The 4 Pages | 16 Bars: A Visual Mixtape anthology series is a celebration of where true diversity exists in this industry. Curated by Griot Enterprises publisher Jiba Molei Anderson (The Horsemen), this anthology celebrates the work of BIPOC creators from mainstream to independent, webcomics to print media and everything in-between.
“In February 2014, I was invited to take part in a roundtable discussion on a podcast,” Anderson begins. “During that time, an almost annual discussion began on social media where many fans were clamoring for some sort of unified front. ‘Why don’t we have a new Milestone‘ or ‘We need some sort of magazine to let people know about us‘ were some of the most common statements. “
“We brought that topic up in the roundtable. We discussed the logistics and perceived difficulties of putting something like that together. I was the one who said that all one needed was the connections to the various creators in the game, the wherewithal to bring all these diverse personalities together, the technical and marketing acumen to create the product and a certain lack of ego to play a bit of a back seat in order to push the movement forward.
And, since I opened my big mouth, I knew that I had to be the one to make this thing happen…”
Contributors for the previous five volumes included Quinn McGowan (Wildfire), Micheline Hess (Diary Of A Mad Black Werewolf), Roosevelt Pitt (Purge), John Jennings (Kindred), Chuck “Dragonblack” Collins (Bounce), Tim Fielder (Matty’s Rocket, Infinitum), Anthony Piper (Trill League), Roye Okupe (EXO: The Legend of Wale Williams), Nigel Flood (The Globalists), David Walker (Power Man and Iron Fist, Naomi), Robert Love (Bayou, Fierce), Sanford Greene (Bitter Root), Ray Anthony-Height (Midnight Tiger), Sha-Nee Williams, Khary Randolph (Excellence), Greg Anderson Elysée (Is’nana The Were-Spider), Ed Williams (Mayke), Robert Jeffery (Mine To Avenge), Dorphise Jean (Spirit’s Destiny) and Uko Smith.
“4 Pages | 16 Bars: A Visual Mixtape is more than an anthology series of great comics,” Anderson continues. “Each 126- page volume is a portable gallery of some of the finest creators of color, past present and future. It’s an academic document recording the evolution of diversity in the medium. It’s living history!”
Volume 06 – The Feel will include creators the likes of George Gant (Beware of Toddler), Jamal Yasseem Igle (Supergirl, Black, The Wrong Earth), Moana McAdams (The Adventures of Nakoa and Nohea), Albert Morales (Samurai Señorita) and Amber Denise Peoples.
“Comics are Hip Hop,” Anderson states. “The work in 4 Pages | 16 Bars: A Visual Mixtape is diverse, dangerous, political and inspiring. Like Hip Hop, Comics have the ‘mainstream’ and the ‘underground.’ Like Hip Hop, the underground or ‘independent’ scene of Comics is where true innovation and experimentation exists, where you’ll find cats grinding out with passion, creating their own labels and selling their wares out of the trunks of their digital cars searching for that special fan to purchase what they have to offer. “
This Kickstarter for 4 Pages | 16 Bars: A Visual Mixtape Volume 06 – The Feel begins February 15. Click here for more information.
Yeah, it’s a grind for real. I’ll say this: writing a business plan before starting to draw page one has allowed me to navigate the game thus far. But yes, I am ready to advance to the next stage…
Now, let me address (once again) the feasibility of the oft-mused about “Black comic book company.”
I’ve seen some people try to take on the task of creating a huge comic book universe with dreams of a bunch of artists and writers coming on board to make this vision come true. Most times, it’s one person who wants to be the architect of this vision with the idea that they would become the next “Stan Lee,” the epicenter of this grand creative enterprise…
And, such thoughts lead, unfortunately, to nowhere or worse (feelings of betrayal, bitterness, clique-forming, etc.). Why? I’ll tell you…
Today, creators want to tell their own stories, build their own universes, and they can. Nothing is holding them back not even economics if they have the skill set to make their IP come to life (or create fundraisers on platforms like Kickstarter to raise capitol).
Making the comic is the easy part, the “fun” part. Handling the marketing and business of promoting the comic is where the real work lies. Building a fandom is a beast. That takes marketing, consistently putting out a quality product (not monthly, necessarily, but consistently), having a web presence (not just Instagram or Facebook but an actual website), going to conventions, pressing the flesh… The game ain’t for the faint of heart nor part-time players.
The good thing about Diamond when I got in the game was that they demanded seeing three issues before soliciting the first one. So, one had to have a complete arc from jump.
A lot of neophyte creators don’t plan for the long haul. Too many focus on that one issue hoping it will hit before doing a second one. I think some people need to focus on creating a solid story (beginning, middle, and end) as opposed to creating universes from jump. Universes come with time and consistent output. But first, you need to get a story out there to build the universe on.
Let me also say this on the creative end: don’t wait for your universe to be built before launching your title.
With The Horsemen, I did have the makings of a comic universe based on a couple of concepts that were percolating when I was an undergrad at U of Michigan back in the day. this existed before I even thought of The Horsemen themselves. Those concepts didn’t begin coming to fruition until my graduate studies at the School of the Art Institute of Chicago where my thesis project birthed both The Horsemen and the 4 Pages 16 Bars project.
When I decided to enter the game, I knew that waiting until I had everything fleshed out creatively or skill-wise could mean that I’d be waiting forever. In other words, I knew that I would get in the way of my work seeing the light of day. Getting the book out was the most important thing.
I stopped looking at comics from a fan perspective and started to really look at them as an art form and as a product. I knew I had the skill set to make it look and read comparable to the industry standard package and design-wise. I also knew that the more I did it, the better and more sophisticated the work would become. It had to be good, but it didn’t have to be perfect. The point was to get the property out to the world, to “plant my flag” and to keep coming with new product.
On the creative side, I allowed the universe to grow naturally bringing those concepts into the story as the story progressed. I also kept myself open to new ideas as they popped up. By the time I published Mythos: The Official Handbook of the Horsemen Universe and Lumumba Funk, I realized that I had my universe with the characters, worlds and rules intact. I also found out that I established at least two spin-off properties from that world if I so choose to do that. It took 20 years, but in that 20 years, I put out The Horsemen so that readers could take the journey with me.
The reason why I created the 4 Pages 16 Bars: A Visual Mixtape series is for people to sample different works from creators of color and guide them to said creators’ websites and such to purchase those books. Somewhat of the same concept as a company without the hassle of needless “continuity” between disparate creators and their own publishing/transmedia goals.
