The artifice is; the artifice becomes

Unyielding to a static binary gender system allows oneself to reinvent; to discover who you are and who you can really be upon figuring out I’m not ____. I can be ____.

Relenting to subservient standard male/female coded personality traits, roles and mores in society, in aggressive stereotypical excess (and in equal parts [un]intentionality) allows for some people to be defined simply by that alone. They are; it is them.

When I was a fledgling queer, I remember telling my mom “I don’t feel particularly masculine or feminine. These aren’t things I relate to.”…

  1. Maka & The Kishin

The final scenes from the fantastic Soul Eater (2008) anime leaves the series with a swift about-face turn, as Maka Albarn (protag) and the Kishin (antag) face off in their last battle. As they discuss strategy, philosophy gets folded into the mix, with the Kishin describing all emotions as stemming from imagination. The antithesis of no imagination is an all consuming madness; you may shut out fear, jealousy and other unenvious traits through madness, but are consumed by it nevertheless. …

Flat: Pharrell Williams and his Idiosyncratic Approach to Production

Pharrell at the Global Citizen Festival in Hamburg, Germany

Pharrell Williams is an immutable constant in the pop production zeitgeist. His work takes various forms, including duo work with fellow friend and producer Chad Hugo in The Neptunes, bringing white-dusted braggadocio raps to another dimension over Clipse’s albums, or working to (mostly) bad effect with his band N*E*R*D. Pharrell has always left his distinct touch — whether through the staccato, pointillist punch in his beats, or slipping by in more subtle, largely unnoticeable ways elsewhere. …

The Hilarious Disrespect of White Bodies in Jordan Peele’s Us & The Black Horror Genre

“Cindy, the news is on! Another little white girl done fell down a well…50 black people get their ass beat by police today, but the whole world gotta stop for one little whitey down a hole.”

In one of the funniest non-sequitur lines of 2003’s Scary Movie 3, Brenda Meeks (Regina Hall) basks in one of my favorite Black-made media tropes: the disrespect of white bodies. Brenda casually trails off into a salient point on the Black American experience and nonchalantly slips into the non-importance…

Black (Vapor)Waves: Solange & The Vaporwave Genre

A still from Solange’s “Almeda” overlain with the Nightwave Plaza App.

To cut to the chase, Solange Knowles’s 2019 cosmic, concise epic When I Get Home is a vaporwave album. To be more precise, the core elements of Solange’s sonic aesthetic is largely comprised of her past, current, and future relation to Houston and Black identity. To this listener’s ear, it is the coglike de- and reconstructions of a lineage of Black music, including chopped’n’screwed, jazz, trap, experimental, ambient, and beyond. It is these same sonic elements, combined with other genres (bedroom pop, computer sounds, Shibuya-kei and other Japanese iterations of pop) that comprise…

Tre Simmons

Writer/musician/illustrator/nonbinary theydie. Would you think me queer if while standing beside you, I opted instead to disappear?

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