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+image: stylin and profilin . jimmy black
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+intro
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On a cold February night Barack Obama paced a hastily constructed stage in midtown Manhattan. His volume
muted. His energy ostensibly lagging. Barack Obama talks to a large audience that slices sharply through racial, generational and social divides. Weeks from now, Obama’s campaign will release their first quarter
fundraising report. Establishment press will be dumbfounded over the news that this local Midwestern
politician with no national fundraising base had raised $25 million hard earned American dollars.
They will spend hours of cable television time debating how he did it without referencing nights like tonight.
There will be no discussion of the repetitive challenge Barack Obama faces when standing in front of crowds with visions of his televised triumphs dancing through their minds, or of the constant pressure on this man to be sharp, focused,witty and seductive. They will not talk about tonight. Especially since on this night Obama doesn't appear to be particularly sharp, focused, witty or seductive. Yet still he is more charismatic, more magnetic, and more eloquent than any politician has the right to be and his words, though muted, clearly
reflect the hyper-intelligent mind from which they spring.
But the audience is hoping for the “King-on-the-steps-of-the-Lincoln Memorial” speech or the “mighty-God-in-
the-Blue-States” Democratic Convention speech or, failing those two, at least an impassioned reading of one
of the more aspirational passages from his best-selling books. Instead they get what their $100 dollars
afforded them: Obama succinctly running through a to-do list of boiler plate Democratic issues - health
care…the socio-economic gap…timetables for withdrawal from Iraq - and the now familiar fawning over wife
and children. His best lines don’t fall flat but one can see where the edges are beginning to fray…
“What’s absent is not the technology but the leadership, the political will”
“Can’t do, won’t do, won’t even try to do style of government”
The resultant applause is more than polite but less than deafening. It is a respectful reaction that
demonstrates that- though every member of the motley gathering of frat boys, Wall Street suits, yuppies, buppies, bohos, upper-east siders, trustafarians, and political dissidents wants to be transformed- there is a
shared understanding that it is a cold night in February and miles to go before the already tired man before
them sleeps. As diverse as his audience is, everyone seems to understand that Obama will have to repeat
this scenario day after day after day after day. Wash. Lather. Repeat.
But it is because so many have invested their hopes for the future in him that this plan has been set before
him. To take advantage of his supernova status Obama must bring his presence to the people. And take his
presence to the people. And then take his presence to the people some more. It is more than simply the task
of several lifetimes, it his lot. This gargantuan load of carrying the divergent dreams of a growing, and in many
cases previously unengaged, constituency to the troth begs the question…
“Can that skinny frame carry all that weight?”
And for all of his gifts, Obama is, as his wife (and secret weapon) Michelle so aptly put it, “but a man.” A man
that has smoked Newports until his lips unnaturally darkened, a man that has the nervous habit of peppering
his speech with “uhs” and a man that looks awkward outside of a suit.
So here on stage is Barack Obama in the opening days of training camp in a season where is he supposed
to at least make it to the conference championship. In a race so deep… so balanced… so long, it is imperative
that the man whose name rhymes with “Osama,” who is somehow “not Black enough” to be President and
has shown no “substance” pace himself. The Obama team, filled with veterans from Chicago’s tumultuous
political theatre, seems perfectly aware of this fact and appears poised to react accordingly. Decisions like
having Michelle Obama, a decidedly reassuring presence, step in and fill in the dead spaces on cold February
nights such as this is a good start. And even on his slowest days, Obama routinely demonstrates how
promissory his unusual mix of cerebralness, charm and common sense is. But as Obama strides off exit left
and deftly maneuvers through the glad-shakers, it is Michelle’s words, fittingly enough, which linger on …
“We are ready for this.” Let the trumpets sound. |
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welcome to nat creole. you're right on time. |
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+ questions. answers
ratha nou. artist | b-boy
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+ profile
jimmy black. painter |
"My background as a b-boy and dancer definitely contributes to the motion graphics work we do. All the skills I've learned form b-boying somehow, in some form or another, translated into motion." more |
After looking at his work you will understand why we looked to Jimmy to help us kick off the promise of warm weather. Colorful figures and imagery swathed in strong colors and themes that can only hint at all of the activity that can be found within. Welcome to the world of Jimmy Black. Its beautiful here. more |
+ profile.
