Nope. “Shake Señora” and “Watch Out Fi Dis” are not even in the same league.

I share a trainer twice a week with some really great people. The company makes up for many things that occur during each hour long session: the fact of having to work out, the sweating, the involuntary and unlady-like noises I start making about forty minutes in, and the truly bad music that gyms must be contractually obligated to play. Our newest trainer is new to us, and newly a trainer. He’s good. I (and I think we) like him, but he uses a playlist of music that is just poor. In our last session, one of our group members, a gentleman who I would say is the least likely among the five of us to be bothered enough by the music to ask to change it, did just that. The truly objectionable playlist features things like Ke$ha’s “Timber,” (the dollar sign instead of an actual s tells you all you really need to know about the creativity of this one). It also features Jason Derulo’s “Talk Dirty,” which despite having what I think is a solid beat that if I don’t listen to the words I can get down to, actually offends me. The voice of the woman at the beginning and the end of the song offends me, because to my ear the woman’s voice sounds like a stereotypical or caricatured version of an Asian woman. It also offends me because I think the lyrics are stupid. So stupid that Jason Derulo has to think very little about the intelligence of his audience (those who listen voluntarily and those who are captive like we are). Otherwise he would not offer so much trite rubbish masquerading as music.

Linger with me on this stupid song a bit before we get to the stupid song that is central to this week’s post. At the beginning of “Talk Dirty” the woman says, “Jason” like “Day-son” and giggles. At the end she says “Wha? I don’ unnastan” and giggles again. If I start talking about the infantilizing of women and female sexuality here I won’t get to where I want to go, but know that I see it and have put it in the corner for now in the interest of getting to other matters. The lyrics sketch out the truly unimaginative metaphor of Derulo as the international flight that the woman in the song will get on – “first class seat on [his] lap, girl. Riding comfortable.” It doesn’t matter that she don’ unnastan; according to Jason, he’s “been around the world/ don’t speak the language, but [her] booty don’ need explaining.” So, that’s that. But listen, I take no issue with provocative music laced with sexual innuendo. I’m a Kanye fan. Take this bit from “Niggaz in Paris”:

She said, “Ye, can we get married at the mall”
I said, “Look, you need to crawl ‘fore you ball
Come and meet me in the bathroom stall
And show me why you deserve to have it all.”

Derulo could learn something from Kanye about subtlety in explicit lyrics. What I take issue with then is what I see as a lyrical laziness, something I think is present in too much contemporary R&B. I draw the comparison to rap here, R&B’s more explicit sibling, to show that even over in that game lyricism, even with things considered by some as lewd or vulgar, is a thing that can be carefully and entertainingly finessed. This lack of creativity where sexual innuendo is concerned is why I’m disappointed by that one bare line in SchoolBoy Q’s “Studio.” You know the one. I’m shy this week and don’t feel like giving it to you, so listen to it. The line is too bare and obvious, with zero lyricism. Lyricists like Kendrick Lamar, Childish Gambino, and Kanye have, I guess, spoiled me.

But Jason Derulo’s unimaginative song with its tired metaphors and equally tired stereotypical presumptions about Asian (or perhaps just non-American) women is not why I brought up my workout group and our trainer’s playlist. Another song on the playlist, “Shake Señora” (2011) by Pitbull, featuring Sean Paul, T-Pain, and Ludacris, inspired one of my workout partners to write a Facebook status update about why it is just a bad song. In the post the song was described as worse than “We Built This City.” I knew “Shake Señora” was a crappy song, but didn’t know exactly what made it on par or worse with “We Built This City.” As typically happens when I realize can’t quite put my finger on a thing, I started to think about why it was bad, about what elements made it so.

This process gained some momentum when my partner, who is not in our workout group and had not had to hear that awful song twice a week for maybe two months, commented that this incarnation of “Shake Señora” wasn’t a bad song. Thinking perhaps it was the issue of cultural appropriation that made the song objectionable, he asked why is it worse than Major Lazer’s “Watch Out Fi Dis (Bumaye)”? “Because it is!” I shot back with incredulity that he of all people would even ask such a question. Of course this is one of those challenges that he likes to slip by me, waiting for me to unsuspectingly take the bait, hook line and sinker. It’s like that time he said doubtfully, “pie making might be too hard for you.” Three years later we pie make like a BAWS over here. As a Jamaican with no prior history or experience with pie, I sure showed his doubtful ass. Right? Never mind. As always, he plants a thing under my skin that bugs me until I figure it out. It started to really bother me that I didn’t quite know how to explain what exactly made the Pitbull track bad, and the Major Lazer one good. After all, weren’t they both appropriating cultural forms born within marginalized communities in the Caribbean (Pitbull calypso and Major Lazer dancehall), making them all glossy and mainstreamy for an American pop market? Yes and no, but to explain why “Watch Out Fi Dis” is better was a thing that took a little work. Here is a version of that work.

Now, which Jamaican – or hearing person for that matter – does not cringe a little when Sean Paul makes those rapid fire percussion noises that aren’t even words at the start of “Shake Señora”? Worst yet, am I the only one who hears the underpants gnomes’ song from South Park every time T-Pain’s voices something on the track? Why Ludacris even agreed to put his name on this mess is a mystery to me. No, scratch that. Derivative drivel sells like hot cakes in today’s market. Like Jay-Z says, he’s not just a business man, he’s a “business, man.” But this newest iteration of an old ass song is bad for two big reasons. First, its rhyming structure is on par with a nursery rhyme penned by six year olds. I mean, there are actual nursery rhymes up in there. No offence to the poetic children out there, because trust and believe little Timmy and Suzie could work better rhymes than this mess. Here is the opening verse:

Mr. Worldwide I pop up and greet her
p p p peter p p punkin eater
With no religion, make them believers
I always hit two, call me Jeter
Sean Paul, Pain, Pitbull, and Luda

Is this a one-off verse? Perhaps. Maybe Luda gives us something better on his verse? Like he does on “Gossip Folks?” You know, kinda like how Nikki shut all the shit down on “Monster” or Pharell on “Move That Dope?” Nope. The rest of it pretty much just as shitty, and bilingually so as well:

Hey mamacita, tu es muy bonita
Hotter than lava, shake it like two maracas
Bend down and touch your toes
Then hop inside this custom rolls
Two shots of tequila, manos pa’ arriba

¡Qué lástima! The second reason that makes the song bad, meanwhile, has everything to do with this over a half-century old ditty. The song has history. More than that, it has no less that four other versions since the 1940s that each give us more lyrically from one singer than from all four performers on the Pitbull track combined. The historical baggage of the cultural appropriation of calypso that comes along with the song, moreover, makes it not only lyrically poor, but also politically problematic. Here’s what I mean by that last part. A brief history: the song was originally composed and performed by Lord Kitchener in 1946. His version, “Jump in the Line,” won the Carnival Road March that year. The Road March is usually won by the most popular carnival song of the season in Trinidad; it’s the song that makes yu jump up from the very first bar of music. That it won tells you “Jump In The Line” was hot for crowds of dancing people from jump. In 1955, Lord Invader, another Trinidadian, sampled the song for his version “Labor Day (Jump in the Line).” If you listen to this one, it was tailored for the Labor Day Carnival in New York City. It isn’t until Lord Flea, a Jamaican, sampled the song in 1957, though, that the “shake señora” was added. The presence of a Jamaican in the mix is interesting in part because in some ways one would hope that Sean Paul would live up to his countryman’s illustrious contribution to the immortality of this song. No such luck. This was also a time when the Jamaican music industry was taking fledgling strides into an American market. Trinidadian calypso was already a hit genre so why not sample calypsos? Finally, there is Harry Belafonte’s version, which takes up the shake señora and relays it on for Pitbull et al. When you listen to it, Belafonte’s version sounds like the one most liberally borrowed from for the 2011 iteration.

