Pitch Black Afro came into the music spotlight in 2004 after he released his hit album Styling Gel, one of South Africa's biggest local hip-hop sellers to date (it was the first SA hip-hop album to sell platinum). He was discovered by the well-known DJ and producer DJ Cleo, and it is alleged that rapping was a way for him to learn how to control his stutter. Loud-mouthed and boisterous, the rapper is known for the large 'pitch black afro' that he rocks as a part of his stage persona. Some of his hit singles include "Pitch Black Afro," "Matofotofo," "Never Let You Go," among many others.
COLE: The lyrics are in Zulu and a slangy mixture of different languages called Totsi Taal, which translated literally means thug language. He's basically just introducing himself to the music industry, saying who he is, what he's about, that he's been on the scene for a while now, and that he's here to say. Just a lot of American rap songs, the chorus is undeniably clear, even if you don't speak the language. It's a call and response: when I say pitch black, you say afro.
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PITCH BLACK AFRO: I used to call myself Afro at first, then I met this producer. His name was Afro, and he was like four years before me. And there was like pitch black came as me trying to explain what kind of (unintelligible) am I.
One of the most enduring stereotypes in American history is that of the Sambo (Boskin, 1986). This pervasive image of a simple-minded, docile black man dates back at least as far as the colonization of America. The Sambo stereotype flourished during the reign of slavery in the United States. In fact, the notion of the "happy slave" is the core of the Sambo caricature. White slave owners molded African-American males, as a whole, into this image of a jolly, overgrown child who was happy to serve his master. However, the Sambo was seen as naturally lazy and therefore reliant upon his master for direction. In this way, the institution of slavery was justified. Bishop Wipple's Southern Diary, 1834-1844, is evidence of this justification of slavery, "They seem a happy race of beings and if you did not know it you would never imagine that they were slaves" (Boskin, 1989, p. 42). However, it was not only slave owners who adopted the Sambo stereotype (Boskin, 1989). Although Sambo was born out of a defense for slavery, it extended far beyond these bounds. It is essential to realize the vast scope of this stereotype. It was transmitted through music titles and lyrics, folk sayings, literature, children's stories and games, postcards, restaurant names and menus, and thousands of artifacts (Goings, 1994). White women, men and children across the country embraced the image of the fat, wide-eyed, grinning black man. It was perpetuated over and over, shaping enduring attitudes toward African-Americans for centuries. In fact, "a stereotype may be so consistently and authoritatively transmitted in each generation from parent to child that it seems almost a biological fact" (Boskin, 1986, p. 12).
Performer T.D. Rice is the acknowledged "originator" of the American blackface minstrelsy. His inspiration for the famous minstrel dance-and-comedy routine was an old, crippled, black man dressed in rags, whom he saw dancing in the street (Engle, 1978). During that time, a law prohibited African-Americans from dancing because it was said to be "crossing your feet against the lord" (Hoffmann, 1986, video). As an accommodation to this law, African-Americans developed a shuffling dance in which their feet never left the ground. The physically impaired man Rice saw dancing in this way became the prototype for early minstrelsy (Engle 1978). In 1830, when "Daddy" Rice performed this same dance, "...the effect was electric..." (Bean et al., 1996, p. 7). White actors throughout the north began performing "the Jim Crow" to enormous crowds, as noted by a New York newspaper. "Entering the theater, we found it crammed from pit to dome..." (Engle, 1978, p. xiv). This popularity continued, and at the height of the minstrel era, the decades preceding and following the Civil War, there were at least 30 full-time blackface minstrel companies performing across the nation (Engle, 1978).
The "foppish" black caricature, Jim Crow, became the image of the black man in the mind of the white western world (Engle, 1978). This image was even more powerful in the north and west because many people never had come into contact with African-American individuals. It has been argued that "[t]he image of the minstrel clown has been the most persistent and influential image of blacks in American history" (Engle, 1978, p. xiv). Words from the folk song "Jim Crow," published by E. Riley in 1830, further demonstrate the transmission of this stereotype of African-Americans to society: "I'm a full blooded niggar, ob de real ole stock, and wid my head and shoulder I can split a horse block. Weel about and turn about and do jis so, eb'ry time I wheel about I jump Jim Crow" (Bean et al., 1997, p. 11).
The Mammy was a large, independent woman with pitch-black skin and shining white teeth (Jewell, 1993). She wore a drab calico dress and head scarf and lived to serve her master and mistress. The Mammy understood the value of the white lifestyle. The stereotype suggests that she raised the "massa's" children and loved them dearly, even more than her own. Her tendency to give advice to her mistress was seen as harmless and humorous. Although she treated whites with respect, the Mammy was a tyrant in her own family. She dominated her children and husband, the Sambo, with her temper. This image of the Mammy as the controller of the African-American male, was used as further evidence of his inferiority to whites (Jewell, 1993).
But of course, it was really only somewhere to sleep because we were both working all day, so we weren't there during the day. I had a paraffin stove and again you see, food was still rationed. So, of course when you cooked anything you couldn't spoil it because you couldn't go out and get anymore bacon etc, you still were rationed. And I had a paraffin stove with a very large bottle at the end of it which drip fed paraffin into the stove. Now if I had the jets a little bit too high all the food would come out sooty, so I had to be very careful how I cooked things on that. There was only five-amp fuses for the electric wiring, so all you could do was boil an electric kettle. I did get a bit adventurous and buy a small electric ring but if I had that on and the kettle all the lights were fused so you were in pitch black trying to put a fresh fuse in.
The only time in England that I normally ever saw any Black soldiers was the convoys of 30 or 40 trucks that would bring the bombs in. There'd be the lead truck and, like, being an MP I was at the gate, and these big convoys would come up, and in the front seat on the passenger side was a white officer with a Black driver and maybe 30 or 40 trucks behind them, all with Black drivers on them, and they were the ones that brought the bombs to our bases. I mean on the base itself there never was a Black person. And I know that even to keep peace in England, if they had liberty towns they would always keep the Blacks going to one town and the White's going to another, because they knew if they ever mixed there'd be problems, because of the Southern guys who did not want to be around any of the black fellas.
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