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Tag: black culture

  • Another Charlotte festival pauses, citing ‘circumstances outside of our control’

    An eye-level, medium shot captures a vibrant, high-energy crowd of mostly Black people at a music festival or outdoor event called “DURAG FEST.” The photo has a warm, vintage aesthetic with golden, film-like tones and a slight grain. In the foreground, a dense group of attendees stands behind a metal barricade. Several people are holding up yellow fans that feature the event’s name and a cartoon graphic.

    The Durag Festival, held last year at the Blackbox Theater, is taking a pause in 2026.

    Durag Festival

    Charlotte’s Durag Fest — a Juneenth celebration of Black art, music, fashion and culture in the city since 2018 — won’t be happening in 2026.

    “As the festival has grown, so have the considerations required to deliver the experience our community deserves,” a statement emailed to CharlotteFive from festival co-founder Lisa Michelle said.

    “Due to circumstances outside of our control, Durag Fest will be taking a temporary pause this year. This decision was not made lightly, but it is necessary to ensure the long-term sustainability and quality of the experience we’re committed to delivering,” the statement continued.

    A medium-close shot features a Black person with a deep complexion posing confidently in a crowded outdoor setting, styled in a bold, streetwear-inspired outfit and durag, looking slightly over one shoulder toward the right of the frame.
    The 2018 Durag Fest. Chris Smalls

    The event originally started out at Camp North End as an effort put together by Charlotte creatives including artist Dammit Wesley to uplift and showcase Black culture and talent. Soon, it became known as the “Met Gala of Durags”.

    By last year, organizers said festival had outgrown the space. That led the 2025 event to take place at Blackbox Theater and The Pine, with more than 17 musical acts, food trucks, vendors and more spread across the two sites.

    A Black person with glasses laughs joyfully while taking a selfie at a crowded outdoor festival while wearing a purple leopard-print headwrap over long, black box braids and a light purple bodysuit with a thin strap detail.
    Perrine DeSheild dances during Durag Fest 2021 in Charlotte. Khadejeh Nikouyeh Knikouyeh@charlotteobserver.com

    “Thank you for the love and support you’ve poured into Durag Fest over the years. Because of you, Durag Fest has grown into more than an event — it’s a cultural platform celebrating creativity, community, and Black excellence,” the organizers’ statement said.

    Festivals canceled

    The Durag Fest isn’t alone in taking a break this year.

    In December, Charlotte’s Lovin’ Life Music Fest also announced it would “take a short pause” in 2026, “due to circumstances outside our control.” Organizers of the successful uptown music festival told fans to “stay tuned for updates.”

    Nationwide, other festivals are cancelling this year, too.

    The popular Hangout Festival in Gulf Shores, Alabama, won’t be back this year because of organizational difficulties, the Music Row website reported. Neither will Morgan Wallen’s Sand in My Boots Festival, also in Gulf Shores. Put-in-Bay, Ohio’s Bash on the Bay and St. Louis’ Evolution Festival aren’t happening, either.

    However, there is hope the Durag Fest can make a return in the future, organizers said.

    “We’re using this time to work toward the conditions needed to support festivals like ours at scale. Please stay tuned for updates — we’re excited about the future and grateful to have you with us.”

    An eye-level, medium shot captures a vibrant, high-energy crowd of mostly Black people at a music festival or outdoor event called “DURAG FEST.” The photo has a warm, vintage aesthetic with golden, film-like tones and a slight grain. In the foreground, a dense group of attendees stands behind a metal barricade. Several people are holding up yellow fans that feature the event’s name and a cartoon graphic.
    The Durag Festival, held last year at the Blackbox Theater, is taking a pause in 2026. Durag Festival

    Related Stories from Charlotte Observer

    Heidi Finley

    The Charlotte Observer

    Heidi Finley is a writer and editor for CharlotteFive and the Charlotte Observer. Outside of work, you will most likely find her in the suburbs driving kids around, volunteering and indulging in foodie pursuits.
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    Heidi Finley

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  • Rihanna Must Have Told A$AP Rocky to Clock In

    Rihanna Must Have Told A$AP Rocky to Clock In

    We’ve all seen the video by now — Rihanna’s dancing in a hotel room, singing along with GloRilla’s “TGIF” to a confused-looking A$AP Rocky. “Where my drink at?” is Rocky’s response (his comedic timing is everything — Can he do it all?) “I’m too old for this sh*t.” We probably all resonate with the comments like: “This the closest we going to get to an album,” or “good enough. Put this on Spotify.”


