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For Tyre’s last Five badges. (spoken word)
The badges you wear were betrayed the very instant you flashed your sights on me.
You had nothing good in mind from the start.
I was doomed from the beginning.
By the time the brutality started,
The senselessness of it all kept my body numb to the assault.
“What did I do,” I keep asking, as
Your brutal blows, strongholds and punches bend my body into painful pretzels.
While y’all’ve got me firmly pressed against the pavement, y’all yell:
“Get on the ground.”
Pressed on the ground, I say disarmingly:
“You guys are really doing a lot right now.”
My calmness stands out against all your unwavering aggressions.
Yet, you continue to play the same game: “Get on the ground.”
Beneath the ground there is only hell, and yet
My face pressed against the gravel by your hooves feels like hell, right here, right now.
‘Watching the world wake up from history.’
As if wielding your fists and batons, tasers and bullets don’t threaten me enough,
There are five of you, and
Each of you is massive.
Each of you …highly trained, experienced, and tremendously pumped up.
I am a little weasel sized up against any one of you, and
You are a mob of five.
Too weak to lift my own self, two officers hoisted me up by my limp arms, blood streaming from my head and outta ev’ry orifice, voice too weak to shout. I’m beaten badly, and yet you continue to brutalise me.
Manhandled.
I stumble up, firmly in your grasp, and all I do is plead, which gave enough time for another officer to grab a baton.
He quickly came back with the baton, screaming “give us your hands,” while the two officers still restrained me by these very same hands.
You continually scream “Stop resisting,” while
At least two if not three of you all strangling some part of my body.
The agony is immense.
You’re a pack on the hunt.
You chase me down, and
Torture and kick me more feverishly for running away.
I am in a battle for my life, you…
You are in a battle for your manhood.
“Bruh, you say, and words like these are the same words used to connect us to one another.
The words you use to abuse me could be endearing in another context.
Yet you have the nerve to call me “bruh,” and beat your brother to death.
‘I was alive and I waited, waited’
Waited for your humanity to show up,
Waited for justice to be served to me equally.
‘I was alive and I waited, waited,’ waited three days in the hospital…and
Neither justice nor your humanity ever showed up.
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Saluting Our Sisters: A Reflection on the Living Ghost of the Past
Sarah Baartman. Image source: https://shorturl.at/avLO4
In the 20th century, many groups of people who had been overpowered, subdued, and suppressed by imperialist expansionist movements under arbitrary boundaries began challenging their subjugation. These emancipation struggles resulted in the emergence of quasi-independent, self-governed African nation-states. However, avaricious socio-economic opportunists were aided into political leadership and have continued to perpetuate imperial interests while crippling their own emerging nations. Decades later, it has become clear that these ‘new states’ have become shackled under the grips of strong and powerful men who lead a backward and dysfunctional system with the majority of people impoverished while they enervate justice and political institutions.
Prior to this, the numerous nation states now recognised as African states had developed their distinct social, political, and economic systems which emerged from and reflected their distinctive norms and cultural values. Barring communal disputes and conflicts, robust inter-communal associations, interaction, and commerce subsisted amongst the nations, and paced socio-economic developments were occurring until external incursions under different guises began. Notably, the tripartite monsters of transatlantic slave trade, pillage of natural resources, and colonisation which not only lasted for centuries, disrupted the steady pace and development of these nations. It destroyed all existing social fabric and capital of the people, and forcefully installed a religious, socio-political, and economic systems that are alien to the people.
Ironically, while the transatlantic slave trade and colonialism were perpetuated under the guise of a “civilizing mission,” it took over three centuries for the “civilised” to realise that these abhorrent incursions were far from being civilising, and that they themselves required the civilisation they purported to be administering. However, while one might imagine that this awareness would lead to remorse and guilt-tripped sincere repentance for the pillage, pain, and atrocities, the abolition and relinquishing of political power to natives, the following events symbolized the contrary. Neo-colonialism was born, and international systems and conglomerates have continued the pillage on different fronts as aided by the greedy political class. Thus, it is unsurprising that yet again, strong, and powerful men are revolting against and deposing the self-perpetuating, avaricious socio-economic opportunists who wield political power against the interests of their nations in series of military coup d’état.
It is clear that the legacy of exploitation and subjugation has brought about a new set of challenges. Leaders entrusted with the responsibility of fostering prosperity in their nations often succumbed to personal gain, perpetuating a cycle of exploitation reminiscent of the imperialist era. This grim reality creates a stark contrast: while the majority of citizens are trapped in poverty, a powerful minority wields disproportionate influence, eroding the foundations of justice, economic prosperity, and political stability. As a result, for the vulnerable, seeking safety, economic freedom, and escaping from dysfunctional systems through deadly and illegal migration to other parts of the world becomes the only viable option. However, unbeknownst to many, the lands they risk everything to reach are grappling with their own challenges, including issues of acceptance and association with once labelled ‘uncivilized’ peoples.
Black History Month sheds light on these challenges faced by the black community and other marginalized ethnic groups globally. This year, the theme ‘Saluting our Sisters’ invites us to reflect on the contributions of Black women to society and the challenges they continue to face. It is also important to reflect deeply on how we consciously or unconsciously perpetuate rather than disprove, discourage, and distance ourselves from sustaining and growing the living ghost of the past. As Chimamanda urges, perhaps considering a feminist perspective in our actions, practices, and behaviour can be a powerful step toward recognizing and acknowledging how we perpetuate these problems. Dear Sister, I admire and salute you for your resilience and tenacity in making the world a better place.
