Category: Arts / Style

Composer Jon Batiste Turns Jean-Michel Basquiat’s Life Into a Broadway Musical

Jon Batiste and Jean-Michel Basquiat. Black-and-white image of Black man in black leather jacket and shirt in front of background with text. Black-and-white image of Black man with black dredlocs in suit on white wall
Jon Batiste and Jean-Michel Basquiat. (Brad Barket/Getty Images; Andy Warhol/Colorlines Screenshot from Facebook)

Composer Jon Batiste is set to bring the life of artist Jean-Michel Basquiat to the stage via a new Broadway musical. The New Orleans-bred musician and bandleader of “The Late Show with Stephen Colbert” announced the show on Tuesday (September 25):

Deadline reports that Batiste will collaborate with stage producers Barbara and Alan D. Marks (The Encounter”) and director John Doyle (“The Color Purple” revival) on the untitled project. The team partnered with the late Haitian- and Puerto Rican-American artist’s estate, which granted rights to use his original art and personal archival material in the musical.

“Over the years, many people have approached us about telling our brother’s story on stage,” sisters Lisane Basquiat and Jeanine Heriveaux, who administer their brother’s estate, told Deadline. “But having discussed this project with the Marks over many months, our interest was piqued once we understood that their approach to telling our brother’s story treats his life, his art and his legacy with respect and passion. With Jon Batiste and John Doyle leading the creative team, we are thrilled with the possibilities. We cannot wait to begin the developmental process. Broadway is a new world for us, and we look forward to sharing our brother’s life and art.”

Batiste wants the musical to both capture Basquiat’s story and inspire other artists to channel his creative spirit.

“I want people to leave this show inspired to create. I want them to not only learn about Jean-Michel Basquiat, an innovator, but to also feel the visceral thrill of the creative process and to deepen and discover their own creativity,” he told Deadline. “We have an opportunity to tell a truly profound story, full of emotional highs and lows, with unbelievable art at the center. I’m honored to work with veteran storyteller John Doyle, the Marks and the Basquiat family. We are assembling a team to help craft a boundary pushing masterpiece inspired by a true American original.”

Source: https://www.colorlines.com/articles/jon-batiste-turns-jean-michel-basquiats-life-broadway-musical

Australian Sudanese Model Duckie Thot is Stunning New Face of L’Oréal Paris

Duckie Thot Announced as New L’Oréal Paris Global Ambassador
Duckie Thot (photo via L’Oréal Paris)

Duckie Thot, an Australian model of Sudanese descent, just put some major points on the board for inclusivity and diversity in the beauty industry. A Fenty Beauty muse, the rising star just signed on as the newest global ambassador for L’Oréal Paris.

Even with game-changing newer beauty brands constantly pushing for more diversity in the industry (Fenty Beauty’s 40-shade range of foundations was so innovative when it dropped that its foundation won Time’s “Invention of the Year” award in 2017), there are still a lot of strides to be made. Case in point: Thot, who has appeared in major campaigns for designers including Moschino and Oscar de la Renta, admitted earlier this year that she still has to bring her own foundation to shoots because makeup artists still often don’t often carry shades dark enough to match her skin.

But perhaps the more beauty brands see models like Thot, the more inclusive the industry can actually be. That certainly seems to be the hope behind Thot’s major new gig as a L’Oréal ambassador. “I’m looking forward to helping more girls love the beauty of their dark skin,” she said in a statement. “In my mind, I’m going back in time and telling the young girl I was, ‘Dream big, work hard and trust in yourself girl because one day you’re going to say ‘yes’ to the number-one beauty brand!’”

It’s Thot’s strong voice on inclusivity (in addition to her impressive-as-hell resume) that made her a perfect face for the brand, L’Oréal said. “She launched online conversations where others shared their stories,” the brand told WWD in reference to her speaking out about inequality in the modeling industry. “By speaking out, she has contributed to the redefinition of what [being] a model is. Her uplifting messages are shared to inspire her followers to love themselves.”