    Well, in that video, you might have missed one detail: they’re both wearing American Sabotage. Rihanna’s t-shirt, the camo jacket she’s carrying, the deconstructed suit A$AP’s wearing — they’re all designed by Rocky. The video has been watched over 165 Million times and has over 10.3 Million likes. Talk about free advertising for your brand on the back of its headline-grabbing runway debut.

    So while I’m not holding out much hope that Rihanna will in fact make this her return to music, I’m still intrigued by the next cultural contribution from America’s first fashion family. Here’s everything you need to know about American Sabotage and why it’s more than just another celebrity brand. It’s a reflection of Rocky’s own fashion roots and Black culture in general, playing out on the world fashion stage.

    A$AP Rocky’s fashion legacy

    In 2013, A$AP Rocky released the song “
    Fashion Killa” as a single for the album Long.Live.A$AP. The song is certified Platinum and its sentiment is certified true: A$AP Rocky really is a fashion killer. From headline-grabbing street style to luxury partnerships and his signature braids — cornrows are to Pretty Flacko what that bob is to Anna Wintour — A$AP Rocky has what all the greats have: a distinctive personal style and astonishing taste. He’s not a trend-follower, he’s a trendsetter. And he’s Pretty Flacko, he knows he’ll look good in whatever he wears. While that could be an excuse to do the bare minimum, he takes pride in his appearance and takes as many risks in his fashion as he does as a producer. Clearly, it works out. People have been calling him the male Rihanna for years — no wonder he landed Rihanna herself. When it comes to fashion, they match each other’s freak.

    So it’s no surprise that A$AP Rocky — just like Rihanna — has launched a luxury fashion brand. It feels so overdue that I can’t help but wonder if Rihanna is the one who told him to lock in. It’s been years since we got a full Rocky album — he and RiRi also match each other’s freak in keeping fans waiting. He’s been working on ventures like his alcohol label and brand partnerships. But he’s a father and the cost of childcare is high! Rihanna may be a billionaire but these prices aren’t a joke. My bet it that Ms. Fenty told her man to clock into the locked-in factory and even gave him advice on how to start a brand.

    After all, she launched her own luxury brand alongside LVMH and her marketing for Savage Fenty is responsible for its reign over Victoria’s Secret. And don’t even get me started on Fenty Beauty and Fentry Skin. When it comes to D2C e-commerce, Rihanna has done
    more than enough. She’s changed the game for inclusivity, diversity, and creativity. Now, with American Sabotage, it looks like A$AP Rocky aims to do the same.

    What is American Sabotage, aka A$AP Rocky X American Sabotage by AWGE?

    Rocky’s been teasing American Sabotage for a while. An extension of his creative agency,
    AWGE (if you’ve listened to his music, you’ve heard the intro “it’s AWGE sh*t” blast through your speakers). American Sabotage seemed, at first, like it might just be a merch collection. Some also speculated, or hoped, that it might even have something to do with his forthcoming album. But it seems it’s so much more.

    Flacko first teased the collection on stage at Rolling Loud last year. He wore a bulletproof vest — a la BROCKHAMPTON — that read: “Don’t Be Dumb” — something I personally need to hear more often than I like to admit. Turns out, the phrase is more than a reminder to me, specifically. It’s one of the rumored titles of his forthcoming album.

    To complete the look, he wore strategically sagged jeans, showing off a stack of layered plaid boxer shorts, a styling hack the LES fashion girlies have already picked up. And if you’re afraid of outfit-repeating, don’t be. Our very own Pretty Flacko wore the same outfit formula at Coachella 2024. The only difference: this time, his bulletproof vest was replaced with an American Saborage logo tees.

    This stylish, slow reveal culminated in the brand’s first drop. What we first assumed to be merch turned out to be a preview of a brand way bigger than the “Don’t Be Dumb” tees — although those sold out immediately. Despite the price tag, the boxer-stacked jeans also sold out instantaneously, even though they run buyers $600.

    But this wasn’t just a fashion statement, it was a political one. The collection was titled: “Stop the sag,” referencing respectability politics often weaponized against Black people. This is a notable difference from the resurgence of the “old money” style, which glorifies an exclusive aesthetic worn by an exclusive group. Instead, he’s celebrating the parts of Black culture that are often denigrated, while subverting fashion expectations. And despite the pervasiveness of so-called stealth wealth, people are responding.