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Tyre Nichols’ last bird’s eye view.
[Spoken Word/Read aloud]
After my death, the New York Times reported that you all gave me “at least 71 commands.”
“Many were contradictory or impossible,” the Times tweeted.
In a mob frenzy throughout the whole ordeal, y’all kept shouting at me over each other.
When I couldn’t comply – and even when I did manage to obey– you…(SMH)
“Responded with escalating force.”
Hmph!
NYT’s tweet is cleverly crafted, with a photo – a bird’s eye view of us from the street camera.
There we see 4 of you hunched down on me, pressing my whole body against the ground.
The 5th thug is lunging toward me with a weapon.
After my death, I wonder how y’all will explain this footage –
Knowing the nature of these viral tweets?
I’ve personally reposted too many posts of Black bodies in my exact position to count.
I know I didn’t have to do anything to get here,
Knowing this brings me no comfort in this moment.
All of your commands ignore my humanity.
I am powerless and yet you persist.
In the many video angles of your fatal attack, we all see that…
Each of you had so many chances to just stop!
I’ve always tried to make sense of such lethal violence.
I try to understand the who, what and why of your attack that led to my death.
You had me pinned and pressed to the ground when you kept barking:
“Get on the ground.”
When you kept yelling, one after the other, “Give me your hands,”
Two or three of you were already bending my arms backward and forward with force.
I contort myself and try to comply, yet
You keep screaming “Stop resisting,” meanwhile,
At the same time, two or three of you are manhandling some part of me, at all times.
At the end when you leaned my beaten-up, bleeding, limp body against your car,
One of you snaps-n-shares pictures of me with colleagues and friends.
He’s proud and reaching out to folks who’ll pat him on the back for his latest accomplishment.
During the whole attack, I notice this is the only time he’s cool. He smiles.
He’s clearly used to this exact same rush, this exact same thrill.
I’m more disappointed than angered by his grin.
Mine is an all-American honor killing –
Most just get shot, but many have been tortured just like me.
We see this is how too many of his brethren defend their shield.
Where was I to go?
Appeal to the other officers on the scene whose negligence is pristine?
I tried to run, you captured me, which provoked more torture; nowhere feels safe.
Why was I being terrorized?
And by you, who’ve pledged to protect us from (this) terrorism and (this) thug behavior.
What was I to do?
Flight, freeze or fight.
I am tiny compared to any one of you, y’alls combat training and y’alls five big bodies built-up for battle.
I am a fly; you act like lords.
“Bruh,” you call me, but there is no evidence of brotherliness here.
Or, does your fraternity honor and practice such sadomasochistic rituals?
I like skateboarding and photography, another magazine writes, trying to digest my senseless murder.
Yet the videos of me captured for the world to see are
“…absent all beauty and sterilized of hope.”
When would this end?
Would I have to die for you to stop.
How had I possibly provoked this attack?
Who was I to obey?
You? You’re no good, like Linda Ronstadt said:
You’re no good. You’re no good. Baby, you’re no gooooooood…..
You’re no good.
Or perhaps good in your god’s eyes?
Or, are you God?
No.
You’re not anybody’s God, but…
You play one out here on these streets.
Now, you’re playing my God… my life is keenly in your fists.
Yes! These unceasing murders that I’ve seen – not just mine now–
Is what makes this place hell on Earth in the here and now.
So perhaps y’all’re just agents of the devil,
A force unleashed from the depths upon these streets.
“Momma,” I cry out as loud as I can, and you continue to holler obscenities at me.
Momma used to say all people are fundamentally good,
But lately, I’ve felt fundamentally unsure, and now I’m convinced.
“I didn’t do anything,” I plea, rolling on the ground with my hands behind my back.
Y’all kick me.
“Mom,” I cry out again.
I will die here alone.
No mother should lose her child like this.
The agony inside now, as I call out to my momma, is not for her help,
But because I can already feel her pain once she hears how I’m dying.
Since momma fought for the public release of the videos of my attack,
My name is a hashtag and we have been written about a plenty.
“Every Black mother knows she is a split second,” one newspaper writes,
“… a quirk of chance, from joining a lineage of suffering that stretches back through Mamie Elizabeth Till-Mobley…”
When she saw y’all in court for my kidnapping, assault, oppression, and murder,
Momma said you didn’t even have the courage to look her in the face.
Cowards.
Momma said you’re gonna see her each time you are called to see the judge.
-END-
Photo:
NPR OBITUARIES: “Tyre Nichols loved skateboarding. That’s how his friends say they’ll remember him.”
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The Color Purple, The Musical: What in the Misogynoir?!
TW: mentions of rape, child rape, racism, and misogynoir.
Alice Walker’s novel The Color Purple is a story loved around the world. So, when I saw that it was adapted to stage and touring the UK, my interest was peaked just enough to consider a visit to my local theatre the Royal & Derngate in Northampton. A Curve and Birmingham Hippodrome co-production, it came to Northampton in the first week of October. Largely, audiences that frequent my local theatre are overwhelmingly white – thus, watching The Color Purple it was a joy to my heart to hear Black people in my community engaging with the arts, because the last time I heard so many Black people attended, was for Our Lady of Kibeho as part of the R&D’s Made in Northampton season. This dates back to 2019, a production I reviewed for The Nenequirer showing that Northampton(shire) arts has work to do.
