Podcasts about afrofuturist

Samantha Tennant sits down with Andrea Hairston — novelist, playwright, Afrofuturist, and self-described "scientist, artiste, and hoodoo conjurer" — to talk about her latest novel, THE REDEMPTION CENTER IS CLOSED ON SUNDAYS, a genre-defying extra-dimensional murder mystery anchored by a Saint Bernardoodle dog detective named Una. Andrea draws on her decades in theater — as director, playwright, and professor — to explain how she weaves mystery, romance, and science fiction into a single story without losing the thread of any of them. She talks about using the dog as a pivot point: Una doesn't recognize genre, she just knows the people she loves, which turns out to be the perfect lens for a story that spans dimensions. The conversation moves into Andrea's background shift from mathematics and physics to theater (with a detour through lighting design and Ohm's Law), her long-standing research into animal cognition and dog behavior, and what Afrofuturism actually means in practice — not predicting the future, but understanding the present deeply enough to make real choices about what comes next. She uses Harriet Tubman and Einstein as parallel examples of people who imagined their way to something that didn't exist yet. The Fresh Fiction Facts segment reveals she owns a "ridiculous" number of DVDs (including every Star Trek series), that she'd rather visit the future than the past, and that her most dog-eared books are Octavia Butler's Parable of the Sower, anything by Ursula Le Guin, and Momo by Michael Ende — which she re-reads in German. Andrea closes with a peek at her work-in-progress: QUEEN FOR TODAY, a secondary world fantasy about a carnival queen of misrule whose single day of reign changes everything.

The Future Now Resembles the Past by Kinte is the third installment in an Afrofuturist hip-hop trilogy. Part 1, The Future Is Ours, was the warning. Part 2, The Future Is Here, showed the future arriving. Now Part 3 shows humanity slipping backward, repeating the same mistakes it promised to learn from. This album tells a darker chapter where the Eden Protocol has not been activated, the last rainforest is decaying, the children of the algorithm become the system, and the future begins to look like the past all over again. But even in the collapse, the final track leaves a small glimmer of hope that the next generation may finally break the cycle. Samples come from Tubeway Army by Tubeway Army, Telekon by Gary Numan, and Warriors by Gary Numan. Track Listing and Samples Intro (The Cycle Begins Again) Sample: “Listen to the Sirens” from Tubeway Army by Tubeway Army We Were Warned Before Sample: “This Wreckage” from Telekon by Gary Numan The Future Now Resembles the Past Sample: “Warriors” from Warriors by Gary Numan Eden Protocol Not Activated Sample: “I Dream of Wires” from Telekon by Gary Numan Cities Under Glass Are Cracking Sample: “This Prison Moon” from Warriors by Gary Numan The Last Rainforest Is Now in Decay Sample: “The Iceman Comes” from Warriors by Gary Numan Children of the Algorithm Became the System Sample: “Remind Me to Smile” from Telekon by Gary Numan New Kings in Tomorrow Sample: “My Centurion” from Warriors by Gary Numan Digital Ancestors Deleted Sample: “My Shadow in Vain” from Tubeway Army by Tubeway Army The Oceans Came Back for Their Names Sample: “The Aircrash Bureau” from Telekon by Gary Numan Build the Walls Again Sample: “The Dream Police” from Tubeway Army by Tubeway Army The Children Still Remember the Sun Sample: “We Are Glass” from Telekon by Gary Numan #TheFutureNowResemblesThePast #Kinte #Afrofuturism

The Future Now Resembles the Past by Kinte is the third installment in an Afrofuturist hip-hop trilogy. Part 1, The Future Is Ours, was the warning. Part 2, The Future Is Here, showed the future arriving. Now Part 3 shows humanity slipping backward, repeating the same mistakes it promised to learn from. This album tells a darker chapter where the Eden Protocol has not been activated, the last rainforest is decaying, the children of the algorithm become the system, and the future begins to look like the past all over again. But even in the collapse, the final track leaves a small glimmer of hope that the next generation may finally break the cycle. Samples come from Tubeway Army by Tubeway Army, Telekon by Gary Numan, and Warriors by Gary Numan. Track Listing and Samples Intro (The Cycle Begins Again) Sample: “Listen to the Sirens” from Tubeway Army by Tubeway Army We Were Warned Before Sample: “This Wreckage” from Telekon by Gary Numan The Future Now Resembles the Past Sample: “Warriors” from Warriors by Gary Numan Eden Protocol Not Activated Sample: “I Dream of Wires” from Telekon by Gary Numan Cities Under Glass Are Cracking Sample: “This Prison Moon” from Warriors by Gary Numan The Last Rainforest Is Now in Decay Sample: “The Iceman Comes” from Warriors by Gary Numan Children of the Algorithm Became the System Sample: “Remind Me to Smile” from Telekon by Gary Numan New Kings in Tomorrow Sample: “My Centurion” from Warriors by Gary Numan Digital Ancestors Deleted Sample: “My Shadow in Vain” from Tubeway Army by Tubeway Army The Oceans Came Back for Their Names Sample: “The Aircrash Bureau” from Telekon by Gary Numan Build the Walls Again Sample: “The Dream Police” from Tubeway Army by Tubeway Army The Children Still Remember the Sun Sample: “We Are Glass” from Telekon by Gary Numan #TheFutureNowResemblesThePast #Kinte #Afrofuturism

The Future Now Resembles the Past by Kinte is the third installment in an Afrofuturist hip-hop trilogy. Part 1, The Future Is Ours, was the warning. Part 2, The Future Is Here, showed the future arriving. Now Part 3 shows humanity slipping backward, repeating the same mistakes it promised to learn from. This album tells a darker chapter where the Eden Protocol has not been activated, the last rainforest is decaying, the children of the algorithm become the system, and the future begins to look like the past all over again. But even in the collapse, the final track leaves a small glimmer of hope that the next generation may finally break the cycle. Samples come from Tubeway Army by Tubeway Army, Telekon by Gary Numan, and Warriors by Gary Numan. Track Listing and Samples Intro (The Cycle Begins Again) Sample: “Listen to the Sirens” from Tubeway Army by Tubeway Army We Were Warned Before Sample: “This Wreckage” from Telekon by Gary Numan The Future Now Resembles the Past Sample: “Warriors” from Warriors by Gary Numan Eden Protocol Not Activated Sample: “I Dream of Wires” from Telekon by Gary Numan Cities Under Glass Are Cracking Sample: “This Prison Moon” from Warriors by Gary Numan The Last Rainforest Is Now in Decay Sample: “The Iceman Comes” from Warriors by Gary Numan Children of the Algorithm Became the System Sample: “Remind Me to Smile” from Telekon by Gary Numan New Kings in Tomorrow Sample: “My Centurion” from Warriors by Gary Numan Digital Ancestors Deleted Sample: “My Shadow in Vain” from Tubeway Army by Tubeway Army The Oceans Came Back for Their Names Sample: “The Aircrash Bureau” from Telekon by Gary Numan Build the Walls Again Sample: “The Dream Police” from Tubeway Army by Tubeway Army The Children Still Remember the Sun Sample: “We Are Glass” from Telekon by Gary Numan #TheFutureNowResemblesThePast #Kinte #Afrofuturism