    Call it proof of concept, but the instant frenzy around the quiet drop set the stage for American Sabotage’s blazing debut. A$AP had proved that the people had an appetite for American sabotage — even before they understood its complexity. And now that we have the full picture, we can safely say that he’s coming to change the fashion game and bring back substance in style.

    Inside the American Sabotage Runway debut

    In 1973, American and French designers held a benefit show “battle” at the
    Palace of Versailles for the crown of best designer. Over 50 years later, A$AP Rocky brought the best and worst of American culture back to Paris with the American Savage x AWGE Men’s Spring/Summer 2025 collection.

    With design support from Joshua Jamal, Bede Marchand and Coucou Bebe, American Sabotage is partly Rocky’s own style blended with the collection’s ethos of “ghetto expressionism.” When it came to production, the elaborate set-up was a feast of multimedia details. Guests were treated to the sound of the upcoming A$AP album through the DJ booth, and posters plastered around the wall read “Every US citizen has agreed to be more than happy to be pissed off,” and “Pull up your pants, no one wants to see your underwear.”

    The collection featured similar messages of what Rocky describes as “political satire” — one of the phrases emblazoned on his pieces. From NYPD shirts to camo and American Flag prints, the pieces played with American iconography in a way that was both playful and politically biting.

    This political commentary isn’t to no end. As with so much of A$AP’s aesthetics — a rapper who has always blended high fashion with echoes of his origins like his cornrows and grills — the show is a message to the fashion elite: Black culture, which is American culture, is more influential, and more complicated than they like to admit.

    How fashion and rap music are intrinsically tied together

    American Sabotage is notably an expression of rap culture, which is an extension of Black culture. Just look at the Kendrick Lamar and Drake beef. It proved once and for all that being a rapper is about being embedded in the culture. And as a rapper raised in New York City, A$AP understands the culture.

    We take the intersection of rap and fashion for granted these days. And, indeed, rappers and hip-hop culture have always been at the forefront of fashion. They popularized trends that Gen Z are obsessed with today: oversized clothing, oversized jewelry, sneaker culture, sweat suits, and jerseys — just to name a few. But until the early 2010s, rap music was still outside the mainstream.

    Rocky was one of the rappers who made a career traversing genres, appearing on songs with Lana Del Rey (if you were on Tumblr in 2012, you remember) and making a name for himself in the mainstream — mostly using fashion.

    These days, rappers grace the covers of
    Vogue and are front row of the most fabulous fashion shows. For example, London-based rapper (and contender for song of the summer) Central Cee took the spot on the cover of British Vogue’s Music issue this month. For her debut issue, Editor-In-Chief Chioma Nnadi highlighted the connection between fashion and music, and the influence Black culture has on both art forms.

    With American Sabotage, A$AP Rocky is making that connection tactile. Some of the most thrilling brands over the past decades have taken cues from hip-hop culture. Virgil Abloh’s Off-White brought hypebeast and streetwear fashion to the world stage, before embedding those influences into Louis Vuitton. Now, rapper Pharell is at the helm of Vuitton as its creative director. Rihanna herself has a fashion line with the biggest luxury fashion company in the world. Young rappers like Tyler, The Creator and Lil Nas X are known for their red-carpet looks. And even though Kanye West has since lost his deal with Adidas (and his mind), his impact on converging fashion and hip-hop cannot be overstated.

    Even the best, most ferocious rappers are embedded in the fashion game. Kendrick Lamar is on a tear this summer — not just coming for Drake’s neck, but serving Pinterest-worthy looks while he does it. After rapping “I hate the way that you dress,” on his red-hot “Euphoria” track, he went on to prove that fashion is another way that he’s superior to the Canadian pop star. He wore a cropped The Row hoodie to his Pop Out show in LA, and wore Martine Rose and other fashion favorite brands in his “Not Like Us” video. Every rapper is a fashion girl at heart, it seems.

    In a time where rap and fashion are so intertwined, it’s easy to take A$AP Rocky’s fashionista status for granted. But he’s not new to the fashion game, he’s
    true to it. “I’m the godfather of what we now call art and fashion,” he told GQ. “Taking streetwear, taking luxury, blending them, mending them, matching them together. Taking skatewear, taking hoodwear brands and urban clothes and infusing them all together, that wasn’t really done.”

