Culture Connection – Interview w/ Ashley Sky Walker

Photographer Ashley Sky Walker

Brother Malcolm chats with photographer and fashion buff Ashley Sky Walker. A gifted artist, Walker has a gorgeous eye for juxtaposing urban elements with human emotion. Listen in as he talks about his start in fashion with Diane Von Furstenberg, his alma mater Howard University and his recent shoot for Essence magazine.

Connect with Ashley at:

Ashley Sky Walker Photography

Twitter: @ashleyskywalker

Tumblr: Instant Elation

Please leave your comments and feedback below, or reach Brother Malcolm directly at:

Twitter: @caliyalie

Email: cultureconnection@blackisonline.com

Hotline: (323) 455-4219

 

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LA EVENTS: ZAMFEST Arts & Music Festival

LA Babies, if you are looking to engage your wee ones in something new, I highly suggest you attend the ZAMFEST Arts & Music Festival this Sunday, September 23rd in West Los Angeles. Slated for the Z generation – kids 10 and younger – this event will expose our kids to activities they normally would not find all in one place including:

-Photography

-Turntablism

-Graffiti Art

-Hip Hop Dance

-Songwriting

and so much more!

Details for this events are as follows:

ZAMFEST Arts & Music Festival

Sunday, September 23, 2012

10am – 5pm

University High School

Pre-sale tickets: $5  General Admission: $8  Kids 3 and under: FREE

SEE YOU THERE!!!

The Fall of Black Music – Part 2

Black Americans have contributed to the advancement of American society in an endless number of ways. Intellectually, technologically, politically, militarily, and of course by the captivity of our labor our affect on the shaping of the United States of America can hardly be denied. But it might not be wrong to say that our greatest collective legacy in this country has lied in the cultural sphere, particularly through our art and our music. There’s an easy reason for this. In literature, academics and other areas where some measure of organized education has been necessary to gain a mastery of the field, such education was prohibited to the African-American, first by slavery, and then for all intents and purposes by discrimination and segregation. Such barriers to education have declined precipitously across the course of one-hundred and forty-five years, but we are still enduring the ills of a long history of educational disenfranchisement, one that to some extent persists to this day. But in the area of music (and certainly dance and culinary arts) we didn’t need any training. We brought our music over from Africa, and although the precise forms and languages of our former arts were lost to us, our innate, human urge to sing, to dance, and to express ourselves in song was not lost. Music was one of the few consolations for our circumstances the slave master, whether by whip, dog, or separation, could not take away from us. The deeper our pain, the more powerful our music; the purer our songs,the more resonant our expression of the longings of the human soul. Even a cultural critic as narrow minded as Joseph Goebbels, the virulently racist propaganda minister of Adolf Hitler’s Nazi empire, commented that the most distinctive music product of American culture historically was the spirituals of the negro. That the Nazi’s could recognize the power of such music is simply a testament to the depth of its quality.

With the Blues and later Rhythm and Blues came expressions of an evolving but similar pain. Not all music of the forties and fifties dealt directly with the ills of societal injustice and the pain of our persecution, but when you listen to Billie Holiday conjure the deathly imagery of blacks lynched, swinging from trees in the song Strange Fruit, or the soaring somberness of Sam Cooke’s A Change is Gonna Come, it is easy to hear in that the same mourning that colors Old Man River and other dark, somber songs of sadness and lament that arose from the pain of our bondage. That pain has morphed in recent times, but has never disappeared. It lives on, expressed with increasing complexity concurrent with the sprawling urbanization and societal inequity overwhelming the faith and the worldview of our ghetto youth. Our humble mourning of ages gone by has become profane, militant and directionless anger in the noise of many rappers, but if you listen past the cursing and the anger of a song like Tupac Shakur’s They Don’t Give a F–k about Us, or if you bother to pay attention to the words of Momma’s Just a Little Girl, it is not hard to tell that the last agony grows from the same roots as the first. Inasmuch as our music has had a particular power in the heart of America and over the imagination of the world it starts in this, that so much of it grows directly from our experience, that we sing and we play what we know from life.

