Pop Smoke’s very New York rise

Originally published for Fader Magazine. Photos taken by Ibrahem Hasan.


On October 12, Rolling Loud — the self-identified “largest hip-hop festival in the world” — was scheduled to make a triumphant debut in rap mecca New York City. That Saturday morning, however, there was a change of plans: five acts had been removed from the lineup at the behest of the NYPD, who cited “public safety concerns” and local rappers’ alleged affiliations with “recent acts of violence citywide.”

The artists in question — 22Gz, Casanova, Sheff G, Don Q, and Pop Smoke — are at the forefront of New York’s bustling drill scene. With roots in Chicago, New York drill is an aggressive, youth-driven rap sound that frequently juxtaposes somber, refracted trap instrumentation with intense, live-wire lyricism, buoyed by the heaviness of the patented New York accent. Drill has been on the rise in the five boroughs for years, and dominated the city this summer.

No song better exemplifies the raw grit, energy, and reckless potential of a New York summer than Pop Smoke’s “Welcome to the Party,” a street track that quickly shot to several million views on YouTube. Veering between taut, pithy phraseology and panoramic storytelling, the ominous opening melody made any occasion five times more lively regardless of the venue; to date, I’ve heard it played at a house party, brunch, the club, an Afrobeats concert, and on my block in East Flatbush. Once the track was supplemented by official remixes from people like Nicki Minaj, French Montana, and Skepta, it was indisputable: The summer belonged to an upstart who came onto the scene only about a year ago.

Despite his rapid ubiquity, Pop Smoke only found out the day before the festival that he wasn’t going to be able to perform at Rolling Loud. (Rolling Loud declined to comment, although they have publicly stated that they paid the banned artists their full booking fees and offered them spots at other iterations of Rolling Loud across the country.) “That was a bummer,” Pop Smoke tells me when we first meet. It’s ten days after Rolling Loud debacle; he was supposed to perform this evening at Powerhouse Live, the pre-party for local hip-hop station Power 105.1’s annual Powerhouse concert — but his set was again cancelled the day before, seemingly because of the NYPD’s intervention into Rolling Loud. “The radio knows not to say my name no more,” he says.

Pop Smoke’s very New York rise

This kind of censorship due to police interference isn’t a newfound phenomenon, even as it pertains to drill. In Chicago and London, the music has become another source of tension between law enforcement and the communities they are expected to serve, creating moral panics that are frequently debated in the public sphere. Chicago artists have consistently fought being linked to spikes in violence in the city’s South Side; in London, Metropolitan police commissioner Cressida Dick said in a radio interview that “We have gangs who make drill videos and in those videos, they taunt each other. They say what they’re going to do to each other and specifically what they are going to do to who.”

British authorities went so far as to charge two artists for performing their own songs; years before drill’s current mainstream moment in New York, Flatbush’s own Bobby Shmurda was arrested in 2014 and eventually accepted a plea deal. At one press conference, NYPD Assistant Chief James Essig described the music of Shmurda and his friends as “almost like a real-life document of what they were doing on the street.” Casanova went on Instagram the morning the Rolling Loud cancellations were announced to express his frustration, typing, “I JUST WANNA LIVE. My last felony conviction was 2007. I lost everything I ever loved and I’m STILL losing.”

Pop Smoke’s life story is one of resilience, and not even the NYPD will deter him from claiming his title as King of the Summer. When we meet at St. Bartholomew’s Church after a photoshoot, I’m warned that he’s dealing with some “rough personal news” he isn’t willing to disclose, and that he may not be in the best of spirits. But by the time he approaches me, he possesses a cocksure demeanor and charm that matches nicely with his signature diamond-encrusted nameplate chain. With his Power 105.1 performance nixed, we go to dinner at Philippe Chow’s, his longtime friends Trav and Ace tagging along. “What’s your name? You like Starburst gummies?” he asks, smiling and hugging me before putting me into a cab.

Born Bashar Jackson, the 20-year-old Pop Smoke was raised in Brooklyn’s Canarsie neighborhood, a southern corner of the borough with a predominantly West Indian presence. He grew up in a Panamanian household with a strong female presence and had an early love of sports, playing baseball, football and basketball. This natural aptitude for sports enabled Pop Smoke to go to prep school in Philadelphia at the age of 15 on a full scholarship — but trouble found him after about a year, and he returned back to his home turf.

“You can take the kid out the hood, but you can’t take the hood out the kid,” he says. “I went to go get some food [in Philly]… these guys were in front of the corner store, I walk in to the spot, they said some crazy shit to me, and we just end up rumbling.” Returning to New York, his hoop dreams ended. “I thought I was gonna go to Howard, go over there and join a fraternity,” he says. “It wasn’t always rapping. Who would have thought I would be a rapper?”

Pop Smoke’s very New York rise

In just under a year, Smoke has had a career boom that many artists have never come close to accomplishing. He picked up a microphone for the first time while arranging the track “MPR” over a beat he discovered online by East London-based producer 808Melo, beginning a close collaborative relationship between the two. “I knew it hit because it got leaked, and when it leaked, everybody was jacking the song,” he says. “And when it hit I was like, Yo, we got something here, and I kept going.”

Since then, he has continued to set in motion a cadence of new music releases that have rippled throughout the New York street scene. Songs such as “Meet the Woo” and “Flexin’” all buzzed online, but it was “Welcome to the Party” that crested over and into the mainstream, bringing New York drill into the limelight.

Pop Smoke now finds himself at the cutting edge of a local rap movement largely composed of young men from outer-borough neighborhoods overwhelmingly populated by various parts of the Black diaspora: East Flatbush, Canarsie, Jamaica, Brownsville. This environment has deeply informed their soundscape and aesthetic, building from a base that goes back to 2milly and GS9 with the “Milly Rock” and the “Shmoney Dance.”; lyrics by New York’s drill rappers reference not just the sets and neighborhoods they proudly represent, but the parlance affixed to the households they grew up in.

On “Meet the Woo,” Pop Smoke raps, “I turn that boy to a duppy” — a patois word for a malevolent spirit or ghost, whipping the phrase around with his distinct gravelly timbre. Even the moniker Pop Smoke is partially borne of his familial heritage; his grandfather gave him the nickname Poppa, and it stuck. The assumed surname Smoke came from the streets, where he was called “Smoke Oh Guap.” In his eyes, he says, there isn’t a distinction between one family and another.

When I ask him how his immediate family feels about his sudden fame, he looks around the table at our corner booth in the modern, bustling Beijing-style restaurant in Midtown Manhattan, pointing at his two boys. As we pick from platters of satay, lobster, prawns, and bok choy, they’ve been comfortably interjecting into our conversation and bantering about everything from music to parties to debates about eating ass. “This is my immediate family,” Pop Smoke says.

Pop Smoke’s very New York rise
Pop Smoke’s very New York rise

Having reciprocal experiences rooted in being part of an emerging class of predominantly first-generation, third culture children, it’s understandable — if not expected — that the through line to New York’s drill runs strongest not from Chicago, despite having deep respect for their musical forebears, but the UK. Like their peers in London, New York drill rappers are generating a musical output that owes to their cultural lineage, while also holding a magnifying glass up to the streets where they grew up. But for Pop Smoke, associations with drill, while itself a diverse soundbase, overly simplify what he considers his art to be. “I make gangsta music,” he clarifies. “Bitch I’m a thot, get me lit. That’s not drill. Y’all know what it is, but that’s not drill. When you think of drill it’s like, Pull up we airing it out.

The “air it out” aesthetic, as he refers to it, can nonetheless be heard in songs of his like “Flexin’,” where he pushes air out of his chest in a rapid, aggressive cadence that can feel like the lyrical analog of a rapid-fire weapon. But he easily weaves from that approach to talking about fashion, women, and money in a manner that comfortably creates a linkage between him and New York’s most infamous antagonist of the early aughts, 50 Cent – his song “PTSD” sounds, at points, almost eerily akin to the cadence of the South Jamaica, Queens, bred rapper.

The life cycle for each new Pop Smoke song starts with him stepping in the booth and defining the vibe; he laid the foundation for “Welcome to the Party” in around 30 minutes. It’s a skill that has emerged from his natural banter; at dinner, before discussing a recent sexual encounter with a woman at a local party, he leans back into his seat and, with a tenderness in his voice, simply says, “Yo, different, bro. Different.”

“Everything I make just be like, vibes,” he explains. “Yesterday I made a song called ‘Drive the Boat.’ I just made it cuz I seen a girl go like that” – mimicking the motion made popular by Houston-based rapper Megan the Stallion – “talking about ‘Drive the boat.’ About to drive the boat with the liquor. So I’m like, hey, I just made a song called ‘Drive the Boat.’ I gotta have some inspiration. That’s when the best music comes up for me.” Regarding the track “Dior,” he simply states, “When I made that I had just got on Dior.” I teasingly reply that he was decked out in Gucci earlier today, to which he quickly replies, “Double G, niggas know there’s only one of me,” lyrics from his brief album cut “Hawk Em.”

As Pop Smoke gets bigger, and with the NYPD already deeming him a danger, he may find himself juxtaposed against the rise and spectacular fall of Tekashi69, the most recent superstar come out of Brooklyn. But there’s a world of difference between them: Tekashi offered a curated narrative, accelerating quickly into cultural relevance by performing the allure of a lifestyle that he only ever participated in by proxy, while Pop Smoke is parsing apart a lived experience highly relevant to a homegrown fan base that’s invested in protecting him from the authorities’ obstructive power.

Pop Smoke’s life — from his songs down to his every interaction — is an exercise in discerning what can be safely shared under constantly surveilling eyes, even as he engages in the many indulgences of a young cis adult male with minimal impulse control (despite it being 2019, him and his friends haven’t received the memo on the abundant use of “no homo” and “pause” in casual speech). Take the title of his album, Meet the Woo: Over the past year, he has replied slyly when asked what “The Woo” stands for. One day it’s about being flossy, the other it’s purely a dance move, akin to 22Gz’ Blixky Twirl (a quick glance at the Youtube comments section from lifelong New Yorkers will make it plain that there’s more to the dance than just a sequence of steps). Over the course of our conversation, when I begin to mention how most born-and-bred New Yorkers (especially from the outer boroughs) know that such references are to real things, he looks on with a slight twinkle in his eye and simply replies, “That’s a real thing?”

Pop Smoke says that he’s relatively unconcerned about his threshold for exposure, but still talks cryptically about the lifestyle that he and his friends grew into. “We ain’t have nothing else to do,” he says. “What’s already understood don’t gotta be explained. We been there done that already.” He points out that he’s getting money now: “Beef — talking to people that don’t really have anything going for themselves — doesn’t really help you get any money. It’s just potential bail that you have to pay. Know what I’m saying? We’ve been there already, we not trying to go back to that.”

Still, that hasn’t eliminated their interactions with the authorities. He points out the vast swath of luxury cars that he and his crew have acquired, recalling some extreme measures that he and his crew took to make it to a performance with French Montana in the Bronx: “That nigga did some shit, bro,” Smoke says. “We got there on time though,” Trav responds. “We got there before French!” Pop readily confirms, putting on his best French Montana impersonation. “He said, Pop! What y’all up to, bruh?’ I said, Nigga, if you wanna know what we just did just to get here? He said, Hey man, y’all niggas crazy, man. Y’all niggas just crazy. Park that shit up, get in the car.” Pop chuckles, adding, “I love French.”

