He is Such a Gemini.

#ummhmm.<<<<Click.

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The Sheer Queerness of the Little Dragon Audience

Photo by Danielle Scruggs
This post is Dedicated to #JermthePerm aka #OldManRap

A couple of Fridays I got a call, my homie said “What are you doing tomorrow, you want to go to the Little Dragon show?”
I responded yes and immediately began to think about my outfit. I have to have my priorities in life, lol.

I had heard of Little Dragon, but but I had never heard their music. It sounds like a combination between Radiohead meets Prince.

More so than there music, or perhaps because of their music,  the audience was incredibly queer. By queer I mean comprised of a room full of marginalized bodies who don’t normally hang out together. By queer I mean bursting with radical potential. In the essay “Punks, Buldaggers, and Welfare Queens: The Radical Potential of Queer Politics” Cathy Cohen states that “queer theory focuses on and makes central not only the socially constructed nature of sexuality and sexual categories, but also the varying degrees and multiple sites of power distributed within categories of sexuality, including the normative category of heterosexuality.”

Cohen goes on to state that queer means “to fuck with gender. There are straight queers, bi queers, tranny queers, lez queers, SM queers, fisting queer in every single street of this apathetic country of ours.”

The Little Dragon Audience had White folks, Black folks, Latino folks, Asian folks, young people ages sixteen to twenty one, older folks ages forty to fifty, folks in between.

The people in the room reminded me of folks who were no interested in assimilating into dominant structures but instead, as Cohen states, “seeking to transform the basic fabric and hierarchies  that allow systems of oppression to persist and operate efficiently.” Glen Bleck would have lost his little Loving mind at the sight of it all.
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Same sex couples holding hands, boo’d up in the corner looking like they needed a bed and some pillows. Young clusters of White women
were dancing their little hearts out. Mad black girls with mohawks, afro’s and a sprinkle of ladies with perms.

Give the various different kinds of people gathered at The Black Cat for The Little Dragon concert, gender was certainly being addressed.

I don’t believe I have seen so much diversity within a space since the first time I went to Coney Island 4th of July 2006. There were also the all ages rap shows that I attended as a teenager in Berkeley and San Francisco.

The space was magic in that I wasn’t prepared for the sexual energy in the air. I just kinda stood around in the middle of the room, seeing friends I hadn’t expected to see, taking it all in. Getting my #ErkahBaduApb in #leggingsOldNavyShirtfrom2002AndBoots! Peace to @unkut.

You see Little D in your city?

How was the audience?

Were you already a fan? Whats your favorite song?

What Women Have to Do With It: A Response to Chrystia Freeland’s Rise of the New Global Elite.

Chrystia Freeland at The Atlantic has written an interesting article “Rise of the New Global Elite” analyzing the new transnational elite.

Her main points are that in the US we are “plutocracy, in which the rich display outsize political influence, narrowly self-interested motives, and a casual indifference to anyone outside their own rarefied economic bubble” that the members who comprise this elite group are are becoming a “transglobal community of peers who have more in common with one another than with their countrymen back home. Whether they maintain primary residences in New York or Hong Kong, Moscow or Mumbai, today’s super-rich are increasingly a nation unto themselves.”

She argues that the reason why wealth accumulation in 2011 is different from other periods in history is that “The rise of the new plutocracy is inextricably connected to two phenomena: the revolution in information technology and the liberalization of global trade.” While this is true another material factor influencing global accumulation of capital has been the low to nearly no wages of women factory workers gobaly in China, Mexico, India, Pakistan, Bangledesh, Haiti, Jamaica and the Phillpines.

My understanding of women and labor comes from Rhacel Parrenas’ book Servants of Globalization: Women, Migration and Domestic Work and Chandra Mohanty’s Feminism Without Borders. Parrenas states that global capitalism functions through and maintains and overarching world-system that organizes nations into unequal relations and creates a larger structural linkage between sending and receiving countries in migration. To put it another way, countries look the way that they do because they are apart of a system designed to get the most profit at all times. If we look at various countries at the same time, then we get a clearer picture of why Haiti looks the way it does versus why Venezuela looks the way it does. Why Egypt looks the way it does versus the United States and so on.

What do women have to do with it?

If we take women workers out of the equation then global profits seem like they magically appear from Pluto. Or they seem to be a consequence of technology or they are a function of Wall Street.

The reality is there 40% of the global population lives off of $2 per day, many of these people are women and children workers. In Feminism Without Borders Mohanty quotes Zilla Eisenstein who states that “women do two thirds of the worlds work and earn less than one-tenth of the income.” This is some serious wage inequity which could buy a lot of child care, food, pay some mortgages and send some people to grade school through college.

