El gruñido en tesitura de bajo de Big Maybelle.

por Juan Pablo Anaya

“In those mutations that are always also a regendering or transgendering (as in Al Green’s errant falsetto or Big Maybelle’s bass –which is not but nothing other than basic– growl), and in between that impropriety of speech that approaches animality and a tendency towards expropriation that approaches criminality, lies blackness, lies the black thing that cuts the regulative, governant force of (the) understanding (and even of those understandings of blacknesss to which black people are given since fugitivity escapes even the fugitive)” Fred Moten y Stefano Harney