Thot will make her L’Oréal debut later this week on the Le Défilé L’Oréal Paris runway show during Paris Fashion Week and will be starring in upcoming campaigns for L’Oréal Volume Million Lashes, Colorista, Rouge Signature, and most notably the brand’s Infallible Foundation. We have a feeling that this time, Thot won’t have to bring her own shade.

Source: https://www.allure.com/story/duckie-thot-loreal-paris-global-ambassador?mbid=social_twitter

Valentino Dixon, 48, Gets Released from 27 Years of Wrongful Imprisonment after Gaining National Attention for Golf Course Drawings

In a May 2013 file photo, Attica (N.Y.) Correctional Facility inmate Valentino Dixon poses with one of his golf drawings he created while in prison. (Photo: AP)

by  via usatoday.com

Convicted of a crime he never committed and serving time in one of the USA’s most notorious prisons, Valentino Dixon spent much of his free time drawing serene scenes of lush golf courses.

After 27 years behind bars, Dixon, 48, walked out of the Attica (N.Y.) Correctional Facility a free man Wednesday as his murder conviction in a 1991 shooting was officially overturned.

Dixon’s case gained national attention when he was profiled six years ago by Golf Digest for his meticulous attention to detail in the colored-pencil drawings he made of courses such as Augusta National — despite never having picked up a club in his life.

“They always say I don’t need to be drawing this golf stuff,” he has said. “I know it makes no sense, but for some reason my spirit is attuned to this game.”

From there, the publication and several other groups — including the Georgetown University Prison Reform Project — began looking into the questionable circumstances surrounding his conviction.

Even though Dixon had exhausted all his appeals, the Erie County district attorney’s office eventually revisited the evidence in the case, which resulted in a confession from the real gunman.

Upon his release, Dixon said he planned to go “to Red Lobster to celebrate with my family and my support team, then we’re going to go to a park.”

More: https://www.usatoday.com/story/sports/golf/2018/09/19/golf-artist-inmate-freed-27-years-after-being-wrongfully-convicted/1363037002/

Angela Bassett and Band of Vices Gallery Curate Afro-Surrealist Art Show by Chelle Barbour

Angela Bassett (Paul Archuleta/Getty Images)

The ‘Black Panther’ star co-curates a new exhibition at Band of Vices gallery featuring Afro-Surrealist collages by artist Chelle Barbour.

by Jordan Riefe via hollywoodreporter.com

Artist Chelle Barbour’s first solo show, You Is Pretty!, at Band of Vices gallery in the West Adams district of L.A. through Oct. 13, is a photo montage series examining portrayals of African-American women in media. And if you look closely at the curator credits, one very famous name jumps out: Angela Bassett.

Longtime friend and fan of gallerist Terrell Tilford, Bassett, who serves as co-curator of Barbour’s show, frequented his gallery throughout the aughts when it was called Tilford Art Group. After closing in 2010, he rebranded as Band of Vices in 2015 and reached out to Bassett about playing a larger part. “I’ve been a lover of art for many, many years, so it was just a new venture for me. And when he introduced me to Chelle’s work, I was excited about it as well, about this young artist that I heretofore wasn’t familiar with but found her work to be really strong and really striking in many ways,” Bassett explains.

Barbour’s practice includes painting, digital video, photography, writing and curating. She collaborated on projects with Black Lives Matter at the Hollywood Forever Cemetery in 2016; and has participated in a number of group shows. But to have Bassett play a part in her first solo show is just too much, she quips.

artwork by Chelle Barbour

“When I saw her name as a curator, I was like, ‘What?!?” Barbour explains. “I have been a fan of hers for years. I’m pleased that she likes the work, that she’s seen it. Her endorsement just leaves me speechless.”

With You Is Pretty!, Barbour poses questions about agency and beauty by layering visual metaphors over imagery of black women to evoke what writer and essayist Amiri Baraka called Afro-Surrealism. The women in her collages are alluring and confident, the opposite of more common depictions emphasizing a lack of economic value, or worse, irrelevance. By incorporating motifs like butterflies, flower petals and industrial machinery, she conjures archetypes of strength and potential.

“Chelle’s work explores that notion of the other or the alien or the marginalization, but she uses the black woman as her muse,” offers Bassett. “When I, as an artist, look out into the world, I find those voices, whether it be art or music or narration, that celebrate our beauty, our being different, as a strength, as something positive.”

