Archive: How To “Counter” Racism



The view of downtown from the museum’s second floor. 



Originally Posted: 6/23/10

The following was my account after visiting the International Civil Rights Center and Museum, located in Greensboro, NC. Reposted for Black History Month. Greensboro is the home of the very first     Sit-In, an act that still holds significance in American History. If I had learned anything from this tour and observing the artifacts, it’s that racism extended to the smallest, pettiest details of everyday life. Details that are often left out of movies or books, for lack of generational knowledge. Once you see that, it doesn’t seem unusual that racists will pitch a feral shit-fit if a black person sits in the “white section” of the lunch counter or pour acid in a pool. Humans are the most hair-pulling creatures ever.

I would know, wouldn’t I?

Forgive the poor editing. I was new to blogging. Any updated thoughts will be in bold.

“This week was the first week of the International Civil Rights Museum. Located in the original Woolworth store where four North Carolina A&T students started a sit-in, it was the museum’s first week after its grand opening. One of my mother’s fellow church members works there and invited us on the weekend tour.  The tour began as most would: A guide introducing what was going one in the world at the time and showing us a transparent American flag that revealed jim-crow artifacts.

Among the artifacts was a Klanman outfit. I can’t mention any faster how much of a historical gold mine this suit is. Think about it: how many people are willing to donate a piece of their racist pasts? [I’ve since seen the Klan robe at the Smithsonian Museum of the African American] After ogling the sheet, the group moved onto the next room, collaged with images of church bombing victims, MLK Jr., and other marching photos. One of the photos on the walls depicted a victim from a Birmingham church bombing [Sarah Collins]. If you looked at her out of context you would ‘ve thought the picture was taken in a war-torn African country. She was laid in a hospital bed with the sheet bundled up to her shoulders. Her burned eyes covered with square bandages. As the group moved on, the guide began telling the story of the four students from A&T.

Using a room that held some of the original Dorm furniture from the time, the group was treated to a projected reinstatement film courtesy of the contemporary A&T Drama Club. The first detail that caught my attention was her mention of their ages in college: 17. My mother was the same age her freshman year and that started my mind working. What was going on back then that had 17-year-olds in college? What was wrong with the educational system today that 17-year-old high school seniors were now rarer? I came back to my thought about the students’ ages in college, I asked my mother why so many kids were younger than 18 by the time they were college freshmen. According to my mother, such an occurrence was typical but eventually, some students were found to be emotionally unprepared so policies were put in place that set a 6-month line requirement, before. I knew they did that for kindergarteners with late birthdays but this was a revelation for me. [Since then, I learned more about the old junior high school structure and have since met a few 17-year-old college freshmen in the 2000s.]

By the time my mind left that thought for the moment, the group had moved to the preserved Woolworth’s food counter where the students made their sit-in. Not having seen a genuine counter establishment, I expected something smaller or more in tune with the counters of a Silver Diner. However, this counter stretched from one wall to the next connecting wall and covered what I think were 25 stools. As for those stools, We saw green and salmon covers, which weren’t originally there. The guide told us they were replaced after the original black covers began to wear. Two of the intact seats are in the Smithsonian [With two more at the Newseum in Washington, DC and a few more at the MLK Civil Rights Museum in Atlanta]. After the counter display, we moved on to another section, which was again more or less historical items that represented Jim Crow and Black achievements during said time. There were some artifacts that leaned towards the absurd side of white supremacy, like a double-sided Coca-Cola Machine. One side had a 5 cent label while the other side had a 10 cent label covering a 6 cent label. Guess which side was for “Coloreds”? [Don’t get me started on the prohibition of vanilla ice cream for blacks. Just don’t]. Across from that Machine was an old Plaque from one of the department stores. According to its information, the restroom for colored men and colored women were on the lower level with the White men’s restroom. What was peculiar was the white women’s restroom which was all the way on the way on the second floor. After thinking about it for a while I theorized that they planned this so that white women could stay as far away from black patrons as possible while the white male patrons could keep an eye on them. Once again, racism is a strange thing. [This speculation was based on the confirmed knowledge that blackface actors were placed in scenes featuring white actresses in Birth of a Nation to avoid having them act with real black males. Watch the film closely. It’s true. As for the plaque, still speculation that holds weight.]

I should point out by now that through the collages on the wall, Jesse Jackson’s picture would show up more than one could ignore. Well, he’s there because he attended A&T like the four sit-in guys [but there was no other reason for the Jesse overexposure other than a shameless effort to boast a famous A&T alumnus on part of the museum, but I digress]. As a matter of fact, the displays included people who either attended A&T or were from Greensboro. I mean this IS a local museum, but they kept a lot of focus on national history, even ending the tour on a display about other groups throughout the world who fight the same injustices. [Of course, the struggles of the civil rights movement was just one of many human rights struggles that were and continue to be fought globally]. After the tour, my mom and I went down the street for lunch. At a Diner. At their lunch counter.” [The diner in question, Fincastle’s, has since closed permanently. It will be missed.]



The cafeteria at the Smithsonian Museum of the African American


Come On To My “House”

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I return from a long hiatus to bring good news. By now most of you already know that my hometown of  Charlotte has been the latest city to see protests erupt in response to a questionable police-related death. Once violence erupted, many businesses within the vicinity of the chaos (mostly hotels) were vandalized on the first night. Since that night, many buildings were flanked by plywood where windows once stood. A lot of reservations were cancelled, losing the hotels a good amount of money. However, one guy had a great idea.