Pop Smoke’s very New York rise

The respect seems mutual. French, who says he’s always watching for new talent coming out of his hometown, has been one of the major cosigns as Pop Smoke has risen. “He was buzzing out of Brooklyn and it sparked my radar, same way it did with the whole GS9 movement,” French tells me. “I just remember how I felt when Jadakiss heard my song and jumped on it. I always want to be able to do that for other up and coming rappers like he did for me.” He adds: “When you make it out of New York, you can make it out of anywhere. When you make it out before anyone really knows you, that says a lot about you.”

Earlier, over our crustacean-filled dinner, French graced the table with his virtual presence, FaceTiming with Pop to briefly discuss a potential track with “Welcome to the Party” producer and frequent Pop collaborator 808MeloBeats. After promising to send him a pack of beats, Pop asks French about a far more pressing concern. “You told Drake about me? What he said? He said he jacking it?” he asks. “Hell yeah!” French replies from Los Angeles, where he was attending Drakes 33rd birthday party. (French gifted Drake a $175,000 diamond-encrusted bracelet). “That’s love,” Smoke says back. “You already kicked it off. If you and Drake get on some shit…”

A feature from someone like Drake would put Pop Smoke on a different path moving forward. He exploded on the scene without much more than the range of his vocal inflections and the army of friends behind him in every video. “That was my goal — do it by yourself, beat the odds,” he says. “Cuz when you do it by yourself, it hit different. I always knew, Imma be a millionaire. I always knew I was gonna have bread. I always was good with knowing how to talk, knowing how to hustle.”

Pop Smoke takes out his phone and shows me a video clip of his performance in Albany on Instagram. “The love that I’m getting…where we come from, I never really felt love like that.” The remainder of his Instagram, though, is surprisingly sparse for a Gen Z artist, primarily serving as a promotional vehicle for his work. Having previously said that the internet is “federale shit,” he clarifies, “I’m not into what comes with it. The internet is fire.”

Part of this reticence may be influenced by his first brush with online notoriety, which came in the form of an infamous video that went viral on WorldStarHipHop in 2012. Titled “Young Crip Gets Slapped by NY Bloods After Taking Out Beads,” the video shows a baby-faced, 13-year-old Pop Smoke being taken advantage of by people in East Flatbush who used the power of public humiliation against him. Almost seven years later, the first upload on his official YouTube channel remains eight seconds long, and is simply titled “POP SMOKE SMACKS OPP SHAPOW!!!!” In part of the description, it states, “Now tables turned and Pop Smoke shows the Blood member how you really shapow somebody.”

As the evening comes to a close, we’re approached by our server with a modest request; the man’s son, who also works at the restaurant, wants to take a photo with Pop Smoke. Rattling off “PTSD,” “Scenario,” and “Dior,” as his favorite songs, he earnestly proclaims that his day doesn’t start until he has a chance to ride his bicycle while listening to Meet the Woo.

That Saturday night, Meek Mill stepped out onto the Powerhouse stage at New Jersey’s Prudential Center; during his set, he brings out Young M.A, one recent New York rapper to enjoy freedom from the NYPD. But the energy completely changes when Meek manages to sneak Pop Smoke to perform both “Dior” and “Welcome to the Party.” With the entire stadium in lockstep, Pop Smoke and his crew perform his summer smash for the greater New York area’s last major festival for the rest of the year. The message is clear: the NYPD can do what they want, but New York City isn’t leaving Pop Smoke’s side.

Kamala Harris and the fallibility of identity politics

Originally published for Vox Media.


National campaigns are, first and foremost, an exercise in storytelling patterned after well-known themes — David versus Goliath, the Haves versus the Have Nots, the fearless vigilante for justice. It is rarely the case that a candidate is unintentionally placed on a presidential track of any party; it’s a path years in the making, a confluence of strategic decisions, affiliations, and opportunities for high-profile moments. Whether a candidate’s messaging holds, however, is subject to whether it tracks with its target audience.

Which brings us to Sen. Kamala Harris. Harris’s national odyssey commenced in 2012 when, as California’s attorney general, she gave a brief speech endorsing then-President Barack Obama for a second term at the Democratic National Convention. When she ran for Senate in 2016, Obama gave her an endorsement of his own. The self-ascribed “top cop” rhetoric that originally came into national parlance during her congressional race (and has been a pain in her side ever since) was quickly subsumed by a newfound reputation of “unflappable truth advocate” once she was elected and went viral for handing it to Jeff Sessions in a committee hearing. By the time she made her 2020 presidential announcement in January, she was riding on both a “nevertheless, she persisted” narrative and bona fides that harked back to the characteristics of the Democratic Party’s golden child, Obama. Harris had positioned herself as not only the most accomplished Black woman to ever run for executive office, but seemingly the most electable candidate.

In a post-Obama era, she also appeared as a close facsimile of many of the characteristics that made Michelle Obama so adored not just by Black women but women in general (she even earned Hillary Clinton’s support). And throughout the ensuing 11 months, one word anchored her campaign, officially called Kamala Harris for the People: identity.

But, ultimately, banking on identity wasn’t enough.

Kamala Harris speaks to Amos Jackson III, Executive President of the Howard University Student Association, and Mara Peoples, Executive Vice President, after announcing her presidential candidacy at her alma mater, Howard University, on January 21, 2019.

Because aside from being a Black woman and former prosecutor with ties to Obama, many still wondered: Who is Kamala Harris? Is she a “cop” or a reformist? Where did the former prosecutor stand on advocating for Black issues, especially when it came to criminal justice in the Black Lives Matter era? What were her tangible positions on health care? The debate stage, instead of serving as the platform to consolidate her message, accomplished the inverse. Save for early parries with Joe Biden on school segregation (that she later chose to partially renege on), her talking points largely coalesced around indicting the sitting president, and even provided openings for more marginal candidates such as Tulsi Gabbard to capitalize on the dissonance that undermined any attempt at progressing her campaign. Her team seemed unsure of which Democratic voters to try to court first — and weren’t successful in courting those who hadshifted further left since Obama and were no longer moved by charismatic messaging that wasn’t underpinned by clear substantive policy.

This failure to significantly shift accordingly rendered itself in the polls. Despite having a fundraising war chest that rivaled former Vice President Joe Biden’s throughout the entirety of her presidential bid (granted, Sens. Elizabeth Warren and Bernie Sanders have had higher fundraising numbers), Harris never polled higher than third place, falling to fourth after being surpassed by Warren and, most recently, falling to fifth due to a recent spike in Pete Buttigieg’s campaign going into Iowa.

Ultimately, underscoring her identity generated mixed results — in the waning weeks of her campaign, only 4 percent of Black voters polled identified Harris as their first choice.Butit didn’t stave off efforts to leverage the groups in which she shared kinship — Black voters, women voters, Indian American voters, and first-generation voters — to the magnitude that she could maximize the utility of “identity politics.” Which surprised many: In a world where the threat of the Trump administration looms large over our most marginalized, who seemed a better advocate than a candidate who represents those demographics that are most at risk, paired with the skills to prosecute criminals?Advertisement

Therein lies the seductive appeal of identity politics, as well as its fatal flaw: stripping the complex nuances of the individual in favor of assigning representative moral value based on a singular characteristic of a collective group. Harris is not going to engender fealty from Black voters simply because she is a Black woman, just as her career as prosecutor — which includes a contentious truancy law and her office arguing to deny early release for prisoners — wasn’t going to turn off all Black voters, either. Applying universal claims in a vacuum denies them both power and context; saying that you have the power and skill to put the current president behind bars, for example, while certainly gratifying to anxious Democratic voters, loses its teeth when you are reminded that the same skills are used to facilitate this country’s race-based mass incarceration system.

Her campaign’s ultimate decline followed a perfect tempest of several events: unremarkable performances during recent debates coming on the heels of flubs during criminal justice conversations, and declining polls going into Iowa that correlated not just with attacks from opponents in the media and the political field, but a perilous lack of financial ad-buying power. The latter, courtesy of the 24-hour 2020 presidential cycle, gave way for the revelation of the rumored months-long turmoil that had been building within the campaign, including mismanaged budgets and frustrated staffers.

When challenged on her prosecutorial record during her Senate race, Harris and her advocates pointed out that as a Black woman, “you’re held to a different standard,” a rejoinder that has resurfaced now that she has suspended her campaign. This is correct on its face, but it’s unchallenging to link the trigger of her campaign’s demise to groups that circulated viral cop jokes; history is not set in motion by a singular event. Confronting race and gender bias shouldn’t belie the fact that her record and inconsistent voice mattered to a swath of voters she was expected to attract — and she ran out of budget to work to substantively shift that perception. While identity politics tends to trade in pathological assumptions of behavior, again, Black voters or women voters are far from a non-differentiable monolith.

So when you list the demographics of the other candidates that remain — not just race and gender, but also wealth and experience — it can be tempting to view Harris dropping out as a fundamental injustice. But the calculus isn’t as simple as who remains and who does not. Harris had to choose whether or not to exit the campaign before a verdict of her viability could be rendered for her in her own home state. As such, Harris is less of a martyr to inequity than someone who made a strategic decision to regain control of the remainder of her political career, which, by all measures, should be enduring.

Ultimately, Senator Harris will be fine. And while it is understandable for her ardent advocates to lament what could have been, her $10 million in remaining funds will likely be used for preparing for the upcoming Senate reelection race or a plan to return to the presidential scene in 2024, re-energized, re-focused, and without the blemish of a formal primary loss on her record.

In every defeat there are lessons to be learned. For her largest advocates, the wound of realizing that their shared kinship was not as widespread as initially conceived may take a while to heal. But our obligations as voters demand that we hold our favored candidates accountable to the commitments they make to their constituency, and push them to understand what representation really means in 2020. This includes listening to the policies constituents want, and not only grasping but representing a new rubric of fighting for justice.

Kanye West and the Cult of Personality

Originally published for the New York Times.


When Kanye West’s “Jesus Walks” was released in 2004, the song was praised for boldly bringing discussions of faith into hip-hop. Fifteen years later, Mr. West’s contemporaries continue to speak of its impact. In the first episode of “Hip-Hop: The Songs That Shook America,” an AMC docu-series that premiered Sunday, the singer-songwriter John Legend said, “Kanye made it O.K. to talk about your faith in songs that weren’t Christian songs.”

It is this persistent reverie and good will for “Jesus Walks” that Mr. West has banked on since starting Sunday Service, a series of obliquely religious pop-up gatherings featuring a gospel choir (usually wearing attire from the rapper’s clothing line Yeezy) this year.

The set lists fluctuate from week to week. But the linchpin of the productions, which segue from traditional songs of mercy and salvation to bolder reconfigurations of modern secular hits, is in that subversive single from his debut album, “The College Dropout” — the artist jubilantly recites the final verse of the song, flexing his cadence in lock step with the choir.

On an invitation-only basis (or in the case of Coachella last April, the price of a steep festival ticket), the select few present at these gatherings get to rub shoulders with the likes of ASAP Rocky, Chance the Rapper, Brad Pitt and other high-profile entertainers while partaking of the “exclusive” experience. The events serve as a transparent attempt of Mr. West to fundamentally regroup himself within the context of religion after an extended run of willfully courting salacious controversy, whether it be for an unsolicited dressing down of Taylor Swift, his wearing of a MAGA hat or a contentious TMZ appearance in which he claimed that slavery was a “choice.”