Before we get back to 2011, though, I should note that the New York Labor Day carnival incarnation is interesting, because we want to think about what happens to a cultural object when it migrates out of its original context into another—or, put another way, is imported into a foreign culture. What accounts for the move? What happens to a song when it goes elsewhere? One thing that might explain Lord Invaders’ New York version of 1955 is the American occupation of Trinidad. Fact: Trinidad was occupied by the US during World War II under the bases for destroyers agreement between America and Britain. The US military set up shop in the geographically strategic then-British colonial territory in 1941 and the base closed for military operations in 1967, five years *after* the country gained independence in 1962. TNT and the US have a seriously imbricated mid twentieth century history. As many many scholars have noted, the calypso made, performed and enjoyed since the time the first Trinidadians were displaced to build the American base is a historical record in its own right of what it meant to be resident on a small Caribbean island on the cusp of independence from Britain, but simultaneously occupied by America.

Another Lord Invader song, “Rum and Coca Cola” (1943), for example, has nothing to do with any of that Cuba libre rubbish Bacardi tries to sell you. Instead it is about how women in Trinidad preferred the company of American soldiers – “both mother and daughter working for the Yankee dollar.” Returning to the sexual innuendo business, when you listen to calypso from the 1940s, you can hear clearly why Jason Derulo and others are so much less interesting in this area. If you listened but missed it, “Rum and Coca Cola” is a song about the how prostitution thrived in Trinidad because of the presence of American servicemen who required, well, servicing. But here is the fun part that helps me to think about why the 2011 incarnation of the age-old calypso, “Jump In The Line” is just bad.

You might be more familiar with the Andrews Sisters version of “Rum and Coca Cola,” and if you listened to Lord Invader’s you will hear that the ladies’ version is quite literally gutted of all of the song’s original social commentary – it is a song about travelling to Trinidad as tourist. What’s worse, however, this popular song also offers a lesson in who gets credit for the lyrics on any of these early calypsos when they are released in the US. Songs that are steeped in social commentary and that reflect a contemporary geopolitical moment in Trinidad are popularized in the US through cover versions and sampling which renders them entirely bereft of their original political content. When The Anderson Sisters’ “Rum and Cocoa Cola” was released in the US in 1946, it was copywritten with lyrical credit to Morey Amsterdam. Amsterdam was an American television actor and comedian, who is best known for his role as Buddy Sorrel on The Dick Van Dyke Show. The song was a hit in Trinidad when he visited the country to perform as part of a U.S.O show in 1943. Amsterdam claims in court documents that he never heard the song when there. Sure. Uh huh. The story of Lord Invader/Lionel Belasco eventually getting financial credit for his song is fascinating and frustrating – there was a lawsuit, Belasco won royalties but not publishing rights. Look it up. Here’s my point, though: the history of calypsos and American remakes is fraught with unequal and exploitative neocolonial relations.

When I began to think about “Shake Señora’s” twenty first century incarnation, the “Rum and Coca Cola” saga immediately came to mind. Both songs are an appropriation of a cultural product that strips the original of a definitive part of its substance – be it lyrical, political, or both – and ultimately presents an infantile product, with zero lyrical complexity, for the sole purpose of profitable popular consumption. For me, what’s worse is that there are two artists on this track with native connections to the Caribbean who I would like to think could/would do better. Poor, Pitbull *and* Sean Paul. Just poor.

Finally, then, this brings me to why it’s not just a matter of cultural appropriation—why “Watch Out Fi Dis,” though also an embodiment of problematic cultural appropriation, is better. Diplo under the guise of Major Lazer goes in for none of that watered down shit. First, his song is a good track because it works to stay true to the raw verve of the Jamaican dancehall. It accomplishes this with the inclusion of a dancehall artist, Busy Signal, who speaks actual words. This 2013 track is also superior to “Shake Señora” because of what and how it samples. The main horn-based rhythm line of “Watch Out Fi Dis” is built on 10 seconds (ten seconds!) of a salsa track by Willie Colón & Rubén Blades titled “Maria Lionza” from 1978. What makes this sample brilliant is that it builds an almost four minute song out of ten seconds of music from a track in another genre of music entirely—one channeled, moreover, through the baile funk that Diplo also spent a lot of time immersed in in Brazil. “Watch Out Fi Dis” does this in a way that shows how danceability and hype need not translate to inane lyricism or compromise on the localization of a particular sound. The song might not be Jamaican by birth, but it gets a Jamaican sound right like few others who were not born on The Rock can (Gentleman, I see you baby). It does so, we might note, by recognizing that much Jamaican music is built on well-chosen samples from other forms of music. Diplo’s song is not only better than “Shake Señora” it is superior.

Here’s the thing, though. Diplo doesn’t always get this part right in his various Jamaican inspired projects. One place he gets it quite wrong is the VH1 series he hosts called SoundClash, which I decided not to watch on principle. If you know me, and what I watch on television, you know this kind of principled discrimination is rarer than it probably should be. I may eventually watch, but my Jamaican musical snobbery knows the premise doesn’t play close enough to the original tune of its title. A sound clash is a competition of sound. As the word clash suggests, it has combative facets. In the context of the dancehall, two DJs (the equivalent of the MC in rap/hip hop) duel lyrically, or two competing sound systems duel over who can play the best music. The best clashes are when DJs or sound system selectas arrange songs together to insult his/her competitor. The equivalent in rap are battles (like in Eight Mile). So, when Diplo, as a producer who gained mainstream popularity by liberally incorporating a Jamaican sound, borrows something else – sound clash – the potential purist watcher is surprised by the fact that it is stripped of the competitive dimension. According to the description, the show takes the form of an “event, where bands perform classic jams, current hits, and on-the-spot, unreleased collaborations.” Badman nuh play collaboration inna sound clash. Diplo move wrong deh so.

Thus, where “Watch Out Fi Dis” sticks close enough to the grain, SoundClash removes a pivotal concept and practice from Jamaican dancehall culture and drains it of all of its aggressive virtuosity. Without that, to me, it becomes rubbish. The dancehall purist in me is not entertained by that. Here’s where this becomes more than bad music at the gym that you riff on, though. Hopefully, you stuck around for the moral: not all cultural appropriation is bad. There is a way to do it. Pitbull, though, hasn’t got a clue.

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Nope. This Can’t Be All That There Is.

I’ve come to the realization that one of the most difficult things for a young female academic of color such as myself to do is to avoid identity politics. Put another way, among the difficult things for me, I have discovered, is to write, read, and teach things that are not about race, gender, or various other marginalized identities. It’s what I do; it’s my solemn duty. It’s what I’m good at. Of course, a long time ago, when I was struggling for a cohesive through-line for my first book, someone asked me a really difficult question: “how is this book not another book of Caribbean literary criticism about identity?” It was one of the most productive questions I have ever been asked. It helped shape my first book, which in part challenged the primacy of identity and its conflation with sovereignty in Anglophone Caribbean discourses. This question’s prompting to think counter-intuitively against the grain continues to inform my present scholarship, teaching, and of course this lovely blog of mine.

A thing dawned on me about this blog though. What got my blood boiling and the writing momentum going in the last month was racial and gendered politics as we encounter them in popular media. Sure, I work to dislodge them from tired, worn, and unproductive logics, but in the back of my mind I’ve been thinking about what could quickly become an exclusive focus on identity politics and that is a little unsettling to me. The thing to write about this week, of course, given the trajectory of the other pieces herein, is the story of the lesbian couple in Ohio who are suing the sperm bank because they were inseminated with the wrong sperm thereby creating a mixed race baby. All week the choruses of “that’s racist,” or “that’s white privilege” resounded and it seemed like this would be the difficult subject of the week. A thing that would come to me very easily is outlining exactly why declaring this couple as either racist or privileged doesn’t even begin to get at the truly perplexing issues of this story. I’ve had lots of practice. In a nutshell: words like racist, white privilege, even feminist are so widely circulated their potential for conveying complexity is often diminished. In a way, they are like when my students use the word culture for example: The Brief Wondrous Life of Oscar Wao is a book about Dominican culture. Yikes.