    Because Rocky is so native to the fashion world, his designs for American Sabotage don’t feel derivative. They’re refreshing, they’re true to his personal style, and they’re reflective of his roots.

    American Sabotage and Black Culture

    I used to live in Harlem, right next to where A$AP Rocky grew up. I know this because in our local flower shop, bodega, and other neighborhood establishments, you can find framed photos of him shaking hands with the owners. I once stepped out and saw him filming his music video for “Praise The Lord” in my neighborhood (true story). This is to say, he reps the block and hasn’t forgotten where he came from. And that Harlem has influenced everything from his sound to his style.

    Harlem is home to Dapper Dan, the progenitor of logomania. It was the site of the largest Black Cultural movements, the Harlem Renaissance and the Black Arts Movement. And it’s an endless source of inspiration for Rocky.

    When
    GQ asked about his collection before of the Paris show, he linked it directly to the American social climate. “It’s just me trying to encapsulate just all of my experiences, everything that I’ve learned, everything I’ve experienced about the social issues and the social climate of America,” he said. “I think fashion is an expression. It’s to express how you feel. This is no different. I think each great creative director, designer, artists, they always have that fine balance between conceptualization and manifestation.”

    By blending together his experience with high fashion and his original inspirations, he’s created something vibrant, political, and unique to the Fashion Killa himself.

    A$AP Rocky is clocked in

    Needless to say, Flacko is clocked in. Part of me thinks Rihanna must have told him to lock in — like I said, those childcare bills ain’t cheap. That’s why he seemed so stressed in that Paris hotel room video. He’s been putting in long days at the office. But the hard work paid off with the critically acclaimed and culturally significant debut.

    But the successful launch of his brand doesn’t mean Rocky is swearing off other brands completely. He recently teamed up with iconic Black artist Carrie Mae Weems for Bottega Veneta’s Father’s Day campaign.

    He also unveiled a recent campaign with Puma.

    These days, Rocky’s like Ryan Reynolds with the income streams. We can only hope that the rest of us get to hear his album soon, even if we never hear Rihanna’s.

    Langa Chinyoka

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  • Juneteenth Movie Watchlist

    Juneteenth Movie Watchlist

    Ever since Juneteenth became a national holiday, corporations have been trying to do to it what they’ve done with Pride: strip it of its roots and turn it into a commercialized holiday to sell more stuff.


    There’s a scene in
    American Fiction in which Jefferey Wright’s character is appalled at the suggestion that his book is promoted for a Juneteenth holiday release. Yet, the white corporate executives are so pleased with themselves for the idea: how inclusive, they thing, how perfectly celebratory.

    And while now that Juneteenth marks a national day off, it will be marked with gatherings and celebrations, it should be a day of remembering. Celebrated on June 19th (hence the portmanteau), Juneteenth marks the day in 1865 (almost 160 years ago) when enslaved African Americans in Galveston, Texas, were finally informed of their freedom. More than two years after President Abraham Lincoln’s Emancipation Proclamation had legally freed them, these were the last enslaved people to be legally free citizens. Therefore, the holiday marks the actual end of slavery in the United States — unless you count prison labor and other forms of legal enslavement (I do).

    Many people are still confused as to how the Emancipation Proclamation had failed to be delivered to all enslaved people. But it wasn’t like there were Apple News alerts. News took time to speak. Major General Gordon Granger’s announcement of General Order No. 3 in Galveston delivered the long-overdue message that all enslaved individuals were free, symbolizing a critical turning point in American history.

    It’s a holiday that doesn’t just celebrate the freedom of formerly enslaved people but also recognizes the system’s failure to actually deliver on its promises.

    Though the holiday was celebrated informally, Juneteenth is also entangled with memories of summer 2020 during the Global Black Lives Matter protests. After George Floyd was murdered by police in May 2020, protests erupted all summer and marked a shift in the conversation about race in America and beyond. This momentum culminated on June 17, 2021, when President Joe Biden signed the Juneteenth National Independence Day Act into law, making Juneteenth a federal holiday.

    For the first time, we were talking about racial as a structural institution rather than a series of small actions. We were finally addressing the deep-seated roots of racism in our systems and in ourselves. But of course, this all got gentrified fast. People started putting “anti-racist” in their Instagram bios and thought that was enough. And don’t even get me started on the Black squares on Instagram.

