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The dance of the vampires
We value youth. There is greater currency in youth, far greater than wisdom, despite most people when they are looking back wishing they had more wisdom in life. Modernity brought us the era of the picture and since then we have become captivated with images. Pictures, first black and white, then replaced by moving images, and further replaced by colour became an antidote to a verbose society that now didn’t need to talk about it…it simply became a case of look and don’t talk!
The image became even more important when people turned the cameras on themselves. The selfie, originally a self-portrait of reclusive artists evolved into a statement, a visual signature for millions of people using it every day on social media. Enter youth! The engagement with social media is regarded the gift of computer scientists to the youth of today. I wonder how many people know that one of the first images sent as a jpeg was that of a Swedish Playboy playmate the ‘lady with the feathers’. This “captivating” image was the start of the virtual exchange of pictures that led to billions of downloads every day and social media storing an ever-expanding array of images.
The selfie, brought with it a series of challenges. How many times can you take a picture, even of the most beautiful person, before you become accustomed to it. Before you say, well yes that is nice, but I have seen it before. To resolve the continuous exposure the introduction of filters, backgrounds and themes seems to add a sense of variety. The selfie stick (banned from many museums the world over) became the equipment, along with the tripod, the lamp and the must have camera, with the better lens in the pursue of the better selfie. Vanity never had so many accessories!
The stick is an interesting tool. It tells the individual nature of the selfie. The voyage that youthful representation takes across social media is not easy, it is quite a solitary one. In the representation of the image, youth seem to prefer. The top “influencers” are young, who mostly like to pose and sometimes even offer some advice to their followers. Their followers, their contemporaries or even older individuals consume their images like their ‘daily (visual) bread’. This seems to be a continuous routine, where the influencer produces images, and the followers watch them and comment. What, if anything, is peculiar about that? Nothing! We live in a society build on consumption and the industry of youth is growing. So, this is a perfect marriage of supply and demand. Period!
Or is it? In the last 30 years in the UK alone the law on protecting children and their naivety from exploitation has been centre stage of several successive governments. Even when discussing civil partnerships for same sex couples, Baroness Young, argued against the proposed act, citing the protection of children. Youth became a precious age that needed protection and nurturing. The law created a layer of support for children, particularly those regarded vulnerable. and social services were drafted in to keep them safe and away from harm. In instances when the system failed, there has been public outrage only to reinforce the original notion that children and young people are to be protected in our society.
That is exactly the issue here! In the Criminology of the selfie! Governments introducing policies to generate a social insulation of moral righteousness that is predicated on individual – mostly parental – responsibility. The years of protective services and we do not seem to move passed them. In fact, their need is greater than ever. Are we creating bad parents through bad parenting or are people confronted with social forces that they cannot cope with? The reality is that youth is more exposed than ever before. The images produced, unlike the black and white photos of the past, will never fade away. Those who regret the image they posted, can delete it from their account, but the image is not gone. It shall hover over them for the eternity of the internet. There is little to console and even less to help. During the lockdown, I read the story of the social carer who left their job and opened an OnlyFans account. These are private images provided to those who are willing to pay. The reason this experience became a story, was the claim that the carer earned in one month of OnlyFans, more than their previous annual income. I saw the story being shared by many young people, tagging each other as if saying, look at this. The image that captures their youth that can become a trap to contain them in a circle of youth. Because in life, before the certainty of death there is another one, that of aging and in a society that values youth so much, can anyone be ready to age?
As for the declared care for the young, would a society that cares have been closing the doors to HE, to quality apprenticeships, a living wage and a place to live? The same society that stirs emotions about protection, wants young people to stay young so that they cannot ask for their share in their future. The social outrage about paedophiles is countered with high exposure to a particular genre in the movies and literature that promotes it. The vampire that has been fashioned as young adult literature is the proverbial story of an (considerably) older man who deflowers a young innocent girl until she becomes infatuated with him. The movies can be visually stunning because it involves the images of young beautiful people but there is hardly any mention of consent or care!
