Though I don’t talk much about relationships on this site, intimacy is as political as anything else. Relationships, families, and co-habitation are mediated by a stunning marriage of patriarchy and consumerism. So much of the partnering that I see seems to work like business ventures: dating is like making an investment and getting the right woman/man is like selecting a good stock option. Heterosexual women are considered accomplished when they find a benevolent patriarch (i.e., Steve Harvey) who will protect and provide for them even if the women are as dumb as hell (which, for patriarchy to work, is usually most desired).
Our language often reveals just how difficult it is for us to re-script these kinds of relationships. Here’s an example. An acquaintance (we never spent any time together so I can’t call him much else) once called me, in a very round-about way, his “prototype”, emboldened by Raheem DeVaughn’s cover of Outkast’s problematic song (a man celebrates that he has fallen in love AGAIN and is grateful that he has now found his “prototype” because if things end, he can presumedly be better at falling in love… AGAIN.) I’ve never been impressed by this masculinist discourse. I’d be silly to think a man has called me, and only me, his “prototype”— that’s a line, not a life choice. Unfortunately, too many women might see a compliment in this foolishness. In a patriarchal system, men’s definition of and giving of “love” holds the most value, even if that really only means consumption, power, and objectification. Many might be confused by my offense here, so let me cut straight to the point: a WOMAN is not a prototype so, when in doubt, avoid any discourse that calls her a thing on-the-way-to-the-next thing.
I did tread lightly here: I didn’t even respond to this “compliment” at first, I then stated on the next day that I didn’t get the intention of these words, and then, finally, I asked, casually so, for the brotha’s intention. No in-depth answer was forthcoming. When I then later pressed for a real explanation while indicating that I was offended, the brotha still wouldn’t budge, talked about guitar solos instead, insisted that he meant something else without any discussion of that something else, and just got rude and accused me of not listening (and, yes, I responded back to that). There was no apology and no reclamation of a sexist offense. While it might seem like I am focusing on a rather trivial conversation, the larger issues of patriarchy and consumption are all tied into this seemingly small interaction. This exchange is exactly what bell hooks talks about in The Will To Change: Men, Masculinity, and Love (there are many interesting discussions about this book amongst men; I like the way the blogger and activist, Alex Knight, describes patriarchy as terrorizing his life and emotional maturity). When men choose patriarchal power this way (and hooks calls emotional withdrawal/withholding, etc all forms of patriarchal power/male control), there is a real danger for both men and women: men give up the ability to really love, feel, or communicate when they only take their place as patriarchs; women embrace violence by allowing male domination and power to script their daily lives.
Because the song does not re-invent the definition of prototype, it’s a problem to use this language in reference to women. Let’s look:
| Definition of Prototype |
| From the OED: c.1600, from Fr. prototype, from M.L. prototypon, from Gk. prototypon “a first or primitive form,” properly neut. sing. of prototypos “original, primitive,” from protos “first” (see proto-) + typos “impression” (see type). |
| popular definition: an original type, form, or instance serving as a basis or standard for later stages. |
With this “prototype” labeling, a lot is revealed: women are types and there is one model to be molded, not that much different from people I know who have one specific kind of car that they like. The very definition assumes a manufactured object where new replicas/women will be created, distributed, sold. It’s almost like watching the next women come down a factory assembly line and checking their parts to see which ones came out right.
If this all seems like a harsh indictment, I should add that this same man would do things like run down the list of: 1) birthdays or birthmonths for his ex-girlfriends, including his “baby momma” who bears the same sign as him, with almost identical birthdate (thus making them, fairly recently, the perfect match); 2) the various attributes of these women’s personalities as well as their other, um, attributes, and; 3) the various gifts he gave these women (with lists of what they liked to eat). When MY BIRTHDAY came around, this man didn’t even remember and accused me of not telling him the date. I didn’t care so much about the missed birthday, except for the fact that I had actually told him the date— it was the precursor to his aforementioned 3-point discussion. As you can see, he was more interested in the memories of his pre-“prototypes” and zodiac matches. When women are mere prototypes, as this case shows, they are things and so, as objects only, they are not worthy of real care, remembering, priority, or value. I could tell more stories like this but, more importantly, this brotha would insist that he does not run game as a playa-playin’-on and that he works wholeheartedly at anti-patriarchy. Choosing to name and relate to women as “prototypes” after previous conquests (and thinking single women just want your “seed”) is a virtual blueprint for misogyny, not a meaningful way to live, love, and raise a family. I don’t want to suggest that heterosexual men are the only ones who treat women like commodities because heterosexual women try to manufacture men too (loving a man based solely on what he can do/perform vs. allowing him to be fully human); men just have patriarchy on their sides and, therefore, are encouraged and seemingly rewarded when they promote this system. My point is that framing relationships outside of and beyond the patriarchy and hyper-consumption in which we live is a feat most of us are not achieving, with the various men making covers of this song a striking example. There is a tragedy here, one that hooks continually warns us of: without the relinquish of patriarchy, even when men are tryna do right for they women, like these musicians perhaps, they still only turn women into things/objects/prototypes.