Of course, not all black music is sorrowful. In the very same way the joy of our music, it’s love and romance, has contributed a warmth and a genuineness to American music that too comes from the hardness of our circumstance. What’s true of black music is also true of Jewish music and surely other peoples who have known oppression, and that is that the happiest and the loving-est music comes from those who are well acquainted with sadness. In the case of black music you can’t talk about the music of Sam Cooke (think You Send Me) or Jackie Wilson (think To Be Loved) or Solomon Burke or Donny Hathaway or Ray Charles without calling to mind a body of romantic music to equal a treatise on love for all time (to say nothing of the great musicians and composers that permeate the history of black music, from Louis Armstrong, to Duke Ellington to Miles Davis). Whereas the politics of race and civil rights divided Americans black and white in so many ways, the universality of American music put crack after crack in the color barrier, and brought blacks and whites together in at least this one thing over time. This tradition continued with the great groups of the Motown era, including of course the Temptations, the Supremes, Marvin Gaye, Stevie Wonder, not to mention the many greats outside of Motown like Aretha Franklin, The Platters and near countless others.

Our music isn’t primarily about love anymore; nor does it find so much time to soulfully reflect upon the smaller and simpler things and battles of life that music helps to illuminate. As the years passed and television and the multimedia era enveloped the years, songs like Tracy Chapman’s Fast Car, a song about a woman who spends her life putting her own dreams on hold first for an irresponsible father, than an unreliable lover, and finally for their children as a single mother, did not come along much anymore. On occasion there is an India Arie, who sings about things that are real. On occasion an Anthony Hamilton can rise to the task. But the overflow of materialism, of gratuitousness and even violence that persists in our music today was never there before. As image transcended substance love was replaced by lust in our music, to great degree, and inasmuch as this is true our music is not as inspiring as it once was. What is troubling is that black people as a whole have little inkling as to how much weaker this has made us as a people.

The Ascendancy of Black America (Part Four of Four)

I believe that the sun shines brightly on the African American future, just as I ultimately believe that this country’s best days are still ahead of it. I believe in the cliche that the future is what you make it. I believe in the power of belief itself, and that faith in a righteous cause is in time rewarded. Those black American’s who will accept it have before them a righteous cause in which to believe. It is the cause of black nationalism but it is also the cause of black patriotism. It is the reclamation of black culture from the hands of degenerate cultural influences and amoral corporate interests. It is the understanding that, whether we originally chose it or not we have 400 hundred years of blood and sweat invested in this country and are only now coming to understand that we have both the right and the ability to lead it. Barack Obama, whether he remains in office but another one and a half years or another five and a half years, will not be president forever. Let his ascendency not be the end of The Ascendancy of Black America. Let it be but another great step forward on the way to the promised land that King saw long before.

The dream of Martin Luther King, Jr. is the vision that has propelled black America to this fateful moment in time, just as it has guided America towards the fuller realization of the spirit of freedom and equality contained in her founding documents. King’s dream that one day “little black boys and black girls will be able to join hands with little white boys and white girls as sisters and brothers” calls us to remember that even as black Americans our ultimate allegiance in this world is to the human race as a whole, recognizing that in God we are one human family. This was the vision of Dr. King and this is the conclusion drawn by our founding ideals as illuminated in the simple words that “all men are created equal.” The election of President Obama was indeed striking proof of the power of these ideals as they have matured and developed throughout our collective American experience, culminating in in the compelling story of a single man who found himself poised to scale the heights of history in an election which justified the faith that her citizens and the world have placed in America as the single greatest beacon of freedom and opportunity on earth. It was therefore easy to think, for a brief moment, that we had come to the promised land that King prophesied from his mountain top. But we have a long way to go before we come to that place.  For King did not pursue a primarily political agenda; though he fought segregation, though he tried to see to it that all Americans, black and white, could have jobs if they were willing to work, and though he strove to turn America away from rash wars waged over seas, he had a higher cause than politics for which he struggled. Neither was his aim primarily social, for although he persevered in the effort to bridge the gaps between whites and blacks and more broadly all people everywhere, he had a higher calling than even this. Martin Luther King, Jr. waged a spiritual battle, against sin itself if you will. He wanted to remind people that there is only one truth, one power and one moral absolute at the end of the day and that is that of love. He wished to return love to the center of America’s consciousness, and to rally the righteous behind it’s banner. But as he said:

“In speaking of love at this point, we are not referring to some sentimental emotion. It would be nonsense to urge men to love their oppressors in an affectionate sense. “Love” in this connection means understanding good will…we speak of a love which is expressed in the Greek word agape. Agape means nothing sentimental or basically affectionate; it means understanding, redeeming good will for all men, an overflowing love which seeks nothing in return. It is the love of God working in the lives of men. When we love on the agape level we love men not because we like them, not because their attitudes and ways appeal to us, but because God loves them. Here we rise to the position of loving the person who does the evil deed while hating the deed he does.”