It is one of the greatest ironies to revive the vampire image in youth culture. A cultural representation of a male prototype that is manipulative, intruding into the lives of seemingly innocent young people who become his prey. There is something incredibly unsettling to explore the semiology of an immortal that is made through a blood ritual. A reverse Peter Pan who consumes the youth of his victims. The popularity of this Victorian literary character, originally conceived in the era of industrial advancement,at a time when modernity challenged tradition, resurfaces with other monsters at times of great uncertainty. The era of the picture has not made everyday life easier, and modernity did not improve quality of life to the degree it proclaimed. Instead, whilst people are becoming captivated by ephemera they are focused on the appearance and missing substance. An old experience man, dark, mysterious with white skin may be an appealing character in literature but in real life a someone who feeds on young people’s blood is hardly an exciting proposition.
The blood sacrifice demanded by a vampire is a metaphor of what our society requires for those who wish to retain youth and save their image into the ether of the cyberworld as a permanent Portrait of Dorian Gray. In this context, the vampire is not only a man in power, using his privilege to dominate, but a social representation of what a consumer society places as the highest value. It is life’s greatest irony that the devouring power of a vampire is becoming a representation of how little value we place on both youth and life! A society focused on appearance, ignoring the substance. Youth looking but not youth caring!
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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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A Generation w/o real dialogue & ATT!
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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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Lines of soldiers snaked around the airport departure area…
In the middle of the so-called Iraq war, I remember encountering a group of soldiers headed to the battlefield from the Atlanta airport. I was heading back to my cushy, comfy apartment in New Delhi, to continue my doctoral fieldwork. I had visited my family in Alabama and Georgia for as long as I wanted, and so was comfortably heading back to my normal life. Lines of soldiers in uniform snaked all around the airport.
They were everywhere. From check-in, through security, to the lounges, especially where they pacify our waiting times with crowds of sofas. No matter where we went, no matter what we did – waiting, wandering, shaving or brushing our teeth in the bathroom, loitering, or just tax-free window shopping – we were surrounded by America’s finest, cleanest, most highly trained youth. What’s more, one easily noticed that they were far more black and brown people amongst the soldiers than the civilians hovering around. More still, it was clear from the news that these soldiers were only there – armed and ready – because ‘we’ were sending them directly to the battlefield. The same shield on their uniforms was the very same shield on the passport I was using to effortlessly cross all these borders; supposedly they were defending me, too.
“Baby come back! Any kind of fool can see…” -Player, 1977.
I love landing in the Atlanta airport when coming home from abroad. Atlanta is a chocolate city, and one sees that right from the opening of the airplane doors. There are all sorts of regular Black people doing every sort of job, and so I get the Black-head-nod at least twenty times before I reach my luggage. I’m always feeling myself in the ATL.
Of course, like any day at any airport around the world, there are tons of screens floating from the ceilings, muted with subtitles, positioned conveniently around the masses of sofas meant to pacify the masses of passengers’ long waits. The screens show every news channel, and every news channel steadily feeds us a minute-by-minute update of the war. So of course, as a passenger headed east from America to India, I would inevitably have a layover either in Europe or the Middle East, again comfortably cruising past the battlefield.
Only a few years earlier, I had visited my cousins in Germany who were military medics receiving soldiers from the battlefield, making their way home. I knew that everywhere I was going, every nation over which we flew, was entangled in the battle these young people standing before me were about to face.
“Kein Blut für Öl” (no blood for oil!)
In true Southern charm, I had to say something. You just don’t spend that much time physically near other people and not acknowledge their presence. It’s rude to ignore people, which I only point out because I realize this is not the case everywhere, even in our own country. Acknowledging strangers may therefore seem strange to you, dear reader. Besides, how rude would it be to avert one’s eyes from this reality. Bon voyage!
There were soldiers in long lines snaking around the whole airport. So, by the time you’ve reached your gate, you’ve had a long time to ponder the youths’ circumstances, one by one. Waiting there, they see you. You see them, too, and you want them to know that they are seen, not averted or ignored simply because this was all very uncomfortable.
What could I say to any of them, that would not reveal my heartbreak, which is certainly something these people did not need to see. Nor did I need to share my complete dissent from the dominant WMD narrative being spun by the very government sending them into battle. As many marches and protests as I had taken part of in the buildup to this war, I may have even had an anti-war sticker plastered across my backpack. It’s a shame, and THAT war is filled with war crimes.