But the endeavor reads like a blatantly self-serving appropriation of black faith traditions, and the Sunday Service performances are in fact little more than concerts trading in aimless aphorisms and the cult of Mr. West’s personality — so much so that it has become a running joke that he’s running an actual cult. Black Christians have expressed skepticism about his intentions, and the rapper’s past comments about how he views the relationship between hip-hop and church provide reason for their concern.

“Hip-hop is a religion to a certain extent, and the rappers are the preachers, the music is the scriptures, you know?” Mr. West says in an archival clip resurfaced in the docu-series. “It’s just like church, because you go to a concert, you raise your hands in the air, you sing songs and you definitely pay some money. It’s just like church.”

Choir members performing with Kanye West in Indio, Calif.
Choir members performing with Kanye West in Indio, Calif.Credit…Rich Fury/Getty Images

The description of Sunday Service provided by his wife, Kim Kardashian West, during an appearance on “Jimmy Kimmel Live” doesn’t help: “There’s no praying, there’s no sermon. There’s no word. It’s just music, and it’s just a feeling.”

The reduction of the black faith tradition to “just music” is precisely what has become of a similar profit-making endeavor for some black places of worship. For nearly 30 years there have been Sunday church service tours of Harlem landmarks such as Mother African Methodist Episcopal Zion Church (New York City’s oldest black church) and Abyssinian Baptist Church, with foot traffic accelerating at the turn of the century. Tourists pay concert ticket prices to enter into a hallowed spiritual ground for a glimpse of a famed choir, as opposed to consuming a spiritual service and grasping the significance of the churches’ histories. Gospel is reduced to a commodity, as opposed to a legacy.

That tension was said to be evident in Mr. West’s grandstanding performance at the Greater Allen African Methodist Episcopal Cathedral church last month, which occurred during a confusing promotion for what is supposed to be his forthcoming album, “Jesus Is King.” (The album was slated for release Sept. 27, but has yet to be made commercially available — although a complementary documentary of the same name is to open in IMAX theaters Oct. 25.)

The early, more conventional musical invocations of praise and faith from the choir gave way to a freestyle performance, as Mr. West claimed to be a rapper “with a purpose, not just for surface.” The choir, filling in the first few pews of the church as opposed to the traditional positioning on the stage platforms, reacted exuberantly, dancing, jumping and engaging in unison while the churchgoers — several of whom reportedly walked out — looked on.

Kanye West is mining black faith traditions for his music.
Kanye West is mining black faith traditions for his music.Credit…Getty Images

These performances have helped grant Mr. West a certain grace that, it should be noted, has not been afforded to artists who have been maligned for similar sins of a smaller scale, such as Chrisette Michele, a singer with gospel roots who in 2017 was widely criticized for performing at President Trump’s inauguration. Clips of Sunday Service have been circulated online with enthusiasm and proclamations as though he were breaking new ground in music.

But a mash-up of a gospel song with an R&B song — Ginuwine’s romantic slow-jam “So Anxious,” for one — is hardly novel. (Kirk Franklin and other gospel artists have been remixing secular songs in church for years.) Likewise, with “Jesus Walks,” Mr. West was just one of several rappers — including M.C. Hammer, Diddy and DMX before him — to usher in a cycle of faith exploration in mainstream hip-hop, as Billboard’s Naima Cochrane and others have pointed out.

Even if “Jesus Walks” isn’t as wholly original as his peers would have you believe, there remains a power in the song’s origins that seems to have been lost today. The Addicts Rehabilitation Center Choir, led by its founder, James Allen, recorded “Walk With Me,” an arrangement of a gospel hymn, in 1997. In “The Songs That Shook America,” a choir member says that they were singing for their lives as they originally performed the song.

It’s a distinct call of faith and conviction, the essence of which Mr. West, at his best, distilled into the hook of “Jesus Walks” in 2004, which samples “Walk With Me”: “God show me the way, because the Devil’s trying to break me down.”

When viewing clips of Mr. West’s performance of the song during Sunday Service halls, however, it registers as a facsimile of the sentiment and legacy it once represented, a mere interlude for conveying nondescript “God is love” statements or defensive, egotistic rants. During his recent service in Salt Lake City, he railed against those who have criticized him for his friendly relationship with President Trump and the Republican Party: “I ain’t never made a decision only based off my color. That’s a form of slavery, mental slavery.”

Iconoclasm, even at its most crude execution, typically runs afoul of the conventions of religion. If “Jesus Walks” is a song that he created to focus on the sins of man, as his co-writer Rhymefest (born Che Smith) has stated, his first reckoning should be with the paradox of spreading the farce of original thought as dictated through the filter of the church of Kanye West.

Is Tyler Perry’s Historic Studio More Than A Representational Facade?

Originally written for OkayPlayer.


In June 2019, Tyler Perry received BET’s Ultimate Icon award for his substantive work in a notoriously walled-off film and TV industry. While accepting this honor, Tyler shared a few words, proselytizing about the need to pay it forward via the self-coined maxim “help them cross” — his most momentous instance of such an act being the then-forthcoming establishment of Tyler Perry Studios at what was once called Fort McPherson in Atlanta, Georgia. The studio had its grand opening on Saturday.

“That studio was once a confederate army base,” he said during his speech. “Which means that there was [sic] Confederate soldiers on that base plotting and planning on how to keep 3.9 million Negroes enslaved. Now that land is owned by one Negro.”

Spanning 330 acres — it can reportedly fit the lots of Disney, Warner Bros, Paramount, Fox, and Sony with room to spare — it’s hard not to be awed at the scale. Headline after headline reiterated the apocryphal narrative of Perry opening the “first ever Black-owned studio” — a title actually reserved for Black film director and independent producer Oscar Micheaux in the early 20th century (who Perry himself has been in talks to portray), although Perry is now the only Black-owned production facility in America. Throughout the grand opening, a caravan of Black Hollywood’s finest descended on the red carpet and paid their dues accordingly. The celebration was the manifestation of the final words Perry offered in his Ultimate Icon speech: “While everybody was fighting for a seat at the table talking about #OscarsSoWhite, #OscarsSoWhite, I said, ‘Y’all go ahead and do that, but while you’re fighting for a seat at the table I’ll go ahead and build my own.’”

There’s a dangerous line, however, between conflating individual attainment with largesse, and it’s a common failure with using Black Capitalism as a panacea for social ills. The proverbial rising tide that lifts all boats only works when everyone has a boat or is on the same one. But there are a variety of institutions across the board that work to maintain systemic inequities in all cross-sections of Black populations, and simply having Black visibility doesn’t eradicate the concern. If you look at the singular issue of “providing a vast space for current Black actors who are struggling to get work to have a higher potential for film roles,” then that’s certainly an obstacle that Perry has probably reduced. In other parts of the entertainment industry, however, questions remain. Perry remains on the national “Do Not Work” list of the Actors Equity Association for consistently hiring non-union stage actors. In 2008, there was a public incident in his previous series, House of Payne, where several of his writers were fired while trying to negotiate new Writers Guild of America (WGA) union contracts prior to the show’s syndication. The Writers Guild and Perry ended up coming to an agreement that same year.

“I feel like I was slapped in the face, like we were used,” Teri Brown-Jackson, one of the writer’s fired, said at the time. “We were good enough to create over a hundred episodes, but now when it comes to reaping the benefits of the show being syndicated and having other spin-offs from it, he decides to let us go unless we accept a horrible offer.” (An attorney for Perry said that the writers were fired for “the quality of their work” at the time.)

This is doubly injurious when you consider Black America’s long history of fighting and organizing for unions as a civil rights issue. In 2018, Perry was in headlines after a phone conversation between him, Mo’Nique and her husband surfaced. During their conversation, Perry acknowledged that she had been treated unfairly by the industry (she was called “difficult” after declining to travel to the Cannes film festival to promote Precious for free ahead of the 2009-10 awards season), and said that he would try to send the actress money earned from the movie too. This year, Mo’Nique revealed in an interview with Vulture that Perry had yet to do that.

“We had given Tyler Perry a year to keep his word. Brother, you said you were going to come out and say something. Well, you never came out and said anything,” she said. “And what was disheartening was people who were saying, ‘How could you tape him?’ But, they weren’t saying, ‘Oh my God, did you hear what he said? He said she wasn’t wrong.’”

And while many in Hollywood have disavowed filming in Georgia due to the recent  “heartbeat” abortion laws — despite the generous 30% filming tax credit — Perry has declined, noting the investment he has made into the community superseding his disagreement with the legislation.

Given his disavowal, it was disappointing — but not surprising — to see Georgia Governor Brian Kemp (who signed the legislation into law) as one of the guests of honor at the studio’s grand opening as a “welcoming gesture.” A municipal undertaking of this magnitude is certainly not obtained without developing the skill to ingratiate oneself with politicians. As it currently stands, the perception remains within Georgia politics that Perry was able to obtain the acreage for the significantly discounted market price of $30 million, because of a strong working relationship with former Atlanta mayor Kasim Reed, as opposed to having the most robust case for revitalizing a district that has been impacted by the base closure. The film industry may create many opportunities for employment but that doesn’t inherently guarantee a spike in local jobs in a network as insular as entertainment — especially one that is heavily predicated on temporary work, as critics argued while the land contract was being bid on. When the majority of your pipeline is presumed to be positioned in New York and Los Angeles, the question of how much community can be served with the remainder of your available resources is a valid one.

Parallel to the lot opening came the announcement of a lofty aim to open “a compound for trafficked women, girls, homeless women, [and] LGBTQ youth” — replete with daycares and apartments, and the ultimate goal of teaching the entertainment business and self-sufficiency. It is an admirable dream that is hard to substantively parse through without access to any finer points. In a fashion it feels like a silent mea culpa for all of the open criticism he has received over portrayals of all of these archetypes in his productions. That said, one wonders if a prerequisite or expectation of shelter is an interest in film or entertainment, and if he has the proper individual resources to support whatever approach he ultimately takes in building a philanthropic effort from the ground up. 

The framework of Black excellence is such that it begets obligatory deference to the gilded class that have managed to successfully work their way through the labyrinth of racist systems and present them as not merely just celebrities to revere, but also pattern lives after. It’s for this reason that critique — which many have defensively viewed as reactionary — is an essential tool in pushing past the sentiment and the optics to examine the entire playing field. The technique has been used by great Black essayists throughout the last two centuries. As literary critic Cheryl Wall writes in her book On Freedom and the Will to Adorn, “the dialogic form of the essay which strives to produce the effect of the spontaneous, the tentative, and the open-ended lends itself to exploring complex and contentious issues.”

Tyler Perry is nothing if not complex and contentious. His legacy is one that will inevitably be acclaimed for his accumulation of immense capital. But nuance in the narrative lies in defining which Black community he is beholden to serving in his next era as an indisputable media mogul. The Black community in Hollywood and Atlanta/Fort McPherson, and the marginalized women and LGBTQ youth represent different thresholds and expectations for accountability and growth — some interests which may very well run counter to each other. And it is incumbent on Perry to decide which ones he will prioritize first.

Ousman Darboe could be deported any day. His story is a common one for black immigrants.

Originally published for Vox, with photography done by Desiree Rios.


When public defender Sophia Gurulé tried to visit her client in ICE detention in June, she was hit with a roadblock: His facility in Bergen County, New Jersey, was under quarantine due to a mumps outbreak. She wouldn’t be able to talk to her client in person for the next three weeks.

