February '25 Issue. Honoring Black History

P ublisher'sP age T ony S mith Publisher Indie Incognito Magazine It's been one hell of a month in the new Trump administration. For all those saying his Project 2025 was just campaign troll talk, you are eating all kinds of crow right now.

We are not at a crossroads. We are way past that. This country is in the midst of a full blown revolution. There are young and progressive brothers and sisters of all races who are marching and resisting this "White is Right" mantra. What I see is that are many of us ready to roll up our sleeves and do the dirty work to have this Apartheid style government come to a halt.

What is scary to the Trump party is the realization that WE HAVE HAD ENOUGH. Previous generations made it possible for us to achieve what we have by staging sit in's, bus and business boycotts, and so much more.

I would hate for them to look down on us now and see us being soft, apathetic and with a Head In The Ground, I Have Mine mentality.

This is our home. We will not allow a singular race with a singular goal, to have it as they want.

The fight is real and I, along with millions more, are ready to Stand Tall and Stand Strong. Let's Get To Work.

I NDI E I COGNI TO M AGAZI NE @K ASEQTR Ton y Sm it h Publisher Rh on da Fost er -Sm it h Editor In Chief

Jo-Lyn n e Her ber t Associate Editor

Pau let t e Jack son Contributing Editor

Keyan n a Har per Contributing Editor

Don n ell Spen cer , Jr Photography Director

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Indie Incognito is published by Kase Qtr and Foster Smith Group, LLC offices: Wake Forest, NC indieincognito.com fostersmithgroup.com kaseqtr.com publisher@indiencognito.com 984-301-8440

I ndie I ncognito I n Remembr ance!

L or r aine Hansber r y Activist Public I ntellectual, Activist, Wr iter Born Black and Female

by Robert Nemiroff ?I was born on the Southside of Chicago. I was born black and a female. I was born in a depression after one world war and came into adolescence during another. While I was still in my teens, the first atom bombs were dropped on human beings and by the time I was twenty-three years old my government and that of the Soviet Union had entered actively into the worst conflict of nerves in history? the Cold War.? ? Lorraine Hansberry, ?The Negro Writer and His Roots: Towards a New Romanticism,?

American Society of African Culture, First Conference of Negro Writers, March 1, 1959.

These words, spoken by Lorraine Hansberry before a conference of young Black writers at the very beginning of her career starkly illustrate the circumstances of the playwright?s childhood in the 1930s. As a result of a legal battle waged by her father the ?restrictive covenants? of Chicago, which confined Blacks to one of this nation?s ugliest ghettos, her father occupied disputed property in a hostile white neighborhood. A brick hurled through the window nearly killed the eight year old Lorraine.

She remembered too the faces of the mob that cursed and spat at her on the way to school, and the sight of her mother patrolling their home through the night with a loaded Luger, while her father and NAACP lawyers in Washington fought a struggle in the Supreme Court that resulted in an historic decision bearing his name. Years later, as a freshman at the University of Wisconsin, Lorraine Hansberry

slipped into the auditorium of the University during a rehearsal of Sean O?Casey?s Juno and the Paycock. She was mesmerized; the student portraying O?Casey?s heroine wailed in grief at the death of her son, killed in the Irish struggle for freedom: ?Oh, Blessed Virgin , where were you when me darlin?son was riddled with bullets?. Sacred heart of the crucified Jesus, take away our hearts o?stone and give us hearts of flesh!. NAACP lawyers in Washington fought a struggle in the Supreme Court that resulted in an historic decision bearing his name.

One day in 1957, in a fit of disgust, she flung the manuscript of a play on which she was working to the ceiling, then into a wastebasket, and stormed out; her husband? as she liked to tell the story in later interviews? gathered up the pages and put them away until a better time? and then patiently started her back to work.

source link

Inspiration for A Raisin In The Sun

The play A Raisin In The Sun. It opened on Broadway in March 1959? and American theatre has never been quite the same since.

This was not just because Lorraine Hansberry became, at 29, the first Black dramatist? as well as the youngest American? to win the Best Play of the Year Award of the New York Drama Critics?Circle.

Or that the play has become an American classic, published and produced in over 30 languages abroad and in thousands of productions across the country. A Raisin In The Sun marked a turning point because, as James Baldwin has summed it up: ?Never before in the entire history of the American theatre had so much of the truth of Black people?s lives been seen on the stage.?

The play brought a new Black audience to the theatre. And it opened a door for a generation of Black artists, writers, performers? among them all of the original company. In addition to Sidney Poitier, the only previously established star, these included: Lloyd Richards, Broadway?s first Black director, Claudia McNeil, Ruby Dee, Diana Sands, Ossie Davis, Louis Gosset, Ivan Dixon, Glynn Turman? and, he even in the smallest roles, Douglas Turner Ward, distinguished founder and Artistic Director of the Negro Ensemble Company, and Lonne Elder III, author of Ceremonies In Dark Old Men.The play did not ?make? these artists, their own talents did that. Nor did it solve the problems of a theatre racist in vital respects ? but the mere fact a cast could be assembled in one play proclaimed unmistakably the depths and of additional Black talent waiting.

Perhaps most important,A Raisin In the Sun pointed the way to others. Etched within its seemingly simple tale of a Black family?s refusal to sacrifice human dignity to the demands of a racist society, were multiple themes and levels of the Black

revolution in consciousness that was to erupt with stunning swiftness in the 1960s, although most American theater-goers were unprepared to recognize this at the time.

These were the themes of Black identity, Black power, and liberation? from the mass symbolic utilization of the ?Black is Beautiful? slogan with its emphasis on images of Blackness reflecting unmistakable African ancestry, to the assertion of growing links with Black Africa? the passionate belief in which infused all the writings of Lorraine Hansberry, from her first play, set in Chicago, to her last, set in Africa.

In A Raisin In The Sunfor the first time on the stage: an African student, Asagai, articulates his vision of the coming liberation of Africa and the revolutionary future; the natural hair style and African dress appear in a ghetto setting; the young daughter, Beneatha, attacks the concept of ?assimilationism . . . into the dominant and in this case oppressive culture? (and also sounds a clear note for the liberation of women); while the hero, Walter Lee, in final confrontation with his family and himself, rejects the operating money values of society in favor of the continuing quest for dignity and freedom.

On January 12, 1965, five years later, during the run of her second play,The Sign In Sidney Brustein?s Window,Lorraine Hansberry died of cancer. She was 34.

full story credit: Note: This essay is a part of her story. Published as liner notes for the 1971 cast recording of To Be Young, Gifted and Black (Caedmon records,TRS 342).

Surviving Turbulent Times:What Matters Most Right Now.

by Keyanna Harper Practices like these build understanding and strengthen bonds. They remind us that we?re not alone and give us something to hold on to when things get tough.

In Black communities, we know the power of family. Whether it?s blood relatives or chosen family, having a strong support system helps us survive and thrive, even when the world feels like it?s closing in. Let?s keep that in mind and do better.

Fin din g Joy in Sm all Th in gs On Easter Sunday, 1939, contrailto Marian Anederson stepped to a microphone in front of the Linclon Memorial. Inscribed on the walls of the monument behind her were the words "All Men Are Created Equal".

Facing four years under another Trump presidency can feel heavy, especially with America?s direction leaning closer to an oligarchy.

But we?ve been here before? navigating tough times, making things work, and surviving when others didn?t think we could. The key is staying grounded, focusing on what matters most, and preparing ourselves for what?s coming.

Fam ily: You r Fou n dat ion in Har d Tim es Family has always been where we find strength.

Leaning on each other, spending time together, and having honest conversations can help keep everyone steady. These aren?t just nice ideas; they?re necessities.

Rev. David Peck talks about how shared spiritual practices can bring people together. This could mean praying as a family, sharing daily affirmations, or even sitting down once a week to talk about goals and gratitude.

Happiness matters, and it?s not a luxury.

Doing things that bring you joy can improve your mental health and help you stay strong for the challenges ahead. When you?re stressed or overwhelmed, carving out time for something you love can change your whole mood.

Why does this work? Activities you enjoy? like painting, cooking, or even just walking? release feel-good chemicals in your brain. These chemicals lower stress, lift your mood, and make it easier to think clearly. Plus, it?s a way to take back control.

You can?t control everything happening around you, but you can decide to give yourself time to feel good.

Making space for joy also sets a good example for the people around you. If you have kids, they?ll see that it?s okay to take care of themselves too. In our community, we?ve always found ways to hold onto happiness, even in hard times. That?s part of what keeps us going.

M ak in g You r M on ey Wor k f or You

Bu ildin g Com m u n it y an d St ayin g Ready

Money is tight for a lot of people, and that?s not going to change anytime soon. Big companies are coming for everything we know and love. So, it?s time to make smart moves with your money.

One thing we know as Black people is how to survive turmoil. We?ve been doing it for generations. But not everyone has that knowledge. Other communities might be caught off guard by what?s coming, while we know what?s up. That means we?ve got to focus on what matters most to us and build something stronger together.

