Beyond that, she recently announced her third album, HIT ME HARD AND SOFT, to be released May 17, 2024. She spent the days leading up to the announcement building excitement by adding all of her Instagram followers to her “Close Friends” list. Eilish had the most Instagram followers in 48 hours…with her count increasing by 7 million followers total.
While her debut album, when we all fall asleep…where do we go?, was a chart-topper in its own right, it landed Billie every GRAMMY it was nominated for at the ripe age of 18…Eilish has solidified herself as one of the most revered and sought-after popstars in the world.
Eilish recently caught media attention for quietly revealing her sexuality. In an interview with Variety, she states that she’s always liked girls…and assumed people always knew that. In a viral snippet from her new song, LUNCH, she details a love affair with a girl.
But people don’t only adore Billie for her catchy tracks that consistently top the charts. It’s not just her songwriting ability and unique vocals that keep us hooked. People love her because she’s unafraid to speak her mind.
Whether it be complaining about too many influencers being at an awards show, or calling out other artists for using unsustainable practices…Billie does not hold back.
Billie Eilish On Sustainability
Eilish home
rethinkingthefuture.com
The Eilish home is iconic for many reasons: it’s where Billie and Finneas recorded her debut album, countless other songs, and EPs, in an effort to conserve water there’s no grass, and the roof is covered in solar panels. And being environmentally conscious extends beyond the four walls of their home.
When the hottest young talent is discovered at such an early age like Eilish, record labels are chomping at the bit to sign them. It’s like when a D1 athlete is ready to commit to college…you have your pick.
But what Eilish and her mom, Maggie Baird, were looking for wasn’t about money or label-perks…they were seeking a solid sustainability program. And while that may seem like standard practice, most labels didn’t bring up environmental policies during these meetings at all.
After signing to The Darkroom via Interscope Records, the struggle didn’t stop there. Billie Eilish and her family have been consistent contributors to the fight against climate change.
Maggie Baird has since started Support + Feed, which focuses on the climate crisis and food insecurity. Support + Feed helped Eilish’s 2022 Happier Than Ever tour save 8.8 million gallons of water through plant-based meal service for the artist and crew members.
During Billie’s 2023 Lollapalooza performance, she aided the launch and funding of REVERB’s Music Decarbonization Project – which guaranteed all battery systems used during her set were solar powered. The MCD’s overall mission is to lower – and eventually eliminate –the music industry’s carbon emissions.
But more recently, Billie Eilish called out other artists for releasing multiple versions of vinyls in order to boost vinyl sales. In an interview with Billboard, she says,
“We live in this day and age where, for some reason, it’s very important to some artists to make all sorts of different vinyl and packaging … which ups the sales and ups the numbers and gets them more money and gets them more…”
Artists convince fans to buy different versions of their albums by offering exclusive features on each vinyl. Take Taylor Swift, for example, who released five separate vinyl versions of Midnights, each with a different deluxe “Vault” track.
While Billie may not have been trying to shade one artist in particular, the point is that she’s fed up. After being the rare artist in the industry who go out of their way to remain environmentally conscious, Eilish sets the bar high.
How Eilish’s New Album Is Sustainable
Billie for "Hit Me Hard and Soft"
William Drumm
Social media users were quick to claim Eilish was hypocritical by announcing that HIT ME HARD AND SOFT will have eight vinyl variations. However, each vinyl is made from recycled materials – either 100% recycled black vinyl or BioVinyl, which replaces petroleum used during manufacturing with recycled cooking oil.
This just illustrates that Eilish wasn’t directing criticism towards other artists for using vinyl variants to gain album sales…but she does think there are better ways to do it that benefit the environment without hurting their sales.
Dr Ayana Elizabeth Johnson, Eco-Anxiety, and Hope During the Climate Crisis
In a 2017 study by the American Psychological Association, researchers used the term "eco-anxiety" to describe the mental health impacts of climate change and its social and ecological consequences. Think fatalism, chronic stress, fear, exhaustion, anger, depressive episodes, even violence. Honestly, how can you not feel that way when you doom-scroll through social media and watch the 24-hour news cycle of climate emergencies happening around the world?