Social media platforms like Twitter and Instagram showed me the pretty unanimous positive praise for the Leicester-Birmingham co-production, while local critics also enjoyed it – including reviews from The Chronicle & Echo and The Nenequirer as well as further reviews by The Real Chris Sparkle and Northampton Town Centre BID. However, there were elements of the show that caused me great distress, no less than the perpetuation of misogynoir and racist stereotypes against Black men. It was deeply triggering, showing how historical trauma and vicarious trauma are ever present, including when white organisations have not done the work of protecting Black mental health when producing “Black-centred media.”
At the head of this cast, Me’sha Bryan gives a knockout performance as Celie (previous played by Whoopi Goldberg in the film) accompanied by Aaliya Zhané as Nettie, with Bree Smith as Shug Avery, and brilliant musical numbers grounded in the traditions of blues music that finds its origins in the trauma of enslaved Africans in the American South. They sang when “they got the blues” … and as far as performance and the commitment from the cast, I couldn’t ask for better.
However, whilst I have praised the musical numbers above, I did not believe it fitted with the tones of The Color Purple curating a rift between what the actors were saying and doing on stage, and the intonations of the music – as well as the lighting design. And despite the directorial position deciding the rape of a child wasn’t musical material (rightly so), the choice to have it as a passing detail with no further discussion, I found particularly off-key. This is one of the moments that highlights that The Color Purple may not have been musical material and better considered as a serious drama. I did not walk away feeling that bleak, much ado with contradictory lighting choices to character moods. The characters were feeling one away and lights did something else. By the by, rather than skip over the rape to maintain “the musicalness”, it may have been more effective to have done this story as a stage drama (with musical elements, if at all). The horrors depicted at the beginning of the novel are pretty nonexistent in musical.
So, this recent adaptation was a disappointment. Not from an acting point of view but behind-the-scenes pre-production elements like direction. The start of story includes a fourteen year-old who births two children after being raped by her father. So, the amount of trauma that exists around child sexual abuse and rape appear unconsidered when they glossed over these parts of the story. Furthermore, I do question if they consulted with any survivors when doing research for this adaptation. A ‘sensitivity consultant’ would not have gone amiss either, further to considerations of intersectionality and how cultural nuances in global, but still different Black communities, will be interpreted by white people, especially in provincial Little England.
Blown away by the musical abilities of the cast, stage productions (like much art) are often labelled as “escapist” so is not afforded the same criticality as for example – policing, education, sport and so on – we are all guilty of this and we can do better. This may be art; there were no redeeming Black characters, and Black men calling Black women “ugly” (written into the script) in full face of a white audience is cultural violence. In Northampton, the large white audience laughed at this example of ableist misogynoir, and in many ways this production felt to be played up for white audiences. Lots of white people are not used to seeing Black people as full human beings, and I do feel the play draws out our humanity. And by proxy centres white comfort with a Black aesthetic reinforced by white supremacy in media.
Disability justice activist Talia Lewis has released definitions of ableism every year since 2019. In January 2022, she discussed ableism as a violent social discourse that values people’s bodies and minds according to societally constructed ideas of “normalcy, productivity, desirability, intelligence, excellence and fitness …” Lewis (2022) states that these ideas are embedded in other violent discourses such as eugenics, capitalism, misogyny and white supremacy. The adaptation of these characters is only part of this debate, where another part may want to consider how this play has informed everpresent white superemacism pervasive across Northamptonnshire. It may impact how local white audiences may view Black people when they perceive that in this cultural text – ‘this is how Black people talk and act around each other.’
“This systemic oppression leads to people and society determining people’s value based on their culture, age, language, appearance, religion, birth or living place, “health/wellness”, and/or their ability to satisfactory re/produce, “excel” and “behave.” You do not have to be disabled to experience ableism.”
Talia Lewis (2022)
In Homegrown (hooks and Mesa-Bains, 2017), bell hooks tell us “We have to constantly critique imperialist white supremacist patriarchal culture because it is so normalized by mass media and rendered unproblematic. The products of mass media offer the tools of the new pedagogy.” Theatre is no different to films, literature or television programmes. Watching the musical, it struck me how the numbers of people who haven’t done the work of unlearning their own white supremacy would be impacted by such an adaptation (yes, as we know all humans can reproduce these isms but in a global western context, however, white supremacy has put white people on the top of that racial hierarchy).
One instance of misogynoir and ableism was underpinned by the three Black women singers (their character names escape me) who were written as Sassy Black Women inherently “comedifying” Black womanhood. Brilliant singers, but were written lazily reinforcing a damaging cultural media narrative that diminishes the three-dimensional personhoods of Black women. This was offered with no alternative. The Hypersexual Jezebel (named after the “sinful” Biblical character) appears in numbers of characters while Sofia was written as the Strong Black Woman. Black men were then written as violent, comedic relief, illiterate, and other harmful stereotypes, and domestic abuser Mr Albert is redeemed to the sound of musical harmonies and joyful lighting.
At a Northampton level, the critics from local media revisited a culture of uncritically discussing art. Stories aren’t just stories but a product of the society that created them, and we are a society that finds it easier to challenge the criminal justice system than it does liberal arts institutions, in spite of both having a say in how Black people are viewed and treated. Despite “Black theatre” not being genre, we need more shows at the Derngate that centre Blackness in Britain. And whilst commissioning and hosting shows about ‘Black issues’ is not evidence of an anti-racist commitment, it would be nice to see more shows locally about Black people in the UK by Black people.