We all know what such popularized words mean once invoked; some of us experience them with emotional associations, but this familiarity comes with the flip side that there is no need to think anymore deeply about why a white couple would have problems raising a mixed race child beyond their own ignorance based on privilege or racism. Complexity vacated. White privilege makes them racist. End of discussion. Nonetheless, neither of these things gets at the connections between the Ohio couple and my own encounter this morning with a woman at church, who timidly and apologetically asked me what products I used on my fantastically impeccable big curly coif. I mean today the hair did the damn thing and did it right! Anywho, church lady’s daughter, who I assume might be adopted (both parents are white) is mixed race and has hair that is curly like mine. It’s only a matter of time before she/they give up on the natural texture and turn to the relaxer for deliverance.

Truth be told, I’ve always looked at the daughter’s hair and recognized some familiar struggles: the wrong products, the wrong shape, the lack of bounce shine and movement, a general uncertainty about how it looks and whether or not it looks right. I have been there. She’s a teenager. This is why some curlistas abandon their natural texture; it’s different from everyone else’s; it’s too hard, especially when the knowledge that makes it easy isn’t in say mainstream beauty and fashion magazines. In the last six years, I’ve watched the daughter come into her own as a young woman in so many ways, but the hair I can tell, continues to be a struggle. I’ve often thought about how I could approach her, all big curly haired sister like, and talk with her about her hair care regimen. These things are delicate though. I know she notices my hair; she compliments my outfits and I’ve seen her looking, but she hasn’t asked any questions. General unfamiliarity with such interactions myself, especially with folks I don’t really know, means I have not volunteered wisdom. Today, though curly haired daughter was absent, parents were present and Mom was wearing a blouse in a color that was so lovely on her, I told her as much during the meet and greet portion of the service. I suppose this was the window she needed to ask me when service was over, again apologetically, about my hair. Here is where I was planning on making the connection between this and the baby the couple wasn’t planning on having, but really church, I tire of this. I tire of it because it is becoming a box in which I am putting myself. I’d like to push back on my own critical impulses if you will.

Like Olivia Pope who ran away with Jake to an isolated beach paradise because she got tired of always being asked to do the same angering and soul crushing things, I have always found it difficult that I am more often than not called upon to do one kind of thing. This thing – race – in large part frustrates me, often angers me, in particular as I often get called upon as an authority on it. To speak, as though it was the totality of my being, about this one facet of it. I am good at it. I am an authority on it, but it’s still complicated. Remember a couple weeks ago, when the tone deaf Alessandra Stanley tried to compliment Shonda Rimes by celebrating her capacity to get away with being an angry black woman? Linda Holmes explained in her own thoughtful piece that there is something to be said about the questions Rhimes gets asked as the only successful black female show-runner of our time – the ways these same kinds of questions may often result in angry or perhaps less than enthusiastic answers:

Who often gets asked… [a]bout people of color on television? About black women on television? Who’s expected to act as broadcast television’s conscience and diversity czar? Shonda Rhimes. And every minute she’s asked to spend serving that function, valuable and necessary as it is, and perfectly understandable as it is that people are curious about her experiences, is a minute she’s not answering the same questions Damon Lindelof gets, or Joss Whedon gets, or Chuck Lorre gets. She’s not talking about her process, she’s not talking about her characters, she’s not telling her silly show business stories. She’s saying, yes, this is bad (as we know). Yes, this is a loss (as we know). Yes, networks who ignore entire audiences are leaving viewers on the table at a time when nobody can afford to do that (as we know).

Now, I am neither Shonda Rhimes nor Olivia Pope, but I do understand this pigeonholing on a personal level. In my first semester on the job as an assistant professor, I was asked to serve on the College of Arts and Sciences first ever diversity committee – college level committee work in a 2/2 job in my first semester on the ground. Go read Mat Johnson’s Pym to figure out how I now feel about this and diversity committees more generally. Whenever I am approached by journalism students to be interviewed for either course assignments or one article or another in any one of a number of local newspapers it always comes with the exact same question “Professor, I wonder if we could do an interview about being black in [insert small Midwestern town here].” Every year, no, just about every semester this request comes (it is the only kind of such request that comes) and I feel the same way about it as I do when I get emails from professional organizations on and beyond campus addressing me as African American faculty. But, I nonetheless always participate. I agree to be interviewed about what it is like to be black here. I try to point out, when I can get a word in for this purpose, that there are other facets to who I am as a woman of color from a place that is not America and other facets to what I do, but that hardly ever makes it to print. Even more difficult is to realize, I’ve been asked to do this so much, I have done not nearly enough work conceptualizing anything else.

Let’s not get it twisted though. I know this is good and much needed work and trust me, I am up for the task and will continue to puzzle through the hard things about various facets of indentarian inequality. Much like Olivia Pope though, while I do want to stand in the sun, drinking rare vintages, without the baggage of all the things I am expected to do, the show could go on. Despite me yelling at the TV, “Stay in the sun, Liv. Fuck DC,” Olivia eventually returns to all the things that continue to make her tired. I hope some things change for her; like maybe she goes down to Florida and lays out in the sun there, at the Mandarin Oriental, get a massage and talk about it from time to time, away from all the things that drain her, though always perpetually require her expertise. Maybe she could start a food or fashion blog. I sure as hell hope making jam in Vermont with Fitz does not become a thing though, because in my mind that would simply be retreating to the other side of an extreme spectrum.

What is the psychic toll of only ever being asked to do one thing? What does it mean to hone one skill disproportionately in relation to others? How does it affect one’s capacity or even desire to think more expansively? Neither jam making in Vermont with Fitz nor feeling like the help in DC feels like a desirable position. I have to keep at it despite the frustration, for the young aspiring to similar levels of fabulosity. But I’ll be damned if I envision my work or myself through myopic lenses. Maybe next week I’ll tell you about the couple and their mixed race baby.

Nope. That Shit is Not Cool, Thug Kitchen

I fucking love Thug Kitchen. I love Thug Kitchen so much, I will lace this post with the profanity that is characteristic of this popular food blog because I also want to meet Thug Kitchen on its own terms. I am also going to curse like a motherfucking sailor here, because I am a tad distraught. This is what my thoughts look like before I’ve had a few days to make them all gentrified and shit. If curse words offend you, click away now and come back next week, when I’m feeling less profane and perplexed. No harm, no foul, no offence taken. Folks need to have their limits and I respect yours. All this cursing will probably shame my mother (mommy if you are reading this, stop now). All that said, what the fuck white people? Why?! Why must you thoughtlessly popularize shit, making me think that it really isn’t about anything but vegan food made more interesting by a liberal use of profanity, and then put out a lily-white promo video for your new cookbook and get featured on Epicurious and make me realize, fuck, some shit is rotten in Denmark.

I’ve followed Thug Kitchen on Facebook for maybe two years now, and I have made maybe a couple of their recipes and that shit is always legit. Those motherfuckers over there do not play. More than anything else, I really just enjoy their prose. Who can resist a tagline like this: “eat like you give a fuck”? Certainly not me. Shit, if it gives me a reason to curse gratuitously, fuck yeah! This food blog is a curse word littered take on vegan healthy eating that is written so humorously, I didn’t think too much about the word “thug” modifying kitchen. Why would I? Shit, artistic license. Plus, I’ve grooved to Jah Rule feat. Bobbie Brown’s “Thug Lovin” in the 90s – “I know you’re getting’ bored…” – among many other thug-laced things. I am under no misapprehension about “thug” or “thug life” being widely appropriated beyond the confines of black communities where it is used to criminalize young black men in particular. Shit, if you want to appropriate elements of things generally considered to be intimidating and all around badass to help vegan food look enticing and appetizing, who the fuck am I to shit on your parade?

But then this week, I watched the trailer for Thug Kitchen’s new cookbook. It is a cookbook that I, as a fucking badass cook and eater extraordinaire, would love to have in my repertoire so I can lay some ill ass vegan shit down on the table like I do. The promo trailer, though, only had white people in it – of all ages and both genders, but only white people; there wasn’t even an Asian person. No people of color. As if white people are the only folk who want to, or should, (or can?) eat like they give a fuck. With things like diabetes, high blood pressure, and heart disease laying more black people low than any other diseases in this country, it seems fucking negligent to not even cast a black friend or something. I mean, what kind of bullshit is that?

