Welcome back to Black Friday, y'all!

It’s not your one-stop shop for black news (prioritize black people all the time), but do check in for a corner of black-centric news—preferably of the queer and femme nature.

Black Women Erased From Black Power Movement in Guerilla

Premiering this month, John Ridley’s TV show Guerilla will do it’s best to depict a story of revolution. A story of resilience and power, BLACK power, and there will be what….no black women. Wait there’s one. Oh, she’s the informant for a white police officer.

This, so far, is all we’ve seen from the Showtime series set in the 70’s era black power movement, and it has provoked much criticism and backlash towards the project. I mean really though, an Asian lead, but the only black woman present in promos is an informant . They’re just gonna slip that in there? Explaining the move in a recent Q & A screening in London, Ridley on the verge of tears responded,

“I said previously, I think the characters in this story are complicated across the board, so the concept that any one person is somehow better, or more elevated, or more appropriate than any other individual, I’m sorry, I don’t accept that.”

Then he continued:

“I don’t want to make this overly personal, but part of why I chose to have a mixed-race couple at the center of this is that I’m in a mixed-race relationship. The things that are being said here, and how we are often received, is very equivalent to what’s going on right now. My wife is a fighter, my wife is an activist, and yet, because our races are different, there are a lot of things we have to still put up with.”

Now as a writer, inspiration may create minor tweaks in accuracy or detail, but the question here remains why no positive and prominent black, female roles in a black power movement. When stories involving black people can’t even pave way for strong, positive role models and accurate representation of themselves, then something has definitely gone awry. This beta max retelling of racial transcendence and coexist stickers has been made clear to be less of a story of black power for black people and more of the struggles of Ridley’s relationship, now set in 70’s UK. It’s unfortunate because people such as Olive Morris (British Black Panthers), Stella Dadzie (Organization of Women of African and Asian Descent) and activist Claudia Jones may have added a bit more flare and substance to this narrative, but I guess nonblack fictional characters are what we have to work with now..

SlayTV

In a sea of pink nipples and rampant appropriation, one can be very hard-pressed to find a black gay character that isn’t stereotyped, hypersexualized/fetishized or just there to be the black person in the room. Well SlayTV, has arrived to fill a bit of that void. Created by a black gay couple, the network presents a range of stories with black trans and queer people at the forefront. With series such as “Love At First Night” and “No Shade”, the content aims to depict a reality that’s more true to the gay black experience, while delivering some laughs along the way.

Meanwhile, docu-series “Other Boys” - created by video producer Abdool Corlette - centers stories of black queer and trans men growing up in NYC. Delving into family life, careers and socioeconomics each episode gives a perspective mostly silenced or subverted in mainstream media. These and other series on the network consistently garner a refreshing feeling of reliability, but with a mostly black team behind the project, this comes as no surprise.

SlayTV’s official launch is on May 15th, but all of this content is available now on Youtube.

Matt Jones is your average carefree black boi, community worker, and sensei. As an Atlanta based artist he dreams to foster community and advocate real change for issues involving but not limited to mental health, queer life, and POC disparity.

Photo: Julián Camilo Del Toro

One of our favorite new parties to spring up this past year is the Latinx night ATL has been craving: La Choloteca. Since their grand incarnation at Star Bar, the crew have been consistently knocking it out of the damn park. With regular Thursday night bangers at Star Bar and Cabbagetown-staple 97 Estoria, the team has now sets their ojos on bigger sights with a 4/20 party at MJQ on Ponce.

Behind the lights and the music, much of the success of La Choloteca is due to the bold mission statement. Not only will you hear sounds ranging from “Salsa to Cumbia to Dembow to Punk”, the organizers have sought to make it an inclusive (and free!) event for all. It’s a party with a purpose, y’all.

"I've seen the growth of Atlanta and the Latinx community and I feel like La Choloteca is just a celebration of all those things coming together," said co-founder Randall Ruiz (Florista) in a previous interview with WUSSY.

A conversation with the founders of La Choloteca from September 2016.

The 4/20 edition of La Choloteca will partially support the Feminist Women’s Health Center. The center has created programs such as the Black Women's Wellness Project and Lifting Latina Voices Initiative, which "cultivates Latina self-awareness, growth and empowerment... especially those who are low-income and uninsured.”

This month also features three special guest DJ’s—Lokahontas (MIA), Ree De La Vega (ATL), and Ash Lauryn (ATL)—in addition to their regular lineup of DJ Esme, Santiago Paramo, Juampasoul, and Florista.

As always, no cover!

It’s undeniable that roller derby has become associated with “the ladies”. Popular during the Americana Depression Era, the 1960’s saw a renewed interest, strongly encouraging female participation. Little did these promoters know that these teams would hold steadfast to their love for this counterculture sport, growing it into an underground phenom of their own with serious players and fans alike who revel in the rowdyruff and wild that is roller derby.

Skating’s cultural connection to 1970’s roller disco during a decade where badass dangerous femmes ruled B-movies rubbed off on rollergirl imagineering. Afterall, with BYOB events, roller derby is at punk levels. Its fast paced entertainment, never skimping on the fun, appeals to a variety of demographics, perhaps for different reasons. However, rollergirls themselves hold a common core: immeasurable self-growth and empowerment.

“Roller Derby in its modern incarnation is a sport that has been 100% organized by the skaters, for the skaters. This is my fifth season with Atlanta Rollergirls, and each year I find myself stepping further out of my comfort zone”, says Marie Provence aka Lady Skatepants of the Sake Tuyas and Rumble Bs. She notes the appeal is beyond just sport: “Most women who have joined will tell you that they found derby during a transitional period in their lives. Being involved is an enormous time and physical commitment, but the unique combination of athleticism and camaraderie within the Atlanta Rollergirls community continues to bring people back year after year.”

In a world of yoga, ballet, gymnastics, swimming, and other more “ladylike” sports, roller derby is brutal to say the least. With its set of rules and regulations, a heavy presence of refs, blockers and jammers, it is an aggressive contact sport. Roller derby also comes with certain airs of a queer stereotype. We’ve come a long way since Kids in the Hall’s Buddy Cole as a superfag team coach for a “lesbian softball team”, seen as either endearing or offensive regarding comedic commentary of sports and women’s sexuality. In all seriousness, though, roller derby is incredibly inclusive.

Afro Dykee (Photo: O-Jen Ishii Photography)

Leah Trotter regards her moniker, Afro Dykee, with pride on multiple levels. “I wanted a name that spoke to who I am/my identity. I also hoped that queer folks who saw the name would connect the name with safe spaces. I think it's important to try to take back and claim spaces that are not always seen as welcoming. I have hopes that my name makes other queer black folk know that they are not alone.”

Trotter has always been athletic and, having played soccer throughout her youth, found a niche with Atlanta Rollergirls. “I tried out and got drafted in 2012. At that point my sister (Queen Loseyateefa) had already been skating for quite some time. I had gone to a lot of her games and realized I was becoming obsessed. It had been a while since I had played competitively. For many folks once you're out of college it's hard to find competitive sports. I realized how much I missed it and didn't want to watch on the sidelines.”

Married couple Lea Murray aka Lez Dispenser and Fiona Cooke aka The Boss recognize roller derby as very queer friendly. “Outsiders tend to think we're all lesbians. As awesome as that'd be, that's untrue. We do have a higher percentage than the national average. I'd guess about 20-25% of our league is lesbian/queer/bi. It is a very accepting culture for the queer community”, Lea says.

Lez Dispenser (Photo: O-Jen Ishii Photography)

Anna went to her first derby in Athens, GA and, inspired, began learning to skate again at the local rink. “I did that for months and coincidentally a rollergirl was at open skate one night and told me about tryouts. I worked up the courage and the rest is history.” Lea struck inspiration through Drew Barrymore’s directorial debut Whip It and googled "roller derby Georgia", leading her to the Atlanta Rollergirls. Soon enough she was obsessively researching and practicing for tryouts as well. The couple met through a scrimmage, though living in different cities, dated long distance. Eventually Anna transferred to Atlanta and now married to Lea have recently had a child.