In short in many ways the global accumulation of capital and profits pivots on the labor of women, largely comprised of women of color.

Again, the work of women is central to the rise of the new global elite. Someone has to assemble our phones, gadgets, tv and clothing. And I say this not to run some sort of guilt trip, as that wouldn’t be useful to neither you or me. I say it make the women who do this work visible. Often times the work of women is neither unrecognized, unacknowledged and it is often underpaid.

Back to the article.
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I learned two significant things from this article. The first was that transnational conferences are in many ways the new status symbol for the transglobal elite.The second is that the status symbols aren’t just jets and international vacations but “a philanthropic foundation—and, more than that, one actively managed in ways that show its sponsor has big ideas for reshaping the world.”

If you shape ideas, you can shape society, how people think.

This makes sense. A year ago I said in a post about Beyonce that culture is hegemony’s goon. This is also the reason why I contended seriously with Jeff Chang’s idea of culture before politics in this post I wrote last month along with Rob Bland.

This article is also significant because we never get to hear about the day to day lives of the people who run the corporations and institutions that shape our lives. In this article we hear their voices. Freeland demonstrates this when she writes,

“The circles we move in, Hutchins explains, are defined by “interests” and “activities” rather than “geography”: “Beijing has a lot in common with New York, London, or Mumbai. You see the same people, you eat in the same restaurants, you stay in the same hotels. But most important, we are engaged as global citizens in crosscutting commercial, political, and social matters of common concern. We are much less place-based than we used to be.”

This is really good narrative.

At last summer’s Aspen Ideas Festival, Michael Splinter, CEO of the Silicon Valley green-tech firm Applied Materials, said that if he were starting from scratch, only 20 percent of his workforce would be domestic. “This year, almost 90 percent of our sales will be outside the U.S.,” he explained. “The pull to be close to the customers—most of them in Asia—is enormous.” Speaking at the same conference, Thomas Wilson, CEO of Allstate, also lamented this global reality: “I can get [workers] anywhere in the world. It is a problem for America, but it is not necessarily a problem for American business … American businesses will adapt.”

What is interesting to me about this is that Michael Splinter has basically said that the collapse and elimination of the middle class (to be crude, single family home owners), with an investment in the future of their neighborhood, is basically a part of the process. And if the middle class in the US shrinks but the middle class in India or China grows, then so be it. When I mentioned this to Rob, he said, well he can say that, he isn’t a politician. And I thought, well don’t corporations and employees influence politicians through donations? So then….

In sum, I hope that, in reading this I was able to shed some light the role that women play globally in the rise of the new transnational elite.

Where you aware of the connection between low wage women workers and global profits?

What did you think of the article?

As a man or woman have you learned that you were underpaid, what did you do about it? Did you have evidence?

The Politics of Making a “Black Film” in Obama’s America

Image of director Kasi Lemmons courtesy of Professor Sussoro’s Blog

Last fall I tweeted that a barometer of Black women’s freedom would be their ability to control, tell, and distribute their own stories.

Having seen Push, and now For Colored Girls, two movies based on texts written by Black women about Black women, but directed by Black men, I am incredibly mindful of who gets to tell which story and why. Story telling is powerful because it is through stories that we come to see who we are in the world. Our stories define us. Stories tell us what is possible.

Consequently I was really excited when I learned that Pariah, directed by Dee Rees had been acquired by Focus Features last week.

A story, by a Black woman, about a Black girl. #Awesome.

In thinking about Pariah I was reminded of a Professor Michelle Wallace’s commentary on Spike Lee nearly fifteen years ago and what it means to make “Black Films.” In the article “Doin’ the Right Thing” she writes,

” …implicit in this formulation of Blacks having their own films was the nagging question as to whether such representations would somehow make black
peoples lives better overall. Regardless whether representation weather a film has value as any value as art, it can , if it chooses closely mirror or reflect the problems
and inequities of society. People make the mistake of thinking that a film can therefor correct inequities. This because we as a culture, are still trying to figure out what representation fully means in still new and exponentially expanding forms: what such forms can and can’t do, what we should and should not ask from them.”

She also say’s something in the article that has stuck with me which speaks to the idea that,

“we can now see that the notion of blacks making their “own” films presupposed the existence of a monolithic black community, unified enough to
posses a common ideology, ethics, morality, and culture, sufficient to override such competing and divisive interests as class, gender, sexuality, age and
education.”