Start with an emergency fund if you don?t already have one. Save enough to cover 3-6 months of expenses. It?s not easy, but having that cushion can be the difference between staying afloat and sinking during an unexpected crisis.

Next, think about where your money is going. Are there subscriptions or services you don?t really need? Could you buy from local businesses or Black-owned brands instead of big corporations?

Every choice matters, and when you spend with intention, you?re investing in your community.

If you have extra income, look into ways to grow it. That could mean putting money into a savings account, starting a small side hustle, or learning about investing. Whatever you do, make sure it?s a move that fits your goals.

St ay In f or m ed Wit h ou t Losin g You r self It?s important to keep an eye on what?s happening in the world, but don?t let it consume you.

Spending all your time glued to the news or scrolling through social media can drain your energy and your hope.

Instead, set limits. Check in on current events once or twice a day, but don?t let it take over your life. Balance the hard stuff with uplifting things? like music, books, or anything that brings you peace. Remember, being informed is about knowing what you need to know, not about drowning in every detail. Don't let social media consume you either. We now know it to is compromised, so turn it off it it gets to heavy.

Support each other. Shop Black-owned. Share resources. Teach what you know. The stronger our community is, the better we?ll all get through this.

Be ready for anything. That means saving money, learning new skills, and staying mentally and physically prepared for challenges. We can?t afford to keep our heads down and hope for the best.

Pay attention, but don?t let the weight of it all crush your spirit.

Th e Bot t om Lin e These next four years might not be easy, but we?ve faced worse and come out stronger. Focus on family, take care of your mental health, make smart financial moves, and stay connected to your community. We?ve always known how to adapt, survive, and thrive. This is no different. Let?s push through together.

Keyanna Harper is the founder of Obsidian People Empowering Black Creatives & Artists Celebrating Culture | Amplifying Voices Art | Expression |Community.

She is the Next Gen Voices editor for Indie Incognito. @keyharp @obsidianpeople https:// www.instagram.com/ obsidian_people/

HO NO RING NIKKI GIO VANNI Nikki Giovanni, one of the most famous and recognizable Black poets, passed away at the age of 81. Giovanni died on Monday, Dec. 9, following her third cancer diagnosis, according to a statement from friend and author Renée Watson. ?We will forever be grateful for the unconditional time she gave to us, to all her literary children across the writerly world,? said poet Kwame Alexander in the statement.

Giovanni has been published in many poetry anthologies, released several poetry recordings, nonfiction essays, children?s books, and several essays analyzing race, class, sexism, and other social issues. She has been awarded an unprecedented seven NAACP Image Awards, and has been nominated for a Grammy.

In her own words. source: https://nikki-giovanni.com/

I" was asked to do a biography so this is it. I am 71 years old. I highly recommend old age; it?s fun.

I have been awarded an unprecedented 7 NAACP Image Awards which makes me very very proud. I have been nominated for a Grammy; been a finalist for the National Book Award. I am very proud to have authored 3 New York Times and Los Angeles Times Best Sellers, highly unusual for a poet. I am a University Distinguished Professor at Virginia Tech. I don?t have a lot of friends but I have good ones. I have a son and a granddaughter. My father, mother, sister and middle aunt are all deceased literarily making me go from being the baby in the family to being an elder. I like to cook, travel and dream. I?m a writer.

I?m happy."

She has also been a finalist for the National Book Award, and authored three New York Times and Los Angeles Times Best Sellers.

Born Yolanda Cornelia Giovanni, Jr., on June 7, 1943, in Knoxville, Tennessee, Giovanni published her first poetry collection, Black Feeling Black Talk, in 1968. It established her as an emerging figure out of the Black Arts Movement. In it, Giovanni writes about the intersections of love, politics, loneliness and race. Her language is sometimes spare and longing, other times dense and righteous. The final lines in ?Word Poem? read, ?let?s build / what we become /when we dream.?

"W r iter s don't w r ite from ex per ience, although m any are hesitant to adm it that they don't...if you w rote from ex per ience, you'd get m aybe one book, m aybe three poem s. W r iter s w r ite from em pathy" - N ikki Giovanni

Giovanni published numerous collections of poetry? from her first self-published volume, Black Feeling Black Talk (1968), to New York Times best seller Bicycles: Love Poems (2009). She wrote several works of nonfiction and children?s literature and made multiple recordings, including the Emmy-award nominated The Nikki Giovanni Poetry Collection (2004). Her most recent publications include Make Me Rain: Poems & Prose (2020); Chasing Utopia: A Hybrid (2013); and, as editor, The 100 Best African American Poems (2010). She published more than two dozen volumes of poetry, essays, and edited anthologies and 11 illustrated children?s books, including Rosa, an award-winning biography of Rosa Parks.

Char les Dickson A self pr oclaimed Ar tistic Enigma

I r em em ber t h e day I visit ed Ch ar les' Sou t h -Cen t r al Los An geles st u dio. I w as accom pan ied by m y ph ot ogr aph y dir ect or , Don n ell Spen cer , Jr . We w er e bot h in aw e of t h e space, t h e ar t w or k , t h e vibe, an d t h e h ist or y. Ch ar les w as as h appy t o see u s as w e w er e t o see h im . As h e sh ow ed Don n ell ar ou n d t h e vast space of h is, I sim ply soak ed in t h e m ajest y of h is ar t w or k . Ask in g m yself , h ow in t h e h ell did t h is m an pr odu ce all of t h is? Af t er t alk in g t o Ch ar les f or f ive m in u t es, t h e an sw er w as clear . As h e t old m e, h e is w h at w e see r igh t h er e. In die In cogn it o is pleased t o in t r odu ce M r . Ch ar les Dick son .

Happy r eadin g!

Charles Dickson was born in Los Angeles in 1947. He has lived and works in Compton, is an Artist in Residence at the Watts Towers Art Center and has been an important figure in the Black L.A. art scene for decades. His intricate carvings in wood and metal reflect the African diaspora through direct references to traditional motifs, languages and styles of well documented African ritual objects and languages, including Ghanaian Adinkra symbols.

His many public artworks include the Dr. Martin Luther King, Jr. memorial in Watts, Wishing on a Star at the California African American Museum, Spirit Tree at the Watts Towers Art Center, Divine Order: The Manifestation of the Soaring Spirit for the Metro C (Green) Line Mariposa Station (El Segundo) and The Beacon at Crenshaw Plaza. As well as a series of award winning medals and sculptures commissioned

by Charles R. Drew University of Medicine and Science.

Over the course of his career, Charles has taught both formally (including at Otis College of Art and Design) and informally and has participated in more than one hundred exhibitions, including shows at the National Black Arts Festival, Los Angeles, Contemporary Exhibitions, California African American Museum, Japanese American National Museum, Los Angeles Arboretum, Korean Cultural Center and Watts Towers Art Center.

Charles Dixon discussed his early fascination with carving, influenced by his mother 's shopping trips and father 's cake decorating.

He discovered art in junior high and was inspired by his father 's creativity. Dixon's work evolved into public art, with notable projects like Destination Crenshaw, where he leveraged his expertise in materials and collaboration. He emphasized the importance of representing Black women in art. Dixon's trip to Senegal sparked new techniques in his photo alchemy process. He plans to continue his women's series and explore textiles. Dixon aims to leave a legacy of hard work, creativity, and community impact. Here is an Indie Incognito magazine exclusive. One on one with Charles Dickson. A conversation with our special correspondent Estella Holeman, aka, Stella the Poet.

So Mr. Dixon, can you tell us about the young Charles Dixon?

Th e you n g Ch ar les Dixon ? Well, I cou ld t ell t h e st or y w h en I w as f ive an d exposed t o a n eigh bor w it h a pen k n if e car vin g an ot h er k n if e, k in d of lik e a k in d of lik e t h e sh ape of Alibaba, k in d of sw or d. In an y case, I becam e f ascin at ed w it h t h at pr ocess an d w h at cou ld be sh aped f r om it . An d t h en I becam e in t r igu ed w it h all k in ds of m at er ials, k n ow in g t h at w it h m u d, w it h a con cr et e, you cou ld do som e sh apin g. Th at a br ick cou ld be sh aped in t o an ot h er f or m . I t r ied t est in g ou t all k in ds of t h in gs.

What influence did your upbringing have on your career path?

M y m ot h er w as a gr eat in f lu en ce. Becau se I w as ver y ill at t h e t im e, I h ad t o go in t o Hollyw ood t o Ch ildr en's Hospit al. An d ou r jou r n ey led u s f r om Ch ildr en's Hospit al t o dow n t ow n , an d sh e w ou ld go sh oppin g at Bu llock s f or f u r n it u r e, t h e sh oes, t h e per f u m e, t h e h at s t o w h at ever .

MY SCULPTORS ARE A WAY OF ME PRESERVING MEMORY AND PASSING ON TRADITION.