The openness of the community highly appeals to many regarding sexuality and identity, whether queer, poly, trans, gay, straight. As Anna explains, “The sport embraces every kind of person. And quite frankly, no one gives a shit. I say that bluntly but it's just true. Derby has this amazing bubble around it that allows the sport to be incredibly inclusive, welcoming, encouraging, supporting, loving.” The WFTDA states that those who identify as women are welcome to be rollergirls, therefore including transwomen and non-binary individuals. One documentary In The Turn explores a transwoman’s journey as she finds acceptance and empowerment in roller derby. Unfortunately not many sports are as accepting.

“A lot of people say derby saved their souls, and as corny as that sounds, I can see and personally know why it's true,” Anna explains. “Lez and I have seen skaters literally heal through the sport. Through divorce, through death, through heartbreak, body struggles, gender changes… you name it. The community across the world is a powerful force. It's wonderful to see derby girls and guys come together to support one another.” Where there is fierceness in game, there is also greatness of heart. Rollergirls are warriors, each a phoenix rising from a former shadow, showing up. Where they may get knocked down, they get right back up again, to skate as strong as ever, not just through competition but through life.

Atlanta Rollergirls, once based out of Stone Mountain, hold events in the heart of the city at the Shriner Temple off Ponce De Leon. Support your local rollergirls! They will have two games on Saturday April 22nd, Sakes vs Demons and Rumble Bs vs Greenville Derby Dames.

Get tickets and learn more about the different teams, events and history at atlantarollergirls.com

Edit: WUSSY reached out to The Black Lips for comment. We have not received a response.

Atlanta’s punk outfit The Black Lips routinely flirts with controversy. It’s their brand; they take their dicks out on stage, they vomit, they call other artists “faggot”—they are also extremely problematic people masquerading as passionate yet misguided Libertarian millennials. In particular, two of their members—Jared Swilley and Cole Alexander—have come under fire for homophobic and racist remarks in the press, as well as racially charged Twitter exchanges. Alexander made an attempt to clarify their notorious utterings, only to be lambasted by music blogs for what was considered a victim-blaming response. Swilley has for the most part been using his statements as a parlay of sorts, grabbing music blog headlines with outlandish acts of repentance, such as planting a kiss on another man to disprove his own homophobia.

When asked by Creative Loafing to comment on a scathing editorial drafted by Gravy Train!!! front person Brontez Purnell, Swilley was contrite, “I mean [...] There are legitimate problems with racism in the world. It sucks that he's calling out someone like me, who is the antithesis of a racist.” These are words we’ve heard before. For some reason a person who holds their beliefs close to their heart and out of the public eye, always goes for the assertion that they are the “furthest thing from” a racist. It’s a tired declarative statement that has little basis in the facts other than those held dear by the person who asserts it.

Recently, I encountered Jared Swilley in his own home, and I consider this interaction to be important enough to push to print because it speaks to the truth nestled in the heart of one of The Black Lips’ principle members. I, alongside my partner, and two friends, was invited to attend a birthday hosted in Swilley’s home. Upon entering, we were given the third degree, which was understandable, because folks should know the names of those who enter their homes. Further into the night, my partner and I were taking in Swilley’s decor. Several pieces stuck out. The first being a “Coexist” sticker pasted on his back door’s glass window. It was not the sticker many of us are used to seeing on the bumpers of hybrid vehicles. Since I didn’t exactly enter the Swilley’s home with malicious intent, I did not snap a photo of it. Fortunately, you can Google the damn thing:

The other pieces that caught my eye, were 4-5 portraits of Confederate General Thomas “Stonewall” Jackson. Now, as a Black Queer woman, I am not able to identify a Confederate General by face alone and neither is my white partner. Out of curiosity, he asked Swilley some questions regarding the portraits, earnestly wondering whether or not there was a relation, since this one man’s image was so prolific in Swilley’s home. Following this question, Swilley perceived it as a provocation and promptly asked us to leave. So we did.

This incident piqued my curiosity: was Jared Swilley acting on his own racism, or was this simply the result of a drunk man reacting to widely perpetuated gossip regarding his beliefs? Or did he just not want us there from the beginning. I assumed it was a mixture of all these things.

So naturally, I did some digging.

Vice (which currently has The Black Lips signed) co-founder Gavin McInnes made waves in the world of wacky politics with the formation of his “pro-West, pro-Chauvinist” (their words) Alt-Right subgroup dubbed “Proud Boys”. Proud Boys have a platform that is part men’s rights and part modern progressive. They consider their platform to be a subject of deep misunderstanding, in that they abhor any associations with racially charged politics, in fact they really, really, do not like being deemed an Alt-Right movement. I spoke to a local Proud Boy, who contributed to my story on the basis of anonymity and he described the platform of his chapter and others, as evidenced in their social media guidelines. The guidelines are scant, but the emphasis on their disdain for racially charged content is striking, so much so that its repeated in each of the two.

“The KKK hates us for not agreeing with their racism and [anti-semitism]. So don’t ever let someone tell you it’s about race - it’s about NON race,” says my source. That is a lot to unpack for another time, but it adds meat to the speculations surrounding Swilley. Contextually, this is important because Jared Swilley was alleged to be a card-carrying member of a local Proud Boy chapter here in Atlanta. It was in the search for the truth that I identified my source, who provided me with specific information regarding Swilley’s membership. It turns out, that while Swilley is affiliated with locally known Proud Boys, his membership was denied across several chapters. The reasons are unknown, but it’s telling that a group as fringe and closely tied to men’s rights movements declined him entry.

Relevant meme.

Also, have you ever heard of the band Skrewdriver?

Wikipedia describes them as the “most prominent neo-nazi rock band in the world”. Skrewdriver released ten albums total, their debut did not feature neo-nazi themes. Still, the other nine did, with song titles such as “White Power”, “White Warriors” anyone who would call themselves the “antithesis of a racist” would certainly never ever consider a band like Skrewdriver to be worthy of respect. They certainly wouldn't consider a band like Skrewdriver, who are—again—the most prominent neo-nazi rock band in the world to be deserving of praise.

Would a person who is the “antithesis of a racist” do something like...wear a Skrewdriver t-shirt? You tell me, because Jared Swilley owns and wears a Skrewdriver t-shirt. Peep these images forwarded to me by an anonymous source:

To end, I am not going to call Jared Swilley a racist because at the end of the day I have no clue what goes through his mind or what he was thinking that night. I do however have racks on racks of compelling evidence that something doesn’t quite smell right. We have receipts honey. What do you guys think?

Left to Right: Emily Getsay, Mahlon J. Randolph, Johnnie Ray Kornegay III [Photo by Jon Dean]

Art has the incredible power to create conversation and raise awareness about an infinite number of issues. As we’ve seen with the recent Whitney Biennial controversy, this type of artistic power can quickly turn ugly.

In February, local artist Matthew Terrell created an eight-foot pyramid, prominently displaying the alarming number of people living with HIV in Atlanta. The numbers on the sculpture, located on the lawn of the Center for Civil and Human Rights, will be updated every Friday through the end of June. The sculpture created a stir of conversation and controversy, with many people questioning the true intentions of the piece.

WUSSY’s own Zaida J. was not the only one to raise concerns. Local artist, Emily Getsay, created a Facebook page calling for the community to help create a counterpiece to the sculpture. Because of the response, Getsay teamed up with artist Johnnie Ray Kornegay III to organize I AM, a one-night exhibition on Tuesday, April 25th. The exhibit will take place at the Center for Civil and Human Rights.

"I AM is a one-night exhibition joining Artists, Activists and people living with HIV to tell the stories of Atlanta residents living with HIV,” the team said in a prepared statement. “The goal of the exhibition is to illustrate the importance of those living with HIV and highlighting those views in our conversation and work revolving around HIV. “

Mahlon J. Randolph, along with Nina Martinez and Marxavian Jones, MPA, will be opening speakers at the event. The evening will also include a panel discussion, moderated by Tim’m West, focusing on “using art as activism, personal stories of living with HIV, and art as a tool to show the lives and perspective of people living with HIV.” Confirmed panelists so far include Charles Stephens [Founder & Executive Director of Counter Narrative Project], Park Cannon [Georgia State Representative], and Ms. Dee Dee Chamblee [Founder of LaGender, an Atlanta nonprofit]

WUSSY spoke with the I AM organizers about the opening.

Tell us about the mission of the exhibit and Atlanta's relationship with HIV in particular.

Emily: The project, I AM, a name that actually came from a statement by Nina Martinez, actually started as a simple question, "what do we have to say about this?"

