Chris Rock’s documentary, Good Hair, opened Friday to mixed, but frequently positive, reviews. I’m going to take the painful stance of suggesting that’s because there aren’t a lot of black women in the film reviewing community. Good Hair is often funny, fascinating, and raises a few key ideas. What it doesn’t do is offer a cogent, relevant analysis of why black women relax their hair or wear hair extensions — which was supposed to have been the point.
Some background: Rock says he did the film because his daughter came to him one day, upset, that she didn’t have “good hair.” This apparently prompted the comedian to begin an odyssey that took him from the hair salons of New York City to a hair show in Atlanta, from Indian hair-shaving ceremonies, to the Beverly Hills salons that buy the Indian hair. But in all that conversation what you never hear are opposing viewpoints. Nearly everyone in Chris Rock’s movie seems to agree on a few critical ideas (that can happen when you limit your sample). Frankly, as a black woman, I sat through Good Hair with one dominant thought: Who are these people? Their opinions rarely represented my own, or those of anyone I know. I am but one voice in this vast, complicated community, but I couldn’t live with myself if I didn’t say something. Here, a few of the ways Good Hair gets it entirely wrong.
1. Black women do not want to be white.
Sure, you can find some poor soul who pops up on Oprah with deep-seated issues, but for the most part, black women are perfectly happy being black women. A brief history: The idea of “good hair” is one that, historically, has been fraught with racial stigma. For various reasons, black people who looked whiter, like their slave masters (read: frequently, their fathers) had advantages over those who looked more like their African ancestors. The preference didn’t die after slavery, however, in one sense surviving as the debate over “good hair.” “Good hair” was that which was easy to comb, long, and silky.
Like many cultural idiosyncrasies, the notion of “good hair” never died completely, but there isn’t anyone in the black community today who doesn’t see the term as dated, self-loathing, and patently foolish. There isn’t a black woman I know who sits down in a stylist’s chair to get a relaxer because she, as Rock posits, wants to look white. Not one. I have a relaxer. I have one for the same reason that I don’t wear makeup, don’t have a gym membership, and can usually be found in jeans and a Gap tee—I’m lazy. I like getting out of the house in a reasonable amount of time, and don’t cope well with a lot of hassle over what I consider superficial things. So why bother fighting my naturally nappy hair on a daily basis when every 8-10 weeks I can pay someone else to do it? Which brings me to my second point…
2. $1000 at the salon? Get real.
The actresses and singers in Good Hair freely admit to spending a fortune on their hair, which was expected. Wildly unusual was the handful of working-class women willing to pony up a cool grand to get a weave. Again, who are these women? The cost of relaxer varies widely, from, say, $50-$200, depending on what zip code you’re in, and weaves go up significantly from there. But no one in the working class (in their right mind) spends rent on their hair. Anyone who does has way bigger issues than what’s growing out of her head.
3. We don’t all have weaves or relaxers.
As I mentioned, I have a relaxer, but I have several friends and family members who don’t. And for every 10 black women I know, maybe two have weaves. It’s a common hair-maintenance style, but it certainly doesn’t extend to everyone. So before you assume you know what’s going on with a black woman’s hair, understand that we’re as diverse and varied with our style options as everyone else.
4. All this is none of your business.
Unless you’re really good friends with someone, it’s rude to ask what’s in their hair, whether relaxer or weave. We’re not anthropological subjects, and we don’t like being treated as curiosities.
5. White women do it, too.
Approximately 94 minutes of Good Hair is spent exploring ideas of why black women relax their hair (so damaging!) or wear weaves (so delusional!). There’s exactly one minute spent on the fact that white women do it too. White women frequently chemically treat their hair to make it straighter or curlier, and dye it so regularly they don’t even know their natural color. Does this make them culturally insecure? Hardly. Those “extensions” that lots of white women in Hollywood (and elsewhere) sport? They’re the same as weaves. Some may be clipped on or glued in, but as anyone who’s ever watched the make-over episodes of America’s Next Top Model knows, white women wear hair enhancements too. Which brings me to another point…
6. Women of nearly every culture want long, thick, luxurious hair.
For every black woman who’s ever wanted to look like Beyoncé, there’s a white woman who desperately wanted hair like Farrah. Long, fabulous tresses seems to be an ideal in many, many cultures, and black women shouldn’t be criticized, ostracized, or psychoanalyzed for wanting the same thing.
7. The whole idea of “good hair” is pretty moot these days.
If “good hair” is that which is silky and manageable, what’s the difference if you’re born with it or your hair dresser gets you there? In its natural state, my hair is kinky and difficult to comb. With a relaxer it’s long and holds curls pretty nicely. So do I have “good hair,” or not? Here’s the fabulous, freeing, culturally uncomplicated answer: I don’t care.
Look, I’m not saying that Good Hair has no purpose. The film introduces a conversation that’s so important, it reached the White House. (Check out the viciously racist commentary on Malia Obama’s twists, or the New Yorker cover with Michelle Obama in an afro and tell me black women’s hair isn’t a political issue.) But there’s rampant misinformation and theories that just don’t hold up. And no one ever seems to really address the cultural roots of Rock’s daughter’s question.
Neither the director nor any of the writers on Good Hair are women. It’s no surprise that a group of fellas got together and came up with a film that, while well-intentioned, just doesn’t get it.