Greta Thunberg, one of the youth movement's biggest voices, has talked about struggling with depression in the early years of her activism. This was brought on by her frustrations with the continued inaction of adults in positions of power. It's no surprise that the doomsday prep and emergency management industry is expected to grow by billions of dollars by 2025.
As much as we'd like to disconnect or look away, climate change and its many intersecting consequences — and the planet-damaging systems that got us into this situation — aren't going away any time soon. How, then, can we move through this collective anxiety we share about the future? How can we come together locally and globally to lessen the blows of environmental change, especially for our most vulnerable communities?
Dr. Ayana Elizabeth Johnson's tireless work as a marine biologist and climate policy advocate should be an example to us all of how to build a path forward together through education and collective action. Maybe you've heard of her, or at least heard of her work: She's written about racism as one of the biggest obstacles to stopping climate change, coastal and ocean conservation efforts across New York City (she's also a board member of the Billion Oyster Project), and how environmental justice is essential to the Black Lives Matter movement.
A co-founder of the coastal cities policy think tank Urban Ocean Lab, Dr. Johnson co-authored the Blue New Deal. This plan was released during Senator Elizabeth Warren's 2020 presidential campaign and would prioritize restoring America's ocean habitats and rebuilding coastal economies and communities impacted by warming oceans, pollution, and overfishing. Dr. Johnson's even discussed being a climate justice advocate with Billie Eilish.
But it's her current role as the co-host of Gimlet Media's podcast How To Save A Planet where Ayana's passion for climate change education and collective empowerment really shines. Episode subjects range from agriculture's greenhouse gas emissions to the history of wildfires and land management. Listeners' questions often take center stage. Think: Is the carbon footprint a helpful tool for measuring our individual action against climate change? Are electric cars really that much better for the environment? Does recycling make a difference? No environmental justice-shaped stone is left unturned.
Dr. Johnson, with the help of great guests including farmers, activists, and researchers, reframes these ongoing debates in a way that's refreshingly accessible. Listeners not only learn about topics left out of their science textbooks, but they gain a better understanding of how climate science terms and theories manifest in our day-to-day lives. She also covers what we may experience at our local level to big-picture changes in our regional and global ecologies as well as our economic and political systems.
Through Dr. Johnson's solutions-focused approach, the scary unknowns that tend to paralyze our discussions around climate change—and make us feel like none of our actions even matter—feel a little less scary. Dr. Johnson's intention, throughout this show and through all of her work is not to shame people for not doing enough or fear-monger without offering a course of action. Instead, she engages with everyone, regardless of how much they know and their proximity to the climate movement, to build a better foundation of our environmental understanding, to challenge misinformation, and to inspire us to make change together.
The stories collected in the anthology All We Can Save: Truth, Courage, and Solutions For The Climate Crisis, which Dr. Johnson co-edited alongside Dr. Katharine Wilkinson, are urgent reading. Especially in this perpetual era of environmental calamity wherever we look. Poems about the Anthropocene share pages with stories of climate migration, Indigenous resistance, stories of communities of color fighting against systems of environmental racism, and motherhood during the climate crisis.
The collection uplifts just as much as it educates. Flip through each chapter and you'll find terms defined, statistics, and insights marked for your attention, offering accessible entry points into looming threats and ongoing struggles that oftentimes feel beyond our comprehension.
In her chapter on mental health and the climate crisis, climate adaptation researcher Susanne C. Moser notes how "climate grief" has sprung up in many of us. Scholars define this as an attempt to process the traumatic effects of living on a changing planet marred by overwhelming impacts of natural disasters, and forced migration and displacement. But both Moser and Johnson call for resilience as opposed to giving into the fear. As Moser writes, "Burnt-out people are less effective people. Burnt-out people can become sick people...Burnt-out people aren't equipped to serve a burning planet."
We cannot predict the future. Already, climate change has defied our modeling and our expectations, impacting communities across the world in disproportionate ways. It's understandable to avoid thinking about it until the climate crisis ends up at your front door.
Those in power who strive to continually get away with the damage we've done want us to focus on everything that's gone wrong and want us to give up. But now, more than ever, we must educate ourselves, unite, build political power, help enact community-based change, close the gaps, and mend the harmful systems that have impacted frontline communities for so long.