When we do get “Black stories”, they so often centre the US, most recently The Color Purple (Oct, 2022) and Two Trains Running (Sept, 2019) – denying local audiences a context for Blackness within the United Kingdom, while recentring American Blacknesses is gaslighting through art. In November, Dreamgirls centring American Blackness is coming to the Derngate. A co-production between The Curve and the Birmingham Hippodrome, this adaptation of The Color Purple was deeply problematic on many levels that local white critics may not have picked up on because of their whiteness – drawn in by a spectacle of a “Black show”, viewed through a white gaze that is unused to talking about white supremacy as a political structure.
The white audience for these misogynoir tropes specifically – largely one of laughter – reminded me of the white gaze, with white laughter as eased white supremacy. Whiteness continues to pervade through ‘acceptable racism’ where serious digs made at Black people in-text laughed at by white people may show how white people may think about Black people in designated white spaces. A Black man seriously calling a Black woman ugly and a white audience laughing at that is incredibly revealing – a comfortableness in spaces coded as white … and how white people may act when thinking and talking about Black people in private (i.e in spaces coded as culturally white and desgined to their comfort).
“I grew up in a culture of bantering and, ngl, I love a caustic riposte. And while in certain ways I resent the current policing of language, there is a distinction. I hate to break it to you, but a “joke” in which the gag is that the person is black isn’t a joke, it’s just racism disguised as humor. A joke told to a white audience where the punch line is a racist stereotype isn’t a joke, again it’s just racism; if there is only one black person present, it’s also cowardly and it’s bullying. Jokes of this nature probably aren’t funny for black people.”
Emma Dabiri (2021: 98)
Art imitating life is one thing, but when life imitates art is another. White laughter at Black people in cultural media texts goes back to the days when blackface was on the BBC (until 1978). To see this platformed by a local arts institution then profiting from it, is revealing of how whiteness is performed and profited from, when white people think they’re not being watched. Creatives have a responsibility and so do those institutions that platform them.
Myself and fellow blogger @haleysread discuss this further in our prior entries about the scandal surrounding Jimmy Carr and Netflix. On that October evening, being one of the few Black people in the audience, it was incredibly uncomfortable. To consider art uncritically is to be entertained from a vantage point of privilege (or ignorance). Attending with my friend, to see unanimous positive feedback from the public made us feel a way, no less than from many Black people. We must always be critical; being critical is not the same as criticising, and those who are critical only take the time to be so because we care.
It is not about individual actors but about the lack of critique of institutional platforming in producing “art” that goes on to cause harm. Another fellow blogger Stephanie @svr2727 talked about misogynoir and the media in her recent webinar with the Criminology Team and Black Criminology Network. Violent mistakes in arts productions show a need not for more historical consultants, but sensitivity readers and empathy viewers. One cannot teach empathy, you either have it or you do not. Extending this gaze to screen media texts as well like Bridgerton and others, it is a further reminder that social scientists are needed at the very top of media … especially those of us that research about race, racism, and other forms of violence.
These cultural texts are rehearsed, edited, and considered by multiple hands before any public audience sees them. So, why are we still having to challenge? Simple: misogynoir, ableism, and whiteness are institutionalised and normalised socially and culturally into our day-to-day practice. No less than in “liberal” arts institutions.
“Nothing but a circus, with clowns and all.” – Malcolm X
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No ways tired: Miss Lillie, arrested with Mrs. Parks.
12 September 2021
Visit to the Equal Justice Initiative Museum, From Enslavement to Mass Incarceration.
Near the end of the EJI’s newly expanded museum, there is a wall of slightly larger than life-size mugshots of folks arrested alongside Mrs. Rosa Parks in just another local act of civil disobedience. I’ve rarely seen a more earnest collection of everyday people, not unlike the folks around me as I get to know Montgomery today.
Mugshots.
Men in suits, ladies sporting pretty hats in their Sunday best.
Farmers in overalls and working women in neat dresses.
Learned-looking men with glasses, and fancy tiepins.
Young men in sleek fedoras and two or three older men in derbies.
Another man wears a skullcap.
Meaningful women and men of age, of reconstruction age, whom we imagine had by then seen every intimate and public side of Jim and Jane Crows’ wickedness.
They were representin’.
The only thing they seem to have in common is their determination.
(Sigh).
I found myself face-to-face and fixated with
Miss Lillie Bell Robinson.
She sat,
Framed,
With her arms,
Crossed.
Double-crossed.
With her head,
Tilted,
With her expression, tired, but
Also, a particular squint in her eye – or perhaps a gleam – that betrays her obvious fatigue,
As if saying: “No ways tired.”
I moan in tune, and
This somehow keeps my knees from buckling under the weight of it all, since
The preceding exhibits have already taken us along a long timeline where
Every glimpse of justice gets trampled upon –
Again, and again.
I sigh and see why they are tired.
On that day, did Miss Lillie know that much more violence, much more real intensified violence was yet to come?
This was the mid-50’s, and
Could Miss Lillie have imagined that:
Just 5-6 years later,
Freedom Riders from the north would arrive around the corner,
Riding federally desegregated, public coaches, and
The same local sheriffs would stand by, and
Let them get beaten, assaulted, brutally, and
Battered by white-hot mobs –
Only to arrest the so-called outside agitators?
Probably all of you, Miss Lillie, were battered by many of the same hands, and
Abandoned by many of the same actors of local justice.
I estimate Miss Lillie to be my grandparents’ age, and
By that day, they’d already fled and made their way to Kentucky.
I am wondering where Miss Lillie is now – right now?
(I take a deep sigh and realize that I’ve not yet reached the mass incarceration part of the museum, and ultimately just skimmed on by.
Graciously, the final exhibit is a “Recovery room,” a hall of walls of portraits,
which we might also call “mugshots,”
As each face had all, actively, over centuries,
Activated against oppression.