So: “Y’all take care,” and, “Y’all come back,” were all I could mutter behind my grin-n-tears, what Fela called suff’rin’ and smilin’. War is not the answer.
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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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The crime of war
a depiction of Troy
Recently after yet another military campaign coming to an end, social media lit all over with opinions about what should and should not have been done as military and civilians are moving out. Who was at fault, and where lies the responsibility with. There are those who see the problem as a matter of logistics something here and now and those who explore the history of conflict and try to explain it. Either side however does not note perhaps the most significant issue; that the continuation of wars and the maintenance of conflict around the world is not a failure of politics, but an international crime that is largely neglected. For context, lets explore this conflict’s origin; 20 years ago one of the wealthiest countries on the planet declared war to one of the poorest; the military operations carried the code name “Enduring Freedom”! perhaps irony is lost on those in positions of power. The war was declared as part of a wider foreign policy by the wealthy country (and its allies) on what was called the “war on terror”. It ostensibly aimed to curtail, and eventually defeat, extremist groups around the world from using violence and oppressing people. Yes, that is right, they used war in order to stop others from using violence.
In criminology, when we talk about violence we have a number of different ways of exploring it; institutional vs interpersonal or from instrumental to reactive. In all situations we anticipate that violence facilitates more violence, and in that way, those experiencing it become trapped in a loop, that when repeated becomes an inescapable reality. War is the king of violence. It uses both proactive and emotional responses that keep combatants locked in a continuous struggle until one of them surrenders. The victory attached to war and the incumbent heroism that it breeds make the violence more destructive. After all through a millennia of warfare humans have perfected the art of war. Who would have thought that Sun Tzu’s principles on using chariots and secret agents would be replaced with stealth bombers and satellites? Clearly war has evolved but not its destructive nature. The aftermath of a war carries numerous challenges. The most significant is the recognition that in all disputes violence has the last word. As we have seen from endless conflicts around the world the transition from war to peace is not as simple as the signing of a treaty. People take longer to adjust, and they carry the effects of war with them even in peace time.
In a war the causes and the motives of a war are different and anyone who studied history at school can attest to these differences. It is a useful tool in the study of war because it breaks down what has been claimed, what was expected, and what was the real reason people engaged in bloody conflict. The violence of war is different kind of violence one that takes individual disputes out and turns people into tribes. When a country prepares for war the patriotic rhetoric is promoted, the army becomes heroic and their engagement with the war an act of duty. This will keep the soldiers engaged and willing to use their weapons even on people that they do not know or have any personal disputes with. Among wealthy countries that can declare wars thousands of miles away this patriotic fervour becomes even more significant because you have to justify to your troops why they have to go so far away to fight. In the service of the war effort, language becomes an accomplice. For example they refrain from using words like murder (which is the unlawful killing of a person) to casualties; instead of talking about people it is replaced with combatants and non-combatants, excessive violence (or even torture) is renamed as an escalation of the situation. Maybe the worst of all is the way the aftermath of the war is reflected. In the US after the war in Vietnam there was a general opposition to war. Even some of the media claimed “never again” but 10 year after its end Hollywood was making movies glorifying the war and retelling a different rendition of events.
Of course the obvious criminological question to be asked is “why is war still permitted to happen”? The end of the second world war saw the formation of the United Nations and principles on Human Rights that should block any attempt for individual countries to go to war. This however has not happened. There are several reasons for that; the industry of war. Almost all developed countries in the world have a military industry that produces weapons. As an industry it is one of the highest grossing; Selling and buying arms is definitely big business. The UK for example spends more for its defence than it spends for the environment or for education. War is binary there is a victor and the defeated. If a politician banks their political fortunes on being victorious, engaging with wars will ensure their name to be carved in statues around cities and towns. During the war people do not question the social issues; during the first world war for example the suffragettes movement went on a pause and even (partly) threw itself behind the war effort.
