The notion of crisis and blackness and blackness in crisis is
never far from our consideration as people engaged in the
playful construction of engineering expressive vehicles for the
performative exegeses of dark matters, dark energies and the
dark times and spaces they inhabit.
For this reason, I can say that we, as a group, are a spectacularly
philosophical bunch. Anyone who’s ever spent more than 5
minutes in Harlem knows it’s more like the floor of the New
York Stock Exchange, Wall Street than any other hood in the
known universe.
Once you’ve done your homework and your social work you
know that there are no observable limits to what has often
been maligned as a black essentialism. You know that the
kulcha we call black has allowed for the most racist conceptions
of race — namely, that one drop of black blood is enough to
deny you a right to love, live and work where you desire —
we know that black kulcha has taken one drop as an opportunity
to bleed and draw blood and spread dark energy all over
the globe.
Harlem is defined by The Hustle, The Grind and the getting
on of your hustle in your own Name.
By this I do not mean art-forms propagated by Van McCoy’s
orchestral maneuvers in The Clubhouse dark. Neither do
I mean my Harlem people’s capacity to turn the pursuit of
profit into both poetic forms and forms of aggression.
earth, the fi
would
that we
“If Aliens came down to going on onrst thing theybut theysay is do have
don’t know what else is
this planet,
sure
some baaad Music.
”
As Black Atlantic scholar and professorial balboa Robert Farris
Thompson likes to say, “If Aliens came down to earth, the first
thing they would say is that we don’t know what else is going
on on this planet, but they sure do have some baaad Music.”
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