do you get it now?’ with my arms crossed to everyone and no one at…the…same…damn…time. This was supposed to be a film that was ingenious in its creation and flawless in its presentation. Dear White People was supposed to be writer Justin Simien’s Tour de Force, and it is…in the previews. It’s not that Dear White People missed its mark; I’m just not sure what the hell they were even aiming at.

Without giving too much away, the story centers around a group of college students at a majority-white Ivy League school. The focus is on four in particular: Coco, a woman from the South Side of Chicago that eschews Black culture and has a myopic view on what it actually MEANS to be Black; Sam, a rebellious Mulatto woman entrenched in Pro-Black idealism; Troy, a well-to-do son of the school’s Dean of Students; and Lionel, who is just gay. Because gay is the new Black (insert blank stare emoji here). There are obviously white people as well, but we’ll get to them in a few.

Now that you know the characters, let’s look into their internal conflicts. Of course Sam has a white man on the side while dating a Black co-ed to maintain her ‘All Black Everything’ illusion. Of Course Troy has a white girlfriend. And OF COURSE Lionel and his struggle with being homosexual is the primary storyline. Because gay is the new Black and TOTALLY relevant when discussing race relations (insert blank stare emoji here). CoCo just doesn’t want to have anything to do with any of them because…Black. That’s all I gathered. Nobody ever explored what led to these feelings so…yeah. That’s all I got.

In what I thought was an excellent piece of character development by Mr. Simien, it becomes apparent that Sam, the Rebel and Troy, the Company Man, share an inherent understanding of Black culture while being at either extreme in regards to their personalities and interactions. Kudos for that. Even a trashcan gets a steak sometimes, apparently.

Maybe attending a Historically Black University sapped my understanding of on-campus race relations- I admit my base of knowledge is limited here- but each of these four characters has some romantic connection with someone outside of their race. I just wonder if this is realistic and question why every character needs to have this connection, either closeted or public. Addressing inter-race relations is all well and good, but why make it such a conflict with EVERY major character? But again, maybe that’s just me.

As I said before, the primary storyline is about Lionel and his struggle to find an identity and his place on campus. Lionel is gay and his sexual identity supersedes all of the other storylines that I thought the movie was SUPPOSED to be about. This post is neither the time nor the place to speak on why Gay Rights is important; the same is true about a film entitled Dear White People. Because white people can be gay; they can’t…do I really have to expl…man…moving on…

Now let’s get to those white people. I wanted ‘These White Folk Crazy’; instead I got ‘These Black Folk Really Want To Love These White Folks But We Have Trouble Loving Each Other’. Where were the figurative taps on their collective shoulders to remind them that some of the things they do need not be done? What are white moviegoers learning about their behavior? They damn sure learned about OUR behavior. Honestly, the only thing I imagine white people took away from Dear White People is ‘Dear White People…you might not want to wear Blackface on Halloween’. And that’s a shame.

I wanted so much more from Dear White People. I expected edge. I never got my ‘see, White People? See?!?’ moment. The writing suffers from tending to the wrong audience: Black people. It becomes apparent halfway through that Dear White People is for white people in title only. It’s much safer to point out Our collective identity crisis; God forbid tilting the conversation towards the white audience. We can’t risk having THEM in disillusionment and self-contemplation. This was supposed to be Our moment, solely because Our moment finally wouldn’t be about Us. Damn shame Justin and his team weren’t brave enough to fully follow through with it.

F–k ‘Dear White People’. I hope they make a re-boot like they did with ‘The Incredible Hulk’. Matter fact, I’ll do it. Let’s call it ‘Dear White People: For Real This Time’. A.J. Armstrong is the writer of ‘Dear White People: For Real This Time’. He is also the creator of The Fly Hobo and His World of Oddities

Asshole

Image

“Why do you suck so much at this game?”

“Because…fuck you. That’s why.”

Dictionary.com defines asshole as ‘a stupid, mean, or contemptible person’. I’m surprised somebody actually defined that word. I don’t think that really accurately defines it, though. An asshole, to me, is somebody that does things out of spite and is intelligent enough to make those spiteful things clever. An asshole won’t send a Father’s Day card to a couple that had an abortion; an asshole would buy the card, rip it in half, write ‘Almost…whew’ under the printed text, and hand deliver it to them during a quiet Sunday dinner. Well, that might be a little mean but it DAMN sure isn’t stupid.

Ignore my last post; that was me being an asshole. This is me trying to explain the inner workings of asshole-ness to you all. This is me separating the assholes from the immature audience that will just shout (or type) profanities for no other reason besides immaturity. Fuck that shit. Fuck it to hell. Fuckitty fuck-fuck, B. I’m an asshole; not an immature shit-talker that talks shit because shit is a really cool word to say over and over. I mean…SHIT.

Asshole is a term too widely used, as far as I’m concerned. That racist cop stopping young Black males in Vance County for no reason other than being Black isn’t an asshole; he’s a racist cop that loathes his life. His wife has been breaking scales for the last 12 years and his son dressed up as his favorite rapper for Halloween. Of course he’s going to be all in my shit. That’s not an asshole. That’s a guy frustrated that his shift prevents him from going to the VIP room for happy endings at Christie’s Cabaret.

Let’s talk REGULAR assholes. Regular assholes shut down the government over healthcare. Regular assholes become Business majors and explain to you how difficult being a Business major is. Regular assholes say they’re flirts but get mad when somebody takes those flirts seriously. Regular assholes are Red Sox and Yankees fans.

Now, let’s talk REAL assholes. Real assholes snatch bags from kids with crutches on Halloween. Real assholes go to war without any approval from the United Nations and forces a nation to sigh and vote for a Black man to take his position. A real asshole Rick rolls me while I’m looking up racist George Bush moments. Real assholes are evil geniuses. Real assholes killed Mufasa and blamed the dark skinned lion. Bill O’Reilly is a real asshole; that man is smart enough to evoke rage in Black men and, in turn, bolsters his ratings. You genius, you.

Am I REALLY an asshole? I’d like to think so but I don’t think I am. I’m just a guy that saw the deep end and drowned a baby gerbil in it. I’ll row by in my canoe and poke fun at your cruise ship, yes, but that’s not really an ass move. That’s just a guy that has just given up on the world and does what the MOTHERFUCK he feels like doing. This is a guy that went to Boston and counted all the Black people he saw (17) and kept a mental note just in case he wants to hold a rally in a hotel ballroom promoting the expansion of Mrs. Winner’s to The Hub. Yeah…no, I’m not quite the asshole you think I am but, Lord willing, I will be.

 A.J. Armstrong is not a complete asshole; he only plays one on blogs. He is also the creator of The Fly Hobo and His World of Oddities.