Read more: https://www.hollywoodreporter.com/news/angela-bassett-curating-afro-surrealist-art-show-celebrating-60th-birthday-a-list-friends-1140376

Oregon State University Changes Three Building Names That Honored Proponents of Slavery

Oregon State University buildings to be renamed (photos via cbsnews.com; facebook.com/DailyBarometer)

by Saul Hubbard via registerguard.com

After a two-year process, Oregon State University President Ed Ray announced recently that he has chosen new monikers for three university buildings whose previous namesakes have ties to historical racist positions or beliefs.

OSU’s Benton Hall will become Community Hall, honoring local residents who raised funds to start the college in 1860s and 1870s; Benton Annex, the university’s women center, will become the Hattie Redmond Women and Gender Center, after an African-American suffragette who lived in Portland in the early 20th century; and Avery Lodge will be renamed Champinefu Lodge, borrowing a word signifying “at the place of the blue elderberry” from the dialect of the local native Kalapuya Tribe.

“The names of buildings and places play a very important role in our university,” Ray said Monday in a prepared statement. “They speak to the history of OSU, the university’s values and mission, and our efforts to create an inclusive community for all. Names also recognize and honor the positive contributions of those associated with the university.”

The changes follow a push that has occurred across the country in recent years to proactively remove names and take down statues that honor people who held overtly racist views, in the name of improving race relations. Those efforts have faced blow-back from people who argue that they erase history and punish historical figures for views that were widely held during their lifetimes.

Ray decided last November that the building names associated with former Missouri U.S. Sen. Thomas Hart Benton and Corvallis co-founder Joseph C. Avery should be stripped from the buildings, following community input and scholarly research into their positions.

Hattie Redmond (photo via Ohio Historical Society)

An architect of the United States westward expansion and backer of the Manifest Destiny, Benton “supported federal legislation to remove Native Americans from their tribal lands and, while he was opposed to extending slavery into western states, he was not in favor of abolishing slavery elsewhere,” Ray wrote last November.

While the 1947 naming of Benton Hall was designed to honor Benton County residents, not Thomas Benton, Ray determined that the hall’s name didn’t make that distinction clear. Joseph Avery, meanwhile, pushed “views and political engagement in the 1850s to advance slavery in Oregon (that) are inconsistent with Oregon State’s values,” Ray wrote, making the 1966 name untenable.

Ray decided against renaming OSU’s Gill Coliseum and the Arnold Dining Center, however, after ruling that their namesakes, Benjamin Lee Arnold and Amory Gill, displayed some signs of forward-thinking racial acceptance, outweighing the more controversial parts of their biographies.

The new names announced Monday were chosen by Ray, after receiving input from OSU faculty, students and leaders of the Confederated Tribes of Siletz Indians of Oregon.

Champinefu, which is pronounced CHOM-pin-A-foo, was chosen because Native Americans of the Kalapuya Tribe traveled to the area around Corvallis to harvest wild blue elderberries.

Hattie Redmond, meanwhile, was part of the successful push in 1912 to give women the right to vote in Oregon, after voters previously had rejected it five times. According to the Oregon Historical Society, Redmond’s role was little known and not celebrated until 2012, when details of her biography were discovered during the centennial celebration of woman suffrage in Oregon. Redmond, the daughter of slaves, moved to Portland in 1880, in an era when the state still had a black exclusion law in its constitution. Redmond was the president of the Colored Women’s Equal Suffrage Association during the 1912 campaign and organized meetings and educational lectures on the issue in a local church.

Read more: http://www.registerguard.com/news/20180730/osu-changing-three-building-names-to-promote-inclusivity

Rihanna Becomes 1st Black Woman to Land Cover of British Vogue’s September Issue

photos via eveningstandard.com

by Andrea Park via cbsnews.com

Rihanna made history by becoming the first black woman to appear on the cover of British Vogue‘s September issue. Like the publication’s U.S. edition, the September issue is the most prestigious edition of the fashion magazine.

