Killian & the Comeback Kids, With Taylor A. Purdee, Kassie DePaiva, Shannon O’Boyle, More, Eyes Summer Release

Posted in Articles, Arts, Media Archive, United States on 2022-06-19 22:59Z by Steven

Killian & the Comeback Kids, With Taylor A. Purdee, Kassie DePaiva, Shannon O’Boyle, More, Eyes Summer Release


Andrew Gans, Senior News Editor

Killian & The Comeback Kids

Purdee also wrote and directed the new folk-rock musical film.

Taylor A. Purdee’s folk-rock musical film Killian & the Comeback Kids is currently slated for a theatrical launch in late August, adding new states on a rolling basis as regions reopen.

The film stars Purdee (Gotham) in the title role, with Kassie DePaiva (Days of Our Lives), Nathan Purdee (The Young and the Restless), Shannon O’Boyle (Once), Emily Mest (Spring Awakening national tour), Shane Andries (Tomorrow Ever After), John Donchak, Andrew O’Shanick, Yael Elisheva, Maddi Jane, and Academy Award winner Lee Grant (Shampoo)…

Read the entire article here.

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The Box: Looking Back At Daytime’s First Black Leading Actress Ellen Holly

Posted in Articles, Arts, Media Archive, United States, Wanted/Research Requests/Call for Papers on 2022-05-13 02:04Z by Steven

The Box: Looking Back At Daytime’s First Black Leading Actress Ellen Holly

A Hot Set

Hillary Lynch


Ellen Holly comes from a long line of trailblazers- her family tree includes Susan Smith McKinney Steward, the first Black woman to graduate from medical school in the state of New York (the third in the United States overall) and Sylvanus Smith, the first Black person to address Congress at the Lincoln Memorial– so it’s no surprise that she is a trailblazer herself. Her portrayal of Carla Gray on the Agnes Nixon soap opera One Life to Live marked a major moment in entertainment history, as she became the first Black leading actress in daytime television. Her inclusion on the soap was monumental, giving the daytime television viewing populace a rare opportunity to watch a Black television character in a major, meaningful role.

Carla Gray is first introduced on One Life to Live in 1968 as Carla Benari, an Italian American woman who is on the brink of a complete nervous breakdown. The cause of her mental health issue is later revealed to be from the inner conflict she faces as a light-skinned Black woman who ran away when she was young and has been passing for white ever since. The irony of the role was not lost on Holly, who referenced the fact that Black actresses avoid trying to pass for white. At the same time, this was the only role on camera that was typically awarded to light-skinned Black actresses- and even then, these roles often went to white actresses. Irony aside, Carla Gray was huge. Upon the show’s revelation that the Italian Carla Benari was actually the Black Carla Gray, ratings spiked, and it was clear that Agnes Nixon had struck television gold with her character’s unique storyline…

Read the entire article here.

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Conversations In My Head

Posted in Articles, Arts, Audio, Media Archive on 2022-05-13 00:51Z by Steven

Conversations In My Head | Conversations In My Head

Music Xray: 21st century A&R

Artist: Davina Robinson
Album: The Blazing Heart
Title: Conversations In My Head
Year: 2008
Track number: 3
Total tracks: 4
Genres: Rock / Alternative & Punk / Pop

“Powerhouse Rock and Roll Soul” describes Davina Robinson’s blend of rock, funk, soul and wild woman attitude, creating a powerful, fierce, soulful rock style. Davina released her debut EP The Blazing Heart in May 2008, and her first full album, Black Rock Warrior Queen, in November 2011. Davina is from Philadelphia, USA and based in Osaka, Japan.


Are you watching me from afar
Standing over my shoulder
Are you floating above the floor
Sorry that I can’t speak Italian anymore

Many years ago your daughter had a Black boyfriend
When she got pregnant it caused a stir
Everyone said just get rid of it
You were the only one who told her to give birth…

Listen to the song and read the lyrics here.

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Rhiannon Giddens wins Best Folk Album GRAMMY

Posted in Articles, Arts, Media Archive, United States on 2022-05-05 16:00Z by Steven

Rhiannon Giddens wins Best Folk Album GRAMMY

Guitar Girl Magazine

GGM Staff

Photo Credit: Ebru Yildiz

Congratulations to Rhiannon Giddens on her Grammy Award win for Best Folk Album for They’re Calling Me Home. Giddens was also nominated for Best American Roots Song for ​​”Avalon” from They’re Calling Me Home, which she made with multi-instrumentalist Francesco Turrisi. Giddens is now a 2-time winner and an 8-time nominee. On Wednesday, Giddens will also perform at Paul Simon’s tribute concert “Homeward Bound: A Grammy Salute to the Songs of Paul Simon,” alongside Brandi Carlile, Brad Paisley, Billy Porter, Dave Matthews, and Paul Simon himself.