While the interwebs is going bonkers this afternoon, over Thug Kitchen’s identities finally being revealed, I always knew, more peripherally and unconsciously than anything else, that this was the brainchild of two white people. I have a fucking PhD in English; reading between the lines is how I get my paper. So, from reading their posts, I knew unconsciously that Thug Kitchen was peopled by a couple, who even though they deliberately kept their posts free of information that could identify them personally (something I am working on doing myself here), mentioned things like “my girlfriend.” So I knew there were two. I assumed the aggressive tone of the posts, as conveyed by the profanity, was attributable to a speaker who was male, but I have always been prepared to be proven wrong for this fucked up stereotypical logic. Additionally, the knowledge of and frequency with which tempeh (whatever the fuck that shit is) appeared in recipes concretized the assumption that at least one of these motherfuckers was white. That they are white is not the goddamn problem here.

Something popped off in my brain when I read the Epicurious piece though. I mean, that shit pissed me off. All of a sudden, while reading what Epicurious called the pair’s “cheerful profanity,” I began to think about, as I often do, who does not get access to this kind of carefree shit. Like, Thug Kitchen liberally uses vernacular terms, popularized in black culture in a rags-to-riches project that is very much on the come up (on the riches side) as I type this. But there is a fucking serious flipside to this bullshit. The descriptor “thug” is used to criminalize the very existence of young black male bodies, in recent times fatally. Teenaged boys are getting shot in the street, for no other reason than they appear in the eye of twisted beholders as the embodiment of the stereotypical characteristics that render them thugs, criminals, better off for all of us dead. Hands up don’t shoot.

Fuck cheerful profanity. This is not the time to be willfully ignorant of what “thug” means when applied to some bodies today. I am not asking for Thug Kitchen to politicize their shit. Not everyone is, should, or needs to be a motherfucking activist for the causes of prejudice and discrimination and shit. Keep using the word thug; I have no problem with that. But at the very least show some motherfucking awareness of what the hell is going on in America today. Remember when Mama died of diabetes in the movie Soul Food? Shit, put somebody’s black grandma in di blasted promo and have her cursing up a blue streak. Who does not a love a black grandma who says fuck? Show us that you actually have a less vapid sense of what eating like you give a fuck means, like you are aware of the harmful permutations of your moniker, like you have a sense of how diverse your fan base is, and are at least trying to be thoughtful about it. None of us has the luxury to be thoughtless when children are being shot down in the street. Make like you are even remotely aware of what the fuck is going on around you, like you actually give a fuck. Shit.

Nope. Beyoncé is not a feminist.

Before you click on to the next one, feeling validated in what you have always known about Sister Bey’s wayward ways, I say she is not a feminist for reasons that may not be the ones you think. Sit back down, church; I may have already given you a benediction of sorts, but this is a different kind of church service and it is only just getting started. Beyoncé is not a feminist because the word feminist as we use it, clutching our pearls, does not / cannot encompass what she does. This is not because of some kind of semantic incapability. Words are nothing but signifiers that pretty much can come to encompass whatever we want them to, because of their arbitrariness and the dynamism of cultural development. Beyoncé is not a feminist because our understanding of the word might not be flexible enough, yet. And by our, I mean both those of us who denounce feminists as shrill brassiere-disavowing man hating harpies who are angry because they can’t find a husband, and those of us who for the sake of wanting to guard against such narrowing perceptions often marshal a version of respectability politics that inflexibly polices the boundaries of what can/should be considered feminist. This dichotomy is not meant to be representative of all the relations and responses to this particular f-word that exists. I cannot even begin to encompass all that and really all I would be doing anyway is mounting of caveat on top of caveat and who really wants to read that kind of quibble? Suffice it to say what Beyoncé is doing today cannot be conceptualized according to the current terms of discourse, for some of the same reasons Roxane Gay calls herself a “bad feminist.” That’s the vein I’m working here.

From "On The Run" on HBO

From “On The Run” on HBO

In calling herself a bad feminist, Gay highlights the distinctions between feminism and “Professional Feminists,” the latter of whom we place on “Feminist Pedestals” (Bad Feminist xi). In some ways, Beyoncé is deliberately asking us to insert her into Pedestal Feminism, and that might be counterproductive to some of the legitimate gains her participation in these discourses can bring – if only because it restricts us to questions of whether or not she is a feminist. As Gay puts it, “people who are placed on pedestals are expected to pose, perfectly. Then they get knocked off when they fuck it up.” I, like Gay, and like Beyoncé “regularly fuck it up. Consider [us] already knocked off” (Bad Feminist xi). For my purpose here, this postlapsarian position is useful for shedding some of the identarian baggage that presents barriers to thinking about particular people (and texts), because we require them to be representatives of some identity-based platform or another. Such representation is of course important and necessary work that we cannot fully afford to leave behind, especially for the world’s various marginalized and underrepresented people. But church, it is also dangerously limited and our inability/refusal to confront such limitations perpetuates some of the problems the good work of identity politics aims to solve.

Let me use the every-present example of Shonda Rhimes to shed some light on what I mean here. (I kinda wish they would just let Sister Shonda be though, f’real.) As the only successful African American female show-runner Rhimes hardly ever gets asked anything, for public consumption, this is not related to the politics of racial and gendered underrepresentation on television and in American life. She is a mouthpiece that we are incredibly lucky to have, but we only ever ask her to talk about one thing – race and black womanhood in America and on TV. How come we don’t ask Vince Gilligan or Aaron Sorkin similar questions? Hey Vince, what strides have you made in mitigating the underrepresentation of white me–. Never mind. I hope you get my point. How come we don’t ask Rhimes more questions about craft and process? Linda Holmes’ piece for NPR this week helped me in a big way to think about this. She had to interview Rhimes after Stanley-gate and wrote a thoughtful piece about “Only Ones.” In the article Rhimes tells Holmes that

She’d learned … that on shows with Only One (only one woman, only one black character, only one Asian person, only one gay character), that’s when the Only One is required to be about nothing except that characteristic. She said her hope was in part that just by having more than Only One on her shows, she gave those characters room to develop and to have other things about them be important. She hopes that — and here’s the rub — by consciously increasing diversity overall she makes the race of each character less limiting, less defining.

In invoking the problem of the Only Ones, I’m intentionally dislocating Beyoncé both from the sphere of feminist disavowals and the Feminist Pedestal. I am hoping that doing so will help me to consider her public persona in less limiting ways, ways that in turn can tell us something about how Bey not only negotiates a complicated world of technology-based image consumption but also exerts a unique and powerful level of control. I am interested in what this shift in how we talk about Beyoncé can then tell us about both the progress women have made and the work we still have to do.

(I hope) it goes without saying that this is not a disavowal of feminism. I am a feminist. <– That is the first time I have said that out loud, acknowledging it for myself and to you. Claiming feminism for myself, like Gay does, but without the caveat/modifier “bad,” involves elasticizing the term to fit the fact that though we can/should all believe in equality (not sameness but equality) for all women. we can/should also understand that “feminism is grounded in supporting the choices of women even if we wouldn’t make certain choices for ourselves” (Bad Feminist xii). Moreover, we can/should understand that our varying experiences as men, women, and everything in the spaces between does not put us in a “position to tell women [or anyone for that matter] of other cultures what that equality and freedom should look like” (Bad Feminist xii). As feminists, supporting access to choice is important.

With this assistance from Gay, then, I begin by declaring that Beyoncé is not feminist—somewhat disingenuously (duh!), because my ultimate goal is to take us closer to what figures like Beyoncé are doing. As we say in Jamaican parlance, we haffi wheel an’ come again fi do dat. My goal here is to think about what Beyoncé is doing in relation to contemporary discourses of femaleness and my hope is to return her (eventually) to feminism, not only because she is deliberately casting her public persona as feminist, but because my gut tells me feminism needs her. Feminism needs her to help us break out of the Pedestal paradigm that creates the unproductive compartmentalization and alienation that has plagued feminism since Seneca Falls. Feminism needs Beyoncé to become a more humanly dynamic movement. Beyoncé wanting in on the f word might be the most productive thing to happen since Lean In made more than a few of us want to jump ship. But we can only begin to see this if we attend to the compelling strides she is making in the interrelated discourses of beauty standards, privacy, and love.

