Bullshit and fuck you, race war was not averted, white people waged all-out race war against Black people in Africa for centuries using every manner of weaponry and technology and violence and cruelty at their disposal, from the first Boers and Brits of the Dutch East India Company to Dr. Livingstone and Henry Stanley, from King Leopold to the white supremacist National Party of apartheid fame who admitted that they were working in laboratories on biological weapons which would only kill Black people.
It’s a race war, waged by white people, every day that the world is shaped the way it is under white supremacism. White people only call it a “race war” if Black people fight back to defend themselves. Therefore, in the distorted white lens, the greatest thing Mandela did is persuade Black people not to fight back too hard, that’s what white people are celebrating about him, practically sighing with relief, whew they didn’t form death squads and kill us all. They completely twist the point of his life and legacy.
Truth and Reconciliation doesn’t mean, now we’re okay with whiteness after all. It means, Black people and people of color are on the move, handling what’s happened and what’s happening, but moving on and leaving whiteness in the rear view mirror because there are bigger mountains to climb.
The term “Afrofuturism” is normally attributed to Mark Dery, coined in an interview with Samuel Delany, Greg Tate, and Tricia Rose that appeared in South Atlantic Quarterly in 1993, but even without this term to hand, Mark Sinker was outlining a specifically black sf in the pages of The Wire the year before. To many readers of SFS, Sinker’s pantheon of black sf—which included Samuel Delany and Octavia Butler, as well as Sun Ra, Public Enemy, John Coltrane, Anthony Braxton, Miles Davis, Wayne Shorter, Jimi Hendrix, Afrika Bambaataa, Ishmael Reed, and Earth Wind and Fire—might not sound much like the sf we know. But sf is “a point of cultural departure” for all of these writers and musicians, because “it allows for a series of worst-case futures—of hells-on-Earth and being in them—which are woven into every kind of everyday present reality” (“Loving the Alien”). The “central fact” of the black sf they produce “is an acknowledgement that Apocalypse already happened,” that, in Public Enemy’s words, “Armageddon been in effect.”
Taking in contemporary music and sf, Sinker positions hip-hop in “the grand syncretic tradition of bebop, not ashamed to acknowledge that technological means and initial building material are always simply what falls to hand: but that meaning is nonetheless a matter of energetic and visionary redeployment, not who first owned or made this or that fragment” (“Loving the Alien”). Although cyberpunk has typically been discussed in terms of European avant-garde detournement or Burroughsian cut-up, its parallels and affinities with bebop and hip-hop3 have generally gone unacknowledged. Sinker does more than merely point to this omission, however. Just as Thomas Foster argues that cyberpunk “didn’t so much die as experience a sea change into a more generalized cultural formation” (xiv), so Sinker suggests that the black, urban, proletarian experience central to the development of these musical forms speaks directly to the experience of the global underclass created by the intertwined logics of capital, Empire, and race: more-or-less concomitant with the growth of hip-hop, cyberpunk, the “radical leading edge” of “white SF,” was “arguing that the planet, already turned Black, must embrace rather than resist this [relationship to technology]: that … only ways of technological interaction inherited from the jazz and now the rap avant garde can reintegrate humanity with the runaway machine age.”"