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Question? Ask us anything!
Trans Liberation is Collective Liberation

CÉLINE SEMAAN: You wrote a memoir recently, The Risk It Takes to Bloom. What do you think is the biggest risk you’ve taken, and how did that risk become a portal for transformation?
RAQUEL WILLIS: The biggest risk I’ve taken in life is naming my truth at the risk of being misunderstood. I think we’re all called to take risks at various points throughout our lives. I don’t think it’s just a trans thing, or a queer thing, or even just a Black thing. I had a lot of different awakenings as a kid around gender norms and rules that never fit me. They never made sense to me, and it almost felt like everyone was following this script that I just could not get right. Eventually, as I got older, it got to a point where I had to decide if I was going to continue to fail at trying to follow society’s scripts, or if I was just going to shred that shit up and do my own thing and see what might happen.
CÉLINE SEMAAN: That’s so beautifully said. We’re currently experiencing a terrifying rollback of rights for trans communities. The UK Supreme Court’s ruling against trans women happened just today. How do you see your work as both personal testimony and political resistance?
RAQUEL WILLIS: My work blends storytelling and social justice at its core. I started out as a journalist in a traditional sense, and what I was primed to do in my storytelling was to uphold a status quo. There are these ideas about objectivity or being unbiased that ignore what your lens or your positionality is. In an imperialist, white supremacist, capitalist, patriarchal society, if you’re not able to articulate what you actually believe in and are willing to do that to the people your work impacts or who consume your work, then you’re probably cosigning a lot of dangerous things. There’s a piece of agency I gained from embracing community organizing and activism. Those experiences are inherently tied to my journalism and storytelling work.
I started my career as a newspaper reporter in small town, Georgia, a very conservative environment. I was essentially in the closet, not out as trans or queer. That was a choice made out of survival and sometimes fear. It was the deaths by suicide of two young trans teens, Leelah Alcorn and Blake Brockington in 2014 and 2015 that really pulled me out of this idea that I could truly do something meaningful or that lived up to my values while being silent. They were trans teens who didn’t see a future for themselves being who they were, who experienced deep issues around mental health and were facing environments that were not primed to fully accept them as who they were.

My work wasn’t doing what it needed to do to keep young trans people like them alive. I needed to speak up. I didn’t want to be a foot soldier for oppression. I started to speak out more. It was as simple as sharing more about my life, my story, my perspective on social media. It was being curious about what other people in the trans community were doing to transform the fabric of society. I started working with community organizers in Atlanta, queer and trans community organizers who were working on everything from ending the profiling of sex workers, to ending police brutality, to direct action, HIV AIDS advocacy and so much more. The personal became political because I knew in my work in journalism that stories are a universal organizing tool. We all have a story and we can figure out how to craft and shape it so that it can be used in service to getting people closer to collective liberation. There’s a place for stats and data, but the thing that I think often pulls people to be transformed is authenticity, vulnerability, and empathy,
CÉLINE SEMAAN: You’ve been named one of TIME’s 100 most influential people. What does influence mean to you when visibility can be also dangerous?
RAQUEL WILLIS: It’s an honor… and I know that influence and visibility aren’t inherently benevolent. We see every day the increasing influence of the worst actors in society, and the worst inclinations around masculinity and power and domination.
The influence and visibility piece is necessary. It’s a tool, and I think we have to be strategic about what we amplify. It never really has been enough for us to simply focus on a person’s identity or this kind of nebulous idea of representation without giving equal weight to the values attached to that representation.
CÉLINE SEMAAN: In your memoir you weave your story with collective struggle. How do you navigate the tension between individual success and collective liberation, especially within a system that wants to tokenize us?
RAQUEL WILLIS: On an individual level, we have to consistently do the work around our ego and what we are chasing in terms of validation. It’s human to want to be acknowledged, to be cherished, to be appreciated. And I think you have to figure out how to keep those things in check. As someone who believes in the power of community organizing and activism, I’m always hyper aware that my wins aren’t just solely about me or from me. I’ve received this recognition on the shoulders of people from previous eras who experienced the brunt of systems of oppression… who did not receive their flowers in their lifetimes.
I struggle often with what it means to be elevated when I know that there are so many other people doing the work, but are not seen, are not amplified, are not resourced. Whenever I can, I try to deliver on favors that can support people in getting the access they need to continue to do the work they’re doing. I like to remind people that I’m not the only Black trans person who has a voice and who is doing important, powerful work. There’s a whole constellation of us out here.

CÉLINE SEMAAN: With over 500 anti-trans bills introduced in the last few years, what do you want the next generation of movement builders to understand about organizing and fighting legislative violence?
RAQUEL WILLIS: Organizing is a creative endeavor, and the best organizing comes from identifying your lane and making change within that lane. There is often a dangerous overprioritizing in trying to track the legislation, in amplifying the legislation at the expense of amplifying the options that people can take right now to support the people most under attack. There’s not enough discussion around how we can support grassroots organizers and groups who are feeding, clothing, getting aid to, housing, folks on the margins. If people put as much energy into supporting those efforts on the ground as they do in calling out anti-trans laws, we would be in a better place. I also think we need to be urging our political leaders who claim to be on our side to stop operating simply from a place of defense… I want you to be on offense.
It’s not enough for you to call out the bad legislation. What legislation are you presenting or sponsoring to combat that restriction or that hate that is targeting people on the margins? I need you to be proactive, not just responding to the moment. What we’re seeing right now in the United States is that Democrats have conceded so much ground legislatively, but also rhetorically, to Republicans, and now they’re in a fix, because even the Liberals have to acknowledge that the Dems are not doing enough for us. We have not done enough to demand and hold accountable leaders who claim to be on the side of the people, but have not actually had a track record fully showing that.