Johnnie: Atlanta has a rich history of HIV activism that includes artistic figures like Rev. Duncan Teague, Tony Daniels and Craig Washington, and we see I AM as continuing in that tradition.

This project started as a response to Matthew Terrell's “Atlanta’s HIV + Population Now” piece. What prompted your response?

Emily: My piece More Than a Number began as a response to Matthew Terrell's “Atlanta’s HIV + Population Now” piece when my friends living with HIV/AIDS and partners in activism began talking about the piece and what it meant to them. When first looking at the piece there is something uneasy about it. The piece is lacking. After many conversations the consensus is that the piece is lacking perspective. It is lacking the perspective of people living with HIV/AIDS . One could claim that the piece is a call to action but if it is a call to action , then where is the solution?

Work by Richard Satchell

What are some ways we can fight HIV stigma in ATL and beyond?

Emily: It begins with education and conversation. Education about PrEP, education about living with HIV and education about what it means to be undetectable. People outside of the cause don't always know what these things are or what they mean. We must hold each other accountable and share what we know to those who don't. That sometimes means having conversations that are uncomfortable and unexpected. So what, it needs to happen . People need to understand what Living with HIV is like in this day and age. People are stuck in the past and it is our purpose to bring them to the present.

Johnnie: I think it's also important that we don't separate the fight against HIV stigma from the fight against other types of injustice, including racism, homophobia, transphobia, and lack of access to healthcare. It's critical that we ensure that people understand how HIV criminalization affects all of us, not just people living with HIV. Last year the CDC released a study that said if current HIV diagnoses rates persist 1-in-2 Black gay and bisexual men will be diagnosed with HIV in their lifetime. Fighting stigma demands urgency. We've been working, already, and see I AM as a way to continue this conversation beyond numbers.

Tell us about some of the artists involved with the I AM Exhibit.

Emily : The I AM Exhibit is a collaboration between several artists. The highlighted artists are Richard Satchell, Myke Johnson, and Antron Reshaud.

Richard Satchell is an Atlanta photographer. Richard uses his work to portray the uneasy in an alluring light. His work in the show takes on a different perspective to Emily’s "More Than A Number" piece. Through his work, he shows both the romanticized and stigmatized sides to Living With HIV/AIDS.

Myke Johnson is an artist based in Atlanta. After being diagnosed with HIV, Myke turned to what he loved most, art. The motivation behind most of Myke's work lies in wanting to heal the viewer or the person who commissioned the piece. His work in the show is a response to Matthew Terrell's “Atlanta’s HIV + Population Now” piece. He states that his work is a visual and emotional response as someone living with HIV

As a weapon of mass construction, Antron Reshaud’s usage of multimedia is paramount to the work produced, reflecting his personal journey human and divine. Antron’s art is as beautiful as it is complexed-accompanied by original scores, words and colors to harness the driving force of our lives while audiences search within themselves inevitable questions. 13 years HIV Positive, Antron’s work from literary to music has and continues to leave an everlasting impression of empowerment and love.

Any plans to expand the project?

Emily: The project is an ongoing movement. Johnnie and I will not stop until the stigma stops. We want to do anything we can for the community. I want to provide anything I can whenever I can to further the conversation and educate the community, whether that be creating art installations or providing platforms for people living with HIV to have conversations with the community.

Don't miss I AM, a one-night exhibition on Tuesday, April 25th at the National Center for Civil and Human Rights - 100 Ivan Allen Jr Blvd NW, Atlanta, GA 30313.

Spring is nature’s way of saying “I’m a fuckin slut!” It’s all about new growth, weeding out the bad, and making room for 12 strangers in an unsupervised pollen themed bukkake.

As you give your soul a much-needed Spring cleaning, it’s time to plant the seeds for a garden everyone can find nourishment from... Daddies.

Like the sun, Daddies provide life and skin cancer. You don’t have to make flower crown cock rings by yourself like every other year. Instead, find the right daddy that’ll help you bloom as a secret lizard person in WUSSY’s latest Daddy Astrology!

Aries (March 21 – April 19)

Tamagotchi

(walking down the street, sudden moment of shock) Oh my god! I haven’t fed daddy in 12 years! Oh god! Shit! Shit! FUCK! Oohhhh this is bad … you don’t think he’s dead do you?

Taurus (April 20 – May 20)

Daddy Long Legs

Not to be confused with the spider that plants eggs in your esophagus every night you go to sleep. No, this daddy has crazy long legs. You can find him at your local track meet lathering his legs with canola oil. Beware, stand too close to this daddy and his legs will ensnare you in a web of sexual pain.

Gemini (May 21 – June 20)

The Daddy No One invited

What the fuck is she doing here?

Cancer (June 21 – June 22)

Postal Service

No one knows this daddy or is sure how he got into your house, but he’s made himself quite comfortable. He sits at your dining room table with one light shining on him. He stares at you intently. You notice a pile of envelopes and stamps next to him. He licks each stamp with a guttural slurp as he mutters, “I’ll leave when I’m done.”

Leo (July 23 – August 22)

SPEED

One daddy. One greyhound bus. One bomb. If this daddy goes below 50 miles per hour, he’ll blow his load before rush hour.

Virgo (August 23 – September 22)

Melissa Etheridge

Every morning this daddy wakes up 7:00 AM to greet the sun. They walk to their Victorian windowsill, open the hinges, and shouts, “COME TO MY WINDOW!” for an hour till the village sacrifice is presented to him.

Libra (September 23 – October 22)

Total Recalled

Hello valued customer, I’m calling you on behalf of Kroger to let you know you may have a daddy that’s been recalled. All daddies with too many birthmarks, sexually arousing Adam’s apple, or high levels of Mercury retrograde are a risk to your health. Please call us back, and we’ll refund you with 5 gas points that expire now.

Scorpio (October 23 – November 21)

Jazz Hands

These aren’t jazz hands! (slaps your face with a pair bloody severed hands) These are your dad’s hands!

Sagittarius (November 22 – December 21)

I Can’t Believe It’s Not Butter!

30 years after it was introduced, this daddy still can’t believe it’s not butter! When his first child was born, the first thing he said to his wife was, “I can’t believe it’s not butter!” At late hours of the night, when the family think they are safe to sleep, he will wake up the whole house to tell everyone it’s not butter. Sometimes his children will hear him whispering to himself and ask, “What did you say Dad?” to which he replies in a shocked hush, “I can’t believe it’s not butter.”

Capricorn (December 22 – January 19)

Dyslexic Daddy

rfhjnkjuia xdsasdaxdsxds cazsbnhtg drfaszdf tghbkixzs bjugt tgfghdsebn agaszkjiun nuh drfekjtgghdrefr casn yhuoklijui.

Aquarius (January 20 – February 18)

9 to 5

He doesn’t actually work a 9 to 5 job. He just shows up to your office from 9 to 5 failing to install the new tank on the freestanding watercooler. He’s drenched all over his body by the end of the day, but insists he’s “got it!”

Pisces (February 19 – March 20)

Life Coach

It’s a Coach bag.

----

Stevie King is a freelance writer and comedian with a mild obsession for burning down ice cream trucks. They've often been mistaken for Jack Antonoff, Jason Schwartzman, and your mom.

PHOTO: Alberto Vargas (@avargasphoto)

Do a quick Google search of “Princess Nokia” and you will find the 24-year-old Afro-Nuyorican hip-hop artist denouncing machismo, punching sexist audience members, and canceling a show in support of Palestinians – all while not giving a single fuck whom it might piss off.

Destiny Frasqueri, formerly known for her projects as Wavy Spice, is now touring the world as her alter ego Princess Nokia – an unsigned artist who is up for the task of spreading consciousness for everybody.

Atlanta’s own WERC Crew and Latinx group, La Choloteca, will host Princess Nokia for her first performance in the city. Both WERC Crew and La Choloteca are dedicated to bringing spaces not normally curated in the Atlanta music scene. One of the founders of La Choloteca, Kenneth Figueroa, believes this particular show will leave a longstanding impact on the community.

“Princess Nokia is obviously a voice that resonates with a lot of residents of Atlanta, so to see that in the flesh will be cathartic. I'm excited that there will be more of a capacity for people,” said Figueroa when asked about what Destiny can bring to the table.