Dr. Ayana Elizabeth Johnson's ongoing climate advocacy is a reminder that all hope is not lost. Her work suggests that taking care of our bodies and minds is critical now more than ever.
So take a step back and breathe. Remember to celebrate victories and good news and treat yourself and each other with compassion. Listen to the marginalized communities who have been and continue to be most victimized by this climate emergency. Look to them for guidance and support their fight with the resources and tools you already have. As Dr. Johnson writes, together with Dr. Katherine Wilkinson: "Roll up your sleeves. Everyone has a role to play."
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Eleonor Botoman is a critic and poet based in Brooklyn, New York, whose work has appeared in C Magazine, Artforum, Sunlight Press, Interiors Journal, BUST Magazine, The Mantle, and Dream Pop Journal. A former sketchbook librarian, she now studies in NYU's Experimental Humanities program. When she's not reading science fiction or visiting museums, she's working on her newsletter, Screenshot Reliquary.
Visionaries Project: Christoph Carr on Black Land Ownership and Giving Flowers to Cops
More recently, he's been leading unique NYC-based Black Lives Matter protests that attempt to engage directly with the police. His many projects address current, pressing needs—but they also envision a world that could be, a world of connection, deep roots, and human empathy. Here, we spoke about the stories behind his groundbreaking organizations, and the grief and strange possibility buried in the depths of 2020.
How did Brooklyn Wildlife come to be? What space did you want it to fill?
I moved to New York in 2008 for a relationship, and by summer 2009 that relationship was falling apart. I was on the cusp of going back to DC or staying in New York, and I decided to stay.
A homie I knew had just gotten back to town and he was doing music, and we started recording a project together. By 2010 we finished the project and we were trying to do shows, but we ran into a huge issue while trying to book shows as a rap group without an agent or a booking company. The clubs didn't want to answer emails—they'd say talk to the booker, and the booker would say talk to the promoter. [A lot of these places] were only doing two hip hop shows a month at that time, or they wouldn't even book hip hop.
So me and my friend were like, we gotta just throw the shows ourselves. We know other musicians; let's just throw the party.
Chris Carr performing
When we first started sending out emails, we realized that a lot of the bookers and promoters didn't want to deal with artists, and we had to come up with a name or some way to be able to book the shows separately from us as performers. So we were like, let's start Brooklyn Wildlife. Let's make the events that we want to go to.
I was really inspired by the events going on when I moved to New York, but there was this partitioning and almost like segregation, where if I went to the warehouse electronic music parties, there was no hip hop. If I went to the hip hop shows, there was no folk.
And I like all of it. I like burlesque, I like comedy and music and visual art shows and filmmaking, and there wasn't really something that I saw that brought all these different elements together in a way that was authentic and aware and respectful of the traditions of those types of art forms.
I really obsess over hip hop and enjoy the cultural elements of hip hop and it being the quintessential postmodernist music form in its use of bricolage and sampling and expression, but I also really dug my friends who were DJing grime or dubstep or international music—what people might see as world music, or Afro-Soul and house music. All these things were of interest, and we weren't finding that.
So we started working with people we knew as Brooklyn Wildlife to throw as many shows as possible. Over the past few years we've done literally thousands of events, but it started out as wanting to have something for ourselves, and wanting to go to shows that we would enjoy ourselves.
Were you always involved in art and music?
I can't say always, but to a certain extent yes—my mom put me in violin lessons when I was five, and I was bad. In high school, I got into hip hop, but I was also playing sports, and hip hop wasn't an organized, structured activity at the time. When I got to college I started taking hip hop more seriously, MCing and writing and going out with my friends who wrote graffiti—and realized I wasn't good at that. Dancing, I wasn't good at that. DJing, not so much. I always like the types of music that other people didn't really "like" like—I like the B-sides, the secret album cut, the songs that are kind of reflective or might not be the party starters, by artists who may be more fringe or outside the status quo.
MCing was this great platform for me to learn about myself, society, and other people. When I was 18 or 19, in 1996-7, you could meet rappers and end up knowing people that worked on music video sets, just by being around the college environment I was in in Atlanta. You could run into Cee Lo Green outside the tabernacle.