CÉLINE SEMAAN: It seems that whenever the Democrats are in power, there is a general apathy toward organizing. It becomes a lot harder to motivate people, to hold people accountable, to get things done. Under Trump, there’s a general sense of hysteria. People are in the streets every day. Everyone is beginning to understand the consequences… How have you experienced misinformation being used as a weapon against trans people? And what’s the antidote?
RAQUEL WILLIS: There’s always been a level of misinformation and disinformation in our society. We haven’t fully acknowledged that this is not just an element of the Trump era. I grew up in the Southern US, where it was not uncommon to hear that the Civil War was about states’ rights rather than about chattel slavery, when we know it was overwhelmingly about states being able to decide whether Black people could be owned and exploited within a larger capitalistic endeavor. I use that as an example, because that is just one idea that permeates the US that has never fully been shipped away as well as the idea that the US is inherently good and pure. There’s no way this country can be all of those things with all the lives that have been taken in the name of it and continue to be taken in the name of it.
I think we’ve been consistently fed US propaganda throughout the history of this country, and so we have to understand that that’s misinformation. Misinformation is not a new phenomenon.
We will continue to struggle as long as we have to rely on big corporate media. There will continue to be a focus on what’s most profitable. We have to be investing in community led media, independent media, media that is devoted to our values. We have to continue to empower more and more people to tell their own stories on their own terms, and we have to understand that there are few outlets for people to get politically educated.
Our educational system is under attack right now by the Trump administration, but it already was a very flawed…
CÉLINE SEMAAN: What is going on now is nothing new. A lot of people are waking up today wondering what happened to trans rights, to our bodily autonomy? What happened to our reproductive rights? But these rights have been jeopardized for years, and they have not been protected even when we have a democratic administration in power.
RAQUEL WILLIS: I think if protections can be so swiftly stripped away, you can’t claim that they’re an inherent part of the society or this country. We have to acknowledge that this country was made for wealthy, privileged, cisgender, able bodied, Christian white men. You can tell a lot of about a society from the monuments that it builds… Trump and Musk floated into power because they were cosigned by Democratic leaders for decades. We see the memes. We see the photos of the Clintons with Trump. We see conversations that Obama was having with Musk about what he was supposedly building some 10-15, years ago, we have a Democratic party that’s supposed to represent the left that cannot come out against capitalism, and how damaging CEOs and millionaires and billionaires are to our society because they depend on the exact same power.
You can’t talk about a “broligarchy” or the intense militarism or territorial nature of a Trump agenda when Democratic leaders are on the exact same trip. I want to cry about him talking about taking over Greenland or cry over Putin trying to take over the Ukraine, but you have no problem with Netanyahu stealing more land from Gaza. You have no problem with territorial divides around the world, from the Congo to Sudan to Haiti, a country that is constantly being dissected despite its rich history of resistance. If you’re not going to be invested in toppling exploitation and domination across the board, you can’t actually be a healthy, worthy representative of the collective.
CÉLINE SEMAAN: So, yes, we fight, but we also dance, and we also rejoice. I know you talked in your book about joy and softness alongside rage and resistance. How do you weave the two together.
RAQUEL WILLIS: I will admit I have my cycles when I’m great at it and when I’m not so great at it. Weirdly, during the pandemic, when everything slowed down, I had so much solitude amidst the fear and everything else, but I think that there was an opening in that time for us to imagine different versions of ourselves and different versions of what our life could be. Capitalism had to slow down, probably for the first time since its inception. I yearn for that stillness. Most people know about me through my work, my politics, my activism. I tend to keep other things close to the vest, because I deserve to do that. My heart hurts for folks who have built careers out of and followings out of chipping off this piece and that of their personal lives and giving it away. I think that is what capitalism and social media primes us to do. They want to take more and more of our thoughts and our interests and feed them into their algorithms and machines and make more money off of us than we ever could imagine. We have to be aware of that.
I take breaks from social media. I’m selective about what I share, because I want my values to always be as clear as possible. Those boundaries come from carving out time to do CrossFit, to bike, to visit family, and to just enjoy being around my mom and my siblings and my niblings (*gender neutral niece/nephew) and just be a daughter and a sister and an auntie and not have to be Raquel, the activist or writer or icon, as some people want to say. The narrative around queer and trans people continues to be focused on tragedy or the attacks, and honestly, queer and trans people are some of the most creative and joyful people I know. You don’t get ballroom culture or drag culture or dance music or the best of plays and theater and musicals and fashion without queer and trans people having to consistently imagine a different way of living.
CÉLINE SEMAAN: What can we do to create more solidarity? I believe in solidarity as the antidote to corruption. How can we build solidarity when our needs are not met all the time, when we are running in survival mode? How do we build solidarity that is stronger. How do we offer unwavering support for one another?
RAQUEL WILLIS: I think we already do some of the work of solidarity, we just don’t think of it that way. And I think if we lean into ideas of mutual aid, collective support, our power will only be stronger. When I think about poor folks, Black and Brown folks, migrant folks, queer and trans folks… we’ve always been creative about how we live out of a sense of survival, whether it’s sending funds to a family member, or the queer and trans parents who take in the street kids, or even the grandma who says, “I’m going to live with you and help you take care of your kids, because who can afford a nanny.” I think those kinds of things are an element of what we need to beef up in terms of how we support each other and seeing our lives as more interconnected. It’s not just biological, it’s not just identity. It’s about really seeing each other as a thread in a larger tapestry.
I also think nobody needs to be donating to most of these politicians. There are politicians who may represent your values, who are grassroots, who are not funded by the PACS who do need your support. But there are plenty of folks out there who are sending funds to the National Democratic Party who could be funding grassroots efforts that could be funding the organizers on the ground in their local communities. We need more of that when we’re talking about civic duty, that should be a part of it.