I recognized writers, musicians, poets, painters, politicians, preachers, teachers, activists of all flavors, and
After the weight of the truth shown in each timeframe, this left me feeling full of joy.
And, I moaned along with the tunes, there, too.
That day,
She’d had had enough, and
Though reluctant before,
Somehow now,
Miss Lillie could no longer stand by, and
Just wait for justice, and
Just go on about her own merry way, and
Pretend like this is ok, and
Adjust to the insanity of segregation, and
The very look on her face said this is “why we can’t wait.”
Her face calm, but
Twisted.
The mug shot ID, hanging around her neck like a shackle: #7010.
Business as usual, and for sure somebody’s gettin’ paid.
So, she not knowing.
She, not knowing if this all will work.
If getting arrested today mattered.
If any of this is worth it.
If this time change is coming,
having nothing left but Faith…
in herself, in others, and
Somehow faith in her nation… to do the right thing,
Despite this day, and
In spite of the many apparent setbacks, and
A million everyday,
Tiny little cuts.
We rise.
That day, Miss Lillie rose to the occasion.
She and all these others stepped up so we could step out, and
Step in here now,
Free to learn about each step along our legacy of peace.
I’m now in awe of Miss Lillie, and
Take a step back and
Smile at her, and
Take in the glory of this sensation.
Hats off to you, Miss Lillie.
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Calling All Dads: Girls Girls Girls wanted. #SpokenWord
Calling all dads.
Reward for the first hundred daughters!
Calling all dads, Magic City Club is recruiting!
Magic city is the most elite strip joint in the world,
Any dad should be proud to have his daughter work for us!
We value our customers and want to give YOU the chance to shape Magic City Club’s future.
So we’re recruiting.
PLEASE send your daughters in right away.
We need your girls, girls, girls.
The most beautiful daughters in the world, we ask all dads to send them now.
You’re our valued-customers so you know MCC is about quality!
Send them in to Magic City Club, by express, in a rush, by plane or by bus!
Hurry, hurry, hurry we need girls – quick – these polls aren’t going to oil them selves.
We don’t care how you get these girls here we need strippers now!
Now we know this is a difficult task,
So we are offering a reward for the first hundred daughters!
The first hundred days to send in their daughters will get a lifetime ticket!
A lifetime supply of girls swinging on poles, every dad’s dream.
So send in your daughters, and the first hundred new donors receive a lifetime supply of free entry to any of our prestigious establishments around the world for you and a party of 10 men.
Imagine how your career will explore when you bring your colleagues on an annual, all-expense-paid trip to Magic city, and enjoy some other men’s daughters swinging from the polls. Swish. Slide. Spin, Twirl. And flap, flat on the ground, she’s in a split!
Dads, you will not be missed on any neighbor’s Christmas list when you invite the dads from your hood right on down to Magic City.
Don’t miss Father’s Day. Each year, Luxury Life Liquors sponsors our special Father’s Day event and fills pool on stage with whiskey. Watch these girls swim like mermaids. After the show, you know MC doesn’t waste good liquor.
Magic City.
It’s magic.
And somebody’s daughter has got to do it, has got to swing from these polls!
Act now, send in yours! Send in your daughters right away.
As our valued customer, you know Magic City Club has a ‘don’t ask don’t tell’ policy for the backrooms, so: Employer shall be not liable for sexual harassment, STD’s, or in any way held responsible for unwanted pregnancies.
We provide the costumes; daughters must provide their own contraception.
Yours truly,
The management
*P.S. Magic City Club is not affiliated with that MC strip joint all the rappers rap about.
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At The Mouth of ‘Bloody Sunday’ #Travel #Prose #History
At the Mouth of Bloody Sunday
I know the one thing we did right, was the day we started to fight. Keep your eyes on the prize…hold on. Hold on.
Bloody Sunday in Selma only highlighted the bloody Mondays, Tuesdays, Wednesdays, Thursdays, Fridays, and Saturdays that Black people in America have faced from the first time we laid eyes on these shores. It took people to gather and protest to change. In December ’64, the good Rev. Dr. King was awarded the Nobel Peace Prize for this movement. That spring in Selma, people marched across a bridge in order to highlight the normal voter suppression practices still happening throughout the south – and still in 2021.
“If you can’t vote, you ain’t free. If you ain’t free, well then you a slave.” –Intro interview to Eyes on the Prize part 6/8.
According to the National Park Service, who oversees the important civic monument now:
“On “Bloody Sunday,” March 7, 1965, some 600 civil rights marchers headed east out of Selma on U.S. Route 80. They got only as far as the Edmund Pettus Bridge six blocks away, where state and local lawmen attacked them with billy clubs and tear gas and drove them back into Selma.”
From my 7th grade social studies class circa ‘87, I would also add: The good white citizens of Selma gathered at the mouth of the bridge for the spectacle, to witness or probably participate in the oppression. We see them in the footage, films, pictures and media coverage of the events, and we know many are likely still alive. Black-n-white news footage of the days leading to Bloody Sunday show the sheriff and his angry henchmen prodding people with their clubs, plenty of ‘regular’ people watching in joy.
The people prodded? Well-dressed and behaved Black citizens of Selma and activists who’d come to support them. According to the footage, white citizens came out in droves for what they knew would be a bloody suppression of simple voting rights. As spectators, their presence made the massacre spectacular.
