W  H  A  T  S  U  I  T  S  H  I  M
launched 1 january 2016
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February 2018

Hypocrite(?!): Black Authenticity in the Age of Social Media

We’re each playing a version of ourselves on the internet; the majority of us have officially been around long enough to have earned some sort of cyber-reputation, one we’ve either carefully crafted for ourselves or one we unwittingly wear — or sometimes both. Oftentimes, the truth about our character lies somewhere in the middle, between the perception we’d like to see accepted as truth and the actual reality of our lives. I totally understand it. I’ve been crafting my personal brand around the aesthetic that I’d like WSH to exude — clean, refined, much cooler and over everything than you’d believe — and while it can be fun to play that character on Twitter and Instagram, it’s a weird feeling to consider how detached our two personalities can be. Not entirely disparate, mind you; I’d never accuse anyone of faking for likes and retweets. But we’ve all now become curators of our personal running diaries, for better or worse. Can’t blame a curator for exercising creative control, can you? That's precisely why my Twitter drafts folder is pouring over at the moment. Creative control.

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Rhy's Black History Month Series: Coming to America

I often struggle with picking a definitive list of my favorite movies, but on today, here’s the shortlist: Silence of the Lambs, The Godfather, and Coming to America. I could easily write an argument for the greatness of Silence of the Lambs or The Godfather, but the clear underdog in my top-three is Coming to America. This is completely unfair, however, and thus why I want to discuss why Coming to America is an undeniable masterpiece that doesn’t get nearly enough credit.

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