David Bowie with Supermodel wife Iman (photo via popsugar.com)
As Stevie Wonder so aptly put it in his 1976 tribute to the 20th-century pioneers of sound, “Sir Duke”: “Music is a world within itself / With a language we all understand / With an equal opportunity / For all to sing, dance and clap their hands.” Sir David Robert Jones, aka “Ziggy Stardust”, aka “The Thin White Duke”, but most commonly known around the world as David Bowie, fully understood and embodied the language of this universality, and connected with audiences around the world, no matter what genre he chose to explore. Some of his greatest commercial success came from his exploration of R&B music (“Young Americans”, “Fame”, “Golden Years”, “Under Pressure,” “Let’s Dance”), but his musical life was one of constant change and innovation, which made this unique singer, songwriter, multi-instrumentalist, record producer, arranger, painter and actor a prominent, global figure in popular music for over four decades.
According to the New York Times, Bowie’s last album, “Blackstar,” a collaboration with a jazz quartet that was typically enigmatic and exploratory, was released on Friday — his birthday. He had also collaborated on an Off Broadway musical, “Lazarus,” which was a surreal sequel to the 1976 film that featured his definitive screen role, “The Man Who Fell to Earth.”
Bowie wrote songs, above all, about being an outsider: an alien, a misfit, a sexual adventurer, a faraway astronaut. His music was always a mutable blend — rock, cabaret, jazz and what he called “plastic soul” — but it was suffused with genuine soul. Bowie, in turn, influenced many of today’s prominent R&B, soul, pop/rock and hip-hop artists, (remember Queen Latifah’s collab on the “Fame ’90” redux?) many of whom are already honoring him:
Bowie is to be honored with a concert at Carnegie Hall on March 31 featuring the Roots, Cyndi Lauper and the Mountain Goats.
Bowie lost his 18-month battle with cancer on Sunday night, and is survived by his son, director Duncan Jones, wife Iman and their daughter Alexandria.
To read more about Bowie, his life and career, click here. To see him perform live in 1974 on “The Dick Cavett Show” with Luther Vandross on background vocals, check out the video below:
Amalgam Comics and Coffeehouse owner Ariell R. Johnson (photo via Ariell R. Johnson)
The next time you find yourself in Philadelphia and in need of a comic books and coffee fix, there’s a destination in town that has you covered. Amalgam Comics and Coffeehouse is owned by Ariell R. Johnson, the first Black woman to open a comic book store on the East Coast.
Johnson, a Baltimore native, says she got the idea for Amalgam over 12 years ago when she was a student at Temple University. A comic books fan herself, her favorite store sat across from her coffee shop of choice. She would buy copies of comics then head across the street to have a cup of joe while reading her new finds. When the coffeehouse closed, Johnson’s wheels began turning and she began planting the early seeds for Amalgam. Amalgam rests in Philly’s up-and-coming Kensington section, and she hopes that it becomes a haven for longtime comics fans and newbies alike. There is also a push for diversity, as there are comic book lines that focus on underrepresented groups such as people of color and the LBGTQ community.
Another focus of the store is to feature not only the major lines from top companies like Marvel and DC, but also the growing number of independent comic book lines from across the nation. Johnson envisions Amalgam as a place where everyone feels welcomed and has put in place a staff that will help guide the less experienced on their comic journey.
There has been some debate whether or not Johnson is the first Black female comic store owner ever, but nonetheless she is definitely a rarity in the white and male-dominated world of comics. article by D.L. Chandler via blackamericaweb.com
“Hamilton” star Anthony Ramos (Photo: Courtesy of Anthony Ramos)
With ticket prices upwards of $1,500 and advanced sales of $57 million last November, “Hamilton” is an official Broadway juggernaut. Helmed by certified geniusLin-Manuel Miranda, the musical mixes rap, R&B and pop to tell the story of Alexander Hamilton’s ascent from penniless orphan to chief architect of the American financial system. The twist, if you haven’t heard, is that a person of color plays nearly every major character—including Hamilton, George Washington, Thomas Jefferson and Aaron Burr.
Miranda, who plays Alexander Hamilton, has said that “Hamilton” is “a story about America then, told by America now.” By casting people of color as the founders of our nation, “Hamilton” forces audiences to engage with bodies and voices that would have been categorically marginalized in colonial times.
