White

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):

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

Ratchet (Pinky Finger Up)

“You can have my heart or we can share it like the last slice…”

“Sweatpants, hair tied, chillin’ with no makeup on/That’s when you’re the prettiest, I hope that you don’t take it wrong…”

That’s cool and all, but forget all that right now. You see slim over there? The one with the streaks in her hair (my homeboy calls it that ‘Ghetto Blue Hue’) and the leggings? That’s my focus right now. It’s crowded and my Concords are sticking to the floor, but my eyes are glued to this girl across the room.

“I be eating nacho, cheese…GUAPO!”

Yeah, yeah…awesome song or whatever, but who is THAT over there? The one that ordered the House Cured Salmon Gravlax? That’s my focus right now. It’s crowded and I can see couples strolling the harbor in the large windows behind her. Trust me, I’m still focused on the girl inside of these glass windows.

“Africa must wake up, the sleeping sons of Jacob/For what tomorrow may bring, may a better day come…”

Cut that shit off, man. I only have one chance to book this broad and Nas and K’Naan are probably the LAST people I need to hear right now. I stopped in front of a car window and made sure my snapback and hand towel sat perfectly over my face and walked towards her. Her homegirls were busy talking to another group of people, so I grabbed her elbow gently and pulled her aside. Thank God I stayed for the let out…

“She gon’ bust it down for some damn Lime-A-Ritas…”

Come on, man; I’m about to walk over there. Her parents (I presume, anyway) excused themselves and left her sitting there alone. Let me pull my cardigan down a bit before I walk towards her table. I blew into my hand and made sure my breath didn’t retain the heat from the peppers in my Jambalaya Fettuccini. She’s smiling in my direction, but sweat is still dancing about my temples because I have no clue what the hell that means…

“One thing about music when it hits you feel no pain/White folks say it controls your brain; I know better than that…”

She looks at my console and I turn the radio to something else; what do I look like forfeiting my night plan over Dead Prez? We pull up at Outback and she checks herself in my visor mirror to make sure her eyebrows aren’t crooked. This is where the date gets interesting, though. She orders chicken wings and Moscato and starts rolling a blunt at the table. Dessert wines over an entrée would (and should) probably be an indicator of a lack of sophistication, but who cares? Look at what she’s holding in those leggings. I wanted to throw my cufflinks up and lean back in total judgment, but…those…leggings…though…

“54.11s, size 7 in girl’s…”

I laugh and love that she has no idea what those are. We sip mimosas over a Sunday brunch and share Bay Scallop Ceviche. We express our shared amazement at the city of Detroit being 18 billion dollars in debt. Detroit sucks. This is where this date gets interesting, though. She mentions her upcoming business trips and how she HATES men that wear snapbacks. I know I’m going to have to listen to Comin’ Out Hard until the stench of American bourgeoise is no longer permeating my cargo shorts, but right now, who cares? Listen to these six years of higher education stirring an intrinsic thirst for meaningful conversation. I wanted to throw my hand towel up and lick my fingers clean of Old Bay seasoning, but…this…conversation…though…

“Where is he? The man who is just like me? I heard he was hiding somewhere I can’t see…”

A simple hug and kiss on the cheek outside of her apartment. I don’t want to come in because I want her to recognize a gentleman. I’m just as happy to leave her feeling as if the night was “incomplete” as I am to cap it off with what she has been expecting all along. I sense all of this as I walk down the steps and out the building, feeling her glance from three stories up as I do so. I can’t help but smile as I start my car and reach for the Maxwell album stored in my overhead CD holder.

“I WAKE UP IN THE MORNING TO CIROC AND SOME PANCAKES!”

The night is far from finished, and I can tell that’s rare with her. There’s no kiss on the cheek because I don’t ever want her to label me as a gentleman. I’m more than happy to be what she is typically scared of, and I sense it as she walks me down the hallway into her bedroom. I feel the apprehension and can’t help but smile, all the while reassuring her that I’m not “them”, whatever that means. I wake up in the morning, grinning from ear to ear having penetrated Corporate America…

A.J. Armstrong struggles with discerning between what he wants and what he needs. He is also the creator of The Fly Hobo and His World of Oddities

My Last Post About Women Ever, Part V: My Last Post About Women Ever (He’s Talking About Light-Skinned Women Again; You Probably Shouldn’t Read it. You Ought To, Though)