The Future Now Resembles the Past by Kinte is the third installment in an Afrofuturist hip-hop trilogy. Part 1, The Future Is Ours, was the warning. Part 2, The Future Is Here, showed the future arriving. Now Part 3 shows humanity slipping backward, repeating the same mistakes it promised to learn from. This album tells a darker chapter where the Eden Protocol has not been activated, the last rainforest is decaying, the children of the algorithm become the system, and the future begins to look like the past all over again. But even in the collapse, the final track leaves a small glimmer of hope that the next generation may finally break the cycle. Samples come from Tubeway Army by Tubeway Army, Telekon by Gary Numan, and Warriors by Gary Numan. Track Listing and Samples Intro (The Cycle Begins Again) Sample: “Listen to the Sirens” from Tubeway Army by Tubeway Army We Were Warned Before Sample: “This Wreckage” from Telekon by Gary Numan The Future Now Resembles the Past Sample: “Warriors” from Warriors by Gary Numan Eden Protocol Not Activated Sample: “I Dream of Wires” from Telekon by Gary Numan Cities Under Glass Are Cracking Sample: “This Prison Moon” from Warriors by Gary Numan The Last Rainforest Is Now in Decay Sample: “The Iceman Comes” from Warriors by Gary Numan Children of the Algorithm Became the System Sample: “Remind Me to Smile” from Telekon by Gary Numan New Kings in Tomorrow Sample: “My Centurion” from Warriors by Gary Numan Digital Ancestors Deleted Sample: “My Shadow in Vain” from Tubeway Army by Tubeway Army The Oceans Came Back for Their Names Sample: “The Aircrash Bureau” from Telekon by Gary Numan Build the Walls Again Sample: “The Dream Police” from Tubeway Army by Tubeway Army The Children Still Remember the Sun Sample: “We Are Glass” from Telekon by Gary Numan #TheFutureNowResemblesThePast #Kinte #Afrofuturism

The Future Now Resembles the Past by Kinte is the third installment in an Afrofuturist hip-hop trilogy. Part 1, The Future Is Ours, was the warning. Part 2, The Future Is Here, showed the future arriving. Now Part 3 shows humanity slipping backward, repeating the same mistakes it promised to learn from. This album tells a darker chapter where the Eden Protocol has not been activated, the last rainforest is decaying, the children of the algorithm become the system, and the future begins to look like the past all over again. But even in the collapse, the final track leaves a small glimmer of hope that the next generation may finally break the cycle. Samples come from Tubeway Army by Tubeway Army, Telekon by Gary Numan, and Warriors by Gary Numan. Track Listing and Samples Intro (The Cycle Begins Again) Sample: “Listen to the Sirens” from Tubeway Army by Tubeway Army We Were Warned Before Sample: “This Wreckage” from Telekon by Gary Numan The Future Now Resembles the Past Sample: “Warriors” from Warriors by Gary Numan Eden Protocol Not Activated Sample: “I Dream of Wires” from Telekon by Gary Numan Cities Under Glass Are Cracking Sample: “This Prison Moon” from Warriors by Gary Numan The Last Rainforest Is Now in Decay Sample: “The Iceman Comes” from Warriors by Gary Numan Children of the Algorithm Became the System Sample: “Remind Me to Smile” from Telekon by Gary Numan New Kings in Tomorrow Sample: “My Centurion” from Warriors by Gary Numan Digital Ancestors Deleted Sample: “My Shadow in Vain” from Tubeway Army by Tubeway Army The Oceans Came Back for Their Names Sample: “The Aircrash Bureau” from Telekon by Gary Numan Build the Walls Again Sample: “The Dream Police” from Tubeway Army by Tubeway Army The Children Still Remember the Sun Sample: “We Are Glass” from Telekon by Gary Numan #TheFutureNowResemblesThePast #Kinte #Afrofuturism

The Future Now Resembles the Past by Kinte is the third installment in an Afrofuturist hip-hop trilogy. Part 1, The Future Is Ours, was the warning. Part 2, The Future Is Here, showed the future arriving. Now Part 3 shows humanity slipping backward, repeating the same mistakes it promised to learn from. This album tells a darker chapter where the Eden Protocol has not been activated, the last rainforest is decaying, the children of the algorithm become the system, and the future begins to look like the past all over again. But even in the collapse, the final track leaves a small glimmer of hope that the next generation may finally break the cycle. Samples come from Tubeway Army by Tubeway Army, Telekon by Gary Numan, and Warriors by Gary Numan. Track Listing and Samples Intro (The Cycle Begins Again) Sample: “Listen to the Sirens” from Tubeway Army by Tubeway Army We Were Warned Before Sample: “This Wreckage” from Telekon by Gary Numan The Future Now Resembles the Past Sample: “Warriors” from Warriors by Gary Numan Eden Protocol Not Activated Sample: “I Dream of Wires” from Telekon by Gary Numan Cities Under Glass Are Cracking Sample: “This Prison Moon” from Warriors by Gary Numan The Last Rainforest Is Now in Decay Sample: “The Iceman Comes” from Warriors by Gary Numan Children of the Algorithm Became the System Sample: “Remind Me to Smile” from Telekon by Gary Numan New Kings in Tomorrow Sample: “My Centurion” from Warriors by Gary Numan Digital Ancestors Deleted Sample: “My Shadow in Vain” from Tubeway Army by Tubeway Army The Oceans Came Back for Their Names Sample: “The Aircrash Bureau” from Telekon by Gary Numan Build the Walls Again Sample: “The Dream Police” from Tubeway Army by Tubeway Army The Children Still Remember the Sun Sample: “We Are Glass” from Telekon by Gary Numan #TheFutureNowResemblesThePast #Kinte #Afrofuturism

The Future Now Resembles the Past by Kinte is the third installment in an Afrofuturist hip-hop trilogy. Part 1, The Future Is Ours, was the warning. Part 2, The Future Is Here, showed the future arriving. Now Part 3 shows humanity slipping backward, repeating the same mistakes it promised to learn from. This album tells a darker chapter where the Eden Protocol has not been activated, the last rainforest is decaying, the children of the algorithm become the system, and the future begins to look like the past all over again. But even in the collapse, the final track leaves a small glimmer of hope that the next generation may finally break the cycle. Samples come from Tubeway Army by Tubeway Army, Telekon by Gary Numan, and Warriors by Gary Numan. Track Listing and Samples Intro (The Cycle Begins Again) Sample: “Listen to the Sirens” from Tubeway Army by Tubeway Army We Were Warned Before Sample: “This Wreckage” from Telekon by Gary Numan The Future Now Resembles the Past Sample: “Warriors” from Warriors by Gary Numan Eden Protocol Not Activated Sample: “I Dream of Wires” from Telekon by Gary Numan Cities Under Glass Are Cracking Sample: “This Prison Moon” from Warriors by Gary Numan The Last Rainforest Is Now in Decay Sample: “The Iceman Comes” from Warriors by Gary Numan Children of the Algorithm Became the System Sample: “Remind Me to Smile” from Telekon by Gary Numan New Kings in Tomorrow Sample: “My Centurion” from Warriors by Gary Numan Digital Ancestors Deleted Sample: “My Shadow in Vain” from Tubeway Army by Tubeway Army The Oceans Came Back for Their Names Sample: “The Aircrash Bureau” from Telekon by Gary Numan Build the Walls Again Sample: “The Dream Police” from Tubeway Army by Tubeway Army The Children Still Remember the Sun Sample: “We Are Glass” from Telekon by Gary Numan #TheFutureNowResemblesThePast #Kinte #Afrofuturism