Evident in the placement and purpose of his artwork in Sankofa Park, Car Culture is the unique confluence recognizing spirit, place and intention in Black cultural life in Los Angeles where cars replace the symbol of the African bird for mobility. Car Culture is a trio of elongated figures resembling famous West African Senufo ritual objects. For the Senufo, these carved figures are the conduit between the living and spirit worlds, and Dickson continues this practice by connecting fiber optic cable between these larger than life portals to the past and the car fronts and ends that become their crown. Cars are a fundamental component of Crenshaw street life that brings together innovation, creativity and the communal joy of gathering in celebration of the unbounded ingenuity of Black and Brown makers. source. Destination Crenshaw

Sh e w ou ld sch ool m e in design . An d on t h e ot h er h an d, m y f at h er w as a cat .

Cak e decor at or an d bak er . He decor at ed t h e cak es in t h e h ou se. I w at ch ed h im m ak e r oses an d pr ocess all t h ese dif f er en t t h in gs So did you grow up in Beverly Hills?

No, I gr ew u p in Los An geles.

I speak of m y f at h er 's bak in g t h in g becau se h e h e act u ally w as a bak er bef or e t h en , h e w as act u ally a cook on a bat t lesh ip. An d so w h en h e got ou t t h e ser vice. He con t in u ed, you k n ow t h at bak in g an d cook in g pr ocess.

At what age did you understand what art was?

Th in gs w it h h e w ou ld dr aw bir ds on t h e cak e, an d h e w ou ld dr aw pict u r es, an d h e w ou ld do su n set s, an d h e w ou ld do all t h ese dif f er en t t h in gs on cak es. An d h e w ou ld m ak e w eddin g cak es, h e w ou ld st ack t h em . An d t h at also gave m e an idea w h at st r u ct u r al en gin eer in g w as abou t , becau se t h er e w er e cer t ain t h in gs h e h ad t o do t h at cak e t o m ak e t h ose t h r ee or f ou r year s go u p.

You describe yourself as a Enigma.

Exactly what does that mean?

En igm a? I t h in k you k n ow t h e w h ole st or y of bein g an ar t ist is based on pain t in g an d scu lpt in g som et h in g, n ot var yin g f r om a par t icu lar st yle or object . For in st an ce, a pain t er , a por t r ait pain t er , or a scu lpt or ju st w an t s f igu r at ive t h in gs f r om on e m at er ial.

Q&A I can r ecall t h at w h en I r each ed ju n ior h igh sch ool, an d som et h in g in m e said I cou ld be an ar t ist , or w h at did I lik e?

Wh at w as it ? Wh at w er e t h e cr eat ive t h in gs I w ou ld lik e t o m ak e, an d w h at w ou ld t h ey look lik e.

I r em em ber goin g t o t h e libr ar y an d n ot so m u ch a big r eader . I cou ld look at t h e pict u r es r eally w ell. I look ed at ever y ar t book , lit er ally, t h at w as in t h e libr ar y t o f in d ou t w h at I lik ed an d w h at I didn't lik e, an d w h er e I f ou n d m yself look in g f or t h ose f or m s, or , you k n ow , sear ch in g f or t h at k in d of qu alit y in m y w or k . I t h in k t h at t h at 's w h en I st ar t ed look in g at w h at I w as doin g as a r eal ar t f or m .

Who was your earliest artistic influence?

I t h in k it w as m y f at h er becau se I w ou ld w at ch h im decor at e cak es, an d h e w as t h e on ly ar t ist ic in f lu en ce t h at I cou ld t h in k of at t h e t im e.

I lik e all k in ds of m at er ials. I lik e t o play. I lik e t o en joy t h e pr ocess of t h in gs. I lik e t o discover m yself as an in ven t or . So, I en joy t h e f u ll spect r u m of m ak in g t h in gs f r om var iou s m at er ials, an d on aver age, m ost ar t ist s do n ot do t h at . Wh en did you r ar t becom e m or e t h an a passion an d becom e a cau se? You k n ow , I t h in k t h at as I gr ew u p, I look ed at becau se in m y com m u n it y, I saw black w om en , I didn't see w h it e w om en , bu t in t h e ar t com m u n it y of m u seu m s an d su ch , t h er e w as on ly w h it e f igu r es t h at w er e exam ples of beau t y, bu t I saw t h at sam e I saw beau t y ar ou n d m e, bu t I didn't see t h e expr ession of it .

I r em em ber I st ar t ed car vin g a par t icu lar body f or m t h at I h ad been exposed t o. It w as n ot a n u de f igu r e, bu t it w as a f igu r e.

An d so, I bu t I saw it t h r ou gh t h e clot h in g, an d I st ar t ed t o t r y t o m im ic t h at f or m .

What did doing destination Crenshaw do for your spirit?

Th at is a good qu est ion . You k n ow , I h ave don e var iou s pu blic ar t pr oject s f or over 30 year s. Nin et y-n in e per cen t w as don e w h er e I du g t h e h ole. Basically, I did it all h an ds on . An d t h e bu dget s w er en?t big bu dget s at all. I h ad t o, lik e, r eally sh ow a lot of som et h in g lik e, ok ay, M et r o Rail, f or in st an ce, t h e t it le of ou r pr oject w as called. Par t of ou r pr oject w as called m or e ban g f or t h e bu ck . Wh y did t h ey give t h em m or e ban g f or t h e bu ck ? Th ey act u ally did n ot w an t m e t o do all m y ban g, bu t I w as able t o do all t h ose t h in gs, an d in som e cases I w as pu n ish ed f or it . Bu t design at ion Cr en sh aw w as on e in w h ich I w as given t h e sam e t h e sam e pow er of doin g w h at I w an t ed t o do an d, bu t I k n ew all t h e t ech n iqu es.

An d t h en , in t h e u lt im at e en d of it , I f in ally r eleased t h e h an ds on t o a poin t af t er I did t h e m ajor f igu r e, an d it w as cast in st ain less st eel, I w as able t o, lik e r elease t h e f abr icat ion of t h e car s an d cer t ain en gin eer in g t h in gs, an d t h e t r u st t o a per son t h at w as dealin g t h at k n ew h ow t o deal w it h w eldin g st ain less st eel.

M y w eldin g w as lim it ed t o sm all st ain less-st eel object s, bu t on t h is level, it w as n ot cer t if ied, t h at w as t h e ot h er t h in g. I w as r equ ir ed t o be at t h e sit e t o see if t h e if t h e h ole w as du g r igh t , if t h e pieces w er e, you k n ow , t h ey w er e doin g t h in gs accor din g t o m y w an t s an d desir es. An d t h at is lik e a big st ep in an ot h er dir ect ion .

Q&A I k n ew all t h e t h in gs I k n ew , all t h e in r oads t o doin g all t h e t im e, savin g devices, an d I k n ew t h e polit ics of pu blic ar t , so I w as able t o in it ially get t h e bu dget s t h at I w an t ed. I w as w it h a f ou n dr y w it h . Th at I h ad been 36 year s, t h at I cou ld get a good pr ice, so I k n ew h ow t o t alk t o people, ar ch it ect s, an d en gin eer s, an d collabor at e w it h t h em . I, you k n ow , r each ed a poin t w h er e I f elt ver y com f or t able w it h w h at I w as doin g.

Th at 's lik e w h en you r each a cer t ain pin n acle of pu blic ar t , you can ask you r t eam , ar e t h e people t h at h ave h ir ed you t h at you w an t cer t ain t h in gs t o appear in you r w or k an d I w as assu r ed t h at t h ey w ou ld do t h at f or m e. So f ar , it 's been absolu t ely per f ect .

Is there one piece you've created that stands above the others?

Dest in at ion , Cr en sh aw , t h e Car Cu lt u r e piece, I t h in k is t h e h igh est poin t of w h at I've don e w it h t h e w it h pu blic ar t . It 's an ot h er k in d of per son al expr ession .

Descr ibe you r t r ip t o Af r ica, an d h ow did it im pact you ? I h ad decided t h at m y t r ip t o Af r ica w as n ot t h e dest in at ion , bu t t h e jou r n ey.

Q&

Wh en I got t o Af r ica, I f elt as t h ou gh I h ad been t h er e bef or e, bu t I discover ed by t alk in g t o an ot h er ar t ist , an ot h er level of m y w or k , t h at I w an t ed t o go in t o, an d h e w as u sin g t ech n iqu e t h at I h adn't qu it e t h ou gh t abou t . An d so, t o t h is day, I u se t h at t ech n iqu e t o expr ess som e of t h e st r et ch can 't st r et ch can vas. In m y ph ot o alch em y pr ocess, I did a piece called scr oll w h er e I ow n ed, I t ook t h e ph ot ogr aph of on Can vas, an d I m ade it m ove in an d ou t , or u n du lat e acr oss t h e su r f ace, an d t h at 's ju st t h e begin n in g of w h er e I'm goin g t o be. Bu t it w as goin g t o Af r ica t h at en abled m e t o h ave t h at ext r a lit t le idea. Wh at is n ext on you r agen da? I am in a n ew st u dio space.