Growing up between Spanish Harlem and the Lower East Side of New York, Destiny was called a dyke from an early age. As an out bisexual woman, Destiny often dresses comfortably in loose-fitting clothing seen in her hit video “Tomboy” where she rocks an oversized NYC t-shirt, baggy sweatpants, and vintage gold rimmed glasses. Kicking beauty standards to the side, Destiny raps about her “lil titties and fat belly”, declaring herself a proud tomboy and manipulating the male gaze. Destiny has turned her look into some pocket change to say the least. This year, she has teamed up with Bershka Beauty products and you might have seen the New Yorker in Calvin Klein’s 2016 In MyCalvins ads alongside big names like FKA Twigs, Joey Bada$$, Kendrick Lamar, and Fetty Wap to name a few.

Switching up her sound, look, and artististic endeavours has always been a part of the young rapper’s style. She’s never been scared to dig a little deeper or pay homage to her roots. Intertwined in her recent music, it’s easy to tell heritage and tradition are important aspects of Destiny’s life. From the age of six, Destiny participated in Taíno ceremonies called areitos and was exposed to spiritual practices of the Cherokee, Lakota, Seminole, Mexica, Azteca, and other Central American native peoples.

In a brilliant and eloquent interview with The Creator Class, Destiny sat down with Fader journalist Anupa Mistry and spoke about how not being represented in the majority white 90’s feminist punk scene sparked a conversation that ultimately turned into Smart Girl Club – a podcast dedicated to urban feminism that is “punk rock and ghetto at the same mother fucking time,” Destiny salutes in an episode from 2016.

Smart Girl Club has hosted workshops, led panel discussions at Harvard University, held pop-up shops, produced music videos, and much more. Smart Girl Club ranges from 45 minutes to almost two hours that is free in its form covering feminism, ghetto beauty, witchcraft, poetry, brujas, representation within the arts, and that is pro trans, pro queer, pro black, and pro brown.

What does Destiny, Wavy Spice, and Princess Nokia all have in common? The grit of an All-American black riot girl.

PHOTO: Alberto Vargas (@avargasphoto)

Figueroa also mentioned his excitement surrounding the collaboration between WERC Crew and La Choloteca.

“It's a melding of worlds if you will. And as we further grow our connections together and beyond the dark dance floors, I think the possibilities can be endless,” said Figueroa. “That in itself is enough to cast some kind of light on our daily blight. Music and dancing are healing, and self-care is super important in times like these.”

If you love “Metallic Butterfly”, be sure to listen to most recent work, 1992, available on Soundcloud now.

Don’t miss Princess Nokia alongside Lord Narf, Xavier BLK, DJ Hourglass, Anonima, Florista, JSport,Thrice Groove, Jeremy Avalon, DJ Esme, Santiago Paramo at MJQ on Thursday, May 4 from 10 pm to 3 am presented by La Choloteca and WERC Crew.

Tickets available here.

Fulton County Vice Chair Joan P. Garner, beloved leader and activist, passed away at the age of 65 on Tuesday, April 18, after her prolonged battle with breast cancer.

Her willingness to fight oppression in all its forms has changed the lives of not only people in Atlanta, but across the Southern region. 24 years ago, Garner co-founded Southerners On the Ground (SONG), a regional Queer Liberation organization made up of people of color, immigrants, undocumented people, people with disabilities, working class and rural and small town, LGBTQ people in the South. From her roles in the Southern Partners Fund and as a Fulton County Commissioner, Garner was known as a shining light.

Born in Washington, D.C. in 1951, Garner was heavily influenced by the civil rights movement and used her inspiration after moving to Atlanta in 1978. Her advocacy for the gay and lesbian community came at a time when homosexuality was even more dangerous than it is now. Garner’s passing drew heavy hearts around Atlanta from many within the LGBTQ community, government leaders, and activists.

Former Atlanta City Council President Cathy Woolard, the first openly LGBT elected official in Georgia history, told the Georgia Voice, “Commissioner Garner was a friend and my heart is broken today. She exemplified all that was good about a public servant – honest, kind, hardworking, truly representative of the greater good. We are all better people from knowing her and benefiting from her contributions to our community. May she rest in peace and we all surround and support her wife, Jane, though this incredibly sad time.”

Fulton County Chairman John H. Eaves adds, “We will miss her thoughtful service, her passion for equity, and, especially, her smile and her warmth.”

In a statement on the behalf of Georgia Equality, Executive Director Jeff Graham stated, “In both her personal and professional lives, Joan was a tireless advocate for LGBT Georgians, people living with HIV and others. The impact she had on our communities is immeasurable and will continue to be felt for years to come. Our community has lost a true hero today, but she will not soon be forgotten.”

While undergoing treatment in 2015, Garner scurred to the Center for Civil and Human Rights to celebrate the legalization of same-sex marriage, accompanied by her wife Fulton County State Court Judge Jane Morrison. At the rally, Garner joined hands with her wife Jane and said, “Today in the great state of Georgia we are recognized as legal wife and wife!”

The two were married in Massachusetts five years prior.

In 2011, Garner thanked her wife, sisters, and mother while swearing into the Fulton County Commission. She quoted Maya Angelou, one of her favorite poets, who wrote, “If one is lucky, a solitary fantasy can totally transform one million realities.”

Garner later noted, “This inaugural ceremony, for me, is the realization of a life-long quest of inclusion. For as long back as I can remember, I have dared to dream to make government work for the people– for all of the people.”

Over her lifetime, Garner championed awareness for HIV/AIDS, stood up for preserving the Historic Fourth Ward district, was chairperson for Neighborhood Planning Unit (NPU) M., served on the board of Sweet Auburn Inc., and much more.

Her voice, strength, and dedication to equity will not be forgotten.

Among her, we also remember recent losses of great lesbian leaders like Chef Ria Pell, beloved owner of Ria’s Bluebird, and Catherine Han Montoya, former director of field immigration and capacity-building initiatives at the Leadership Conference on Civil and Human Rights and the Leadership Conference Education Fund, and was also co-chair of the National Asian Pacific American Women’s Forum.

In lieu of flowers, donations can be made to the Joan P. Garner Health & Human Services Internship Program, the Association County Commissioners of Georgia (ACCG) Civic Affairs Foundation, 191 Peachtree Street, N.E., Suite 700, Atlanta, 30303.

Memorial Service: Saturday May 6th, 3:00 pm, Ebenezer Baptist Church, Auburn Avenue, Atlanta (street address 101 Jackson Street, NE). Reception to follow, location TBD.

Chelsea Hoag is one of the founding members of Rotten Peaches, a solid space for queer women in Atlanta to dance, party, network, and be themselves.

Photo: Timothy Franzen

The debate over the future of Turner Field and surrounding neighborhoods has been lively over the past three years. As Atlanta’s progression steamrolls through the preservation efforts of long-time residents, trust in reliable measures being made have steadily been in decline. The now Georgia State owned stadium, alongside Carter Development, has set its focus on housing more school departments and boosting neighborhood appeal. The current plan is to establish GSU’s sports and hospitality departments as well as housing for students, workers, and the obligatory retail, coffee shop, restaurant routine popping up around the new and multi-used Atlanta. Many, however, have made it very clear that they will not stand for a project that does not cater to surrounding communities.

Tent City ATL, a long-standing, in-your-face sit-in style protest is one of many efforts that takes on this new development. Running since April 1st, the encampment finds its stand on the corner of Georgia Avenue and Hank Aaron Drive—resting and resisting right outside of Turner Field to ensure visibility. The encampment perseveres to fight against the project and its foreseen displacement of residents. In efforts to hold Carter Development and GSU accountable, the protesters are calling for documentation ensuring that the developers work to the benefit of surrounding communities and focus on measures that prevent displacement. The encampment is the manifestation of residents, students and social justice groups including: The Housing Justice League, Turner Field Community Benefits Coalition, Mechanicsville Civic Association, Pittsburgh Neighborhood Association, and others

The camp’s main goal is a Community Benefits Agreement with Panther’s Holding, the combined GSU and Carter company. While being an active protest, daily life for the camp itself comes with its own needs for sustainability. It’s not all sharing stories and passing out flyers. With the threat of possible police intervention during less inhabited hours and supplies being dependent on community support, the effort takes a lot of work to maintain. Surviving off of monetary donations via a youcaring.com fundraiser and donation of goods from supporters, Tent City has kept its stride strong. Which it plans to do until an agreement is met.