I’ve visited the National Voter Rights Museum and Institute at the mouth of the bridge, and there they have an actual jar of jellybeans used to test Black people coming to sign up to vote at the local government office. Yes, sitting behind that booth was a white man who demanded that a black person – any citizen of the darker complexion – accurately guess the number of jellybeans in a jar in order to be allowed – in order for him to allow them – to register to vote. I feel like I have to repeat that, or say it in different ways because it is so unbelievable.
This September, I visited a museum at the edge of the Edmund Pettus bridge in Selma, Alabama, on the way to Montgomery, the state capital. This historical museum marks local efforts to contest voter restriction practices. These practices were heinous in tone and texture, yet creative and cringe-worthy in nurture and nature. For example, consider the ingenious of these jellybean-counting white men in DC who created the separate-n-unequal space to inspire a variety of voter suppression taxes, tests and clauses throughout the south. It is these sorts of mad men who make decisions that impact the entire world as we have come to know and understand it now.
Yes, it is these sorts of men who send politicians to the state houses, and sent/send senators to Washington DC, to cajole politicians of every hue to compromise on their values. Now, we also know they send mobs to storm the capitol on the very day all the legislators gather to confirm the election results.
I know the one thing we did right, was the day we started to fight. Keep your eyes on the prize…hold on. Hold on.
Imagine yourself standing there in a museum, looking at a shelf, and there is a jar of jellybeans. There’s nothing spectacular about the jar, nor its contents. For any of us have seen something like this in virtually any kitchen, or supermarket. My granny grew, harvested and canned vegetables, so growing up I got to handle many mason jars first hand.
In fact, I love jellybeans. I used to visit the gourmet jellybeans shop in the mall after school when I was a kid. You could pick out any flavour that you liked, and I always went for blueberry, and cherry. I loved the contrast between the royal blue and Corvette red. It is a childhood fascination that my dentists still adore me for to this day. Naturally, these gourmet jellybeans were a little more expensive than the ones you get in the supermarkets, but I liked to save my money and treat myself sometimes. Plus, it felt very special being able to pick out the ones you like, and not have to discard the disgusting ones – who ever thought licorice or cola belonged on a jelly bean!?!
As a candy, jellybeans are so visually enticing. As you enter the shop, the walls are covered from floor to ceiling with all sorts of bright neon colors. Every shade of the rainbow grabs your eyes, calls to you. Between stacks of plastic bags and scoops, you are awed by the massive jars of each individual jellybean color ready for you to pick-and-mix. There are also tables with stacks of both empty and pre-filled jars. There are jars of all sizes filled with colorful patterns of jellybeans with matching ribbons tied in bows around the lids. Of course, the entire shop smells like fruit, all kinds of fruits, sweet, succulent fruits that you cannot even imagine. You are the customer, you are king. By virtue of entering the fancy shop, this is your kingdom.
Now take all of that and put it in a jar. To get to this jar, you have to enter an official government building in the town center. Next to the entrance stands an armed, uniformed white man who gives you a disgruntled look as you enter, signaling that he’s not there for your safety but aggravation. Now, as you approach, you see the jar, sitting on a counter, and behind it sits another white man. Try to imagine this white man, probably with a gun next to him or somewhere nearby, with nothing better to do than to threaten your life. Because the town is so small, he knows your last name, and may know of your family.
Since this is a small town, he knows your employer, he knows where you live as you’ve just written this down. He may even know your family, as the local history is so insidious, his family may have even owned or overseen yours at one time. Or, at that very moment, you or a family member may work for him or his kin. Your kids might play together. You may have played with him as a kid when, for example, your mother was his nanny (read-and-said-in-the-south: Mammy). Yet now, here in a free democracy, it is his job to register citizens to vote.
It is his prerogative, the birthright of this individual, plain (white) man on the other side of the glass to demand that you count the number of jellybeans in the goddamn jar. It is a privilege that no one anywhere near here has ever questioned. So, with a smile, he plops a big red “DENIED” stamp on your registration form. Of course yo’cain’t! A “killing rage” surges. Be glad you don’t have a gun with you.
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My First Foreign Friend #ShortStory #BlackAsiaWithLove
I love school.
In the third grade, we had a foreign student named Graham. His parents had come over to our hometown from England with a job, and his family was to stay in our town for a year or two.
Other than Graham’s accent, at first he didn’t in anyway appear, or feel different.
The only time that Graham’s difference mattered , or that I knew Graham’s difference mattered, was on the spelling test. We had moved far away from three letter words, to larger words and sentences, and by fourth grade we were writing our own books.
But in the third grade, there was Graham on our first spelling test, and our teacher drilling words like color.
The teacher made it fun by using word association to aid in memory. Then, he paused to explain that Graham would be excused if he misspelled certain words because where he’s from, they spelt (spelled) things differently. Spell “color” differently, we all wondered?
Our teacher explained that there are many words where they add the letter U, that are pronounced in the same way. Anyway we have different accents in our own country. Heck, we had different ways of saying the word “colour” in our own city. Where does the extra-U go? Then of course, the teacher spelled out the word. He could not write it on the chalkboard because we were sitting in a circle on the area rug, on the library side of the classroom. It is then that I also realized that I had a visual memory, even visualizing words audible words, both the letters and images representing the meaning. I wanted to know why people in England spelled things differently than in America. Despite Graham’s interesting accent, and easy nature which got him along fine with everyone, he was going to have to answer some questions.
Though our teacher did not write the letters, in hearing them I could see them in my mind moving around. I started imagining how moving the different letters shifted – or did not shift – differences in sound, across distances, borders, and cultures. I started imagining how the sounds moved with the people. Irish? Scottish? People in our city claimed these origins, and they talk funny on TV. Britain has many accents, our teacher explained. “I’m English,” blurted Graham.