The Future Now Resembles the Past by Kinte is the third installment in an Afrofuturist hip-hop trilogy. Part 1, The Future Is Ours, was the warning. Part 2, The Future Is Here, showed the future arriving. Now Part 3 shows humanity slipping backward, repeating the same mistakes it promised to learn from. This album tells a darker chapter where the Eden Protocol has not been activated, the last rainforest is decaying, the children of the algorithm become the system, and the future begins to look like the past all over again. But even in the collapse, the final track leaves a small glimmer of hope that the next generation may finally break the cycle. Samples come from Tubeway Army by Tubeway Army, Telekon by Gary Numan, and Warriors by Gary Numan. Track Listing and Samples Intro (The Cycle Begins Again) Sample: “Listen to the Sirens” from Tubeway Army by Tubeway Army We Were Warned Before Sample: “This Wreckage” from Telekon by Gary Numan The Future Now Resembles the Past Sample: “Warriors” from Warriors by Gary Numan Eden Protocol Not Activated Sample: “I Dream of Wires” from Telekon by Gary Numan Cities Under Glass Are Cracking Sample: “This Prison Moon” from Warriors by Gary Numan The Last Rainforest Is Now in Decay Sample: “The Iceman Comes” from Warriors by Gary Numan Children of the Algorithm Became the System Sample: “Remind Me to Smile” from Telekon by Gary Numan New Kings in Tomorrow Sample: “My Centurion” from Warriors by Gary Numan Digital Ancestors Deleted Sample: “My Shadow in Vain” from Tubeway Army by Tubeway Army The Oceans Came Back for Their Names Sample: “The Aircrash Bureau” from Telekon by Gary Numan Build the Walls Again Sample: “The Dream Police” from Tubeway Army by Tubeway Army The Children Still Remember the Sun Sample: “We Are Glass” from Telekon by Gary Numan #TheFutureNowResemblesThePast #Kinte #Afrofuturism

The Future Now Resembles the Past by Kinte is the third installment in an Afrofuturist hip-hop trilogy. Part 1, The Future Is Ours, was the warning. Part 2, The Future Is Here, showed the future arriving. Now Part 3 shows humanity slipping backward, repeating the same mistakes it promised to learn from. This album tells a darker chapter where the Eden Protocol has not been activated, the last rainforest is decaying, the children of the algorithm become the system, and the future begins to look like the past all over again. But even in the collapse, the final track leaves a small glimmer of hope that the next generation may finally break the cycle. Samples come from Tubeway Army by Tubeway Army, Telekon by Gary Numan, and Warriors by Gary Numan. Track Listing and Samples Intro (The Cycle Begins Again) Sample: “Listen to the Sirens” from Tubeway Army by Tubeway Army We Were Warned Before Sample: “This Wreckage” from Telekon by Gary Numan The Future Now Resembles the Past Sample: “Warriors” from Warriors by Gary Numan Eden Protocol Not Activated Sample: “I Dream of Wires” from Telekon by Gary Numan Cities Under Glass Are Cracking Sample: “This Prison Moon” from Warriors by Gary Numan The Last Rainforest Is Now in Decay Sample: “The Iceman Comes” from Warriors by Gary Numan Children of the Algorithm Became the System Sample: “Remind Me to Smile” from Telekon by Gary Numan New Kings in Tomorrow Sample: “My Centurion” from Warriors by Gary Numan Digital Ancestors Deleted Sample: “My Shadow in Vain” from Tubeway Army by Tubeway Army The Oceans Came Back for Their Names Sample: “The Aircrash Bureau” from Telekon by Gary Numan Build the Walls Again Sample: “The Dream Police” from Tubeway Army by Tubeway Army The Children Still Remember the Sun Sample: “We Are Glass” from Telekon by Gary Numan #TheFutureNowResemblesThePast #Kinte #Afrofuturism

The Future Now Resembles the Past by Kinte is the third installment in an Afrofuturist hip-hop trilogy. Part 1, The Future Is Ours, was the warning. Part 2, The Future Is Here, showed the future arriving. Now Part 3 shows humanity slipping backward, repeating the same mistakes it promised to learn from. This album tells a darker chapter where the Eden Protocol has not been activated, the last rainforest is decaying, the children of the algorithm become the system, and the future begins to look like the past all over again. But even in the collapse, the final track leaves a small glimmer of hope that the next generation may finally break the cycle. Samples come from Tubeway Army by Tubeway Army, Telekon by Gary Numan, and Warriors by Gary Numan. Track Listing and Samples Intro (The Cycle Begins Again) Sample: “Listen to the Sirens” from Tubeway Army by Tubeway Army We Were Warned Before Sample: “This Wreckage” from Telekon by Gary Numan The Future Now Resembles the Past Sample: “Warriors” from Warriors by Gary Numan Eden Protocol Not Activated Sample: “I Dream of Wires” from Telekon by Gary Numan Cities Under Glass Are Cracking Sample: “This Prison Moon” from Warriors by Gary Numan The Last Rainforest Is Now in Decay Sample: “The Iceman Comes” from Warriors by Gary Numan Children of the Algorithm Became the System Sample: “Remind Me to Smile” from Telekon by Gary Numan New Kings in Tomorrow Sample: “My Centurion” from Warriors by Gary Numan Digital Ancestors Deleted Sample: “My Shadow in Vain” from Tubeway Army by Tubeway Army The Oceans Came Back for Their Names Sample: “The Aircrash Bureau” from Telekon by Gary Numan Build the Walls Again Sample: “The Dream Police” from Tubeway Army by Tubeway Army The Children Still Remember the Sun Sample: “We Are Glass” from Telekon by Gary Numan #TheFutureNowResemblesThePast #Kinte #Afrofuturism

The Future Now Resembles the Past by Kinte is the third installment in an Afrofuturist hip-hop trilogy. Part 1, The Future Is Ours, was the warning. Part 2, The Future Is Here, showed the future arriving. Now Part 3 shows humanity slipping backward, repeating the same mistakes it promised to learn from. This album tells a darker chapter where the Eden Protocol has not been activated, the last rainforest is decaying, the children of the algorithm become the system, and the future begins to look like the past all over again. But even in the collapse, the final track leaves a small glimmer of hope that the next generation may finally break the cycle. Samples come from Tubeway Army by Tubeway Army, Telekon by Gary Numan, and Warriors by Gary Numan. Track Listing and Samples Intro (The Cycle Begins Again) Sample: “Listen to the Sirens” from Tubeway Army by Tubeway Army We Were Warned Before Sample: “This Wreckage” from Telekon by Gary Numan The Future Now Resembles the Past Sample: “Warriors” from Warriors by Gary Numan Eden Protocol Not Activated Sample: “I Dream of Wires” from Telekon by Gary Numan Cities Under Glass Are Cracking Sample: “This Prison Moon” from Warriors by Gary Numan The Last Rainforest Is Now in Decay Sample: “The Iceman Comes” from Warriors by Gary Numan Children of the Algorithm Became the System Sample: “Remind Me to Smile” from Telekon by Gary Numan New Kings in Tomorrow Sample: “My Centurion” from Warriors by Gary Numan Digital Ancestors Deleted Sample: “My Shadow in Vain” from Tubeway Army by Tubeway Army The Oceans Came Back for Their Names Sample: “The Aircrash Bureau” from Telekon by Gary Numan Build the Walls Again Sample: “The Dream Police” from Tubeway Army by Tubeway Army The Children Still Remember the Sun Sample: “We Are Glass” from Telekon by Gary Numan #TheFutureNowResemblesThePast #Kinte #Afrofuturism