For 25-year-old Ousman Darboe, daily communication with his legal representation is essential. In May, he lost his removal proceedings case in immigration court. Now, he is pending deportation to his birth country of Gambia.

While he was quarantined in a unit with little air ventilation in the middle of summer — his family a two-hour bus commute away in the Bronx — Gurulé has been fervently at work on an appeal. She is exploring all options, including sending a letter to New York Gov. Andrew Cuomo for his release. This is the final chance she has to help keep his family together. Darboe has never held his daughter, now 17 months old, outside of a detention facility.

Like many ofthe approximately 10.5 million undocumented immigrants living in the US, Darboe came to the country as a child. He was 6 years old when his parents brought him and his three older siblings to New York in 2001, settling in the Fordham Heights neighborhood of the Bronx, one of the poorest congressional districts in the country.

Navigating life in a strict Muslim home, where he helped care for his younger siblings, was occasionally at odds with his assimilation as a kid in Fordham Heights. But Darboe worked quickly to fit in. He shed his accent and learned English. He played basketball and often kept quiet. And, much to his family’s disapproval, he sometimes cut school, often to avoid the heavy violence and policing on campus.

Portrait of Ousman Darboe smiling.
Ousman Darboe in 2017, when he was 23 years old.

Based on the color of his skin alone, it’s not a surprise that Darboe went on to face numerous interactions with law enforcement as a teenager and young adult — a series of stops, alleged misidentifications, and arrests that led him to be locked up in Bergen County.

According to the Bureau of Justice of Statistics, black and Latinx residents are more likely to be stopped by police than white residents, and when stopped, police are twice as likely to threaten or use force against them. According to the New York Civil Liberties Union, these statistics are even starker in New York City: Black and Latinx people were the targets of four out of every five reported stops between 2014 and 2017, and black and Latinx people were more likely to have force used against them.

But as many immigrant justice advocates will tell you, if being black makes you a police target, then being black and undocumented in a poor neighborhood will make you vulnerable to surveillance, punishment, and exile. Darboe wasn’t born of privileged social class or with means to a prestigious education; he did not fit the “exceptional immigrant” model preferred by US immigration policy. The odds of Darboe living not only a free life, but any life at all in this country, were stacked against him from the moment he stepped on US soil.

Darboe has instead found himself inwhat criminal justice reform activists call the prison-to-deportation pipeline, a coded system that works to funnel black and Latinx immigrants from the criminal court system into Immigration Customs and Enforcement (ICE) custody, to the immigration court system, and ultimately back to their nations of birth — with very little recourse or space for adjudication.

For example, low-level crimes such as marijuana possession are lumped into the offense of “drug trafficking” in immigration court — even if it’s recognized as a misdemeanor in the criminal courts — mandating automatic deportation without any leeway for a judge to consider an individual’s circumstances, according to Human Rights Watch. As a result of this one-size-fits-all policy, deportations over drug convictions of any sort increased 43 percent from 2007 to 2012.

Peel back the numbers further, and black immigrants make up a disproportionate amount of criminal-based deportations. According to the advocacy group Black Alliance for Just Immigration, which reviewed data on immigrants from African and Caribbean countries from the Department of Homeland Security Yearbook and the Transactional Records Access Clearinghouse, 76 percent of black immigrants are deported on criminal grounds, compared to 45 percent of all immigrants. Despite making up only 7.2 percent of the noncitizen population in the US, more than 20 percent of people facing deportation on criminal grounds are black.

“There’s a particular intersection of vulnerability — immigrants in general are vulnerable, and there’s often poverty and racial aspects to their vulnerability as well,” said Jodi Ziesemer, director of the Immigrant Protection Unit at the New York Legal Assistance Group, a nonprofit that provides comprehensive free legal services and advocacy. “Black and undocumented immigrants are at particular risk because they’re targeted racially by a lot of our institutions … while being also targeted for ICE and enforcement actions.”

As a young quiet kid, Darboe would have never guessed that his existence in the US — and in the Bronx in particular — would put him on a trajectory of altercations with law enforcement, eventual incarceration, and possible deportation. Darboe’s sister Adama said her brother once told her, “I came to this country thinking it would be better for me, but they’re actually against me.”

Webster Avenue in the Fordham Heights neighborhood of the Bronx.
Webster Avenue in the Fordham Heights neighborhood of the Bronx. It was here where Darboe, at age 16, was arrested and charged with marijuana possession after being stopped and frisked by police.

A path that began with police targeting

Darboe’s first interaction with police came at age 16: On June 25, 2010, he was falsely accused of stealing headphones at DeWitt Clinton High School in the Jerome Park neighborhood of the Bronx. Situated just around the corner from the famed specialized high school Bronx High School of Science, DeWitt has a history of police patrolling the hallways and metal detectors that caused hour-long delays, a system that left students feeling “like inmates,” according to a 2005 New York Times report. It was a situation so toxic that more than 1,500 students marched over to the Department of Education at the beginning of the school year.

When Darboe was at the school five years later, not much had changed. He told the court earlier this year that there were a lot of gang wars, fights, and cuttings. “DeWitt Clinton was a harsh place to go to school, because most of the time there’s gang wars — there’s weapons being found at school,” Darboe testified. “Basically nobody went to class.” Gurulé says Darboe witnessed police being given free rein to stroll the school, on top of the standard school security that already existed on campus. (DeWitt Clinton High School has not responded to Vox’s request for comment).

DeWitt Clinton High School in the Jerome Park neighborhood of the Bronx. Darboe’s first encounter with police was as a student on campus.

His eldest sister, Adama, in contrast, went to Marble Hill High School for International Studies, a smaller school with an above-average reputation and an emphasis on dedicating resources to college preparation. Adama tells Vox these schooling differences significantly impacted the siblings’ trajectories, placing Darboe in an environment that put him under police scrutiny, and with a friend group that grew accustomed to being viewed as criminals.

Though Darboe was quickly found not to have stolen the headphones and his case was dismissed, the incident would prove to be the first in a long string of interactions with police. According to court documents, Darboe said that while the kids in Fordham Heights were “not the best of influences,” they would often be “attacked by the police officers” because the neighborhood was simply known to be violent.

Broken windows” policing was common in neighborhoods with large black and Latinx immigrant populations such as Darboe’s area of the Bronx. By focusing on low-level crimes in so-called unkempt neighborhoods — with vandalism, loitering, and drug offenses — police departments theorized they could prevent bigger crimes from happening there. In the 1990s, police in cities like New York took this practice one step further and instead of waiting for people to commit misdemeanors, they enacted “stop-and-frisk” — stopping, questioning, and frisking anyone who looked suspicious.

According to a 2013 study by the Vera Institute of Justiceat least half of all recorded stops by police in New York City involved people between the ages of 13 and 25, and more than 40 percent of young people who’ve been stopped said they have been stopped nine times or more — with nearly half reporting that threats or physical violence were used against them. Broken windows and stop-and-frisk policing created an environment where kids from certain neighborhoods, and often of a certain skin color, were repeatedly profiled as criminals. In fact, in 2013, a US district judge in New York ruled stop-and-frisk unconstitutional and ordered police to stop the practice in the Bronx specifically, because of the way it targeted young black and Latinx men.

DESPITE MAKING UP ONLY 7.2 PERCENT OF THE NONCITIZEN POPULATION IN THE US, MORE THAN 1 OUT OF EVERY 5 PEOPLE FACING DEPORTATION ON CRIMINAL GROUNDS IS BLACK.

But that ruling — which outlawed stop-and-frisk but didn’t put an end to broken windows policing — came several years after Darboe was already caught up in the system.

In October 2010, four months after being falsely accused of stealing the headphones, Darboe was fingered for stealing a purse and was adjudicated as a youthful offender. When asked in court why he stole it, Darboe said that he didn’t have any school supplies, or a book bag, and he couldn’t ask his parents because he knew they didn’t have the money. “I felt, I felt bad because I felt like I had to take [a] drastic measure to get the stuff that I needed,” he said.

Three months later, in the following January, he was stopped and frisked on Webster Avenue — just down the block from his childhood home —and charged with marijuana possession, but was only found guilty of disorderly conduct. And in March 2012, he was charged for cellphone theft, which landed him in Rikers Island — a jail complex infamous for its excessive use of violence in inmate discipline — as a violation of his previous youthful offender agreement over the purse theft.

During his time at Rikers, having just turned 18 and awaiting his cellphone theft hearing, Darboe spent nearly 10 months total in solitary confinement for fighting, and five of those months he says he was not even aware he was able to step outside for an hour a day and get fresh air.

When he was finally sentenced in July 2013, Darboe was sent to Greene Correctional Facility in upstate New York to serve time for both petty theft charges; nine months later, he was released on parole — meaning that he spent more time in pre-trial detention awaiting his sentencing than his actual sentence. His disappearance was so abrupt that his longtime friend from high school, Lashalle Poston, now his wife, initially thought he had left the city. “At first I thought, African parents, when they get in trouble, they send their kids to Africa,” Poston tells Vox. “He just disappeared.”

Darboe’s wife, Lashalle Poston.
Darboe’s wife, Lashalle Poston.
Darboe’s immigration attorney, Sophia Gurulé.
Darboe’s attorney, Sophia Gurulé.

Despite having spent the latter half of his teen years being in and out of facilities, a youth offender record is not a criminal record; it is automatically sealed and does not have to be reported as a criminal conviction. “It wouldn’t bar him from applying for things,” Gurulé said, referring to documentation that wouldn’t leave him vulnerable to deportation. “A judge can be, ‘I see you got arrested for doing that and I don’t like that, that makes me think you’re a bad person,’ but it doesn’t bar him for applying.”

So upon his release in 2014, at age 20, Darboe took steps to make a fresh start. He moved back in with his parents; started dating Poston, who served as his support system during his incarceration; and began attending Getting Out and Staying Out, a Rikers reentry program for young adult men.

But despite his best intentions, staying out would prove to be not so easy.

The pipeline from juvenile to immigration court

In September 2014, less than six months after Darboe’s release, a neighbor in his parents’ building was walking when she had her gold chains robbed from her neck. Given that he was recently paroled, Darboe was identified as a person of interest by the NYPD. Darboe says on the day of the incident he was at Getting Out and Staying Out (the organization was only able to confirm his regular participation but not his specific whereabouts that day, according to court documents).

When police searched his belongings, they were unable to find any items that tied him to the description given by the neighbor. However, the victim identified him in a police lineup, both recognizing him as a resident in the building and perceiving him to be the assailant: “She thinks that he did it because it was a ‘big black man,’” Adama says, “and [that’s who] Ousman was.”

Darboe was charged with multiple offenses — three counts of robbery plus assault, criminal possession of stolen property, and harassment. He was now considered an adult. At his arraignment, he entered an initial plea of not guilty and was released on bail after 60 days.

But his release was turbulent: He had multiple police interactions for a variety of unrelated charges, such as gun possession and possession of a false check, both of which were dismissed (they were committed by an associate of his, according to court documents). He then landed back in Rikers because the robbery charges were a violation of his parole. While in jail, he was accused of illegally possessing a razor, an offense of which he was acquitted.

Worn down from being in and out of detainment and solitary confinement — and fearful that the NYPD, in its persistence to obtain evidence, would generate a second witness willing to corroborate the alleged robbery story to better their own circumstances — Darboe made an about-face in February 2017 and took a plea deal of one count of felony robbery for time served. According to court documents, Darboe said he took the deal because he was disappointed in himself — not because he had committed the crime, which he maintains he did not, but because of his past. “I had to blame myself for my previous cases, because if I would have never caught [charges in] those previous robberies, I would have never been a target for [the gold chains] robbery.”