What about the people who fight or live under war? There lies the biggest crime of all. The victimisation of thousands or even millions of people. The civilian population becomes accustomed to one of the most extreme forms of violence. I remember my grandmother’s tales from the Nazi occupation; seeing dead people floating in the nearby river on her way to collect coal in the morning. The absorption of this kind of violence can increase people’s tolerance for other forms of violence. In fact, in some parts of the world where young people were born and raised in war find it difficult to accept any peaceful resolution. Simply put they have not got the skills for peace. For societies inflicted with war, violence becomes currency and an instrument ready to be used. Seeing drawings of refugee children about their home, family and travel, it is very clear the imprint war leaves behind. A torched house in a child’s painting is what is etched in their mind, a trauma that will be with them for ever. Unfortunately no child’s painting will become a marble statue or receive the honours, the politicians and field marshals will. In 9/11 we witnessed people jumping from buildings because a place crashed into them; in the airport in Kabul we saw people falling from the planes because they were afraid to stay in the country. Seems this crime has come full circle.
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Gypsy, Roma, Traveller History Month: #MakeSomeSpace
When I reflect upon my childhood, I recall the fondness that I have towards the Romany culture. I am reminded of the wonderful bond that my family had with horses, of good people, of the older generations of my family telling stories and singing Romany songs around tables at parties, of a strong sense of tight-knit togetherness and resilience when times got tough. I remember being educated about life from a young age and being taught the skills needed to be able to earn a living when it became difficult to do so. I am also reminded of the generosity involved in giving all that you can to your family and friends despite not having much. I especially think of this generosity in relation to the Irish Travellers that welcomed my brothers into their homes and provided for them when they were in times of need.
My instant thoughts about Gypsy, Romany Travellers (GRT) is that of fondness, but living in our society I have learnt that this is not the typical thoughts of the dominant public, media or government. When considering dominant media, public and government attitudes towards travellers, I am reminded of the GRTs that live in a society where people are prejudice because of long-standing stereotypes that have been created about their culture. I am also reminded of the lack of understanding and/or empathy that others have about the disproportionate amounts of social harm that those within the GRT families will encounter.
Since the recent Black Lives Matter protests there has been an explosion of anti-racist efforts, which I am hopeful of, yet, even some of those who are passionately ‘anti-racist’ continue to either project prejudice towards GRT people or deny that prejudice towards GRT is a problem. Adding to this, anti-racist messages communicated via the media do not seem to apply to GRT. A recent example of this is Dispatches: The Truth About Traveller Crime which is like a thorn in my side. This documentary discusses GRT as though they are a group of ‘dangerous criminals’. With an ‘expert’ criminologist present within the documentary it becomes difficult for the public to understand the stereotypes and lack of understanding that the documentary includes.
This year I have been able to incorporate GRT into the modules that I teach. I am pleased that some students have been able to navigate themselves to information about GRT from organisations like Traveller Movement and Friends Families and Travellers as these provide me with some hope in terms of GRT awareness and inclusion. However, it seems that these organisations will continue to have many pressing concerns to deal with, especially as the recent government proposals included within the Police, Crime, Sentencing and Courts Bill seem to be nothing more than another attack on the more traditional way GRT of life.
There is a worry for some GRT that upon moving into housing these cultures will decline. In terms of my own family my Nan was my idol, she was born in the 1920s in a traditional horse drawn wagon. Since moving into housing my Nan remained proud of her Romany heritage and she instilled this within my Dad’s upbringing. I only ever practiced aspects of the Romany culture in a marginal sense, and the decline of this part of my own heritage is connected to the social harm that my own family have experienced.
With GRT month I hope that more people question the prejudices that they have about others, I hope that people also question the media, government and supposed ‘experts’. You could begin by attempting to put yourself in the shoes of others, try to imagine how you would feel if society collectively judged yourself or your family despite knowing little to nothing about who you/they are. After all, this kind of overt prejudice that GRT encounter would not be acceptable in many situations if this was aimed at other groups, so why should it be acceptable when aimed at GRT?