The Future Now Resembles the Past by Kinte is the third installment in an Afrofuturist hip-hop trilogy. Part 1, The Future Is Ours, was the warning. Part 2, The Future Is Here, showed the future arriving. Now Part 3 shows humanity slipping backward, repeating the same mistakes it promised to learn from. This album tells a darker chapter where the Eden Protocol has not been activated, the last rainforest is decaying, the children of the algorithm become the system, and the future begins to look like the past all over again. But even in the collapse, the final track leaves a small glimmer of hope that the next generation may finally break the cycle. Samples come from Tubeway Army by Tubeway Army, Telekon by Gary Numan, and Warriors by Gary Numan. Track Listing and Samples Intro (The Cycle Begins Again) Sample: “Listen to the Sirens” from Tubeway Army by Tubeway Army We Were Warned Before Sample: “This Wreckage” from Telekon by Gary Numan The Future Now Resembles the Past Sample: “Warriors” from Warriors by Gary Numan Eden Protocol Not Activated Sample: “I Dream of Wires” from Telekon by Gary Numan Cities Under Glass Are Cracking Sample: “This Prison Moon” from Warriors by Gary Numan The Last Rainforest Is Now in Decay Sample: “The Iceman Comes” from Warriors by Gary Numan Children of the Algorithm Became the System Sample: “Remind Me to Smile” from Telekon by Gary Numan New Kings in Tomorrow Sample: “My Centurion” from Warriors by Gary Numan Digital Ancestors Deleted Sample: “My Shadow in Vain” from Tubeway Army by Tubeway Army The Oceans Came Back for Their Names Sample: “The Aircrash Bureau” from Telekon by Gary Numan Build the Walls Again Sample: “The Dream Police” from Tubeway Army by Tubeway Army The Children Still Remember the Sun Sample: “We Are Glass” from Telekon by Gary Numan #TheFutureNowResemblesThePast #Kinte #Afrofuturism

Track Listing 1. Intro (Arrival Signal: 2075) 2. The Future Is Here 3. Cities Under Glass 4. Children of the Algorithm 5. Eden Protocol Activated 6. New Lagos on Mars 7. The Last Rainforest 8. Digital Ancestors 9. No Kings in Tomorrow 10. Memory Bank Messiah 11. After the Machines Learned Mercy 12. Build the Sun Again Album Synopsis The Future Is Here is the sequel to Kinte's Afrofuturist hip hop album The Future Is Ours. Where the first album warned that humanity was standing at the edge of tomorrow, this sequel begins after tomorrow has arrived. The warnings are no longer theories. The machines are active, the cities are overcrowded, the climate has changed, and the people are now living inside the future they once feared. The album follows a world after the “Eden Protocol” has been activated. Humanity is trying to rebuild, but the old problems have not disappeared. Artificial intelligence is now part of daily life, corporations are still fighting for control, people are migrating from flooded cities, and new societies are being built in the ruins of the old world. Kinte tells the story from the point of view of someone who survived the warning and is now helping lead the reconstruction. The Future Is Here keeps the same Afrofuturist energy as The Future Is Ours, mixing technology, ancestral memory, environmental survival, Black imagination, and social commentary. But this album is less about fear and more about what happens after the fear becomes real. It asks: once the future arrives, who gets to live in it? Who gets left behind? And can humanity rebuild with wisdom instead of repeating the same mistakes?

Track Listing 1. Intro (Arrival Signal: 2075) 2. The Future Is Here 3. Cities Under Glass 4. Children of the Algorithm 5. Eden Protocol Activated 6. New Lagos on Mars 7. The Last Rainforest 8. Digital Ancestors 9. No Kings in Tomorrow 10. Memory Bank Messiah 11. After the Machines Learned Mercy 12. Build the Sun Again Album Synopsis The Future Is Here is the sequel to Kinte's Afrofuturist hip hop album The Future Is Ours. Where the first album warned that humanity was standing at the edge of tomorrow, this sequel begins after tomorrow has arrived. The warnings are no longer theories. The machines are active, the cities are overcrowded, the climate has changed, and the people are now living inside the future they once feared. The album follows a world after the “Eden Protocol” has been activated. Humanity is trying to rebuild, but the old problems have not disappeared. Artificial intelligence is now part of daily life, corporations are still fighting for control, people are migrating from flooded cities, and new societies are being built in the ruins of the old world. Kinte tells the story from the point of view of someone who survived the warning and is now helping lead the reconstruction. The Future Is Here keeps the same Afrofuturist energy as The Future Is Ours, mixing technology, ancestral memory, environmental survival, Black imagination, and social commentary. But this album is less about fear and more about what happens after the fear becomes real. It asks: once the future arrives, who gets to live in it? Who gets left behind? And can humanity rebuild with wisdom instead of repeating the same mistakes?

Track Listing 1. Intro (Arrival Signal: 2075) 2. The Future Is Here 3. Cities Under Glass 4. Children of the Algorithm 5. Eden Protocol Activated 6. New Lagos on Mars 7. The Last Rainforest 8. Digital Ancestors 9. No Kings in Tomorrow 10. Memory Bank Messiah 11. After the Machines Learned Mercy 12. Build the Sun Again Album Synopsis The Future Is Here is the sequel to Kinte's Afrofuturist hip hop album The Future Is Ours. Where the first album warned that humanity was standing at the edge of tomorrow, this sequel begins after tomorrow has arrived. The warnings are no longer theories. The machines are active, the cities are overcrowded, the climate has changed, and the people are now living inside the future they once feared. The album follows a world after the “Eden Protocol” has been activated. Humanity is trying to rebuild, but the old problems have not disappeared. Artificial intelligence is now part of daily life, corporations are still fighting for control, people are migrating from flooded cities, and new societies are being built in the ruins of the old world. Kinte tells the story from the point of view of someone who survived the warning and is now helping lead the reconstruction. The Future Is Here keeps the same Afrofuturist energy as The Future Is Ours, mixing technology, ancestral memory, environmental survival, Black imagination, and social commentary. But this album is less about fear and more about what happens after the fear becomes real. It asks: once the future arrives, who gets to live in it? Who gets left behind? And can humanity rebuild with wisdom instead of repeating the same mistakes?

Track Listing 1. Intro (Arrival Signal: 2075) 2. The Future Is Here 3. Cities Under Glass 4. Children of the Algorithm 5. Eden Protocol Activated 6. New Lagos on Mars 7. The Last Rainforest 8. Digital Ancestors 9. No Kings in Tomorrow 10. Memory Bank Messiah 11. After the Machines Learned Mercy 12. Build the Sun Again Album Synopsis The Future Is Here is the sequel to Kinte's Afrofuturist hip hop album The Future Is Ours. Where the first album warned that humanity was standing at the edge of tomorrow, this sequel begins after tomorrow has arrived. The warnings are no longer theories. The machines are active, the cities are overcrowded, the climate has changed, and the people are now living inside the future they once feared. The album follows a world after the “Eden Protocol” has been activated. Humanity is trying to rebuild, but the old problems have not disappeared. Artificial intelligence is now part of daily life, corporations are still fighting for control, people are migrating from flooded cities, and new societies are being built in the ruins of the old world. Kinte tells the story from the point of view of someone who survived the warning and is now helping lead the reconstruction. The Future Is Here keeps the same Afrofuturist energy as The Future Is Ours, mixing technology, ancestral memory, environmental survival, Black imagination, and social commentary. But this album is less about fear and more about what happens after the fear becomes real. It asks: once the future arrives, who gets to live in it? Who gets left behind? And can humanity rebuild with wisdom instead of repeating the same mistakes?