While pleading under duress is a common scenario for black men with extended stays in pre-trial detention, doing so has significant implications for immigrants.

Five months later, Darboe was at his parents’ apartment in their new Bronx neighborhood of Kingsbridge when ICE knocked on the door. Even though his recent case dismissals meant he was supposedly no longer under threat of incarceration, ICE officers gained entry to the apartment saying they were police, under the pretense of having a warrant for someone else in the neighborhood, says Gurulé. This tactic is reportedly used by some agents to get immigrants to let them in a residence: ICE officers announce that they’re law enforcement and that they have a “warrant,” even though the warrant is only administrative and not signed by a judge.

Once inside, agents proceed to make arrests after they validate that the person in the home is the same person who may be already flagged on their watchlist as a target, with a particular emphasis on undocumented persons. (ICE has not responded to Vox’s request for comment on its arrest or warrant process, or Darboe specifically, but an ICE spokesman denied to Documented in 2018 that they pose as local law enforcement; however, he said ICE “may use the universally recognized ‘POLICE’ when initially making contact with someone during a field operation.”)

The Kingsbridge neighborhood of the Bronx.
The corner in the Kingsbridge neighborhood of the Bronx where Darboe was arrested by ICE agents in 2017.

This is the kind of tactic advocates and lawyers warned immigrants to guard against during the recent ICE raids announced by the Trump administration. But Darboe didn’t know that the warrant wasn’t signed by a judge, and that he was thus protected by the Fourth Amendment from having to open the door. He was quickly taken away by ICE agents to the Hudson County Detention Center in New Jersey.

Darboe was detained on July 31, 2017 — the same day he was scheduled to have his forged check charge dismissed. A handful of days later, his girlfriend Poston discovered she was pregnant with their first child — a girl, Sanai, to be born the following April. She wouldn’t be ableto visit Darboe for four months.

Outside of transferring facilities to Bergen County, Darboe has not left ICE custodysince July 2017, having been denied bond after an extended delay due to “dangerousness,” according to a judge in the NYC immigration court. This is despite having only one adult conviction and significant roots in the city: He has eight siblings and parents who, at this point, are all legal permanent residents or have birthright citizenship. He also married Poston in Hudson County Detention in December 2017.

Poston’s initial I-130 petition, the first step to authenticate and establish a record of marriage in the visa application process, was denied by the United States Citizen and Immigration Services (USCIS), stating that the couple did not have joint assets such as property or bank accounts, and therefore the marriage was possibly fraudulent. (When asked for comment, USCIS told Vox it doesn’t comment on specific cases.)

“They tried to tell me that we didn’t submit enough evidence, that my relationship wasn’t real,” Poston tells Vox. “Me pushing out a kid in labor for 29 hours wasn’t enough?”

While the decision was ultimately overturned on appeal, Gurulé points out that the logic behind the authentication is classist. She notes that in tandem with ICE, the USCIS “has become a form of law enforcement in their own way,” expanding from an organization intended to manage benefits and services for immigrants to an investigation service of its own.

The delays in the spousal visa process extended Darboe’s detention by ICE for another year. In the meantime, Poston has navigated pregnancy and early motherhood alone.

Laws make the case for the “exceptional immigrant” — but don’t account for the systemic hardships immigrants face

In 1996, the Clinton administration signed into law two key pieces of legislation: the Antiterrorism and Effective Death Penalty Act and the Illegal Immigration Reform and Immigrant Responsibility Act, which both served to retroactively tie immigration status to criminalization. Congress expanded what fell under its “aggravated felonies” classification when it came to deportable offenses, and standard deportation protocol could now be circumvented for “fast-track” removal proceedings. (Under the Trump administration, for example, an undocumented immigrant who cannot prove over two years of residency is eligible for “fast-track” proceedings.)

Deportable offenses — previously, murder, drugs, and firearms trafficking — now included nonviolent felonies and misdemeanors, such as theft, filing a false tax return, illegal entry in and of itself, or failing to appear in court. During the Bush administration, the largest increases in deportations were of undocumented immigrants convicted of traffic violations: 43,000 total during his last five years in office.

Even in the Obama era, immigration detention and deportations rates continued to rise astronomically: From2009 to 2015, the administration engaged in over 1 million “interior” removals — excluding those who were apprehended while attempting to cross the border — a rate that was nearly double that of the prior administration. According to a New York Times’ analysis of internal government records, two-thirds of the deportation cases during the Obama administration involved immigrants who were either convicted of minor infractions or had not yet been convicted of a crime.

Obama also played into the “good vs. bad immigrant” schism that has helped fuel hostility toward immigrants in this country: His infamous “Felons, not Families” speech kicking off the Deferred Action for Parents of Americans program failed to reconcile immigration policy with the systemic surveilling and incarceration issues that plague people of color; he implied there is no scenario in which a person selected for deportation could be both a felon and part of a family.

President Obama meets with young immigrants, known as DREAMers.
President Obama meets with young immigrants, known as DREAMers, in the Oval Office of the White House, on February 4, 2015.

The “exceptional immigrant” paradigm was further reinforced by immigration reform that only emphasized pathways to citizenship for young immigrants who exhibit “good moral character.” Policies like the Deferred Action for Childhood Arrivals established a temporary deferred status via a rubric that is difficult for many young immigrants to meet: The college-bound DREAMer, or undocumented immigrant in the armed services with a spotless police record, doesn’t represent the lived reality of many young immigrants. According to the United States Department of Education, 54 percent of undocumented youth earn a high school diploma, and only 5 to 10 percent of undocumented high school graduates enroll in a higher education institution — far fewer successfully graduate with a degree.

“A spotlight on ‘exceptional’ black immigrants often erases and makes invisible the lived experience of black immigrants who experience police brutality, state surveillance, poverty, and workplace discrimination, among other things,” says Nekessa Opoti, a communications strategist at the UndocuBlack Network, an advocacy organization comprised of black immigrants.

Protestors march against the news that the Obama administration plans to forcefully carry out deportations.
Protesters in Washington, DC, after the Obama administration announced its deportation plans for undocumented immigrants in 2015.

This is a plight that Darboe knows very well: He was not a perfect student. His case does not make for an exceptional immigrant soundbite. It’s easy to look at Darboe’s rap sheet and dismiss him as someone who has continually erred, particularly as a teen, and is therefore not entitled to sympathy.

This is the fundamental shortcoming of the emphasis on “model minority” narratives: They lack space for the acceptance of a world in which an immigrant lived a “regular” life, especially one that’s subject to heavy police surveillance. Attending an over-policed high school where students were constantly under suspicion, living in a neighborhood where the color of his skin was enough for police to stop him, Darboe had little chance of being seen as a model citizen.

He certainly wouldn’t be given much of a chance to grow up and turn his life around; he wouldn’t even be seen as worthy of such an opportunity.

His daughter, he said in immigration court earlier this year, “helps me feel that I got something to fight for, that I got something to go to, that … I really got to stop doing what I was doing my previous years as a teenager. Now I got to mature, not only for me, but only to be a better example for my daughter.”

Darboe’s youthful offenses — pilfering a cellphone and a purse as a teenager — are far from the actions of MS-13 villains trotted out by the Trump administration to justify strict immigration policy. But such indiscretions are much more common reasons for being removed from this country than any salacious violence.

Even sanctuary cities are limited in protecting immigrants from ICE

Even when there are laws in place to ostensibly help immigrants understand the criminal court process, they can fail. In 2010, the Supreme Court ruled in Padilla v. Kentucky that criminal defenders must ask their clients about their immigration status so they can inform them of the possible deportation consequences of a guilty plea before sentencing.

“That should happen,” Ziesemer says. But because courts are often backed up and public defenders often have massive caseloads, “I think there’s a lot of pressure on both ends that make that not a perfect system and … are not super protective of due process rights,” she says.

This gap in due process even happens in places like New York City, which have reputations as “sanctuary cities” and are supposed to limit their cooperation with ICE. But as the Intercept reports, ICE has evaded sanctuary rules by using NYPD fingerprint records to send letters to immigrants arrested — usually for low-level misdemeanor offenses — asking them to come into the agency’s Manhattan offices. In the cases of two immigrants who complied and went down to the office — neither of whom had open removal orders against them or criminal convictions — both were detained.

As explained by Albert Saint Jean, the New York organizer for Black Alliance for Just Immigration, no matter how noncompliant a city administration vows to be, broken windows policing serves as a feeder system for ICE.

“If you’re doing heavy policing in black neighborhoods in NYC, guess what? Undocumented people live in those neighborhoods too. When you’re policing heavily black and brown communities, that’s where the bulk of our immigrant community and undocumented community live. So in essence, every time these people get fingerprinted, every time these things happen … ICE gets notified.”

Community activist Dennis Flores patrols his neighborhood for ICE raids.
A community activist patrols the heavily Mexican immigrant neighborhood of Sunset Park in Brooklyn, New York, for police harassment and ICE raids in 2017.

Subway fare evasion is one of the top reasons that both Ziesemer and Saint Jean say their New York clients have been flagged for immigration purposes. In 2018, 90 percent of those arrested for this crime were reported to be people of color. This will only continue with Gov. Cuomo’s announced plan to expand the police force dedicated to fare evasion from 30 cops at 15 key New York City stations to 500 officers across 100 stations and bus stops.

Ziesemer says she has a client who is Garifuna from Honduras who got ticketed for having an open container in the Bronx. “If he wasn’t an immigrant, he would have paid a small fine and that would have been the end of it,” she says. “But because that got routed into the immigration system, he got picked up and has been detained for over six months.”

Detained immigrants have little recourse against deportation

When immigrants are detained, Ziesemer says, “there’s no obligation for ICE to bring them in front of a court, for them to seek bond. There’s no appointed attorney, there’s very little recourse to getting out of detention on a sort of pre-trial basis.” It’s called “civil detention,” she says, “but in reality, these people in Bergen County and all these other jails, they’re literally housed alongside people who have been convicted of crimes. Immigrants really do fall down a black hole when they’re detained.”

Some detained immigrants are allowed video testimony, which still isn’t standing before a judge and advocating for their own character. This has increasingly become the default for immigration courts around the country, according to Gurulé, and organizations have been suing over the violation of people’s due process.

ICE agents conduct an arrest.
ICE agents arrest a man in a 2017 raid in a photo released by the agency. Under President Trump, ICE enforcement has been on the rise.

One exception to the “black hole” norm was the high-profile detention of black immigrant 21 Savage — born Shéyaa Bin Abraham-Joseph — in February. The rapper was detained by Atlanta ICE agents days after criticizing the agency on The Tonight Show. While ICE claimed Savage was an “unlawfully present United Kingdom national” who came to the US as a teen and overstayed his visa, he had been living in Atlanta since he was seven. The incident was a shocking moment for many people, highlighting the power of ICE, and disrupting the image for many of what an undocumented immigrant could look like — black and famous.

Fortunately for 21 Savage, he had hefty legal support and the backing of Jay-Z to help prevent being buried in ICE’s system. However, most black immigrants do not have access to the resources afforded to celebrities. In Darboe’s case, his access to legal representation was courtesy of a New York City Council-funded initiative to protect low-income immigrants facing deportation called the New York Immigrant Family Unity Project, of which Gurulé’s firm, the Bronx Defenders, is a part.