Matt Allen, general manager for the Hyatt House hotel, invited every artist in the Charlotte area to enhance the plywood with their talents. Being an artist as well, yours truly  could not resist the opportunity to be part of wonderful, project. From the locals such as the Charlotte Art League and my fellow SketchCharlotte member Mike Wirth and his art students pitched in with a variety of art mediums.

Naturally, media arrived to follow up on this wonderful movement.  The day I arrived, Fox News, international news agency CCTV, and local affiliates WSOC and WCCB came down to check out our work. Liz Foster of WSOC-tv interviewed me and representatives of the Charlotte Art League. (Link below. May have to sign onto facebook)

It took 8 hours to complete my work. By the end, my legs hurt from standing all day and I was running low on energy. However, it was an energy well spent. Matt and the staff of the Hyatt House were the most gracious people, helping us out with any supplies we needed. When they let us use their restrooms to clean our brushes, I actually felt hesitant to dirty up the hotel’s gorgeous bathrooms with my messy supplies and make more work for the custodial staff. I offered to use the bar’s back kitchen but everyone said the lobby restrooms were just fine. These people were affected the most by the vandalism. Reduced business always effects those below the corporate level most. I felt compelled to help bring business back to the city, but of course I wasn’t the only one.


(left) Work in Progress. (right) Design by Mike Wirth


Charlotte: where everybody knows your name….

It was a wonderful experience. I made new friends, ran into old friends who happened to be walking down the street, and if anything else, helped bring Charlotte’s art scene to the mainstream. What am I talking about? When I first moved here back in 2012, I had to go out of my way to find the local art communities. Due to the upscale nature of uptown, a tourist will only have access to more formal institutions like the Bechtler, the Mint or Foundation for the Carolinas. Unless they catch an artPOP billboard or ride a tour bus that will stop in the North Davidson area, visitors will not be exposed much any local art.  By having an exhibit right where visitors can pass by and see what the other side has to offer, they may have just one more reason to come back.


Queen Corgi says “hi”

Danse Macabre

Back in 2005 or 2006 I drew a cartoon for my College Newspaper making humorous light of the Columbine School Shootings. At the time, I didn’t give it to my editor, feeling it was in bad taste and still too soon for a society that was still recovering from an unusual tragedy. Fast forward almost 10 years (and a quickie cartoon) later, and I find my cartoon still relevant. I decided to redraw it, due to my artistic evolution, and to reflect the new circumstances. However the “joke” needed no changes. Ten years later. My cartoon probably reflects reality more now than it did back then.



Ode to an Addams


Top left: Addams ' original family,
Bottom left: The 1960s tv show
Top right: The 1990 film
Bottom right: The 2012 Broadway production.

Whether he knew it during his lifetime, New Yorker cartoonist Charles Addams sparked his own cultural revolution when he created a family of creepy and kooky characters.

60 years after their debut in the New Yorker, the Addams family still speaks to the unapologetic outcast that just wants society to leave them be.

Had Mr. Addams not had the courage to embrace his own (very taboo for the 1930s to 1960s) interests, we would not have Hot Topic, Cristina Ricci or Melissa Hunter’s Adult Wednesday Addams. Or fandom for fictional villains. Or goths in general. He made it ok to get in touch with our dark side.


Charlie Hebdo: What Responsibility do Cartoonists have?

My thoughts, like the Charlie Hebdo story, are still developing, I feel that I have not elaborated enough. Allow me to clarify.

Upon giving the ISIS cartoon a second look, I couldnt help but notice a few details about it that bugged me. In my opinion, there was little creativity behind making the cartoon: the ISIS leader just stands there and says something. When I think of satire, I look to symbols and uses of visual metaphors. None were used in the Charlie Hebdo cartoon in question. I began to wonder how blatantly the message was interpreted by the shooters.

I’m not saying that the Charlie Hebdo cartoonists deserved to die. Let’s get that out of the way. I do, however, think this tragedy brings out an uncomfortable reality in cartooning.

Lately, alot of the cartoons in I’ve seen in some publications simply appear juvenile or intend to push buttons. No metaphors, just a direct, unsubtle delivery of the message. It’s one thing to attract retaliation from speaking an undirected opinion but it’s another when you do so after creating was the cartooning equivalent of “yo mama” jokes. If you give a stranger the finger, should you be surprised if he punches you in the face?


With Great Creativity comes Great Risk

By now I’m sure some of you have heard the news on the attack on the offices of the French satirical magazine Charlie Hebdo in which four cartoonists on staff lost their lives. The victims are pictured below.


What triggered such a massacre? In a moment similar to that involving Sony Pictures and North Korea before Christmas, ISIS threatened to attack France in response to the publications’s cartoon featuring the group’s leader (pictured below).


Being a cartoonist will never be easy.


Before I make my point, allow me to talk about another cartoonist.

At the International Civil Rights Museum in Atlanta, one of the exhibits is dedicated to international human rights. As you walk toward the entrance of the exhibit, you’re graced with wall-to-wall photomural of people currently risking their lives doing what they can to fight for their basic rights around the world.

Among the individuals featured on the wall is cartoonist Harn Lay (pictured above), a former Burmese rebel soldier who fled to Thailand in 1988. He’s been on record to say that the Burmese government would imprison him for every cartoon he drew if he ever returned. Remember, Myanmar (formerly Burma) is a nation where free speech is on par with soviet- era Russia and current day North Korea. What does a cartoonist from a totalitarian nation have to do with the French bombing? Both involve cartoonists who’ve risked their lives to communicate through imagery, only the latter finally succumbed to that risk.

While the French Cartoonists in had little to fear from their government, they still faced the threat of retaliation from foreign groups and fellow citizens.

Something to think about for Americans drawing anti-police cartoons.