Track Listing 1. Intro (Arrival Signal: 2075) 2. The Future Is Here 3. Cities Under Glass 4. Children of the Algorithm 5. Eden Protocol Activated 6. New Lagos on Mars 7. The Last Rainforest 8. Digital Ancestors 9. No Kings in Tomorrow 10. Memory Bank Messiah 11. After the Machines Learned Mercy 12. Build the Sun Again Album Synopsis The Future Is Here is the sequel to Kinte's Afrofuturist hip hop album The Future Is Ours. Where the first album warned that humanity was standing at the edge of tomorrow, this sequel begins after tomorrow has arrived. The warnings are no longer theories. The machines are active, the cities are overcrowded, the climate has changed, and the people are now living inside the future they once feared. The album follows a world after the “Eden Protocol” has been activated. Humanity is trying to rebuild, but the old problems have not disappeared. Artificial intelligence is now part of daily life, corporations are still fighting for control, people are migrating from flooded cities, and new societies are being built in the ruins of the old world. Kinte tells the story from the point of view of someone who survived the warning and is now helping lead the reconstruction. The Future Is Here keeps the same Afrofuturist energy as The Future Is Ours, mixing technology, ancestral memory, environmental survival, Black imagination, and social commentary. But this album is less about fear and more about what happens after the fear becomes real. It asks: once the future arrives, who gets to live in it? Who gets left behind? And can humanity rebuild with wisdom instead of repeating the same mistakes?

Track Listing 1. Intro (Arrival Signal: 2075) 2. The Future Is Here 3. Cities Under Glass 4. Children of the Algorithm 5. Eden Protocol Activated 6. New Lagos on Mars 7. The Last Rainforest 8. Digital Ancestors 9. No Kings in Tomorrow 10. Memory Bank Messiah 11. After the Machines Learned Mercy 12. Build the Sun Again Album Synopsis The Future Is Here is the sequel to Kinte's Afrofuturist hip hop album The Future Is Ours. Where the first album warned that humanity was standing at the edge of tomorrow, this sequel begins after tomorrow has arrived. The warnings are no longer theories. The machines are active, the cities are overcrowded, the climate has changed, and the people are now living inside the future they once feared. The album follows a world after the “Eden Protocol” has been activated. Humanity is trying to rebuild, but the old problems have not disappeared. Artificial intelligence is now part of daily life, corporations are still fighting for control, people are migrating from flooded cities, and new societies are being built in the ruins of the old world. Kinte tells the story from the point of view of someone who survived the warning and is now helping lead the reconstruction. The Future Is Here keeps the same Afrofuturist energy as The Future Is Ours, mixing technology, ancestral memory, environmental survival, Black imagination, and social commentary. But this album is less about fear and more about what happens after the fear becomes real. It asks: once the future arrives, who gets to live in it? Who gets left behind? And can humanity rebuild with wisdom instead of repeating the same mistakes?

Track Listing 1. Intro (Arrival Signal: 2075) 2. The Future Is Here 3. Cities Under Glass 4. Children of the Algorithm 5. Eden Protocol Activated 6. New Lagos on Mars 7. The Last Rainforest 8. Digital Ancestors 9. No Kings in Tomorrow 10. Memory Bank Messiah 11. After the Machines Learned Mercy 12. Build the Sun Again Album Synopsis The Future Is Here is the sequel to Kinte's Afrofuturist hip hop album The Future Is Ours. Where the first album warned that humanity was standing at the edge of tomorrow, this sequel begins after tomorrow has arrived. The warnings are no longer theories. The machines are active, the cities are overcrowded, the climate has changed, and the people are now living inside the future they once feared. The album follows a world after the “Eden Protocol” has been activated. Humanity is trying to rebuild, but the old problems have not disappeared. Artificial intelligence is now part of daily life, corporations are still fighting for control, people are migrating from flooded cities, and new societies are being built in the ruins of the old world. Kinte tells the story from the point of view of someone who survived the warning and is now helping lead the reconstruction. The Future Is Here keeps the same Afrofuturist energy as The Future Is Ours, mixing technology, ancestral memory, environmental survival, Black imagination, and social commentary. But this album is less about fear and more about what happens after the fear becomes real. It asks: once the future arrives, who gets to live in it? Who gets left behind? And can humanity rebuild with wisdom instead of repeating the same mistakes?

Track Listing 1. Intro (Arrival Signal: 2075) 2. The Future Is Here 3. Cities Under Glass 4. Children of the Algorithm 5. Eden Protocol Activated 6. New Lagos on Mars 7. The Last Rainforest 8. Digital Ancestors 9. No Kings in Tomorrow 10. Memory Bank Messiah 11. After the Machines Learned Mercy 12. Build the Sun Again Album Synopsis The Future Is Here is the sequel to Kinte's Afrofuturist hip hop album The Future Is Ours. Where the first album warned that humanity was standing at the edge of tomorrow, this sequel begins after tomorrow has arrived. The warnings are no longer theories. The machines are active, the cities are overcrowded, the climate has changed, and the people are now living inside the future they once feared. The album follows a world after the “Eden Protocol” has been activated. Humanity is trying to rebuild, but the old problems have not disappeared. Artificial intelligence is now part of daily life, corporations are still fighting for control, people are migrating from flooded cities, and new societies are being built in the ruins of the old world. Kinte tells the story from the point of view of someone who survived the warning and is now helping lead the reconstruction. The Future Is Here keeps the same Afrofuturist energy as The Future Is Ours, mixing technology, ancestral memory, environmental survival, Black imagination, and social commentary. But this album is less about fear and more about what happens after the fear becomes real. It asks: once the future arrives, who gets to live in it? Who gets left behind? And can humanity rebuild with wisdom instead of repeating the same mistakes?

Track Listing 1. Intro (Arrival Signal: 2075) 2. The Future Is Here 3. Cities Under Glass 4. Children of the Algorithm 5. Eden Protocol Activated 6. New Lagos on Mars 7. The Last Rainforest 8. Digital Ancestors 9. No Kings in Tomorrow 10. Memory Bank Messiah 11. After the Machines Learned Mercy 12. Build the Sun Again Album Synopsis The Future Is Here is the sequel to Kinte's Afrofuturist hip hop album The Future Is Ours. Where the first album warned that humanity was standing at the edge of tomorrow, this sequel begins after tomorrow has arrived. The warnings are no longer theories. The machines are active, the cities are overcrowded, the climate has changed, and the people are now living inside the future they once feared. The album follows a world after the “Eden Protocol” has been activated. Humanity is trying to rebuild, but the old problems have not disappeared. Artificial intelligence is now part of daily life, corporations are still fighting for control, people are migrating from flooded cities, and new societies are being built in the ruins of the old world. Kinte tells the story from the point of view of someone who survived the warning and is now helping lead the reconstruction. The Future Is Here keeps the same Afrofuturist energy as The Future Is Ours, mixing technology, ancestral memory, environmental survival, Black imagination, and social commentary. But this album is less about fear and more about what happens after the fear becomes real. It asks: once the future arrives, who gets to live in it? Who gets left behind? And can humanity rebuild with wisdom instead of repeating the same mistakes?