“I would say more than half the asylum cases that I’ve gone for, they were people that you could see a pattern of police harassment,” says Saint Jean of his work as an organizer for Black Alliance for Just Immigration in NYC. “And the judges don’t look at it from that context. They look at it as ‘this person is a troublemaker.’”

Countless immigration activists do the work of trying to place these clients with proper legal representation, which can sometimes feel nearly impossible, with lawyers wanting to get nowhere near immigration cases that involve rap sheets. In Darboe’s case, when Poston testified that her husband had grown past his youth offenses, the prosecutor replied, “talk is cheap,” asking Poston, “What if he gets violent with you or your child?” even though Darboe has no record of violent offenses.

“[I think the judge] feels like, all black women go through that, and you’ll just be one more, and it’s fine … The system is helping you, you don’t need no other help from no man,” says Poston. “The system is actually not that goddamn easy.”

Poston has had to experience this firsthand. In the time that she has worked to advocate for her husband, obtaining Gurulé as his public defender, and attending all his necessary court dates, she temporarily lost a job and has settled into a shelter with their daughter.

Attorney Sophia Gurulé with Ousman’s wife, Lashalle Poston.
Gurulé (left) and Poston. “No empathy, compassion, no sense of justice, nothing,” Gurulé says of immigration judges when they preside over cases like Darboe’s.

“These judges see his kind of contact with the criminal legal system, and all reason and empathy flies out the door,” Gurulé says of her client Darboe. “No empathy, compassion, no sense of justice, nothing.”

If Darboe is deported, he will be excised from his community, family, and daughter, whom he may never see grow up. His emotional and mental health would also likely take a significant hit; deportees often suffer from depression and social isolation. Then there is Gambia, where the government is still working to stabilize society after a 20-year regime of human rights abuses left the country with high unemployment rates and in bankruptcy.

In the meantime, Darboe continues to wait. The mumps outbreak in Bergen County is over, and his appeal date is scheduled for October 3. He is relying on his Islamic faith to keep his spirit strong. He and his family know, though, that they must brace for the worst. After his two years in detention, they must come to terms with what has been the fate of many undocumented immigrants before him.

Meet Shenseea, the Singer Who’s Causing a Stir in the Dancehall Community

Originally published for Teen Vogue.


It’s a rainy day in Soho, and Miss Lily’s is filled to the brim — both with people and decor, described by the owners as inspired by “West Indian diaspora.” The vibrant interior of the venue features checkered floors vinyl booths throughout, and walls affixed with a bevy album covers spanning “50 years of Jamaican music history.”

No chronicling of Jamaican popular music would be accurate without including dancehall — a genre that originated in the late 70s in Kingston as a shift from reggae into physical dance halls: spaces for large numbers of the working-class population to hear music via portable sound systems, that would evolve and change with technology and artistic needs in the genre. The early class of dancehall stars includes legends such as Yellowman and the oft-sampled Sister Nancy; the musical style would expand from a niche to a national staple by the 1990s, crossing over to US markets courtesy of Jamaican diasporas, and ultimately taking the charts by storm: Beenie Man, Buju Banton, Lady Saw, and Sean Paul all became household names to anyone who watched MTV.

Making her own mark in said history is singer, DJ, and singjay, Shenseea (pronounced ˈs(H)en,ˈsee,ˈēə) born Chinsea Lee, arriving at Miss Lily’s in all white. After premiering her first single with Interscope Records, “Blessed,” she simply asked one question: “Is it a vibe?” The answer in the room was a resounding “yes” — but more importantly, so was the case from her fans — the music video received over 2 million hits in just under two days, a wildly enthusiastic response from her #ShenYeng fanbase and just a sign of things to come.

In the months since the release, Shenseea’s single has made waves in the American music scene, peaking at Number 2 on Billboard’s Reggae digital sales chart and getting the eye of chart-topping crossover stars such as Cardi B. The distinctive opening trills of the song – Rat-tat-tat-tat-tat-tat, ah – have become lovingly mimicked by fans. If the initial reception is any harbinger of things to come, Shenseea truly is blessed and quickly rising to the occasion.

“At the moment, I’m trying to infuse my dancehall genre with pop music, but at the same time I cannot do it straight,” she tells Teen Vogue about blending her Jamaican patois with mainstream American lyricism.“So what I’m trying to do is … I still have my tone of voice and everything, but just try to change a majority of the lines, of the words, and how I express certain things that I want to say, just so you guys can understand even more.”

The language hurdle is a delicate balance that she has taken great pains to identify in her music. “I still don’t want to leave my home genre, hence why I try to mix them as much as possible,” cheekily pointing out “and I’m literally from the Caribbean so I don’t see it as a crime.”

There was also a mixed reaction over the opening scene of the “Blessed” video (directed by Riveting Entertainment, who also worked on Tyga’s “Taste” and Chris Brown’s “Party”), which panned to a vista of her in bed with another woman – prompting discussion of Shenseea’s sexual identity. When asked about the nature of the scene, she slyly demurred on social media, “it’s my friend and we just came home from a party — remember, best friends have sleepovers too … just for her safety she slept over.”

It’s an interesting moment for Shenseea to find herself in, as Jamaica and dancehall have established a hypervisible reputation for having issues with the LGBTQ community. There has been increasing work toward carving out inclusive spaces within dancehall with organizations such as WE Change JamaicaJ-FLAG, and CONNEK. And over the last two decades, the conversation has evolved with key moments like Beenie Man, the “King of the Dancehall,” apologizing for homophobic lyrics in 2016. This year, Buju Banton, who, not long after his release from prison, put out a statement expressing his remorse for releasing his infamous homophobic “Boom Bye Bye” song, and declaring that it would not be available for streaming or purchase.

On Shenseea’s end, she previously declared her open support to the LGBTQ community during 2018 pride to her follower base on Instagram of 1.7 million. And her recent highly-circulated move on “Blessed” has received the qualified co-sign of Jaevion Nelson, the executive director of J-FLAG, on Facebook.

As we spoke while she was preparing for BET Awards weekend, she remained undeterred. “I’m not trying to emulate anyone’s trajectory,” she says, opting to be a trailblazer of her own. Sheensea sees herself as apart of how the new crossover dancehall sound should be defined from an authentic Jamaican perspective, as opposed to the various white artists that have entered the space in the American markets.

She has good reason to feel that way: At just 22 years old, the Kingston native and young mother of Afro-Carribean and Korean descent who first started singing in the church has grown from a club promoter and bottle service girl to the unofficial “Princess of Dancehall.” (the current Queen of dancehall title has been reserved for Spice, a trailblazing artist in her own right). Having left college for financial reasons, she gained an early following on Facebook, singing original songs and covers with a heavy reggae inflection akin to Tanya Stephens, before veering into a more appealing dancehall sound.

“When I heard my first song (“Jiggle Jiggle”) play for the first time, I was still doing promotional work,” she says. Since then, she has gone on to score major hits, from the breakout collaboration with the currently-incarcerated dancehall star Vybz Kartel (who she has identified as a lyrical influence), “Loodi,” to the bawdy and booming “ShenYeng Anthem.”

Punctuated throughout the videos for all of her biggest hits is a consistent love for her home country of Jamaica — treatments are lush displays of color and diverse groups of women in various positions of power. The official clip for “Blessed,” as an example, has no major appearance from any men save for the artist featured. No matter the scenario, as she has expanded her sphere of influence, she has ensured that she has put out visuals where women control the narrative — even when singing about submissive sex — but it doesn’t render them immune from criticism: The video for ShenYeng Anthem, for example, received a fair amount of pushback for the intermingled Asian imagery and yellowface deemed offensive. To this charge, she never responded.

But firmly putting out triumph after triumph at a rapid clip in the dancehall music scene gained her a solid fan base not just in Jamaica, but in cities with large Caribbean diasporas such as New York, Toronto, and London. Just two days prior to her single debut at Miss Lily’s, Shenseea performed to a packed crowd at Queens NY’s Amazura Nightclub in Jamaica — a popular stomping ground for artists such as Mavado and Aidonia — just as she had done the year before.

In July, however, she would make her return to Queens – but to perform at MoMA P.S. 1’s The Warm Up Series alongside artists such as Smino and Boogie, a distinctly different audience than her usual stomping grounds, and her first big outing as part of the Interscope family, following a number of show cancellations due to vocal cord trauma, which has caused her continuous frustration. “I really do not know to expect,” she admitted, “but I’m ready for it. I’m just going to go out there, do my best and interact with my people as I normally do.”

This image may contain Human Person Festival Crowd Stage Footwear Shoe Clothing Apparel and Leisure Activities
AREN JOHNSON

The day of the actual performance was, literally, one for the record books: with a heat index that was slated to go as high as 111 degrees, several events were canceled throughout the city, including OZY Fest and Triathlon. But for Shenseea, the show must go on – a 30-minute set to formally introduce her past, present, and future sound to the world, to a completely new crowd.

True to form, she delivered, triumphantly strutting out onto the Long Island City stage in a silver iridescent jacket, lime green thigh-high boots bustier, and cutoff shorts performing her dancehall anthem. By the time she would return to the song later in the set, her jacket and shoes were off, and she was passing the mic back and forth with the ShenYeng fanbase, who were ardently singing along: “nuh fight over man / mi nuh stress over yute / some gyal head full a air like parachute,” an ode to not letting the man ever be the prize or getting wrapped up in fights with women who insist on thinking that way.

The set had a bevy of other peaks as well: a strong and sultry rendition of Bob Marley’s “Is This Love” transitioned to a custom remix of her own, and the “Applause Riddim,” most famously used for Sean Paul’s 2006 hit single “Temperature,” blared through the speakers, while Shenseea comfortably exercised her underutilized rap freestyling skills.

By the time that she closed with “Blessed”, her opening words on stage, “my name is Shenseea from Kingston, Jamaica!” were ingrained in the heads of anyone in the audience who had yet to be introduced to her.

When it comes to new music, while an album is reportedly dropping in the fall, her fans, antsy for content, are unused to the traditional Western single rollout and are chomping at the bit for more music – and while she is currently focused on the bigger picture, Shenseea never plans on forgetting her original fanbase, saying; “I’m gonna release one more song just for the dancehall culture.”

In this new wave of attention to dancehall, Shenseea, more so than her peers, seems to not only be aware of the power of social media but has also worked to organically harness that power and momentum in a way that can create a flashpoint moment out of her next teaser on Instagram. It’s a relationship that has occasionally worked to her detriment, but currently, the future is looking bright.

Back in the green room after her performance, Shenseea is relaxed in a chair, surrounded by her close friends and longtime team. “It was good, right?” she asks, pleased with the results despite some intermittent technical issues with the microphones. She laughs, “I think [the heat was] just an excuse for people to drop their clothes.”

As for what Shenseea wants people to know? “I am coming. Even if they can’t pronounce the name or remember, they will remember quite soon enough. I said that when I was just coming on the scene — the first time I started doing music, nobody could pronounce my name properly. And what I told them is still valid — it will roll off your tongue quite soon, don’t worry. And so said, so done. Now everybody’s saying Shenseea.”

What Big Little Lies Got Wrong About Bonnie

Originally published for The Atlantic.

“You are out here surrounded by people who don’t get you. They don’t look like you. I haven’t even seen one other black person since I’ve been out here.”