Rihanna shared her cover photo on Instagram. She’s wearing a hot pink Prada dress, Savage x Fenty gloves, a flower headdress and thin, drawn-on eyebrows a la Marlene Dietrich. The “Wild Thoughts” singer also posted photos from inside the issue, in which she dons different oversized floral headpieces.

The magazine’s editor-in-chief, Edward Enninful, styled the cover and photo shoot, and Nick Knight served as photographer. Enninful wrote in his editor’s letter that he knew he wanted the singer on the cover for the magazine’s September issue.

“I always knew it had to be Rihanna,” he wrote. “A fearless music-industry icon and businesswoman, when it comes to that potent mix of fashion and celebrity, nobody does it quite like her. No matter how haute the styling goes, or experimental the mood, you never lose her in the imagery. She is always Rihanna. There’s a lesson for us all in that. Whichever way you choose to dress the new season, take a leaf out of her book and be yourself.”

Enninful wrote that the two talked about diversity and Rihanna’s life as a diva for the accompanying profile.

British Vogue’s September issue hits newsstands today.

Source: https://www-cbsnews-com.cdn.ampproject.org/v/s/www.cbsnews.com/amp/news/rihanna-becomes-first-black-woman-to-cover-british-vogues-september-issue/

Beyoncé Hires Tyler Mitchell, 23, to Shoot Her September 2018 Vogue Cover, 1st Black Photographer in Magazine’s 126-Year History

Tyler Mitchell (photo via crybabyzine.com)

by Lori Lakin Hutcherson (@lakinhutcherson)

According to huffingtonpost.com, musical icon Beyoncé received unprecedented control over the cover of the upcoming September issue of Vogue magazine, and in turn hired Tyler Mitchell, 23, to be her photographer. Mitchell will become the first black photographer to shoot a cover in the publication’s 126-year history.

Vogue, according to two sources who are familiar with the agreement between Vogue and Beyoncé, is contractually obligated to give Beyoncé full control over the cover, the photos of her inside the magazine and the captions, which she has written herself and are in long-form. Beyoncé is also not granting Vogue a sit-down interview for the September 2018 issue, as is typical of its cover subjects.

Mitchell, a New York University graduate from Atlanta, quickly became a recognized name in the art world through his work in Cuba and his featured work on Instagram.

The New York Times’ “Up Next” series featured Mitchell in December.  Huffingtonpost.com writes that 23-year-old first gained attention in 2015 with his self-published book of photos, El Paquete, which focused on Cuban skate culture and architecture. Mitchell captured the book’s 108 photos while in Cuba for six weeks as part of a documentary photography program, according to the Times.

Mitchell also photographed Parkland shooting survivors including Sarah Chadwick, Nza-Ari Khepra, Emma Gonzalez and Jaclyn Corin for Teen Vogue’s piece on the #NeverAgain gun control movement.

“I depict black people and people of color in a really real and pure way,” Mitchell told The New York Times in December. “There is an honest gaze to my photos.”

FEATURE: Aaron Maybin, NFL Linebacker Turned Art Teacher and Activist, Gives Back to Kids in Baltimore

Maybin, talks to students at “Gallery Night,” an end of year art showcase at Matthew A. Henson Elementary School. (MARY F. CALVERT FOR ESPN)

via theundefeated.com

Aaron Maybin was an All-America linebacker at Penn State University and was drafted 11th overall by the Buffalo Bills in 2009. He played four seasons in the NFL for the Bills and New York Jets before retiring in 2014. He has since turned full-time to his art, chronicling his hometown’s challenges with poverty and crime through painting, photography and poetry, and he works as a teacher in Baltimore schools. Last winter, he became the outspoken face of outrage after many of Baltimore schools went without heat during extreme cold. He was written a book, Art Activism, which chronicles Maybin’s journey.

Here, as told to ESPN’s Kevin Van Valkenburg, Maybin tells about his path from a life of football to working on behalf of kids from his neighborhood, how he connects with students and why he doesn’t see himself as a hero.


When I was younger, football gave me an identity.

Growing up in communities like the one I grew up in, West Baltimore, you’re always fighting for your identity. From the time you’re born until you’re grown, you’re literally inundated with stories of how your safety is always in jeopardy and how everybody – from your parents to people in the community to folks at your church – is just so hell-bent and focused on keeping you safe.