Track Listing 1. Intro (Arrival Signal: 2075) 2. The Future Is Here 3. Cities Under Glass 4. Children of the Algorithm 5. Eden Protocol Activated 6. New Lagos on Mars 7. The Last Rainforest 8. Digital Ancestors 9. No Kings in Tomorrow 10. Memory Bank Messiah 11. After the Machines Learned Mercy 12. Build the Sun Again Album Synopsis The Future Is Here is the sequel to Kinte's Afrofuturist hip hop album The Future Is Ours. Where the first album warned that humanity was standing at the edge of tomorrow, this sequel begins after tomorrow has arrived. The warnings are no longer theories. The machines are active, the cities are overcrowded, the climate has changed, and the people are now living inside the future they once feared. The album follows a world after the “Eden Protocol” has been activated. Humanity is trying to rebuild, but the old problems have not disappeared. Artificial intelligence is now part of daily life, corporations are still fighting for control, people are migrating from flooded cities, and new societies are being built in the ruins of the old world. Kinte tells the story from the point of view of someone who survived the warning and is now helping lead the reconstruction. The Future Is Here keeps the same Afrofuturist energy as The Future Is Ours, mixing technology, ancestral memory, environmental survival, Black imagination, and social commentary. But this album is less about fear and more about what happens after the fear becomes real. It asks: once the future arrives, who gets to live in it? Who gets left behind? And can humanity rebuild with wisdom instead of repeating the same mistakes?

Track Listing 1. Intro (Arrival Signal: 2075) 2. The Future Is Here 3. Cities Under Glass 4. Children of the Algorithm 5. Eden Protocol Activated 6. New Lagos on Mars 7. The Last Rainforest 8. Digital Ancestors 9. No Kings in Tomorrow 10. Memory Bank Messiah 11. After the Machines Learned Mercy 12. Build the Sun Again Album Synopsis The Future Is Here is the sequel to Kinte's Afrofuturist hip hop album The Future Is Ours. Where the first album warned that humanity was standing at the edge of tomorrow, this sequel begins after tomorrow has arrived. The warnings are no longer theories. The machines are active, the cities are overcrowded, the climate has changed, and the people are now living inside the future they once feared. The album follows a world after the “Eden Protocol” has been activated. Humanity is trying to rebuild, but the old problems have not disappeared. Artificial intelligence is now part of daily life, corporations are still fighting for control, people are migrating from flooded cities, and new societies are being built in the ruins of the old world. Kinte tells the story from the point of view of someone who survived the warning and is now helping lead the reconstruction. The Future Is Here keeps the same Afrofuturist energy as The Future Is Ours, mixing technology, ancestral memory, environmental survival, Black imagination, and social commentary. But this album is less about fear and more about what happens after the fear becomes real. It asks: once the future arrives, who gets to live in it? Who gets left behind? And can humanity rebuild with wisdom instead of repeating the same mistakes?

Track Listing 1. Intro (Arrival Signal: 2075) 2. The Future Is Here 3. Cities Under Glass 4. Children of the Algorithm 5. Eden Protocol Activated 6. New Lagos on Mars 7. The Last Rainforest 8. Digital Ancestors 9. No Kings in Tomorrow 10. Memory Bank Messiah 11. After the Machines Learned Mercy 12. Build the Sun Again Album Synopsis The Future Is Here is the sequel to Kinte's Afrofuturist hip hop album The Future Is Ours. Where the first album warned that humanity was standing at the edge of tomorrow, this sequel begins after tomorrow has arrived. The warnings are no longer theories. The machines are active, the cities are overcrowded, the climate has changed, and the people are now living inside the future they once feared. The album follows a world after the “Eden Protocol” has been activated. Humanity is trying to rebuild, but the old problems have not disappeared. Artificial intelligence is now part of daily life, corporations are still fighting for control, people are migrating from flooded cities, and new societies are being built in the ruins of the old world. Kinte tells the story from the point of view of someone who survived the warning and is now helping lead the reconstruction. The Future Is Here keeps the same Afrofuturist energy as The Future Is Ours, mixing technology, ancestral memory, environmental survival, Black imagination, and social commentary. But this album is less about fear and more about what happens after the fear becomes real. It asks: once the future arrives, who gets to live in it? Who gets left behind? And can humanity rebuild with wisdom instead of repeating the same mistakes?

Notes Sample: “We Have a Technical” by Tubeway Army Written and produced by Kinte Synopsis “Sankofa 3000 (Return With the Blueprint)” is the spiritual center of the album. Built from “We Have a Technical,” the track connects ancestral wisdom with futuristic vision. Kinte uses the meaning of Sankofa returning to the past to recover what was lost as the key to building a better tomorrow. The song shows that the future cannot be built correctly without memory, culture, and history. Sankofa is a word from the Akan people of Ghana that means: “Go back and get it.” The deeper meaning is: you must return to the past, learn from it, and bring that wisdom forward to build a better future. It is often connected to a symbol of a bird looking backward while moving forward, sometimes holding an egg in its mouth. The idea is that the past is not something to be ashamed of or forgotten it is something that can guide you. For the album The Future Is Ours, “Sankofa 3000” means using ancestral knowledge, Black history, and old wisdom as the blueprint for the future. Chapter 10: Sankofa 3000 (Return With the Blueprint) This is the spiritual center of the album. “Sankofa 3000” teaches that the future cannot be built without returning to the past. The story looks back to ancestors, memory, culture, and stolen knowledge to recover the blueprint for survival. This chapter brings the album's Afrofuturist message into focus: progress is not just machines and space travel. True progress comes from combining future technology with ancestral wisdom. #Sankofa3000 #BlackFuture #Kinte Lyrics [Verse 1] Sankofa in my chest, I fly backward to move, Grab the old wisdom like “this how we prove.” Future ain't a place, it's a practice, a stance, It's grandma's hands in a hologram dance. I'm reading hieroglyphs like it's source code lines, Ancient math in the rhythm, that's the origin signs. They tried to erase us, now we restore the file, Black history not a chapter, a style. [Verse 2] I return with the blueprint, not the bruises, Build a world where the “different” ain't used as excuses. Where AI is a tool, not a god on a screen, Where the “upgrade” includes everyone in between. [Outro / Spoken] To go forward, we retrieve what was stolen. We don't worship the past we consult it.

Notes Sample: “Praying to the Aliens” by Tubeway Army Written and produced by Kinte Synopsis “Intro (Transmission: 2060)” opens The Future Is Ours like a broadcast sent back from the year 2060. Built around the futuristic atmosphere of “Praying to the Aliens,” the track introduces the album's Afrofuturist world of technology, survival, climate fear, artificial intelligence, and ancestral memory. Kinte sets the tone with a warning and a mission: the future may be uncertain, but it still belongs to those brave enough to shape it. Chapter 1: Intro (Transmission: 2060) The story begins in the year 2060 with a transmission sent back to the present. This intro is not just an opening; it is a warning from the future. The voice tells us that what is coming is not a prophecy, but a receipt proof of what mankind has done. It introduces the central idea of the album: the future was built out of mistakes, struggle, technology, ancestral memory, and survival. The listener is being called to wake up before the future becomes permanent. Lyrics [Spoken Word] This is not a prophecy. It's a receipt. They told us the future was neutral like code don't carry fingerprints, like machines don't learn the bias in the room. We learned to make tomorrow out of scraps: rusted dreams, stolen time, grandma's prayers wrapped in copper wire. If you hear this… it means we survived the update. It means we built a sky the way our ancestors built songs with nothing… but rhythm and refusal. Coordinates locked. Melanin: activated. Memory: encrypted. Welcome to 2060. Now press play and remember who you are. #TheFutureIsOurs #Kinte #Afrofuturism

