Tag: Black Voices

56 by Robert FlipSide Daniels

March 28, 2025

“56” by Robert FlipSide Daniels

there is a fine line between
heroism
and martyrdom and on march 3rd 1991
i watched a man nearly cross it swing
56 blows led to this king’s ransom swing
56 blows set off a chain of events some
still have yet to recover from
swing swing rodney’s life and
construction helps us understand why
building bridges of compassion was more
important
than his destructive past swing swing
swing taser this is 56 times i watched
in horror
not believing what was clear as glass in
front of my
barely 18 year old eyes swing
my mind muddied by my belief that this
is unbelievable
is this a nightmare wake up this is
happening
swing swing he was a big man he must
have deserved it
swing swing swing kick driving way too
fast for much too long swing really
rodney
100 miles per hour in a hyundai
swing he had two passengers and too much
to drink
swing swing allegedly two drugs course
through his veins
swing swing swing perhaps he was too
black
or too big in black to deserve dignity
swing
too slow to pull over too intoxicated to
realize he was being
beaten swing swing i can only imagine
what george holliday was thinking as he
recorded this historic moment
swing swing swing kick a moment that
changed my trust in who
upholds the law swing cube spoke to it
in his
fictionalized art gangsters can’t be
trusted so why should i believe these
[ _ ] with attitude swing swing
it’s hard to know what was said
but i would imagine a taser speaks volumes
swing swing swing five batons
constantly attracted to one fallen body
swing the racial slurs begin
led ironically by a man named [ _ ]
swing swing more firepower than an old
western saloon
swing swing swing kick so i guess we
should be happy they didn’t just shoot
him
swing though they did break his skull
and leg to show they mean business
swing swing truth is he was a criminal
on probation for armed robbery swing
swing swing
but did he deserve to have his criminal
mind concussed
in a savage beating swing by police
later acquitted of charges
swing swing judge declared the blow that
broke king’s leg
was not excessive swing swing
wait what hey [ __ ] stop moving
swing kick tasers they told him
not to move while hitting him repeatedly
swing
maybe he thought the police were trying
to kill him
swing swing but i’m sure action spoke
louder that night
swing hard to imagine it takes 56 baton
blows
six kicks and two tasers to subdue one
man
swing 30 years later
i’m still not over it swing
30 years later one question still
resonates
kick can’t we all just get along
you

Transcribed from the video “56” by Robert Flipside Daniels

Watch “56” by Robert FlipSide Daniels on YouTube

About the poet Robert FlipSide Daniels

In “56”, Robert FlipSide Daniels delivers a haunting and powerful reflection on the brutal beating of Rodney King at the hands of the LAPD on March 3, 1991. The poem’s title refers to the 56 baton blows that rained down on King’s body—a harrowing number that sets the tone for this piece, which is both an indictment of police brutality and a meditation on justice, race, and American history.

The repetitive “swing” motif acts as a relentless drumbeat, mirroring the vicious attack itself. Each “swing” serves as a visceral reminder of every hit, every act of dehumanization, and every moment of disbelief the poet felt as he witnessed this atrocity unfold at just 18 years old. The poem shifts between historical facts, societal commentary, and personal reflection, questioning not only the actions of law enforcement but also the system that allowed them to walk free.

FlipSide does not ignore King’s past—his criminal record, his intoxication, his reckless speeding—but he forces the reader to ask: Did any of that justify what happened to him? He juxtaposes Rodney King’s flaws with the sheer excessive force and racial injustice he suffered, highlighting how Blackness itself often becomes a justification for violence in America.

The poem also critiques the media’s portrayal and public reaction to the event. References to Ice Cube and N.W.A. emphasize the deep distrust in law enforcement that existed long before King’s beating, while the line about George Holliday, the man who recorded the attack, underscores the power of video evidence in exposing systemic abuse. And yet—even with undeniable footage—the officers were acquitted, leading to the 1992 Los Angeles Riots.

The final 30 years later refrain reminds us that the pain, trauma, and unanswered questions still linger. The poem ends with King’s own plea for unity—“Can’t we all just get along?”—a heartbreaking echo of a man who, despite being brutally beaten, still sought peace.

FlipSide’s “56” is not just a poem—it is a call to remember, to question, and to demand accountability. It serves as a chilling reminder that justice, even when caught on camera, is far from guaranteed.

To learn more about FlipSide’s poetry and powerful storytelling, visit his poet bio page here.