“Hamilton” also sheds light on lesser-known figures of colonial America, including proto-abolitionist John Laurens. Laurens is played by Anthony Ramos, a 24-year-old Puerto Rican actor and singer from Brooklyn, New York. Ramos also plays Philip Hamilton, Alexander Hamilton’s eldest son. Here, in this edited and condensed interview, Ramos talks about making his Broadway debut in a blockbuster show and his journey from the tough Brooklyn neighborhood of Bushwick to The Great White Way. What’s the significance of having performers of color tell the story of the Founding Fathers?
You ever look at a painting like, “Wow, that’s so good, but I really can’t wrap my brain around why this thing that is so obscure feels so right?” “Hamilton” is that kind of painting. No one’s ever seen anything like it, and I think it’s one of the boldest pieces of art ever to hit. It’s also honest because “Hamilton“ looks like how we look like now. Can you explain more?
Lin could have written a show and had the Founding Fathers be all White men, but at the same time, the show’s about Alexander Hamilton. A lot of people didn’t know whether or not Hamilton, who grew up in the British West Indies, was half [Black]. They had no idea. So it’s only right to have the rest of the cast embody that. Daveed Diggs, who plays Thomas Jefferson, is half Jewish and half Black. Phillipa Soo,* who plays Hamilton’s wife, Eliza, is Irish and Chinese. Lin and I are Puerto Rican. Having men of color play the Founding Fathers shows that anyone could have done what they did. This is showing our public what it would have looked like if things were different.
Dwayne “The Rock” Johnson (RAY TANG/REX/SHUTTERSTOCK) HBO is expanding its relationship with “Ballers” star Dwayne “The Rock” Johnson. Johnson will produce and appear in a documentary for the network about youth prison boot camps, which is inspired by his young life. The film is set to premiere in May.
Titled “Rock and a Hard Place,” the documentary captures the lives of incarcerated young people who are granted a second chance: the opportunity to trade an extensive prison sentence for a fresh start by completing the famed Miami-Dade County Corrections & Rehabilitation Boot Camp Program. The doc chronicles the harsh six-month program, in which drill sergeants push inmates to their limit, encouraging them to learn from their past mistakes and become constructive members of society so that they’re less likely to return to prison.
Inspired by Johnson’s own experiences with the law as a youth, the wrestler-turned actor will appear in the documentary — a passion project for him — as he visits a facility to speak with a group of young offenders who are on the brink of serving long prison terms.
“By the time I was 16, I had been arrested eight or nine times for a variety of things, and can relate to what these kids are going through,” Johnson said.
Hailing from Johnson’s Seven Bucks Productions — which he co-founded with Dany Garcia — and 44 Blue Productions, Johnson, Garcia and 44 Blue president Rasha Drachkovitch will serve as executive producers, in addition to HBO’s Sheila Nevins and Matthew O’Neill and Jon Alpert who are directors on the film. HBO’s Jacqueline Glover is a supervising producer.
Garcia commented, “Miami-Dade is making a difference and truly changing lives in the process of all their hard work. That is why we wanted to make a film about it.” Drachkovitch added, “Something remarkable is happening behind the scenes of this program — we’re going to find out exactly what that is.”
“Rock and A Hard Place” marks the second collaboration between Seven Bucks Prods. and HBO, following “Ballers,” which is heading into Season 2. The project is the latest partnership between Seven Bucks and 44 Blue, following the companies’ co-produced docu-series “Hard Corps,” which is set in the competitive world of Drum Corps International and was recently greenlit at Fuse.
Aside from a stacked slate with “Hard Corps,” “Ballers” and “Rock and A Hard Place,” Johnson is staying plenty busy this year. News of the HBO doc right on the heels of Seven Bucks Prods. landing a script deal for a LAPD drama “Boost Unit” at Fox. article by Elizabeth Wagmeister via Variety.com
The three current members of Boyz II Men have been tapped to play a character popularized by just one actor in the original 1978 version of “Grease.”
The group has been cast in Fox’s production of “Grease: Live” which will air on January 31 at 7pm EST. They’ll collectively deliver a three-part harmony version of the guardian angel character made famous by Frankie Avalon.
They’ll sing the classic song “Beauty School Dropout,” a number normally addressed toward the character of Frenchy (played by Carly Rae Jepsen in this version).
The group announced the news via social media.