So many of us in those neighborhoods are so angry, so furious, at everything. At the world. I lost my mother at 6 years old. I was mad at God. I was mad at my family. I was mad at everything. In those kinds of environments, especially for young kids of color, people look to attach themselves to something greater.

I had been an artist my whole life, but when I was younger, it was not cool for you to just be like, “Yeah I’m an artist. I make things.” Football was the first thing I did and I excelled at to the level where I gained acceptance and admiration from everybody that saw me do my thing. It was like an outlet.

Football was the first space that I was afforded where you’re not penalized for your anger. You’re celebrated for it. You knock somebody out of a game and people give you praise. They know you as this guy not to be messed with, to be respected and celebrated.

It wasn’t until I got older that I didn’t want my identity to be tied to a game anymore.

I can look at football now with a certain amount of nostalgia and not be too heavily tied to it, because at the end of the day, I stopped being tied to the game.

It was probably around college at Penn State that I realized there’s something wrong with how we were being conditioned as athletes. Even as great a coach as Joe Paterno was, he had some deep-seated issues that were rooted in race and patriarchy and bigotry that reared their heads in how we were handled as players and as men.

The idea that we couldn’t have facial hair, for example. If it was past like a five o’clock shadow, then you would get penalized. If you had locks or an Afro or something like that, he would be like, “You’ve got to do something with that.” Guys would get it braided or twisted, but as soon as he would see it, he would be like, “Cut it.” If you look at people like myself, LaVar Arrington, Jared Odrick, NaVorro Bowman, basically every black player who went to Penn State, you see them leave and go through an almost Rastafarian physical transformation where we all grow our beards out. We all either get our hair in locks or twists or cornrows.

College years are very pivotal years, right? Throughout the same time that you’re just starting to learn about your blackness or where you fit in the larger society, you’re starting to learn about historical context of your roots. You have somebody who you look at and revere as your leader who tells you that there’s something wrong with you. That there’s something unacceptable about the natural things that make you who you are, that there’s something wrong with your person.

I didn’t realize how problematic it was back then. I was young. I didn’t really understand how deep those things went and where they were coming from. I just knew that those were the guidelines that I had to abide by. We’ve got to ask ourselves why a lot more.

Continue reading “FEATURE: Aaron Maybin, NFL Linebacker Turned Art Teacher and Activist, Gives Back to Kids in Baltimore”

Nigerian-Born Taofeek Abijako, 19, is Youngest Designer to Show at Men’s New York Fashion Week

Head-of-State+ founder Taofeek Abijako (Photo by Nicolas Hunt via Getty Images)

by  via teenvogue.com

At just 19-years-old, this week, Nigerian-born designer Taofeek Abijako became the youngest designer to present a collection at New York Fashion Week: Men’s. Taofeek held a presentation for his brand Head of State+s spring/summer 2019 collection, which paid homage to 70s afro-futurism styles and West African youth culture.

Head-of-State+ first caught the eye of the fashion community weeks after its official launch in 2016. According to The New York Times Style Magazine, Japanese luxury retailer United Arrows found his self-produced lookbook on Twitter and began stocking the brand shortly after. The following year The New York Times Style Magazine labeled Head of State+ a “brand to watch”, and sure enough, the industry took notice. At the time, Taofeek was a senior in high school living in his parents Albany, New York home. He had only immigrated from Nigeria just two years prior and had just retired his soccer cleats to focus on fashion completely.

The brand’s latest offering, entitled Genesis, is the fourth collection from Taofeek. Genesis reflects the high-end streetwear aesthetic Taofeek has been exploring since its inception, and featured light trucker jackets, white tailored pants, and fitted knitwear. Speaking to the CFDA Taofeek explained, “Genesis is the translation of Afro-futurism portrayed by the likes of Parliament-Funkadelic and Sun Ra through the lens of West African youth – while at the same time celebrating the vibrancy of West African youth culture in the ‘70s and drawing parallels to modern time. The continuous homage to Fela Kuti is also portrayed.”