Photo: Timothy Franzen

Looking at the relationship between these communities, city officials, and developers, it comes as no surprise to see action in the form of Tent City. Residents have come to expect little cooperation on issues of housing security and transparency, as developers and officials make plans behind closed doors for these neighborhoods. While progression does happen and development is an eventuality, some say the usage of aggressive tactics, misinformation, and the shutting out of public input is more than enough reason for the uproar. “Long term residents want development, but they don't want to be treated as disposable objects,” states Timothy Franzen, member of the Housing Justice League. The Turner Field Community Benefits Coalition (TFCBC), for instance, have requested audience with Panthers Holding LLC, and their requests have gone ignored since its date of sale. The group, a democratically elected body of community inhabitants, has also experienced a more politically connected part of their organization gain favor with the LLC, only to have access denied to stakeholders from impacted neighborhoods.

Mechanicsville resident Deborah Arnold, who has been camped out since April 1, describes the ordeal as so: “For years, we have met with residents across Peoplestown, Summerhill, Mechanicsville and Pittsburgh to develop a Community Benefits Agreement to ensure that any development on the 80-acre turner field property benefits the community and our future generations. More than 1700 of us have participated in community meetings to develop this CBA since the Braves announced they were leaving, but Carter Development and GSU have refused to meet with us, and instead have slandered us and pushed forward plans for development that doesn’t meet community needs.”

Photo: Zak Norton

On April 24th, the TFCBC met with Panther’s Holding, but an hour before the Monday meeting, a report from the AJC titled “GSU-Turner Field neighborhoods strike deal to address community change”, was released much to the confusion of residents. The “deal” being two separate deals; one for GSU and one for Carter. A major issue is that these deals were struck with no input considered or even requested from the community-at-large. The Coalition was allowed to see the two deals for GSU and Carter for the first time during that meeting, and requested time to review the documents with plans for a follow-up meeting on May 1, 2017.

Sherise Brown, a long term resident of Peoplestown and core member of the coalition attended said meeting. In a press release sent by the Housing Justice League she had this to say: “Although I think our meeting today with Panthers Holding LLC was productive and moving in the right direction, we have not received a commitment from them for a Community Benefits Agreement. We are looking forward to our follow up meeting with GSU and the developers. At this point we are beginning to build a partnership with Panthers holding LLC. We have not, I repeat we have not, reached any agreement. We are still in discussions.”

As the many groups and neighborhoods plan and resist, Tent City remains a focal point. It’s a place of gathering and protest for these voices and to the media. As GSU student Patricio Cambias a GSU and camper sees it “Tent City will continue to grow until a deal is reached...We will be there the whole summer if need be. Even when a deal is reached, it will be a fight to ensure the right deal is made and actually honored.”

Photo by: Chris House

It should come as no surprise that we here at WUSSY are cat people. In fact, we love cats. We love kittens. We love Kittens Inspired by Kittens. No shade to our canine friends, but there is nothing cuter than a sassy puss sitting in a basket or playing with a ball of yarn.

In the 2011 viral video sensation, “Can’t Hug Every Cat”, young Debbie is moved to tears by her own love for cats and her desire to hug all of them. Her obsession with cats is simultaneously a source of joy and pain. The line, “I think about how many don’t have a home. And how I should have them..” resonates deeply with us here in Atlanta, where stray cats unfortunately are often captured and sent to kill-shelters. Keeping stray cats out of kill-shelters and getting them into loving homes is so imporant, and that’s where Java Cats Cafe comes in.

Photo by: Chris House

ICYMI, Java Cats is a new Grant Park coffee shop connected to a small cat palace, featuring up to twenty adoptable critters at a time. The shop partners with PAWS Atlanta, a local no-kill animal shelter, to temporarily host the felines until they are adopted. You can make reservations to hang out with the kitties at $10 a pop on the company website.

Since the business opened, Java Cats has helped secure over twenty adoptions.

“I am trying to take all of it in after such a long year of permitting and struggling to get this off the ground,” said owner Hadyn Hilton, when asked about the early success of Java Cats. “I am beyond blessed to feel this much support and love from the community.”

If you aren’t looking to adopt a new friend right now, you can always come in for the caffeine and watch the cats behind glass. In addition to a full coffee menu, Java Cats also offers some local grub. Gathering Industries, an Atlanta non-profit, provides pre-packaged food for the cafe.

Photo by: Chris House

Hilton, only 25 years old, credits much of the success to her 12 year-old Tabby, Cream. “I grew up taking care of injured and abandoned animals with my family, so animals have always played a huge role in my life,” she told us. “Cats offer so much companionship and I couldn't imagine my life without them.”

Atlanta can often be a tough market to crack, so it’s encouraging to see young ATLiens pursuing their dreams and. We asked Hilton what she would recommend to other millenials trying to start a business and her answer was one of hope.

“I would say, don't give up. If it's worth it to you, it's worth fighting for and anything worth fighting for is never easy. I ran into many discouraging hurdles throughout this past year and it would have been so much easier to have said "never mind." The reward, satisfaction, and pure joy of pursuing my dream of Java Cats was unlike anything I have experienced!”

Java Cats Cafe is located at 415 Memorial Dr. SE, Suite C, Atlanta, GA 30312

Photos by Jon Dean

WUSSY presents 20 Questions, a regular hottie column in which we attempt to glean a deeper understanding of select hotties through superficial yet tantalizing inquiries.

To kick off the 20 Questions hottie column we have Fort Troff’s first ever trans model, Luke Hudson. We don’t know much about Luke, but we know we have a really big crush on him and he always smiles at us in the hallways. WUSSY HBIC Jon Dean had the opportunity to photograph Luke in his birthday suit or something close to it.

Luke is sweet and we here at WUSSY are super clingy. So, for our first date with this dreamboat we asked him some questions to try and get to know him. We really wanted him to see that we are serious about this new relationship.

1. What’s your favorite app?
My Shazam app, it’s very helpful.

2. What’s your favorite appetizer?
Most places have spinach and artichoke dip, but I’ll settle for mozzarella sticks 😊

3. Dogs or cats?
Dogs, without hesitation.

4. What is your favorite Pokemon?
That’d be Toadodile.

5. If you could blackmail a politician, who would it be?
If I could bully Trump/Pence out of office you bet your ass I would.

6. Do you like spicy food?
For sure.

7. Can you eat gluten?
Yes.

8. Have you ever ghosted on a date?
No but plenty of morning-afters.

9. What eating habit turns you off?
None of them, as long as one chews with their mouth shut.

10. What eating habit turns you on?
Chewing on the tips of strawberries 😊

11. Are these questions weird?
They’re not the weirdest questions I’ve answered.

12. What do you smell like?
Coffee and Polo most likely.

13. Are you sure these aren’t weird?
No, they’re pretty weird. But not the weirdest.

14. If you could be any anime character, who would you be and why?
I would definitely trade places with anyone from Attack on Titan because I’d be causing all sorts of violence in that universe.

15. Do you like reality TV?
Not even a little.

16. Have you ever listened to K-pop (Korean pop music)?
Yes.

17. Has anyone ever told you that you’re perfect, you’re beautiful, that you look like Linda Evangelista and you’re a model?
Not specifically Linda Evangelista, but I’ve got severe White Boy Vague Face Syndrome.

18. What’s your favorite meme right now?

19. What’s your favorite pop song?
Sia’s Cheap Thrills

20. Are you gonna call us back after this?
That depends if you spit or swallow.

For more on Luke Hudson, visit his website HERE (NSFW) or follow him on Twitter @lukehudsonXXX

What’s worse than a racist? What’s worse than a person who burns crosses, uses racial slurs, toes the line of offense to be edgy, or outright commits acts of violence in the name of bigotry? Their friends, their family, and everyone else who all observe their behavior and go “They mean no harm.”

We often forget that people can hold multiple beliefs, that a person may consider it polite to take a hat off indoors but perfectly acceptable to throw a rebel flag on the back of their truck. It’s the illusion of racism as a cultural value, as a quirk that allows people who may be “good” on the surface to turn their heads away when the air grows thick with tension and hate. People of color know this feeling too well and in this cultural epoch we are witnessing prolonged cries and admonishments from the oppressed being appreciated on social media platforms, but hardly being acknowledged in the real world. Before social media, folks erased any doubts of latent racist beliefs by diversifying their relationships and now, we diversify our friends lists. This is not a trite observation; while the idea that what you do online fails to manifest in the physical world rings true, we continue to have a problem.