When it comes to bringing different properties under one banner, a business model similar to the Image Comics of 2019 is more feasible than a shared universe. Reason being, as stated above, building a cohesive comic book universe takes time. For example, DC’s multiverse exists because of acquisition (i.e. absorbing the properties of other comic book companies like Charlton, Fawcett,Wildstorm, etc.) whereas Marvel’s was more cohesive with a singular writing architect (initially Stan Lee) with equally creative artistic input from visual storytellers like Jack Kirby, Steve Ditko, etc. Even then, that took years to build.
Initially, all that creating the Image Comics’ model would take is a number of books carrying the same brand logo similar to the Image “I.” In addition to carrying that brand on the selected properties, said books would cross promote each other’s properties via social media, free ad swaps in their books, pooling resources to get small press tables at conventions, much like Hip Hop crews like the Native Tongues (The Jungle Brothers, De La Soul, A Tribe Called Quest, Queen Latifah, Monie Love, Black Sheep, etc.), the Soulquarians (D’Angelo, Erykah Badu, Common, J Dilla, The Roots, etc.), the Wu-Tang Clan and others whose similar sensibilities added to the success of the individual groups or artists.
I have a plan for that and a symbol…
And yet, you still find people complaining about the lack of representation in comics.
The real issue is that, simply, some people call themselves comic book fans when really, all they only read is either DC or Marvel comics instead of really looking for what’s out there. Even when they say they read comics from other publishers, it’s either early Image (Spawn, Youngblood, etc.) or Milestone, which hasn’t published a book since 2010.
And, the whole excuse of “we can’t find them” is complete and utter bullshit as we creators are promoting our works every single day on social media. Point blank period, the DC/Marvel acolytes ain’t checking for them because of the fact that those books aren’t from DC or Marvel.
The point is this: if you just read DC or Marvel comics, that’s fine. We all read DC or Marvel. They’re the “fast food” of comic book companies especially today.
But, if you complain about a lack of Black characters or Black creators, and only look at DC or Marvel as salvation as opposed to at least exploring offerings from independent creators, that’s a problem.
The whole “dreaming and wishing” phase has long past with so many creators and properties getting shine and making waves. Unfortunately, it seems that its only Black fans, the loudest complainers honestly, who refuse to be up on the game…
I think that’s partly because those cats don’t need to “invest” in DC/Marvel properties like they do the indies.
They can talk about what DC/Marvel does all the live long day subconsciously knowing that the “Corporate Two” ain’t really listening to them. Also, they don’t necessarily have to buy “Corporate Two” books because of close to 100 years of market saturation.
With indies like us, first they have to buy our books. There’s no workaround from that. Second, they know whatever they say will get a quick response, which isn’t necessarily a good thing (seriously, some cats need to get out of their feelings).
Also, there’s a fear factor involved in the sense that those who yap and create aren’t ready to hear critiques of their work (for real, get out of your feelings).
Finally, the “Corporate Two” stans want to feel like they are a part of the “mainstream” comic book community. That’s why they bitch so much about a Blue Marvel or John Stewart flick because they feel “if ‘mainstream’ fans (read: you know what I mean) watch it then I am, tangentially, of value.”
Yeah, I said it. I said that shit.
I’ve heard this same argument or plea or solution for the past five years. And, even though I personally made inroads to solve this problem, the fact is that if cats want the Black heroes, they think DC or Marvel should be making, they need to look outside of DC or Marvel to find them.
I see way too many people wish for the “Corporate Two” to make the type of Black characters or books that some #BlackComix creators have already made. I see too many fans wish for some sort of mainstream “approval” when there is more than enough material we created to build and support our own fandom.
Just like Jazz, Hip Hop, and Rock & Roll, we as Black folk have the opportunity to be ahead of the curve by supporting great indie Black Comix which would lead to more books which would lead to the “mainstream” wanting that content.
But until that day comes, I’ma keep making comics and celebrate other great books from Black creators like Crescent City Monsters, Excellence, Is’nana the Were-Spider, the upcoming Bass Reeves and more because they deserve more of my support and energy than a book from the “Corporate Two.”
A blueprint has been laid out. Question is: will someone follow it?
It’s always asked. It never fails. It’s asked so frequently; you can set your watch to it.
In the immortal words of Cherelle, “Let’s sing it together…”
IS THERE A BLACK COMIC BOOK INDUSTRY?
And, here is the short answer:
Yes, there is.
How so, you may ask?
Well, let me school ya…
While this question is still being asked, many indie Black Comix creators were at NYCC supporting and big-upping each other. And, their tables were busy all weekend because people were buying their product left, right and center. On the same weekend, another group of Black Comix creators were in Algiers the same weekend sharing their talent with kids on the African continent.
From companies like Evoluzione Publishing to Webway Comics to Griot Enterprises to Stranger Comics, YouNeek Studios and others, to the larger independent companies like Image Comics publishing books like Bitter Root and Excellence, to the network of conventions that cater to fans of color like Onyxcon, MECCA Con, ECBAAC, Blerd Con, BCAF and so many more, to crowdfunding platforms like Kickstarter, to printers like 133Art, distribution systems like Peep Game Comix and stores like Amalgam Comics and Coffeehouse, First Aid Comics and Third Coast Comics, you damn right Black Comix exists not only as an industry, but a movement as well.
Hell, why do you think I created an anthology like 4 Pages 16 Bars: A Visual Mixtape?
We’ve got creators, publishers, digital distributors, a convention system, printers and brick and mortar stores…
Sounds like an industry to me. And, it looks like the reach of this industry is international.
Problem is, cats who continue to ask this question are too busy chasing the business model of the “Corporate Two” or work in a vacuum so tight that they don’t realize what’s happening around them. Flat out, these cats don’t even really interact with, or stay aware of, other creators and what they are making in a similar space…
In other words, they are either too arrogant or too scared to be a part of the community.
The arrogance comes because they want to be at the top of the totem pole when it comes to what they think Black Comix are. They are looking for that ephemeral superstar status Wizard Magazine put into some of their heads with their Top 10 Artist and Writer lists (which were totally and arbitrarily manufactured). The fear comes into play as they know, deep down, that their product isn’t as up to snuff as someone else’s.
Yeah, I know I’m gonna catch mad flack for that last statement. It doesn’t mean that it isn’t any less true.
Now, there are many Black creators who are not asking this question. They are the ones getting recognition and finding success because their books meet the standards of the market. Why? Let me say this so the people in the back can hear:
COMIC BOOKS ARE AN EXERCISE IN GRAPHIC DESIGN
Everything needs to work in harmony (art, story, coloring, lettering, layout design and editing) in order to be considered a viable product by buying standards. Books like Bitter Root, Niobe: She Is Death, Is’nana: The Were-Spider, Crescent City Monsters and others have audiences of diverse backgrounds gobbling up their books because they are good stories that are well-designed with great content from Black creators. If one’s book is lacking in any of these areas, that book is going to have problems.