Since your patience with me and this Beyoncé business might be wearing thin by this point, let me preview where I’m going in the next couple thousand (yes thousand) words or so; you know, so you stay with me and don’t decide to duck out right after communion. By (temporarily) dislocating Beyoncé from feminism, I hope to show you how she represents productive shifts and possibilities in three areas that also fall under feminism’s purview: 1. The Carters, that is Beyoncé along with her husband Jay-Z (Shawn Carter) are re-configuring the traditional nuclear family script in ways that are everything but traditional. It is a reinhabiting if you will. Toni Morrison’s The Bluest Eye is crucial to my thinking here about all the things that are hopeful and beautiful about this particular reconfiguration. 2. Beyoncé is re-scripting the rules of privacy and access to information in an age where celebrities cannot keep their naked pictures private. What she chooses to show us is what we see. 3. This is related to 2 and will probably be the least palatable portion of this discussion, but if you’re still with me at this point, I know you are down for swishing this around a little bit – you know, giving yourself over to the oaky tannin. Beyoncé’s strategic exposure of the female body – her own and those of the dancers who accompany her on stage – presents an opportunity for thinking about how we continue to use women’s bodies to shame them and offers us an out of sorts.

Ok, ready to join me on a thought experiment that positions the public narrative of Beyoncé and her family next to the narratives of family presented in The Bluest Eye? If you haven’t read it, close the computer, go read it and come back. Not because you necessarily need to have read it to follow me here, I will give you the background you need to follow me, but you should stop reading my lengthy missive and go read this very important novel for thinking about race, gender, and class in America in ways that attend to but also transcend the specificity of historical context. Morrison’s book is devastating not only because of what happens to just about everyone in it, but also because its representation of the way we approach family, female bodies, sexuality and beauty has not come nearly far enough since the novel’s post-Civil Rights movement release in 1970. The destructive impossibilities of unnatural and unattainable standards of beauty for some and the insidious effect of these standards on our capacities to love and appreciate each other in sexual and familial relationships still linger too prominently in our everyday 2014 lives.

The way many read this novel is that it is a story about an eleven year old black girl who is just shat upon by too many people in this novel, for no other reason than they have been shat upon themselves. Ugliness, how ugliness is determined, the way beauty is contingent on rendering others as ugly, and the destructive effects on those imbued with ugliness are at the center of all the novel’s conflicts. It is this girl, Pecola’s story, and it is devastating not only because her father rapes her and she becomes pregnant, but also because she thinks having blue eyes will solve her ugliness problem and save her. Blue eyes, for Pecola, are the ultimate symbol of beauty that, if she possessed them, would mean she would be seen by others as beautiful – worthy of human kindness – rather than as an ugly black child deserving/requiring nothing else beyond being shat upon. The novel is set in the year between 1940 and 1941, when the ultimate compliment that a black girl could receive was being likened to Greta Garbo and Ginger Rogers.

The Carters on stage at 2014 MYV VMAs

The Carters on stage at 2014 MYV VMAs

If in the The Bluest Eye Morrison exposes the pernicious yet idealized pervasiveness of a specific brand of beauty exemplified by white film stars like Rogers, Garbo, and Shirley Temple, as well as actual little white girls in the novel who are described in all the consumptive sugary softness of marshmallow Peeps, she also exposes this brand of idealized beauty’s role in undermining black family life through destructive (and in the case of the novel violent) self-alienation. With this in mind, the novel also allows us to re-examine what we, as readers consider normal, beautiful and desirable. What if in the day of the novel, Pecola’s mother Pauline could see Beyoncé on screen with her black husband holding their child? If The Bluest Eye’s troubling of beauty and familial scripts convicted us, as readers, in our desire for clearly alienating and problematic ideals, the Carters are recouping and retranslating these ideals. Again, what if Pauline had On The Run to watch instead of Imitation of Life?

This is in no way an unproblematized reading of the nuclear family ideal 2.0 that the Carters offer us. It is a heteronormative union, which is problematic in more ways that we can take on in this medium at this point. Moreover, Beyoncé is still strutting it in the light skin that conveys problems of colorism and the truly legit weaves that tell us Eurocentric standards of beauty still have glamour on lock. And yes, it is problematic that it is the light skinned chick that gets to (publicly) live a thoroughly glamorized version of the storybook, happily-ever-after, dolce vita.

Josephine Baker

Josephine Baker

While the performative genealogy that Beyoncé draws on in On The Run doesn’t necessarily dissolve these issues (a problem with Pedestal Feminism because the infallibility of humans means one is not a conduit for the complete dissolution of anything), it does give us a more expanded way to think about how, as a stage persona, she gives us more than the problems. It isn’t coincidental that the tour, among the projected images, lights, and pyro, includes images of Josephine Baker herself and of ZouZou as played by Josephine Baker. What does this have to do with Beyoncé and her weaves? Well, nobody today talks about Baker’s performances as anything but groundbreaking, for their time, both in terms of gender and race, even if—as always – American audiences were slow to catch on. One should also not miss the play on persona here in the invocation of Baker portrayal of ZouZou – who remains iconic for us today mostly through the performance where she sings in a gilded cage draped in risqué places by nothing but feathers or the famous banana costume, which was pearls and a skirt made from, you guessed it, bedazzled bananas. Here Beyoncé identifies herself with a performer who simultaneously played along with the rules of performance for black women, trading on her sexuality, but also exerted both a positive vision of black beauty and a powerful sense of artistic agency

Blue Ivy Carter and her father Shawn Jay-Z Carter

Blue Ivy Carter, her father Shawn Jay-Z Carter, and Kelly Rowland at the 2014 MTV VMAs

But I’m getting ahead of myself – what I want to pull into this conversation about beauty and black femininity is Blue Ivy, the Carters’ two-year-old daughter. I know, I know, we should really leave Blue out of it; she’s a toddler for God’s sake. But we haven’t left her out of it and this is perhaps the paradoxical gift that is the careful access that the couple grants the public to their daughter. There are those among us who have thought it would be funny to start a petition, admonishing Beyoncé for her neglect of Blue’s grooming. Yep. You read right, a petition, later defended as a joke, for admonishing a black mother for not combing her black daughter’s hair. Now, I grew up in a context where before I left the house, my hair had to be combed, and it also had to be combed before bed so the combing before leaving the house the next day would not be an ordeal for me, my mother, my father or whoever else had hair wrangling responsibilities on any given day. This is absolutely not to say my mother was anything like Pauline or Geraldine from The Bluest Eye, but somewhere along the way the idea that being groomed meant taming my wild hair was seeded in my consciousness. I was twenty-seven years old before I encountered a stylist who treated my hair on its own terms and showed me how to wear it for itself. For too long styling black hair has been about problem solving rather than just letting it be. Not even two-year-old babies are immune, church. When Beyoncé lets us see her daughter, we see Blue Ivy wearing her hair as it grows out of her head, naturally. Forgive the corniness, but as a woman who needs to travel from where she lives in the Midwest to Miami for her hair to be treated on its own terms, as hair and not a beast to be tamed, Beyoncé and Blue strike a beautiful contrast. As a woman who continues to sit in a stylist’s chair feeling apologetic for the problem that is her hair, Blue at the VMAs with her hair adorned by nothing but a headband is a beautiful thing. I could also talk about the beauty of the Carter’s portrayal of partnership and marriage, but that is for another day. I still have two points to go.

On to privacy. Sure, laugh if you will and criticize the arrogance that seems to belie Beyoncé’s room that contains “virtually every existing photograph of Beyoncé, starting with the very first frames taken of Destiny’s Child, the ’90s girl group she once fronted; every interview she’s ever done; every video of every show she’s ever performed; every diary entry she’s ever recorded while looking into the unblinking eye of her laptop.” But when you are done laughing and/or dogging her as self-centered and just too damn much, think about what such careful curating suggests about image control and the unprecedented power Beyoncé is able to wield over her own public image. I keep using words like image, persona, and portray, because what we see in pictures, on stage, and moving on screens are not these people. Beyoncé is in considerable control of what we see her persona as. We know that for Beyoncé in particular, the control of image production and dissemination is very important.