We’re getting a lot of signals right now that the government is not inherently on our side. If they demolish the Department of Education, what are our alternatives to that? What schools are we building, what platforms are we building so we can educate not just the kids, but everyone, about how to be more critically minded. How are we investing in platforms like Slow Factory to do the work that our educational system isn’t and wasn’t doing? How are we transforming the institutions we’re a part of—whether they are our places of worship or our Greek organizations or our workplaces—to live up to our collective values? Are you just laying people off willy nilly, or are you figuring out how to lessen the harm of that?
I’ve been building a gender liberation movement, a new organization with my co-founder, Elliot Cruz, focused on how we can create a broader understanding of gender and how it impacts everyone in the world. We’re focusing on making the connections around bodily autonomy, particularly the attacks on access to gender affirming care, and the attacks on abortion access and reproductive justice. But in general, we’re building media, holding existing media accountable, creating cultural events and direct actions and developing policy that speaks to the wholeness of our lives.

In Conversation:
Photography by:
Keep reading:
Music is Political:
Sounds that Move Movements
Emel Mathlouthi, Collis Browne
Emel Mathlouthi
Global Echoes of Resistance:
Artists Harnessing Art, Culture, and Ancestry
Michèle Aoun
{
"article":
{
"title" : "Trans Liberation is Collective Liberation",
"author" : "Raquel Willis, Céline Semaan",
"category" : "interviews",
"url" : "https://everythingispolitical.com/readings/raquel-willis",
"date" : "2025-06-21 14:26:00 -0400",
"img" : "https://everythingispolitical.com/uploads/47-DSCF1752.jpg",
"excerpt" : "",
"content" : "CÉLINE SEMAAN: You wrote a memoir recently, The Risk It Takes to Bloom. What do you think is the biggest risk you’ve taken, and how did that risk become a portal for transformation?RAQUEL WILLIS: The biggest risk I’ve taken in life is naming my truth at the risk of being misunderstood. I think we’re all called to take risks at various points throughout our lives. I don’t think it’s just a trans thing, or a queer thing, or even just a Black thing. I had a lot of different awakenings as a kid around gender norms and rules that never fit me. They never made sense to me, and it almost felt like everyone was following this script that I just could not get right. Eventually, as I got older, it got to a point where I had to decide if I was going to continue to fail at trying to follow society’s scripts, or if I was just going to shred that shit up and do my own thing and see what might happen.CÉLINE SEMAAN: That’s so beautifully said. We’re currently experiencing a terrifying rollback of rights for trans communities. The UK Supreme Court’s ruling against trans women happened just today. How do you see your work as both personal testimony and political resistance?RAQUEL WILLIS: My work blends storytelling and social justice at its core. I started out as a journalist in a traditional sense, and what I was primed to do in my storytelling was to uphold a status quo. There are these ideas about objectivity or being unbiased that ignore what your lens or your positionality is. In an imperialist, white supremacist, capitalist, patriarchal society, if you’re not able to articulate what you actually believe in and are willing to do that to the people your work impacts or who consume your work, then you’re probably cosigning a lot of dangerous things. There’s a piece of agency I gained from embracing community organizing and activism. Those experiences are inherently tied to my journalism and storytelling work.I started my career as a newspaper reporter in small town, Georgia, a very conservative environment. I was essentially in the closet, not out as trans or queer. That was a choice made out of survival and sometimes fear. It was the deaths by suicide of two young trans teens, Leelah Alcorn and Blake Brockington in 2014 and 2015 that really pulled me out of this idea that I could truly do something meaningful or that lived up to my values while being silent. They were trans teens who didn’t see a future for themselves being who they were, who experienced deep issues around mental health and were facing environments that were not primed to fully accept them as who they were.My work wasn’t doing what it needed to do to keep young trans people like them alive. I needed to speak up. I didn’t want to be a foot soldier for oppression. I started to speak out more. It was as simple as sharing more about my life, my story, my perspective on social media. It was being curious about what other people in the trans community were doing to transform the fabric of society. I started working with community organizers in Atlanta, queer and trans community organizers who were working on everything from ending the profiling of sex workers, to ending police brutality, to direct action, HIV AIDS advocacy and so much more. The personal became political because I knew in my work in journalism that stories are a universal organizing tool. We all have a story and we can figure out how to craft and shape it so that it can be used in service to getting people closer to collective liberation. There’s a place for stats and data, but the thing that I think often pulls people to be transformed is authenticity, vulnerability, and empathy,CÉLINE SEMAAN: You’ve been named one of TIME’s 100 most influential people. What does influence mean to you when visibility can be also dangerous?RAQUEL WILLIS: It’s an honor… and I know that influence and visibility aren’t inherently benevolent. We see every day the increasing influence of the worst actors in society, and the worst inclinations around masculinity and power and domination. The influence and visibility piece is necessary. It’s a tool, and I think we have to be strategic about what we amplify. It never really has been enough for us to simply focus on a person’s identity or this kind of nebulous idea of representation without giving equal weight to the values attached to that representation.CÉLINE SEMAAN: In your memoir you weave your story with collective struggle. How do you navigate the tension between individual success and collective liberation, especially within a system that wants to tokenize us?RAQUEL WILLIS: On an individual level, we have to consistently do the work around our ego and what we are chasing in terms of validation. It’s human to want to be acknowledged, to be cherished, to be appreciated. And I think you have to figure out how to keep those things in check. As someone who believes in the power of community organizing and activism, I’m always hyper aware that my wins aren’t just solely about me or from me. I’ve received this recognition on the shoulders of people from previous eras who experienced the brunt of systems of oppression… who did not receive their flowers in their lifetimes.I struggle often with what it means to be elevated when I know that there are so many other people doing the work, but are not seen, are not amplified, are not resourced. Whenever I can, I try to deliver on favors that can support people in getting the access they need to continue to do the work they’re doing. I like to remind people that I’m not the only Black trans person who has a voice and who is doing important, powerful work. There’s a whole