Friday, February 27, 2015

You know that moment

Thursday, February 26, 2015

TBT- Carl Thomas



Monday, February 23, 2015

I can't breathe

Nina



Miss Nina Simone. 

Cerebral vortex ft kissey Asplund - Hey Cat

The puppet master




In this world  sometimes you must play the puppet or else they will cut your (financial and/or social) strings.

-alieuxgeorge

A long walk

Or maybe we can see a movie
Or maybe we can see a play on Saturday (Saturday)
Or maybe we can roll a tree and feel the breeze and listen to a symphony
Or maybe chill and just be, or maybe
Maybe we can take a cruise and listen to the Roots or maybe eat some passion fruit
Or maybe cry to the blues
Or maybe we could just be silent

We were robbed


Ava Du Vernay

The annual awards show has drawn criticism over what many see as snubs for the director and star of the civil rights drama "Selma," along with the paucity of diversity among the nominees.
This year’s 20 acting nominee slots are filled entirely by white performers for only the second time since 1998.
Oscars host Neil Patrick Harris even kicked off the show's opening sequence by quipping, "Tonight we honor Hollywood's best and whitest."
Such an opening for the show "makes the whole world realize that the academy has a diversity problem that is not going to go away," Ava DuVernay, the director of Selma, said in an interview.
A Times study from three years ago revealed that the academy was 94% white, with a median age of 63.
Since then, the academy has added more women and members of minority groups -- but according to the most recent survey, the percentage of older white men in the organization has dipped by only about 1 percentage point.
The academy is composed of about 6,000 members, each with lifetime terms.
“We salute all the artists being celebrated today at the Oscars while demanding an examination of the sidelining and under-representation of artists of color and women artists,” Ava  said in the statement.
“Art can change the world, and the world is more diverse than this year's honorees.”
Here are my thoughts on the matter: I'm going to stop seeking validation from organizations whose foundations were not meant to include us in the first place.


Saturday, February 21, 2015

50 years ago today

Malcolm Little,  known as Malcolm X,   was assassinated.



"Be peaceful, be courteous, obey the law, respect everyone; but if someone puts his hand on you, send him to the cemetery."

Thursday, February 19, 2015

R I P

The future is already here. It's just unevenly distributed.



                              ~ William Gibson, Neuromancer

Wednesday, February 18, 2015

Eric Darius - Can't Get Enough of Your Love Baby.


Ruby Dee & Ossie Davis

Thank you God

My alarm clock was set correctly though it didn't wake me up this morning. It was silent. My eyes opened at 5:46 am. However when it blasts D'Angelo's song The Line each morning, at 5:45 am it's God that awakens me, not the alarm clock.  Thank you , God for waking me up and blessing me to see another day!

Tuesday, February 17, 2015

my luck

the optimist in me says that today i am one day closer to the love of my life.  the pessimist in me says i am one day closer to death.  i hope the latter is much further away from the former.

Working man



He used to gaze at the moon and the stars, and fireflies endlessly.
Then things changed. He got a little busy, then a little more.

Now his days are an infinite repeating loop of work then home and home from work.

Boom!

THROUGH A LENS DARKLY: BLACK PHOTOGRAPHERS AND THE EMERGENCE OF A PEOPLE - Official Trailer



Now on Educational DVD! Visit www.firstrunfeatures.com/throughalensdar­kly_educational.html

Rare glimpses of black soldiers from the Civil War come into view, their presence asking nothing more than to be remembered, if not celebrated. The documentary film Through A Lens Darkly draws audiences deep into a world of black photography, and will broadcast Monday on the PBS program Independent Lens.
The film considers racist stereotypes and horrific shots from lynchings, and finds contrast and creates tension in showing African-Americans protesting such acts and attitudes in the early 20th century. "A MAN WAS LYNCHED YESTERDAY," on a huge banner, reads like a headline suspended above the streets of Harlem in the 20th century.
The film's subtitle resolves any mystery — Black Photographers and the Emergence of A People. Here, African-American photographers are central to telling, preserving and reclaiming stories long distorted or hidden. NPR recently spoke with Thomas Allen Harris and Deborah Willis about the film, a project that's taken 10 years to complete.

Tell us about the film and what you set out to do?

Thomas Allen Harris: Ultimately, the film blends two ideas — a kind of narrative history of the evolution of African-American photography-professional photographers and vernacular photographers in making and stories found in our family albums. And against that I also included this third element — which was the way of representation — what images were people fighting against, confronting, being assaulted by in the larger American family album. And those were images that dominate the marketplace in terms of African-Americans.
And they're principally images that serve to disenfranchise — the images of babies with the text underneath saying "Alligator Bait," naked African-American babies, all the way to pictures of elders as ignorant, servile — not much more in terms of their humanity besides what they can do to service white people.
The film is actually basically a war of images. It's a memoir, and I'm in the film. And so, even though I've been in a lot of my work, I didn't realize how fully I would be in this film until the last half a year, when I was asked really to address what was at risk for me as an African-American man, as a filmmaker, as a subject.

