Something else happened that day. I realized that I really liked being an anonymous kid on a street corner in L.A. I realized that I really liked not giving a solitary fuck about what anyone was doing, not even myself. I realized that in some way it was my natural state.
Two days later, I started dressing differently.
I cut my own hair into a weird nappy mushroom top. I took this goofy trench coat I had and sliced it at the waist with a pair of scissors. On the chest I sewed the patch that I earned in a middle school spelling bee. I wrote graffiti on the sleeve in Sharpie. I took to wearing pajama bottoms and black chucks.
In short, the combination of Parliament and Hollywood had instantly funked me out.
And it worked, because the first time I left the house in this new uniform, I experienced something that I never had before. You might call it freedom. Abandon. Cultural immunity. I had a self. It was adolescent and awkward and trying too hard. But it was my very own self. It was a me that was all mine. It didn’t matter what anyone thought about it. For a brief moment in time, I simply didn’t give a fuck.
And that’s an important thing. When you have come to regard your very skin color as an insufferable disease, when you have to punch other people in the mouth just so you can be ok with who you are, not giving a fuck is the single most divine experience you can ever have.
– Carvell Wallace, “How to Raise Hell in Three Steps: on RUN-D.M.C, Parliament, Blackness and Revolution,” Pitchfork
By Guest Contributor Kendra James
Before we get to criticisms, let’s start on a positive note: Overall, I loved attending New York Comic Con this past weekend. Entrenched in one giant convention center with my fellow geeks, I was mostly able to ignore the fact that most of us had no way to contact the outside world…or the friends we got separated from in the massive crowds.
Waiting in line for panels was actually the best way to escape the crowds at NYCC which seemed to take over all of midtown Manhattan (I was nearly hit by a van on 10th Ave driven by what looked like Daenerys and Spider-Man) and, as suspected, Saturday’s panels proved most exciting. Here’s a brief wrap up of two major panels and some general NYCC news and observations for those who weren’t able to attend:
By Guest Contributor Kendra James
Entrance to New York Comic Con. Via Collider.com
Okay, so there’s not going to be anything Avengers-sized at this year’s New York Comic Con. That said, I’m still thrilled to be spending the weekend down at the Javits Center on behalf of The R. I’ll be on site Thursday through Sunday covering panels, celebrity sightings, and other general Con-ness. There aren’t as many panels as we had back at this summer’s SDCC, but the way I see it that just makes it easier to hit up more great stuff!
By Arturo R. García
Not even Run-DMC could’ve made these Adidas sound like a good idea.
Fortunately, the company reversed course Monday, opting not to release the shoes pictured above, the JS Roundhouse Mids, named after designer Jeremy Scott, who had said on Twitter that the shoes were inspired by My Pet Monster dolls. He did not, however, explain either how the image of somebody walking around with shoes couldn’t bring up images of imprisonment–let alone outright slavery–as Syracuse University’s Dr. Boyce Watkins described at Your Black World:
When I see the shoes, I also think about the ankle bracelets being worn by far too many men who are affected by the mass incarceration epidemic that the White House says nothing about. The black family has ripped itself apart because so many of our fathers, brothers, husbands and sons are locked away in prison, leading their children vulnerable to all the horrible things that happen when the man of the house is not away. I am offended by these shoes because there is nothing funny about the prison industrial complex, which is the most genocidal thing to happen to the black family since slavery itself.
Adidas wasn’t very talkative either, releasing a boilerplate statement citing Scott’s “quirky” and “lighthearted” style and apologizing “if people were offended by the design.” Meanwhile, according to Zap2it, he stuck to retweeting supporters dismissing such questions as the work of internet trolls. Because that’s a sensible response, right?
Ultimately, the JS Roundhouses will join Nike’s “Black and Tans” and “Air Allahs,” Umbro’s “Zyklons” and Converse’s “Loaded Weapons” on the pile of debacles that could’ve easily been avoided had a little common sense and empathy been allowed into the creative process.
By Arturo R. García
Fittingly, the most sincerely gripping moments in Ice-T’s directorial debut, Something From Nothing: The Art of Rap, happen when the art form is allowed to speak for itself: when tracks like “Straight Outta Compton” and “The Message” kick in on a theater-quality sound system, alongside footage of the neighborhoods their stories inspired, Ice’s argument behind their power comes through loud and clear.
But in attempting to break down both the mechanics and the magic behind MCing, Ice unwittingly undercuts both the audience and his interview subjects. At least, as of right now. Some spoilers under the cut.