View this post on Instagram

SS19 “Genesis” – LOOK 5 (Jean Mark)

A post shared by HEAD OF STATE+ (@headofstate_) on

Now in its second year of operation, Head of State+’s visions as a brand is beginning to manifest into something that is much bigger than clothing. “I approach Head of State+ as less of a brand and more of a case study,” Taofeek told the CFDA. “It’s me digging into my cultural upbringing while trying to have a firm grasp and understanding of it.” In addition to his cultural advocacy, Taofeek is making a case for youth culture and providing the blueprint for how young designers can bypass the fashion industry’s hierarchy and establish a solid brand with minimal financial backing or formal training.

Source: https://www.teenvogue.com/story/taofeek-abijako-mens-nyfw-youngest-designer

Beyoncé Collaborates With Olivier Rousteing to Create Balmain x Beyoncé Collection to Benefit United Negro College Fund

Beyoncé Knowles.(Photo: Kevin Mazur/Getty Images)

via vogue.com

Just before Coachella was rechristened Beychella, Beyoncé Knowles and Balmain creative director Olivier Rousteing had an idea. It happened in a rehearsal, while Beyoncé and her dancers were practicing in their Balmain-made looks inspired by the marching band uniforms of America’s historically black colleges and universities. “When she saw all the dancers loving the outfit—and she was loving her own outfit—she realized that what we were creating on stage for her, for all the dancers, was something really impactful,” says Rousteing. It clicked: Why not make a Beyoncé x Balmain collaboration that could make those poignant graphics available to all of Bey’s fans clamoring for a piece of history?

On Friday, July 13, Balmain will launch a three-piece Balmain x Beyoncé collection in its Paris flagship, with the items going on sale on balmain.com and beyonce.com the following day. Comprised of the yellow and pink sweatshirts Beyoncé wore on stage at Coachella, the collection also includes a black tee with the same sorority-inspired graphic.

“I worked really long with her on the Beychella moments, and the fact that we can release this collaboration that is based on our creativity, Beyoncé and I, is really a big, big step for fashion and music together,” continues the designer. “Beyoncé, she’s such a perfectionist; she’s someone that is so strong and has such a great point of view. She’s about feminism, empowering women, and the idea of bringing that collaboration where we can share the same ideas, the same vision of music, the same vision of fashion, the same vision of what is going on in the world, it’s more than just clothes. It’s a strong message, and I’m really proud to be a part of that.”

He continues: “Sometimes, you create a moment, and it’s just one moment. With the clothes that we are creating now, it’s going to be a moment that keeps going and going and going. This is something really important. Everybody is always telling me about millennials or about the future—this is the future. This is making sure that these iconic moments talk to the young people. This is something important and this collaboration is talking to the new generation and saying you can get that piece, you can be a part of the history.”

The message, as Rousteing tells it, is to never stop dreaming. He relates Beyoncé’s global success, her message of standing against racism and standing for women, as something he wishes he had growing up in France. “This to me feels really emotional because, as you know, I’m of mixed race. I’m black and my parents are white. I grew up in France without having a real identification of being black and being an adult. I couldn’t see myself in the future, in a way, because there were not so many people in the ’80s or early ’90s that could show me a direction,” he says. “For me, working with Beyoncé, it’s more than only music. It’s about history, working with a woman that’s going to be part of the history and has made her own revolution, not only in music, not only in fashion. She is an icon to an entire generation and so many more generations can follow the steps of Beyoncé and say, ‘You give us hope, you make us dream.’ ”

Proceeds from the collaboration will benefit the United Negro College Fund, following Beyoncé’s $100,000 donation to four historically black colleges after her Coachella set. “The donation was the main goal of this collaboration,” says Rousteing. “We don’t forget where we come from. This is really, really important—I come from an orphanage, you know. I think there is something really emotional about our collaboration.”

Balmain x Beyoncé will be available on July 13 at Balmain’s Paris flagship and from July 14 online and at select retailers; tee, $290; sweatshirts, $550–$1,790

Read more: https://www.vogue.com/article/beyonce-x-balmain-coachella-collaboration

The Good Things Black People Do, Give and Receive All Over The World
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