culture

Cameraman Nairobi Interview Nov. 9-10 by Alex Young

Photo by Alex Young

Photo by Alex Young

Cameraman Nairobi's life and work places him around a lot of celebrities, but he wants them to know he is not their fan. The notable people he photographs fill his "time capsule," he says.

InTheRough Style's latest interview and feature article combs through said capsule to learn about Nairobi's experiences as a photographer and citizen in Pittsburgh, Pa. On Nov. 9-10 the editorial will appear on ITR's "Life's Goods," page along with photos Cameraman Nairobi gifted to the site for the interview. 

 

Fraternity Dodgeball Tournament Strenghtens Brotherhood by Alex Young

Photo by Alex Young

Photo by Alex Young

"Why would I ever join a fraternity?" This question is asked often among GDIs, "God Damn Independents" or people not in Greek Life, and is greeted with a myriad of reasons that support joining the fraternal organizations by their members. Among the philanthropic and social explanations, none is convincing enough to reverse the ostracism Greek Life causes, except when brothers mention the athletic activities. I am among the GDI population and did not understand the benefit of joining a fraternity until I visited an InTheRough staffer's frat house for their annual dodgeball tournament.

I entered the house's basement to find 20 brothers with a bunch of colorful, rubber playground balls tossing them against the wall or at each other to warm their arms. A basement which once had beer pong tables, chairs and couches was now empty and taped off to create a playing field. The white walls, part-hexagonal shape and concrete floor made the room look like a rink, the brothers sitting on the countertops and lining the walls were the audience banging on the glass.

Photo by Alex Young

Photo by Alex Young

Each team had two members who could use a total of three balls to get the other team out. Games began with one ball on each side and one in the middle teams could retrieve once play started. Round Robin competition kicked off the night, as each team got acclimated to the environment. Teammates strategized when to take their kill shots and timing on their throws, most people were eliminated trying to reach the free ball, one step too quickly or too close and pang there is a ball to the leg. If a foot crossed over the taped lines the player was shamefully out.

I participated in striking my opponents out and cheering wildly when the particularly athletic brothers were thrown out by the kids more interested in protecting the environment or who threw a ball like they were doing the breaststroke. They would turn and look at my host, also screaming cheers, and myself proud to deliver in a trying, competitive moment. Anytime the games broke down to one-on-one, especially in the tournament's elimination round, yells of comradery filled the room and when somebody made that clutch play everybody rushed the floor to celebrate with the victors.

Losing even came with a surprising pleasant feel. I remember I was caught in a one-on-one situation in the first round of elimination. I dodged my opponent's attempt to get me out, but the ball I threw in return sailed on me and he caught it, I was out and my team spectated for the rest of the night. The guy who caught my ball clenched his fists and screamed until he was red in the face, I ran towards him and we chest bumped each other in his moment of triumph.

The tournament MVP, appropriately named Harley after the workhorse motorcycle, wowed onlookers as he dodged ball after ball and seemed to get everybody out without ever leaving the game himself. While his team won the championship he was not met without a challenge. One player, who appeared irrelevant, caught Harley's rocket at the last second on his shoulder, mimicking one of the pretty boys who also caught the MVP out. Each time anybody's competitive spirit was met with adversity or failure they responded in an overwhelmingly supportive manner to the entire group. After all it was just a game.

I left the dodgeball tournament with the smiles and praises passed around the basement that night. I appreciated that the brothers relished in each other's companionship and rivalry, in that house they put their differences to the side and interacted on a common ground that included everybody and strengthened bonds.

Ghetto Sauce - "Taste So Good Make You Wanna Smack Your Mama" by Alex Young

Photo by Amani Davis 7/5/15

Photo by Amani Davis 7/5/15

Ghetto Sauce was created by Freddie Lee, it took him 20 years to finesse this bomb ass sh*t. The sauce’s website claims you can put it on: ribs, meatloaf, steak, hamburgers, grilled salmon, chicken, fish, spaghetti, Bloody Mary mix, chili, baked beans, even soups and pizza. I have discovered myself to be very partial to the chicken and baked beans recipes. Ghetto Sauce is available at the Historic Soulard Farmers' Market in St. Louis, in grocery stores, and online. In many ways does this sauce make basic foods delectably ghetto.

Unfortunately, all who enjoy the sauce do not share in romanticizing the ghetto experience. The St. Louis grocery store, Shnucks, thought their customers would be offended by the name “Ghetto Sauce” and changed the name to “American Gourmet Sauce”. To me this is as consistent with St. Louis’ treatment of its marginalized populations as ever: ignore their existence as much as you can, and appropriate their contributions as quickly as possible. Fortunately, an article came from a STL paper about the name change and it popularized the sauce like never before. The flavor of Ghetto Sauce is one of a kind, and the name is icing on top of the cake. Comical and true to the legacy of the people who birthed it, “Ghetto Sauce” should be a household name. It represents the American dream; but also the worst nightmare of some of the very same people who coined the phrase.

Photo by Amani Davis 7/5/15

Photo by Amani Davis 7/5/15

What is incredible about Ghetto Sauce is it tells the same tale of the African American narrative: making pleasure from pain. It seems that nothing good should ever come from the ghetto, but the marginalized populations in America prove time and time again that they can make something from nothing. Ghetto Sauce is yet another example of this undying reality. I will say personally this sh*t is the most fire sauce ever. EVER.  Over the summer I threw down on some incredible veggies, beans, steak, burgers—and obviously—bomb ass wings.