At that point, I reattached to music in a serious way. [In Atlanta, there was this] level of professionalism and seriousness about what could be done with hip hop. I was still in school, and then I went to grad school at Columbia, but music was always a side thing—and it kept pulling at me. It wasn't until I left grad school and went back to DC that I was like, I need to make music. What would happen if I put all this time and effort and energy into making music on a full-time level?
I decided to invest whatever money I had into making my own studio and started making my own beats and throwing shows in DC. We were trying to throw more shows than everybody.
Since then, I don't really get writers' block or caught up in not being inspired. Since then it's been consistent: make a living from art.
A lot of your work seems to be about bringing people together in a way that's separate from corporate ownership. You started Brooklyn Wildlife because you wanted to have your own performance space that others didn't have to approve—and with Black Land Ownership, you're working to make space for people to own land outside of corporations. What's the connection between them?
One's an extension of the other. Some of the ideas from Black Land Ownership directly extend from what we learned doing Brooklyn Wildlife. The main thing is: If you don't own the land, you will not be able to dictate what happens on that land.
When I moved to my apartment, at the time, people were throwing mad shows at McKibben. As the building changes, the landlords start bringing in tenants and our neighbors move, and now it's people that have to wake up and go to work in the morning, and they start complaining to the landlords, and the landlords might lose money, so they tell me I have to stop making music.
We decided we'd rent DIY spaces. Still, if your neighbors don't like it, they call the cops. If the businesses nearby don't like it, they'll call the cops. Your landlord can shut you down. There's always someone that can make it difficult.
Whereas if you own a space, it's a lot harder for people to cause you problems. In New York it's too expensive to just buy a building. But when I went out to Colorado and Texas and parts of the country that are really wide open, I started thinking: There's so much space. If we had land, we could throw an outdoor festival with 100 people and no one could complain about anything. If people didn't like the noise, they wouldn't have to deal with it.
Still, you're going to have to lease farmland or county fair kinds of land. But when you do that, the owners can ask what types of events you're doing, and they can say that they only want certain things. And we can't really have that. We make sure we book artists that aren't using hate speech or being misogynistic or racist or phobic towards any marginalized groups, but people should be able to express their political ideologies, their emotional feelings and their spiritual feelings. And we shouldn't have to worry about some person who runs the fairgrounds saying: You all are anti-capitalist, that's anti-American, we don't want to have this.
So it comes to—well, you have to own the land. The only way that's possible for a group of artists is in more rural areas where the land is less expensive.
In Colorado, I was able to stay for free by working on a farm, and as I was pulling roots out of the ground—it gave me a lot of time to think. I did some shows while I was traveling, and when I came back I was like, why isn't that opportunity made more [available] for Black folks?
Denver is the most diverse city in Colorado, and it's still very homogenous in a certain way. In Grand Junction you're back towards the more conservative side, and you can tell people are like—"We don't have any Black people here, where'd you come from?"
It was shocking. [I started to ask], how come all the Black folks are crammed into cities on the East and West Coast, being pushed out, dealing with gentrification, being erased geographically—or we're in areas of the South and midwest that are economically depressed, dealing with racism and violence and stratification? There's all this space where there's plenty of land to grow food. Part of [the problem] is we only own 2% of the rural land in the country. So how are we going to get healthy food? We don't own the means of production.
In my mind, Marxism isn't a political system—it's an assessment of how capitalism works—and in the Marxist understanding, you have to own the means of production. If you want to have a place to grow your food, you need to own the land, or they'll push you out and find that it's more lucrative for Walmart to buy it.
[During] the Civil Rights movement, it was less difficult to find a common thread amongst different Black people. The idea of basic human rights could transcend layers of partitioning. Now there are certainly different opinions—on reproductive rights, on gender—but the one thing I could find that didn't cause people to have conflict is Black land ownership. It's not politicized, but no one talks about it. You have discussions about fair housing or affordable housing, but there are Black people with money who can't move where they want to due to institutional racism around land ownership, or groups of non-Black people pushing them out when they do make purchases.