Cr eat in g, an d u n pack in g. Bu t I w an t t o con t in u e w it h t h is pu f f explor at ion t h at I developed in t h e eigh t ies. An d I w an t t o f in ish m y w om en's ser ies, w h ich I h ave st u died f or t h e last 50 year s in r esear ch an d developm en t .

So, I w an t ed t o car ve t h ose f igu r es in w ood lif e size. So, I f in ally developed a t ech n iqu e t h at I w an t ed t o do back in t h e day, w h en I f ir st decided t h at I w as n ot able t o w eld, I didn't k n ow abou t w eldin g.

What next on your agenda?

I'm in a n ew st u dio space. Cr eat in g, you k n ow , u n pack in g. Bu t I w an t t o con t in u e w it h m y h is pu f f explor at ion t h at I developed in t h e 80s. An d I w an t t o f in ish m y w om en's ser ies, w h ich I've st u died f or t h e last 50 year s in r esear ch an d developm en t . So I w an t ed t o car ve t h ose f igu r es in w ood lif e size. So w eldin g an d w or k in g w it h var iou s m at er ials lik e st yr of oam an d Bon do an d dif f er en t adh esives. Now I'm able t o t o f u lf ill t h at dr eam an d goal.

&A

So, w eldin g an d w or k in g w it h var iou s m at er ials lik e st yr of oam an d Bon do an d dif f er en t adh esives. Now I'm able t o f u lf ill t h at dr eam an d goal.

Do you have an apprentice?

Yes, I h ave h ad sever al appr en t ices.

Wh en I do a pu blic ar t pr oject , I w ou ld at least br in g in com m u n it y ar t ist s t h at w er e in t er est ed in lear n in g h ow t o m ak e m olds w or k on a lar ge pu blic ar t pr oject , an d t h r ou gh ou t t h e pr ocess of doin g t h at , I w ou ld give t h em t h e oppor t u n it y t o expr ess t h eir cr eat ive self by act u ally becom in g t h e f or em an of t h at job, t ak in g on a t ask t h at n or m ally I w ou ld do, bu t I f igu r ed t h at w ou ld be lik e a gr adu at ion t h in g, t h at t h ey cou ld do t o sh ow m e t h at t h ey lear n ed w h at t h ey w er e su pposed t o lear n in t h e pr ocess.

Th at t h ey r eally car e abou t t h at .

Artist/ sculptor Charles Dickson with master South African sculptor, Andile Dyalvane, at the opening of "Mother Tongues" at the Southern Guild Gallery, the first gallery in the United States representing South Africans artists. Stella the Poet, joined them in this photo.

"I thought it was a phenomenal exhibition," says Dickson. "We speak the same language," he adds.

Yesterday, Today and Tomorrow

Charles Dickson, a public works master artist, has invited the South African artists to his downtown LA studio/ workshop for a tour before FRIEZE and FELIX , 2024 (invitation for this Tuesday, 2/ 27 at Noon) and to dialogue with local artists and friends.

Thank you, Lyn Winter, PR consultant for setting it up!

How do you wish to be remembered?

I w an t people t o k n ow t h at I w as a h ear t h ar d w or k er , bu t a ver y sm ar t t h at , t h at I n ever f or got w h er e m y gif t cam e f r om , t h at I w as alw ays w illin g t o sh ar e w h at w as given m e becau se an d t o sh ar e t h e f act t h at all of u s ar e cr eat ive in dividu als an d sh ou ld be h on or ed t h at w ay.

What would you tell a 20 something year old Charles Dixon today?

Wh at w ou ld I t ell m yself if I go back in t o t h e past an d su dden ly w e'll do a t h r ou gh a t im e m ach in e I w ou ld look at w ou ld say, k eep w or k in g in joy.

Wor k in divin e or der an d pu r su e you .

Keep pu r su in g you r dr eam s. Th ey w or k ou t f or you .

For information and inquiries about college lectures, museum shows and gallery exhibitions, please contact: Am ber Wit ch er , Bu sin ess M an ager thedicksonstudio@gmail.com St ella t h e Poet , Pu blicist backinharmony@yahoo.com t h edick son st u dio.com

go to page 51-53 or more Charles Dickson artwork. Destination Crenshaw.

LA A rb o retum by Charles Dic kso n

St ella t h e Poet

Beh in d ever y gr eat m an is a gr eat w om an . M eet Est ella Holem an ak a St ella Th e Poet , t h e f or ce of en er gy f or Ch ar les Dick son Author of Truth Shots & Ida?s Brew, Stella the Poet, is insightful, honest and inspirational. She comes from generations of community activists who instilled in her, cultural pride and resilience. She?s a graduate of Beverly Hills High School and holds a journalism degree from Howard University.

Stella the Poet is a proud world traveler, art lover and freelance writer. She is currently completing her second poetry book, Love, Magic & Maroon Moons and is co-authoring an art and poetry book celebrating Black Women with the master artist/sculptor, Charles Dickson. ?Stella the Poet? serves as an advisor to community-based organizations and is a volunteer at LAUSD?s Central High School.

She?s a trained spiritual practitioner who creates tools for individual and group transformation.

You can find her reading poetry on her YouTube channel under ?Stella the Poet?.

As Stella the Poet, in her writings, she offers words that are odes and offerings to mamas before, sisters who walk alongside, and daughters emerging. Her poetry envelopes and awakens? especially when spoken from her own lips. They serve as reminders of who we really are.

Estella Holeman has been a regular member and panelist for Black Lives Matter and other grassroots organizations that fight for justice and equality.

Writing Our Own Future: Stella the Poet

Charles, Estella and Indie incognito publisher, Tony Smith

Charles Dickson and Indie Incognito photographer, Donnell Spencer, Jr

Ch a r l es Dic k so n 's "Ca r Cu l t u r e" Pay s Tr i bu t e To Cr en sh aw .

Destination Crenshaw is a 1.3 mile public art project, showcasing over 100 public art pieces by Black artists from L.A. One of the project's commissioned artists is sculptor Charles Dickson, a prominent figure in the L.A. art scene for decades.

Get an inside look at Dickson's "Car Culture" sculpture set to be erected in Destination Crenshaws' Sonkofa Park. thedicksonstudio.com @backinharmony

COM ING IN M ARCH FASHION WITH SHENEKA GUNN

by, Jo-Lynn Herbert

Sheneka Gunn, proprietor of 1Qtee Boutique, is a local Las Vegas fashion designer business owner making a profound impact on her community by offering fashion designs for all adult ages and sizes. She ensures that everyone looks and feels their best, with the right apparel that accentuates outer beauty and enhances confidence.

This further encouraged her to assume responsibility for providing fashion techniques in the industry to educate others and expose unique fashion to all.

Her entry into the fashion world began at the prestigious Magic Clothing Convention, a global platform displaying designers from around the world.

Her early experiences in modeling ignited a passion for fashion that extended.

Having Sheneka Gunn as our fashion editor brings a unique perspective and expertise to our fashion column. The depth of her knowledge with styles, trends and what women want will be invaluable.

We are excited to have this be one of our most read columns.

photo credit: jcob nasyr

SOUND OFF with JO-LYNN HERBERT Black History Month: A Movement of Now ?Definitely Honorary.

Definitely Intentional. Definitely then and Now. Definitely a Mission. Full of Us. A Treasure Worth Living.? We have the power to undo what we think we can?t do.

WE HAVE WHAT WE NEED TO BECOME WHAT WE WHAT TO BECOME. YOU?RE GOING TO TELL ME WE thrived TO reach 2025 JUST TO GO BACK, yeah ok, Nope!

You and I are so much as a community, full of curiosity, conversations, boldness determination, Purpose, commonality, so creative and innovative. Being more than enough! We can go to any book store, library, museum, Broadway, GOVERNMENT, UNIVERSITY, big and small screen, theater, SCHOOL, Hospital, classroom, NON PROFIT, FOR PROFIT, SPORT, Tv Programming, news program, Magazine, classics

My who I am is every day 24 hours a day, wherever I go Wherever I am. I decided not to get any tattoos. The styles of tattoos are pretty and creative, however, years ago, I thought my beautiful shade of Black skin didn?t need to be covered. My reasoning and cause were to allow myself to see what others didn?t want to see. Learning to accept by honoring those Honorees who stood in the gap so you and I can stand today.

I had to learn myself, love myself accept myself and see myself while studying, reading and feeling what others worked so hard to create and share. We are the keepers of knowledge to maintain our history, present and future. We are the keepers of knowledge that allow us see our treasure. Our personal best is the community we create. We bring our interests, A and B game, sadness, Disappointment, skill sets, excellence,pain, social ills, mental health, success, however we come we come as we are still to thrive to see and go beyond any barriers.

We can?t stop Our universe is massive.

to NEW MANUSCRIPT, film, music halls and venues, , dance and so much more and

Our footsteps have been paved from intelligence, commitment and love.

you will see us.