constellation of us out here.CÉLINE SEMAAN: With over 500 anti-trans bills introduced in the last few years, what do you want the next generation of movement builders to understand about organizing and fighting legislative violence?RAQUEL WILLIS: Organizing is a creative endeavor, and the best organizing comes from identifying your lane and making change within that lane. There is often a dangerous overprioritizing in trying to track the legislation, in amplifying the legislation at the expense of amplifying the options that people can take right now to support the people most under attack. There’s not enough discussion around how we can support grassroots organizers and groups who are feeding, clothing, getting aid to, housing, folks on the margins. If people put as much energy into supporting those efforts on the ground as they do in calling out anti-trans laws, we would be in a better place. I also think we need to be urging our political leaders who claim to be on our side to stop operating simply from a place of defense… I want you to be on offense.It’s not enough for you to call out the bad legislation. What legislation are you presenting or sponsoring to combat that restriction or that hate that is targeting people on the margins? I need you to be proactive, not just responding to the moment. What we’re seeing right now in the United States is that Democrats have conceded so much ground legislatively, but also rhetorically, to Republicans, and now they’re in a fix, because even the Liberals have to acknowledge that the Dems are not doing enough for us. We have not done enough to demand and hold accountable leaders who claim to be on the side of the people, but have not actually had a track record fully showing that.CÉLINE SEMAAN: It seems that whenever the Democrats are in power, there is a general apathy toward organizing. It becomes a lot harder to motivate people, to hold people accountable, to get things done. Under Trump, there’s a general sense of hysteria. People are in the streets every day. Everyone is beginning to understand the consequences… How have you experienced misinformation being used as a weapon against trans people? And what’s the antidote?RAQUEL WILLIS: There’s always been a level of misinformation and disinformation in our society. We haven’t fully acknowledged that this is not just an element of the Trump era. I grew up in the Southern US, where it was not uncommon to hear that the Civil War was about states’ rights rather than about chattel slavery, when we know it was overwhelmingly about states being able to decide whether Black people could be owned and exploited within a larger capitalistic endeavor. I use that as an example, because that is just one idea that permeates the US that has never fully been shipped away as well as the idea that the US is inherently good and pure. There’s no way this country can be all of those things with all the lives that have been taken in the name of it and continue to be taken in the name of it.I think we’ve been consistently fed US propaganda throughout the history of this country, and so we have to understand that that’s misinformation. Misinformation is not a new phenomenon. We will continue to struggle as long as we have to rely on big corporate media. There will continue to be a focus on what’s most profitable. We have to be investing in community led media, independent media, media that is devoted to our values. We have to continue to empower more and more people to tell their own stories on their own terms, and we have to understand that there are few outlets for people to get politically educated.Our educational system is under attack right now by the Trump administration, but it already was a very flawed…CÉLINE SEMAAN: What is going on now is nothing new. A lot of people are waking up today wondering what happened to trans rights, to our bodily autonomy? What happened to our reproductive rights? But these rights have been jeopardized for years, and they have not been protected even when we have a democratic administration in power.RAQUEL WILLIS: I think if protections can be so swiftly stripped away, you can’t claim that they’re an inherent part of the society or this country. We have to acknowledge that this country was made for wealthy, privileged, cisgender, able bodied, Christian white men. You can tell a lot of about a society from the monuments that it builds… Trump and Musk floated into power because they were cosigned by Democratic leaders for decades. We see the memes. We see the photos of the Clintons with Trump. We see conversations that Obama was having with Musk about what he was supposedly building some 10-15, years ago, we have a Democratic party that’s supposed to represent the left that cannot come out against capitalism, and how damaging CEOs and millionaires and billionaires are to our society because they depend on the exact same power.You can’t talk about a “broligarchy” or the intense militarism or territorial nature of a Trump agenda when Democratic leaders are on the exact same trip. I want to cry about him talking about taking over Greenland or cry over Putin trying to take over the Ukraine, but you have no problem with Netanyahu stealing more land from Gaza. You have no problem with territorial divides around the world, from the Congo to Sudan to Haiti, a country that is constantly being dissected despite its rich history of resistance. If you’re not going to be invested in toppling exploitation and domination across the board, you can’t actually be a healthy, worthy representative of the collective.CÉLINE SEMAAN: So, yes, we fight, but we also dance, and we also rejoice. I know you talked in your book about joy and softness alongside rage and resistance. How do you weave the two together.RAQUEL WILLIS: I will admit I have my cycles when I’m great at it and when I’m not so great at it. Weirdly, during the pandemic, when everything slowed down, I had so much solitude amidst the fear and everything else, but I think that there was an opening in that time for us to imagine different versions of ourselves and different versions of what our life could be. Capitalism had to slow down, probably for the first time since its inception. I yearn for that stillness. Most people know about me through my work, my politics, my activism. I tend to keep other things close to the vest, because I deserve to do that. My heart hurts for folks who have built careers out of and followings out of chipping off this piece and that of their personal lives and giving it away. I think that is what capitalism and social media primes us to do. They want to take more and more of our thoughts and our interests and feed them into their algorithms and machines and make more money off of us than we ever could imagine. We have to be aware of that.I take breaks from social media. I’m selective about what I share, because I want my values to always be as clear as possible. Those boundaries come from carving out time to do CrossFit, to bike, to visit family, and to just enjoy being around my mom and my siblings and my niblings (*gender neutral niece/nephew) and just be a daughter and a sister and an auntie and not have to be Raquel, the activist or writer or icon, as some people want to say. The narrative around queer and trans people continues to be focused on tragedy or the attacks, and honestly, queer and trans people are some of the most creative and joyful people I know. You don’t get ballroom culture or drag culture