We didn’t know much, but we knew that except for our Jewish classmates, everyone in that room had a last name from the British Isles, which we took a few moments to discuss. Most our last names were English, like my maternal side. A few kids had heard family tales of Scottish or Irish backgrounds, German, too. One girl had relatives in Ireland. And wherever the McConnell’s are from, please come get Mitch. Hurry up!
How did we Blacks get our Anglicized names? Ask Kunta Kinte! And how did this shape Black thought/conscience, or the way we talk? I wanted to know MORE. I thought Jewish people were lucky: At least they knew who they were, and they were spoken of with respect. Since my dad is Nigerian, (and my name identifiably African) I had a slight glimpse of this. I knew I had a history, tied to people and places beyond the plantation, and outside of any textbook I’ve ever had (until now where I get to pick the texts and select the books).
My family is full of migrants, both geographically and socially, so homelife was riddled with a variety of accents. Despite migrating north, my grandparents’ generation carried their melodic Alabama accents with them their whole lives. Their kids exceeded them in education, further distancing our kin from cotton farming, both in tone and texture. This meant that my generation was the first raised by city-folk, and all the more distant from our roots since we came of age in the early days of Hip-Hop. At home, there were so many different kinds of sounds, music, talk and accents. Fascinating we can understand done another.
Our teacher also told us that Americans also used some of the same words differently. Now, I’ve lived here in the UK for a decade and I can’t be bothered to call my own car’s trunk a boot. Toilet or loo? Everybody here gets it. Unfortunately, Graham explained that he knew the British term for what we call ‘eraser’, which the teacher couldn’t gloss over because we each had one stashed in our desks, and he knew we’d have the giggles each time the word was mentioned.
I was still struck by the fact that in spite of all these differences and changes, meanings of words could shift or be retained, both in written and spoken forms. I wanted to know more about these words – which words had an extra U – and where had the British got their languages and accents. For me, Graham represented the right to know and experience different people, that this was what was meant by different cultures coming together.
“Here I am just drownin’ in the rain/With a ticket for a runaway train…” – Soul Asylum, 1992, senior year.
In retrospect it’s weird that Graham’s my first foreign friend. Both my father and godmother immigrated to America – initially to attend my hometown university. They’d come from Nigeria and China, respectively, and I’d always assumed that I’d eventually visit both places, which I have. Perhaps this particular friendship sticks with me because Graham’s the first foreign kid I got to know.
Through knowing Graham, I could for the first time imagine myself, in my own shoes, living in another part of the world, not as a young adult like my folks, but in my 8-year-old body. What interested me more was that I could also see Graham was not invested in the macho culture into which we were slowly being indoctrinated (bludgeoned). For example, Graham had no interest in basketball, which is big as sh*t in Kentucky. Nor did I. “Soccer is more popular over there,” our teacher explained, deflecting from Graham’s oddness. “But they call it football.” Who cares! I’d also seen Graham sit with his legs crossed, which was fully emasculating as far as I knew back then. The teacher defended him, saying that this also was different where Graham came from. I definitely knew I wanted to go there, and sit anyway I wanted to sit.
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Kisses from Granny Don’t Count! #BlackenAsiaWithLove #ShortStory
In America, and most certainly in the land of Dixie and cotillions, at the end of junior high school year we have a tradition of getting our senior class rings. By “getting,” I mean individually buying a ring from the same one or two companies in our city who cash in on this ritual annually. We knew that many of us had to foot the bill with our own after-school jobs, while others’ parents could virtually write a blank check! (Hopefully, at least, or perhaps most assuredly, somebody in the school system gets a kickback from all this cash flow.)
While class rings appeared personalized, the rings – and the ritual – were effectively mass manufactured, complete with standardized shapes and design features: school’s name and mascot – in our case a bear – class year (1993!), and maybe our initials inscribed inside. Oh, and a heteronormative adolescent sexualized ritual to which I shall return shortly.
Rings are generally presented at a school ceremony. Until graduation, class rings are worn facing the wearer as motivation towards the ultimate achievement, after which it is worn outward as a badge of pride and honor. A graduating class could all agree to the same design – usually the school colors – which I believe the majority of my class did. While I prefer the look of silver against my dark skin, our school colors were royal blue and gold, so classes at our school often got blue sapphire set in the lowest Karat gold available that didn’t look cheap. For such a notoriously liberal school (i.e., gender and racially/geographically* integrated by design), this was one of the few explicit acts of conformity.
‘You Wear it Well’ – DeBarge, 1985
The next part of the tradition is having 100 different people turn the ring, as sort of an acknowledgement of becoming a senior. The first 99 turn it in one direction, while the final person reverses the order. This clockwise/counter-clockwise turn seals the deal. Yet get this, you’re supposed to kiss the hundredth person who turns the ring. You say the word “kiss” in front of most any group of adolescents and they’ll giggle. We knew what kind of kiss was meant. FRENCH like fries! Somehow becoming a senior in high school had been coopted by this hetero-ritual, a hetero-rite of passage (het-or-no-rites!).
I am troubled that this academic milestone is linked to gender. Worse, the ritual is predictably a performance act that fixes gender to normative sexual roles; yes, heteropatriarchy. Worse still, this binary gender performance is discrete, couched in achieving a basic education.
The ring dealer comes to school and makes a sales pitch to the class, and sets up a booth in the lobby after school. In his pitch, he promises a ‘free’ glossy little form to collect all the signatures. It was a bait and switch. These dealers sold us the rings but gave us the forms, the evidence we needed to prove we’d passed another stage towards adulthood. And what were we supposed to do with the blank glossy forms? Come back to school and boast?
