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TRANSCRIPT
Running head: #BLACKTWITTER 1
#BlackTwitter
Maurika Smutherman
Appalachian State University
#BLACKTWITTER 2
#BlackTwitter
Introduction
“He can read my writing but he sho can't read my mind” – critically acclaimed author,
folklorist, anthropologist and proud Black woman, Zora Neale Hurston. Despite an abundantly
clear racial digital divide, Black Internet users have discovered a way to stand out in the crowd.
A 2014 study of Internet usage found that while 87 percent of whites are Internet users, Blacks
are not far behind with 80 percent of the Black population having some sort of online presence
(Smith, 2014). Black youth have built an especially undeniable platform on the social media site,
Twitter. According to Smith (2014), “22% of online Blacks are Twitter users, compared with
16% of online whites.” Black Twitter can be defined as, “a social construct created by a self-
selecting community of users to describe aspects of black American society through their use of
the Twitter platform” (Williams & Domoszlai, 2013). This social media microcosm is a force to
be reckoned with, as society can look to #BlackTwitter for an untarnished and resolute
perspective on major media events, at times resulting in critical societal change.
How to be Black online
#BLACKTWITTER 3
For centuries, Blacks have faced oppression and
discrimination in their everyday lives. The Black
community has remained consistently firm against these
injustices, courageously banding together and remaining
afloat when seemingly, all hope is lost. Understanding
Black culture and identity is difficult and requires more
than a few paragraphs of text. Nevertheless, when it
comes to being Black online, there is a distinct difference as compared to other races (see Figure
1). Baratunde Rafiq Thurston, author of NY Times Bestseller How to Be Black, explored the
concept of being Black online with his 2010 South by Southwest presentation, “How to Be Black
Online.” His research found that despite the racial digital
divide, Blacks make up the majority of mobile Internet users
(see Figure 2). According to Horrigan (2009), “when tethered
and wireless access are considered together, the gaps in online
engagement between whites and blacks largely dissipates.”
black culture is innovation. “History has proven that Black people are the future”
(SXSW, 2010). Black culture is constantly ahead of the curve. Many historic staples of Black
culture have crossed over into the mainstream. For example, rock and roll is one of the most
popular genres of music in the United States. It is plausible that many are unaware of the fact
that predominately African-American genres, such as blues, gospel, jazz and more are the
foundation of rock and roll. Christ-Janer, Hughes and Sprague Smith (1980) define rock and roll
as, “a combination of predominantly African-American genres
such as blues, boogie woogie, jump blues, jazz, and gospel music, together with Western swing
Figure 1 (White Twitter v. Black Twitter
Figure 2 (Mobile Internet Use)
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and country music.” Furthermore, Blacks are the founders of hip-hop, a musical genre that spans
across cultures. Additionally, physical attributes that are hereditary for Black women, such as big
lips and big butts, have become increasingly popular
recently, with the media attributing this trend to
none other than white women (who typically must
manufacture these looks via lip and/or butt
injections), rather than the Black women who are
born with these features.
the dozens. Thurston (2010) likens Black
Twitter to “the dozens,” which can be defined as an
element of Black oral tradition, where two
competitors go back and forth, “roasting…dissing…
(and/or) clowning” one another until someone gives up (ie. “Yo moms such a ho they set up
robocalls for all her booty calls – @Anildash”). The dozens usually takes place in front of an
audience, adding an encouragement and support factor for both sides. Thurston (2010) provides
an example of the dozens in action using the hashtag, #HowBlackAreYou (see Figure 3).
Figure 3 (The Dozens in Action)
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#hashtags. Hashtags are an important
component of Twitter usage. According to the
Merriam Webster Dictionary, a hashtag is, “a word
or phrase preceded by a hash or pound sign (#) and
used to identify messages on a specific topic,”
commonly used on social media sites like Twitter and Instagram (“hashtag,” 2015). When a
hashtag is the subject of a great number of posts in a short period of time, it becomes a trending
topic on Twitter (see Figure 4) Black Twitter is remarkably visible through the use of hashtags.
Popular #BlackTwitter hashtags of the past include, “#blackis; #blackaint; and
#IfSantawasBlack.” Black Twitter has the power to achieve vital societal impact through the use
of hashtags. For example, when Juror B37 from the controversial 2013 trial of George
Zimmerman attempted to release a book, Black Twitter responded with force, releasing the
personal information (see Figure 5) of Juror B37’s
book agent and starting a petition on popular campaign site Change.org. Tweets were identified
by the hashtag, #JurorB37. Black Twitter’s actions eventually led the agent, Sharlene Martin, to
drop Juror B37’s book altogether: “After careful
consideration of the book project with Zimmerman
#JurorB37, I have decided to rescind my offer of
representation— sharlene martin (@sharlenemartin)
July 16, 2013” (Lemieux, 2013).
