In the late nineteenth and early twentieth centuries, as race science blended with the new colonial imperialism, “human zoos” became all the rage in the west. Placed into “natural habitats,” adorned in “traditional dress” and sometimes behind bars, people from “exotic” lands were put on display for a gawking public. All of this to prove the racial theories of the day–that people after all were not alike all over.
Art- Poster of the “Peoples Show” (Völkerschau) in Stuttgart (Germany), 1928
A few years ago someone told me I was a Blerd. I had no idea what they were talking about. But (as I was then told) I’m black, I like SFF, and I talk about it a whole lot. So that makes me a Blerd. Okay. Fine. Whatevs. I didn’t really expect the term to catch on. I mean c’mon. Black + Nerd? Shows how much I know. Today Blerds are everywhere. There are Blerd sites, Blerd podcasts, Blerd blogs, Blerd meetups–you name it. Blerd has become a community. Blerd can maybe even be called a movement. Blerds are also remarkably diverse. And it turns out using one story to define them, may limit the full breadth of who or what they (we) can be.
Art: Phil Noto, Variant cover, Captain America
On the 50th anniversary of the assassination of the activist, orator and the man once referred to in eulogy by the late Ossie Davis as “Our Shining Black Prince,” El-Hajj Malik El-Shabazz (most commonly known as Malcolm X), I quite foolishly decide to wade into that whole X-Men analogy thingy. Of course I’ve been warned. Of course I know better. But since when has that stopped me? So then, let’s do this thing.
And that supremely bad ass Malcolm & Magneto mash-up art you’re seeing, is courtesy of the amazing John Jennings and his 2012-2013 exhibit Black Kirby. If yuh dunno, now yuh know.
This year after a 4am breakfast party, a night of Dimanche Gras and knowing we have to be on the road to meet our band at 10:00am for Monday mas, we didn’t go into town for Jouvert. Instead, we stayed in Chaguanas–where my father grew up. Liming with my cousin Freddy from the early morning, we made it out to see masses of people (one set ah people!) wining, flinging mud and paint, drinking rum & Stag, and jumping up with the big trucks that rumbled down the main road. Jouvert may not be as big in Chaguanas as it is in Port-of-Spain, but for many it’s enough. Thought this might be a good time to re-post last year’s blog on the early morning festivities and its origin. So if yuh don’t know…
*photo taken this morning, somewhere in Chaguanas.
On Feb. 8 1915, D.W. Griffith’s Birth of a Nation premiered in American theaters. The film depicted the Civil War, its aftermath and Reconstruction. Though billed as “history” by its director, Birth of a Nation instead offered up an alternate past. In this retelling of historical events, Reconstruction was discriminatory towards whites, African-Americans were oppressive tyrants; and the film’s heroes were the Ku Klux Klan, chivalrous protectors of civilization and white womanhood. This was a purely speculative tale, but one that was supported by popular racial ideologies, Southern nostalgia, academic schools of thought, and even the writings of a U.S. president. Hailed as a “masterpiece,” Birth of a Nation revolutionized film making as we know it. For white America, it offered a chance at reconciliation between a white North and a white South. For African-Americans everywhere, however, it was a terrorizing mythology, that posed existential dangers if not confronted directly.
Phenderson Djèlí Clark 