Black people’s time is thought to have come, because we are the generators of culture, the makers of memes and practitioners of “petty”. Still, what have we gained? It appears that the world is changing, that people are listening, but Donald Trump is still our President, Bill O’Reilly still received a huge severance package for calling a Black woman “hot chocolate”, and feminism still excludes Black narratives for a “stronger together” message.

Often folks react to our stories and written explorations with genuine “eureka” moments. We also receive our own fair share of backlash; with some pieces we see people retreat. We see them coalesce around folks who were “nice to [them] when they hosted [them] at [their] house”, who “came from a good family”, who “were always sweet”. This narrative forms protective layers around privileged men who do heinous things. It also persists in this time of social awareness even when we know better to let it do so. We saw this narrative in action with the publication of our article on Black Lips’ bassist Jared Swilley. It was harrowing to see folks shrug and ignore the facts or to lash out and say terrible things in his defense.

So what do we do now?

Well, we do not back down and grow discouraged every time a person of privilege shirks off a despicable act like a hero walking away from an explosion. We continue to tell the stories of those who suffer, and we continue to tell the stories of those who would otherwise go unheard. We continue to navigate the collective trauma of these sometimes troubling stories with irreverence, humor, and passion. What WUSSY does has never been easy, and even we as a publication have so much to learn, but what we do know is that we are not scared. We never have been, and we never will be.

Thank you for your continued support,

Zaida Jones-Sanchez
Associate Editor

Mike Hadreas is nervous.

That’s not exactly new for the Tacoma, Washington-based artist, better known by most as Perfume Genius, but this week is a little different. On Friday he’ll have released his fourth studio album, No Shape, and embark on a long tour in support of it. Though, for him, when things get busy is when he can exhale.

“I get really freaked out and worried, and sort of obsessive until everything starts happening and then I’m fine,” he tells me over the phone from his home one Tuesday morning. “I have a lot more time to worry. I just want it all to go so well.”

Much like his music, my conversation with Mike got very deep, very quickly. For anyone, by the fourth album, much of the innocence and naivety is naturally gone. In exchange, success becomes quantifiable and doubt begins to creep in. For Perfume Genius, whose music is built on unsure, anxious rock, it’s fitting that once success and approval is here, old habits would stick around.

“All this worrying is just wiring. It’s a chemical thing. There’s nothing really to be upset about. There’s nothing really to worry about. And when it comes time to do things, I kinda go with my gut and I’m proud of them. It’s just this in between. I don’t know how to just chill out and let myself be.”

With 2014’s release of Too Bright, Perfume Genius skyrocketed to critical acclaim. Metacritic, a critic-aggregator a la Rotten Tomatoes, goes as far as to anoint it with its highly coveted “universal acclaim” label, and for a queer solo singer-songwriter that’s a big deal. For anyone, that’s a big deal. Though through his sound, lyrics, and accompanying visuals, the anxieties that come with dissatisfaction with one’s body, abilities, and own emotions play a huge role in his discography and is beautifully conveyed. Though with No Shape, confidence may be within reach.

Photo by Inez & Vinoodh

“To be honest, I’m not worried about the music at all," he says, assured. Despite his anxieties about the release of No Shape, he’s confident in the album itself, as he should be. The album was produced by none other than Blake Mills. An excellent songwriter in his own right, Mills has found success producing for artists like Alabama Shakes, Jim James, Dawes, and John Legend.

When listening to the record, and for those familiar with both Perfume Genius’ and Blake Mills’ previous works, it very much sounds abrasive and jarring, but nonetheless a symphonic and melodic experience. It’s a clashing, match-made-in-heaven that elevates Perfume Genius and reaches new heights.

“That was a really exciting thing. He’s just technically really brilliant but also connected to the spirit and, like, the soul of the song. I really trusted that he knew. Even though I wasn’t really attached when I went into the studio what the sound would be, I was very attached to the moods. I just trusted him.”

Even with Mills’ talent and Hadreas’ sensitive songwriting, the anxiousness persists.

"I just want it all to go so well."

“When I don’t have a performance or something to do, where does all the energy go? I don’t know. But I just, like, just look for boots. [Laughs] Maybe if I find the perfect boot, that will help! I don’t know! I need somewhere for all the energy to go.”

Where does Mike find relief? In touring. “I’m excited-I’m sorry- I’m kind of emotional. I’m excited to tour because that gives me like, a routine.” Then, when he’s nervous he just puts all the energy in the show.

Hadreas and the rest of Perfume Genius perform at Terminal West in Atlanta on May 20th. And although he has not spent too much time in Atlanta, he’s excited about the prospect of exploring the city more, especially during the queer comeuppance the town is going through at the moment.

Much like Hadreas, Atlanta strives towards okay-ness, and often times we exceed the mark. There’s a common goal in creative success of not-so-much New York or LA mega-success but acceptance and contentment in the diverse endeavors its citizens pursue.

Photo by Inez & Vinoodh

Mike doesn’t do it alone, though. Throughout his career, Hadreas has had partner Alan Wyffels supporting him both on and off stage. They’ve been together eight years. Also supporting him on the tour with is serpentwithfeet, a striking queer, black artist who would be unjustly described if I tried to, so just google them.

One common talking point in Perfume Genius’ music and for queer people in general is the constant struggle with our bodies. It’s no accident WUSSY’s first volume was devoted entirely to the subject. It’s a universal topic, and No Shape explores the foundation of this discomfort with our bodies.

"Intellectually, I can distance myself from it, but it’s in my bones… When I’m singing and performing, that’s when I can let it go."

“Sometimes I try to think of the root of it. Like, how did this happen to me, that I have all this mess around me? That I feel so detached and weird about such physical shit?” Hadreas ponders. “But I think it’s because around 11 or 12 was when everyone started to look at me different. Everybody started giving me shit for what they decided was like, my femininity or whatever. So became very self-aware, really conscious with how I carried myself, how I appeared to people. My whole life kind of was guided by that. It’s what I needed to do survive.”

“It was a defense, and I think that twisted into this weird body narcissism thing, cause it’s not nice, but it’s like a constant weird awareness that feels pointless and it hasn’t served me well.” While he acknowledges that maybe it’s a less necessary defense mechanism now than when he was growing up, it’s still very hard to shake. “Intellectually, I can distance myself from it, but it’s in my bones… When I’m singing and performing, that’s when I can let it go.”

Perfume Genius is the vehicle in which Hadreas can vent out these complex emotions, and the fans are more so support members of a universal condition everyone faces. Songwriting, performing, fashion, art is meant to connect humans and find commonality in spite of all the issues we face.

Does the freedom that comes with success come with a cost, though? Now that there aren’t bullies and nay-sayers directly interfering with Hadreas’ life and career, does deciding how to dress, act, and present oneself to the world become more of a chore than a survival skill? Does it become a performance once again? He doesn’t think so.

“It’s more for you now,” he retorts. “It becomes more defiant or, you can throw it back at whoever you decide was paying attention that wasn’t before [laughs]. I was thinking people were paying attention to me but sometimes they weren’t. I can use it as fuel now. On a good day.”

Perfume Genius performs at Terminal West May 20th. Tickets are on sale now.
No Shape is now available for streaming and purchase.

PHOTO: Darola Cherenfant

Editor's Note: This article originally published in WUSSY Rag has been edited to reflect recent updates on the story.

Peering into the arena of seemingly more subverted news, there have been echoes stating that Kennesaw State University (KSU) has planned to discontinue its African and African Diaspora Studies program. This decision comes to the confusion and dismay of many students and faculty, as the news hits from, what feels like, out of nowhere. Several professors have been left out of the loop as well, so an air of business-as-usual has veiled the university’s intentions. The timing already being a period of high stress and fatigue has some feeling that this move was strategically enacted. An inconclusive but not out of the ordinary narrative. Either way this calls for much more scrutiny on the matter.

KSU claims the reason for this removal is due to budget cuts, but this scapegoat reasoning doesn’t discount the fact that an entire program—developed to give better knowledge, more space and understanding of black histories and effects of its dismemberment—is deemed unimportant enough to chop. In a world that has seen anti-blackness as the undercurrent of a global societal view, you’d think this is an obvious route not to take. Not to mention stories, effects and overall inclusion of narratives that involve actions taken at the expense of black bodies, land, and nations throughout history should be of higher priority in our main studies of history anyways, but I guess that’s more of a personal viewpoint as I am of the heavily marginalized and oppressed group *eyeroll*. At the very least, notification and input from students and faculty should also be of more note.

