She’s Wildewoman #3: Say their names

By Allison Parssi

The above audio file recites 100 names of Black lives lost due to systemic racism and police brutality. As Fatayer states, “it’s impossible to state every name on this list,” and it is sickening to say that more innocent lives have since been added - including Tony McDade, Malcolm Harsch, Dominique Rem’mie Fells, Riah Milton, Rayshard Brooks, Robert Fuller, and Oluwatoyin “Toyin” Salau.

I gave a great deal of thought to the third installment of She’s Wildewoman, ultimately knowing that in this moment, actions speak louder than words. This fight for racial equity is long-term and however small this platform may be, using it to lift the voices of the BIPOC and LGBTQ+ communities is so incredibly important. The decision to use this edition as a point of personal reflection was difficult - as I feel conflicted over whether my voice is one that needs to be heard right now. By speaking on how deeply rooted institutional racism is as a biracial Iranian-American, it is my hope that some insight can be gained on the very broken system our society is based upon.

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In a recent conversation, a friend pointed out that I've never self-identified as a person of color. Shocked to hear all of those words in the same sentence, I explained, “It’s because I feel like I can’t.” My sister and I were not assimilated into Iranian culture - we never learned the language, we didn’t practice Islam, and we felt like outsiders at our own family gatherings. I was told by my parents that they decided to give me a “more neutral” first name once I was born because my last name was already going to draw attention to me. When I was in fifth grade, I remember asking what I should write down as my race on a standardized test form when I didn’t see an option for what I understood my race to be. I was told that people from the Middle East are considered to be White. I remember being confused, but not able to understand why. 

Piecing all of these parts together on a personal level and in the greater context of systemic racism resulted in an overwhelming amount of emotions. I am frustrated that both my Iranian parent and my American parent didn’t encourage cultural and historical exploration. I am sad that my Iranian parent felt that cultural omission was a necessary form of protection from racism. I also have an immense amount of guilt from my white passing skin color. It has allowed me to ignore one half of my heritage, and as a younger person in a primarily white community, I chose to. 

And aren’t all of those feelings the goal behind systemic racism? It’s this very real idea that the only right way to exist is within the limiting framework of white supremacy and normativity. If you don’t exist in that sphere, especially for Black lives, the system actively works against you. A person cannot choose their skin color, and yet we live in a world where skin color determines growth and success; where Black lives are being taken or incarcerated at an exponential rate.

The music industry has historically been an active participant in exploiting and minimizing Black creators. A recent op-ed from Kristin Corry cites many instances of how “the industry’s failure to protect the humanity of Black artists is often inextricably tied to the lack of diversity in music journalism.” One very public example is the Grammys’ overtly pigeonholing “Urban Contemporary” categorization of Black artists. It has been called out year after year - from Tyler, the Creator’s comments about winning the award for Best Rap Album this year, to Beyonce’s Lemonade winning Best Urban Contemporary, but losing Album of the Year to Adele in 2017. As WSJ Magazine’s Myles Tanzer aptly stated, the main problem with the category is that “every year Black artists make groundbreaking music that defies the way the Grammys codify genres and they can’t fathom a way to reward it. If the Grammys admit that, it would mean admitting the whole show is bogus.” It should be noted that the category has recently been renamed to “Progressive R&B,” which does not eliminate the problem. The change is performative as it did not come with any other concrete actions, such as diversifying their members and voters. 

The role Black artists and musicians have played in how we listen to music today is so influential, but often overlooked. In Chicago alone, Black artists birthed house and gospel; defined a new strain of blues that heavily influenced early rock and roll; and paved the way for numerous branches in jazz music. All of this music gives a voice to Chicago. It is a beautiful way to listen to a community and spread ideas. It has the capacity to unite people from all walks of life, which has always been one of my favorite aspects. 

Continually learning and appreciating this music has directly correlated to a large part of my personal growth and identity. This city is the first I’ve lived in where Black artists have contributed to history in such an impactful way and I plan to bring that vibrancy here to this column. Alongside writing from a personal perspective, I will bring in outside members of the industry. I will look to the past and dive into the careers of local influential artists like Chaka Khan, Muddy Waters, and Frankie Knuckles. I will pay attention to the present and amplify the voices of those - such as Jamila Woods, Mykele Deville, Ric Wilson, and Tasha - who are elevating and pushing the boundaries of their art and communities. It is only through listening and sharing these stories that we can genuinely understand each other’s cultures. It is through listening that we can forever celebrate Black lives.

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This Week’s Resources and Referenced Links:

Your Favorite Music Exists Because of Black People by Jenzia Burgos

“Fight Like Ida B and Marsha P” by Ric Wilson - a new revolutionary anthem by local artist and activist

Why Is Everyone Always Stealing Black Music? By Wesley Morris

The Music Industry Fails Black People Every Day by Kristin Corry

Tyler, the Creator Backstage Interview at the 62nd Grammy Awards (2020)

Listen to the names of the lives lost to police violence by Salam Fatayer of 88.9 Radio Milwaukee