“The Black Art Acceptance Conundrum”

*Above, a picture of western New York’s finest (the almighty Griselda: Westide Gunn, Benny The Butcher, and Conway The Machine)

One of my favorite reads, which may be a bit dense for some readers, is called “Erasure,” by Percival Everett. The story, while delving into death and murder and a mother-son relationship; finds an author slash professor, who, like many of us that craft stories – is at a crossroads. Another author has become famous for her work, as it takes on the language and feel of a work that follows the formula of narrative language specific to only the black experience – or, perhaps, what people think is the black experience for the whole. The market force of black writers being pigeonholed and only seen for certain voices – mainly those of the black, inner-city poor.

Themes abound, the overarching gist of the story revolves around Thelonious “Monk” Ellison, and the consequences of turning over art as a simple commodity. The popularity of a book, called “We’s Lives In Da Ghetto,” prompts Ellison to write a satirical response that takes a life of it’s own, called “My Pafology/Fuck,” to the delight of readers. It’s really a fascinating read.

In 1996, The Roots (now known by fans, affectionately as The World-Renown Roots Crew) released their debut mainstream release, “Illadelph Halflife.”