    It was Biden’s alleged intention for recognizing Juneteenth as a national holiday to not only honor the historical significance of the day but also underscore a commitment to acknowledging and addressing the legacy of slavery and the ongoing pursuit of equality and justice in the United States.

    However, just four years later, what have all those promises for change accomplished? Many companies promising to do good have since fired their DEI staff. Many copies of bell hooks and anti-racist books bought during the first wave of support are sitting dusty on bookshelves somewhere. And now we have Juneteenth. But is it enough?

    But activism can only be diluted if our commitment to it wanes. Every year, I challenge us all to strengthen our commitment to the values we purported to support in 2020. Read those books. Ask yourself if you’re living up to your #antiracist Instagram bio. And consume media by Black people that actually aims to educate its audiences — not just placate them with mediocre claims of representation.

    From documentaries to narrative features, here are some films to inspire your activism and anti-racism this month:

    I Am Not Your Negro

    James Baldwin is one of the most insightful voices from the Civil Rights era. His writing, as well as his interviews, challenged American society and politics through both fiction and non-fiction. But many often forget that he spent the last years of his life in Paris in fear that the US government would literally murder him as they had his contemporaries. Directed by Raoul Peck, the film is based on Baldwin’s unfinished manuscript, “Remember This House,” which was intended to be a personal account of the lives and assassinations of three of his close friends: Medgar Evers, Malcolm X, and Martin Luther King Jr. By juxtaposing Baldwin’s commentary with images from the Civil Rights era and contemporary times, “I Am Not Your Negro” becomes both a commentary and call to action urging us to acknowledge the truth of the system and also do what we can to change it.

    The 13th

    We can’t talk about Juneteenth without talking about the 13th Amendment, which prohibited slavery in the United States “except as a punishment for crime whereof the party shall have been duly convicted.” With the problem of mass incarceration disproportionately affecting Black Americans, it has become a form of legalized slavery. No amount of Juneteenth merchandise will disguise the fact that the freedom we celebrate is conditional. Ava DuVernay’s seminal 2016 documentary takes this loophole as its starting point – tracing the many ways it’s been hideously exploited from the Civil War onwards to maintain a racial hierarchy with commentary from Angela Davis, Senator Cory Booker, Michelle Alexander, and more.

    Origin

    A narrative can be as educational as a documentary when done correctly. Ava DuVernay’s most recent drama
    Origin (2023) chronicles the journey of reporter Isabel Wilkerson’s acclaimed book, “Caste: The Origins of Our Discontents.” It follows Wilerson’s investigation to how caste systems shape social hierarchies in the United States to parallels with caste systems in India and Nazi Germany. Through a blend of personal narrative and historical analysis, the film interweaves Wilkerson’s interviews, archival footage, and acting inspired by true events to highlight insidious caste-based discrimination that plagues societies around the world.

    Rustin

    Celebrate the intersectionality of both Juneteenth and Pride month with
    Rustin (2023), a biographical drama that brings to life the story of Bayard Rustin, a key architect of the Civil Rights Movement. He helped organize the March on Washington and was one of MLK’s key advisors for a time. But why haven’t you heard of him? Because he was gay — and he was ousted from MLK’s inner circle due to homophobia. Directed by George C. Wolfe, the film stars Colman Domingo as Rustin, capturing his dynamic and often challenging role as an openly gay Black man fighting for social justice in a time of profound prejudice. It’s a reminder of our interlinked struggles and how all justice depends on each other. It’s also a call to action to be more inclusive and intentional in our activism.

    Judas and the Black Messiah

    One of the most powerful voices of the Civil Rights movement and chairman of the Illinois chapter of the Black Panther Party in the late 1960s, Fred Hampton was assassinated by by members of the Chicago Police Department as part of a COINTELPRO operation. COINTELPRO, Counterintelligence Program, was an FBI program investigating “radicals” — which mostly amounted to Civil Rights Leaders. In this dramatic retelling of Fred Hampton’s story and murder, director Shaka King focuses on the involvement of LaKeith Stanfield as William O’Neal, the FBI informant who infiltrated the Black Panthers and ultimately betrayed Hampton, played by Daniel Kaluuya. Watch for Kaluuya’s compelling portrayal of Hampton that makes you understand the impact of this rousing leader, and inspires all of us to engage in our communities rather than pick the ebay way out like O’Neal.