or dance music or the best of plays and theater and musicals and fashion without queer and trans people having to consistently imagine a different way of living.CÉLINE SEMAAN: What can we do to create more solidarity? I believe in solidarity as the antidote to corruption. How can we build solidarity when our needs are not met all the time, when we are running in survival mode? How do we build solidarity that is stronger. How do we offer unwavering support for one another?RAQUEL WILLIS: I think we already do some of the work of solidarity, we just don’t think of it that way. And I think if we lean into ideas of mutual aid, collective support, our power will only be stronger. When I think about poor folks, Black and Brown folks, migrant folks, queer and trans folks… we’ve always been creative about how we live out of a sense of survival, whether it’s sending funds to a family member, or the queer and trans parents who take in the street kids, or even the grandma who says, “I’m going to live with you and help you take care of your kids, because who can afford a nanny.” I think those kinds of things are an element of what we need to beef up in terms of how we support each other and seeing our lives as more interconnected. It’s not just biological, it’s not just identity. It’s about really seeing each other as a thread in a larger tapestry.I also think nobody needs to be donating to most of these politicians. There are politicians who may represent your values, who are grassroots, who are not funded by the PACS who do need your support. But there are plenty of folks out there who are sending funds to the National Democratic Party who could be funding grassroots efforts that could be funding the organizers on the ground in their local communities. We need more of that when we’re talking about civic duty, that should be a part of it.We’re getting a lot of signals right now that the government is not inherently on our side. If they demolish the Department of Education, what are our alternatives to that? What schools are we building, what platforms are we building so we can educate not just the kids, but everyone, about how to be more critically minded. How are we investing in platforms like Slow Factory to do the work that our educational system isn’t and wasn’t doing? How are we transforming the institutions we’re a part of—whether they are our places of worship or our Greek organizations or our workplaces—to live up to our collective values? Are you just laying people off willy nilly, or are you figuring out how to lessen the harm of that?I’ve been building a gender liberation movement, a new organization with my co-founder, Elliot Cruz, focused on how we can create a broader understanding of gender and how it impacts everyone in the world. We’re focusing on making the connections around bodily autonomy, particularly the attacks on access to gender affirming care, and the attacks on abortion access and reproductive justice. But in general, we’re building media, holding existing media accountable, creating cultural events and direct actions and developing policy that speaks to the wholeness of our lives."
}
,
"relatedposts": [
{
"title" : "Ziad Rahbani and the Art of Creative Rebellion",
"author" : "Céline Semaan",
"category" : "essays",
"url" : "https://everythingispolitical.com/readings/ziad-rahbani-creative-rebellion",
"date" : "2025-07-28 07:01:00 -0400",
"img" : "https://everythingispolitical.com/uploads/2025_7_for-EIP-ziad-rahbani.jpg",
"excerpt" : "When I turned fourteen in Beirut, I came across Ziad Rahbani’s groundbreaking work. I immediately felt connected to him, his words, his perspective and his unflinching commitment to liberation for our people and for Palestine. My first love introduced me to his revolutionary plays, his unique contributions to Arab music and very soon I had listened to all of his plays and expanded my understanding of our own culture and history.",
"content" : "When I turned fourteen in Beirut, I came across Ziad Rahbani’s groundbreaking work. I immediately felt connected to him, his words, his perspective and his unflinching commitment to liberation for our people and for Palestine. My first love introduced me to his revolutionary plays, his unique contributions to Arab music and very soon I had listened to all of his plays and expanded my understanding of our own culture and history.Ziad Rahbani’s passing marks more than the end of a brilliant life—it marks the closing of a chapter in the cultural history of our region. His funeral wasn’t just a ceremony, it was a collective reckoning; crowds following his exit from the hospital to the cemetery. The streets knew what many governments tried to forget: that he gave voice to the people’s truths, to our frustrations, our absurdities, our grief, and our undying hope for justice. Yet he died as an unsung hero.Born into a family that shaped the musical soul of Lebanon, Ziad could have taken the easy path of replication. Instead, he shattered the mold. From his early plays like Sahriyye and Nazl el-Surour, he upended the elitism of classical Arabic theatre by placing the working class, the absurdity of war, and the contradictions of society at the center of his work. He spoke like the people spoke. He made art in the language of the taxi driver, the student, the mother waiting for news of her son.In his film work Film Ameriki Tawil, Ziad used satire not only as critique, but as rebellion. He exposed the rot of sectarian politics in Lebanon with surgical precision, never sparing anyone, including the leftist circles he moved in. He saw clearly: that political purity was a myth, and liberation required uncomfortable truths. His work, deeply rooted in class consciousness, refused to glorify any side of a war that tore his country apart.And yet, Ziad Rahbani never lost his clarity on Palestine. While others wavered, diluted their positions, or folded into diplomacy, Ziad remained steadfast. His support for the Palestinian struggle was not an aesthetic position—it was a political and ethical commitment. And he did so not as an outsider or savior, but as someone who understood that our futures are intertwined. That the liberation of Palestine is integral to the liberation of Lebanon. That anti-sectarianism and anti-Zionism are not contradictions, but extensions of each other.He brought jazz into Arabic music not as a novelty, but as a defiant act of cultural fusion—proof that our identities are not fixed, but fluid, diasporic, ever-evolving. He blurred the lines between Western musical forms and Arabic lyricism with intention, not mimicry. His collaborations with his mother, the legendary Fairuz, carried the weight of generational dialogue, but his own voice always broke through—wry, melancholic, grounded in the everyday.Ziad taught us that being a revolutionary doesn’t require a uniform or a slogan. It requires listening. It requires holding complexity, laughing in the face of despair, and making room for joy even when the world is on fire. He reminded us that culture is the deepest infrastructure of any resistance movement. He refused to be sanitized, censored, or simplified.As we mourn him, we also inherit his clarity. For artists, for organizers, for thinkers: Ziad Rahbani gave us a blueprint. Create without permission. Tell the truth. Fight for Palestine without compromising your own roots. And never forget that the people will always hear what is real.He was, and will always be, a compass for creative rebellion."