What is at stake as an African-American artist and subject in 2015?

Harris: Understanding that my life has value, that I'm connected to a larger movement and a larger community — community that has value but is also under assault. On a physical level, and a representational level, they're both intertwined and most people do not give credence to that.
So, the representation of African-Americans as less than human ... images of black face, the stereotypical images, have been so proliferated for so long, that they're just beneath the surface, so it's almost like they're an understood truth.
We're not that far removed from that space of slavery, which really forms a bedrock of the society and how we decide who's valuable and who's not, who's part of the family and whose not, who's a citizen and who's not.

How does this film fit into the larger body of work you've done in discovering, restoring and curating black photography and culture?

Deborah Willis: It's the culmination of years since 1972, I've been researching African-American photographers and the history of black images in terms of looking for black photographers and images that told a different story that has been normally seen of black people.
And so having an opportunity to create the film is really helpful because it began to create an acknowledgment of the accomplishments of black photographers as entrepreneurs as well as artists, also as documentarians and photojournalists. And so I wanted to explore the different ways to see African-American art as both political and as aesthetic.
And so that's a culmination of years — and it was really hard to actually edit and find photographers who could represent categories such as portraiture in the early years and art and activism. And so this was an opportunity to explore and make a film — which there are a number people still not in — but they're on the cutting room floor that created a focus of what photography meant as a social tool, family object as well as and an art object.

The film uses the conceit or guiding principle of the family album as a framework for the film. How successful is the device in the film?

Willis: I think it's really successful. Because what it meant for a family to actually construct and create their own identity outside what had happened in the past. So it's a way of creating a journal, and also the act of spirituality and celebration. And that's something that's part of the everyday story of black families.
One of the central characters for me in the film is [artist] Carrie Mae Weems, who crosses boundaries with family photographs, to art objects, to works of rights and civil rights. And so, the family is a central story, but it also shows the family when they're about to vote, when they're about to make a change in their family, through family structure and growth with children and education. And you can see that in the way Carrie Mae Weems works through the film.

The film addresses invisibility — the notion that black people were often ignored, neglected, even kept out of the family album of photographs, in a national sense. Black subjects here are deemed worthy of documenting. The images of black people are defended by the film and these photographers as a valid part of humanity. In addition, you include black LGBT subjects in the film. Talk about how difficult was your decision to include your Great Aunt Eunice and Great Uncle Thomas, a gay man you say was known by the name Sugar in the film.

Harris: It wasn't very difficult at all. I'm out, and I've done a lot of work on LGBT stuff. And also my brother's out (artist Lyle Ashton Harris), and we're very much part of our family, and our narrative. I think black people are hidden within the American family album in terms of us being family/citizens, in the national family album. But then who's hidden within our family album — who's hidden within our family albums often tend to be LGBT people. And of those LGBT people, the people who tend to be most hidden, the out, effeminate gay males — they tend to be more hidden than maybe the butch aunt. And because the space of femininity might encompass a little bit more of this range of expression. Rather than within manhood, it's very limited. I really wanted to talk about that.
So, this idea of a family album is very flexible theme and strategy to cover a lot of space.

What do you want viewers to take away from the film? Are there multiple reasons for seeing it?

Willis: Pure joy. I want people to see a much more complex life in understanding black America. I'd like for people to see that black people were actively involved in movements, in the structure of education, in the civil rights movement, and their own emancipation. These are stories missing from our history books. I missed them when I was in school, in elementary school. I missed a number of stories — why the education system missed some of these narratives. There are so many stories I'd love to see: the American side, the American story, that's the broader American story when we think about African-American culture.

Do you have ideas as to why your father's family shied away from photographing themselves?

Harris: I think it has to do with education, self-esteem. They were immigrants. There was also an element of them being dark-skinned, both in the American culture and the African-American culture, that denigrates dark skin and the African aspects of ourselves, downplays that.
You could be the most beautiful person and because society equates dark skin with undesirability then, of course, you don't have that sense of worth, sense of beauty. And that's what's amazing about Deborah Willis when she talks about the connection between beauty and power for women as well as men. And also going back to the black arts movement how they tried to reshape that narrative. Each generation has to reconcile itself with the issue that they cannot take the standard which is the national or cultural standard, that they have to find some other standard to see this other kind of strength, power and beauty within themselves. Otherwise you're crushed.