She, Kerry Washington, and Chimamanda Ngozi Adichie are very similar in this regard. I saw Adichie read last year and she refused to answer a question from the audience about her marital status. More precisely, when asked why she didn’t take her husband’s name – an un-African thing to do, according to the questioner—Adichie responded, “Next question please.” She later returned to that question and tackled the business of un-Africanness, contending that people are the dynamic forces that determine cultural practices and not the other way around. She also noted that had she been a male writer, no one would be asking her in that venue about her marital status. She never did confirm her marital status and never has, anywhere. For those so inclined (as I am) a Google search with the terms “Adichie husband” should satisfy your curiosity. That being said, when women like Adichie manage to eschew this kind of gendered scrutiny via access to her personal life, I am actually a little disturbed by the absence of any acknowledgement that this control exists, that they possess it. Where are the conversations about what it means for women to have this much image control, today, when other celebrities have so very little? With all the talk about white people Columbusing butts and braids, we are clearly thinking about the contingencies of who gets credit when a particular thing enters various locations in the mainstream public sphere, and under what conditions; why not see this in relation to the strategies of control that figures like Beyoncé and Adichie exercise?

What does it mean, when all things celebrity wedding are plastered everywhere (I mean enough of Lauren Conrad already!), for everyone, even those who don’t care to see, for Beyoncé and her husband to keep the images from their own wedding private? Slate describes that last seven minutes of the On the Run concert, where in a mash up of “Forever Young” and “Halo” the couple reveal never-before-seen footage of their engagement, their wedding, their pregnancy, the birth of their daughter, family vacations, as the best part of the show. The images are this striking because we had never seen any of it before. The concept of never-before-seen footage of the life of any celebrity, much less a pair of celebrities as famous as Jay and Bey, is becoming more and more rarer. How come we haven’t noticed that this couple not only keeps shit on tight lock, but that they are able to also capitalize on that privacy, and thus profit immensely from manipulating the demand and supply chain of our voyeuristic appetites? We had epic conniptions when Brangelina sold the rights for the first authorized image of their first-born, but somehow remain unable to think about what the Carters are doing with their control of their own image in the same conversation.

Screen Shot 2014-09-24 at 7.26.33 PMBut now we must roll on to the third thing about Sister Bey that I would like to help us think about in more flexible ways. The fear and anxiety attendant upon the horrendous breaches of privacy that is the public exposure of naked pictures is contingent on women feeling shame about their bodies. Indeed, it was this image in particular, bottoms up vulvas out, that gave me the most difficulty in joining Beyoncé and feminism together in my mind. I know too much about the dangerous objectification of women through their bodies to not be disturbed by what looks like a tremendously privileged woman objectifying other women and then having the nerve to call it feminism. Church, I know 3 PM is drawing nigh and we been here since 9, but again, this is why I needed to set feminism in the corner for a bit, so I could think about why the exposure of my naked body continues to be something I consider a weapon that can be used against me, a weapon whose destructiveness is triggered by shame.

Bottoms up, vulvas out 2014 MTV VMAs

Bottoms up, vulvas out 2014 MTV VMAs

Bottoms up and vulvas out, I argue, can be thought about as a way of demystifying, publicly, the shame associated with codifying respectability through the privatizing/hiding of bodies and the way that public revelation of private things (willingly and unwillingly) in turn equates to all things lewd, lascivious, and shameful. Should we dislodge this completely from the very real problems of the objectification of female bodies? Hell no. But are we not sophisticated enough to hold multiple things together at the same time? Are we comfortable with letting go of the insight to be gained in body shaming so that we can continue to decry objectification? As Elizabeth Plank said this past week, “Nude photos won’t go away. But we may be able to limit their power over use once women stop believing that their bodies can be used to punish them. Behind every successful women, there’s a naked body, and that shouldn’t be something that women should have to fear.” Butts up, vulvas out made me (sometimes still makes me) uncomfortable, but this is a discomfort that I need to be reflexive about. Without it, I might not think as hard as I am about the shame I sometimes experience about my own body. We need to examine the responses we have when we see things like the word vulva being used multiple times in one really long essay, when we see things like actual vulvas protruding in a concert performance for the VMAs. If we set aside a few things – like our sense of proper feminist posturing – and engage our own revulsion and anxieties about our bodies, Beyoncé might not have to disrupt business as usual with vulvas and pixilated screens that declare FEMINIST after the pole-dancing portion of the set-list.

The thing is, church (and I’m wrapping it up now), when we think about things together and as our minds allow, with a sense of simultaneity, we see that Emma Watson said the same things at the UN’s inaugural “He For She” campaign event last week that Chimamanda Ngozi Adichie said in her “We Should All Be Feminists” talk at a TEDxEuston event last year, a clip of which appeared this past spring in Beyoncé’s track “Flawless.” During the On The Run Tour, the track was always introduced by a Screen Shot 2014-09-24 at 7.14.56 PMbackdrop that declared FEMINIST in bright white. The portion of the speech that Beyoncé samples includes observations like “we teach girls to shrink themselves, to make themselves smaller. We say to girls: You can have ambition but not too much. You should aim to be successful but not too successful, otherwise you will threaten the man.” On stage with her husband during the tour, Queen Bey dramatizes for us how as a woman she can be dizzyingly successful, and dominate a stage, while sharing the spotlight with her similarly successful husband. Anyone who has read Morrison’s rendering of Pauline and Cholly falling out of love in The Bluest Eye can also understand why this equality is a powerful thing. Individually Bey and Jay make bank. Together? Shoot. I don’t have a word for what they make together. A public command of female sexuality is everything here, as is evident by this additional portion of the Adichie sample: “we teach girls that they cannot be sexual beings in the way boys are.” A part of this that is missing but is also in the talk and now available in print is the following “we police girls. We praise girls for virginity but we don’t praise boys for virginity (and it makes me wonder how exactly this is supposed to work out, since the loss of virginity is a process that usually involves two people of opposite genders.)”

So many of us learned that successful feminism relied on shifting how we socialize girls and boys and on being attentive to the healthy emotional development of boys before Watson delivered her message at the UN, because Beyoncé used Adichie’s words to declare her feminism. My point here is this: instead of thinking about whether or not we should let Beyoncé sit at the table, I find it much more productive to think about how she enables a more dynamic spread.

Nope. That Is Not A Compliment.

When characters like Olivia Pope can be wildly misread by prominent white critics, at length, in the paper of record, how far have Rhimes’ shows brought us? – Daniel D’Addario for Salon

I started reading Roxane Gay’s Bad Feminist a couple of nights ago. I haven’t gotten very far into yet, but I already consider it is the Gospel According to the Female Assistant Professor of Color. It resonates powerfully with me in so many ways, mostly because of personal and professional similarities I share with Gay. One thing I have been having trouble with, though, is Gay’s decision to claim bad feminism—that is, to marshal what I think is a productive interpretation of feminist identification under what I consider to be a negative signifier. I have not been able to understand why the thoughtful and self-affirming delineations Gay wants to make between her feminism and Feminism need to modified by the word “bad.” She might explain the negative modifier in a place I haven’t gotten to yet — no spoilers! — but up until yesterday’s web-based news cycle, the “bad” in Bad Feminist puzzled me. And then, a little birdie all the way from the my island in the sun put the name Alessandra Stanley in my ear and “bad” began to make sense to me as a term that engendered resistance to a status quo rather than a universal value.

Stanley, as a New York Times television critic, is no stranger to corrections. The piece I am discussing here appeared in the paper’s print edition on Sunday and you can read it for however long eternity means in the digital age. It is about a new show, produced by Shonda Rhimes, called How To Get Away With Murder. Full disclosure: until this show starts to get serious buzz, I don’t really care. I only gave in to the Scandal pressure last year when I got tired of not knowing what everyone else was talking about. I can’t stand not knowing what everyone else knows. What can I say? I am a know-it-all bandwagonist who has been on the tenure track for the last six years. Ain’t nobody got time to be picking up new TV shows. But I digress. As many outlets have noted, in ways I need not rehash, the very first sentence of Stanley’s piece alone conveys its tone deafness about Rhimes and an entire history of African American women on television. This much cited opening sentence reads, “When Shonda Rhimes writes her autobiography, it should be called ‘How to Get Away With Being an Angry Black Woman.’” Yes. I know. Let us linger here for a moment, shall we?