After receiving the news, Aleaka Cooper and Kelsey Jones, both students at KSU, decided to take a further look into the case. They say, ”So far we were made aware that the meetings and planning of the deactivation have been occurring since November though faculty, staff, and students in the department were not notified until April 17,2017. We know that their reasoning is low numbers but the number are inaccurate.”

PHOTO: Darola Cherenfant

Programs such as this were not even considered as viable school programing without movements bringing to life the importance of these studies in academia in the first place. The Black Student Movement of the 1960’s, for instance, birthed a much wider move towards giving space for these studies in many campuses. That fervor does not die today. While many media outlets have remained on the quieter side of this conflict, an ongoing line of protests and resistance can be seen. Hashtags #KSUBringBlackBack and #KSUAntiBlackAttack tell a story of many who feel deeply betrayed by this, but will not go quietly. We will be looking at developments on this closely, but by no means should the deletion of black studies, space, and histories be taken lightly. We are well past the time to act up.

“What we want is a written statement, signed and dated implicating they will allow the African and African Diaspora Studies Major to remain a major on this campus, that they will work with faculty and staff to keep it here which would include hiring more staff so more classes can be opened, allowing more funding and scholarships, and an end goal of ours is to make the program it's own department and not just a program on the list of many so that there can be a department chair dedicated to the existence and perpetuation of African and African Diaspora Studies” say Cooper and Jones.

------

UPDATE:
KSU has agreed to grant the program one more year. According to a statement from the office of Kennesaw State Provost, Ken Harmon, they will evaluate enrollment again in 2018.

“KSU officials are hopeful enrollments will increase so that deactivation is not necessary,” the statement said. If not, the program may be terminated next Spring.

Summer’s here, so why waste time being salty?

Pool parties, beach getaways, butt sweats in tiny shorts at the park—remember to stay hydrated, because we know you’re thirsty.

Bringing in the season we’d like to show out and share some new music, mostly of the queer variety, for you to emote to.

Go out there and feel yourself, whether it’s your day on the runway or just a fierce pajama day.
We got your back, especially when you look back at it.

PWR BTTM is facing accusations of sexual assault and anti-semitism. The claim was presented in private groups via reddit and twitter. The posts allege Ben Hopkins to be a historically known sexual abuser and includes a photo of band member Ben Hopkins smiling next to a swastika. The photo was acknowledged by the band in January, with Hopkins stating "It was from a time in my life where I thought being ‘politically incorrect’ was really funny….To anyone who was hurt by this image….I am so sorry.” Still the abuse claims come with a list of receipts from the OP.

The posts include numerous accounts of advances on minors and issues of non-consent. Tourmates T-Rextasy, has now cancelled in light of these accusations, which they say comes to no surprise. Upon agreeing to tour, the band was privately confronted about a personal experience had with Hopkins. T-Rextasy goes on to apologize for putting their career before the safety of fans; PWR BTTM welcomed anyone to contact them should they also have unpublicized claims. We do not recommend that victims of sexual assault share their stories with the band and instead seek help through appropriate legal channels.

Whew.

Touring musician Cameron West has also discontinued association with PWR BTTM and says “From my understanding, these accusations were in fact levied via e-mail months ago, but were left unshared with other members…” Read his series of tweets below:

Hi everyone. Today, like many PWR BTTM fans, I was shocked to discover that sexual assault allegations were levied against Ben Hopkins. /1
— Cameron West (@cameronwestmusi) May 12, 2017

From my understanding, these accusations were in fact levied via e-mail months ago, but were left unshared with other members of /2
— Cameron West (@cameronwestmusi) May 12, 2017

the band, including myself. In order to provide the highest possible respect to everyone who has come forward /3
— Cameron West (@cameronwestmusi) May 12, 2017

I am hereby ending my tenure with the band as an arranger and touring musician.
— Cameron West (@cameronwestmusi) May 12, 2017

PWR BTTM has since responded to the accusations in a post on their Facebook account.

This comes on the arrival of PWR BTTM’s new album Pageant, but have now cancelled their album release show.

Welcome to Black Friday, y'all!

It’s not your one-stop shop for black news (prioritize black people all the time), but do check in for a corner of black-centric news—preferably of the queer and femme nature.

MTV Awards Best Gay Ass Kiss

At this years MTV Movie & TV Awards, Ashton Sanders and Jharrel Jerome took home the award for Best Kiss. The iconic scene from Moonlight adds yet another award to the movie’s belt and with it another milestone for gay black excellence. This win is very important as an identifier of social precedence and shows the profound impact of this film.

The Best Kiss award represents the power and pure emotion of human connection behind the iconic lip lock, but this is usually expected/used/reserved to preserve heteronormative romance structures—boy meets girl, hero saves damsel, etc. With this, a level of acceptance and validation is given to LGBT youth—especially so for black gay youth—on a mainstream platform.

In a heartfelt acceptance speech, Ashton Sanders, who plays Chiron, said: “This award is bigger than Jharrel and I, this represents more than a kiss… This represents the kids who feel like others, the misfits.”

….AND NO I’M NOT CRYING OK.

Miley’s Done Culture Vulturing

Wow Miley you really tried it.

In an interview with XXL Mag, the young popstar states that she is distancing herself from hip hop. Cyrus said that she feels hip-hop oversexualizes women. Yet, during her stint of foam penises, tongues and hand vaginas, and hypersexual onstage displays this was all used as a display of empowerment. In the words of my favorite Oprah gif “What is the truth?” The problem with this decided distancing is that it is a direct result of privilege that actively seeks the use and disposal of identity in the name of personal betterment. Especially identities and experiences that do not belong to you.

While anyone can dabble into a culture, they are easily able to shed that old skin and evolve into what they see as more pleasant or beautiful at a whim. This commodification of identity and experience can be dangerous, and perpetuates a lofty level of moral aggrandizing and superiority—a tour de force in the scheme of white supremacy.

A knee-jerk rebuttal to this is that she’s young and learning, so of course views change and mistakes are made. This still does not explain or excuse the extent of exposure and idolization given to her while performing her minstrel show. It’s just another example, in a long line of Igloo Australia’s (Iggy Azalea), Rachel Dolezal’s and even that Dr. Phil girl, that shows white women playing black cards get way too much attention. After that, spinning a social justice movement on its head repeatedly to justify her actions and beliefs is also reckless. It really shows what is and is not held to high standards in mainstream pop charts. She used a culture as a costume, and in line with current practice in the entertainment industry, plastered her white face all over black mediums of expression. I guess the hoes really are laughing at this point huh? This culture vulture moment was brought to you by white feminism.

“Was that real shit coming out of her ass?”

The porch outside of Mary’s in East Atlanta Village was buzzing after a round of “Filth” inspired performances last Thursday night. The word on everyone’s lips: poop.

Mary’s has always been a breeding ground of drag experimentation. It’s a place for the freaks, geeks, and misfits of ATL’s queer community to stretch their legs and pop their proverbial pussies on that iconic staircase. The stage in question may be small, but it has been a launchpad for many seasoned queens, ie: Brigitte Bidet, Dax Exclamationpoint, Lavonia Elberton, and Violet Chachki.

After months of waiting, the annual Miss Glitz Pageant is back and filthier than ever! Ellisorous Rex, the woman behind the curtain, is ushering in a slew of new queens (and kings) every Thursday night until finale night on June 1st.

This new batch of fresh faced queens are consistently bringing out a crowd and keeping us on our toes. It would be unfair to say who exactly we are rooting for, since WUSSY’s own Zaida J is serving as a guest judge for the pageant.

The theme for this past week was “FILTH” and okay, they did that! ICYMI: Abhorra (you may recognize her as The Other Show’s newest castmember) took a literal shit on a photo of Donald Trump. But that wasn’t enough to beat bearded queen, Molly Rimswell, who also drenched herself in a mysterious brown liquid while grinding to “Did It On’Em” by Nicki Minaj. Apparently these new girls are really into scat play.

Be sure to show out next week, 10pm at Mary’s, when the theme is Duets + a special Snatch Game! Do we smell a double elimination?