The Grammy award-winning album, released by Nonesuch last April, has been widely celebrated by the NY Times, NPR Music, NPR, Rolling Stone, People, Associated Press and far beyond, with No Depression deeming it “a near perfect album…her finest work to date.” Recorded over six days in the early phase of the pandemic in a small studio outside of Dublin, Ireland – where both Giddens and Turrisi live – They’re Calling Me Home manages to effortlessly blend the music of their native and adoptive countries: America, Italy, and Ireland. The album speaks of the longing for the comfort of home as well as the metaphorical “call home” of death…

Read the entire article here.

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Robin Thede Teases ‘Epic’ Return of ‘A Black Lady Sketch Show’ on Variety’s ‘Through Our Lens’

Posted in Arts, Interviews, Media Archive, United States, Videos, Women on 2022-04-21 14:23Z by Steven

Robin Thede Teases ‘Epic’ Return of ‘A Black Lady Sketch Show’ on Variety’s ‘Through Our Lens’


Robin Thede, writer, comedian and creator of ‘A Black Lady Sketch Show’, joins Variety’s Angelique Jackson on ‘Through Our Lens’ to discuss how her perspective as a Black woman has shaped her comedy career and outlook as a creator and showrunner.

Watch the interview here. Read the article here.

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Trailblazer with Amandla Stenberg

Posted in Articles, Arts, Interviews, Media Archive, Social Justice on 2022-04-05 01:27Z by Steven

Trailblazer with Amandla Stenberg


Micha Frazer-Carroll

Photography: Miranda Barnes / Styling: Karla Welch

Ever since her breakout role in The Hunger Games, Amandla Stenberg’s career has gone from strength to strength. Here, the actor talks to Micha Frazer-Carroll about her involvement in the Black Lives Matter movement, how the pandemic has made her re-evaluate her life and why she’s keenly exploring other creative avenues

Speaking to Amandla Stenberg feels strikingly like hanging out with a close friend, as well as interviewing a compelling voice from Hollywood’s twentysomething cohort. As we connect over Zoom, the conversational ground quickly spans from grumbling about media depictions of Gen Z to lamenting the elitist hierarchies that have emerged at queer Zoom parties. She also laughs a lot.

The laughter subsides and Stenberg reflects on the turbulent times that 2020 brought. She’s been Airbnb-ing and short-term renting for two years now – between New York, LA, Paris and Copenhagen – and has felt constantly unsettled since the pandemic hit. “I think sometimes I forget the lens through which I’m looking at things,” she says. “I can kind of get stressed out, wondering why I have so much anxiety, or why I’m in a constant state of paranoia and fear – and then I remember the circumstances.”

There are things to be grateful for, too, of course – she stresses that she doesn’t want to sound all “the pandemmy’s been so hard”, particularly since the actor, whose father is Danish, spent three months of the past year in the rolling hills of rural Denmark. “The thing I’m grateful for is definitely the opportunity to move more slowly – like actually thinking about my habits, the way I move through each day and what my priorities are.”…

Read the entire article here.

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Punta Music Has Never Been a Honduran ‘Thing,’ It Has Always Been a Black One

Posted in Anthropology, Articles, Arts, Caribbean/Latin America, History, Media Archive, Native Americans/First Nation on 2022-03-30 02:39Z by Steven

Punta Music Has Never Been a Honduran ‘Thing,’ It Has Always Been a Black One


Julaiza Alvarez

Art by Stephany Torres for Remezcla.

I was 12 years old when I went to my first fedu, a Garifuna word for a traditional gathering or party in Honduras. I was intrigued by how comfortable everyone was: The women dressed in traditional garments danced to the beat of the drum and sang to the sound of hands clapping. It was effortless. I had never seen anything like it. While I had been to family functions and seen my aunts dance, this did not compare. It was mesmerizing, especially with everyone being Black. It was different, and it set me on a journey to discover who I was.

Growing up in Charlotte, North Carolina, I struggled to find a sense of belonging in a community that did not accept me but accepted what my Blackness could give them. I wrestled with constantly being challenged to prove myself, not realizing that we are burdened with defending ourselves from the people we call our neighbors. Through music, Garifunas have told their story. But sadly, Punta is one of the countless Black musical movements that are having its history erased. The scene at my first fedu was unlike the music videos I grew up watching on YouTube where the Garifuna men would beat the drums, and the fair-skinned and dark-haired women would dance in front of them.

In my introduction to Punta, I saw my Blackness be celebrated. But to the rest of the world, their introduction to Punta showed my Blackness used as an accessory. Something you put on and take off when you are done with it. That’s why it is disheartening to watch the deliberate whitewashing of this sacred genre of music. The genre’s mainstream face is based on the misconception that Punta is the heartbeat of the Honduran people, the entirety of the country. In fact, this genre is rooted in a more specific community: the Garifuna people, the descendants of mixed West African and indigenous people that have historically resided on the Caribbean coast of Central America

Read the entire article here.