If The Drum Is A Woman by Jayne Cortez

February 24, 2025

“If The Drum Is A Woman” by Jayne Cortez

If the drum is a woman
why are you pounding your drum into an insane
babble
why are you pistol whipping your drum at dawn
why are you shooting through the head of your drum
and making a drum tragedy of drums
if the drum is a woman
don’t abuse your drum don’t abuse your drum
don’t abuse your drum
I know the night is full of displaced persons
I see skins striped with flames
I know the ugly disposition of underpaid clerks they constantly menstruate through the eyes
I know bitterness embedded in flesh
the itching alone can drive you crazy
I know that this is America and chicken are coming home to roost
on the MX missile
But if the drum is a woman
why are you choking your drum
why are you raping your drum
why are you saying disrespectful things
to your mother drum your sister drum
your wife drum and your infant daughter drum
If the drum is a woman
then understand your drum
your drum is not docile
your drum is not invisible
your drum is not inferior to you
your drum is a woman
so don’t reject your drum don’t try to dominate your drum
don’t become weak and cold and desert your drum
don’t be forced into the position
as an oppressor of drums and make a drum tragedy of drums
if the drum is a woman
don’t abuse your drum don’t abuse your drum
don’t abuse our drum

Listen to “If The Drum Is A Woman” by Jayne Cortez on YouTube

About the poet Jayne Cortez

“If The Drum Is A Woman” is a searing, allegorical poem in which Jayne Cortez challenges the audience to confront the abuse and exploitation inherent in objectifying femininity. In the poem, the drum serves as a powerful metaphor for women, embodying both strength and vulnerability. Cortez criticizes the violent, dismissive treatment of this symbol—questioning why one would “pistol whip” or “rape” the drum—thereby urging a respectful and empathetic approach toward all aspects of feminine identity. The raw language and vivid imagery highlight the pain and injustice inflicted upon those who are marginalized, while the refrain “don’t abuse your drum” serves as a passionate call for recognition, care, and equality.

To delve deeper into the life and work of Jayne Cortez, the revolutionary voice behind this bold poem, please visit her full bio HERE.

Jayne Cortez

February 24, 2025

Jayne Cortez: Arizona-Born Revolutionary Poet and Performance Icon

Jayne Cortez (born Sallie Jayne Richardson on May 10, 1934, – December 28, 2012) was a groundbreaking poet, performance artist, and cultural visionary whose work transformed the landscape of American poetry. Born in Fort Huachuca, Arizona, Cortez’s early life in the Southwest infused her creative spirit with a deep sense of place that would resonate throughout her illustrious career. Although her journey led her far beyond Arizona, her roots as an Arizona-born poet remain an integral part of her legacy, influencing generations of writers and performance artists alike.

Early Life and Formative Years

Raised in Arizona before her family moved to the Watts section of Los Angeles when she was just seven, Jayne Cortez grew up amidst both the rugged beauty of the Southwest and the vibrant energy of urban America. Her father, a veteran of both world wars, and her mother, a dedicated receptionist, provided a humble yet inspiring foundation for her early life. These contrasting environments—rural Arizona and urban Watts—fostered a unique perspective that would later define her poetic voice.

Cortez’s academic journey began at Compton Community College, where she started to explore her creative talents. Embracing a new identity as a poet, she chose to write under her maternal grandmother’s surname, marking the beginning of a lifelong transformation that would see her emerge as a powerful voice in the Black Arts Movement.

A Trailblazer in the Arts and Activism

In the 1960s, Jayne Cortez became deeply involved with the Student Nonviolent Coordinating Committee (SNCC), registering Black Mississippians to vote and actively participating in the civil rights movement. Her activism, interwoven with her art, positioned her as a multifaceted force for social change. In 1964, she founded the Watts Repertory Theater Company, where she delivered her first poetry readings—a bold step that would launch her career as a performance poet and cement her role as a pivotal figure in the Black Arts Movement.

Eight years later, recognizing the need for platforms that celebrated marginalized voices, Cortez founded Bola Press, her own publishing company dedicated to promoting innovative and experimental poetry. Through Bola Press, she not only published her own work but also provided a platform for other poets who challenged conventional narratives.

Literary Contributions and Global Influence

Over the course of her career, Jayne Cortez published a dozen volumes of poetry that captured the spirit of the times and redefined the boundaries of lyrical expression. Notable collections include:

“On the Imperial Highway: New and Selected Poems“ (Hanging Loose Press, 2008)
“The Beautiful Book” (Bola Press, 2007)
“Jazz Fan Lo oks Back“ (Hanging Loose Press, 2002)
“Somewhere in Advance of Nowhere“ (Serpent’s Tail, 1997)
“Poetic Magnetic” (Bola Press, 1991)
“Coagulations: New and Selected Poems” (Thunder’s Mouth Press, 1982)
“Firespitter“ (Bola Press, 1982)
“Mouth on Paper“ (Bola Press, 1977)
“Scarifications” (Bola Press, 1973)
“Pissstained Stairs and the Monkey Man’s Wares” (Phrase Text, 1969)

In 2025, Nightboat Books released Firespitter: The Collected Poems of Jayne Cortez, edited by Margaret Busby, a comprehensive anthology that solidifies her status as one of the most influential poets of her generation. Her work, which has been translated into twenty-eight languages, continues to inspire and provoke thought across global literary communities.