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I Wish We Had Twitter Back in the Day. #BlackenAsiaWithLove
I wish we had Twitter back in the day. When I was a kid, I would sometimes spend playtime alone in my room, singing to the radio. Between the pop station and WLOU – the Black station which cut off around five or six in the evening – I could’ve tweeted the mix-tapes I made. I’d take momma or my grandparents’ radio alarm-clock, and put it face-to-face with my tape recorder to record songs from the radio. I even got pretty good at cutting the recording off before the radio DJ started talking over the end of the song. That’s why the Black station was better for recording because they always played the adlibbed outro/coda, the sweetest part of the song where the story and storyteller reached a resolution. The songs were always resolved, despite the dilemma at the start, especially love songs – either falling in or out of love. I had to play the record to listen to the full song.
Even though no singer sang about the love I knew I had inside of me, I could identify with others feelings – human feelings. My aunt Shirley still laments about the times we’d be riding in her car, listening to the radio, and “your song would come on.” She says I loved Dionne Warwick’s I’ll Never Love This Way Again, such adult themes, too, she adds. Or: “Reunited… and it feels so good.” Shirley says I sang as if this were my love affair. “And you was still small’nough to stand up in the back seat of the car.” Billboard ranks that Peaches and Herb’s jam as fifth out of the hundred hottest songs of ’79 – amid all the Disco greats I loved. I must have been four. Shirley often tells me about my precocious empathy as a child. I kept a diary from an early age, but by the time I was a teen, I was ready to share with the world the things I knew needed to change.
I’d tweet about all the singers and songs that meant so much to me – how their lyrics and artistry changed me. I’d make videos of me practicing combinations we’d learned in dance class, or choreographing my own music videos. “Video killed the radio star,” had no good dance moves yet was the very first video to play on MTV when the channel debuted in ’81. That that format quickly came to dominate how music was consumed and promoted. Otherwise, I was just alone in my artistic world, thinking I was the only boy who danced like a girl.
At home, it wasn’t ever taboo to talk about Jim Crow. Prince and Michael Jackson had to dress a bit femme to disarm the wider/whiter masses; as did Jackie Wilson back in the day. I could see Motown was a white-washed version of the hymns my grandaddy sang from his book at home. This is what these artists did to crossover to the pop ‘genre’ and earn consequent pop radio circulation, pop sales, pop accolades and pop cash! Even now, Beyonce still gets over-nominated only in the Black categories. People tweet about that sort of stuff now, but I didn’t even have those words at that age; still I sensed something was off about cultural appropriation and its economic consequences for all involved. I also knew that I was doing was taboo. Back in the day, I’d suppress any femme in me in order to crossover. I’d have tweeted about that.
Tweeting ole dirty work.
I wish we had Twitter back in the day. Imagine Nat Turner proselytizing and organizing through Black Twitter. They’d still have had to use coded language, just like they used Negro Spirituals to encode messages of freedom: ‘Follow the drinking gourde’ would probably still fool folks now, just as much as today a murderous police officer’s defense attorney can claim that bodycam shows George Floyd saying, “I ate too many drugs,” when he actually said “I ain’t do no drugs.” Who eats drugs? Not in any Black English I know, and thanks to Black twitter, there’s an ivy-league sociolinguist who’s published a research paper on this very matter while we watch the overseer’s trial like we used to watch Video Soul. Ole uncle Nat would’ve gotten pretty far on his rebellion had he had Twitter back in the day. Tweet tweet, MF! We’ve got Twitter today, so: “Let’s get in-formation.”
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Another Lone Gunman #BlackenAsiaWithLove #SpOkenWoRd
A lone gunman killed numerous people at a public place in America.
Another lone gunman shot up a school, another a nightclub, and
Another killed a kid walking down the street.
A few years ago,
Another lone gunman shot up a movie premier, dressed as one of the film’s villains.
Another – armed with a badge-
Took a woman’s life after a routine traffic stop.
Plenty of his comrades routinely did the same.
Another lone gunman in blue, killed a kid playing in the park, and
Another shot a man who was reaching for his wallet as he’d demanded.
Another shot a man with his kid in the backseat, while his girlfriend live-streamed it, and
Another took 8 minutes and 46 seconds to kill again.
Another watched while it happened, while
Another kept the crowd at bay.
Another. And another, and
Last week, in another American city, another lone gunman murdered more.
The lone gunman in blue responsible for safely apprehending this latest lone gunman said: This poor lone gunman just had “a bad day.”
We bide our time till next week’s breaking news.
Thoughts from the criminology team 