The first 50 or so signatures were just us. Our own schoolmates turning each other’s rings, filling in each other’s forms on the very day the rings arrived. Family filled in a lot, too. I distinctly remember a teacher or two requesting to be excluded from the tradition, or take part in the ring ritual of becoming a senior, else we whittle their fingers away.
We all know everybody only wanted to see who signed the final line – a prompt to incite heteronormalizing speech-acts. Well, a few folks weren’t single and already had that 100th spot reserved and filled by sundown. Needless to say, kisses from granny don’t count! I’m pretty sure this wasn’t written on the dealer’s well-crafted sheet. Our market dominated, heteronormative introduction to adulthood for all to see.
I’d attended the same school since second grade so I’d seen people celebrate this class ring ritual for years, and even attended several graduations. I’d watched the “Senior run” year after year – a day at the end of school, when the graduating class runs through all the halls, cheering, banging on lockers as all the kids in all the classes rush out to line the hallways and egg them on. I loved school, adored our school, adored my classmates, and even looked forward to our turn, though parting so bittersweet.
At 16, I was only starting to be able to fully disidentify with the barrage of heterosexualized norms that engulfed me. I had to disentangle heterosexuality from virtually every facet of life – even finishing high school, a normal step we’re all expected to take. It’s as if to gain access to what bell hooks calls ‘the good life’ one had to signify alignment with compulsory heterosexuality.
I knew that I could not even turn my ring 100 times without kissing a girl. No way I’d risk putting a guy’s name at the end of that glossy list – someone I’d actually dreamt of French-kissing. Not like I knew any guy who’d be game. Damn. This was a lot of pressure. This junior prom was forcing me to make all kinds of adult decisions.
“The more I get of you, the stranger it feels…”
I was 16, and wasn’t out yet. Unlike at twelve when these feelings first bubbled over, by 16 I was on the cusp of self-acceptance, and preparing to face this possibility that I was gay. Perhaps it was pure timing. By the 11thgrade I knew for sure I’d be leaving home months after graduation, which was suddenly within reach. I could chart my own homo path. But still, at that age, I had doubts. I tried seriously dating a young woman as my last-ditch effort to see if I was straight or (at least) bisexual.
Kaye wasn’t a classmate, which wouldn’t have worked anyway because in retrospect all my classmates already knew, and had decided to accept me without question. Kaye attended an all-girls’ school, so we’d met through an extracurricular, Black youth empowerment program. Kaye was clearly college bound. She had her own dreams and ambitions, and pursued them – an ideal mate for me. She was the most attractive woman I knew, both inside and out, both to me and others. Yes, THAT sister who is not invulnerable, but has it all together. If she didn’t do, then dammit I was gay!
Fortunately, my girl was smart. And by smart, I mean that she was intelligent, real smart as in NOT clueless at all. We agreed to a kiss on the cheek, and she’d sign the last line on my glossy form. And by ‘agreed to’, I mean that this is what Kaye put on the table as her firm and final offer. She also had the good sense to let me turn her ring, too, but she reserved the 100th signature for someone special. I respected that. This clarified our plutonic status – no Facebook updates needed: I’m gay.
“Gotta find out what I meant to you…You were sweet as cheery pie/ Wild as Friday night”
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Black History Month: A Final Thought
As we come to the end of Black History Month it is important to shine a light on the Black Lives Matters Movement and highlight the historical significance to the problematic discourse of racialisation.
Black history month is an opportunity for people from the various pockets of the Black community to learn about our own history and educate those who are not from the Black community, in order to decolonise our institutions and our society. As Black people we have our own history formed by systemic oppressions and great triumphs. While it is easy (and lazy) for institutions to use terms such as BAME and People of Colour (POC) these problematic uses of language oppress blackness. We are not a monolith of coloured people. Different racialised groups have and will experience, and uphold difference, harms and achievements within society. Furthermore, it would be naïve to ignore the narrative of anti-blackness that people from racialised groups uphold. Therefore, it is important for us and people that look like us, to continue to have the space to talk about our history and our experiences.
For many people in the UK and indeed around the world BLM became a mainstream topic for discussion and debate following the murder of George Floyd. While the term BLACK LIVES MATTER is provocative and creates a need for debate, it signifies the historical ideology that black lives haven’t mattered in historical and in many ways, contemporary terms.
While it is easy to fall into the trap of describing the Black experience as an experience of victimhood, Black history months allows us to look deep at all our history and understand why and where we are as a society.
The UK is one of the most diverse places in the world, yet we continue to fall prey to the Eurocentric ideology of history. And while it is important to always remember our history, the negativity of only understanding black history from the perspective of enslavement needs to be questioned. Furthermore, the history of enslavement is not just about the history of Black people, we need to acknowledge that this was the history of the most affluent within our society. Of course, to glaze over the triangle trade is problematic as it allows us to understand how and why our institutions are problematic, but it is redundant to only look at Black history from a place of oppression. There are many great Black historical figures that have contributed to the rich history of Britain, we should be introducing our youth to John Edmonstone, Stuart Hall, Mary Prince and Olive Morris (to name a few). We should also be celebrating prominent Black figures that still grace this earth to encourage the youth of today to embrace positive Black role models.
Black history for us, is not just about the 1st-31st of October. We are all here because of history we need to start integrating all our history into our institutions, to empower, educate and to essentially make sense of our society.
Thoughts from the criminology team 