Cortez also made significant strides in music and performance. She released a number of recordings, many with her band The Firespitters, including Taking the Blues Back Home (1997), Cheerful & Optimistic (1994), Everywhere Drums (1991), and Maintain Control (1986). These recordings showcase her talent for merging poetry with the rhythmic pulse of jazz and blues, creating a distinctive sound that captures the raw energy of her spoken word.

Legacy, Teaching, and Global Reach

Jayne Cortez’s influence extended well beyond her publications. An inspiring educator and lecturer, she performed, taught, and spoke at numerous universities, museums, and festivals. In 1991, she founded the Organization of Women Writers of Africa, reflecting her commitment to fostering diverse voices in literature. Her international experiences, including living in Dakar, Senegal, and New York City, enriched her perspective and allowed her to connect with audiences around the world.

Cortez’s contributions to literature, performance art, and social activism have earned her numerous awards, including fellowships from the National Endowment for the Arts and the New York Foundation for the Arts, the International African Festival Award, and the American Book Award. Her fearless exploration of themes such as Black identity, gender, and the human condition continues to resonate today.

Sean Avery Medlin

February 13, 2025

Sean Avery Medlin: Hip-Hop Nerd, Gamer, and Provocative Wordsmith

Sean Avery Medlin (he/they) is an innovative poet, playwright, and cultural advocate based in Arizona. A self-described gamer and hip-hop nerd, Medlin’s work boldly questions the limits of Black masculinity, media misrepresentation, and personal narrative. With a dream to create rap, poetry, prose, and performance full-time, they channel their passions into art that is as provocative as it is deeply personal.

A Unique Voice in Contemporary Culture

Medlin’s creative journey is defined by a distinct perspective that fuses elements of hip-hop culture, gaming, and speculative fiction. Their only wish in this world is to watch an unproblematic Black sci-fi TV show—a desire that humorously encapsulates the challenges and contradictions of contemporary media representation. This blend of cultural critique and self-aware humor fuels their work, inviting audiences to reconsider familiar narratives through a fresh, critical lens.

Literary and Performance Achievements

Sean Avery Medlin’s work spans multiple genres and platforms. As a performance poet and playwright, they have been a vibrant presence on stages across Arizona and beyond. Their thought-provoking pieces have graced prominent platforms and festivals, including the 2020 Tucson Poetry Festival and the 2018-2019 Chicago Hip-Hop Theater Festival. Their dynamic presence in the literary world has also led to features in notable publications such as the Phoenix New Times, Chicago Tribune, Los Angeles Review of Books, Teen Vogue, Afropunk, and Blavity.

Medlin’s artistic output includes a hip-hop play and album titled “skinnyblk,” available online at superseanavery.com, and their debut collection of essays and poetry, “808s & Otherworlds: Memories, Remixes, & Mythologies,” published by Two Dollar Radio. This collection is available in audio, digital, and print formats throughout the U.S., the U.K., and Canada, solidifying their reputation as a multifaceted and boundary-pushing artist.

Educator and Cultural Leader

In addition to their creative work, Sean Avery Medlin is committed to nurturing the next generation of writers and cultural activists. They teach creative writing on the side, sharing their passion for language and storytelling with students and emerging artists alike. Medlin also guides artistic and cultural work for various organizations across Arizona, helping to shape a more inclusive and dynamic arts community.

Their work in education is not just about imparting technical skills; it’s about inspiring a deeper understanding of identity and empowering others to question dominant narratives. Through their teaching, Medlin encourages students to explore the intersections of race, gender, and media representation, fostering critical thinking and creative expression.

A Vision for the Future

Sean Avery Medlin’s ambitions extend far beyond the classroom and stage. With a clear vision to create and perform full-time, they continue to push the boundaries of what poetry and performance can be. Their work is a call to action—a reminder that art is a powerful tool for challenging societal norms and advocating for change. Medlin’s unique voice, which melds hip-hop, gaming culture, and incisive social commentary, is paving the way for a new era of artistic expression in Arizona and across the globe.