BLACK History is more than History it?s a timeless treasure.

WE ARE THERE. We have all we need to look in the mirror and start a new day full of grace and opportunity Building our future sealing our blueprint. We don?t have to spin our day to defend or convenience anybody or anything to fulfill our mandate to be who we are.

Black History month is day by day living.

Jo-Lynn Herbert is a published author, Writer, and a licensed social worker. She is a regular Indie Incognito columnist.

Jo-lynn-expressions.com

Black Hist or y ~ Wor ld Hist or y OpEd ? By Paulette Jackson February has been designated Black History Month. How ironic that it is during the shortest month of the year (several conversations have been had around this). But, when I think of Black History, I think of all of our people of color that have made great sacrifices and have paved the way for us all, to live better, be creative, innovative and most of all, the instinct to survive!

People of color for many years, have had to endure much pain, prejudice, ridicule, and struggle, all because of the color of their skin

(how very sad and infuriating).

They had to fight harder, excel beyond setbacks and opposition. It has always boggled my mind how some people of this world, even today, can have so much hate towards a person just because they look different but that will be a discussion for another day.

For me, Black History Month is not in February, it is 365 days a year.

Black Americans have contributed greatly to our country from

on this world, men and women alike. We have to remember that Black History is World History to be studied and celebrated every single day. We should no longer ignore the greatness of Black Americans and that they have endured so much in order for us to be able to have and do better, to leave our mark on this world and to honor them by continuing to shine and to make it

" Black Hist or y is Wor ld Hist or y an d w e sh ou ld all con t in u e t o lear n all w e can abou t it an d pass t h at h ist or y dow n t o t h e n ext gen er at ion s t o com e. We h ave t o k n ow t h e st ock w e com e f r om an d t h at ot h er s r ealize w e ar e a vit al par t of h ist or y inventions to artistry, African-Americans are the backbone of a country that is supposed to treat everyone fairly, and sadly that is not the case.

Even present day, I find out more

and more about how people of color have invented and created things from musical instruments that are used today, to electronics.

We are a people of phenomenal gifts and talents that have worked hard to leave an unmistakable mark

better for the next generation.

As an artist and creative, I can?t help but to think about those before me who have shared their gifts with us and left a legacy behind for us to show honor and respect, thank you.

Paulette Jackson is the Founder/CEO of SCORP Radio Network and Jazz Zone Radio.

She is an associate editor and Indie Incognito columnist. @msmusic @SCORPRadioNetwork

BOBBY ROEBUCK A LIFE BEHIND THE LENS

by Tony Smith: Indie Incognito A lot of us know that in the social media world, when it comes to entertainment, it's a small world indeed. It is in this realm that I heard of Bobby Roebuck. We pay attention to the photography of the artists we follow and love. This brother 's name kept appearing in the credits, so I did my research.

Mr. Bobby Roebuck has, organically, earned his stripes in the world of smooth jazz photography and that was just the beginning. Bobby has become a well respected and highly sought after photographer by all of the stars we see on stage.

Bobby Lee Roebuck has been a freelance photographer with a unique artistic vision for the past 14 years. He is a creative photographer striving to capture the essence of the moments to be etched in a person?s mind a lifetime.

As a photographer he taps into his natural talent, as a visual artist since elementary school in the 70?s.

This enables him to utilize his ability to manipulate light to bring out the true beauty in a potential subject matter.Bobby has engaged in photographing jazz concerts; he is always fascinated with the dynamic musicians?ability to bring melodies to the listener ?s ear. He feels the energy stage-side as he captures each expression of the performers and maneuvers in the right position to secure the unbelievable expressions demonstrated in each face.

During the 2012 Jon Coltrane Jazz & Blues Festival he had the opportunity to capture George Duke & Stanley Clarke?s historic performance nearing the end of Mr. Duke?s lifetime. As a jazz lover Bobby was thrilled to showcase the legends style of musical domination on the stage.

Bobby has photographed for a number of local jazz festivals throughout the triad and local public/private events.He begins the summer each year with his home town of Winston- Salem NC; the Friday Evening Jazz and summer Partnership under the leadership of Jason Theil, community jazz promoter and events planner.

Bobby Roebu ck

Q&A w it h Ton y Sm it h

How was it growing up and who were my first influence I gr ew u p in a h ou seh old of 7 siblin gs w it h m y Gr an dm ot h er t h e m at r iar ch of t h e f am ily. I u sed ar t as an ou t let f r om t h e con st an t m ovem en t an d n oise in t h e h ou se.I w as bor n in Balt im or e M ar ylan d an d in m y Elem en t ar y year s m oved t o Win st on Salem , NC. --w it h m y Gr an dm ot h er .

I lear n ed M ar t ial Ar t s t au gh t by a f r ien d an d n eigh bor . I begin t o dr aw w h ich capt u r ed m y in t ellect u al eye f or ligh t in g, in clu sive of sh adow s an d dar k pat t er n s.I en t er ed in t o dr aw in g con t est .

M y Gr an dm ot h er an d Oldest sist er w er e m y in f lu en ces.

It w asn?t u n t il m y adu lt lif e, I pick ed u p a cam er a becau se I w as par t icipat in g in a m ovie scr ipt an d w e n eeded a ph ot ogr aph er ; w it h t h e h elp of a f r ien d Rober t Br ow n an d Sam u el Hodges w h o sh ow ed m e t h e basic of cam er a u sages. I becam e in t r igu ed by t h e cam er a an d pu r ch ased a sm all cam er a.

Th e u se of t h e cam er a BEGUN.

What lessons learned early in life have had positive results in your life?

Th r ee P w or ds com e im m ediat ely t o m in d w h en I t h in k abou t t h is qu est ion .

Per sist en t , Pr act ice, People-t h ese 3 w or ds r eson at ed t h r ou gh ou t m y lif e in t h e past , pr esen t an d h elps t o develop f u t u r e goals.

Per sist en t ---is con t in u ally t r yin g, r eadin g an d st u dyin g t h e cr af t t o lear n m or e. Daily I r ead ar t icles on ligh t in g, an d ph ot ogr aph y t o assu r e m y t ech n iqu es ar e cu r r en t . I look on t h e You Tu be an d r ead M agazin e an d Con cer t Ph ot ogr aph y/ Book s f or exam ple: All Access-You r Back st age Pass t o con cer t Ph ot ogr aph y? w h ich is m y f avor it e book on get t in g passes an d st age et iqu et t e. I am a self - t au gh t Ar t ist an d Ph ot ogr aph er . I h ave becom e f r ien ds w it h m an y of t h e m u sician s t h at I t ak e pict u r es of at dif f er en t f est ivals.

I pr act ice ph ot ogr aph y by set t in g u p ligh t s, addit ion ally, I go ou t f or en vir on m en t al sh oot s u sin g t h e su n ligh t .

I am blessed w it h a var iet y of People t h at r ef er m e f or ph ot ogr aph y, an d t h ey ser ve as m odels at dif f er en t locat ion s.Th ey h ave t old m e w h en it s good an d w h at I n eed t o ch an ge.I h ave a con t in u es im pr ovem en t m in dset .

When did the photography bug grab you?

Th e ph ot ogr aph y bu g h it m e w h en a f r ien d ask ed m e t o com e f or an In dy Pr o Wr est lin g M at ch , w h ile t h er e t h ey n eeded a r in gside ph ot ogr aph er .I gr ew u p en joyin g w r est lin g an d I w as f am iliar w it h m ost of t h e m oves.Th er ef or e, I said Yes. I r an ar ou n d t h e r in g, posit ion ed m yself f or t h e h igh - f lyin g m oves.Th e n ext t h in g I k n ew I w as get t in g calls t o com e an d t ak e w r est lin g m at ch ph ot os.

M y f r ien d?s son / GUNNER w as a w r est ler an d t h ey ask ed m e t o do a pr om o ph ot o sh oot w r est ler .Th is f or h im .Gu n n er is a f or m er WWE pr o w as m y f ir st Pr act ice Pr of ession al Ph ot o sh oot in 2012.

What was the first event or artist you photographed that put you on the map?

Win st on Salem NC is k n ow n f or t h e Cit y of t h e Ar t s, in t h e su m m er t im e, Jazz M u sical t alen t s ar e sh ow cased dow n t ow n in t h e par k on Fr iday an d Sat u r day even in gs.Th e Win st on Salem Even t is called t h e Win st on Salem Dow n t ow n Fr iday Su m m er Jazz Ser ies at Th e Cor pen in g Plaza.Th e f ir st ar t ist I ph ot ogr aph ed at t h at ser ies w as Dee Lu cas, M ar cu s An der son , Jef f Br adsh aw an d Joh n Dillar d in 2016. Th e sou n d of m u sic t ak es on a n ew m ean in g f or m e.I becam e f ascin at ed by t h e m u sician s an d t h eir f acial expr ession s. I am k n ow n f or capt u r in g t h e expr ession s an d h an d m ovem en t s of t h e t alen t ed ar t ist .I becam e k n ow n by sh oot in g Jazz Fest ivals su ch as Joh n Colt r an e Fest ival in High Poin t NC an d t h e VAROOM Jazz Fest ival in Du r h am , NC in 2016.