    Genius: MLK/Malcolm X

    The acclaimed Genius series turns its eye upon these two Civil Rights leaders in this biopic series. It underscores their differences and their similarities, while exploring what made them so effective. It focuses on their formative years, how they became the leaders they were, and who they were in their personal lives — often imperfect but still determined to create change. By focusing on their humanity, it stops them from being over-mythicized and reminds us that we too can create change if we are committed to it.

    The Black Panthers: Vanguard of the Revolution

    As the first major documentary on the Black Panthers,
    The Black Panthers: Vanguard of the Revolution is directed by Stanley Nelson examines the Party’s rise of in the 1960s and its impact on the Civil rights and American culture. It clears up some myths about the Panthers while emphasizing what they actually stood for. Emphasizing both forgotten heroes and familiar faces.

    The Black Power Mixtape

    The Black Panther Party is chronically misunderstood. This compilation of tapes come from videos shot for Swedish television between 1967 and 1975, capturing the tail end of the Civil Rights Movement; the shift away from Martin Luther King Jr’s nonviolent policies to a more militant approach; and the brutal oppression faced by the leaders of the Black Power movement. Weaved between commentary from Erykah Badu, Angela Davis, and Stokely Carmichael’s mother, these tapes tell the Black Panthers’s story from their Point of View.

    Slave Play. Not a Movie. A Play.

    One of the most controversial and talked-about Broadway plays,
    Slave Play ignited public interest and ire in equal measure. It was the most Tony-award nominated non-musical play in history in 2019. Though it was too controversial to actually win any Tonys. It was also Julia Fox and Kanye West’s first date. Do with that what you will. Written by Jeremy O. Harris, it investigates the way that racism and the lineages of slavery are still pervasive in our society — and our intimate relationships. But this is not a film version of the play. It’s a genre-bending exploration of the production of the play, as well as a conversation about its themes.

    Black Barbie

    https://www.youtube.com/watch?v=Itsg2V5PSkI

    Coming to Netflix on Juneteenth, the follow up to last year’s
    Barbie phenomenon: a documentary on the origin of the Black Barbie. “If you’ve gone your whole life and you’ve never seen anything made in your own image,” says producer Shonda Rhimes in the trailer, “there is damage done.” The documentary follows how the Black Barbie came to be. Written and directed by Lagueria Davis, Black Barbie takes audiences through first-person perspectives of three Black women who worked at Mattel during the iconic doll’s incubation: Kitty Black Perkins, Stacey McBride-Irby, and Davis’ Aunt Beulah Mae Mitchell. “I’m excited for people to know their names, a part of their story, and this part of history,” says Davis.

    Langa Chinyoka

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  • WATCH LIVE TODAY: 2024 Black Joy Parade in Oakland

    WATCH LIVE TODAY: 2024 Black Joy Parade in Oakland

    OAKLAND, Calif. (KGO) — Celebrate community, culture and the Black experience at Oakland’s Black Joy Parade! ABC7 will be broadcasting live from the parade route today to share the joy with you!

    You can watch starting at 12:30 p.m. in the video player above, on the ABC7 News app, or by downloading the ABC7 Bay Area App to watch on Roku, Amazon Fire, Apple and Google TV. The broadcast will be followed by a replay of the event.

    Julian Glover, Ama Daetz, and Gold Beams’ Tayleur Crenshaw will host the parade, along with ABC7 News reporter Zach Fuentes.

    PHOTOS: A look at the 2023 Black Joy Parade in Oakland

    Pictured is a banner that reads “Black Joy” at the Black Joy Parade in Oakland, Calif. on Sunday, February 26, 2023.

    KGO-TV

    WHAT IS THE BLACK JOY PARADE?

    Black Joy Parade is a hyper-positive nonprofit based in Oakland, CA that celebrates the Black experience and community’s contribution to history and culture with its signature parade and celebration, partnerships and events.

    The parade exists to provide the Black community and allies a live experience that celebrates the community’s influence on cultures past, present and future. It unites a diverse community by creating a space to express the unique contributions to the Black experience.

    PARADE ROUTE

    This map shows the 2024 Black Joy Parade route in Oakland, Calif.

    KGO-TV

    Copyright © 2024 KGO-TV. All Rights Reserved.