This statement from the character Elizabeth Howard (Crystal Fox) to her daughter Bonnie Carlson, on Episode 2 of Big Little Lies’ second season, seemed to be the show’s tacit acknowledgment of its glaring, first-season blind spot. The series’ failure to introduce any story lines confronting Bonnie’s experience as a young black woman in a high-strung, predominantly white environment was as pronounced as the show’s commitment to a lush display of California seascapes. Zoë Kravitz, who plays Bonnie, shared her frustration, saying to Rolling Stone, “I tried to get a little more … [race] put into Big Little Lies … but people are scared to go there. If we’re making art and trying to dissect the human condition, let’s really do that.”

Big Little Lies introduces Bonnie as the second wife of Madeline’s (Reese Witherspoon) ex-husband. Bonnie’s youth and contemporary flair are an easy target for Madeline, and though Bonnie is a fellow mother at Otter Bay Elementary School, she is fairly distant from the banalities that consume the parenting community of Monterey. Her appearances during Season 1 mainly come into relevance via her profession as a yoga teacher, which serves to characterize her as a paragon of contemporary progressive ideals. As the Vulture critic Angelica Jade Bastién pointed out: Despite a strong performance from Kravitz, absent any real grounding to her story, Bonnie is relegated to the Carefree Black Girl archetype that merely serves as a foil to the other women.

Season 1’s choice to divorce Bonnie from any significant backstory was not just a disservice to Kravitz; it also ran afoul of the source material itself. The novel on which the series is based characterizes Bonnie as being motivated to kill the antagonist Perry (played by Alexander Skarsgård) because she’d experienced violence in her home growing up. But lacking this context, and considering that significant stretches of the season played out with Bonnie in the periphery, her actions on the night of Perry’s death felt rather abrupt. That culminating scene didn’t lend itself to the novel’s intended effect of showing the sisterhood that forms in the midst of trauma. (The director Jean-Marc Vallée defended this creative decision, saying, “To give [the killing] a reason and justify that because she was abused and had a thing against men, it’s not about that.”)

With the launch of Season 2, there seemed to be an active effort to course-correct: While Meryl Streep’s addition to the cast was the highly anticipated main draw, Bonnie’s character was also given a larger presence. The show’s creator, David E. Kelley, admitted, “There was so much more to tell with the characters, especially with Bonnie. We only hinted about who Bonnie was. We had not mined where she came from and what led to the big push at the end of year one.”

This season has unfolded unevenly, however, with slow plot development that has made it difficult to tell how much substantive change has truly taken place. The episodes start with a significant amount of hand-wringing over the women’s decision not to tell the truth about the incident—a decision that is hitting Bonnie the hardest, much to the rest of the group’s confusion. In a discussion with Madeline, Bonnie explains that despite the collectiveness of the secret, she is the only one who carries the burden of actually killing Perry.

It’s clear that Bonnie still feels removed from her peers, yet her reasoning for feeling this way is fairly unexamined. The show fumbles an opportunity to explore the implications of a black woman coming forward and admitting to killing an influential white businessman, the fact that black women may not be believed in these situations, and even the nuance of the detective who is doggedly pursuing the group being another black woman.Big Little Lies vaguely implies that Bonnie’s distance is self-inflicted, and it offers no real indictment of the other women’s lack of awareness. There might be no clearer reflection of that than in the penultimate episode of the season, in which Madeline brashly says to Bonnie in a moment of frustration, “I’m so tired of taking care of you and your fucking feelings.”

Part of the reason Bonnie still seems underdeveloped as a character may be due to the alleged significant revisions made in postproduction, after the Season 2 director Andrea Arnold’s creative control was said to be lessened to make more use of Vallée’s first-season style. The most complex dynamic for Bonnie this season is between her and Elizabeth, whom the show turned into the abusive parent, as opposed to Bonnie’s white father (a creative choice noted by some critics as playing into lazy tropes). At best, the change certainly waded into demystifying black maternal dynamics. But it did so frivolously, without actually delving into cyclical trauma and how Bonnie’s upbringing would affect her raising her own black daughter.

The revelation of Elizabeth’s abuse of Bonnie via flashbacks is detached from the other focal arcs of the season. Bonnie reconciling her trauma is an experience that she largely goes through alone, despite having a preexisting bond with Celeste (Nicole Kidman), who knows well the complexities of domestic violence and the guilt that comes with being victimized repeatedly. Bonnie’s moment of catharsis happens in solitude, away from the group, as she sits by Elizabeth’s side in a hospital room:

“I resent you. For the childhood that I had. I resent you for your impatience. For being scared of doing my homework without being yelled at. For all the kitchen cabinet doors you slammed. For slapping me. For all the bruises. I resent you for not feeling safe at home. I resent you for being ashamed of me. I resent you for all the sex I started to have when I was 13 to prove to myself that I could be loved. I resent you for my wanting to beat the shit out of everyone. I resent you for making me feel so fucking worthless that I settled for a man that I don’t … But mainly, I resent you for killing a man. I killed Celeste’s husband. He didn’t slip. I pushed him. I snapped—and when I lunged at him, I was pushing you. And that push was a long time coming. And I want to forgive you.”

It’s a peculiar narrative decision: Absent Bonnie’s true integration with the rest of the ensemble, the speech has less significance as a moment of emancipation and registers as a rushed, unearned exposition. For a show that does an otherwise thorough job of peeling apart the layers of various women’s dynamics—Madeline’s attempt to steady herself after feeling unmoored in her marriage is deftly examined—Big Little Lies disappoints with Kravitz’s character. While Bonnie certainly has more background this time around, she isn’t given the depth of interrogation necessary to answer some of the larger questions surrounding her presence in the show.

The culminating conflict of the season focused on Celeste and her mother-in-law (Streep). Echoing Season 1, the conclusion minimized Bonnie, who was such a fundamental part in the events that prompted this face-off. Her arc—including coming to terms with her abusive mother—played out largely in isolation, making the group’s final reunification feel, again, sudden. It seems that the “people who don’t get you” whom Elizabeth referred to doesn’t just apply to the other characters of Monterey, but to the Big Little Lies writer’s room as well.

Reckoning With Slavery In France

Originally published for Essence Magazine.

On the June 1st taping of the weekly French late-night talk show On N’est Pas Couché (ONPC, loosely translated to “We’re Still Up” in English), French novelist and regular panelist Christine Angot stunned viewers by using the appearance of writer  Franz-Olivier Giesbert and his upcoming Nazi-era Germany novel, Le Schmock (The Schmuck) to make jarringcomments comparing the Holocaust to the Transatlantic Slave Trade and subsequent colonialism, significantly minimizing the latter:

“The purpose with the Jews during the war was to exterminate them, that is, to kill them, and that introduces a fundamental difference with black slavery where it was exactly the opposite. the idea was instead that they are in good shape, they are healthy, to be able to sell them and they are marketable.”

A cursory glance at the basic facts of the Trans- Atlantic Slave Trade quickly debunks the distorted falsehoods that Angot fabricated about the nature of chattel slavery, a centuries-long brutality with an immeasurable death toll. The additional insult to injury, however, lies in the audacity of any of the press within France – one of the pre-eminent colonizers of the Caribbean and Sub-Saharan Africa – making distinctions in the harms that were historically imposed upon Black people, while simultaneously imposing a cultural norm of rejecting to acknowledge the nuances of race altogether.

The largest slave rebellion in history, after all, was the Haitian Revolution – a transformative insurrection against the draconian rule of French overlords, who, despite Angot’s convictions, worked slaves so hard that half died within a few years of their arrival, and very few children lived beyond a few years of their birth on the island. As opposed to improving the quality of life, it was in fact more cost-efficient to bring in new slaves, leading to the highest death rates in the Western hemisphere – the Encyclopedia of Slave Resistance and Rebellion estimates that over a million slaves lost their lives at the hands of the French, exclusively on the state of what was then named Saint-Domingue.

While slavery may have been formally abolished by the French Republic in 1848, the French stranglehold of colonialism remained throughout the French West Indies and expanded in Francophone Africa, utilizing barbaric tactics to stamp out any attempts at self-determination well into the 20th century, and even in tandem with the tragic events of the Holocaust. It’s a circumstance that the esteemed Martinican writer and politician Aimé Césaire takes pains to examine in his seminal text Discourse on Colonialism:

“It would be worthwhile to study clinically, in detail, the steps taken by Hitler and Hitlerism and to reveal to the very distinguished, very humanistic, very Christian bourgeois of the twentieth century that without his being aware of it…he is being inconsistent and that, at bottom, what he cannot forgive Hitler for is not crime in itself, the crime against man, it is not the humiliation of man as such, it is the crime against the white man, the humiliation of the white man, and the fact that he applied to Europe colonialist procedures which until then had been reserved exclusively for the Arabs of Algeria, the coolies of India, and the blacks of Africa.  “

Modern-day efforts continue to show a failure to reckon with the nature of what the true harms of France’s legacy has imparted on its Black Francophonie. In 2005 there was a disastrous attempt to put into law a mandate for schools to recognize the “positive role” of colonialism in history, to huge protests from citizens in the French West Indies.  And while colonialism is formally over, the outre-meror overseas departments, remain intact, maintaining the last vestiges of France’s control of Black nations, from Guadeloupe and Martinique in the Caribbean to Reunion and Mayotte off the East African coast.

Presently, in the French National Assembly legislative building, there is a longstanding painting that is intended to celebrate the abolition of slavery in France – except the artist, Herve di Rosa, controversially applied what he insists is a race-neutral iconography but at first glance seems to draw immediate association to Sambo imagery or Tintin in the Congo: large protruding red lips placed over dark skin. In response, Mame-Fatou Niang, an Associate Professor of French Studies at Carnegie Mellon University known for documentary film Mariannes  Noires, in collaboration with colleague Julien Suaudeau, started a campaign to have the painting removed from the government building, stating that “this ‘work of art’ constitutes a humiliating and dehumanizing insult to the millions of victims of slavery and to all their descendants.” In response, di Rosa – a white man –  has dismissed this call to action as censorship of the right to freedom within the art form, no matter the context, with the National Assembly stating that they had no plans to take down the painting, irrespective of the feelings of France’s Black population domestically and throughout the outre-mer.

As part of Angot’s talking points on ONPC, she emphasized “c’est pas vrai que les traumatismes sont les meme, c’est pas vrai que les souffrance infligées aux peuples sont les mêmes. Et c’est bien pour ça qu’on doit être attentif, chaque fois, au détail, a la particularité”; it’s untrue that traumas are the same, that suffering inflicted on people are the same, and that’s why we must be attentive each time, to the details and particularities. She is absolutely correct: the specificities of our collective experiences are critical and important when exploring the impacts of our tragedies. Considering that, it’s even more unfortunate that she fails to recognize the need to apply any regard to the significance of the cumulative Black experience, especially as part and parcel of the country she calls home, before launching into an assessment riddled with inaccuracies in favor of advancing a particular narrative. If race continues to be a taboo topic in France, then history will never be confronted with the proper weight it deserves, and we will continue to be forced to untangle a web of competing myths while the reality of the Black French diaspora remains obscured.  

On Lena Waithe and the Danger of Pinning Your Creative Authenticity to Your Activism

Originally published for VerySmartBrothas.

When it was announced that rising actor Jason Mitchell—known for his performances in Straight Outta Compton, Mudbound and The Chi—had not only been released from his contract as a series regular on The Chi but was removed from an upcoming Netflix film (and dropped by his agent and manager), the initial response was a consensus: For him to get shunned by the industry this swiftly, whatever offenses he’s accused of must have been beyond the pale.