This leads into point two of this particular rant:
COLOR IS NOT CONTENT
The aforementioned books also work because it doesn’t matter if the characters are Black…
Their creators are.
Furthermore, they’re not trying to create a “Black version” of comics they’ve read before. They’re telling unique stories in different genres (because comics are more than superheroes) using their culture to enhance their stories and give unique points of view.
Here’s another point that you may or may not be aware of:
THE GAME DONE CHANGED AND BLACK WOMEN ARE AT THE FOREFRONT OF THIS CHANGE
I am not disrespecting the brothers who have paved the way at all. In fact, the brothers who haven’t been asking the question know exactly what I’m talking about.
In my opinion, C. Spike Trotman and Iron Circus Comics is the new publishing model one would want to follow. This woman has fundamentally changed the game building a successful publishing company with her savvy use of crowdfunding, marketing and content while cats are looking elsewhere for answers. She understands the market she’s built and has an extremely loyal fan/economic base.
In Detroit, Maia Crown Williams has created a cultural powerhouse with her MECCA Con which brings creators from all over the country to the Motor City, sets them up with book signings and makes sure that they sample the finest cuisine my hometown has to offer. In addition, she brings top-notch Black creators to Detroit as educational ambassadors who show young brothers and sisters the craft of bringing their visions to life.
Also, Sebastian Jones’ Stranger Comics and World of Asunda brand featuring Niobe has a huge female fan base in part due to Amandla Stenburg’s involvement in the creation of the character as well as Ashley Woods being a part of the creative team. By putting the creative team front and center (something the “Corporate Two” used to do), Stranger Comics built up that fan base, in part, because of marketing the creative team, the Black women who are a huge part of said team, gave added legitimacy to the brand.
And, of course, not enough can be said of Ariell Johnson and her success with Amalgam Bookstore and Coffeehouse.
Black women, straight-up, buy comics. Black women, straight-up, make comics. In addition to sci-fi author, creator of Dark Horse Comics’s LaGuardia and writer of Marvel’s Shuri series Nnedi Okarafor, we’ve got Ironheart writer Eve Ewing, artist Afua Richardson, writer and creator of the Women In Comics collective Regine Sawyer, illustrator Micheline Hess, indie writer Dorphese Jean, the badasses Ashley Woods, Alithea A. Martinez and so many more putting in that work on the daily and having a large fanbase that includes Black women.
This leads me to my final point:
CHANGE YOUR DEFINITION OF SUCCESS
People who want to get into comics nowadays don’t want floppies (though the 24-32-page pamphlet is still useful in getting people interested in your brand), they want books. They want graphic novels. These aren’t the people who go to the store every Wednesday for their X-Men or Justice League fix. They want books that represent them. They want to know that the creators of these books look like them, way more than the characters. They want the new and the creative. They want something different. They want a product that they don’t have to necessarily pick up every single month to follow the story. This is a new audience that people who keep asking the question are completely ignoring…
And, leaving money on the table.
Too many cats think way too small when it comes to their subject matter and its potential reach in other markets because they’ve locked into a model that, though successful for some, makes absolutely no sense for others. It amazes me how many cats don’t look at libraries or bookstores (online and mortar) as viable markets when those markets are killing it in terms of graphic novel sales.
it’s all about mindset. If you’re long-range goal is myopic, you’re not gonna find much traction. Straight-up, the model has changed. It’s been changed since, at the extreme least, 2010.
If you’re just going for a success model that only benefits the “Corporate Two” (i.e. built-in fan base from over 80 years of market saturation, Diamond as distribution, etc.) YOU ARE GOING TO FAIL. Simple as that.
The idea that Black Comix aren’t making an impact is bullshit. People who say that simply aren’t really checking out what’s happening in Black Comix. They’re too busy wishing for the “Corporate Two” to appease them while Milestone happened, while the whole con structure for Black Comics was built while Bitter Root and World of Asunda get picked up by Legendary and HBO respectively while Raising Dion and Cannon Busters appeared on Netflix.
But again, too many of aren’t aware of what’s happening in front of them. People really need to open their eyes to see what’s really going down. The machine has been created. More people just need to plug in by going to the cons, interacting with and being truly aware of what’s happening with other creators. That’s called being a part of the community…
And, maybe we’ll finally stop asking this question.
Speaking of community:
Dedication, Vol.05 of 4 Pages 16 Bars: A Visual Mixtape is available now in print ($24.95) and digital ($9.95) formats. Click here to grab the print copy, here for the digital.
Also, 4 Pages 16 Bars: A Visual Mixtape presents The Union is on sale in digital format ($3.99) with a print format coming at the end of October. What is The Union? The Union is an 8-bit video game that brings properties from independent Black Comix creators like Dorphise Jean, Robert Garrett(RIP), Quinn McGowan, William Satterwhite, Terance Baker, Tyrell White and Jiba Molei Anderson together for the first time to battle an enemy that threatens the very fabric of the multiverse we like to call The Blaxis. You can grab that bad boy here.
This is the community I’m talking about. This is Black Comix.
Yes, y’all. Though Stan Lee and Jack Kirby created the X-Men concept, they were not so forward-thinking as to make the book an allegory for Civil Rights, LGBTQ Rights, hell not even the right to wear white after Labor Day.
You need proof? The first mutant, if not character of color, in the X-Men universe was introduced to The X-Men in 1975. Her name is Ororo Munroe AKA the Wind-Rider AKA the Goddess AKA Storm. Though in the 80s you would see another Black woman, retired dancer Stevie Hunter as a supporting character (the dance teacher of Kitty Pride who the internet has completely forgotten), the young Brazilian mutant Sunspot in the New Mutants and the introduction of First Nations mutant inventor Forge, the mutant representation of color was, and still is, few and far between.
It was Chris Claremont, steward of the mutants from the late 70s to the early 90s who gave The X-Men the cultural gravitas that so many are drawn to. The X/King analogy began with the release of the 1982 graphic novel God Loves, Man Kills, which was illustrated by Brent Anderson who would go on to be the seminal artist of the classic Astro City.
And even Chris Claremont, the man whose work created the analogy says that the analogy is incorrect. Still don’t believe me? Check out this article from 2016:
The myth that Stan Lee modelled Professor X after Dr. King and Magneto after Malcolm X is as prevalent as the myth that Sophia Stewart, a Black woman, created The Matrix. Even though these two myths have been debunked… Repeatedly… There are still way too many of us who continue to drink the Kool-Aid and will swear upon death that these stories are true.