    KGO

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  • ‘It’s Just a Joyful Book’: Lawrence Lindell’s ‘Blackward’ Centers Joy and Community for Black Queer Punks

    ‘It’s Just a Joyful Book’: Lawrence Lindell’s ‘Blackward’ Centers Joy and Community for Black Queer Punks

    As someone who loves indie comics, I’ve been following Lawrence Lindell’s comics for a while. So I was especially excited to see their first published graphic novel Blackward hit shelves a month ago. As long as we’ve had comics, we’ve had Black cartoonists making them, but mainstream comics publishing is just barely starting to catch up in terms of Black stories.

    Lindell’s been self-publishing his own comics since 2017, showcasing intersections of mental health, adolescence, queerness, punk, and Blackness (among other topics) with a signature style straight out of 90’s animation. Now a contributor for The New Yorker and putting out work as family publisher Laneha House, Lawrence is unquestionably a prolific voice in the comics world. His newest book Blackward, published by Drawn & Quarterly, follows four queer Black friends aiming to start their own zine fair for all the Black queer punks who never quite felt they fit in elsewhere.

    I had the privilege of chatting with Lawrence over Zoom about their new book, how people talk about self-published comics, and why Black queer stories like this should be able to stand on their own.

    pages 149 and 150 of Lawrence Lindell's Blackward
    (Drawn & Quarterly)

    TMS: The first thing that strikes me about Blackward, other than how much amazing cartooning there is, is your characters and how they feel like queer friends in my life. They mess with each other, they flirt, they even treat each other to date night! I’d love to hear more about what drew you to your characters of Lika, Tony, Amor, and Lala, why these four?

    Lindell: Originally it was just the three, Lika, Amor, and Tony, and then Lala was added. It started as a webcomic, but Lala was added as a featured [character], and she soon became my favorite to draw. People that were reading the comic were like, “We want to see more Lala”. Which had me like, hmm, it should be a group of four.

    And yeah, they’re based on my real life experiences, based on real people in my life. I hope that people will read it and be like, “Oh these could be real people.” Yeah, because they are real people. I was afraid if they would get the humor of them messing with each other. Because sometimes the comic is read and people are like, ‘Why are they always yelling?’

    You’ve got a huge presence in the indie comics space between your own self-published work and running Laneha House with your partner Breena Nuñez. You’re also raising a kid, and you’re putting out full graphic novels on top of all that.

    That is to say: how are you doing? And what was your workflow like in putting this graphic novel together compared to your other projects?

    I’m doing alright. You know, the world is… Yeah.

    Anyways, it’s different because of how many people I’m working with, people I’m communicating with. People are saying it’s my debut, but it’s just my debut graphic novel with Drawn & Quarterly.

    The cover of Lawrence Lindell's self-published book, "Still Couldn't Afford Therapy, So I Made This Again...". Lawrence's face is drawn in the center looking kinda bummed, with the title text surrounding his head above and below.
    One of Lindell’s many self-published books (Lawrence Lindell)

    The first two books I have coming out, I worked on at the same time, which wasn’t the greatest idea, but I had to do it anyway! And also our kid was just born, so it’s a weird space to navigate where I gotta go to work but we have a newborn. I’m working from home, so that means I should be able to help more but wait, no, I’m in the office because I’m actually working. Just because I’m at home doesn’t change that.

    Everyone was saying, ‘Ooh, don’t do that!’ And yeah, I get it, I agree, don’t work on two books at once. But also, we needed the money, and I’ll just do what I gotta do.

    That’s an interesting thing you said about people seeing this as your debut, is that something that you’ve gotten a lot as the book was coming out? Ignoring all the other work you’ve done and seeing this as your first comic project?

    Yeah, it’s weird, cause I hear, “That’s your first book?” I think that’s weird how we do that in comics. Folks could be making comics for 20+ years, but until the publisher’s somebody, it’s like, ‘Oh, you’ve arrived.’ But no, they’ve been here.

    It’s funny, cause once you get published, then everyone goes back and looks at the earlier work, and then all of a sudden, that earlier work is seen as the good stuff and this is weird.

    I love what you said in a Broken Frontier preview for Blackward, you mentioned that “everything has a purpose and intention”. Now that the book’s out, can you talk about some of your favorite pages/panels you worked on? 