Ghetto Sauce means, “We come from the ghetto and still do positive things”. It is a reminder of the value the most oppressed people in this nation have, and the hope that lies in staying true to oneself. It is remarkable when people use the tools around them to produce positive things for not only themselves, but for the mainstream population. 

Cultural Appropriation by Alex Young

Photo by Alex Young 9/5/15

Photo by Alex Young 9/5/15

Radio network Hot 97 has a show hosted by an African American male, a jewish male, and a latina female-- Ebro in the Morning with Ebro, Rosenberg, and Laura. Hip hop is the show's topic of choice, but in today's musical landscape societal questions creep into conversation as response to artists' commentary on our world.

On August 20 singer-rapper Post Malone, a caucasian male, joined the show to talk about his hit song "White Iverson" in which he adopts hip hop's braggadocious and proud style. Find Malone performing in cornrow braids completed with shiny gold grills in his mouth to go with lyrics like, "I wipe my tears with the money, yeah". To Ebro and for those protecting the value in black culture the musician's act appears suspect leading Ebro to say to Post Malone in their interview, "When I see a white dude in throwback jersey and gold teeth I'm the old black dude who's like, 'Yo what is this? Is he making fun?'" and his compadre Rosenberg follows up with, "I had a similar feeling... I feel weird, my gut reaction of the white dude that I see with braids and gold teeth for me brand wise promoting that is an odd choice, I have to see what the person is really about first." The pair's remarks allude to the complexity of cultural appropriation and simplicity of appreciation. Huffington Post journalist, Kadia Blagrove, digs deeper and notes this duality revolving around the black experience is more so “about acknowledging the existence of the people behind the culture.”  Without such recognition and respect, elements of black culture will continue to be whitewashed.  From a myopic lens, Blagrove’s sentiment calls for a greater contextualized appreciation and respect for hip hop culture and its roots.

There is an especially tainted view on the appreciation of black culture because of the institutional power dynamic between white and black people.  What we're seeing in mainstream music is not a mutual exchange where artists are adopting elements of black culture without backlash because we live in a time where racism and injustices still exist.  To truly value something means to understand the entity's origins and developments-- learn how and why it came to be. Once there is an acknowledgement of history one can appreciate the present environment. Furthermore, imitation is a form of flattery, but if there is no credit given to the original work plagiarism occurs.

When Miley Cyrus took the stage to host the 2015 VMAs on August 30 she did so wearing a long dreaded hairpiece and ensued to call Snoop Dogg her "mammy". The popstar will tell you she made the comment in jest, but it unveils ignorance and insensitivity some whites have regarding racial topics.  Then there's Taylor Swift who just put out a music video that’s set in Africa yet features no African or African American people in it.  If people wish it were not black/white issues then this conversation can even draw on the use of Native Americans as sport mascots.  But the issue is deeper than the fact that a football team has a derogatory team name or the very people who are from the setting of Swift’s video were just an afterthought to her, though.  The issue resides with the fact that it seems a lot of celebrities and artists are choosing to highlight the more glamorous and celebrated aspects of other cultures, while neglecting the controversial and political topics such as the inhumane police brutality cases that have engendered the slogan and hashtag “Black Lives Matter”. Actress Zendaya Coleman intelligently says on the entire subject, "You can go about it as cultural appreciation or cultural appropriation. You have to be very careful. Some things are really sacred and important to other cultures, so you have to be aware, politically, about those things before you just adopt them." People need to adopt cultural relativism: acknowledge and understand other people's activities and beliefs are rooted in different heritages and traditions. This principle allows a genuine learning process from person to person that facilitates a holistic appreciation for one another.

On the other hand, the cultural appropriation tag escapes some white entertainers.  Artists like Justin Timberlake, MC Serch, Mac Miller and even Christina Aguliera are not accused of appropriating.  The question is why do some artists get away with appropriating while it is the detriment to others’ careers, a-la Iggy Azalea(?)

  MC Serch

  MC Serch

The answer is perception.

Ninety years ago when the Allen Brothers covered Papa Charlie Jackson’s “Salty Dog Blues”, America was still heavily embedded in racism and racial inequality.  There were no prominent black voices in the media who could cry foul play, save the Black Inquirer, which undoubtedly had other pertinent issues to broadcast than artistic property.  Although there are still a limited number of black voices in the media today, there are more outlets and syndicates than ever before with radio stations like Sway in the Morning and Hot 97; networks such as OWN and BET; as well as the impetus of social media that enables today’s artists and commentators of music to advocate and defend black culture and consequently black music.  These narrators--the Ebro's, Rosenberg's, and Laura Styles'--shape the images and perceptions of the artists that we listen to.  If these artists who are attempting to borrow elements from black culture can be viewed in a positive light by the voices and guardians of the genre then their authenticity will have a greater chance at resonating with black listeners.

F*ck, That's Delicious Returns: Action Bronson's Hawaiian Getaway by Alex Young

After riding the success of his second studio album, Mr. Wonderful, and completion of the first leg to his world tour Action Bronson is cooking again in "F*ck That's Delicious". A past trip to the Hawaiian Islands inspires the rapper to whip up two variations of Poke against his native New York's skyline. The new episode's visuals flashback to Bronson's time on North Shore, Oahu and Kahuku where he takes in a surf competition, curates a barbecue for RVCA surfers, and treats himself some Kahuku Superette-- home of the best Poke bowl in the region. Take a look at Action Bronson's entertaining trip below and catch him on the road again beginning September 10 in Dublin, Ireland.