Even more surprising was that many of the alleged offenses happened on the set of The Chi, the brainchild of self-professed Time’s Up activist Lena Waithe, who hasgone on record stating “If you want to play that game and be disrespectful or misbehave on set with an actress or anyone, I’ll happily call Showtime and say this person has to go, and you will get shot up and it’ll be a wonderful finale.”

As we now know, the forcefulness of her language belies the truth of what happened on set. Tiffany Boone, who played Mitchell’s character’s girlfriend Jerrika, endured harassment for the first two seasons of the show to the point that her fiancé had to come on set whenever she shot scenes with Mitchell. And at least one other actress filed complaints—as well as Ayanna Floyd Davis, the showrunner for season two. It took 10 days, however, for Waithe herself to speak on the record about the accusations and fallout—choosing the platform of a 40-minute phone interview with Charlamagne Tha God on The Breakfast Club.

It comes off as a curiously intentional decision when you consider that in the window between the public discovery about Mitchell and her one-on-one with Charlamagne, Waithe guest hosted an episode an of Jimmy Kimmel Live, replete with a viral kiss with Halle Berry, with nary a mention of the crisis existing on the set of her show.

Despite work by multiple organizations and public figures to get the harassment of black women covered on a national scale and Waithe’s own self-avowed affiliation with national organizations with Hollywood ties, when it came time to address issues within her own purview, it became an “in-house” discussion. And one with a moderator who has had his own problematic past with black women.

In The Breakfast Club interview, when asked about the measures she took upon being made aware that Boone endured harassment in the first season, Waithe stressed that she took action by placing women of color in positions of power, a tactic that would seem to only expose more women to Mitchell’s alleged abuse. (And in hindsight did, considering Davis filed complaints of her own.)

Placing figureheads as a countermeasure isn’t a controlling agent for behavior nor is it accountability—it’s a toothless symbolism without any reasonable expectation of change. These certainly aren’t recommended practices (pdf) in the Leading With Transparency guidelines provided by the Time’s Up organization on navigating sexual harassment in the workplace. Given the pile of quicksand Davis walked into, it’s no wonder she was unable to stem the chronic harassment from recurring and even being directed her way, a point Waithe seemed to omit when discussing her regrets of “trusting someone else to do my job.”

When it comes to the matter of Waithe’s job within the universe of The Chi and in the activist-minded cultural space she simultaneously wants to inhabit, there are some blatant contradictions—seemingly borne out of a desire to exist both in the world of the haves and the have nots. In the same breath that we are informed she ensured that the season two staff was helmed by black women, she insisted that despite being the creator and executive producer with multiple writing credits and an Emmy to her name, she didn’t have much influence in the firing decisions—a sentiment she reiterates at the 15:30 mark of the video, when defending her choice to allow Boone to leave as opposed to lobbying for Mitchell’s departure: “I’m not in control over who really stays or who goes in the show…the truth is, there’s a world in which I can say it’s me or Jason, and they may take Jason.”

It’s an incongruous juxtaposition that recurs throughout the conversation, rendering it difficult to parse through the true nature of Waithe’s position. Starting at 6:25, for example, there’s a protracted discussion in which she proudly establishes herself as both being regularly on set on her shows, making sure it is a safe space for women during sensitive moments, before adjusting her position around 8:45 to that of a boss with too many employees to manage all of the comings and goings and needing to delegate it out to trusted individuals.

In regard to Boone’s season two return, the initial disclosure was that by the time Waithe was made privy to the situation, both Boone and Mitchell had come to an agreement and were willing to work together again, only for Waithe to mention that she sat with Boone and implored her to “give me an opportunity to change your environment.” This act seems innocuous on its face, but adjusts the level of involvement she purportedly has. These statements were made one right after the other—13:35 minutes in—making it difficult to comprehend exactly what Waithe knew and when.

To date, we still don’t know the specifics of all the allegations against Mitchell—Waithe alleges not to know them herself—and they are frankly irrelevant. While the specifics will certainly leak in due time, if Mitchell did create an unsafe working environment for several women, many of them black, that is reason enough to hold him accountable immediately.

For Lena, the palpable disappointment of many of her fans lies in the fact that she seems to be incapable of divorcing her need to protect her brand as an advocate and champion for the marginalized from providing clear accountability on the failures that endangered multiple women on the show. When she had her own opportunity to “lead with transparency,” she instead chose to sidestep, displacing as much blame as possible to another woman—who also endured harassment—while also subtly victim-blaming as justification for her failure to act in a truly productive manner.

In a piece I wrote a while ago on cancel culture and public apologies, linguist Edwin Battistella explained how the initial apologies are almost always guided by self-interest, stating “people who want to see if they can get away with a lesser offense; if they can sort of say ‘I was misunderstood’ or ‘I was just kidding’ or ‘This is a private matter, let’s move on,’ and if people accept those sorts of apologies that just kind of encourages more of that. So it’s good when groups and individuals push back and say ‘This isn’t the apology we were hoping to see. This apology says nothing.’”

In many ways, this describes what is playing out with Waithe now. In expecting her identity and political capital to bolster her through this PR moment, she forgot that her political capital is tied to whether or not she truly upholds the rubric of the moral fabric that she claims to stand behind. This incident was a failure in that regard—an exercise in extemporaneous self-defense as opposed to empathy and clarity.

Near the end of The Breakfast Club interview, Waithe states to Charlamagne, “Hollywood needs to be a safe space for black women and I think we all need to do better about that.” The sentiment is a beautifully worded logical fallacy, pointing the finger back at the world before allowing anyone to hold her accountable for her clear failings as the name and advocate behind this project. It would truly be unfortunate if that in all the women Lena failed here, the last one would be herself.

The Diaspora Wars of ‘She’s Gotta Have It’

Originally published in OkayAfrica.

British actors are “taking all of our roles” says Nola Darling to Olu, her British-Nigerian love interest in the latest season of She’s Gotta Have It (#SuperFunkyCaliFragiSexy). “We have dope, talented, trained, qualified, black actors right here in the States—and at the end of the day, Black Brits just come cheaper,” she continues, echoing Samuel L. Jackson’s real-life commentary on the subject.

In response, Olu argues that Black Brits are “free of the psychological burden” of slavery and Jim Crow, prompting Nola to inform him that he “just [has] Stockholm Syndrome and fell in love with your captors”—but not before explaining the basic facts of British involvement in the Transatlantic slave trade.

The backlash from the Black Diaspora in the United Kingdom was swift: Nola Darling’s sentiments were an insult to the experience of Black Brits. While a fictional character’s problematic views don’t necessarily reflect their creator’s feelings, when taken to task for the clip on Instagram, Spike Lee responded with a brusque “Truth Hurts?”.

The scene frames the British character as the villain in the interaction—”how can someone so gorgeous be so ignorant?” Nola asks. It’s an odd premise considering recent political history in the UK. Events like the fire at the Grenfell Towers, the Windrush generation scandal, and the ongoing Brexit debacle are all clear indicators that the modern Britain, like the US, has not shaken free of its white supremacist foundations. And why would Black Brits be “unburdened” by slavery when a large proportion also descended from chattel slavery? Given this clear misrepresentation, it’s understandable why someone like John Boyega would push back. In the exchange between Nola and Olu who is truly the ignorant one?

In a review for the initial season of She’s Gotta Have It, writer Zoe Samudzi criticized the show’s inauthentic feel and stilted dialogue, noting that “the result is an inorganic character constantly uttering strained, overly witty Gilmore Girls-esque banter…who feels detached from actual experience and conversation, living in a purgatory between 1986 and now.” In a series that strove to recapture the boldness of the original film’s perspective of modern Black women’s sexuality and life in Brooklyn, it fell short in both accords, settling instead for a paint-by-numbers plot update tethered to a facsimile of the original story, anchored with overwrought vocabulary that lacks the cadence of a genuine conversation between peers.

Season 2 continues on that note, unbound by the parameters of the original source material—resulting in a chaotic string of episodes composed of curious extended asides and plot contrivances used to make unwieldy points on gentrification, queer relationships, artistic expression and exploitation, self love, classism, and Black diaspora relations. With the latter, Lee tackles the subject with the precision of a sledgehammer.

Unfortunately Nola and Olu’s tête-à-tête derails any opportunity to properly examine the ability of Black British actors to take on and do justice to roles for Black Americans. The controversy flared recently with the backlash to Cynthia Erivo’s casting as Harriet Tubman and Samuel L. Jackson’s comments on casting patterns in which he inaccurately described Britain’s relationship with interracial dating. These nuances should be explored—but without projecting other groups’ experiences, or using language akin to xenophobic tropes.

There are multiple threads at play. Hollywood remains the West’s largest film industry with significantly more roles available for Black actors, prompting more Black Brits to cross the pond; and with the United Kingdom education system investing in arts training at a rate that far exceeds the scope of the States, casting agents are known to openly fetishize the “pedigree” of the British imports. This tends to come at a higher cost to Black Americans due to the more limited availability of top-billing roles intended specifically for Black actors.

All of this manufactured scarcity is, of course, due largely to white production companies and various other gatekeepers. As we work to build our own platforms and tell our own stories, it’s prudent to explore what equity in representation looks like in race-based casting and how we can work to expand the pool of available significant positions for Black people in the film industry on either side of the Atlantic and on either side of the camera.

It was especially jarring that Nola and Olu’s argument was further undercut by choosing to mispronounce the names of Chiwetel Ejiofor and John Boyega, an anti-black trope, and turning Olu into an incoherent mishmash of West African identities—a British Nigerian with a Yoruba name claiming the Fulani tribe while casually donning Ghanaian Kente regalia.

In an ironic twist, Nola’s character searches for clarity by tapping into Yoruba spirituality during a trip to Puerto Rico, failing to acknowledge the sources that she was previously so dismissive of. She is identified as a daughter of Oshun (an orisha made globally infamous after Beyoncé’s interpolation of Yoruba iconography in Lemonade).

The present-day African diaspora is more connected than ever, and nowhere is that more evident than modern-day Brooklyn, home to a large Caribbean population, the West Indian Day Parade, the Museum of Contemporary African Diasporan Arts (MoCADA) and other Black cultural institutions. This past Memorial Day Weekend, the streets of Spike Lee’s beloved Fort Greene were littered with BAM’s annual celebration of African Identity, creative expression, and performance, DanceAfrica, as well as newly established diaspora traditions like Everyday Afrique. By failing to recognize the rhythms of the borough, Lee reveals just how removed he is from the particulars of the experiences of day-to-day Black Brooklyn life, and he is only doing himself and the show a disservice by allowing the show to be dominated by his voice and direction.

As Black creatives continue to tell the stories that we find important, their impacts and themes tend to resonate broadly. It’s why Roots was a phenomenon that aired not just in the US but in Europe, and the story of the Haitian Revolution is universally recalled as one of Black self-determination and insurrection. That extends to marketing: BlacKkKlansman, for example, was an American story that Lee made efforts to connect with Black British audiences, similar in logic to the targeted global campaign that Marvel engaged in for Black Panther.

Engaging in the labor of storytelling is not a tradition of exclusivity; it’s one of exchange and collaboration, as long as all parties arriving at the table have entered into a safe space of mutual respect and understanding. It’s a loss for us all when a new piece of Black work fails to understand that framework.