It s im por t an t t o t ell a st or y w it h m y cam er a, f r om t h e begin n in g, m iddle an d en d of t h e m u sical set . Th e dow n t ow n per f or m an ces h ave h elped pu t m e on t h e m ap.

M ar cu s An der son becam e on e of m y f avor it es t o ph ot ogr aph at t h e M ar cu s An der son Jazz an d Cof f ee Fest ival (M A JACE) in Ash eville an d Du r h am NC. M ar cu s An der son gave m e m y f ir st oppor t u n it y t o be a Jazz Fest ival ph ot ogr aph er at Th e Dian a Wor t h am Th eat er in Ash eville NC du r in g t h e M A JACE in 2019.

Who was your favorite artist to photograph?

Th e f am ou s pian ist Geor ge Du k e; per f or m ed at t h e Joh n Colt r an e In t er n at ion al Jazz an d Blu es Fest ival in , High Poin t NC -- 2015.Th e en er gy an d f acial expr ession s por t r ayed by h im w h ile per f or m in g w as ph en om en al.Th e ar t ist ?s w if e h ad r ecen t ly died an d it w as clear h e w as h avin g an em ot ion al m om en t w it h t h e m u sical select ion .I w as capt ivat ed by h is im age.

What civic events that you worked, meant the most?

I h ave ph ot ogr aph ed t h e NAAACP Ban qu et in Win st on Salem NC, Th e Win st on Salem Spor t sm an Aw ar ds Ban qu et , Red Hear t Wom en?s Ban qu et , Th e Black Th eat r e Fest ival, Wom en?s Fu n d spon sor ed by t h e Win st on Salem Fou n dat ion an d Th e Un it ed Way Sn eak er Fu n dr aisin g Ban qu et . M y f avor it e w as w h en m y w if e ser ved as t h e in spir at ion al speak er at t h e Wom en?s Fu n d Ban qu et t h e day af t er Hillar y Clin t on lost t h e Pr esiden t ial Elect ion , t h e cr ow d of w om en Cedrick Ingram and Bobby Roebuck on set. w er e dow n .M y w if e?s t alk w as ver y m ot ivat ion al.I also ph ot ogr aph ed h er w h en sh e r eceived t h e Wom en of t h e Year Aw ar d at t h e Wom en?s Red Hear t Ban qu et .

How proud of you of the documentary The Jazz Photographer?

I am ver y pr ou d; t h e pr odu cer cou ld h ave select ed som ebody else.I don?t alw ays see m y accom plish m en t s, becau se I h ad su ch a h u m ble begin n in g. Cin em at ogr aph er Cedr ick In gr am , Win st on Salem based an d I w or k ed on t h e pr oject f or abou t a year . He did a w on der f u l job of capt u r in g m y st or y.I am gr at ef u l f or t h e oppor t u n it ies.

Cedr ick In gr am st at ed t h at ?people don?t r ealize w h at goes on in t h e im age beh in d t h e len s of t h e cam er a.

Th e ph ot ogr aph er get s lost , people som et im es on ly car e abou t w h o is in f r on t of t h e cam er a.Th e docu m en t ar y h igh ligh t s Bobby Roebu ck an d h ow h e Cedrick Ingram br in gs t h e im ages t o lif e?.

The documentary is doing well, it has been accepted into 2 Film Festivals, the results will be highlighted in the future.

Wh at w or ds of en cou r agem en t s do you h ave f or ou r r eader s?

My talents are God Given, I say to potential artist, BELIEVE IN YOURSELF. There will always be NAYSAYERS. You have a gift and vision for a purpose-- follow your staying on task, it may unfold differently than you imagine. Remember my 3 P words Persistence, Practice, People.

Persistence. Keep trying--the gift will unwrap itself.

Timing and outcome is worth it.

Practice for perfection--People? network--- use technology to meet new people, ask permission to talk or engage with them. Correct timing is everything.

Shot To The Head Photography promo video. Music by Norman Brown. Shot & edited by Cedi it off Films.

t wan a Mr s. bo bby r o ebu c k Tell us about the amazing role your wife has played in your life and career.

M y w if e, Tw an a Roebu ck , is ver y det ail or ien t , sh e h as h elped m e sch edu le m y Com m it m en t s, Ligh t in g an d Ph ot ogr aph y Assist an t , Collect in f or m at ion abou t t h e Talen t s w h en n eeded. Wr it es Gr an t s, Ar t icles, Spir it u al Par t n er , Cook s an d k eeps m e m ot ivat ed. Sh e is a blessin g an d a Help M at e. Beh in d Ever y Ph ot ogr aph er is a good w om en .

Mr. and Mrs. Bobby Roebuck. He could not have any of this magic with Twana by his side.

Find Bobby and Shot To The Head Photography at

Shottotheheadphotography.com @shot To The Head facebook @shottotheheadphotography instagram

George Duke by Bobby Roebuck Marcus Anderson

by Bobby Roebuck

Marcus Anderson by Bobby Roebuck

Oct. 16, 1968: Olympics Black Power Salute Time Periods: 1961 Themes: African American, Civil Rights Movements, Racism & Racial Identity, Sports African American, Civil Rights Movements, Racism & Racial Identity, Sports On Oct. 16, 1968 during medal presentations t at the 1968 Summer Olympic Games in Mexico City, winning sprinters Tommie Smith and John Carlos raised their black-gloved fists while the U.S. national anthem was played.

Australian Peter Norman wore an Olympic Project for Human Rights pin, and stood in solidarity with their protest. Smith and Carlos were suspended from the team by the U.S. Olympic Committee two days later.

Dave Zirin notes, When mentioned at all in U.S. history textbooks, the famous photo appears with almost no context. For example, Pearson/Prentice Hall?s United States History places the photo opposite a short three-paragraph section, ?Young Leaders Call for Black Power.? The photo?s caption says simply that ?. . . U.S. athletes Tommie Smith and John Carlos raised gloved fists in protest against discrimination.?

The media ? and school curricula ? fail to address the context that produced Smith and Carlos?famous gesture of resistance: It was the product of what was called ?The Revolt of In this Oct. 16, 1968, file photo, Australian silver medalist Peter the Black Athlete.? Continue reading ?

Norman, left, stands on the podium as Americans Tommie Fists of Freedom: An Olympic Story Not Smith, center, and John Carlos raise their gloved fists in a human Taught in School.? rights protest. | AP

TARGET. Diver sit y, an d Som e Ch r ist ian s Here?s a part of Target?s story few know about

By: 'bumpyjonas? 1/29/25

The suit is called Craig v. Target Corporation.

Target lost the first round in the procedural part of the case.

Target tried to get the case dismissed but the motion was denied. Here is how the judge, a Trump appointee, but well respected lawyer described the case in his order: ?In May 2023, Target

I remember the chain store Tar get ?s Pr ide campaign back in 2023. When I went in the stores, you noticed it. The colors of the Pride flag were everywhere. I strolled through and thought Wow, this is quite a bit of progress. I did wonder how people felt about it considering it was a national campaign and not a regional campaign.

Well, it turns out that Pride campaign was the beginning of the end of Target?s DEI program more than likely. Little did I know and probably many reading this,

Target got boycotted by customers as a result of its Pride campaign. Someone was upset and complained. Target?s stock price went down and the store suffered a drop in sales.

Corporation undertook a

Then Target got sued by a guy named Brian Craig, and some others. Craig is a shareholder.

governance (?ESG?) and

The thing is, it is hard to sue a store and say, hey you are promoting LGBTQ ideas and values, we are going to sue.

That won?t work. Target was sued alleging that it misled its shareholders and customers.

focused on displaying Pride

children and family-themed LGBT ?Pride Month? marketing and sales campaign as part of an environmental, social,

diversity, equity, and inclusion (?DEI?) initiative. The campaign

Month-related merchandise at the front and center of Target?s stores across the United States.

This resulted in customer backlash and a boycott that Plaintiffs allege caused Target?s sales and stock price to decline. read full story on Medium

Black -ow n ed br an ds u r ge US con su m er s n ot t o boycot t Tar get over en d of diver sit y ef f or t s

By Arriana McLymore and Siddharth CavaleJanuary 28, 20256:00 AM EST

Customers go through the self check out line at a Target store on the week of Black Friday shopping in Chicago, Illinois, U.S. November 26, 2024. REUTERS/Vincent Alban/File Photo Purchase Licensing Rights

NEW YORK, Jan 27 (Reuters) -

The campaign would be aimed

Please don't boycott Target!

at hurting the company's sales

That's the message from Black founders and influencers to consumers about a backlash against the retailer 's decision to

and preventing Target from profiting from products by minority-owned companies, advocates said.

end its diversity, equity and

But Black-owned companies

inclusion efforts.

and entrepreneurs urged

With the U.S. political climate trending right, the Minneapolis-based company announced the move on Friday prompting calls for a boycott of

against a boycott on Monday, saying they would lose revenue and consumer exposure, which would harm the brands more than the retailer.

its stores from labor advocacy

"If we all decide to boycott ... so

group We Are Somebody and a

many of us will be affected and

Minneapolis city council member. our sales will drop.

our businesses will be hurt," Tabitha Brown, an actress whose kitchen wares are sold at Target, said in an Instagram post..