The phrase “angry black woman” is a volatile one that, among other things, polices black women’s ability to healthily experience and express an emotion that is central to human functioning. The suggestion that Rhimes should title her autobiography with a reference to a reductive and stereotypical autobiographical trope is not only heartily insulting to Rhimes but also delegitimizes the right of black women, as human beings, to the emotion of anger. Because why? It’s so negative, anger. Especially when it’s scary black ladies who express this emotion. What happens in the course of this article is that Olivia Pope, Dr. Bailey, and Rhimes herself are all reduced to (in Ms Stanley’s words) “the trite but persistent caricature of the Angry Black Woman, recast … in [Rhimes’] own image and made … enviable.” So here, folks, is where I see the value of the word “bad” in the Gay’s title. This is difficult for me to explain; it’s still murky in my mind, but this is why I’m trying to make a habit of writing about the things that make me go hmmm, weekly.

I would like to claim the right to express anger, and any other human emotion, without the totalizing baggage that essentializes it as reductive tool in the political and socioeconomic discrimination against black women among others. (As we have seen from recent events at the University of Illinois, black women do not have a monopoly on having their anger policed these days.) Underlying this desire, of course, is also a personal understanding of civility that requires me to express my anger in responsible and considerate ways. Allow me to model this for you: in this moment, as I think about the way Shonda Rhimes’ work is treated in the article, I am an angry black woman. I have every right as a human being to express this anger in productive ways, like writing a thoughtful blog post, without having it become the be all and end all descriptor of who I am as a human being. To claim my right to the full spectrum of human emotions, though, I must own anger in particular. To advocate for a fuller, more complex spectrum of feminist identifications, Gay must also claim those spaces Feminism remains historically reticent in addressing – the “bad” spaces. As I read Gay’s book, I’m sure I will want to think more about these spaces, but for now, suffice it to say, I not only understand but feel how the assumption of a conventionally negative descriptor can be a productive critical gesture of resistance.

Back to Stanley and what was meant to be a laudatory piece about Rhimes. It isn’t enough to say that Rhimes is responsible for a popular new slew of variously empowered black female characters, who are everything but the help, on primetime network television. For whatever reason, Stanley makes this contingent on Rhimes imbuing her black female characters with an anger that in turn enviably glamorizes them; Rhimes has made caricatured anger “enviable.” Read that last independent clause again and let it sink it. To be clear, it isn’t the ability to express anger that is enviable, but rather “the persistent caricature of the Angry Black Woman, recast … in [Rhimes’] own image.” Rhimes is the angry deity and all of these successful and well dressed ladies are created in her angry image. There is something perverse happening here. Stanley seems to be celebrating the opening of a space for black women to be glamorized, despite (?) being angry people. Nonetheless, it is an essentializing glamorization that doesn’t encompass the full humanity of which the label angry black woman, no less than the denial of anger in resistance to the label, deprives black women.

I think we can see some of the dimensions of this particularly complex irony clearly in the erroneous autobiographical basis on which Stanley builds the essay, from the very first sentence. You see, in the case of the new show, How to Get Away With Murder, Rhimes’ holds the title of executive producer and Peter Nowak, a writer for Rhimes’ production company Shondaland, is the show’s creator. Because we err on the side of generosity over here at difficult subjects, I will say this is an understandable slippage. Rhimes is huge right now because of her brilliant grasp of the kinds of drama and characters people want to see. Arguably, I suppose, this is also understandable because of the depth of experience and character she is able to create for black women on television. This successful, yet angry, black woman must only be able to create these characters out of the lived realities of her own experiences, right? It seems Stanley is also saying that as audiences, the only black women we are interested in watching are angry ones flawlessly draped with kickass purses and oh so gorgeous coats, right?

That is as far as I can go with the generosity business, though, because really, what the NYT piece comes down to is careless sloppiness that in turn reveals an insidious system for policing anger. Conflating Rhimes’ work with her personal identity falls too comfortably into the often erroneous conflation between autobiography and women’s writing. Yes, there is a basis for this conflation, but to treat experience as the sole determinant of anyone’s creative imagination is reductive and insulting. It is thus all the more troubling that what Stanley assumes about Rhimes, as a black woman, is that she is angry and, for this reason, she begets and glamorizes angry characters in her own image. As D’Addario suggests in the epigraph above, though, how worrying is it that a writer from an outlet like NYT can get not only a person, but a slew of television characters who are black women, so reductively wrong? As with too many instances of thoughtless (perhaps unintended) racism– like the cartoonist who this week thought it was funny to use an actual image of slave ship for a joke about contemporary air travel and instead of backing off when criticized and saying “Crap. I didn’t think about that long enough. I messed up” – Stanley digs her heels in: “The whole point of the piece — once you read past the first 140 characters — is to praise Shonda Rhimes for pushing back so successfully on a tiresome but insidious stereotype.”

This is where it gets really interesting for me. This writer, who says that she wants to praise the successful pushing back on the “tiresome but insidious stereotype,” also marshals Phylicia Rashād’s portrayal of Clair Huxtable on The Cosby Show as a foil to Rhimes’ protagonists: “They certainly are not as benign and reassuring as Clair Huxtable, the serene, elegant wife, mother and dedicated lawyer on “The Cosby Show,” she says. As if she has never seen that minute long scene that begins with “lemmie tell you something, Elvin…” I will give Stanley elegance, but benign? When? Clair Huxtable is every woman (cue Chaka Khan). The denial of the full spectrum of human emotion – human, not gendered, emotion – is the thing that really disturbs me about Stanley piece. It is a thing that always disturbs me. Anyone who has watched any episode of The Cosby Show knows Rashād gave us one of the most beautiful, gracious, accomplished, sequined strapless dress wearing, no blasted nonsense wife and working mother of five. She spoke different languages, she danced, she sang, she loved her children, she disciplined her children firmly, she had arguments with her husband, she schooled her sons-in-law on how to treat women equally as human beings, she had giggly sexy time with her husband. She expressed anger when she was offended, as the clip linked above shows, with grace and poise. She was a well-rounded human being. Neither “angry” nor “benign” can fully account for her. Fictional characters aren’t human beings, of course, but we need to acknowledge when their creators make them something more than one-dimensional stereotypes.

Anger is a tricky emotion, but is a necessary and human one. The fact that, historically, black women have been vilified for expressing anger should have given Stanley some kind of pause. What is offensive here is not only how anger, as an emotion, is deployed as an all encompassing, yet ultimately reductive trait of the entirety of tv show characters and of Rhimes as a human being, it is also the assumption that caricaturing the anger of black women – or in the case of Clair Huxtable rendering them benign – is a legitimate way to compliment anyone personally or about their work.

PS

With thanks to Kimmy. Because, Jah know, I did not know what I was going to write this weekend, and I am still not ready to tackle that time when Beyonce made the ladies face us with their vulvas at the VMAs. xoxo

Nope. We are Still Not Ready For This Jelly

In the past week, Vogue Magazine declared in an article headline, “We’re Officially in the Era of the Big Booty.” Patricia Garcia, the article’s author, credits first Jennifer Lopez for introducing us to big booty appreciation, then Kim Kardashian for helping us become more comfortable with full curvy bottoms, and then Jennifer Lopez again as our era’s preeminent big booty pioneer. Garcia also cites Destiny’s Child’s “Bootylicious” as a gateway track of sorts – getting us ready for when big butts finally become a mainstream thing and wotnot – but swiftly dismisses the song and video since “it would be another decade before people were ‘ready for this jelly’ to become the ultimate standard of beauty.”