eric roberson. singer. songwriter
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+ essay. hip hop is not dead
angelica le minh |
Nowadays, the music industry seems a little more concerned with PHAT BEATS but this page is dedicated to the songwriters…the storytellers. For those who don’t know, allow Harmony In Life (HNL) to hip you to Eric Roberson. Eric is a successful music producer, songwriter, singer and record label owner. more
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Lest this be mistaken as some kind of self-deprecating rant on how there is no "real" hip hop left, let's start by stating explicitly that it is a celebratory piece, one that takes on the task of taking people to task. We need to be inspired again and stop choosing to stay stuck in this rut more |
+ fiction excerpt. african psycho
alain mabanckou |
+ review. k-os
brook stephenson |
I still cannot understand why my last deed, which took place only three months ago, wasn't covered by the national press or the press of the country over there. Only four insignificant lines in The Street Is Dying, a small neighborhood weekly, and the lines devoted to my crime were buried between ads for Monganga soap and No-Confidence shoes. more
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The album is great. It is better than the last two because with each album he reveals a different facet and grows as an artist.The music he makes is thick, light-hearted, heavy handed, torn, upbeat, down tempo, jazzy, show tune-ish, and catchy with healthy portions of singing, clapping and rapping. more |
+ essay. nigga image in hip hop
dr. william oliver
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+ review. george benson & al jarreau
daniel garrett |
While “the gangsta/thug,” “the player/pimp,” and “the balla” are important ideal types in the formation of masculine identity in terms of the social construction and enactment of manhood roles within the social world of hip hop, the most central of all manhood roles in hip hop culture is the role of “the nigga.” more |
George Benson and Al Jarreau’s collaborative album Givin’ It Up is a master class in how mature musicians can be creative, please the public, maintain integrity and stay fresh. Al Jarreau’s singing shows a renewal of passion and compels comparison with his best work, which is for me that of We Got By and Glow, while George Benson’s singing suggests a deep vein of feeling: masculine, sure, unchanging, and is accompanied by Benson’s ever distinctive guitar playing. more |
+ respect. ghostface
phillip harvey |
+ respect. mukhtar mai
regine zamor |
Call his development the natural expansion of the Blues into the 21st century. Five percent musings now flow from a Sunni Muslim source. He takes beats that would seem old in the hands of his contemporaries and makes them pop by slitting them open and pouring large amounts of frustration and reality inside. more |
For the first time in Pakistan’s history, Mai became the first woman to seek legal action against her government for its victimization of women, an unprecedented act for a woman who has never been to school, is illiterate and has only known a poverty stricken village as home. more |
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.:: essay. |
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angelica le minh |
Hip hop is (still) a form and instrument of social commentary and change. Many folks have struggled to ensure this status, but in the same way that other forms of resistance have become accepted into the mainstream and co-opted (like feminism, queer activism and race-based equality struggles, all of which are inextricable elements of hip hop), the unfortunate consequences of division have arisen. What is parallel in all these movements is that the lack of "consensus" from everything from who belongs to what constitutes "hip hop" in general is not a sign of death, but of evolution in many directions. continue |
Angelica LeMinh is an unapologetically emotional word obsessed exhuberant ball of energy who has a way with adjectives (and run-on sentences, apparantly). She is honing her ESP skills to channel an interview with Tariq Trotter. Check out www.trueurbanlegends.blog.com for her unsolicited two cents on everything and google her for the solicited. |
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.:: essay. |
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the nigga image in hip hop
a criminologist speaks of hip hop
dr. william oliver |
What is unique about the use of the term nigga in hip hop culture is that it has been elevated to a place of centrality in the social construction of both racial and gender identity among young African American males, particularly among those who reside in underclass communities. Furthermore, it should be noted that many young African American males who originate from stable working, middle and upper-class backgrounds also look to hip hop culture for racial and gender identity. Within the context of hip hop culture the term nigga represents a resurrection and extension of the historic “bad nigga” identity that has been typically attributed to rebellious underclass African American males by both Whites and Blacks since the slavery era. continue |
Dr. William Oliver is a professor in the Criminal Studies department at the University of Indiana. He is one of the most distinguished and knowledgeable researchers on the issue of Black criminalization and incarceration. Nat Creole thanks him for his contribution.
