The Racist Sh*t We Step In

There’s a lot worse than stepping in some racist dookie, y’all — for realz!

I’m serious, doh. You ever have an interaction with somebody and you can just smell the racism emanatin’ off them like stink lines on a Robert Crumb illustration and shit? I was on one of the apps and I see this guy who looked familiar. I may have met him or maybe I seen him out at the clubs or whatever. Detroit’s a big city geography-wise, but it’s a small town. The queer community small, fo’ sho’. I’ve been looking at the same forty-ass thumbnails the past ten years. I know all these faces. They ain’t changed at all.

Anyway, back to the story. I ask this guy from the yellow app with the cat face, if we met, and he was like “I doubt it.” Shady! Now, he coulda’ meant a lot from that, but it just smacked of, “I don’t know any niggas, so I sure as fuck don’t know your black ass!” That might o’ just been my read, but for realz, y’all, you get a nose for some racist ass bullshit when you grew up in Amerka. You have to! It’s a matter of your survival. You have to know the place that’s not safe to be in ‘cause people thinking about draggin’ your ass out into the woods and starting a bon fire.

It’s usually not that drastic. Usually it’s standing at the counter, waiting your turn, and then having the clerk skip you to call on the White person who just walked in, even though you been standing there ten minutes. It’s usually about not being seen, which I guess is preferable to being singled out and targeted with some racist vileness. Being ignored can feel a like violence, doh. Getting dismissed can feel pretty brutal as well.

I think of it like this: You know how you’re walking down the street and find a big bill—big enough you know somebody is kicking themself for losing it. That’s how I think of myself. I’m that big bill only somebody who pays enough attention where they going will be lucky enough to find. The rest of the people can rush along. In the meantime, I can just remember to enjoy myself. I can spend me on me.

Anybody got time to be mean or dismissive, probably ain’t got time for the joy or the love I got. I hope you get yours.

Pink Flowers

Pink Flowers is a Black trans artist, peacemaker, educator, and pleasure activist whose work lives at the intersection of embodiment, governance, and cultural transformation. Trained in Theater of the Oppressed, Art of Hosting, and Navajo-informed Peacemaking practices, Pink designs spaces where conflict can be addressed, power can be examined, and joy can be reclaimed.

Her artistic and pedagogical practice draws from African trickster cosmology, Brazilian Joker traditions, shamanic ritual, and cooperative economics. She is the founder of the award-winning Falconworks Theater Company (2005–2021), which used popular theater to build civic capacity and participatory leadership in historically marginalized communities.

Pink served for over five years as a trained Peacemaker in the Red Hook Community Justice Center in Brooklyn, facilitating restorative processes within the New York City court system. From 2015–2018, she worked in cooperative business development with the Center for Family Life, supporting worker-owned enterprises in immigrant communities.

She currently serves as Director of Education and Training for the Inter-Cooperative Council in Ann Arbor, where she leads leadership development and conflict engagement initiatives. Her work has been presented nationally and internationally, including at the Stretch Festival in Berlin and the Pedagogy and Theatre of the Oppressed Conference.

Across ritual, performance, mediation, and institutional design, Pink’s work asks a central question:

What becomes possible when we refuse shame and choose conscious power instead?

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