Figure 4 (What it Means to Trend)
Figure 5 (#JurorB37)
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opposition to #blacktwitter. There is
opposition to Black Twitter (see Figures 6 and 7).
Thurston (2010) explores the idea that the mass
majority wants to put an end to Black Twitter.
“They don’t want welfare people to know this
stuff” (Thurston, 2010). Time and again, what the mass majority does not understand, they want
to destroy. According to McDonald (2014), “The
only entry fee [to Black Twitter] is knowledge. If you’ve spent time steeped in black culture,
whether at a historically black college or university or in the company of friends or family, you
will probably understand the references on Black Twitter.” Black Twitter is a platform
connecting users from all walks of life and
encouraging the spread of knowledge. Michael
Arceneaux, writer for Complex Magazine said,
“It’s a bunch of people like me. Black people in
major cities and it’s basically six degrees of
separation. I might not know you, but I might have
a friend of a friend of a friend who does”
(McDonald. 2014). In some cases, Black Twitter has shed light on overlooked issues in the Black
community. For example, when feminist icon and singer Ani DiFranco attempted to hold a
retreat at Nottoway Plantation in White Castle, La., the feminists of Black Twitter responded
with disappointment. According to McDonald (2014), “Black feminists charged the artist with
trying to advance the goals of (supposedly inclusive) feminism while dismissing black women
and their experiences.” One tweet read, “@anidifranco #BlackTwitter be judging all slave
Figure 6 (Opposition to Black Twitter)
Figure 7 (More Opposition to Black Twitter)
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plantations by the actions of a few slave plantations. #RighteousRetreat – @blackconseco”
(McDonald, 2014). Shortly after feeling the wrath of Black Twitter, DiFranco canceled her
retreat, responding with a lengthy and regretful apology on her website.
Conclusion
In summary, #BlackTwitter is an indisputable game-changer in today’s society, at times
transcending the online world to enact crucial change. In order to understand Black Twitter, one
must first understand Black culture and identity – knowledge that can only be gained from
experience. Consider the following: In her collection of folklore titled Mules and Men, author
Zora Neale Hurston writes, “The white man is always trying to know into somebody else's
business. All right, I'll set something outside the door of my mind for him to play with and
handle. He can read my writing but he sho' can't read my mind. I'll put this play toy in his hand,
and he will seize it and go away. Then I'll say my say and sing my song.”
References
Christ-Janer, A., Hughes, C. W. & Sprague Smith, C. (1980). American hymns old and new.
New York: Columbia University Press. p. 364, ISBN 0-231-03458-X.
Horrigan, J. B. (2009). Access for African-Americans. Pewinternet. Retrieved from
http://www.pewinternet.org/2009/07/22/access-for-african-americans/
Lemieux, J. (2013). Justice for Trayvon: Black Twitter kills juror b37’s book. Ebony. Retrieved
from http://www.ebony.com/news-views/justice-for-trayvon-black-twitter-kills-juror-
b37sbook-304#ixzz3XxlvaKlU
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McDonald, S. N. (2014). Black Twitter: A virtual community ready to hashtag out a response to
cultural issues. The Washington Post. Retrieved from
http://www.washingtonpost.com/lifestyle/style/black-twitter-a-virtual-community-ready-
to-hashtag-out-a-response-to-cultural-issues/2014/01/20/41ddacf6-7ec5-11e3-9556-
4a4bf7bcbd84_story.html
Smith, A. (2014). African Americans and technology use: A demographic portrait. Pewinternet.
Retrieved from http://www.pewinternet.org/2014/01/06/african-americans-and-
technology-use/
SXSW. (2010 March 18). How to Be Black [Video file]. Retrieved from
https://youtu.be/c6luK6u97Ug
Thurston, B. R. (2010). My slides for #HowToBeBlack (online) at SXSW interactive.
Baratunde.com. Retrieved from http://baratunde.com/blog/2010/3/14/my-slides-for-
howtobeblack-online-at-sxsw-interactive.html
Williams, A. & Domoszlai, D. (2013). #BlackTwitter: A networked cultural identity. Harmony-
Institute. Retrieved from
http://harmony-institute.org/therippleeffect/2013/08/06/blacktwitter-a-networked-
cultural-identity/