In the Scene: Chris L.Terry Writer of Black Card: A Novel

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“Us Black girls are here, where the **** are you?!” Was our first screaming cry into the universe, and then #BLKGRLSWURLD
ZINE was born. Six years later we are still making zines, but we have also had the opportunity to meet and partner with other small press magazines, news organizations, punk festival organizers and creators in the scene. One such creator we would like to spotlight is Chris L. Terry, author of the freshly minted, Black Card: A Novel. Just recently released on August 13th, 2019, I recommend anyone who is interested in what it means to be a punk of color read this book. The main character of this novel ensnared me in a love hate relationship that reminded me of my own experiences growing up in a mostly Caucasian American midwestern town, right before we made that rallying cry. But identity isn’t just race. It’s geographical. It’s cultural, it’s gender. The book smacks you with how all of these attributes can play a part in not only shaping our own experiences, but our reactions to the worst circumstances.

I had the opportunity to interview Chris L. Terry about his newest novel and I am excited to have him participate in #BLKGRLSWURLD first ever Punks of Color Panel Talk this Friday September 27th, 2019 in Philadelphia, PA at the Institute of Contemporary Art. Don’t miss out on the chance to meet Chris L. Terry in person! On Thursday September 26th, 2019 from 7:00 PM to 8:30 PM Chris will be having a book talk and book signing at Uncle Bobbie’s Coffee and Books in Philadelphia too!

Chris graciously answered a TON of questions I had about the book. Below I have chosen my top 7 responses from our conversation.

How closely does the book follow your own personal experiences? Did you use any personal situations or memories in particular to guide your writing?

Black Card is fiction inspired by my experiences as a mixed-race black person in the early ‘00s Richmond, Virginia punk scene. The street names and emotions are real, but that’s about it. Before writing Black Card, I spent a few years writing essays about my black identity, and that gave me the perspective and tools to write this character in a way that felt honest. Also, I wanted to write about Richmond. It’s an unusual, inspiring and frustrating place and I spent my formative years there. Besides, there are enough books set in New York!

In the book we see that one of the main character’s goals is to attempt to regain his black card through a series of actions. How old were you when you first heard someone use the term, ‘black card?’ What was your relationship to the person who said it? Did your relationship with this person change at all after hearing them use this phrase?

I don’t remember when I first heard the term Black Card, but it’s always sounded like a tongue in cheek way of talking about something that’s dead serious: about if someone is being true to their community of oppressed people. It caught my attention because I didn’t feel secure enough in my black identity to joke about it, or to pull rank and talk about someone else’s Black Card.

My favorite Black Card memory happened maybe ten years ago when my boss/mentor joked that she was going to fire me and take away my Black Card if I didn’t get off my ass and watch Love Jones. In my head I was like, “Wait, I have a Black Card? Hell yeah!” 

I don’t love the idea of having to experience certain pop culture to be authentically black, but after devoting myself to punk as a teenager, I still feel like I’m playing catch-up on stuff I missed while bumping Fugazi. Now I know what someone means when they talk about that funk in their right thigh.

What made you decide to leave the main character unnamed? What an awesome writing style! What did you want to show the reader by doing this?

Thanks! I did it in tribute to Ralph Ellison’s Invisible Man, which also has an unnamed narrator. I’m simplifying here, but that book’s about how no one sees black people for who we are, they just project their own ideas about black people onto us, rendering us invisible as individuals. I was working in a similar space with Black Card, thinking about how being mixed-race can make you unusual-looking and how that gives people the need to categorize you. In Black Card, most of what happens to the narrator is because someone has made a decision about him based on their own prejudices. 

I loved the flashbacks to when the main character was growing up as a little boy. In the flashbacks we saw instances where the main character did not want to behave in a way that was predictable. Like when he cut class, or wanted to play his music louder than his father would have liked just because. I saw him going left instead of right just because he could, and making up his own mind. What is it about kids and not wanting to seem predictable? In some ways, almost striving to be different in the face of authority or even just their world. I could relate to that so much. Can you expand upon your own personal experiences with this growing up? 

Both as a kid and as a young adult, Black Card’s narrator is trying to carve out his own space in a hostile world. He’s trying to take control and, as he loses faith in the structures around him, he begins seeking alternatives. I think that part of maturing is finding a place where you can be yourself, so that you can spend time there getting to know yourself. That can be more complicated or layered for mixed-race people who might feel pulled in multiple directions.

In the book we saw that with everything happening, he never really sat down and took a moment to examine his feelings. He never took a moment to even just cry about what was happening to him, to release some of those emotions. That really moved me. Was this an important theme in the book?  

I wanted the narrator and his bandmates to all be closed-off, emotionally stunted men. And I wanted the narrator to start to understand that, as he starts checking his reactions to the serious things happening around him. It’s toxic masculinity that has guys telling jokes instead of sharing their feelings and it leaves them unable to deal with serious stuff. Chances are, a black person is going to be confronted with more serious shit sooner. White guys…they might be able to coast for longer.

I think that looking for emotional release is a big part of the book. The narrator’s trying to do it through music but it doesn’t quite work, then he winds up putting a burden on Mona by unloading during their first real conversation. 

When I think of punk, I think of a culture of rebellion, and often rejection of the mainstream. We see the main character taking solstice in this genre yet even still, somehow struggling to fully immerse himself in it as a minority. #blkgrlswurldzine has heard echoes of this experience in interviews with minorities running around NYC’s punk scene. I also saw in your bio, that just like the main character, you too have toured with different punk bands. In a genre that prides itself in accepting the underdog, how do you think they could improve their inclusivity?