Of course, like the Stewart story, it doesn’t help that after seeing this story gain traction that Stan Lee fed into the lie as the consummate huckster he was. Lee’s greatest contribution to Marvel was his outstandingly shameless marketing skills. Here’s an example of him taking credit for the concepts Chris Claremont brought to The X-Men from an article dating back to 2000… When the first X-Men movie was released:
Now, Stan Lee didn’t say this in 1963. He didn’t say this in 1975 after Giant-Size X-Men #1 dropped reviving the title and giving it some much needed diversity. He didn’t say this in 1982 when God Loves, Man Kills was released. He didn’t say this in 1992 when The X-Men cartoon debuted on Fox Television…
You see where I’m going with this?
He was P Diddy before Sean Combs was even born. But many people will rather eschew history and fact for the fantasy of white men thinking about them as an economic demographic well before they actually did start thinking about Black dollars…
Which they’re still figuring out how to get even now after Milestone Media and the beloved Static Shock, after Blade, after Luke Cage, Black Lightning, Black Panther, etc.
At the end of the day, It’s not about representation. It’s about race swapping to get said representation. That type of representation is lazy at best. It gives the impression that we, as a marginalized group would take any scrap of attention the “other” gives us in order to see ourselves on screen…
And, unfortunately, there are still too many of us that will accept race swapping as progress.
Yes, this is an old argument or gripe depending on who’s reading this. But, it has to be reiterated that still too many Black consumers hunger for representation from the “Corporate Two,” complain when they don’t receive it to their satisfaction, rail against the lack of new, compelling characters of color from the “Corporate Two,” ignore those new “Corporate Two” characters that were created (RIP Mosaic and I hope you get some big love, Naomi) and dismiss those independent creators producing amazing content because they did not create said content for the “Corporate Two” to reap the financial benefits from their blood, sweat and tears.
Let me put it to you this way, spending money does not necessarily buy you respect.
IMO, my desire to be pandered to by the “Corporate Two” is nil, especially when this whole thread from jump is based on whatiffery combined with the false narrative of the original creator’s intent of the character.
As a consumer, I don’t have to depend on, nor desire for, this threadbare attempt to take my dollars because they changed the skin of an established character to match mine.
As a creator, I’m lucky to be able to create content that properly fills the need for representation I desire.
As a fan of comics (not just the “Corporate Two”), I see more than enough content from other creators of color that satisfies my need for representation… Especially when said creators are having their projects optioned (i.e. Bitter Root, World of Asunda, etc.).
Don’t get me wrong. I’m not here to rain on people’s parade (not really) nor am I here telling folks what they should buy (though there is some really great work people are missing out on because of their tunnel vision). I am here to dispel myths and half-truths. I am here to give credit where credit is due…
Because The X-Men you love was the result of the work Len Wein, Chris Claremont, Dave Cockrum, John Byrne, Paul Smith, Terry Austin, Glynis Oliver andTom Orzechowski put into the title from the 80s. Let’s keep it really 100.
So, while other cats get caught up in the wish fulfillment of “The Man” giving out scraps like we finally got a seat at the table, I’ma be over here celebrating the people who are out there making the work I really want to consume and continue being someone who creates the work that these cats claim they really want.
This is the last day of 2018 and the sixth day of Kwanzaa, Kuumba (creativity).
They say that diamonds are formed under immense pressure. Well, 2018 showed that Black creativity is brilliant, dazzling and gleaming. From Black Panther to Sorry To Bother You to A Wrinkle In Time to Dirty Computer to Into The Spider-Verse, the Afrofantastic has been on full display and crushing competition. The #BlackComix movement is thriving in its diversity of thought and content while Comicsgate was crushed under the weight of its misogynistic and racist vitriol.
Despite the continued assault on the African consciousness, 2018 was the year we came out in our full melanin creative glory. We’re gonna top it in 2019… #SurviveResistExcel#BlackArtMatters
Yeah, yeah, yeah. I know it’s been a minute since my last post. What can I say? I have been extremely busy. With working on TWO Horsemen projects, teaching and giving presentations among other things, it has left very little time to post on this blog.
One of the things I’ve been busy with is writing for role-playing games. Never thought that I would become a part of that industry as a writer, but here we are.
I’ve been contributing to Onyx Path / White Wolf Publishing’s World of Darkness franchise, which includes Vampire: The Masquerade and Wraith: The Oblivion (mad shout-out to Matt McElroy of Drive Thru Comics for recommending my work to the team). I had been tasked to create characters and design worlds for these games providing me with the opportunity to add something truly different to this venerable brand. I have had the rare pleasure of complete freedom in my voice and approach to these worlds. I have been truly unapologetically Black in my language and world-building with the complete support of the Onyx Path and White Wolf organizations.
Here is a character I created for Vampire: The Masquerade. When developing her, the spirit of my dear departed uncle Ronald Williams entered my body giving this character her voice and attitude. Visually, my cousin Q Uetta Nunnelly was the inspiration for this character’s look.
What can I say? My people have mad swagger.
If The Horsemen was created to honor my Liberian heritage, then these characters definitely pay homage to my African American clan, the Williams family.
But, enough jibber-jabber (a pun I never I thought I would use) from me. Ladies and gentlemen, the incomparable Francois Mamuwalde…
You wanna know my story? Well, I suppose. It’s not like I have anything to hide. Have a seat while Mother gets herself ready for this show. This is gonna take a minute.
So, my government name is Clarence Sherman Wilks. If you tell anybody that, I will find you and stake you with this eyebrow pencil. My daddy, Herbert Wilks, was from Autagua County, Alabama. He moved to Harlem in 1940 looking for work like they all did. Daddy did all kinds of things. He was a porter, drove a cab and also ran numbers on the side for Ms. Stephanie St. Clair. That’s right. My daddy was rollin’ with the Madam Queen of Policy!
He met his future wife, the beautiful, the stunning, the GORGEOUS Gwendolyn Price at the Savoy in 1942. All it took was one dance and that was it. They got married six months later and they went to work. Mama popped out the twins right off the bat. Constance and Joann were born in 1943, then my brothers Herbert in ’45, Alvin in ’47, and then my sister Juanita in ’49. After pushing out five kids in six years, they promised themselves that they would have no more kids. Problem was, Mama and Daddy enjoyed fuckin’ too much.
Ok. Do not act new. You wanted me to tell you MY story. So, don’t be actin’ all shocked by the way that I tell it. This is how I talk, honey, and I changing’ that for nobody. We are all grown up in here.
Anyway, I was born on September 17, 1951. I know I look damn good for my age, honey. When they say, “Black don’t crack,” I am living proof.