This morning @tkoed Sent me a link from Ta-Nehisi’s blog where Neil Drumming, a screen writer and journalist, talks about about whether he would make “Black films.”

The article talks about how films by several NYU alums made it to Sundance this year. Full disclosure, as a little bear I worked for several years at NYU’s film school as an office manager. NYU’s Black film making culture is a part of me. It is in seeing grad and undergrad student filmmakers grind to make their dreams work that, that in some ways I developed the courage to openly pursue being an artist. Filmmakers taught me the power of story and how to analyze a film.

My homie Jase has just came back from Sundance after working on a doc on Harry Belafonte, Sing Your Song, #wingsup.

My homie’s Marquette Jones and Qwesi Davis both have films in the San Diego Black Film Festival this month.
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I also found this article to be interesting, in that it speaks to how hyper segregated both Hollywood AND the art world is. Furthermore, it is related to a conversation that I was having last week with a Black woman journalist friend about how segregated Washington’s journalism corps are, and what this means for the careers of Black people in general and women of color in particular. It appears that one can operate in the White circle or the Black circle, but not both. Where does this leave people who are neither White nor Black? o.O

Work mirrors life?

Was it this rigid in New York? I don’t recall.

What is material to me is that Neil never disclosed his race. I read the article again, looking then I asked @tkoed if Neil was White. @Tkoed says that this is because regular readers know who he is, and that may be true. But I am not a regular reader, so I finished the article wondering is this a White, mixed race or Black person analyzing what it means to have negro characters in their movies.

Perhaps given how marginalized Black films are, to choose to make Black movies is a choice to have your work live on the margins. This can be tough to reconcile for some.

The homie Dame also sent me a link to an article titled “Can Revolutionary Films Hinder Social Action.” Read it here. This article looks at how the top 1% can use the medium of film
to transmit messages to the masses that then absolve the masses from taking action. For example, if you know that “The Matrix” exists, are you obligated to do something about it?

Oh and Rob has a piece up at The Liberator about the Black Creative Class. He makes some interesting points about who makes up this class and although his timeline throws me a bit, I like
the idea of inter-generational Black struggle that’s not linear and impacted by art. In some ways I think our posts are in conversation with each other.

Excited about Pariah?

Why did we assume that having more Black Films would change the lives of Black people?

Can we have a conversation about the forces that create a “Black Film” genre in the first place?

Race and racism are draining.

On Raising Babies and Leaving Lovers

A photo he took of me Labor Day Weekend @ Havana’s. This man made me look like Zora. #Tears. #Ummhmm.

Dedicated to @mistmattnash

I don’t know what to say.

I realized two nights ago that I am grieving the fact that I just walked away from someone who is father material. We are still friends but….it ain’t the same.

I knew something was up with me because I caught myself obsessing over two people that I had no business doing so. Thinking about them from time to time, yes, because you DO be needing to process life events and what not, but the level that I was doing it was way too much.

Then I realized rather than feel my feelings I was thinking of other people. #Allbad.

Feeling vs. Thinking are two different things when it comes to healing. Full stop.

I was reading a book on the subject and it said that, “You start to grieve when you get ready to.”

I have dated, I am #oldladyrap, but this situation was like two ships passing and then when I finally put two and two together I realized that amongst a few things our timing was janky.

As a Black feminist I take parenting seriously. Like really serious. Isn’t it bugged that I have never written about this personal choice before? Well, it’s close to my heart.  But nearly everything I write is, luls. Perhaps it is because this is close in another, arguably more profound way. I talk about it with the homies, but I haven’t written about it.

When I write it I make it real.

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The thing about it is blood, everybody ain’t parenting material. I have dated very few other people who I saw as being dad material. In some ways he is the only one seemed to not only desire it but was focused on being good at it. #damngina.

People ask me, especially on dates, where your little bears at? And I tell them that this is a society that needs children in order to survive, but refuses to support mothers, while simultaneously expecting them to perpetually raise new generations. I am cool on those.

If men gave birth there would be cheap and accessible child care on every corner.

How did I get to this point?

The turning point for me about this was over two years ago, Filthy was real clear about how he knows hella organizers whose children don’t talk to them. I was kinda stuck. I had to think real hard about what being #BlackgirlBleekGilliam means to me.

I think this is why I am so fascinated by Lauryn Hill and her choice to leave and raise her babies and peoples reaction TO that choice.

So yeah. I am grieving the loss. And I have to accept it. But daggumit if I don’t want to some days.

You ever think about the choice to parent?

Would you do it over again different?

Why people think Lauryn Hill owe them something?