Who are these “people” who needed the decade after 2001 to get ready for the bootylicious jelly? That women (and not only ones of colour) have long reveled in their possession of this particular asset seems conspicuously immaterial in the article. Also immaterial is that Sir Mix A Lot sang praises of the big butt, despite derision, in the hallowed halls of mainstream culture a little over a decade before Jenny From the Block appeared in the same sphere. This popular homage to buns also predates by two decades the moment when Kim Kardashian started facing us with her behind in selfies. I won’t talk about Iggy Azalea’s unreal proportions, because, as with Nikki Minaj, I can’t substantiate any of that, and puzzling the difficult subjects is not about throwing shade. Suffice it to say, I am thinking about how something African descended women have worn naturally for centuries – with varying degrees of swagger and shame – does not become “a thing” until white women begin flaunting their own equally naturally occurring derrieres. This isn’t about who wore it best or made it popular or acceptable, though. That is too simple and we do difficult subjects over here. Stick with me; I’m going somewhere.

Which brings me to the next stop on this journey. Also, this past week, on September 11, Danièle Watts, an African American actress best known for her role as Coco in Django Unchained, was handcuffed and roughly handled by a police officer for canoodling publicly with her boyfriend. By canoodling, I mean witnesses say she was straddling her boyfriend in a car, fully clothed in broad daylight. The officer said he received a call that folks were performing lewd acts in public, and insisted on Ms. Watts showing him her ID, a request she refused. I’m sure some would say there would be nothing to write about if she had simply shown her ID as requested. Given the too-many-to-wrap-your-mind-around incidences of racial profiling – too many recent ones ending fatally – I can understand why she refused and why she asked the officer if it was a race thing. But let us be clear, asking why she didn’t just show her ID is akin to asking why Janay Rice married a man who physically abuses her or why she stays with him. All of these are the very wrong questions that displace culpability unto the injured party and leave a destructively violent patriarchal status quo unchecked.

If you are also still hung up on questions of indecency and pubic lewdness – things like why she was straddling the man in public in the first place – permit me to cite another related incident involving three other black women who were perceived as behaving “inappropriately” in public. These women, a lawyer and two educators, in late last month were hanging out at The Standard Hotel in Manhattan. Their professional affiliation, I think, should be immaterial here, but as with the ID, various versions of “papers” are often required. The women spent some time in the hotel’s club and then settled in the lobby for drinks, where they were approached by an African American man who introduced himself to them. Shortly after a security guard approached, whispered something in the man’s ear and ushered him away. One of the women, Kantaki Washington, said the following of the incident: “After the security guard ushers the brotha away, he comes over to me and my friends and says, ‘Come on, ladies. You can buy a drink but you can’t be soliciting,’ … ‘We were like, soliciting?’ He said, “Don’t act stupid with me, ladies. You know what you’re doing. Stop soliciting in here.” If you missed it, the guard, seeing three African American women talking to a man in a bar, was unable to imagine any other logic for this scenario beyond prostitution. These women had to be selling their bodies. Let’s bring this back to Ms. Watts and whatever this adult woman was doing in a car, fully clothed, with another adult. The police, and perhaps whoever called in the report, seem to have made assumptions about Ms. Watts similar to those that The Standard’s security guard made about Ms. Washington and her companions. Black female sexuality is not only automatically equated with the clandestine; in these two instances it is also criminalized.

But I’ve really cited these two seemingly unrelated things, the Vogue piece on bottoms and the harassment of black women by the security and law enforcement, to think about how to process something else that’s been on my mind: Lifetime’s new reality show Girlfriend Intervention. Briefly, the show features four black women, who each week stage an intervention for a white woman the show dubs a “BW” or “Basic Woman.” The basic here is meant to be derogatory; as one of the show’s hosts explains, it is how women who are unable to keep up with themselves and those around are described “in our culture.” Think about this show as TLC’s What Not To Wear meets Bravo’s Queer Eye for the Straight Guy, but with four black women who will tell you, bluntly but with love, what all the other suburban moms (read white women) are thinking but won’t say. There is a platform/runway where the individual being helped via fashion intervention is critiqued by the show’s hosts for her wardrobe choices, and there are four areas (fashion, design, hair/makeup, and soul) in which the four differently skilled individuals help dig some poorly dressed schlub’s confidence out of the trenches. In Queer Eye the style mentors were gay men; in GI they are black women. Those being helped on GI are always white women, because as the show’s tagline suggests “trapped inside every white girl is a strong black woman ready to bust out.” Shall we linger briefly on the “girl” versus “woman” here, and all the attendant implications for maturity and capability to function? I’m going to put the Mammy card on the table now, to signal that this show does deal heavily in problematically essentialized racial and gendered stereotypes, particularly ones that determine how women of different races are situated culturally in relation to each other. But again, like the matter of who wore big butts first and best, binaried and hackneyed frames will only get us so far in thinking about what is going on in this show. So let the Mammy card sit in the corner for a little bit.

You see, it is too simple to say this show is all bad. Its reclamation of non-traditional standards of beauty – full figures, post-baby and mommy bodies, for example – through black female bodies and sexuality, is a powerful thing. When Tracy (hair and make up) tells a young wife and mother, whose confidence has flatlined and who disparages what she calls her “baby area,” to look at herself in a mirror sans extensions and makeup, and then asks her “do you understand how beautiful you are,” it is a powerful and countercultural thing. It is a gesture that forces the BW to recognize herself as beautiful before any of the make-up brushes and hair extensions come out. The show is also body positive in ways I can completely appreciate. In the premiere, when Tiffiny and Tanisha say a size zero androgynous mannequin that is prominently placed in a store’s window is not “equal opportunity,” it speaks an emotional truth about the struggles the many women who cannot wear mannequin clothes have with dressing and feeling comfortable with themselves. There are real feel good moments here, especially when the BW seems to begin experiencing very real and life-changing confidence boosts. The four girlfriends are good at what they do. All four also have different body types, none more or even less fabulous for their variation. This also sends a powerful message about standards of beauty, reclaiming glamour as a space of equal opportunity.

Ultimately, though, the show’s overly simplistic version of sisterhood, which is marshaled via thickly laid references to the hip-hop gods, what white women do versus what black women do, and girl talk over pink drinks in martini glasses, traffics too heavily in the same problematic stereotypes that overshadow the good the women do for their BWs. The positive affect associated with offering counter-narratives to traditional standards of beauty does not automatically equate to good politics. So, while Tanisha, Tracy, Tiffiny, and Nikki are teaching white women to reclaim their sexuality and become more confortable with their bodies through burlesque or salsa dancing, what has last week’s example of Ms. Watts and Ms. Washington taught us about the lived reality of black women who publicly express varying degrees of their own sexuality? What these events have taught us is that black women’s sexuality – when expressed by black women – continues to be cast as lewd and indecent. When looked at alongside GI, however, a commodified version of black women’s sassy sexuality is raced as a “sista thing” available to white women who get inducted into the sisterhood. It does so, moreover, in a void that renders this raced sense of confident sexuality as an entirely unproblematic thing. Black women in America are safe in their public expression of no-nonsense confidence and sexuality, right? Wrong. What happened to Ms. Watts and to Ms. Washington and her friends is evidence of a very real lack of safety.

What does it mean then for white women – like the show’s BW’s, Miley Cyrus, Iggy Azalea, and now even Taylor Swift – to mobilize elements associated with black femininity for their own benefit and commercial success? What does it mean to put black women in charge of facilitating this phenomenon? Further, what does the successful mobilization of black culture by white women mean when compared to the criminalization of black women who are simply trying to exist, publicly, in their own skin? What does it mean to render white-girl problems as fixable by equally essentialized black-woman solutions? Why is a show in 2014 rendering white women as children that only black women can take care of? Do I need to make the connection between the infantilizing of women and the paternalistic ways women’s bodies continue to be treated in political and economic policy? Moreover, what does it mean to make feminine salvation/transformation contingent on the acquisition of consumer goods – a home makeover, new clothes, hair extensions?

Over at Girlfriend Intervention, they did get the memo that African descended women have proudly worn prominent behinds as “the ultimate standard of beauty.” Nonetheless, this knowledge only seems to matter when it is pressed in the service of white female self-improvement – who um, surprise (!), also come well endowed, posteriorly.