I was the baby of the family. I knew it and made sure everybody else in the family knew it, too. Mama always doted on me and I got away with everything. On top of that, I had a real slick mouth. Mama would always make my brothers take me when they went out. She knew that I would give the 411 without hesitation. I was a little snitch, honey. Oooh, it would make my brothers and sisters so mad!
Sidebar: I’m trying something new tonight. I’m going for an “Olivia Pope meets Angela Davis” kind of vibe. I call it “Power to the People while running B613” realness. Yes? No? Doesn’t matter. I’m committed.
Now, where was I? Oh, yeah. I knew I was different from a very young age. My sisters would grab me and dress me up like a little girl. They had me in walking in Mama’s shoes, putting on her jewelry and wearing her wigs. Oh, those heifers pulled out all the stops. They thought they were getting me back for all the times that I got them in trouble. What they didn’t know at the time was that I loved every second of it. Playing dress up was my thing. I told you my Mama was beautiful and I wanted to look just like her.
You know how the story goes. If you know the words, feel free to sing along. Mama cried and prayed to God to get the demon out of her child. Daddy had a fit and tried to beat manhood into me. It all became too much. I ran away from home in ’68 and found myself on the streets of Greenwich Village. I was going to prove my family wrong and become a famous performer. Comedian, singer, dancer, it didn’t matter. I was going to be a star and Manhattan was the place to make it happen.
It is extremely difficult to become a big-time celebrity when you are Black, gay and homeless. I had to fight off the bums who would try and steal my little bit of stuff when I slept on the park benches. I had to run from cops who were cracking down on the “perverts” bringing down society. I wound up selling mouth and ass on the street to the Wall Street businessmen on the “Down Low” and the soldiers in the closet going off to Vietnam for rent money and cigarettes. Those early days were rough, honey.
How’s my lipstick? Poppin’, right?
I was at the Stonewall when the riot started that Saturday night in June of ’69. That was an historical moment for me. Not because of the riots starting the whole movement and everything, but because that was the night I saw Erzulie for the first time. Now, this is a couple of years before we met for real. She was already a legend amongst the scene. There were all kinds of rumors about her. Everybody knew that she used to be a man, but some of the other stories? Some said that she had been around since the 20s.Some said that she never aged. Some said that she was a vampire and drank blood to stay young and fabulous. I didn’t pay any attention to all of the fairy tales, but when I saw her in the flesh? It was like watching sunshine in the darkness, honey.
After the riots though, I knew I had to get my shit together. I wasn’t gonna let anybody use me and throw me away anymore. I had a voice and I was gonna use it, cotdammit! I started telling jokes on the corner for spare change. I was out here reading people left and right working on my material. I was able to “mop” some dresses, wigs and make-up so I could put together some looks.
My first drag name was Baby Love. The whole Motown girl group thing in the early days inspired me. I started performing in bathhouses and the clubs in ’70. I wowed them sweaty young things while making sure my face didn’t melt off in the heat. I started to get a little following, child! I was making moves! Every now and then, I would catch a glimpse of who I thought was Erzulie in the crowd. But, every time I would try and find her after my set, poof! Nowhere to be found. I swear, at a certain point I thought I was making her up as motivation to keep going.
I was also a big fan of horror movies. I loved to scare myself, girl. I would sneak into movie theaters to catch the dollar show and sit in the dark wishing I had a big, strong man to grab his shoulder and bury my head into his chest so I could avoid the really scary moments.
August 25, 1972. I will never, as long as I live, forget that night. This new vampire movie called Blacula had opened. You know that film? Anyway, William Marshall was all elegant and stuff with that strong-ass voice playing a Black vampire prince in love with that fine-ass Vonetta McGee. I loved that movie! All the time I was watching, I thought to myself, “Yaaasss, Mamuwalde! Come bite me!”
You know that old line, “Be careful what you wish for because you just might get it?” Well, there was this white boy sitting a couple of seats over. I know, I know, but he was fine, girl. All long hair and broad shoulders, big strapping corn-fed muthafucka! I felt him staring at me while he was rubbing his crotch. I got the message loud and clear. I didn’t feel any cop vibes coming off of him and we were in a theatre outside of the usual spots where cops were harassing the bull dykes and the sissies. Plus, it had been a while since I stopped turning tricks. Mama ain’t had any in a while and did not mind ending her drought with a tall glass of milk.
The theatre was pretty filled up. We were in the back where no one could see us. I moved to the seat next to him and replaced his hand with mine on his crotch. I undid his pants and was about to get busy doing my thing when he yanked my head up and bit my neck. It happened so fast, I couldn’t even scream. I saw my life flash before my eyes as I was dying I saw my parents, my brothers and sisters. They were looking at me with judging eyes, shaking their heads, blaming me for getting into this situation and saying this was payment for going against God’s law.
Could you hand me my wig, baby? The purple one. Wha’chu mean the color is off? It’s supposed to be off! Don’t you worry about my skin tone! I know I’m dark! I have a look happening here! It’s gonna be so off, it’s on! Don’t ever question Mother’s fashion sense!
I swear, you ‘bout to get my pressure up and I don’t even have a heartbeat…
ANY WAY… I woke up under a pile of garbage in a dumpster the next evening. The muthafucka took me out back to the alley and threw me away like trash. It was worse than being raped. I was abandoned, I was thirsty, I had fangs, I couldn’t walk out in the middle of the day anymore… Child, I was a mess.
I tried to learn about my new condition as best I could, but vampire movies are not educational films. At least I could see myself in the mirror so I could fix my face. But the rest of it was a sad state of affairs. I resorted to feeding off of rats because I was scared that I was gonna turn anyone I bit into something like me, too. I was so scared; I didn’t know what I was gonna do. The stress was messing with my performance, which also meant it was messing with my money and I wasn’t making that much money to begin with. I was bombing on stage, singing sad-ass songs; people were starting to hate Baby Love.
I became so depressed that I was ready to end it all. It was New Year’s Eve and I decided that after my last show at the bathhouse, I would stand in the middle of the Village and watch the sunrise. Just burn up in the middle of the street to ring in 1973. I opened with The First Time I Ever Saw Your Face by Roberta Flack. As I looked out into the sea of bored faces, I Erzulie again. I thought it my mind was playing tricks on me. But then, she started moving closer until she got up to the front. Child, the goddess was real! I felt the spirit come back and proceeded to bring the house down… Baby Love was back!
But, that was only the beginning. After the show, Mama Erzulie came up to me, gave me a hug and told me it was gonna be alright. I found out that the stories about her were true. She was a vampire and so was I. She took me in and gave me a home. She became my mentor and my friend. She saved my life and gave me a purpose. She’s the reason why you’re sitting here, getting on my nerves while I get ready for this show.