I see punk as a subculture, not a counterculture, so I have the same suggestions for the punx that I have for society at large: listen more and believe others. For example, if someone who isn’t a straight/cis white man has a concern with the way things are going in the scene, hear them out, and remember that they’re bringing a new perspective to the conversation. You’ve probably got it easier than them, so take the time to empathize instead of minimizing their experiences. 

After reading your book, where does your audience go from here? What conversations are you hoping that they have or that this book will spark?

I hope that Black Card helps people to understand that racism is rarely as obvious as, like, someone wearing a KKK uniform and saying the n-word. It’s usually smaller stuff—microaggressions—that are harder to pinpoint, and that can feel minor and difficult to discuss on their own, but that create a toxic atmosphere that can feel like death by 1,000 cuts for people of color.    

Thank you Chris for the opportunity to interview you! Can’t wait to see you!

Upcoming Appearances:

Thursday September 26th, 2019Book Talk & Book Signing at Uncle Bobbies Coffee and Books from 7:00 PM to 8:30 PM. Address: 5445 Germantown Ave, Philadelphia, PA 19144

Friday September 27th, 2019 #BLKGRLSWURLD Punks of Color Panel Talk from 6:00 PM to 8:00 PM. Address: Tuttleman Auditorium, 118 S. 36th St, Philadelphia, PA 19104.

Black Card: A Novel

Want your own copy? Please find it here:

PUNK BLACK Brings the ATL Scene to NYC

We first discovered the PUNK BLACK collective on Instagram a couple years back. Instagram has become a great repository of 15-30 sec clips of underground music captured in real-time from all over the globe. When I saw these little snippets of this Atlanta, Georgia based community moshing and rocking out in Cosplay – I sensed they were on to something heavy, gritty, and real for young folks of color. Each year the collective explores new ways to engage local youth and share an underground truth most people don’t know. More Black and Brown youth in America than you realize love rock music. From punk to death metal, it’s actually a thing. And though thousands of us can’t meet up as often we’d like, when we do, its a beautiful moment of braids flying, hips swaying and faces glowing.

PUNK BLACK (PB) is expanding its reach this summer by presenting an NYC music fest in Brooklyn on August 22, 2018. As Von Phoenix, one of PB’s founders tells it, “We’d like to create a space in NY were PoC can feel at home while doing what they love, as well as plant the seeds for a PB Chapter in New York. Not to mention we want to have fun (maybe, *ahem* get a little sauced) and see some kick ass bands.”

We asked Von about the upcoming NYC event, and how the collective came to be. Check it out.


Who founded the PUNK BLACK collective?

The original founders of PUNK BLACK (PB) are Kharis Ellison – age 26, Arkkade Kult – age 38, Jamee Cornelia- age 25, and myself Von Phoenix – age 28. There are 6 of us in the primary collective not counting contributors.

What inspired you to create Punk Black and the need for more representation in the scene?

I discovered rock music around age 12, and I noticed right away that I didn’t see many People of Color (POC) in main stream bands. Around that time I was still trapped in the notion that Rock music was created by white people, and POC weren’t really fond of it. This of course made me feel even more like the odd man out, and unfortunately fueled my self-hate phase at the time. It wasn’t until I started a band at the end of high school did I realize how bad the lack of representation was on the scene. Being an all Black band we got all kinds of looks, condescending remarks, and general hate.PUNK bLACK QUOTE

Was Cosplay always a part of the Atlanta Punk Scene? The collective seems to fill a need for youth interested in all things alternative, was that a natural progression?

Not that I know of. I definitely know a lot of cosplayers who like punk, and a lot of punk fans who like cosplay/anime/comics. It was a natural progression for us, as most of the collective grew up being influence by anime, and our designs have always been anime influenced.

About Community organizing, was finding space for shows and funding new projects something you had previous experience doing?

Definitely not. We had played a lot of shows before the first PB, but we had never really put on our own show, let alone organize a monthly event.

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Photo courtesy of PUNK BLACK

Access to creative space is one of the key barriers for artists in NYC, how was it navigating venues in Atlanta?

When we started in 2015 it was a lot easier to find venues in ATL, but as time goes on it’s getting more and more difficult. We normally like to use a combination of house and DIY venues but as the siege of gentrification intensifies, we lose more venues. Over the last year we’ve luckily found a home base at Union EAV, which has been an awesome help to the movement.

When did you first get the idea to launch an event in NYC and what drew you to this city?

NY has always been one of the places we thought about setting up another chapter of PB, but it was when we were contacted by Mecca Shabazz earlier this year that we realized we could actually make it happen. She’s now our NY event director, and our eyes in New York. New York’s new scene is definitely what drew us to the city. It’s been the birthplace of things like Punx of Color, AfroPunk, and dope ass bands over the years. (Shout out to Shinobi Ninja).

Are there a couple organizations out there you admire? Why do you admire them?

Definitely Southern Fried Queer Pride (SFQP) in Atlanta and Punx of Color in New York. SFQP promotes and features the LGBT art community through events and festivals, and their style and the way they run things is really dope. I’ve been following Punx of Color for a few years now, and though I haven’t been able to make it to an event I can tell that do great work for punks of color. It shows not only in the numbers, but in the reactions of the community they serve. I’ve only seen and heard good things about them, and after speaking with Gayla Brooks I can tell they try to do what’s best for the community as a whole. I think both of these organizations think about the community first, which is one of the hardcore reasons I dig them both as well.