Nas and Rakim are part of the NY Met’s Hip Hop Project (photo via ambrosiaforheads.com)
Hip-Hop and art have once again merged in an exciting way, thanks to the inventive mind of a graduate student. Regina Flores Mir is the brains behind the Hip-Hop Project, a program being implemented at the Metropolitan Museum of Art that allows visitors to navigate the various collections with guiding narration from MCs. Lyrics from songs by artist including Missy Elliott, Notorious B.I.G., Eric B. & Rakim, Kendrick Lamar, Nas, Queen Latifah, and more are used as keywords and then cross-referenced with the Met’s massive archive of art, providing listeners with a Hip-Hop-centric blueprint by which to examine and understand the museum’s collections.
According to the Hip-Hop Project’s website, “although the rap lyric may not be directly correlated to the art work in meaning, it allows visitors to see work that they may not have otherwise known existed,” allowing for the kind of accidental discovery that could inspire Heads to establish bridges between music and art in uniquely individualized ways.
As Kari Paul wrote for Vice’s Motherboard channel, the relationship between the lyrics and pieces of art in question aren’t necessarily straightforward, but are nevertheless engaging. “For example, in ‘Juicy’ when the Notorious B.I.G. says ‘fuck all y’all hoes,’ the Hip-Hop Project pulls up an ancient hoe artifact. Users can click on it and explore this work and others,” she explains. The Hip-Hop Project’s site allows users to experience the museum tour without a trip to the Met, simply by picking a rapper and delving into the lyrical matches to items available for viewing. Heads will also appreciate the website’s domain (www.rappersdelight.nyc). article by Bonita via ambrosiaforheads.com
Ava DuVernay and Ryan Cooler in Hollywood, California. (photo via eurweb.com) ARRAY @ The Broad is a brand new, ongoing series featuring classic and contemporary films curated with an eye toward the intersection of art, history and cultural identity. ARRAY, founded in 2010 by filmmaker Ava DuVernay, is an arts collective dedicated to the amplification of films by people of color and women filmmakers.
The monthly series aims to engage audiences through post-screening conversations with a spectrum of artists and scholars for an immersive exchange of ideas and insights beyond the screen that enliven many issues addressed by artists in the Broad collection.
DuVernay launched the series on December 10, 2015, bringing to the screen the 1961 film “Paris Blues,” starring Oscar-winning actor Sidney Poitier and Golden Globe-winning actress Diahann Carroll. The 35mm print was projected at the REDCAT theater to a sold-out audience, and was immediately followed by panel discussion moderated by Ms. DuVernay with some of her celebrated colleagues; director Ryan Coogler, actress Tessa Thompson, actor Andre Holland and Grammy nominated singer Ledisi.
Made-for-TV film”Skinned” about skin bleaching to air on TV One (photo via newsone.com)
This weekend, TV One will premiere LisaRaye McCoy‘s directorial debut with the made-for-TV film Skinned, which tackles a very sensitive topic within the African-American community.
Skinned confronts colorism, pigmentocracy, and the outbreak of skin bleaching, as well as the use of lightening creams amongst many individuals in America and around the world.
According to Black Enterprise and the University of Cape Town, skin bleaching has ballooned into a $10 billion market and the long-term effects of bleaching one’s skin is currently unknown. Black Enterprise reports 35 percent of South African women bleach their skin, and 77 percent of Nigerian women bleach their skin. Director LisaRaye McCoy talks about “Skinned” on NewsOne Now (photo via newsone.com)
On Friday, McCoy, best known for her roles in The Players Club, All of Us, Single Ladies and the TV One reality series The Real McCoy, joined Roland Martin on NewsOne Now to discuss the notion of colorism within the Black community through the muse of Skinned’s main character, Jolie. Essence Magazine reports, “Jolie is a young woman who is uncomfortable with her complexion and begins to experiment with bleaching and lightening creams to alter her skin tone.”
When asked why she wanted to tackle the issue of colorism in her directorial debut, McCoy said Studio 11 Films asked her to direct the movie and once she read the script, the message behind it forced her to ask, “Why do they want a light-skinned woman to direct a dark-skinned project?”
McCoy explained the reason was controversy. She said, “Controversy now sells and I wanted to have all eyes on this epidemic, because not only is it happening in Africa and our Caribbean nations, but here in America too.”