}
,
{
"title" : "Saul Williams: Nothing is Just a Song",
"author" : "Saul Williams, Collis Browne",
"category" : "interviews",
"url" : "https://everythingispolitical.com/readings/saul-williams-interview",
"date" : "2025-07-21 21:35:46 -0400",
"img" : "https://everythingispolitical.com/uploads/EIP_SaulWilliams_Shot_7_0218.jpg",
"excerpt" : "Saul Williams: Many artists would like to believe that there is some sort of sublime neutrality that art can deliver, that it is beyond or above the idea of politics. However, art is sometimes used as a tool of Empire, and if we are not careful, then our art is used as propaganda, and thus, it becomes essential for us to arm our art with our viewpoints, with our perspective, so that it cannot be misused. I have always operated from the position that all my work carries politics in it, that there are politics embedded in it. And I’ve never really understood, if you are aiming to be an artist, why you wouldn’t aim to speak directly to the times. Addressing the political doesn’t have to take away from the personal intimacy of your work.",
"content" : "Collis Browne: Is all music and art really political?Saul Williams: Many artists would like to believe that there is some sort of sublime neutrality that art can deliver, that it is beyond or above the idea of politics. However, art is sometimes used as a tool of Empire, and if we are not careful, then our art is used as propaganda, and thus, it becomes essential for us to arm our art with our viewpoints, with our perspective, so that it cannot be misused. I have always operated from the position that all my work carries politics in it, that there are politics embedded in it. And I’ve never really understood, if you are aiming to be an artist, why you wouldn’t aim to speak directly to the times. Addressing the political doesn’t have to take away from the personal intimacy of your work.Even now, we are reading the writings of Palestinian poets in Gaza and the West Bank, not to mention those who are part of the diaspora, who are charting their feelings and intimate experiences while living through a genocide. These works of art are all politically charged because they are charged with a reality that is fully suppressed by oppressive networks and powers that control them.Shakespeare’s work was always political. He found a way to speak about power to the face of power, knowing they would be in the audience. But also found a way to play with and talk to the “groundlings,” the common people who were in the audience as well.Collis Browne: Was there a moment when you realized that your music could be used as a tool of resistance?Saul Williams: Yeah, I was in third grade, about eight or nine years old. I had been cast in a play in my elementary school. I loved the process of not only performing, but of sitting around the table and breaking down what the language meant and what the objective and the psychology of the character was, and what that meant during the time it was written. I came home and told my parents that I wanted to be an actor when I grew up. My father had the typical response: “I’ll support you as an actor if you get a law degree.” My mother responded by saying, “You should do your next school report on Paul Robeson, he was an actor and a lawyer.”So I did my next school report on Paul Robeson. And what I discovered was that here was an African American man, born in 1898, who had come to an early realization as an actor that the messages of the films he was being cast in—and he was a huge star—went against his own beliefs, his own anti-colonial and anti-imperial beliefs. In the 1930s, he started talking about why we needed to invest in independent cinema. In 1949, during the McCarthy era, he had his passport taken from him so he could no longer travel outside of the US, because he refused to acknowledge that the enemies of the US were his enemies as well. He felt there was no reason Black people should be signing up to fight for the US Empire when they were going home and getting lynched.In 1951, he presented a mandate to the UN called “We Charge Genocide.” In it he charged the US Government with the genocide of African Americans because of the white mobs who were lynching Black Americans on a regular basis. [Editor’s note: the petition charges the US Government with genocide through the endorsement of both racism and “monopoly capitalism,” without which “the persistent, constant, widespread, institutionalized commission of the crime of genocide would be impossible.”] When Robeson met with President Truman, Truman said, “I’d like to respond, but there’s an election coming up, so I have to be careful.”Paul Robeson sang songs of working-class people, songs that trade unionists sang, songs that miners sang, songs that all types of workers sang across the world. He identified with the workers and with the working class, regardless of his fame. He was ridiculed by the American Government and even had his passport revoked for his activism. At that early age, I learned that you could sing songs that could get you labeled as an enemy of the state.I grew up in Newburgh, New York, which is about an hour upstate from New York City. One of my neighbors would often come sing at my father’s church. At the time, I did not understand why my dad would allow this white guy with his guitar or banjo to come sing at our church when we had an amazing gospel choir. I couldn’t understand why we were singing these school songs with this dude. When I finally asked my parents, they said, “You have to understand that Pete—they were talking about Pete Seeger—is responsible for popularizing some of the