This one is different. No guest. Just me—and the truth I can't stop sitting with.The Voting Rights Act of 1965 is gone. Not weakened. Not under threat. Gone. The legal architecture that turned 7% Black voter registration in Mississippi into 60%—dismantled, decision by decision, by a Supreme Court that was never neutral and was never on our side.But that's not even the whole story. Because while the courts were killing the VRA, the Justice Department was being turned into a weapon. FBI agents raided a Black state senator's office mid-day—Fox News already on the scene—while allies under federal investigation had their evidence destroyed. Ballots from Fulton County are in federal custody. Arizona. Michigan. They are building the architecture of election interference before the midterms. In public. And most people don't even know it's happeningThis episode is about all of it. The Proud Boys as a militia. The Roberts Court as an antidemocratic enforcement mechanism. The Southern Strategy, sixty years old and running on steroids. And the organizing tradition—Ella Baker, Bayard Rustin, Hungary's opposition movement—that proves rigged maps can be beaten and stolen futures can be reclaimed.This is the class I didn't want to have to teach. But you need it. Pull up.SHOW NOTESThe death of the Voting Rights Act—Shelby County v. Holder (2013), Brnovich v. DNC (2021), and the April 29, 2026 ruling in Louisiana v. Callais, which Justice Elena Kagan called "all but a dead letter."The pardon of 1,500+ January 6th participants and the DOJ's move to vacate the seditious conspiracy convictions of Proud Boys and Oath Keepers leaders.The FBI raid on Fulton County's election center, the subpoenas targeting Arizona and Michigan 2024 ballots, and what it means for the midterms.The mid-day FBI raid on Virginia State Senator Louise Lucas's office, with Fox News cameras already rolling—and not one charge filed.The two-tier justice system in plain sight: evidence destroyed for allies, prosecutions launched against opponents.Elie Mystal's proposal to add 20 justices to structurally change the Supreme Court's incentive for extremism.How Hungary's opposition built 208 local chapters and 50,000 poll watchers—and won a supermajority against a gerrymandered map.The Afrofuturist tradition of Ella Baker and Bayard Rustin as the organizing inheritance we carry forward.Black Power War Room — blackpowerwarroom.com National Black Justice Coalition — nbjc.org NBJC Equity Week — nbjc.orgBecome a supporter of this podcast: https://www.spreaker.com/podcast/teach-the-babies-w-dr-david-j-johns--6173854/support.

Nathan Maharaj spoke with physicist Chanda Prescod-Weinstein, author of the 2021 book The Disordered Cosmos, a highly personal reflection on the human and inherently flawed practice of scientific inquiry and her career as a Black Jewish scientist. Her new book is The Edge of Space-Time: Particles, Poetry, and the Cosmic Dream Boogie. In it she explains to readers, what's really going on with quantum cats? what does a light-swallowing black hole actually look like? what can we learn about quantum theory from the Afrofuturist jazz musician Sun Ra? —and a whole lot more. Why Chanda Prescod-Weinstein sees hope in cosmic curiosity

Nathan Maharaj spoke with physicist Chanda Prescod-Weinstein, author of the 2021 book The Disordered Cosmos, a highly personal reflection on the human and inherently flawed practice of scientific inquiry and her career as a Black Jewish scientist. Her new book is The Edge of Space-Time: Particles, Poetry, and the Cosmic Dream Boogie. In it she explains to readers, what's really going on with quantum cats? what does a light-swallowing black hole actually look like? what can we learn about quantum theory from the Afrofuturist jazz musician Sun Ra? —and a whole lot more. Why Chanda Prescod-Weinstein sees hope in cosmic curiosity

Is Community-Based Artmaking at the Heart of Cultural Democracy?In this conversation, community arts organizer, educator and theater maker Matt Schwarzman describes his mission to make collaborative art making a regular, normal, expected part of everyday life. A movement that has quietly grown for decades, but now faces a new test in a time of democratic strain.Along the way, he traces his influences from John o' Neill and the Free Southern the to the grassroots cultural movements of the 1980s and 90s that helped shape a generation of artists who see culture not as decoration but as civic infrastructure.Matt's journey winds through several decades of cultural organizing from sea to era arts jobs in Philadelphia to community organizing in Oakland and youth theater in post Katrina New Orleans.Across these projects, a single thread emerges the idea that community arts is a learnable, cross sector civic practice, an amalgam of organizing, teaching and art making.In our conversation, we talk about:The influence of seminal cultural leaders like John O'Neal, whose minimalist storytelling and story circle methodology help build national networks of cultural democracyHow youth arts programs can serve as modern rites of passage that help young people claim civic voice and leadershipAnd how storytelling, imagination and collective creation are foundational skills for sustaining democratic life.Notable MentionsPeopleMat Schwarzman – Trinity City ArtsCommunity arts organizer, educator, theater maker, and co-creator of Trinity City Comics and A Beginner's Guide to Community-Based Arts.John O'Neal – SNCC Digital GatewayPlaywright, storyteller, organizer, and founder of Junebug Productions; a key influence on Schwarzman's understanding of cultural democracy and story circles.Keith Knight – K ChroniclesCartoonist and collaborator with Mat Schwarzman on A Beginner's Guide to Community-Based Arts.Rhodessa Jones – Cornell Arts & SciencesPerformer, teacher, and co-artistic director of Cultural Odyssey, cited in the episode through her theater work with formerly incarcerated women.Rinku SenOrganizer, strategist, and writer whose work at the Center for Third World Organizing helped shape Schwarzman's understanding of community organizing.Gary Delgado – American UniversityOrganizer, scholar, and founder of the Center for Third World Organizing; one of the people Schwarzman credits with teaching him organizing practice.Steve Prince – Studio WebsiteArtist and educator who worked with Trinity City Arts and helped mentor youth comic-makers on Trinity City Comics.Judith Malina – The Living TheatreCo-founder of the Living Theatre, referenced for her writing on the artist's role during periods of counter-revolution.Octavia E. Butler – Hachette author pageVisionary novelist whose Afrofuturist imagination and Parable novels deeply influence Schwarzman's current work.Robert M. Sapolsky – Stanford ProfileNeuroscientist and writer whose work on behavior, biology, and violence informs Schwarzman's thinking.PlacesNew Orleans / BolbanchaSchwarzman's home base and the setting for much of his current work; he names it as Bolbancha, “the place of many tongues.”PhiladelphiaCity where Schwarzman began his paid community arts work at Big Small Theater and connected with the Painted Bride Art Center.OaklandWhere Schwarzman trained in organizing through the Center for Third World Organizing and developed the East Bay Institute for Urban Arts.Alameda, CaliforniaBill Cleveland's home base, acknowledged in the episode as Ohlone land.San Francisco Bay AreaThe broader region where Schwarzman worked at New College of California and built his arts-and-organizing practice.EventsComprehensive Employment and Training Act (CETA)Federal jobs program that helped support the arts position Schwarzman took in Philadelphia in the mid-1980s.Hurricane KatrinaThe storm whose aftermath shaped Schwarzman's New Orleans youth theater work, including the Creative Forces Youth Theater Company.Chicago Conference of the Alliance for Cultural Democracy ArchiveReferenced in the episode as one of the gatherings that connected Schwarzman to a wider national arts-and-democracy network.Junebug Productions: Our StoryThe institutional home for John O'Neal's post–Free Southern Theater work, including the Junebug Jabbo Jones performances mentioned in the episode.PublicationsA Beginner's Guide to Community-Based Arts, 2nd EditionComics-illustrated guide co-authored by Mat Schwarzman and Keith Knight, designed to demystify community-based arts practice.Parable of the SowerOctavia Butler's novel, cited by Schwarzman as a major influence on Trinity City Comics and his interest in Afrofuturism.Behave: The Biology of Humans at Our Best and WorstRobert Sapolsky's wide-ranging study of the biological roots of behavior, referenced in the conversation as a current fascination.Do Dogs Laugh?Jake Page's popular science book on canine behavior, cited by Schwarzman in relation to theater, performance, and social roles.AcknowledgementsFrom Freesound.orgbeautiful or ominous music box.wav by xtrgamr -- https://freesound.org/s/268511/ -- License: Attribution 4.0Eerie Horror Background Music with Ominous Dark Atmosphere by Matio888 -- https://freesound.org/s/793481/ -- License: Attribution 4.0Audio Exerpt:"Don't Start Talking...Junebug Jabbo Jones”Stevenson J. Palfi's 1985 television adaptation of playwright/actor John O' Neal's bravura one-man theater piece."Don't Start Me Talking Or I'll Tell You Everything Know. Sayings From the Life and Writings of Junebug Jabbo Jones” was created by O' Neal as the final production of the Free Southern Theater, which had been formed in 1963 to be a cultural arm of the Civil Rights Movement.The play was developed in the community workshop-feedback style with O'Neal's principle collaborator, the theater director Steven Kent,#ANALOGLAB.ORG#ANALOG LAB#SOUTHEAST MEDIA PRODUCTION...