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.::respect respect. |
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ghostface killah
phillip harvey |
It can be argued that the last gasp of Grimy Hip Hop came on November 21st of the year 2000. It was Hip Hop in the American market before the crash and the Wu-Tang Clan was releasing their long awaited 3 rd release, The W. It had been four years since Wu-Tang Forever dropped and the anticipation was attracting interest that was usually reserved for the Puffy or Lyor Cohen type affairs. The rap industry was buzzing.
But the sand had already shifted under the super-group. The RZA had already stepped away from the captain’s chair to concentrate his creativity in other areas and the lack of his focused direction and guiding hand showed in the music. Cameras rolled as the life of Ole Dirty Bastard, the brilliant sad clown who was the heart of Wu-tang, began falling apart in front of an unsympathetic public who, blindly, extended their amusement to include the group as a whole. Loud Records, the label which had provided Wu-Tang the launch pad for its world domination strategy, was struggling in the face of the impending media consolidation maneuvers of mega corporations. And a large portion of the changing demographics of the music’s audience simply had no use for music that didn’t do for them in the club. continue |
Phillip Harvey is the publisher and editor of Nat Creole. He believes that Wu-Tang is forever.
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.:: art |
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.::questions. answers |
+art copyright 2004-2007, Ratha Nou |
ratha nou.
artist. illustrator
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My background as a b-boy and dancer definitely contributes to the motion graphics work we do. All the skills I've learned form b-boying somehow, in some form or another, translated into motion. For instance, in b-boying you must have foundation such as basic footwork, rhythm, style, etc. The same applies to motion graphics in that the foundation is the knowledge of applications such as Photoshop. If I didn't know Photoshop, there's no way I could design anything and have it ready to be animated in After Effects. So basically, you gotta pass one level to get to the next. continue |
To get a handle on all of the talents Ra possesses, visit Brothaman/ Stablished and him at brostab.com and/or www.myspace.com/rathanou. And take a very close look when you get there. There is a lot to see. |
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.:: gallery |
jimmy black.
painter.
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+ all images copyright 2007, Jimmy Black |
Jimmy’s artistic focus is the pop/commercial aesthetic expounded by Pearlstein, Lichtenstein and Peter Max. His use of pop/contemporary theory combined with psychedelic themes, highlighted by a vivid color palette allows him to create imagery based on fantasies derived from his childhood. Jimmy states” my passion for the urban Landscape inspires surreal images of faces, people and cultural settings as symbols of humanity’s quest for a common bond. As people we are all he same, what makes us special is our inherent difference, and our ability to bridge those boundaries to form a common thread.” continue |
the tour ...
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Running in the Shadows |
Paisley Lovers |
"Me as an artist is a story in it self. My family is full of Art types. Regional cats who either, preached the gossip of the Lord, “sanged the rapture,” or painted to support their family."
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"I got lucky. My Mom is an incredible artist who toiled all her life as a dress maker to make ends meet. We where told, growing up in Birmingham, Ala, poor as anyone without foundation could be, that we could achieve if we believed, and that what we aspired for, could be grasped."
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I'm a Star
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Straight Jack Malt Liquor |
"My style is simple. It is based on the aesethics of Pop art, the kind of work that flourished in the 60's. I enjoy reducing images to their truest form, whereas color becomes the adjective, for the images being created." |
"I create using line art as the basis of my drawing. I try to sketch out all imperfections before I think color. Color is where I excel." |
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Contemplations in Orange
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Sonia
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"I try to place as many colors as I can into a single work of art, simply because light is a rainbow. I attempt to blend as many monochromatic shades of one color into too each color used." |
"This process allows me to bring emotions into my work. I paint about what I know, which is things I see or visualize in life. Each day is a new day." |
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-jimmy black |
To celebrate the changing of seasons and the welcoming of spring, the good people at Nat Creole invited Jimmy Black to share some of his paintings with you. After looking at his work you will understand why we looked to Jimmy to help us kick off the promise of warm weather. Welcome to the world of Jimmy Black. Its beautiful here. To inquire about the availibility of Jimmy's work, contact him at afrotek@earthlink.net, or Nat Creole at info@natcreole.com.