Target did not immediately respond to requests for comment on the boycott calls.

Building on previous inclusivity efforts, Target in 2022 set a goal of making a financial commitment of more than $2 billion to Black-owned businesses by 2025. read full story

Wor k f r om a M ast er Class w it h Ch ar les Dick son at California African American Museum

Charles Dickson at work

Charles Dickson, Stella The Poet and Indie Incognito publisher, Tony Smith at Matter Gallery in Los Angeles

Black In M ayber r y Black in Mayberry is primarily focused on addressing the systemic and institutional racism that robs, burdens and disrupts the lives of Black people in the United States of America. Through the application of art and education, we strive for political, social, economic and legal change.

We believe that art is a powerful tool for encouraging discourse, educating minds and changing hearts. Through creative collaborations with artists and activists, we intend to expose, discuss, evaluate current systems and doctrines that uphold racism whether direct or indirect.

How Art Combats Racism; Insights from Black Artists

By Black In Mayberry

Th e Docu m en t ar y

Watch The Full Documentary

Meet Tanya Taylor, Founder of Black in Mayber r y Tanya Taylor is the founder and executive director of Black in Mayberry, a nonprofit organization dedicated to combating systemic and institutional racism through art and education. The organization aims to inspire political, social, economic, and legal change by leveraging the power of creative expression. blackinmayberry.org In 2023, Tanya was featured as a social justice innovator during the TEDx Manhattan Beach event, where she engaged over 200 participants in creating advocacy discs, fostering community involvement in anti-racism efforts. blackinmayberry.org Tanya's commitment to social justice and her innovative approach to addressing racism have made her a prominent figure in the movement toward equality and inclusivity.

Tanya Taylor Founder & Executive Director

How Art Combats Racism Insights from Black Artists

By Black In Mayberry

Black in Mayber r y presents the ?We Are Here? Art Exhibition this Black History Month, shining a spotlight on the untold stories of displaced African American communities in Los Angeles. This powerful exhibition celebrates resilience, culture, and history through art, personal narratives, and community connections.

We?re looking for: Exhibiting Artists to share works that explore displacement, identity, and belonging.

Teaching Artists & Activists to lead workshops that inspire and educate.

Collaborators and Creative Spaces to bring this vision to life.

Family Photos & Stories from the community to preserve and showcase your heritage.

Sponsors passionate about supporting this impactful and free event for the public.

Be part of a movement that honors the past while shaping the future.

Exhibition Dates: February 2025 Location: Los Angeles, CA Submit your art, stories, or partnership interest today! Visit https://lnkd.in/gv9Db72K or DM us for more details.

Let?s come together to make history visible.

hashtag#WeAreHereExhibition hashtag#BlackHistoryMonth hashtag#ArtForChange hashtag#CommunityStories hashtag#SupportBlackArtists

ReBUILD LA® ? Help Los Angeles Fire Survivors Don at e Now or Text ?WFRF? t o 414-44

The Los Angeles wildfires have torn through communities, leaving thousands of families devastated and without a home. In addition to the emotional toll, survivors now face the financial burden of rebuilding or relocating. In many cases, homeowners were uninsured or underinsured, leaving them with little to no coverage for rebuilding their homes.

YOUR CONTRIBUTION WILL: -

-

-

Help families who have lost everything rebuild or relocate, ensuring they have a safe place to call home.

Provide essential goods through gift cards to purchase food and other necessary items.

Support those whose homes are uninhabitable, with rental or mortgage assistance and other intermediate housing needs.

Replace home furnishingswith vouchers for Habitat?s ReStores.

Offer assistance to vulnerable survivors who have been left without options to afford housing.

Habitat for Humanity of Greater Los Angeles (Habitat LA) has a long history of helping vulnerable households after a disaster, including rebuilding 120 homes after the recent Woolsey and Creek fires. In response, Habitat LA is launching ReBUILD LA®, a long-term emergency response campaign, to assist those affected to rebuild their homes, relocate to other housing, provide essential supplies, and restore Toget h er , We Can ReBUILD LA® their lives.

Our mission is to build homes and communities The immediate need for assistance is so everyone has a place to live with dignity. In overwhelming. Thousands of people have been times of disaster, it?s more important than ever displaced, and many face the prospect of not to stand together and help those who need us having a safe, affordable home in the near most. Habitat LA?s efficient and transparent use future. According to niche.com, 22% of of donations means that every dollar you households in the affected area earn less than contribute goes directly to helping the people of the median income for Los Angeles County Los Angeles rebuild their homes and lives after this tragic event. read more

California wildfire 2025: The scient ific cause behind deadly LA wildfires and why t his ?apocalypse?is t oo difficult t o cont rol California battles devastating wildfires, claiming lives, destroying homes and displacing thousands. Strong Santa Ana winds and dry conditions fuel the blazes, with federal support mobilized for recovery.

January 09, 2025/ 16:52 IST

CALIFORNIA WILDFIRES 2025: Firefighters battle a blaze at a burning structure on Lake Avenue, downtown Altadena, Pasadena, Wednesday, Jan. 8, 2025. (Image: AP)

Alt aden a?s Black r esiden t s dispr opor t ion at ely h it by Eat on f ir e. that will make it more difficult for them to rebuild when compared with residents as a whole.

The study found that 61% of Black households in the community are in the fire?s perimeter, compared with 50% of non-Black households. And nearly half of Black residents?homes were leveled or suffered severe damage, compared with 37% of non-Black households, the study says.

La Toya Andrews and Nancy Ferdinand of Altadena hug Jan. 11 at a donation center set up at First AME Zion Church in Pasadena to help those affected by the Eaton fire.(Jason Armond / Los Angeles Times)

?This is threatened by any kind of shock, but particularly this kind of shock that happens so swift and to such a large number? 2800

By Hannah Fryand Brittny MejiaJan. 28,

households? in a 24 hour period,? said Lorrie Frasure, an author of the study and director of the Ralph J. Bunche Center for African American Studies at UCLA.

20255:44 PM PT Black residents of Altadena were more likely to have their homes damaged or destroyed by the Eaton fire and will have a harder financial road to recovery from the disaster, according to research released Tuesday by UCLA. The fire burned more than 9,000 structures in the heart of Altadena, ravaging historically Black neighborhoods that for decades had thrived despite racial discrimination and, more recently, gentrification.

A study from UCLA published Tuesday reveals that Black residents in Altadena were 1.3 times more likely to have experienced major damage or complete destruction of their home during the inferno. Researchers also found that Black fire victims tended to be older and often with financial circumstances

The Eaton fire burst out of Eaton Canyon and made a run north and west amid hurricane-force winds. Embers flooded Altadena?s west side, leveling entire blocks.

These areas west of Lake Avenue have large Black populations in part because of a history of segregation and redlining policies.

In 1939, Home Owners?Loan Corp. created a security map of the region in which it ranked neighborhoods by the relative risk to lenders.

In Altadena, areas west of Lake Avenue were mostly zoned in the ?definitely declining? category, the second-lowest ranking, while the neighborhoods east of Lake Avenue were ranked either ?best? or ?still desirable.?

These were my neighbors when I live in Pasadena and my heart goes out to them.

International Brotherhood of Electrical Workers Local 47 work to reconnect electrical to existing homes in the Eaton fire burn area in Altadena on Monday, Jan. 27, 2025 and haul away burned poles. (Photo by Sarah Reingewirtz, Los Angeles Daily News/SCNG)

Since its outbreak on Jan. 7, the Eaton fire has destroyed more than 9,000 structures, burned about 14,000 acres and killed at least 17 people.and the disparities stemming from it to provide tailored support that ensures the restoration and future of this vibrant community.?

By David Wilson | dawilson@scng.com

Since its outbreak on Jan. 7, the Eaton fire has destroyed more than 9,000 structures,

UPDATED:January 29, 2025 at 10:12 AM PST

burned about 14,000 acres and killed at

?Altadena?s Black community has long served

least 17 people.

as a symbol of resilience and opportunity in

read full story...

the Los Angeles region, but the Eaton Fire exposes how decades of segregation and the legacy of redlining practices have left Black households more vulnerable,? Lorrie Frasure, a professor of political science and African American studies who directs the Bunche Center, said in a news release.

HIP HOP KENDRICK LAM AR m akes a r esou n din g STATEM ENT!

