(Source: erinkilkenny, via drtuesdaygjohnson)
(Source: erinkilkenny, via drtuesdaygjohnson)
Tony Williams: Bridge To The Beyond
Tony Williams was a brilliant, complex and ever-changing artist and human being. Ken Micallef’s thorough feature on the great drummer covers the various associations he had and the stages of career with understanding and insight. Essential reading on this major musician.
-Michael Cuscuna
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(Source: asexual-whore)
(Source: 0ctober0wl, via southernlion)
(Source: hemptemples, via abstrackafricana)
Enough said here…
…and if you aren’t black, celebrate black history AND your own history. You can never have too much understanding.
Excerpt from the documentary: “Adire - Indigo Textiles amongst the Yoruba”
The documentatry was produced in Nigeria and deals with the production of Adire, hand painted or knotted cloths, dyed with Indigo. The artistic creation of these cloths has long tradition in Yoruba culture. Adire: history and stories on webs of cloth.
The main part of this film deals with the complicated and time-consuming production of these cloths which, just few decades ago, were daily commodity, mainly as clothing, but nowadays are barely produced. The important steps of Adire production and its varying techniques are shown as well as the social environment in which it takes place.Originally, Adire was strictly female handicraft, whereas nowadays also men can learn the Adire production.Possibly the most famous Nigerian Adire artist, Nike Olaniyi Davies, has been trying for years to revive this old handcraft. She founded a centre in Oshogbo in which Adire is taught. The film was investigated and shot from June to September 1995.My homie Foly from Shogbo state showed me how to tie and die.
He said they use an import dye called “zymo fast”(?) now adays.
thanks for sharing.
(via abstrackafricana)
(Source: leecadens)
The Master of Coney Island: The Art of Larry Millard
Mural in Playland by Larry Millard (all images courtesy the Coney Island History Project)
When…
(via street-popper)
It features a peculiarly African-American twist on Marx’s and Engels’s observations about capitalism’s commodity-fetish effect—the transformation of a marketable object into a magical thing of desire. It is my belief that capitalism’s original commodity fetish was the Africans auctioned here as slaves, whose reduction from subjects to abstracted objects has made them seem larger than life and less than human at the same time.
It is for this reason that the Black body, and subsequently Black culture, has become a hungered-after taboo item and a nightmarish bugbear in the badlands of the American racial imagination. Something to be possessed and something to be erased—an operation that explains not only the ceaseless parade of troublesome Black stereotypes still proferred and preferred by Hollywood (toms, coons, mammies, mulattoes, and bucks, in Donald Bogle’s coinage), but the American music industry’s never-ending quest for a white artist who can competently perform a Black musical impersonation: Paul Whiteman, Elvis Presley, the Rolling Stones, Sting, Britney Spears, ’N Sync, Pink, Eminem—all of those contrived and promoted to do away with bodily reminders of the Black origins of American pop pleasure.
It is with this history in mind that African-American performance artist Roger Guenveur Smith once posed the question: Why does everyone love Black music but nobody loves Black people?
It is for this reason that the Black body, and subsequently Black culture, has become a hungered-after taboo item and a nightmarish bugbear in the badlands of the American racial imagination. Something to be possessed and something to be erased—an operation that explains not only the ceaseless parade of troublesome Black stereotypes still proferred and preferred by Hollywood (toms, coons, mammies, mulattoes, and bucks, in Donald Bogle’s coinage), but the American music industry’s never-ending quest for a white artist who can competently perform a Black musical impersonation: Paul Whiteman, Elvis Presley, the Rolling Stones, Sting, Britney Spears, ’N Sync, Pink, Eminem—all of those contrived and promoted to do away with bodily reminders of the Black origins of American pop pleasure.
It is with this history in mind that African-American performance artist Roger Guenveur Smith once posed the question: Why does everyone love Black music but nobody loves Black people?
–
Greg Tate, Everything But the Burden (via wretchedoftheearth)
Greg Tate taught my Afro-Futurism class. it was something
(via likestepsonthemoon)
HOLY FUCKING HELL
i’ve been ranting about this for weeks, this is exactly the thing I needed to see for my thesis
i’m so happy right now
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(via so-treu)
