10 Reasons "Get Out" is Real Life

by Germar Derron

1. We really are nervous around you. Hell is awkwardly navigating an infinite soiree where you're the only black attendee. You're alone. You feel guilty, even when you've done nothing wrong. Actually, it's more like everyone's suspicious of you, but you don't know why. What's the crime? I don't know, but I'm definitely the culprit.

2. You talk to us in stereotypes. "I bet your grandmother has a great recipe for fried chicken." "Your legs look strong. Did you run track?" "Well, you're dating my daughter now; a big black guy like you--I hope you take it easy." "Invite your homies; I'm down with it dog."

3. Cops do hate us. The realest scene of the movie plays out like it often does irl. First, a cop shows up. Then, that cop makes demands of the black person who happens to be present. Next, that black person complies. They've seen this movie, and know it well, including the alternate endings. Finally, the privileged white friend (much to the chagrin of their darkie bud) in an irritating, irritated, and elevated voice throws out terms inapplicable to us like "rights," "lawyer," and "done nothing wrong."

4. Nobody believes us. We know when weird racist shit is going down. And before we can begin to present our case, y'all dismiss, lawl, smirk, shrug, and present more rational explanations. Then, cops kill a record number of unarmed black people. Lastly, some white lady, HuffPost contributor writes a piece that says "may be some weird racist shit going down."  

5. We adapt to fit into your idea of proper or normal. Wypipo can only digest dark meat that's well done, and super bland. They love Ivy League education, bow ties, enunciation, three-piece suits on a hot afternoon, and other ridiculous standards. Hopefully, one day they'll learn that a dope ass vernacular, bright clothing, and Louisiana Hot Sauce have no relation to crime, intelligence, or a warm heart.

6. You want our friends and they want you. Am I your first black boyfriend? Is it a fetish? Are you thirsty for more? My niggas usually hate my girl, but they LOVE hanging out with you. Whycome?

7. When we go white, we "get what we deserve." Cops, mothers, fathers, best friends . . . . Once you go white, you're on your own. They don't care about your heartbreak, allegations, or complications. That's what you get (when you let your heart win). Before you dial 911, make sure y'alls skins match.

8. We wonder if you ever really have our black backs. At some point, racist uncle Jimmy will show his racist ass. Will you fight on my behalf or nah? Spoiler Alert. Is the white girlfriend in on it, or just really fucking stupid? Of COURSE she's in on it. And now I quote one of my favorites from a white gf about her racist ass family: "they're still my family."

9. We know it's not your fault. SPOILER ALERT. In the film, those white devils were also victims. That hatred, that superiority complex isn't present at birth; it's programmed into you. And if it's programmed, there's a programmer. Fuck that guy.

10. In the end, we all we got. Another spoiler. At the end of the day, the black man was saved by his best black friend. The one person that warned--listened, trusted, cared--and fought was the guy from his hood, with a similar skin condition. And even after all these years, every black woman I've ever dated checks up on me. Every homeboy became my dawg, brother, homie, pahtnah, and bruh. Them others, ummmmmm *crickets*.

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Indie Music: Camille Peruto "From the Sea to the Sky"

by Germar Derron

She's versatile. "Versatility" always cuts both ways as a critique of any art form. In music, musicians, and lay listening aficionados, admire the skill. Record label execs sometimes appreciate the "there's a little something for everyone" factor. But Mr. Joe Schmo Don't Know might think that the album is unfocused or arbitrary. Fortunately, I'm a musician.

First, I listened to the single "Crooked Roads." Pop. Immediately, I thought of a comparable artist--a young Kelly Clarkson (even before I knew of Peruto's American Idol ties). I understand why this track is a single; it's timeless and ubiquitous. No one should dislike this song. From the Sea to the Sky works as well today as it would have ten years ago, and as well as it will ten years from now. It's seriously safe. But the vocals begged for more. That voice is dying for edge--harshness, distorted guitars . . . rock. I wanted to attack those vocals with an exaggerated EQ, distortion, compression, and delay. If she is a "Kelly Clarkson," she's not the sweet "A Moment Like This" product. She's the "'Breakaway' and beyond" version. She's "Since U Been Gone" and "Walk Away." And I judged the project prematurely. 

Camille Peruto demonstrates that edge I craved on almost every other song on the album. It sounds like an ode to all of the top (pop) female vocalists of the past fifteen years, and in the best way. I hear bits of Hayley Williams, P!nk, Amy Lee, and of course Clarkson. She's exactly the artist I hoped she'd be, just not on "Crooked Roads."

I can't criticize the project  much, but to say it's a solid and safe seven. At the live shows--and the next time in the studio--the engineers, producers, and Peruto should take more chances and push to eleven.

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Indie Music: Natalise & the Sunset Run "The Lucky Ones"

by Germar Derron

I watched the music video for "The Lucky Ones." No, I studied it. Well, it started as a casual listen for this review, but something pulled me in. Quite organically, I drifted from a casual first time listener to a serious student of whatever this sound was. Instantly, I felt weep-ish. I didn't cry, but I could have. Simultaneously, I felt intense joy and sadness, better described as warmth. All of that is "The Lucky Ones."

"The Lucky Ones" could be described as traditional pop, and that description would be accurate. Natalise's pristine vocal is reminiscent of many top pop female vocalists of the past 15 years. The vocal cadence is doubled and harmonized perfectly. That too is standard for certain modern versions of the pop genre. The strings, acoustic guitar, and piano push this into a more spiritual space. That space could be a place of worship or a state of mind. But the track strays from anything typical by somehow being something more.



The instrumental arrangement doesn't overpower the vocals. Often, on similar alt-pop type tracks, I can feel the band members trying to shine. Here, I don't notice them. I don't "hear" them; I feel them. They compliment the lyrical component well. It's restrained. Usually, that instrumental restraint leads to a disconnected track, like when that church soloist sings over a CD track karaoke style. But that's not the case here.

Earlier, I mentioned a warm feeling. That feeling emanates from a warm sound and warm message. Even with the innate sadness of the song, while listening, I feel like a "lucky one." Not sure I've ever written "feel*" so much in any piece.  Four out of five stars.

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