During their conversation, McCoy mentioned the lightening of former MLB star Sammy Sosa and late King of Pop Michael Jackson as instances of skin bleaching’s prevalence in our society.
McCoy later added that skin bleaching “causes skin cancer, yet it is an over-the-counter drug.”
Psychologist Dr. Kevin Washington, a board member of The Association of Black Psychologists, also joined Martin to discuss the epidemic. He said people of color have been “indoctrinated into a system of European superiority.” “Anything that is associated with the dominate group becomes desirable,” said Dr. Washington. Adding, “Even in Cote d’Ivoire — just in May — they’ve banned skin bleaching for the purpose of health and racial identity.”
According to Washington, skin lightening “is not just a Black issue.” Dr. Washington said, “The idea of pigmentocracy takes over as a result of a hierarchy that is ascribed to the features associated with Whiteness in this country and globally.”
Watch Roland Martin, LisaRaye McCoy, and Dr. Kevin Washington discuss colorism, pigmentocracy, self-esteem, and Skinned, which premieres Saturday night at 8PM ET on TV One. article via newsone.com
11 year-old college freshman Carson Huey-You (photo via risingafrica.org)
In this day and age, 11-year olds don’t usually go to college. But it’s those who break the rules that get the most recognition. Carson Huey-You is amazing and brilliant. The young prodigy was accepted to Texas Christian University at the age of 10, where he chose to study the difficult field of Quantum Physics. In case you’ve never heard of Quantum Physics, it is defined as: The study of the behavior of matter and energy at the molecular, atomic, nuclear, and even smaller microscopic levels.
The young student speaks Mandarin Chinese fluently, and got 1770 on his SAT. He is also a very good piano player, among other things. He was so young that he wasn’t able to actually apply to the school online. It turns out that the software would not allow applicants to state that they were born in the year 2002.
The child is expected to be a college graduate by the age of 16, which would make him a year younger than the youngest graduate the school has ever had. ‘‘I’m taking calculus, physics, history and religion. Those are my four classes,’ Huey-You told CBS DFW. Claretta Huey-You and Carson Huey-You (photo via risingafrica.org)
This is not the first time that young Carson showed such promise. He was reading by the age of 1 and doing pre-algebra by the age of 5, according to his parents.
“He’s definitely very talented and also he’s very serious about his work and he really enjoys it. And that’s the best that a professor can hope for his students, right?’ Associate math professor Qao Zhang said to CBS DFW.
Carson says that his first week of college was “overwhelming, but exciting and fun.”
In the spirit of family learning and growth, Carson’s mother expects to join him on campus to get education of her own. Claretta Huey-You says that she herself is planning on going back to school to study nursing. Additionally, his brother is expected to finish high school by the age of 13. To read more, go to: risingafrica.org
Zora Neale Hurston (Photo via LIBRARY OF CONGRESS)
She was born in Notasulga, Ala., but she didn’t like the way her story started, so she rewrote it and claimed Eatonville, Fla., as her birthplace instead. She wasn’t too partial to 1891, the year her mother delivered her, so she remixed it, and for the rest of her life, she took liberties with the mathematics of her age, knocking as many as 10 years off if the notion felt good to her.
Zora Neale Hurston was a master of creative invention and reinvention, from the personal details of her own life to her artistic catalog, which included four novels, two books of folklore, an autobiography, and dozens of short stories, essays, articles and plays. She was an original black girl unboxed.
It’s appropriate today, on what would be Zora’s 125th birthday, to honor the social and cultural freedoms she cleared for black female writers who stand on her platform and use our words to tell our own stories instead of allowing them to be told to and for us. She made it OK to be bold and conflicted, to wrestle with our identities and explore our differences as we chip away at the monolith, even to sometimes contradict ourselves and swerve, midaction, without apology. Toni Morrison and Gloria Naylor, both literary geniuses, have credited Hurston as an inspiration, as do others, the famous and not so famous among us, who strip away pretense and dig into our personal wells of realness when we sit at a keyboard. We awe at the musicality of her prose and absorb what she said even in between the lines. This is what Hurston taught us, the black women creatives who came up in her shine. You don’t need anybody’s permission to love who you uniquely are.