    You talked about the date night, that’s one of my favorite sequences. It was manga and anime-influenced, and it was always like that when I was penciling and sketching it. There’s some things, like where Lika says it’s time for Code D, there’s four panels, and then on the third panel is when they first transition into the manga style. Which, I don’t know if anyone will care, there’s things in the book where I don’t know if they care, but for me, it’s good.

    page 143 of Lawrence Lindell's Blackward
    (Drawn & Quarterly)

    And then from that point on, it’s drawn in a loose manga style. And then, by the time they finished the transition scene, they transition back into my cartoon-y stuff. That was something I was proud of.

    There’s this impulse I’ve seen from in your other interviews about Blackward to see so many depictions of Black queerness, Black joy, Black experience and assume that there’s a deliberate political statement behind it, something I think a lot of marginalized creators struggle with. Do you see yourself that way when you’re working on your comics, what’s your take on that place your work is put in?  

    I think with a lot of my work before, it’s intentional, this is what I stand on, but with Blackward, I just wanted to make a book about Black people having, you know, joyful moments. But I think because of who I am, like previous work I’ve done, that just naturally comes through.

    And sometimes people don’t know how to respond if it’s not political, if that’s not the intention, we can’t just have a regular story. I get asked that question at every, every event, “what do you hope people learn from this?” Like, I don’t know, I just want people to read it and have fun!

    I know you’ve already got your next book, Buckle Up, coming next year at the time we’re talking here. Is there anything you took away from working on this book, any lessons or techniques that you’re taking with you to your next projects, anything you hope readers will notice?

    It’s funny because Buckle Up technically is supposed to be my first graphic novel. I signed on to do that one in 2020, early 2021. And then I signed on with Drawn & Quarterly at the end of 2021, but I had already gone through doing this 200-plus-page graphic novel, so Blackward was done very fast. And then while I was working on Blackward, I went back to edit, Buckle Up, which is supposed to be my children’s book, but my adult one is having more fun with the cartooning.

    page 209 of Lawrence Lindell's Blackward
    (Drawn & Quarterly)

    In my head [for Buckle Up] I was like, ‘Well, this needs to be a certain standard of middle-grade, YA and I’m gonna draw like this‘ and I’m supposed to be having as much fun as possible and I’m missing the opportunity to really push the cartooning. So, I went back and redrew stuff based off of what I did in Blackward, like what I should have did from the beginning because that’s my style and I shouldn’t try to change it.

    I can’t tell you what to do but it’s just meant to be enjoyed, just go in and have fun. If it’s not for you, it’s not for you, that’s fine. But, you know, if it is for you, it’s just a joyful book. Both of them. There’s stuff you can learn, but the intent is for you to crack it open and have a little bit of joy.

    (featured image: Drawn & Quarterly)

    Have a tip we should know? [email protected]

    Joan Zahra Dark

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  • Dr. Marc Lamont Hill to Deliver Virtual Keynote Speech at Tamarac’s Black History Month Celebration

    Dr. Marc Lamont Hill to Deliver Virtual Keynote Speech at Tamarac’s Black History Month Celebration

    Press Release



    updated: Feb 23, 2021

    As part of a series of Black History Month events celebrating Black culture and history, the City of Tamarac is proud to share a live, virtual presentation by Dr. Marc Lamont Hill, a renowned African American scholar, journalist and activist at its February 26 Black History Month Celebration. Hill will deliver a keynote address virtually, while other elements of the event will be offered in-person.

    An award-winning journalist, Dr. Hill is one of the leading intellectual voices in the country. He hosts BET News and the Coffee & Books podcast. He also serves as the Steve Charles Professor of Media, Cities and Solutions at Temple University. He has worked in solidarity with human rights movements around the world. Since his youth, Dr. Hill has been a social justice activist and organizer.

    Dr. Hill’s presentation will be shared on a large screen at the event. Additionally, Tamarac’s Mayor and Commission will recognize and honor local community leaders during the event. Attendees will also enjoy live, in-person poetry by Rebecca “Butterfly” Vaughn, performances by Delou African Dance Ensemble and cultural art displays.  

    This free event starts at 6 p.m. and is being held at the Tamarac Sports Complex, 9901 NW 77th St.

    In-person attendees must pre-register to reserve a 12×12-foot viewing space. Masks and social distancing are required.

    For more information or to register, visit https://tamarac-bhm.eventbrite.com or call Tamarac’s Parks and Recreation Department at (954) 597-3620.

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    Source: The City Of Tamarac

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