So it’s official, then: AFROPUNK IS TRASH.
What started out roughly a decade ago as an alternative space for black creatives (largely in Brooklyn) has become a cash cow for black capitalists (aka Amerikkkan Coloreds, aka the Black Bourgeoisie) who traditionally see other Black people as shit. Snotty-nosed hipsters infiltrated the scene early on, it appears, and completely corrupted what should have been a viable Black counter-cultural movement. According to Bae Guevara, a self-styled trap feminist, thug scholar and Harlemite, “Afropunk has always been corny. It isn’t even punk. Just corporate shit backed by white people.”
What *is* Black Punk, anyway? What about Bad Brains? The New York Niggers? Living Colour? Eugene Tatu? Sun Ra? (Yes, I know he’s dead, but still.) Punk, by definition, is anarchic, confrontational, rude, nasty, shrill. Punk aims to offend, not please. The Afropunks conflated petty-bourgeois hipsterism and hippie shenanigans (like posing, panting your face, wearing flowers and funny hats and all that silly shit) with authentic punk. You will never find an Afropunk equivalent to Johnny Rotten’s “God Save the Queen” (unless, of course, one is willing to include Nipsey Hustle’s “Fuck Donald Trump” under the umbrella of a Black Punk aesthetic).
Afropunk made its true intent self-evident in its paternalistic attitude towards its followers (note the signs at festivals demanding in shrill Stalinist PC rhetoric NO RACISM, NO HETEROSEXISM, NO FAT SHAMING, NO AGEISM, blah blah blah–as if these clowns were addressing little children)–and its obsequiousness towards White hipster gate-crashers. Of course, these plastic pickaninnies simply wanted White hipster money, which explains why they (plastic punks) eventually shelved their Afrocentric intentions.
In fact, Afropunk became WHITE, a sexified racist minstrel show, pandering to White racist desires for Black exotica, Black obsequiousness and of course, the long-held white racist desire for the PRIMITIVE, CHILDLIKE, HAPPY NEGRO. The Black Bourgeoisie typically tries to conceal its extreme self-loathing behind gay and trans-rights issues, but in this instance (as in the case of Jussie Smolett and DeRay McKesson) the bougies got called out on their fuckery. The sheer vitriol and hate that infests “Shea Butter Twitter” manifested itself in Afropunk’s mental, verbal and physical assaults on its own staff (and others). Afropunk is to Black culture (what’s left of it, which isn’t much) what Kamala Harris is to Afro-Americans in general: a stale Oreo cookie.
#Afropunk=Trumpism stickers were spotted in New York and Atlanta
Former associates, staff members, artists, vendors, festival goers are sharing their Afropunk stories of lies, abuse, conning, threats and more. Many are calling for a boycott.
Event production company Afropunk’s ethos has been called into questions numerous times over the years. Most recently, guests of their Brooklyn festival reported being removed from a backstage area for criticizing the brand, and the long-time Editor-in-Chief of Afropunk’s online media resigned, citing unethical behaviors and performative ‘activism’ coming from the company’s owners and their ‘entourage’.
Many more people are now coming forward with their accounts of how they were mistreated by the corporation and/or its management in this exclusive investigation. Some are speaking here for the first time, some have spoken out before but most of the previous reports, albeit very concerning, didn’t get much traction.
While unethical behavior is not unusual in…
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