CORNER

Kendrick Lamar performs at halftime of Super Bow; 2025, Sunday Feb 9, 2025 in New Orleans. AP/Brynn Anderson

Ken dr ick Lam ar w en t Har d In Th e Pain t on t h e biggest st age in t h e w or ld. Wit h a lit t le h elp f r om t h e legen d Sam u el L. Jack son .

M essage Sen t . M essage Received!

Pu blic En em y | Credit : Emilee Chinn / Getty Images | Gregory Shamis/Getty Images KENDRICK UNCUT ON THE WORLD WIDE STAGE By: Tony Smith. Indie Incogntio Being an avid football fan, Super Bowl Sunday was as relaxing a day as ever.

Wings, a couple of cold brews and mucho relaxation. The game revealed itself in the first quarter due tho those Philly Dawgs on defense.

OK, here comes halftime and I am thinking bathroom break and maybe a smoke. Then they preview Kendrick Lamar as the Halftime show performer. I decided to wait a minute to just check out how this was going to go.

Best decision I made that day. As soon as I saw that young man crouched on that 1987 Buick GNX, I knew something interesting was coming. Interesting ended up being a major understatement. My first audible reaction was the words OH DAMN. Followed by UNAPOLOGETIC BLACKNESS. I found myself transfixed by the artistry, choreography, messaging and plain old Gittin It by Mr. Lamar.

Ken dr ick Lam ar , 2025 Su per Bow l Half t im e Sh ow , Polit ical Hyper bole an d t h e On goin g Fr an t ic Fear of Wh it e Fr agilit y an d Wh it e Su pr em acy! by: Elwood Watson, Ph.D.

It has been several days, and Kendrick Lamar ?s Super Bowl halftime performance is still garnering controversy in a multitude of political and social circles. Lamar, a Pulitzer Prize winner, is known for his passionate storytelling, and his performance at Caesars Superdome told a story of Black Americans and their placement within the fabric of American history. It was a performance filled with political references and allusions to Black history.

This representation was one that offered a starkly divergent narrative of what the patriotic Uncle Sam, routinely depicted as White, looks like. Midway through the performance, Jackson accused Lamar of being ?too loud, too reckless, [and] too ghetto,? depicting stereotypes often associated with Black people, hip hop music, and Black culture. Notably, Jackson portrayed a docile, subservient self-hating character named Stephen in the 2012 film Django Unchained.

Given the frantic and hostile reaction from many on the pollical, social and cultural right/maga-melts-down-over-kendrick-

The prison industrial complex has continually been a central debate topic for more than a few Black Americans.

Kendrick Lamar ?s performance provided its own message. As the rapper and his

lamars-super-bowl-lix-halftimeperformance/, you would have thought that the artist had performed a reenactment of Nat Turner ?s Rebellion raid known as the Southampton Insurrection on Southampton, Virginia in aslave rebellion that took place in Southampton County, Virginia, in August 1831. Led by Nat Turner, the rebels, made up of enslaved African Americans, killed between 55 and 65 White people. The reality of the recent Super Bowl performance was much more subdued and culturally relevant.

Lamar ?s performance began with the appearance of Hollywood award-winning actor Samuel L. Jackson. Known for his deft timing and, in particular, his penchant for spewing the f-word, Jackson donned a red, white, and blue garish outfit with a top hat to introduce Lamar at ?the Great American Game.?

all-Black dancers danced around the field, it became readily apparent that they were performing in a prison environment. The platform was structured to draw attention to the issue of mass incarceration and the gross racial disparities faced by those who are currently behind bars. Black Americans are incarcerated at considerably higher rates than White Americans, even for committing duplicative offenses.

While Lamar has never been a victim of the criminal justice system, he routinely raps about its impact on Black Americans.

His recent Grammy performance was not the first live show Lamar has used to highlight the system?s disparities.

In 2016, he donned a prison outfit and led a chain gang of backup dancers across the stage as musicians performed in prison cells. During the performance of ?Not Like Us,? Lamar rapped to his backup singers, ?40 acres and mule, this is bigger than the music.? This was a direct reference to the reparations and 40 acres of land promised to Black Americans following the end of slavery by the union army. The promise was never fulfilled, and the issue is still a part of current debates related to reparations for Black Americans.

Perhaps the most critiqued aspect of Lamar ?s performance was that his dancers were dressed in red, white, and blue.

However, if the message was not clear enough, they came together during ?Humble? to form an explicit image. At one point during the lineup, the dancers all bent forward, lifting their backs in the air.

This was a not-so-subtle message to remind or inform viewers that the nation was built on the backs of Black Americans during slavery. Afterwards, the dancers separated, standing in two groups on either side of Lamar. The image of a divided flag spoke to stark political divisions around the nation, to which Lamar hinted at with the line, ?It?s a cultural divide.?Perhaps the most

critiqued aspect of Lamar ?s performance was that his dancers were dressed in red, white, and blue. However, if the message was not clear enough, they came together during ?Humble? to form an explicit image.

At one point during the lineup, the dancers all bent forward, lifting their backs in the air. This was a not-so-subtle message to remind or inform viewers that the nation was built on the backs of Black Americans during slavery.

Afterwards, the dancers separated, standing in two groups on either side of Lamar. The image of a divided flag spoke to stark political divisions around the nation, to which Lamar hinted at with the line, ?It?s a cultural divide.?

The truth is that more than a few Black Americans (and individuals of other groups) have frequently lamented about what the American flag means to them. This is particularly the case when witnessing the flag in the company of those who are the purported enemies of certain communities.

Such weaponized flags are an alarming and blatant warning sign to anyone who is not White, Christian, heterosexual, and conservative in their philosophy. Rather than embracing our commonalities, they highlight our differences in sinister and menacing ways.

Throughout the 13-minute performance, many people likely came to the realization that although they cannot stop the constant avalanche of despairing news, they do have some degree of control.

Turning off the television or changing the channel are two options they have. The action reinforced his declaration at the beginning of his performance as he knelt on top of a Buick GNX: ?The revolution ?bout to be televised.

This slogan was a direct reference to Gil Scott-Heron?s 1971 song ?The Revolution Will Not Be Televised ?https:/revolution will not be televised/youtu.be. According to his biographer Marcus Baram, Mr. Scott-Heron wrote the song in part to showcase ?the disconnect between the consumerism celebrated on TV with the social unrest that was occurring in the nation at the time.?

Lamar reversed the meaning of these famous words during his radical performance, ending with a wake-up call reminding us that we do, indeed, have control, and the controller, in our hands.

We as the public have the ingredients necessary for resistance at our disposal.

Lamar ?s halftime performance at the Super Bowl collectively asked, ?What is America without Black people?? Indeed, the performance represented a measure of racial progress that should not be ignored. What it also indicated is that there is still work to be done on the racial front.

About the writer: Elwood Watson Ph.D. is a professor of History, Black Studies and Gender and Sexuality Studies at East Tennessee State University. He is a cultural critic, syndicated columnist and author of the book, Keepin?It Real: Essays on Race in Contemporary America.

(University of Chicago Press)

by: Oladimeji Odunsi

MR. ADRIAN CRUTCHFIELD Adrian Crutchfield is known around the world for his neo-soul sound ? creating music in a variety of genres such as jazz, R&B, pop, funk, soul, hip hop, and fusion.

His high energy show brings a diversity to jazz never seen before with music for every generation! Adrian takes pride in bringing a new and powerful sound, merging jazz with today?s pop and hip hop.

Adrian Crutchfield has taken the world by storm in recent years, not only as the last sax player to perform and record withPrince, touring the world and being featured on Prince?s last three albums, but also touring domestically and internationally with acts such as Lionel Ritchie, Bette Midler, and Cee Lo Green ? all the while writing and building his 2017 release titled ?Leap?.

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Known as the last horn man to perform with Prince and The New Power Generation, Adrian is featured on many of Prince's final masterpieces, including the 2017 Grammy Nominated Hit-N-Run Phase 2.

Adrian also had the privilege of performing with Lionel Ritchie, Bette Midler, Ceelo Green, R&B Icon Anthony Hamilton, Fantasia and with hip hop superstar Young Jeezy.

On the jazz scene, Adrian has been featured with Brian /Culbertson, Kim Waters, Mike Phillips, Alex Bugnon, Jeff Lorber and Brandford Marsalis, Fourplay The Gap Band and Charlie Wilson.

I met Adrian in 2016 while at the Seabreeze Jazz Fest as tour manager for Jazz In Pink. What made it more profound was that it was the day Prince passed away. We met later at a after concert jam session. Kicked it. Found out we had tons of mutual connections and became immediate friends. What I know is that this man is committed to his craft. Adrian Crutchfield is a professional entertainer who knows how to put on a show.

More importantly, he is genuinely good man.

Adrian is currently doing his swing in Charlotte and on the road with Brian Culbertson.

Stay tuned for so much more from this dynamic artist, entertainer.

Find Adrian Cruthfield @adriancrutchfieldmusic/#

CRUTCHFIELD

ADRIAN

adriancrutchfieldmusic/#