I am video chatting with Kayleen Scott and Becka Cowan; Scott is sporting shocking yellow hair, and Cowan a wise, kind smile. Both women are fierce and have a lot to say regarding a recent incident at new Edgewood bike-friendly spot, Cafe + Velo. It takes us a while to get on track regarding the who, what, where, and when of the now infamous ejection of the pair’s guest, a homeless woman living on Edgewood named Alex that the two befriended months prior to their lunch date.

“I kept seeing her and I remember thinking, wow she’s really young,” says Scott. She was ready to help the young woman as soon as she learned her story, because at one point Scott herself was homeless. Now a working artist in the Atlanta area, Scott tries her best not to forget her time on the streets. What happened that day in April has sparked a conversation about what business owners should and shouldn’t do when it comes to policing homeless presence on their properties. Legal points aside, community concerns within the tight-knit neighborhood of Edgewood Avenue—an eclectic mix of young professionals, business owners, and local artists—have dominated the discussion. For the sake of fairness though, it’s important to understand exactly what happened before delving into that aspect of this story.

Becka and Kayleen were sitting at Cafe+Velo when the former spotted Scott’s friend Alex, a homeless Black woman in her early 30’s. The two got excited because they finally had a new chance to catch up with her and to see how she was doing.

“We decided to get her a hot meal, and out of convenience we went into Cafe + Velo,” says Cowan.

A long-time Edgewood resident, she was actually a professed and vocal supporter of Velo, having posted about the eatery on her own social media accounts. She was excited to finally have a place that was dog friendly and had a street-facing patio. The pair tell me that when they entered and purchased a sandwich for their friend Alex, the owner Jeff Demetriou, asked them if they wanted the food to go. According to the pair, then demanded that they take the food outside of the restaurant so as not to disrupt the other customers around them with the presence of a homeless person. Following this, Cowan took to social media and relayed the incident to her friends and followers. What happened next was nothing short of a PR master class in what not to do when faced with controversy.

As opposed to appearing contrite or requesting that the women have a private meeting with him, Demetriou decided to publicly post the internal policies of his business and go toe-to-toe with Cowan. It wasn’t pretty. The controversy proved so explosive that local news stations saw fit to cover it, with 11Alive producing a prime-time segment detailing the incident and resulting fall-out.

WUSSY reached out to Demetriou, hoping to provide him an opportunity to explain his side of the controversy and where he stands as a business owner. We did this bearing in mind that social media isn’t always the most accurate depiction of a person’s intention and character. His response is below:

“Last Monday, I noticed a lady at her own table by the gate to our patio speaking with two other customers at a different table who had ordered about 30 minutes prior. The lady at the table was previously known to me, as she has frequently solicited customers both inside and outside of the cafe. Upon observing the above, Kayleen (the person with whom I spoke) came to order a sandwhich and an OJ. Since she had already eaten, and thinking that this lady was again soliciting customers, I asked if this was for her or the lady outside. She told me it was for the lady outside. I then politely told her that we would prefer for those types of transactions to occur outside of the cafe, as we did not want to encourage solicitation of our customers. She then said that she knew her and she was a friend that she buys food for her when she sees her. I simply requested again that we would prefer those types of exchanges to occur outside the cafe, and asked if she didn’t mind getting it to-go for the lady, as we didn’t want to encourage her to continue to solicit future customers. One of my employees delivered the sandwich to Kayleen outside to the table that her and her friend Becka (who had been outside the entire time), were still sitting at by themselves. They then apparently proceeded to leave. There was never any interaction between myself or the lady on the porch. No one was told to leave, refused service. or that they (or anyone else) was unwelcome. Race had absolutely nothing to do with this, as we discourage solicitation of our customers by anyone regardless of race, class, or gender.”

The receipts of Demetriou’s comments and internal policy have been saved, and shared throughout the Edgewood community; they were also included in the 11 alive segment.

In one comment, Demetriou details his cafe’s “zero-tolerance” homeless policy, he then continues to explain that his reasoning lies in the tendency of the homeless to take advantage of people’s compassion:

There is a lot to unpack here, and typically I wouldn’t shy away from voicing my own opinion on the matter, but I think it’s more effective to focus on the implications of the broader discussion prompted by this incident.

There are two sides to this situation. Demetriou’s clumsy behavior aside, there is a lot to be said regarding a business’s obligation to the neighborhood it occupies. Cowan assured me that Edgewood has always been a homeless-friendly area, that local businesses tend to co-exist with the already heavy homeless population of that strip. I reached out to long-time Edgewood entrepreneur and occasional WUSSY contributor Grant Henry (Sister Louisa’s Church of the Living Room and Ping Pong Emporium and its spin-offs) to glean more insight into the common practice of businesses along one of Atlanta’s most popular nightlife strips. In his response, Henry agreed that businesses have co-existed with the homeless, and he goes further to describe how he’d like to see that relationship grow in the near future; he did not comment on the specifics regarding the controversy surrounding Cafe + Velo:

“I would say businesses have co-existed (I once bought one of the street musicians a new harmonica when he lost his) pretty much. However, I think that the city, business community, residents, and the faith communities could join hands with the people who are homeless and figure out how to help all parties evolve towards some growth in the resolution of the problem. It's a toughie.”

Grant Henry is right, it certainly is a toughie. Considering Demetriou opened up shop in a neighborhood with a long-standing history of co-existing with the homeless, the complexity of marrying his own business strategy to the demands of locals now presents a glaring problem for his business’s future. How he decides to move forward is up in the air. Hopefully, he chooses not to let us know via social media because I’m sure at this point, both the residents of Edgewood and Cafe + Velo’s employees could use a well-deserved breather. Perhaps even, one that takes place on a street-facing patio that is also dog friendly?

Zaida J. is currently the Associate Editor here at WUSSY and a self-described transgender loud mouth.

Photo by Jon Dean

The art of deejaying has, like most other art forms, revolutionized in the twenty some-odd years since the internet connected us all and computers became common household appliances. In the process, some art forms have become all but lost for good, like the mixtape or vinyl spinning; damned to a digital mimic of an endangered analog past.

Mark “Viv” Cassel is an Atlanta-based queer DJ better known by most as Vivid, and he’s spent most of this digital revolution away from his turntables. After having moved to North Carolina from Manchester, UK for college in the early 90s, Viv found a home and community with the local rave scene. While his classmates were gravitating towards Dave Matthew Band and Phish, Viv began making mixtapes containing elements of High Energy House and Vocal Trance music.

It was around this time late in college when he came out and not only found an artistic calling in the rave scene, but a community as well. Sexuality didn’t matter too much and people were free to express themselves however they wished, and Viv found comfort in that.

“We were all welcoming a bunch of rejects, who welcomed anyone in need of a safe space.”

Soon he garnered a following and instead of being merely a fan, he became one of the more notable DJs in the area. Utilizing a classic twin turntable vinyl set up, he would layer sounds on one another to create unique vibes and atmospheres for the events he’d play. It was then he moved to Atlanta with his boyfriend began touring and in 2000 released the popular mix Delicate Sounds of the Underground Vol. 2 (available on Spotify & Apple Music).

Though, the extensive touring and straining schedule wasn’t all it was cracked up to be. Vivid took over Viv’s life and the traveling put a strain on him and his boyfriend. That, combined with the dwindling rave scene and disappointing homogenization of gay culture in the early 2000s led Viv to leave the scene completely.

For fifteen years, Viv kept a quiet life as an accountant, living with his partner in Atlanta. During that time, the EDM scene exploded into what it is today. With the help of laptops, MP3s, SoundCloud, and more, DJs could share their mixes and perform more easily than ever. Though, as we’ve come to learn, accessibility and tech does not equal talent. There’s no replacement for a live DJ who can read a room and compliment an event accordingly, and that’s what Vivid does best.

It wasn’t until the recent resurgence of queer culture in Atlanta fostered by a community-oriented, DIY, accepting spirit did Viv find the inspiration to bring out his turntables again.

“The queer scene reminds me of the rave days of old which were all-inclusive and built on a sense of love, community and respect,” Viv continues. “Finding queer life has given me a new lease on life and to go back out, get more involved, and do what I love doing: making people dance.”

Looking to the future, Vivid will be performing at Rock The Forest in August as well as some possible festival dates later this summer. You can find him on SoundCloud at VividUK and on Facebook under the name Viv Id.