I am the first member of the legendary House of Lilith. I am the Mother of the legendary House of Mamuwalde and the fiercest bitch in all of the goddess’ creation. I am Francois Mamuwalde, but you can call me Buffy because I am here to slay all y’all muthafuckas!
Imani Lateef, owner of digital comic book store Peep Game Comix and Todd Johnson, co-creator of the seminal independent Black comic book Tribe started a spirited discussion on Facebook. The conversation was a subject that I had written a few articles worth over the years. You can view them here and here.
Sparked by the upcoming Black Panther film, Mr. Lateef posed this simple question:
“Will Black Panther help Black Comix? Why or why not?”
This prompted Mr. Johnson to start a post on his own page. This is how his thread began:
“Thinking about a recent post from Peep Game Comix’s Imani Lateef regarding would there be any financial blowback of the Black Panther movie into the other African American comic properties my short answer was NOPE.
IMHO, opportunities for this market to penetrate will not be successful by solo efforts for a multiple of reasons that could be discussed and debated ad nauseam. Conflicting mindsets, experience, business acumen, street smarts, egos, finances, time dedication present unique leadership conflicts.
But I would offer that a Think Tank model would be successful in formulating best practices, coop purchasing, marketing strategies, information hubs, mentorship/partnership possibilities, etc.; a representational body from many areas.
This list by no means is all just some I thought of off the top of my head as an example. A think tank model harnessing a group such as above and more could do some damage on many fronts.”
The responses to both posts were immense and varied, from professionals and fans. The pros and practitioners, for the most part, were picking up what both Imani and Todd were laying down. But, in some parts, the conversation disintegrated into well-worn conceits of DC and Marvel Comics’ wish fulfillment of representation or the tired musing of some monolithic entity like Milestone Media controlling the flow of content and information. Some also cite Image as an example of independent success easily replicated. And that thought spooked a creator or two. It was as if the participants in the thread were having two conversations.
I wonder if they watched the Image episode of Robert Kirkman’s Secret History of Comics on AMC. The Image of today is WAY different than the early days. Even then, the early success of Image was based on the star power the creators established at Marvel.
It’s hard to have people think and operate collectively in a more productive way than just wishing out loud.
Some cats love to dream, but the reality is too much for them. Some of them are fans playing professional. A lot of them think that DC and Marvel are the end all be all of comics. Most of them don’t know comic book history, especially when it comes to the Black presence in comics. So, becomes a perpetual “Johnny Come Lately” situation.
Being a fan of DC or Marvel comics does not make you an expert on the business of comics
One of the issues, I feel, is that some desire a Black Comix monolith using, mistakenly, Milestone Media as the model for such an entity when the truth is the Black Comix movement is more akin to Hip Hop: different viewpoints and concepts while emulate different aspects of the culture. Hip Hop is not only East Coast/West Coast or Def Jam or No Limit or Death Row. It’s all of those entities, artists, journalists, etc. contributing to the culture. Why should the Black Comix movement be any different?
It’s not about controlling creativity. It’s more about how we can market effectively. Again, folks flow in different spaces beyond the creation of comics. It’s not a question of conforming to one mindset, but more of how can we collectively continue to spread the word and celebrate the diversity of the movement.
We also have to step away from the gaze and operating practices of the “other.” I feel as if some think that the current of comics’ business affairs, audience and structure is the only way to go when that is so not the case. The current business model doesn’t really work for us financially or creatively. So why stick with a faulty model?
As creators of content, part of our responsibility is to grow the market. To pursue a classic comic book market model (i.e. monthly pamphlets, Diamond distribution, comic book shops, etc.) is a losing battle. That model requires a major influx of funds to compete in a stagnant space dominated by corporate-owned entities with the resources to maintain their control.
What I’ve found way more successful is the pursuit of the wider book market / educational route. I’ve found the signs of much bigger success there. Parents and teens enjoy the representation they see because it’s not Marvel or DC. And, there’s a growing niche field of study concerning comics and pop culture thanks to the emerging interest in Afrofuturism.
For example, books like Sheena C. Howard’s Encyclopedia of Black Comics, John Jennings’ & Damian Duffy’s Black Comix & Black Comix Returns and my own 4 Pages 16 Bars: A Visual Mixtape anthology series are concentrated texts that show the diversity of the movement. We all can big up these projects as examples of how we get down. A few articles about these books in different spaces as well as social media and cons like M.E.C.C.A. Con, Sol-Con, BASM, ECBACC and others can bring more eyes to what we’re all doing.
In essence, we’re creating cultural artifacts more so than just a new line of comics. So, we should think of, and market, them as such.
In terms of creating a sales metric of the movement, I think we could use successful Kickstarter campaigns and book sales of the Black Comix projects that received a great amount of grassroots marketing exposure. I’m thinking of books like Black, Trill League, Midnight Tiger, etc. along with the Catalyst Prime line as a baseline starter.
It would take all of us to promote each other. We all have fan bases, some shared, some unique. So, why don’t we promote each other more than sometimes wanting to be the G.O.A.T? Teamwork makes the dream work. That’s one of the ways Hip Hop became a dominant cultural force.
If we did a full-court press cross-promoting some of the best that the Black Comix movement has to offer, beyond Facebook or Twitter, we could make an impact and move the needle.
It would take a series of articles that would focus on known books like Niobe: She Is Life, Black, the Catalyst Prime line, Milestone 2.0 etc. as well as projects like Bounce, Project: Wildfire, The Horsemen, Is’nana: The Were-Spider, DMC and more published in places like Afropunk, IO9 and “mainstream” outlets as well as CBR, Newsarama, etc, but I think that this will bring awareness to what we do.
We’ve got the network in place. We just need to flex it properly and unapologetically.
It’s ours for the taking. Hip Hop didn’t look for approval and built its audience the old-fashioned way: one person at a time. Then, the “mainstream” came in and co-opted aspects of the culture. We can do the same. We have the tools…
Of course, we should avoid the whole co-opting thing, though. Because as Paul Mooney said “Don’t have too much fun, or they’ll take you too…”
Currently Griot Enterprises has a GoFundMe campaign happening. Your contribution will help us keep this train moving and you can cop some cool rewards for your donation. So please, become a part of Griot Enterprises and a part of the future of entertainment… We tell great stories!
Since 1997, Griot Enterprises has existed for one reason:
To tell great stories featuring diverse characters.
When Griot began, we had seen many great African American superheroes in comics, but we never saw an iconic African American superhero team. We didn’t have our Justice League, our Avengers. We, as comic book fans of color, young and old, didn’t have a universe where our heroes reside…
… Griot Enterprises filled that void.