“My mother had a number of books from the canon of black women’s literature. Among them was I Love Myself When I Am Laughing … and Then Again When I Am Looking Mean and Impressive, Alice Walker’s anthology of Hurston’s work. Just the book cover and the quote did so much to shift my thinking of what it means to be a woman. Her whole damn self is inspiring, a woman who loved herself at a time when self-hatred was expected of her. I find her to be contrary, instructive, insightful, bold and a perfect guide of who I can be if I dare.” —Writer and painter Kiini Ibura Salaam Be audacious whenever appropriate, which is pretty much always.
“I first read Their Eyes Were Watching God in college and fell in love. The lyrical prose, dynamic black female protagonist, fresh use of humor and powerful affirmation of sisterhood all bewitched me. Zora’s personal narrative, however, scared me. I aspired to write, had already started publishing some of my work, and the experience of silence and invisibility both in Zora’s work and in her life freaked me out. I was inspired by her resistance to erasure, her insistence on voiced expression, but the last years of her life seemed so tragic. I was haunted by fear of a similar kind of dispossession, even as my own writing took off after college and graduate school. Then I read Wrapped in Rainbows by Valerie Boyd. She helped me understand Zora wasn’t dispossessed at all. She was free. And she could free me.” —AuthorEisa Nefertari Ulen
Your talent will stretch across as many mediums and platforms as you will go.
“She refused to be pigeonholed into a single genre and craft. She was an amazing storyteller and cultural curator, as interested in collecting stories as she was in crafting them. Our creative lives are similar in that we study our people, culture and spirituality and write about them in plays, novels, stories and essays.” —M. Shelly Conner, Ph.D., writer and English instructor at Loyola University Chicago You can’t do black womanhood one way, and you can’t do it wrong.
“I’ve often said Zora Neale Hurston saved my life. My mother gifted me her copy of Their Eyes Were Watching God when I was 16 and immersed in agoraphobic depression. Reading Zora kept me afloat and made me realize my life would and could be bigger than my sorrows. Because she wrote so powerfully and honestly and amazingly about love and oppression and navigating turmoil from the perspective of a black woman, I wield my pen as a sword to cover the same terrain.” —Evette Dionne Brown, freelance culture, race and gender writer Know that the minutiae of everyday life can be woven into literary tapestry.
“Zora was the first writer to make me feel like I could tell a story that mattered, a story that people would listen to. Her words have so much power, she makes me feel like mine do, too.” —Author Shameka Erby Say what you have to say in only the way you can say it.
“Zora Neale Hurston was fearless. At a time when being black was frowned upon and many writers were hoping to appease white America, she reveled in our culture and wrote in its voice. Whenever I question my voice, or whether or not I should ‘tone it down’ for the ‘mainstream,’ I think of her, and I write.” —Britni Danielle, freelance journalist and novelist
Speak for the people who don’t have the opportunity to be heard.
“Her work was honest. She wrote based on her experiences with people and provided voice to the voiceless through her characters. She was a true ethnographer depicting working-class black folks through her writing. Like her, I hope to give voice to the women that I write about in my scholarly endeavors.” —VaNatta Ford, Ph.D., visiting professor of Africana studies at Williams College
Trust your own (unconventional) approaches.
“It wasn’t until recently that I realized how much influence Zora Neale Hurston’s life and work had on my own life and work as a young ethnographer. The more I learned about and read her lesser-known anthropological work on black folklore, the more I realized that she, too, struggled early on to find her voice in academia. But what made her a significant influence to me was the fact that she lived by her wits, intuition and imagination. She continued to document black life even when academics criticized her approach. She trusted herself.” —Tara L. Conley, ethnographer and doctoral candidate, Columbia University Outfit yourself in resilience and perseverance.
“My heart breaks knowing she died in poverty, buried in an unmarked grave. And yes, I know the great Alice Walker found the grave years later and purchased a headstone. Her end-of-life story, however, reminds me that literary notoriety is fickle and arbitrary and, as African-American women writers, we can help redeem the final chapter of Zora Neale Hurston’s life by never giving up in word or deed. That’s how her life and writing inspire me. Never give up. Keep going. Don’t stop. Ever. Always.” —Author Patricia Raybon
Amalgam rests in Philly’s up-and-coming Kensington section, and she hopes that it becomes a haven for longtime comics fans and newbies alike. There is also a push for diversity, as there are comic book lines that focus on underrepresented groups such as people of color and the LBGTQ community.