Providing spaces for artists is important, but artists need an opportunity not to be stuck in the city paying $1,000 or $1,500 in rent every month. We need to get out and lay in a field, and play songs and run around, and have space in nature and grass under our feet, and be able to draw inspiration from something other than concrete and metal buildings.
How are you doing with COVID and everything?
It's been quite a year. Last spring, back in March, my partner had her appendix removed. She gets a call back, and she has to get a biopsy. And then [sic] she tests positive for appendix cancer, and they say they have to take out part of her colon. She has surgery in May and is recovering in June. She gets cleared. A week and a half to two weeks after that, I get diagnosed with melanoma in my toe and I have to get my pinky toe amputated.
I can't walk for however long. So I figure out how to pull off my summer festival and start throwing small shows, then wintertime hits. I go to California and tour, then in March I'm scheduled to go to SXSW. I had booked over 40 performers at the house we were renting down there, but COVID pops up the week we're supposed to go, and they cancel. That weekend of the 15th, lockdown started. In a weird way, I had already been on lockdown. Both [my partner and I] had been in our house a lot, working on our personal projects. I stopped drinking, so we stopped going to bars and clubs. COVID didn't change a whole lot for me.
I really miss not being able to meet new folks and engage with people and learn about their musical journeys. I've made a lot of stuff while we were trapped inside—a whole bunch of new songs, a project with my friend Annie Are You Okay—and a bunch of songs I've recorded with other people. And there are new secret projects I've been working on, and I finally put out one of my books—Thoughts of an Angry Black Man.
You've also led a few Black Lives Matter protests recently. Can you tell me about how that started?
I do a lot of Facebook Lives, and I was doing one about hip hop, recording in front of my building. I have my phone resting up on the fence. Since the camera is facing the street, I see the police pulling up. Then they walk up to me, and they're like, are you so and so, and I'm like nope, can't help you. And I'm like, by the way, I'm recording on Facebook Live. And they're like, we're concerned for you, are you on any medication? And I was like, no, what's this about—and they're like, we got a call that there's a man out here talking to himself and kicking at people.
And I was like, I've been recording this whole thing. Instead of them being like sorry, whatever, they're like, we're concerned—are you on medication? I was like, I don't have to answer any of your questions, but what do we have to do to make this the least conflictual as possible? Finally I just told them I live across the street, I volunteer at the school down the street, I run a store around the corner. They're finally like, we just had to check, someone called. And I'm like, what do you mean, someone called? Did you check if they're on medication?
When they pull off, I go upstairs. I look out the window and another cop car pulls up, so I [decide] I'm going to ask them how to file a report. Those police were like, you didn't have to answer the questions; you could've walked away. And I was like, really? You can't walk away from a police officer.
And then [I realize] the car I was leaning on—it's an undercover car. And an ambulance had been called. Two regular cop cars, an undercover car, and an ambulance came.
This is after Floyd stuff had happened, and I'm like, this could have gone so badly if I had a different demeanor. When I came back in I was really frustrated, and I started asking myself: what can I do to remove the standard approach to this? Who can I talk to about this?
So I walk over to the precinct, and see three cops there. And they're like: Who do you want to talk to? One cop says, "You gotta understand, people get called on emotionally disturbed people…" And finally they get the community liaison.
The liaison basically makes sure that protocol wasn't broken, and she asks if I want to file a report. One of the cops was a Black woman, and the other was a Latinx man, I think...I didn't want to get the cops in trouble. It's a policy that someone else created, that made it so they couldn't leave me alone.
After that, I was even more frustrated. When I left the precinct I was like, I gotta think of something to do that's not the same old me going back and yelling at the cops or not doing anything.
So I was like, what if I take flowers to the precinct, and talk to the guys standing in front of it and tell them about how I'd been stopped for no reason, and use the flowers as metaphors for other people who have been detailed without cause, or assaulted or brutalized by the police, or in horrible circumstances, lost their lives at the hands of the police?
[I wanted to] get the issue past politics, past the idea of Democrat/Republican or authority or anti-authority, or any of these names of organized groups. I'm a person, and the only person that ever pulled a gun on me in my life was a police officer. My friend down in Atlanta got killed by the police; my other friend in DC got shot by the police when he was unarmed. [I wanted to] root it in their humanity. Before they put on their guns and badges, they're humans, and I'm a human. Let's engage with the reality of how policing has had a negative effect on my community.