In the past, we have paid for everything out of our own pockets. Because of this, our market saturation hasn’t matched our output and dedication to the company. However, despite our limited resources, Griot has made an impact on this industry. Our books have become educational tools and cultural touchstones. We have been celebrated as vanguards of the Black Comix movement and as pioneers of Afrofuturism in comics.
Our books can be found online at Amazon, Comixology, Drive Thru Comics and Peep Game Comix. And we have established distribution with Independent Publishers Group through our alliance with Cedar Grove Books, publisher of Young Adult books.
Now, we are in a moment where creators of color and their properties are beginning to receive their just due. From companies like Catalyst Prime to properties Like Niobe: She Is Life, Exo: The Legend of Wale Williams, Black and others, the call for diverse images and heroes has never been louder…
We’ve built the foundation. Now, it’s time for Griot Enterprises to take it to the next level and, we need your help.
We have planned an aggressive marketing and sales campaign to bring our books to the masses in 2018. We will be attending at least seven conventions across the U.S. throughout the year to build our fan base and promote our brand.
Here’s our proposed convention schedule:
April: C2E2 (Chicago Comics and Entertainment Expo), Chicago, IL
May: ECBACC (East Coast Black Age of Comics Convention),
June: BASM (Black Speculative Arts Movement), Los Angeles, CA
August: Wizard World Chicago, Chicago, IL
September: M.E.C.C.A. Con, Detroit, MI
October: Sol-Con (Black and Brown Comics Expo), Columbus, OH
October: New York Comic-Con, New York, NY
The funds generated from this campaign will pay for convention appearances, printing books, production and shipping. It only takes a dollar to participate, but if you give a little more, we have a bunch of rewards to show our appreciation…
You could even become part owner of the entire operation.
For 20 years, Griot Enterprises has been the future or entertainment. Help us in continuing our mission. We are a village. We will become a nation…
However, the Black Panther also used to frustrate the hell out of me.
Six years earlier in 1960, 17 African nations gained independence from their colonial overlords. Jack Kirby and Stan Lee, two men of Euro-American Jewish descent, famously introduced The Black Panther in Fantastic Four #52 dated July 1966, three months before the revolutionary Black Nationalist organization of the same name.
I don’t know if the upheaval in the continent influenced the creation of T’Challa, but the introduction of the Black Panther was a revolutionary moment.
To have the first mainstream Black superhero in comic book history come from the continent, from a country (though fictional) that was technologically ahead of the Western world, to have that hero not only as competent as, but superior, to his white counterparts (he defeated the Fantastic Four in his first outing), was as radical as the Civil Rights Movement and as resonate as the African Independence Movements. The Black Panther was ahead of his time…
Too far ahead.
I will say that Don McGregor is a cornerstone in the development of the Black Panther’s world. McGregor would build T’Challa’s court including W’Kabi and Taku as well as creating, arguably, T’Challa’s greatest adversary in Erik Killmonger as well as his first great love, African American musician Monica Lynne.
The story was called Panther’s Rage, which ran as a 13-issue story arc in the bi-monthly Jungle Action title from 1973 – 1975. Recognized as the industry’s first “graphic novel,” Panther’s Rage was an epic tale set in Africa. Beautifully illustrated by Rich Buckler, Gil Kane, Billy Graham, Klaus Janson, P. Craig Russell and Bob McLeod, Panther’s Rage was dense, complex and sensuous.
T’Challa was depicted as a man of great passion and determination. Killmonger was more than just a standard mustache-twirling villain, but a revolutionary wanting justice for his father who died laboring in the vibranium mines (the fictional metal of the Marvel Universe and the source of Wakanda’s vast wealth). T’Challa and Killmonger’s rivalry was personal and brutal. Every victory was hard-fought and hard earned in this story. McGregor was able to infuse the world of the Black Panther with some realities of life on the continent giving the story and the character a resonance that one would think made the Black Panther a character to be reckoned with, an A-list property if you will…
Despite McGregor’s Panther vs. The Clan follow-up arc to Panther’s Rage, the Black Panther failed to gain substantial traction as an ongoing series. Oh sure, he would pop up in other titles, sometimes as a guest star, but mostly stayed in the background, the veritable “Franklin” of the Marvel Universe.
The mainstream comic book industry was, and is, dominated by white men. It’s majority-cultivated fanbase, until relatively recently, was geared towards white male power fantasy. In the late ‘60s and early 1970s, creators of color, especially writers of color, were few to none. Though this period saw the emergence of Black comic book artists the likes of Billy Graham, Arvell Jones, Trevor Von Eeden and others, the voice of Black superheroes was the voice of the other…
And, T’Challa suffered from it.
From the age of ten, I knew that I was going to be a comic book creator. I became enamored with the medium the second I opened the first comic book my father gave me. My love for the medium was beyond mere brand loyalty. DC, Marvel, Atlas, Charlton, First Comics, it didn’t matter. I was a nerd in the classic sense. In addition to comics, I was interested in science fiction and mythology. This love of mythology, coupled with the awakening of my political philosophy and Diasporatic African identity, led me to study the ancient faith systems of the continent. This largely untapped subject matter became the well from which my eventual contribution into the industry would spring forth. I was an Afrofuturist before the term was coined.
And, it was in this emergence of my creative self that my frustration with the Black Panther began.
Though the character would be the focus of various mini-series by Peter B. Gillis, Denys Cowan, Don McGregor, Gene Colan and Dwayne Turner, I felt that the character was underutilized and that the Black Panther was a treasure chest of untapped potential and untapped exploration…
The Black Panther became a promise unfulfilled.
I erroneously thought that all creators tapped into the same wellspring of creation, that we all studied the same points of interest and Marvel had dropped the ball by not making Black Panther an ongoing series thereby giving these creators the opportunity to utilize the revelation of story ideas that the exploration of African history, politics, culture and mythology had provided me.
But eventually, I realized that T’Challa’s development, as a character was, ultimately, not my concern. Though I had affection for the Black Panther, I did not own the character, he was not my “child,” so to speak. I had to use my resources and influences for my benefit, for my creative process. I had to use the elements that were “forgotten” in the Black Panther’s development for my own purposes.
I had looked to the promise of the future that would be labeled as the Black Age of Comics, or Black Comix movement, for my inspiration. Inspired by the emerging voices that Milestone Media, Brotherman, Tribe and others brought to the industry, I forged ahead with my exploration and development of my property, infusing my nascent universe, The Horsemen, with the elements I felt missing from the Black Panther.
In reality, the only thing that T’Challa needed were Black voices to tell his tale.
