The United States of America is a country consisting of 50 states, a federal district, five unincorporated territories, 326 Indian reservations, and 3.8m square miles of land. It’s huge in every sense of the word and the nation’s influence on everything on Planet Earth is never understated. Read more about it on this tag page.
Motorola, Bauer & Black, and 7 Up—just some of the names that Thomas Miller worked on during his career at Goldsholl Associates. He’s also best known for his mosaics in the lobby of the DuSable Museum of African-American History in Chicago. The Black American designer worked on everything from logo design to animation, but, like many of his peers in the 20th century, his journey was fraught with racism:
“I had to be super-qualified,” he told Fitzpatrick. “I took things in art that weren’t necessary, like airbrushing and retouching and things you didn’t have to do because I wanted to be prepared in case someone would ask me to. They couldn’t use that as an excuse for me being not qualified.” In the design profession, he discovered another rigid color line: a racism more genteel than a Klan march but no less degrading for the young professional. The Ray-Vogue School, for instance, limited the number of Black students who could enroll. On the job market, Miller experienced racism in moments that could have come from the pages of Ralph Ellison’s Invisible Man. “You’re very talented,” one prospective employer told Miller. “Too bad you are so dark.” Another suggested he could work but only behind a screen, out of sight from clients.
Renowned for her explorations of the cultural and political aspects of hair — specifically Black hair — Clark does not disappoint in this dizzying survey of 100 works executed over the last 25 years. Essays in the catalogue adroitly outline the polemics of black hair in its natural state in our current societal context, complement Clark’s seeming endless hirsute permutations.
The pieces are remarkable in their depictions of the US and their uses of Black hair, something heavily weaponised and abused in that same country. My favourite is “Afro Abe II” (above), a five-dollar bill but Abraham Lincoln has an Afro. I love it so much.
In Boston, Brutalism is tied closely to City Hall, but the infamous building is far from the only “concrete monstrosity” in the city. Throughout the 1960s and 70s, top architects from around the world took advantage of a rebuilding Boston to design and build what they saw as futuristic, expressive works of art. Brutalism hasn’t gained many fans since then, but public opinion may slowly be changing.
Boston’s City Hall reminds me a lot of the old Central Library in Birmingham (UK, since demolished in 2016) thanks to its inverted ziggurat structure.
Archiving is so important in an information era that favours the new and quickly discards the old when it’s deemed surplus to requirements (read: it’s not making profit). This is especially true for Black cultures and Black Archives works to change that.
[…] Through an evolving visual exploration, Black Archives provides a dynamic accessibility to a Black past, present, and future.
Going beyond the norm, its lens examines the nuance of Black life: alive and ever-vibrant to both the everyday and iconic — providing insight and inspiration to those seeking to understand the legacies that preceded their own.
During my Frasier journey, I found myself asking certain questions time and time again. Will Frasier ever stop getting hoisted by his own petard? How did the dog who plays Eddie become such a good actor? Why is this fake National cover of the Frasier theme song better than every other National song? God, Niles is so horny. (More of a comment than a question.) And, most importantly: How the hell did Frasier afford his apartment?
Update: Apparently, a Frasier writer revealed why: they decided he’d “invested the money from his Boston practice very wisely (perhaps in a friend’s Seattle software start-up)”. Thanks to @scottgal for the info and the article he referenced!
For The Washington Post, Nina Banks (associate professor of economics at Bucknell University) paid tribute to Sadie Tanner Mossell Alexander, the first African American to gain a doctoral degree in economics. She suggested that Alexander’s ideology could be the key to solving various problems in the US, particularly for African-Americans:
As a proponent of economic justice, Alexander believed that all people had a right to jobs that paid livable wages, and she viewed this as an essential foundation for enjoying democratic rights. As such, she called on the government to provide an equitable distribution of national income and to create public works programs that addressed urgent social needs tied to poverty and deprivation.
In the 1960s, Black anger over mistreatment in urban slums, where decades of White racial hostility and public policy had confined them, and a lack of economic access erupted in a string of uprisings in cities of all shapes and sizes.
Alexander saw the moral dimension of the civil rights cause, but uniquely, she also understood the economic dynamic, thanks to her training. She knew that despite White claims to the contrary, economic uncertainty among Whites was not the cause of racial violence plaguing Black lives. Rather, it merely acted as an accelerant that intensified their scapegoating and racial animus toward Black Americans.
Yet, Alexander’s work and advice got largely ignored.
Videos of carefree roller skaters began to dominate social media feeds over the last year. In the first lockdown, after dismissing it as something I was too old for, I caved to the social pressure and downloaded TikTok. Soon my feed was filled with bite-sized videos of skaters who looked like me effortlessly flowing, swaying and sashaying with little regard for the downward pull of gravity. Their joy was infectious – roller skating looked like fun I didn’t know I was allowed to have as an adult.