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.:: music | dance |
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eric roberson.
singer. songwriter
ron smith. [harmony in life] |
“Before there were super producers, synthesizers and record labels, there was a man beating on a rock telling his story”
– Vinx
Nowadays, the music industry seems a little more concerned with PHAT BEATS but this page is dedicated to the songwriters…the storytellers. For those who don’t know, allow Harmony In Life (HNL) to hip you to Eric Roberson. Eric is a successful music producer, songwriter, singer and record label owner. He is a true player on the independent music scene. He has five full-length albums to his credit and has penned songs for Charlie Wilson, Jill Scott and Musiq Soulchild to name a few. As a producer, he has worked with Osunlade, DJ Jazzy Jeff, Redhead Kingpin and many others. Eric Roberson is also a proud alumnus of Howard University (“ain’t no party like an HU party”). Finally, Mr. Roberson is this month’s featured songwriter.
continue
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Ron Smith is one of powers behind Harmony In Life, a multi-media company created to serve as a vessel for delivering great music via various mediums. Their most well-known vehicle is the eclectic live music show at the Sugar Hill Lounge in Underground Atlanta, but Harmony In Life also encompasses an internet website, radio show and television series. Check them out at: http://www.myspace.com/harmonyinlife |
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masters at work
george benson & al jarreau
daniel garrett |
George Benson and Al Jarreau
Givin’ It Up
Producer: John Burk
Executive Producers: Glen Barros, Noel Lee, and Kevin Lee
Concord Music Group, 2006
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George Benson and Al Jarreau’s collaborative album Givin’ It Up is a master class in how mature musicians can be creative, please the public, maintain integrity and stay fresh. Al Jarreau’s singing shows a renewal of passion and compels comparison with his best work, which is for me that of We Got By and Glow, while George Benson’s singing suggests a deep vein of feeling: masculine, sure, unchanging, and is accompanied by Benson’s ever distinctive guitar playing. continue
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Daniel Garrett , a New York resident, is a graduate of the New School for Social Research, and the founder of the Cultural Politics Discussion Group at Poets House, and his work has appeared in The African, American Book Review, Art & Antiques, The Audubon Activist, Cinetext.Philo, The Compulsive Reader, Film International, Offscreen, Rain Taxi, The Review of Contemporary Fiction , and World Literature Today. |
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.:: review |
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atlantis: hymns for disco
k-os
brook stephenson |
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The album is great. It is better than the last two because with each album he reveals a different facet and grows as an artist.The music he makes is thick, light-hearted, heavy handed, torn, upbeat, down tempo, jazzy, show tune-ish, and catchy with healthy portions of singing, clapping and rapping. It is an exit, a joyful rebellion, with a floating-in-my-consciousness rock n roll sound that features sloppy drums, crisp snares, and gritty guitar riffs that are interpolated with cuts and scratches. It is art. continue |
brook stephenson is the literary editor of Nat Creole but his knowledge expands beyond the written word. hit him up at bs@natcreole.com. |
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.::literature | travel |
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.::booklist |
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If rigorous academic readings bear fruit in knowledge,
then reading for interest or pleasure must bear similar fruit in imagination |
Black Panther: The Revolutionary Art of
Emory Douglass
Sam Durant
ISBN: 0-8478-2844-8
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Infidel
Ayaan Hirsi Ali
ISBN: 0-7432-8968-4
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Dancing to "Almendra"
Maya Montero
ISBN: 0-374-10277-5
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An inspirational work that displays a slice of African-American life that has been little seen in mainstream press: the Black Panther Party literature, life, publications and promotions. This book walks readers through Douglas’ work, including a question and answer session with the artist himself, and fully illustrates the energy and fervor of the Black Panther Party. Not to be missed, this collector’s item of black history needs to be discussed with and displayed for the entire family. |