I went to the vigil at McCarren Park, and told some people about the flower thing. We ended up organizing a march from McCarren over to the 94th Precinct in Greenpoint. We took the flowers and had a line of people marching. It was wild to see that solidarity—to see how many people's lives had been touched by police brutality. It wasn't 20 people—it was over a hundred people who knew someone who had been hurt. There was no social media, no organized nonprofit entity. It was just people who had friends and heard the stories and wanted to show unity. And [they showed that] if the police harm one person in the community, 100 people might show up to support.
We organized another one that went from House of Yes over to the precinct on Knickerbocker. It's something that will continue, keeping in mind that it's about peace and love. The police aren't used to people showing up with flowers, saying, my friend got hurt by the police, and we want you to know this is personal.
This is about us as people. When we're walking on the streets, we're citizens, not criminals. You don't look at someone like me and automatically assume I'm the target of your predatory predisposition.
It's been a trip. I think it's cathartic for certain folks. They had never had the chance to present the emotions they had towards the police to the police. They may have told friends and family members, but to be able to tell the police officer in this manner that is somewhat controlled and purposeful—it kind of allowed for a valve to release pressure.
After the first march [sic], we were walking back from the precinct in Bushwick. There was a fire hydrant that was popped, and so a bunch of us danced in the fire hydrant—[it was a] cleansing experience. It was important for me, to see that solidarity, to see how all these other people have a common experience.
Find Christoph Carr's Patreon here.
Bill Barr Thinks COVID Lockdown Is Worse than Jim Crow and Genocide
Alongside accusations that the Black Lives Matter movement improperly uses Black people slain by the police as "props" for achieving "a much broader political agenda," Barr shared his thoughts on what he apparently thinks of as a much more serious injustice: "You know, putting a national lockdown, stay-at-home orders, is like house arrest. Other than slavery, which was a different kind of restraint, this is the greatest intrusion on civil liberties in American history,"
Leaving aside the familiar galactic scale of the understatement in the phrase "a different kind of restraint," it's worth noting that (thanks to his boss) there never were any national stay-at-home orders—though that approach could have saved tens of thousands of lives, trillions of dollars, and months of this confusing stasis.
More importantly, we can now take a stroll through history and look at all the horrible things America has done that apparently pale in comparison to telling people not to spread a deadly virus. As it turns out, when you signed up for HelloFresh this spring—because meal kits weren't already convenient enough without the looming threat of death—you weren't just avoiding the modern horror of the grocery store, you were giving into crushing tyranny.
Attorney General William Barr brings up slavery when referring to quarantining during the pandemicwww.youtube.com
How bad is it? Well, you've probably heard about the Jim Crow era of American history—when Black Americans were legally refused service, housing, and employment, and deprived of access to adequate education, and even their voting rights. According to Bill Barr, this is worse—at least back then some people were allowed to eat in restaurants.
And you know how, during World War II, tens of thousands of Japanese Americans were taken from their homes and held in awful conditions in internment camps on the basis that they might be spies? Well, at least they weren't asked to wear masks on the basis that they might be asymptomatic carriers of a highly contagious pathogen that has already killed nearly 200,000 Americans.
Oh, and about the systematic theft of land and resources from Native Americans, coupled with the destruction of their cultures and languages, deliberate exposure to deadly infections, forced sterilization, and just plain mass murder: It's true that the United States used violent, overwhelming force and numerous insidious measures to erase their heritage and move them onto smaller and smaller "reservations" of undesirable land. On the other hand, you try getting a "reservation" these days—in some places you can only get takeout.
As awful as it is to make light of these historic tragedies, it's important to call out the fact that the head of the Justice Department is speaking so flippantly about both American history and the vital ongoing efforts to prevent further deaths.
This is exactly the kind of inflammatory rhetoric that encourages people to storm government buildings armed with assault rifles. It's the logic that says we "have to get back to normal life" when that's just not possible.