Will there be a time when the larger American family album joins up with this huge catalogue of black photography? Or will they always be parallel but separate tracks?

Willis: I think there'll be a time when it's going to intermingle, I really believe it. I see beauty in images that are created, that I think across the board, all of us, as humans and as responsible people, want a lifestyle that others have in terms of family. Images as individuals, and not being as grouped in one. I think that's something many of us want. And I believe photography has that opportunity to create that kind of experience. I believe it will happen.

Copyright 2015 NPR. To see more, visit http://www.npr.org/.

Monday, February 16, 2015

In the past 72 hours



  • I learned another life lesson
  • I baked a dozen red velvet cupcakes for a friend's birthday ( she had been hinting about it for weeks) and she never returned my call to pick them up 
  • I cried for maybe 5 minutes total
  • I wrote a poem
  • I seriously considered unfriending every facebook 'friend' that I never heard from for over 2 years ( which accounts for about 95%) 
  • I alternated between gratefulness and sadness
  • I made $200 bucks selling cakes and cupcakes


Monday, February 9, 2015

No judgment.

I will no longer judge the people who commit certain acts or make certain sacrifices in the name of love. I have done some things that I swore  I would never do- had it not been because I was in love , and afraid of losing her.

Ivory Coast beats Ghana to win African Nations Cup in penalty shoot-out

Ivory Coast has finally won the African Nations Cup after a decade of close calls as it edged neighbour Ghana 9-8 on penalties after a goalless draw following extra time at Estadio de Bata.
Goalkeeper Boubacar Barry converted the decisive spot kick on Monday morning to deliver the trophy for a country which had been heavily fancied for the previous five tournaments but flopped in all of them.
It was a second title for Ivory Coast whose only previous success came when it also beat Ghana in a similar post-match marathon shootout 11-10 in Dakar in 1992.
Two hours of action delivered few chances as the tired-looking teams fought out an error-strewn midfield battle, although Ghana's Christian Atsu came close to scoring with a snap shot that hit the post after 26 minutes.
Yaya Toure had the game's first effort on goal after 10 minutes but his free kick went straight into Brimah's arms.
Gervinho fed Max Gradel with a clear chance on the right of the attack soon after but he blasted a hurried shot wide.
Ghana's first effort was inches away from a goal as Andre Ayew weaved across the penalty box before feeding Atsu, whose first time shot hit the upright before bouncing back into play.
An Ivorian mistake gave Ghana the first chance of the second half with Atsu speeding away before passing inside to Asamoah Gyan, who was off target with his effort.
Gyan had been doubtful for the final with a pelvic injury but passed a late fitness test.
Mubarak Wakaso blasted over the top with a strong effort from well outside the penalty area midway through the second half as the midfield stranglehold kept chances to a minimum.
However, Atsu's strong running down the right tested the Ivorian defence again when he provided Gyan without another chance after 72 minutes but it was blocked.
As the game approached 90 minutes a scramble in the Ghana penalty area, after Brimah could only parry the ball, gave Ivorian substitute Seydou Doumbia a half-chance but he too was thwarted by a quick defensive recovery.
Doumbia missed another half-chance at the start of the second half of extra time when striker Gervinho found a second wind and the game had to go to penalties to separate the teams.
Ghana's agonising shootout defeat means they are still waiting for their first Nations Cup success since 1982.
Morocco were stripped of the tournament having asked for a postponement amid concerns over the spread of the Ebola virus and have been banned from the next two African Nations Cups.
--Reuters

#theystllmatter


"Albums. Remember those? Albums still matter. Like books and black lives. Albums still matter."


Prince delivered a pointed statement while taking the stage at the 57th annual Grammy.
The music icon, decked out in an outlandish orange getup, was presenting the award for album of the year at the Staples Center on Sunday. Beck won the prize.

Thursday, February 5, 2015

I wish

Last night I had received a call to pick up a drunk friends wife from a bar. Her husband was away on business.  She thanked me for always being available. Talking about my love life, she began crying for me. Sobbing actually.

I wish people would stop telling me how good and sweet and thoughtful and kind  I am and that I'm such a great cook and baker and friend, and tell me where my love is, or introduce me to someone--

My daily habit

Wednesday, February 4, 2015

I'll set this down right here

/62\

Just a thought.

How can I?

Just a thought

If you pushed away the only person left who treated you better than you deserved, then I feel sorry for you because no else will have your back like me.

Quote

Jill Scott said

Dark and lovely

Afro Eyes

:)

Note to self

:62:

Tuesday, February 3, 2015

On Being Powerful

When I dare to be powerful – to use my strength in the service of my vision, then it becomes less and less important whether I am afraid.

                                                                     -Audre Lorde