songs you sing in school.” He wrote songs like “If I Had a Hammer,” and he too was blacklisted by the US government because of the songs he chose to sing and the people he chose to sing them for, and the people he chose to sing them with. I learned at a very early age that music and art were full of politics. Enough politics to get you labeled as the enemy of the state. Enough politics to get your passport taken, or to be imprisoned.I was also learning about my parents’ peers, artists whom they loved and adored. Artists like Sonia Sanchez, Amiri Baraka, and Nikki Giovanni, all from the Black Arts Movement. Larry Neal and Amiri Baraka made a statement when they started the Black Arts Repertory Theatre School in Harlem that said essentially that all art should serve a function, and that function should be to liberate Black minds.It is from that movement that hip-hop was born. I was lucky enough to witness the birth of hip-hop. At first, it was playful, it was fun, but by the mid to late 1980s, it began finding its voice with groups like Public Enemy, KRS-One, Queen Latifa, Rakim, and the Jungle Brothers. These are groups that started using and expressing Black Liberation politics in the music, which uplifted it, made it sound better, and made it hit harder. The first gangster rap was that… when it was gangster, when it was directly challenging the country it was being born in.As a teenager, I identified as a rapper and an actor. I would argue with school kids who insisted, “It’s not even music. They’re just talking.” I would have to defend hip-hop as music, sometimes even to my parents, who found the language crass. But when I played artists like KRS-One and Public Enemy for my parents, they said, “Oh, I see what they’re doing here.”When Public Enemy rapped, “Elvis was a hero to most, But he never meant shit to me you see, Straight up racist that sucker was, Simple and plain, Motherfuck him and John Wayne, ‘Cause I’m Black and I’m proud, I’m ready and hyped plus I’m amped, Most of my heroes don’t appear on no stamps,” my parents were like Amen. They understood. They understood why I needed to blast that music in my room 24/7. They understood.When the music spoke to me in that way, suddenly I could pull off moves on the dance floor like doing a flip that I couldn’t do before. That’s the power of music. That’s power embedded in music. That’s why Fela Kuti said that music is the weapon of the future. And, of course, there’s Nina Simone and Billie Holiday. What’s Billie Holiday’s most memorable song? “Strange Fruit.” That voice connected, was speaking directly to the times she was living in. It transcended the times, where to this day, when you hear this song and you understand that the “strange fruit” hanging from Southern trees are Black people who have been lynched, you understand how the power of the voice, when you connect it to something that is charged with the reality of the times, takes on a greater shape.Collis Browne: Public Enemy broke open so much. I grew up in Toronto, in a mostly white community, but I was into some of the bigger American hip-hop acts who were coming out. Public Enemy rose to a new level. Before them, we were only connecting with punk and hardcore music as the music of rebellion.Saul Williams: Public Enemy laid down the groundwork for what hip-hop is: “the voice of the voiceless.” It was only after Public Enemy that you saw the emergence of huge groups in France, Germany, Bulgaria, Egypt, and across the world. There were big acts before them. Run DMC, for instance, but when Public Enemy came out, marginalized groups heard their music and said, “That’s for us. Yes, that’s for us.” It was immediately understood as music of resistance.Collis Browne: What have you seen or listened to out in the world that has a clear political goal, but has been appropriated and watered down?Saul Williams: We can stay on Public Enemy for that. Under Secretary Blinken, Chuck D became a US Global Music Ambassador during the genocide in Gaza. There are photos of him standing beside Secretary Blinken, accepting that role, while understanding that the US has always used music as a cultural propaganda tool to express soft power. I remember learning about how the US uses this “soft power” when I was working in the mid-2000s with a Swiss composer, who has now passed, named Thomas Kessler. He wrote a symphony based on one of my books, Said the Shotgun to the Head, and we were performing it with the Cologne, Germany symphony orchestra, when I heard from the head of the orchestra that, in fact, their main financier was the US Government through the CIA.During the Cold War, it was crucial for the American Government to put money into the arts throughout Western Europe to try to express this idea of “freedom,” as opposed to what was happening in the Eastern (Communist) Bloc. So it was a long time between when the US Government started enlisting musicians and other artists in their propaganda campaigns and when I encountered this information.There’s a documentary called Soundtrack to a Coup d’État, which talks about how the US Government used (uses) music and musicians to co-opt movements and propagate the idea of American freedom and democracy outside the US in the hope of winning over the citizens of other countries without them even realizing that so much of that art is there to question the system itself, not to celebrate it. Unfortunately, there are situations in which an artist’s work is co-opted to be used as propaganda, and the artist buys into it. They become indoctrinated, and you realize that we’re all susceptible to the possibility of taking that bait."