Earlier in this series I briefly mentioned my white Grandfather, saying that he felt my father had committed a disgrace by marrying my mother. But I should clarify, it was not that he himself felt disgraced but rather that he felt, even in the mid-eighties, that the world would see it that way and that my father had committed a grave error by doing what he did. Nevertheless, and though my grandparents may have felt once upon a time that the reality of segregation was something that had to be accepted, I do know that that my Grandfather told my father once once with respect to black people that “they’re smarter than we are. They have to be to survive.” But though the cleverness of black people may derive in large measure from the direness of our historical circumstance, the wisdom of black people has been the hard understanding that in spite of all our wounds, and though they have been received at the hands of a people different from us, there is nevertheless reason to love our oppressors just as there is reason for us, in spite of our long tragedies, to love ourselves.

Now then is the time for us to call upon the instruments of our love, our spirit, our wisdom and our righteousness, to move the world forward. Love has overcome the divide between white and black, so too can understanding defeat the chasm between liberalism and conservatism that was truly the promise of the Obama candidacy. (Martin Luther King, Jr. loved George Wallace and Bull Connor, never disparaging them personally, so do you think we might somehow be righteous enough to do the same for Rush Limbaugh and Sarah Palin?) Love gave us music and literature and poetry to inspire Americans and people around he world for generations, so too can it inspire artistry and intellect in our own time to beat back the relentless waves of materialism, sexual gratuitousness, cynicism and moral relativism running rampant in our culture and our American society at large. Websites like Black Is are a part of the movement to reclaim our black nobility, our intellectual honesty, and to assert ourselves at the helm of American society. Every poem and every song that a child writes in the name of love and the honor of black women is a step in this direction, a declaration against the false Rap, Hip-Hop and BET culture that says we are better than what you are telling us we are. (Shout out to my girls Watoto from the Nile for really keeping it real. Google it if you don’t know.) Let us understand then that we do not need BET or big record labels to be the arbiters of our cultural expression. You can start a blog, a YouTube channel, a website and communicate a higher level of cultural consciousness to our people in whatever way you are gifted to do so. You can speak out in your church about our moral complacency and urge the people of your community to recognize that they do not have to accept Roc-A-Fella and Bad Boy records as the standard of black art and culture, not even in this time. If you have children, play for them your old Sam Cooke albums, your Motown records. Add some Miles Davis and some Duke Ellington if you have it, and you can always find some Ella Fitzgerald and some Billie Holiday if you look. And by all means, let them hear some Tupac too: let them hear “Mama’s Just a Little Girl,” “Changes,” I Ain’t Mad at You,” and and the many thoughtful and provocative RAP songs that have been and still are being made in some circles. Progress is about winning the future, not living in the past. But we cannot win the future without knowing our past. Soon black people who know their history and who understand their true importance and necessity in America will join hands and stand firm to change the cultural equation, in and beyond black America. We can only live with our ethnic hypocrisy for so long. Every time we look in the mirror, we see a man or a woman, a boy or a girl, who should be a priest of grace and righteousness, but the face we paint before the world is something less. But we are, we are meant to be, a holy tribe with a commission to do right. The opportunity to do so is coming and has come. Black America will take a stand before it has gone.

 

Got Empty Walls? Invest In Art This Weekend!

Pre-Closing Reception
Sunday, August 7
2:00-5:00 pm
The Museum of African American Art and Synthia SAINT JAMES are pleased to present Spectrum: New Visions From Eight Emerging Artists, an exciting group exhibition featuring talented young artists from across the country. Join us for a special pre-closing reception on Sunday, August 7, from 2:00 to 5:00 pm, where you can purchase works by these future masters and add their art to your collection!
There will be a short program at 3:15 pm.