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Aline Motta and the personal diving into collective memory

Posted in Articles, Arts, Brazil, Caribbean/Latin America, History, Interviews, Media Archive on 2022-03-29 20:28Z by Steven

Aline Motta and the personal diving into collective memory


Marcos Grinspum Ferraz

“Pontes sobre Abismos #17”, Aline Motta, Foto: Cortesia da artista

The multimedia artist, one of the winners of the 7th Marcantonio Vilaça Award, departs from a thorough research on his family history to address major topics such as slavery, African heritage and a patriarchal structure that remains in Brazil today

The journey of artist Aline Motta looking for her roots and the vestiges of her ancestors is undoubtedly a personal endeavour. The result, however, concerns the collective memory of thousands of Brazilian families built (or destroyed) in the violent process of the country’s formation, based on slavery and patriarchal structure.

“It took a while for me to acquire some maturity and psychic centering to deal with issues so deep and difficult that concern my own history and family,” she says in an interview with ARTE!Brasileiros. This maturation time included not only some early artwork that dealt with other topics, carried out especially from the beginning of this decade, but also a vast trajectory as a continuist in movies, which commenced in 2001.

It was from 2016, when she had the project Pontes sobre Abismos (Bridges over Abysses) selected by Itaú Cultural’s Rumos program, that Motta, now 45, began to devote herself full-time to authorial work, with a multimedia production that did not leave aside cinema, but also unfolded in installations, photographs, texts, publications and performances…

Read the entire interview here.

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A brush with… Ellen Gallagher

Posted in Articles, Arts, Audio, Biography, History, Interviews, Media Archive, Slavery, United States on 2022-03-29 20:00Z by Steven

A brush with… Ellen Gallagher

The Week in Art

Ellen Gallagher in her Rotterdam studio Photo: Philippe Vogelenzang Courtesy the artist and Hauser & Wirth

An in-depth conversation on the artist’s big influences, from Keith Haring to Moby Dick

In this episode of A brush with…, Ben Luke talks to the American artist Ellen Gallagher about her life and work by exploring her greatest cultural influences. Born in Providence, Rhode Island in 1965, Gallagher studied at Oberlin College in Ohio, the School of the Museum of Fine Arts in Boston and the Skowhegan School of Painting and Sculpture in Maine. She now lives in Rotterdam in the Netherlands. Much of Gallagher’s parents’ ancestry—in particular her Black father who is from the Cape Verde archipelago off the west coast of Africa—defines the territory of her practice, which relates to the culture and language of the Black diaspora.

Though primarily working in painting and drawing, Gallagher has also worked in sculpture, film and animation. Her early style appears Minimalist and spare from a distance but, up close, one observes intricate drawings of eyes, lips and wigs, which Gallagher has described as “the disembodied ephemera of minstrelsy”—the racist blackface entertainment common in the US from the C19th onwards. In the early 2000s, she used cut-out advertisements from Black culture magazines and transformed them with plasticine, making sculptural reliefs that were often imprinted with witty or incisive symbols and imagery. Many of her paintings refer to the sea and allude to the Afrofuturist myth of Drexciya: a Black Atlantis at the bottom of the Atlantic Ocean, supposedly populated with the children of the mothers of enslaved African women who were thrown—or threw themselves—overboard during their forced journey across the Middle Passage

Read and/or listen to the interview here.

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FKA twigs: ‘I don’t have secrets. I’m not ashamed of anything’

Posted in Articles, Arts, Caribbean/Latin America, Interviews, Media Archive, United Kingdom on 2022-03-29 02:07Z by Steven

FKA twigs: ‘I don’t have secrets. I’m not ashamed of anything’

The Guardian

Kadish Morris, Editor, Critic & Poet

FKA twigs: ‘I think vulnerability is really hot.’ Photograph: Aidan Zamiri/The Guardian

After a hellish couple of years, the pop visionary is back. She talks about beating illness, escaping abuse, and the joy of connecting with her Caribbean roots

FKA twigs isn’t special, she says, she just rehearses a lot. “I don’t think I was born with anything more than the rest of the world,” says the 34-year-old singer-songwriter. It might be hard to believe that anybody could do the splits down a pole or wield a sword, Wushu-style, the way twigs has done without possessing some divine powers, but it’s all in the training. She can afford private lessons now, but when she started out as a fresh-faced back-up dancer, YouTube tutorials and group dance classes helped her to perfect her craft. “I practise and I practise and I practise. That’s who I am.”

Twigs has had a spellbinding career, exploding on to the pop scene a decade ago with operatic vocal arrangements, conceptual videos and futuristic instrumentals. In 2014 the New Yorker magazine said that she “dresses like a high-fashion model from antiquity, but her songs promise the very contemporary pleasures of texture and emotional immediacy”. Since then, she’s released several acclaimed albums and is considered a trailblazer in pop, R&B and Afrofuturism

Read the entire interview here.

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