Generating buzz all over the globe, Ayaan Hirsi Ali, a former Dutch Parliament member, has created quite a stir with her vivid descriptions of life growing up Muslim and Somali in East Africa. If you are interested in the controversy and discussion regarding the account of Muslim life found in the book, well, read it because there are those that say Ali’s youth as a Muslim female is fairly typical despite the numerous hardships she encounters. In any regard, the book demonstrates that there is much is to be understood about the experience of an average female Muslim. |
Cuba is the backdrop for this murder mystery, set in the 1950’s during Batista’s reign and Castro’s rise to power, that traces the true events of organized crime captain Umberto Anastasia’s assassination. The protagonist is a journalist with a yen for covering organized crime but a pen used only for the trivial until his big chance caries him from Cuba to New York and back. The ninth novel from Maya Montero, those who enjoy crime noir sprinkled with facts of history (these crime figures are real) will enjoy it. The story is richly told with vivid metaphors and similes of a Cuba of old. |
Measuring Time
Helon Habila
ISBN: 0-393-05251-6
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No Name in the Street
James Baldwin
ISBN: 0-307-27592-2
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Measuring Time is set in a small village in Nigeria and centers on the lives of two brothers who take different paths to manhood. One chooses crime and the other history. It is sadly funny but crime usually is the precursor of history and this storyteller’s tale of two brothers is in full alignment with this idea. A notable poet and prose writer, Habila has also published an award winning collection of short stories in the UK titled Waiting for an Angel. |
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You can never go wrong with Baldwin especially when he is writing a memoir of his life and times. This effort is richly basted in his unique perspective as a black man who has left America only to come face to face with his American-ness, for all that it is worth, in Europe and Africa. No other writer has so eloquently brought chickens home to roost than this one. |
To contact the chef, Brook Stephenson, our literary editor, send an email to bs@natcreole.com. |
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.::excerpt. |
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african psycho
alain mabanckou |
I still cannot understand why my last deed, which took place only three months ago, wasn't covered by the national press or the press of the country over there. Only four insignificant lines in The Street Is Dying, a small neighborhood weekly, and the lines devoted to my crime were buried between ads for Monganga soap and No-Confidence shoes. As I have kept the clipping, I can't help laughing when I read it again:
"A nurse at the Adolphe-Cisse hospital was assaulted by a sexual maniac upon her return home from work. A complaint was lodged at the police station of the He-Who-Drinks-Water-Is-An-Idiot neighborhood." continue |
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nat creole. |
Founder/ Editor:
Phillip Harvey
Managing Editor:
Kathi Davis
Literary Editor:
Brook Stephenson
Creative Counsel:
Alain Mabanckou
Al Burton
Alexis Peskine
Alia Jones
Akintola
Hanif
Angelica Le Minh
Annika Connor
Arthur Alleyne
A. Van Jordan
Benjamin Austen
CD
Daniel Garrett
Delphine Diallo
Delphine Fawandu-Buford
DJ Center
DJ Silverboombox
Douglass Singleton
Dr William Oliver
Ed Myers
Ellia
Bisker
Ethan Pines
Farid Abdi
Gordon
Manning
Howard
Martin
James Adolphus
Janee' Bolden
Jerry A. Rodriguez
Jimmy Black
John Ballon
Jon Lowenstein
Julian Conway Wilson Jr
Kenji Jasper
Kijua Sanders-Mcmurtry
Kirsten
Telfer Beith
Kouassi
Kra Magali
Kurokobushi
Larry Scott
Latasha N. Nevada Diggs
Laylah Amatullah Barrayn
Malaika Adero
Marcia Jones
María Carolina Baulo
Michael
Romanos
Mike Quain
Miles Marshall Lewis
Milton Allimadi
Mwalim
N. Corren Conway
Nia Woods Haydel
Nicole Thompson
Nyala Wright
Nelson Abdi
One9
Ocean Morisset
Ratha Nou
Ray Llanos
Reedfa
Regine Zamor
Renaldo Davidson
Robert Nolan
Ron Smith
Ross Ford
Sekou Aka Ducarmel
Shannon Cook
Sean Bidder
Steve Lodder
Sunni Knight
Tiago Molinos
Wang Shanshan
Yang Yingshi
Yazmine Parrish
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