Look at Sturgis, South Dakota where, each year, the Sturgis Motorcycle Rally brings hundreds of thousands of visitors, and hundreds of millions of dollars. Surely the state has no choice but to "get back to normal" by welcoming that kind of important economic stimulus for the region... except that it became a super-spreader event, rippling out from South Dakota to cause new COVID outbreaks around the country, creating a public health crisis that estimates say will end up costing over $12 billion.
Unless we're planning to let a million more Americans die off—in their homes, because it would take to much to hospitalize them—we have no choice but to treat this pandemic as the emergency it is, and to "intrude" on people's civil liberties.
Barr's comments, at an event hosted by conservative Hillsdale College, came specifically in response to a question about the freedom of religion in the context of the lockdown—the idea being that it may not be constitutional to disallow church services. Obviously, if specific denominations or religious practices were being targeted for discriminatory restrictions, that would be a serious concern.
But that's not happening. In states where they aren't being given special leniency to risk their parishioners lives, churches are subject to the same restriction on public gatherings as any other organization. And while people should be free to worship as they choose, their choices must fall within a certain realm of reason and decency—no one has the freedom to perform human sacrifices. Well, maybe one person does...
On Sunday Donald Trump—the man whom Bill Barr's justice department is inexplicably defending in a defamation suit involving rape accusations—defied city orders by holding a rally in Henderson, Nevada. His first indoor rally since the June event in Tulsa that likely led to the death of Herman Cain, this rally has been characterized as "negligent homicide," almost certainly spreading the novel coronavirus, in addition to spreading the kind of insanity that treats mail-in voting as a threat to democracy, and masks as a threat to liberty.
And thanks to the nature of the Trump administration, the Attorney General's job is no longer to impartially enforce the law, it's to cosign the president's favorite conspiracies, encourage violent hysteria, and compare bare minimum public health efforts to the worst crimes in American History.
Dying While Dying: COVID-19 & Police Brutality in Black America
The COVID-19 pandemic has caused an unprecedented paralysis in the world both economically and emotionally. Millions are without jobs, adequate health care, and engaged leadership. African Americans are the most impacted by the disease. As of June, there have been over 21,000 COVID-19 related deaths in the Black Community nationwide. Pre-existing health conditions and challenging living situations act as barriers preventing proper social distancing and protection/recovery. Though coronavirus is an unexpected nemesis for Blackness to combat, an old foe is still ever-present.
Currently, foreign and domestic protests and riots have erupted in response to the multiple deaths of unarmed Black men and women at the hands of law enforcement. The murder of George Floyd in Minneapolis, Minnesota, on Memorial Day has captured the world's attention. In an 8 minute and 46-second clip, America has yet another lifelong lasting image of an unarmed African American male screaming, "I Can't Breathe" - an unholy sequel to the video of Eric Garner uttering those exact words in 2014 as his life was brutally driven from his body.
If Floyd's death was the explosion on a global scale, then Breonna Taylor's death was undoubtedly the fuse. Back in March, the 26-year-old Louisville EMT worker was fatally shot eight times when the Louisville Metro Police Department entered her home serving a no-knock warrant.
Overwhelming feelings of helplessness, anger and fear due to coronavirus, coupled with the recent murders at the hands of the authorities, have exacerbated our current temperaments. We are expected to adhere to the pleas of law officials and politicians to shelter in place and social distance when the particular cases of Floyd and Taylor indicate the antithesis of these requests when put into practice by the police.
While dealing with a faceless adversary in COVID-19, African Americans remain engaged in an ongoing battle with a known opposition. Black people have become savants at juggling multiple issues of our survival. But balancing civil unrest and possible contagion simultaneously, and at this magnitude, is an ask that is too great - despite our resiliency.
At the risk of further spreading coronavirus, the streets are running wild with rebellion. However, the sickness of racism, of injustice, is a pandemic that has been ever-present since this country's inception. We looked for 2020 to be the year of Exodus from all of the strife of the previous decade(s). But, it seems that we might have to endure a few more plagues before we see the Promised Land.
Dwayne "Deascent" Gittens is a Hip Hop artist, On-Air Personality, & Content Creator from The Bronx. Follow him on Instagram & Twitter @Deascent.