On the contemporary internet, things have been turned inside out. Exchanges that have historically taken place in the underground of black social spaces are now vulnerable to exposure, if not already exposed. The call-and-response creativity of Black Twitter is overheard and echoed by White Twitter, and viral dance phenomena like the whip are seized on by the likes of Hillary and Ellen. Together these objects — and the countless others in circulation, literally countless — create widespread visibility for blackness online. Blackness once again takes up its longstanding role as the engine of American popular culture, so that we find ourselves where we were in the 1920s with jazz, in the 1950s with rock ‘n’ roll, in the ’80s with both house and hip-hop — in a time loop wherein black people innovate only to see their forms snaked away, value siphoned off by white hands.
All the creative labor of the black collective being aside, there is a palpable blackness to much of this viral content — especially memes — that circulates independently from actual black people. This depersonalized blackness is shifty and hard to pin down — as is the blackness of any object or subject, really. It makes itself known through language, through an aggressive use of maneuvers associated with black vernacular speech, explicated in Manuel Arturo Abreu’s “Online Imagined Black English.” One finds captions littered with “bruh,” “fam,” “lit,” and, of course, “nigga.” This blackness is also signaled vaguely through the presence of black subjects. Athletes like Michael Jordan, rappers like Lil Mama and Birdman, and actresses like Skai Jackson have become vessels for affects extending beyond their own individual capabilities.
Memes move like blackness itself, and the meme’s tactical similarity to historical black cultural forms makes them — predictably — vulnerable to appropriation and capture. The meme is a form that allows for a sense of collective ownership among those who come into contact with it — black or nonblack. The meme seems open to appropriation and interpretation by whoever possesses it for a moment, echoing Fred Moten’s description of blackness as being only what we hold in our outstretched hands.
When we say that the internet extends and exacerbates the same old offline relations, we mean it. In keeping with historical precedent, the cultural and affective labor of black individuals online largely goes unrecognized and un(der)compensated. Compare the nonexistent returns seen by black teens for introducing the whip to the lifetime supply of Vans shoes gifted to the Damn Daniel kid or the nearly half–million dollars worth of swag that Chewbacca Mom received for her most abject display of consumerist bliss.
“Rather than capital ‘incorporating’ from the outside the authentic fruits of the collective imagination,” Tiziana Terranova argues in “Free Labor: Producing Culture for the Digital Economy,” “it seems more reasonable to think of cultural flows as originating within a field that is always and already capitalism.” Likewise, memes — even when produced by black users — cannot be viewed as objects that once authentically circulated in black circles for the enjoyment of the black collective but instead are always already compromised by the looming presence of the corporate, the capitalist.
As such, the meme will probably never manifest blackness in a traceable form such that it might be fully claimed by the black cultural body. The internet, which was advertised as a way to free us from our bodies, has merely confused our limits and identifications, providing just enough flexibility to, in artist Keith Townsend Obadike’s words, “make the same old burnt cork blackface routine easier.”
Aria Dean, "Poor Meme, Rich Meme"
2087
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