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)

#BLACKTWITTER 4

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)

#BLACKTWITTER 5

#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)

#BLACKTWITTER 6

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)

#BLACKTWITTER 7

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

#BLACKTWITTER 8

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/