“One of the prevailing topics in your work has been the exploration of intrarace relations and- more specifically- the lampooning of “light-skinned” African American women. It is your red thread of sorts and has been a source of criticism. How do you respond to those that call your writing ‘sophomoric’, ‘undeveloped’, and ‘championing self-hatred’? “Well, White Reporter, there has always been this weird dichotomy between light and dark-skinned Black people. That divide has been there LONG before I started actually talking about it. I mean…look, all I know is America. I ain’t never been out of this country; all I know is how race relations- interracial and intraracial- have gone in this country. It interests me because the entire history of this country is checkered with questionable moments within those relations. It intrigues me. Honestly, I find humor in so much of it and in how people react to the things I say. It’s all so funny to me but I find the most humor in how light-skinned Black people- especially women- view themselves and others. That’s, I think, what I get the most enjoyment from writing, regardless of how other people feel about it. So yeah, I get why they feel that way but I’m way more self-aware than they give me credit for…” -2013 interview with the White Reporter in those Frontline Chappelle’s Show skits I always imagine that White Reporter. I even gave him a name: White Reporter. The funniest thing about everything I say is that I get everything I say. That’s kind of why I say it. It entertains me and antagonizes a group of people. Awesome. Derive from it what you will because that’s why I put it out there. I’m like those authors that write novels that high school English teachers overanalyze: “In this passage, the author makes mention of the red bed sheets in her bedroom. That signals the rage and emotion she was feeling during her struggle with her identity and efsdlkefvvjeoscowmemfpdpvpvjejfeejwqqocwfkf and some other ridiculous shit…” The bed sheets are red because that’s what Target had for the cheap, bitch. My ridiculous assumptions of light-skinned women are just that: ridiculous. Do I really believe all light-skinned women are soulless, self-serving narcissists that were born with 74 unread text messages? I’m lying…of course I do. You’re all terrible people that have been coddled by the white man and overly praised by everybody else. No light-skinned woman has ever helped me in anything I’ve ever done. Nope. Not one has ever shown any type of compassion at all. I made it through college all by myself. I don’t recall any high yellow woman assisting me in any way. There was no teacher taking interest in me and realizing potential I never felt was there. Never once did she help me with my schedule when my advisor wrongly placed me in classes I had no business being in. There were no Giant gift cards mysteriously placed in my Nike backpacks when I seemed a little sluggish. There’s no way in hell she would (rightfully) place her foot in my ass during a time of misguided ambition, blinding lust for the wrong things, and shallow intents for the wrong women. None of that even seems plausible. Not from anybody the color of the McDonald’s logo. Nah. If you’re stupid, you stopped reading a long time ago, dismissing this as more of that typical Fly Hobo nonsense. Good luck at the self-checkout, champ; your produce struggle is going to be SO REAL. Racism effectively hates an entire group of people while designating members of that same group as acceptable. The best example I’ve ever seen was on an old episode of The Jerry Springer Show when Jerry interviewed a Klu Klux Klan member that was an avid fan of Michael Jordan. Sometimes ignorance provides clarity. Sometimes somebody says absurd things in an attempt to hold up a mirror to society to show it how ugly we can be. And sometimes people are racist. Whatever. The White Reporter stopped taping a while ago. A.J. Armstrong dedicates this post to Mrs. Hope Jackson. No person achieves anything alone. He is also the creator of The Fly Hobo and His World of Oddities. Pardon the swear words

Hip-Hop and the White Critic

If you haven’t yet read Amiri Baraka’s seminal piece on jazz, please read it here.

“Most jazz critics have been white Americans, but most important jazz musicians have not been.”

-Amiri Baraka, 1960

54 years later, our critics are still primarily white, our art is still being viewed through eyes that do not quite resonate, and jazz is dead. This has become a reality in the years since, an acknowledgement that what we create is open to critique by those not able to fully comprehend the context of which it was created. In 1960, it was the conception of jazz being appreciated and yet not quite understood by those white critics. Today, hip-hop has been swiped from our collective bassinets.

“As one Howard University professor said to me…’It’s fantastic how much bad taste the blues contain!’”

It’s all noise now. A garbled collection of expletives set to deep basslines. It’s not spoken truth over hypnotic backdrops- it never was to a certain generation, regardless- it’s just hyperbolic boasts in sync with noise. Or it’s noise that has stolen elements of funk, gospel, rhythm and blues, and, yes, jazz in the name of youthful ignorance. It’s why those middle-class Black Americans locked jazz away in closets of shame, and it’s why hip-hop, of any era, remains undefended during times of attack, ridicule, and outrage. It’s fantastic yet unclaimed by those that “matter”.

“…The major flaw in this approach to Negro music is that it strips the music too ingenuously of its social and cultural intent. It seeks to define jazz as an art (or a folk art) that has come out of no intelligent body of sociocultural philosophy.”

They (read: WE) focus on what you “shouldn’t” say. They (read: WE) don’t investigate. “Fuck Tha Police” is too violent, “Fight the Power” is too militant, and “Brenda’s Got a Baby” is too divisive. It’s always too…something, and therein lies the problem. It can’t ever be a reflection; they (read: WE) have to place these songs as depictions. Depictions of what’s wrong with us and not the system or environment in which they (read: WE) escaped in a different fashion. They (read: WE) hear a message but they (read: WE) don’t quite heed it. It’s just an angry noise that- at this point- only emanates from their (read: OUR) children’s bedrooms.

“Most jazz critics began as hobbyists or boyishly brash members of the American petite bourgeoisie, whose only claim to any understanding about the music was that they knew it was different; or else they had once been brave enough to make a trip into a Negro slum to hear their favorite instrumentalist defame Western musical tradition.”

They (read: THEY) knew Doggystyle was unlike anything they’ve ever heard before. They knew Harlem World had a lot of samples from songs they grew up critiquing. Tha Carter III made them love OUR thing. But they didn’t walk into Roscoe’s House of Chicken and Waffles on East Broadway before then. They didn’t venture to Uptown Manhattan until Clinton quelled their fears. They still haven’t walked the streets of Hollygrove; they just knew Wayne’s 16 songs both eschewed the “norm” and placed them in the midst of his chaos. They can analyze and review, but they can’t be us. However, the sad part of this is: they seem to appreciate it much more than we do.

54 years ago, “Jazz and the White Critic” seemed to hint at a defining piece of Black culture slowly being taken from us. Has that occurred with our newest creation? Not fully, but there are ominous signs. Wu-Tang Clan paraphernalia is a Hot Topic “Hot Topic”, Tupac resurrected at Coachella, and Macklemore just Macklemore’d the Grammys (even he was surprised, apparently). Is there anything wrong with any of this? Of course not; they (read: THEY) are remembering and channeling some of the best we have had to offer and that’s awesome. It’s only slipping from our grasp because we don’t cherish our creation. We can give it to whomever but can’t we still bob our collective heads to it? It’s not enough to paint a masterpiece; every once in a while we should stand back and admire what we created.

Rest in paradise, Amiri Baraka. A.J. Armstrong is the humbled creator of The Fly Hobo and His World of Oddities