Christopher Priest found T’Challa’s voice in his silence. When Black Panther Vol.3 debut in 1998, Priest (along with artists Mark Texeira, Joe Jusko and Mike Manley) made T’Challa the epitome of detached cool. The Enemy of the State arc made T’Challa, and Wakanda, a force to be reckoned with in the Marvel Universe. A tale of espionage, Priest created State Department attorney K. Everett Ross to be the white reader’s entre into the Black Panther’s world. More importantly, Priest introduced the Dora Milaje, T’Challa’s personal guard of women warriors, which added a much-needed feminine strength and energy to the world of Wakanda.
Following Priest’s impressive 62-issue run, a new Black Panther series was launched in 2005, which ran for 41 issues. Scribed by Hollywood writer and producer Reginald Hudlin (Boomerang, House Party, Django Unchained) and illustrated by John Romita, Jr, Hudlin’s Who Is The Black Panther arc introduced a neo-Kirbyesque Wakanda that was never conquered, defiant and untouched by the taint of colonial influence. More so, Hudlin’s arguably greatest addition to the Black Panther’s mythos was the creation of Shuri, T’Challa’s younger sister who would become the ruler of Wakanda and a Black Panther in her own right following T’Challa’s incapacitation.
In 2016, author and journalist Ta’Nehisi Coates would create a Wakanda rooted in a less romantic, more fact-based context reflecting the reality of the African continent. Though somewhat controversial amongst long-time Black Panther fans, Coates’ A Nation Under Our Feet arc tapped into the wellspring of African mythology, philosophy, culture, politics, and social issues I thought abandoned by other creators save myself. With a sense of novelization rivaling the earlier work of Don McGregor, Coates weaves a Wakanda exclusively from Afrofuturistic cloth, fulfilling the promise of a Black Panther I thought would never be realized.
This promise will be further made good come February 2018 when the Black Panther hits the big screen. Thanks to director Ryan Coogler, lead actor Chadwick Bosemen, Danai Gurira and the rest of the cast and crew, This will be the first time that audiences worldwide will see a vision of Wakanda and the Black Panther that had always existed in my mind, but will be new and exciting for the majority of a people who have been historically denied the ability to imagine a fantasy world where they play front and center.
In 2017, I attended the annual Chicago Comic and Entertainment Expo (C2E2) not as an exhibitor, but as a fan. I strolled the convention taking in the sights and visiting the creators’ tables in Artist Alley, something I rarely had the luxury of doing since I began to attend comic book conventions over 20 years ago. Brian Stelfreeze, artist of Ta’Nehsi Coates’ inaugural run on the title was in attendance. I was able to strike up a conversation only to be surprised and humbled that an artistic hero of mine followed my work.
But, the best part of our exchange?
We acknowledged that we were drawing from the same wellspring for inspiration…
T’Challa has lived up to his promise. All hail the king.
Now, keep this mind (especially for those sitting in the back of the auditorium)…
Black men and women who were murdered by police for doing nothing but being, well, Black (i.e. Trayvon Martin, Sandra Bland and the yet to be murdered Black person because it’s not Monday) are vilified as the media digs deep for any past transgression like, say for instance, jaywalking.
Yet, this heifer, who was caught in no less than three acts of statutory rape, is called hot? As if her attractiveness (which is mad questionable BTW… Love that #Pathology) makes her crime more palatable?
Yeah… Call me a bigot all day, every day. I’d rather be this kind of bigot than a hypocritical sycophant any day…
Now; this was the article where I was called out for my bigotry.
I looked over the initial post again… The #Sensitive really got all in a tizzy because I said Gal Gadot was white while others have been trying to make her the Hollywood Rachel Dolezal because she is Israeli… And I said that it was ok for Gal Gadot to be white…
Damn… I didn’t know that saying it’s ok to be white was so racist…
What I have found since I started posting this material in 2013, is how deep this #Pathology goes and how fervent people are willing to defend this toxic ideology (so much so that people voted for the absolute worst candidate in the 20th/21st century in 2016).
The information is out there. The statistics exist for anyone to obtain. You don’t even have to really search for it. Hell, all I do is share information that other people post on their walls.
The reality is that this information completely dismantles the rhetoric that people have been spoon fed for centuries. It completely destroys the illusion of the inherent goodness that the #Pathology promotes. It’s all a lie, the ultimate Ponzi scheme, if you will. But, because of the fact that the majority of the world is brown and that brownness is overtaking the safe spaces and that brownness, with other marginalized voices actively rejecting the #Pathology, the “dominant” culture is real nervous.
They read the articles, hear the voices of critique and feel that; somehow, they are experiencing racism…
They couldn’t handle what real racism is.
Racism is the power to make policy based on prejudice. The only people who have, and exercised that “power,” is the “dominant” culture (AKA white culture). When one can produce evidence that marginalized people (i.e. Black, Latinix, Asian, LGBTQ, etc.) have held positions of power in this country to create legislation that is detrimental to others (AKA white people), then we can talk anti-white racism. Until then, marginalized people can only practice prejudice, which results in hurt feelings and, perhaps, individual agony…
The United States was founded on racism, built by racism and still feels it must operate under a racist paradigm (especially with this administration). Facts.
And that is the thing that they are most scared of, that the sins of the father will revisit them tenfold.
So, they lash out. They find spaces like mine to reclaim some sort of supremacy for themselves as if to say, “If I can shut this guy up, then I’m right and things can go back to ‘normal’.” They use the false information they’ve digested as fact assuming that someone like myself (read: Black) doesn’t know any better…
And, they get really mad when it doesn’t work.
Engaging in conversation and making “flame” arguments are two different things. Every single thing I post is to puncture the hypocrisy of the racist, sexist, homophobic, etc. narrative that we have been spoon-fed. Interestingly enough, pointing out this hypocrisy makes me the very thing I rail against?
Eff. That. Noise.
I don’t have to pull out any disclaimers about my intentions because, if you truly know me, you know where I’m coming from. I’m not going to sugar coat it, I’m going to be brutally honest. This is the work I do. It’s the work I’ve always done. I do not pray to the #Pathology of whiteness. I don’t believe in false prophets.
Because of this do I hate Euro-Americans or others of European descent? Not even. However, I’m not gonna sit and get pissed on while fools try to tell me it’s raining either.
Fun fact: I don’t troll other people’s walls with my viewpoints. Folks always wanna say something on my wall when they get #Sensitive about things that I point out…
Why is that?
Yeah, addressing this willful ignorance is tiring and disappointing. But, if what I do enlightens one, just one, person to take a step back and change their thinking, then I’ve done my job.
I mean, isn’t that what teachers are supposed to do?