Code-switching maybe matters less now than it would have two years ago because of George Floyd. On positive days, I think these conversations are allowing Black people to speak up more. On negative days, I think that’s only because it’s in vogue for now and you can only speak up so much.
We know why diversity is important in a lot of ways, but I wanted my book to look at how it influences each person on an individual level.
Q. Were you worried about pulling the rug out from under readers or was that the goal?
It’s my first book, so I’m not saying it’s perfect. But I love twist endings and “The Twilight Zone,” and “Get Out” was definitely an inspiration. I definitely knew where it was going when I started writing. I love the end of “Night of the Living Dead,” which is so realistic about Black experience. It’s still America, so stuff is going to happen to you if you’re Black.
People asked, “Are you sure about this ending?” Yeah, I think it’s pretty necessary. Any other ending wouldn’t be as impactful. I really want people to talk about what happens to Nella and what could her [White] co-workers have done if they’d really been listening.
When I was a kid, I used to love the Goosebumps series, and they had a choose your own adventure and I loved that there were multiple possible endings; I left some things open with this book so readers can think about it. I didn’t want to tie the ending in a neat bow.
Included here among various alternatives for Tower Bridge, the Washington Monument, The Chrysler building and St. Paul’s Cathedral are proposed extensions to the White House, a 5 million tomb alternative to London’s famous Victorian cemeteries and a particularly uninspiring second place entry for the Sydney Opera House competition. My personal favorite, however is the Triumphal Elephant which could have capped off the Champs Elysees in Paris. If someone could only find the rejected competition entry for what became the Eiffel Tower, which consisted of a giant replica of a Guillotine.
Some I wish existed, some I’m glad didn’t become reality, and some I would like to see and then never see again.
Known to many as “The Darth Vader House,” this contemporary masterpiece is one not to miss. Over 7,000 sq. ft. of living area, principal bedroom down, open rooms, massive windows, a museum home setting on a prestigious West University street. Custom throughout with ample closets, 4-car garage, versatile living spaces, large lot. Nothing else like it in the area. Come visit us Thursday, 12-2.
So booking.com, in collaboration with Superfly X is offering The FRIENDS™ Experience and a chance to stay overnight in Monica and Rachel’s apartment visit the place where Ross said “PIVOT!”, and relax on Joey and Chandler’s Barcaloungers.
As much as I loved the show and reference it frequently, I’m so over these Friends fan experiences. The show ended 17 years ago; it’s been off-air longer than it was on-air. And, yes, I know they’re doing a reunion series, and this is good for business but I’m tired. But I did realise one thing: the apartment decor was awful. Purple and yellow with a random assortment of furniture? What were they thinking? I guess that passed for decor in the 90s but looking at it now, it’s bad.
I watched Concrete Cowboy a few weeks ago and while I liked it and found it interesting, I felt like it was missing something. It’s by no means the first movie about Black cowboys (see: The Black Cowboy, Harlem Rides the Range, and Black Rodeo) it’s the most high-profile, mixing Hollywood actors with IRL cowboys.
But next week, there’ll be a new film putting its hat into the ring so to speak and it’s called Room Rodeo.
The film is about Jamil, a Chicago boy trying to prove he is a descendant of Bill Pickett, a Black cowboy, rodeo, actor, and ProRodeo Hall of Famer. It stars D’Andre Davis as Jamil, and mixes drama with documentary interviews and footage of Black cowboys and historians.
His dad stands him up. He acts out. Now Jamil is on punishment in his room. He’s also finally reached the fifth grade and has a history project due.
If only his dad would tell him about his great grandpa, rodeo star Billie P – like he promised. But just when Jamil’s dad calls and things begin to look up, the cool kid from class calls with a humiliating declaration: Black cowboys aren’t real. Now, Jamil must drum up the courage to embark on a quest to discover the truth on his own – all from the comfort of his room. With some help from a dubious heirloom, Jamil puts aside whispers of doubt to venture into a fantasy dreamscape where he claims authorship of his own story.
Growing up in Los Angeles in the 1960’s, there were two types of people — those who read the Los Angeles Times, and those who read the Los Angeles Herald-Examiner — and our family was of that latter persuasion — Dad not knowing that the “Herald” wasn’t the best of papers, Mom not really caring, and me delighted just to be able to see Hubenthal’s cartoons each day.
Hubenthal. I’d heard it said as “hoo-ben-thal” once or twice, yet Dad had always pronounced it (rightly) “hugh-ben-thal”, and while at the time I wasn’t sure which was correct, one thing was certain: this Hubenthal could draw.
Before Cartoon Network’s Adult Swim block of adult programming, there was Nickelodeon’s Nick at Nite, launched in 1985. The programming block, which is still on the air today, caters for older audiences isn’t as loose as Adult Swim in terms of risqué content but it’s far from puritanical.
Back in 1999, there was a short called The Brady-Nixon Connection which looked at certain similarities between The Brady Bunch and President Nixon. In truth, there was no connection but it served as a unique way of promoting the show which aired in 1995, 1998–2003, and 2012.