Now some people tend to think that I go off the deep end with my politics and, well, I don’t care. The fact of the matter is that we are in a system and no one’s language and actions are innocent. I am not suggesting that all is lost, only that there is real talk AND work to do. At the end of the day, loving/being with someone beyond patriarchal violence and consumerist logic is amongst the most revolutionary and human things we can do. Of all things, love—black love— needs to be radical.

Today, I celebrated my birthday with family and friends. I like the day to be one where family and friends cocoon one another so I went with my mother and friends to my favorite Mexican restaurant in Manhattan. In the section where we chose to sit, we were near two large Latino families, a Latina lesbian couple, a group of late-20-sumthin, beautifully adorned black women who commanded the room’s attention, and a group of Jamaican women my age who gave the most exquisite analyses of the problems with black men I have ever heard. My Indian waitress was very fly and kept my favorite drink flowing, the restaurant’s specialty Prickly Pear Cactus Margarita. James Brown, Lakeside, and Julieta Venegas (especially my favorites, “El Presente” and “Me Voy”) bumped in the background. It was a perfect New York City outing— I am convinced that you really just can’t get this kind of mix anywhere else. Though I certainly should not have been thinking about work as I celebrated, I found that I was, most specifically in relation to my course that starts next week on Black Women’s Rhetoric. Friends, work, and birthday seem to coincide for me this year.
So, yes, this is what I am thinking about as I plan my class that meets this week and as I end today’s celebration. I often have my students do presentations where they have to do rhetorical analyses, not of famous activists but of black women they know or are somehow part of their lives (this includes popular culture). I don’t think I have been so good at helping students see that the everyday practices of love, care, and sustenance that Honeijam and Yoyo embody as black women are black women’s rhetorics. I mean rhetoric here as something much more than the persuasive style to move an audience towards your goals. I am talking about a disposition where the most maligned group effects a kind of shift, an alteration of the geographies of white privilege, where you imagine and enact an alternative future and way of being human. It is a counter-ideology that manifests itself in the daily workings of making a black woman’s life possible in settings where that life is not welcomed. I don’t know how to communicate that to my students other than to tell them the stories of my Ph.Divas. One of the best parts of my birthday today was my reminder to do so.
When I asked this question about aural learning and attempted to have this as a public discussion at my university last fall, I distinctly remember a few of the white faculty laughing (and later making jokes for what kind of song I could use on my website, as if they might ever know enough about black music to even step into my office with a suggestion). Clearly, I do not consider myself, my scholarship, or my questions about digital spaces for youth of color an issue of humor or comedy. These faculty members seemed to think it was a funny thing to interrogate the meanings of sound in digital spaces as irrelevant or esoteric to the concerns of teaching, technology at our university, and to a multimedia age (yes, this is an absurd response to sound, as in… M.E.D.I.A…. A.G.E… the irony has not been lost on me). I highlight the fact that these faculty were white, most of whom are compositionists, because I hold their sentiment in stark contrast to what I see as a clear-cut fact: every BLACK revolution, rebellion, resistance movement has been sounded. I mean, after all, Afrika Bambaataa chose to create a soul sonic force. So what might it mean, look like, sound like to teach a class about African American women’s rhetoric and include the music and the sound of black women’s voices in song, music, or speech in deeply contextual ways? What might it mean to teach a class, with the large numbers of black female students I always have, who probably have never HEARD black women in a college curriculum because white faculty think that’s a funny idea, even in the multimedia age? I am clear what side of the revolution these white folk are on and I am clear that I need to get me and my students on the other side.