LA EVENTS: A New Day – Nina Simone

A New Day – Nina Simone
March 5 – April 29, 2011
An Exhibition of Albums, Archives, Art of Eunice Kathlene Waymon aka Dr Nina Simone
from Dr. Carrol Waymon and the Waymon family archive, Alden Kimbrough collection and art by Moses Ball, Ramsess, AISE, Sam Pace, Lili Bernard and more

Opening Reception March 5, 2011 3 – 6 pm
Music by Marcus L. Miller and the Freedom Jazz Movement with very special and surprise guests

A New Day – Nina Simone exhibit is in conjunction with Music LA African American Heritage Music Education Program, focusing on teaching music through the music of Nina Simone

Panel Discussion Saturday April 2, 2011 2-4 pm
screenings and other events to be announced, call for more information 323-734-1165

William Grant Still Arts Center
2520 S. Westview St.
Los Angeles, ca. 90016
323-734-1165
ami.motevalli@lacity.org

William Grant Still Arts Center is a facility of the City of Los Angeles, Department of Cultural Affairs

LA EVENTS: The Pan African Film and Arts Festival!

It’s that time of year again folks! The Pan African Film and Arts Festival will take place at the Culver Theatre Plaza from February 16th through February 21st. Support this annual event that brings us the best in independent short and feature film releases from the Black perspective across the diaspora. Be sure to support the Arts festival that takes place during the same time at Baldwin Hills Crenshaw Plaza. Film and Artist Market submissions are still being accepted -please check the website for details!

Parents, teachers, and seniors: please take advantage of the free offerings during the film festival at Childrens Fest, StudentFest and Senior Connections. Support this event, “America’s largest and most prestigious Black film festival”!

LA EVENTS: Hill City Foto (P)rent Sale

Folks, we have an artist in our midst and if you have even one bare wall,Iencourage you to show this man your support. Writer-photographer Adam Tillman-Young is selling some of his artistic prints in an indefinite sale – and these aren’t your average photographs. A quick perusal of his website will attest to this.

Aside from the artists he’s been fortunate enough to capture, every print tells a story. Put one of these prints on your walls and expect your house guests to spark a conversation about it. Even more, this “striving” artist is honest enough to admit that this (p)rent sale was inspired not by his need for fame or glory, but because a brother needs to make rent – how can you not support that?

Check him and the sale out at Hill City Foto and enhance your personal art collection – it’s a win-win situation.

RIP Varnette Honeywood

From The Washington Post:

Varnette P. Honeywood, an artist who gained fame when her vivid and joyful portraits of everyday lives of blacks were prominently featured on TV’s “The Cosby Show,” died Sept. 12 of cancer at a Los Angeles hospital. She was 59.

As a black artist, Ms. Honeywood was “extraordinarily important,” partly for the visibility “The Cosby Show” gave her but also because young people were inspired by her “exuberant and positive images of black culture,” said Paul Von Blum, emeritus professor of African American studies at the University California at Los Angeles.

When it came to hanging her stylized prints in the home of the Huxtables — the fictional black family at the heart of “The Cosby Show” — artist and sitcom went together “like a slice of pie and a plate,” said Bill Cosby, star of the show that aired on NBC from 1984 to 1992.

“She truly captured the feel of family love,” Cosby told the Los Angeles Times. “Her work had depth and storytelling. She just knocked it out of the ballpark every time.”

Varnette Patricia Honeywood was born in Los Angeles on Dec. 27, 1950. At Spelman College in Atlanta, a historically black women’s college, she had planned to major in history but switched to art after being encouraged by a drawing teacher and fellow students.

Soon she began developing the signature style that she sometimes described as “figurative abstraction.” Brilliant colors and intricate designs were a hallmark of her oil paintings and collages, and many of her pieces have an African component, whether they show the cultural tradition of movement or incorporate African-influenced prints that she often wore.

After receiving a bachelor’s degree from Spelman in 1972, she received a master’s in education and a teaching credential from the University of Southern California in 1974.

Ms. Honeywood was frustrated by her inability to gain traction in the art world when Cosby and his wife, Camille, discovered her work.

Impressed with her entrepreneurship and images, they became collectors and she was asked to submit art for the pilot of “The Cosby Show.” Three works remained on the set for the entire run and others were rotated through, according to a 1992 Atlanta Journal-Constitution article.

*Painting shown: Gossip In The Sanctuary, 1982

Ms. Honeywood had no immediate survivors.