}
,
{
"title" : "The Culture of Artificial Intelligence",
"author" : "Sinead Bovell, Céline Semaan",
"category" : "interviews",
"url" : "https://everythingispolitical.com/readings/sinead-bovell-on-ai-artifial-intelligence",
"date" : "2025-07-20 21:35:46 -0400",
"img" : "https://everythingispolitical.com/uploads/sinead-bovell-headshot.jpg",
"excerpt" : "Céline Semaan: It is being reported that AI will make humans dumber than ever, that it is here to rule the world, and to subjugate us all by bringing on a climate apocalypse. Being an AI and tech expert, how can you help people better understand AI as a phenomenon that will impact us but that we shouldn’t necessarily fear?",
"content" : "Céline Semaan: It is being reported that AI will make humans dumber than ever, that it is here to rule the world, and to subjugate us all by bringing on a climate apocalypse. Being an AI and tech expert, how can you help people better understand AI as a phenomenon that will impact us but that we shouldn’t necessarily fear?Sinead Bovell: It depends on where you are… in the Global North, and particularly in the US, perspectives on artificial intelligence and advanced technologies are more broadly negative. When you look at regions in the Global South, when you look at regions in Asia, AI is seen in a much more positive light. Their societies tend to focus on the benefits new technology can bring and what it can do for their quality of life. The social media ecosystem thrives on negative content, but it really does depend on where you are in the world as to how negatively you’re going to view AI. When it comes to the actual fears and the threats themselves, most of them have some validity. Humans could become less intelligent over time if they’re overly reliant on artificial intelligence systems, and the data does show that AI can erode core cognitive capacities.For example, most of us can’t read maps anymore. If you are in the military and your satellite gets knocked down and you need to understand your coordinates, that might be a problem. But for the average person, not reading a map has allowed us to optimize our time; we can get from A to B much more quickly. What do we fill the time with that AI gives us back with? That’s a really important question.Another important question is: How do we purposely engineer cognitive friction into the learning and thinking environment so we don’t erode that core capability? That’s not something that is just going to happen. We are humans, we take the path of least resistance, like all evolutionary species do. If you look at the printing press, the chaotic abundance of information eventually led to the scientific method and the peer review. Educators, academics, scientists, and creators needed to figure out a way to sort through the valuable information and the nonsense, and that led to more cognitive friction. Those pathways haven’t been developed yet for AI. How we use and assimilate AI depends on the actions we take when it comes to the climate apocalypse, for instance. As of now, how AI uses water and energy is nothing short of a nightmare. However, it’s not really AI in isolation. It’s our social media habits in general. When you look at them in aggregate and globally, our digital habits and patterns aren’t good for the climate in general. And then AI just exacerbates all of that.AI is not a technology that you are going to tap into and tap out of. It’s not like Uber where maybe you don’t use the app because you would prefer to bike, and that’s the choice that you make. AI is a general-purpose technology, and it’s important that we get that distinction, because general-purpose technologies, over time, become infrastructure, like the steam engine, electricity, and the internet. We rebuild our societies on top of them, and it’s important that we see it that way, so people don’t just unsubscribe out of protest. That only impedes their ability to make sure they keep up with the technology, and give adequate feedback and critiques of the technology.Céline Semaan: I recently saw you on stage and heard your response to a question about whether AI and its ramifications could be written into an episode of the TV show Black Mirror. Would you be able to repeat the answer you gave?Sinead Bovell: The stories we see and read about AI are usually dystopian. Arguably, there are choices we continue to make over and over again that we know will lead to negative outcomes, yet we don’t make different choices. To me, that’s the real Black Mirror episode… can we rely on ourselves? In some circumstances, we continually pick the more harmful thing. Most of the big challenges we face are complicated but not unsolvable. Even with climate, a lot of the solutions exist, and actually most of them are grounded in technology. What isn’t happening is the choice to leverage them, or the choice to subsidize them so they become more accessible, or the choice to even believe in them. That scares me a lot more than a particular use case of technology. Most of the biggest challenges we face are down to human choices, and we’re not making the right choices.Céline Semaan: Are you afraid of AI taking over the world and rendering all of our jobs useless? How do you see that?Sinead Bovell: There’s AI taking over the world, and that’s AI having its own desire and randomly rising up out of the laptop or out of some robot. I’m not necessarily concerned about that. You can’t say anything is a 0% chance, right? We don’t know. There are so many things you can’t say with 100% certainty. I mean, are we alone the universe? It’s really hard to prove or disprove those types of things. Where I stand on that is… sure allocate research dollars to a select group of scientists who can work on that problem. However, I am quite concerned about the impact AI is going to have on the workforce. We can see the destruction of certain jobs coming. It’s going to happen quickly, and we’re not preparing for it properly. Every general-purpose technology has led to automation and reconfiguration of the shape of the workforce. Let’s look at the first industrial revolution which lasted from approximately 1760-1840. If we were to zoom in on people working in agriculture, by the end of the 19th Century, around 70-80% of those people were doing something different. That is an astounding change. People had jobs, they just looked very different from working on the farm. But what if that happens in seven years rather than 80 years? That’s what scares me. I think the transition will be quite chaotic because it’s going to be quite quick, but it doesn’t have to be. History isn’t a great predictor of the future, but it does give you a lot of examples of what you don’t need to do again.The reason the industrial revolution turned out to be a good thing in the end, in terms of the life we all live, is that, for instance, we have MRIs and don’t have to have our blood drained to see if we’re sick. But people were just left to fend for themselves. It was chaos, and it turned into this kind of every person for themselves. Kind of figure it out. Get to the city. Bring your family. Don’t bring your family. It was really chaotic. How are we going to not repeat that? I don’t know if we are putting the security measures in place to make sure people are protecting that transition.The most obvious one to me is health care in the United States. I don’t know the exact number, maybe it’s around 60% of people, but don’t quote me on that, are reliant on their job for health care. That’s where their insurance comes from. What is going to happen to their insurance if their job goes away or if they transition to being self-employed? How do we help people transition? People don’t even dare go down that road, but those are the types of conversations that need to happen.Céline Semaan: In 10 years from now, will we look at AI as just another super calculator. And we will be asking the same questions that we are asking today, meaning that the change we’re seeking is not necessarily technological, but philosophical and cultural. How do you see that?Sinead Bovell: AI will look like much more of a philosophical, cultural, and social transition than solely a technological one. This is true of a lot of general-purpose technologies.The inventions in technology lead to how we organize our societies and how we govern them. If you look at the printing press, it led to a secular movement and gave power to that engine. You get big social, philosophical, cultural changes, and revolutions in society when you experience this scale of technical disruption. I think we will look back on the AI inflection point as one of the most pivotal transitions in human history in the past couple 100 years. I would say it’s going to be as disruptive as the printing press and maybe steam engine combined. And we made it through both of those. There was a lot of turmoil and chaos, but we did make it through both of those.We are a much more vibrant, healthy society now. We live longer and, relatively speaking, we have much more equality. There is a path where it works out, but we have to be making the decisions to make that happen. However, it’s not practical that a subset of the population makes the decisions on behalf of everyone. And that’s why I think it’s so important for people to get in the game and not see AI as this really technical device or technology, but instead, as a big social, cultural and philosophical transition. Your lived experience qualifies you to participate in these conversations; there’s nobody who can carry the weight of this on their own."
}
]
}