There are times when talking to my poet-friends is just so difficult. You’ll say something and it will remind them of a memory or a line they had in their heads, so they will just interrupt the conversation and start writing. You can be in the middle of dinner, talkin about sumthin real intense too, and then, all of a sudden, BAM, they stop cold-turkey and write in their notebooks. I suppose I annoy people too, because I am always delighted by and stop dead in my tracks for African American language patterns. I can get as enthralled by the content as the language and start crackin up at the ways my friends say things, not because it’s funny, per se, but because of their cleverness and verbal dexterity. I can’t help but trace the deep, sociological specificity of how, when, why, and where a term or expression is used. “I ain’t got time fa dat”/“I ain’t got NO time fa dat” is one of my favorite expressions, interchangeable with: “aint nobody got time fa dat” or “aint nobody got time fa you” (a few expletives might also come.) This expression is certainly not new since I have heard elders use it for as long as I can remember, so I suspect that my age and current circumstances correspond to its new frequency in my discursive toolkit.
Sweet Brown from a White Perspective
For many non-Black folk, the first time they noticed this expression was from the now infamous, internet-sensation Sweet Brown in early 2012. When Sweet Brown escaped an apartment fire in Oklahoma City, she told the local news that she left, without shoes or clothes, and ran for her life. After then explaining that she has bronchitis and the smoke was getting to her, she proclaimed: “Ain’t nobody got time for that.” From that point on, the memes and remixes ridiculed her, circulating her last words seemingly endlessly, with of course, an incessant focus on her headscarf. Ironically, with all that arrogance and surety that she was saying something simple, none of these folk were smart enough to actually know what Sweet Brown was articulating: about the apartment building, about her life, about her health, and about her social circumstances as a black woman. The time spent on caricaturing her voice and look was appalling, though she SAID she ran out the house unable to even put on shoes. And, true to white appropriation, not a single meme used the expression correctly. Most of these folk even thought Sweet Brown INVENTED the expression. Unfortunately, not enough black folk saw the light either.
Sweet Brown… Through the Fire!
The use of “that” in “I ain’t got time fa dat” is never solely about a specific event you simply cannot attend or that causes an inconvenience for you. “That” means pure foolishness, the kind of mess you should not have to waste your time, essence, energy, and spirit on. If someone asks me if I am going to a certain event and I say, “naw I ain’t got time fa dat,” I am making a criticism of the event, the people involved, the ideas being promulgated, and the social world being maintained. I am NOT talking about a conflict with my schedule, calendar, or date book! On top of that, I am proclaiming the worth of my energy and attention in relation to the sponsoring person, event, or issue. It is a public declaration aimed at re-assessing the worth of the speaker and the listeners who she is trying to define the world for and with. I see black folk everywhere publicly proclaiming who and what they don’t respect with this obvious phrase and yet so many miss the meaning. I mean, really: you can tell folk to their faces that you ain’t feelin em too tough and they will think you are talking about your dayplanner! In the words of James Baldwin: “If Black English Isn’t a Language, Then Tell Me, What Is!”
Of course, it goes deeper. It also depends on HOW you say it. We can gender the term too. If you are a love interest (with the interest coming more from your end than mine), and I say “ain’t nobody got time for you” in an annoyed way, look you up and down, and roll my eyes, I am telling you that: a) I am not ever going to be interested in you; b) you are stupid, AND; c) your momma dresses you funny. Yes, all that from 6 words. If I say this about my boss, colleague, or some fool with a title or “authority,” I am calling them stupid and useless to my life, other than as another source of oppression, which I hardly need more of (which was EXACTLY what Sweet Brown was actually saying). Yup, all that from 6 words. This is precisely why translation exercises from Ebonics-to-Standard-English or simplistic contrastive analysis don’t work: the context of Black Language always suffers and loses depth of meaning, hardly a coincide since we live in a world where its speakers are not considered people who produce deep sweet brown meanings either.
It goes deeper still. Since the expression always uses the word time along with any variety of emphatic double negatives, we have to notice how time is configured completely outside of a western norm. The use of time in “I ain’t got time fa dat” does not reference the here-and-now alone. This means we need to turn to all that AfroCentric stuff that white academics and their bourgeois allies of color think is so, so far beneath their high-brow western theories of their western selves. This expression is based on an Africanized notion of time! Time here counters the run-til-you-are-ragged hustle under hyper-consumption and neoliberalism. And yet, the expression also makes time cyclical, non-linear, and, therefore, more of the spirit than of the temporal body (maybe even something like habitual be). Given its Africanized originary impulse, its place as a marker of oppression, and its circulation in the context of white institutions, it is a markedly black expression, not simply because black people have produced it but because THEIR EXPERIENCE has produced it.
It didn’t surprise me that folk couldn’t see depth into what Sweet Brown was saying and opted for black-face performances instead. Academics/scholars who imagine themselves to study language or rhetoric don’t do much better either. They too, and proudly so, take a white framework and simply apply that to black lives and act as if they have created anything other than the same kind of blackface caricature of the likes of those offensive memes about Sweet Brown. I am not suggesting that black scholars not use white theorists, since that would be stupid. But I have also never forgotten Professor Sylvia Wynter’s warning either: that when you borrow and inform yourself, you must ALWAYS notice when race as an overarching sociogenic code of our present episteme is untheorizable/unseeable in a scholar’s work. I like to use Black Rhetoric to understand those kinds of academic slippages and the slippin’ and slidin’ that academics do in the context of whiteness: I ain’t got no time for that.
I might be the last hold-out, but I finally watched 
I needed to see what this genre is actually doing so I self-hosted my own personal movie night. I started with the movie, Lincoln, and I was amazed. Here we have a film that displays just how pro-slavery and anti-black the North really was but yet and still casts the white men of that era and location as the heroes. We see with our own eyes that many voted in favor of abolishing slavery simply because of the monetary/status/job favors they received because hardly no white man wanted to see slavery end. It takes some real cinematic orchestration to make it look like progressive thinking triumphs in the end. 
Next was Abraham Lincoln: Vampire Hunter. It is actually a good follow-up to Lincoln because in both films, Abe is the sole location of humanity, progress, and radicalism. And once again, white violence gets minimized, but this time not by a dramatization of white property owners in Congress. 
Watch these three movies and then play the “Harriet Tubman Sex Tape” skit. It all fits together. I really do believe Russell Simmons thought this video would be subversive and funny and that he really never meant to offend. Black people are not at a place where they can create a good, sellable, laughable fantasy story about slavery though, even when we think we are recreating Django Unchained, part two. We WERE the auction block, not the auctioneers. That’s the only history we have in the context of slavery and it ain’t re-inventable or fantasizable. White property today may not mean explicit ownership of black bodies like in slavery, but white property today certainly means an unequivocal control of the ways the histories and legacies of slavery get told.
In just one, rather short episode, there is a parody of the WWCW (white woman crying at work), the transracial adoption of (Madonna’s) African children, the attack on the head black official as a socialist, issues around black hair & discipline with white parenting, the difference in expectations of black female labor vs. white female labor, and the definition of white privilegitis… now this is TELEVISION, honey! After Issa Rae’s success, an opening was created (inkSpotEntertainment and BlackandSexyTV are my favorites) for these shows and the hits seem to keep coming.