'Lalovavi' is the first of three new operas that are part of Cincinnati's Opera's Black Opera Project.

Rone Shavers joins Jared for our annual application episode to discuss the differences between MFA and PhD applications and programs. Rone and Jared talk about how to choose the right program, put together the best application, and get the most out of your time in a program. Before that, they discuss Rone's “funky” novel Silverfish and how getting over the pressure of making a commercially viable book allowed him to write the book he wanted to write.Rone Shavers is the director of the creative writing program at The University of Utah, which offers both an MFA and a PhD in creative writing. Rone is the author of the experimental Afrofuturist novel Silverfish from Clash Books, a finalist for the 2021 Council of Literary Magazines and Presses (CLMP) Firecracker Award in Fiction and one of The Brooklyn Rail's “Best Books of 2020.” He is also fiction and hybrid genre editor at the award-winning journal, Obsidian: Literature and Arts in the African Diaspora. Find him at roneshavers.com.MFA Writers is hosted by Jared McCormack and produced by Jared McCormack and Hanamori Skoblow. New episodes are released every two weeks. You can find more MFA Writers at MFAwriters.com.BE PART OF THE SHOWDonate to the show at Buy Me a Coffee.Leave a rating and review on Apple Podcasts.Submit an episode request. If there's a program you'd like to learn more about, contact us and we'll do our very best to find a guest who can speak to their experience.Apply to be a guest on the show by filling out our application.STAY CONNECTEDTwitter: @MFAwriterspodInstagram: @MFAwriterspodcastFacebook: MFA WritersEmail: mfawriterspodcast@gmail.com

This is an excerpt from a patrons episode. To hear the full thing, and dozens more like it, visit Patreon.com/LoveMessagePod and become a patron from £3 a month.In this patrons-only episode Jeremy and Tim revive the long-dormant ‘What We're Listening To' format for an exploration of what's been on their turntables recently. Tim pulls extensively from the bag he packed for a recent Lucky Cloud party, including selections from SAULT and Cotontete, while Jeremy shares a modern slice of Bukem-esque DnB and an end-of-the-night dreamy deep cut. Elsewhere in the show we hear a post-punk Fela cover, a classic piece of Sharon Jones funk soul, Highlife guitar, a shoutout for the humble 7”, Afrofuturist mythology and… Alan Partridge. Tracklist: Miguel ‘Anga' Dias - A Love Supreme Evolução Africa - Liberdade SAULT - Let Me Go Cotonete feat. Leron Thomas - Day In Day Out  Sharon Jones and the Dap Kings - What If We All Stopped Playing Taxes Vital Disorders - Zombie Underground System - 95 South The Earons - Land of Hunger Big Bud - Lucky7 Rubies feat. Feist - I Feel Electric (TieDye Remix)

Though he departed this earthly realm in 1993, Afrofuturist and free jazz icon Sun Ra's cosmic tones continue to echo through the spaceways. A composer, poet, and some might even say a prophet, Ra seemed to understand that his work would outlive him, staging:  “In some far off place, many light years in space, I'll wait for you. Where human feet have never trod, where human eyes have never seen. I'll build a world of abstract dreams and wait for you.”  This week on the show, we sit down with Sun Ra Arkestra guitarist DM Hotep, who, under the leadership of 101-year-old saxophonist Marshall Allen, continues the work of Ra. When the Arkestra was called overseas in 2022, Allen was advised by doctors not to accompany the group. But music is a way of life and though he was required to stay stateside, Allen still wanted to play. So DM Hotep, aka David Middleton, reached out to the Philadelphia-based arts org Ars Nova Workshop to stage a series of concerts in Philadelphia. In May of 2025, a collection of these live performances from Solar Myth was released under the title Marshall Allen's Ghost Horizons, which finds the saxophonist joined by Hotep and guests like Wolf Eyes, James Brandon Lewis, Yo La Tengo's James McNew, and others. Including both Ra classics and new material, Ghost Horizons demonstrates how the currents of Ra's philosophy and artistic ethic continue to the present day, pointing toward uncertain futures.  DM joined the Arkestra in 2000, meaning he didn't play under Ra's tutelage. Still, he provides keen insight into the Arkestra's meta-mythic mission and cosmic scope. He joined us to discuss his tenure in the band, Ra's ideas and concepts, his roots in funk and soul, and the driving force behind Ghost Horizons.  Transmissions is created in partnership with the Talkhouse Podcast Network. We're brought to you by ⁠⁠⁠⁠⁠Aquarium Drunkard⁠⁠⁠⁠⁠, an independent music media crew headed by Justin Gage. Over at Aquarium Drunkard, you'll gain access to 20 years of music writing, playlist, essays, mixtapes, radio special, podcasts, videos and more.

Join Matthew Jordan-Miller Kenyatta and artist Shawn Theodore for PYRAMID CLUB: 1937—2035, a reimagining of the legendary North Philadelphia social club as a blueprint for today's North Broad renaissance. Together, they'll explore how Afrofuturist and arts-driven approaches can turn scarcity into abundance while centering Black joy and cultural heritage. Please bring your ID for entrance to the building.

There are few names as widely loved in clubland as Bristol-based producer Omar McCutcheon, AKA Batu. His label Timedance, currently celebrating its ten-year anniversary, has been instrumental in shaping a certain corner of contemporary electronic music. It champions a mutant, rhythmic, UK-flavoured sound that escapes any obvious genre touchstones, as well as spotlighting the careers of artists like Verraco, Ploy and Hodge who push musical and cultural boundaries. In this Exchange, McCutcheon sat down with Resident Advisor's editor, Gabriel Szatan, in London to reflect on the label's Afrofuturist philosophy, its journey over the past decade and the sense of purpose and direction that have developed over time. He spoke about the impact that scenes beyond the UK—such as China, South Africa, Brazil and Mexico—have had on his productions and label curation, and how they offer fresh perspectives that contrast with Europe's sometimes overly nostalgic take on dance music. He also discussed finding positivity in a dark time, and music's enduring potential to inspire and connect.

Chuma Bentele is a Cape Town-based animator and comedian who is part of the Comics Choice Award-winning That's Not Funny team, and has worked on the Disney animated Afrofuturist anthology series, Kizazi Moto. With a love of the absurd, and a fearless approach to dissecting race dynamics in South Africa, Chuma has steadily built a name for himself as one of the most exciting new voices in South African comedy.In this episode, we talk about how Chuma's creative process flows between organising and performing stand-up gigs, animation, and writing, we dig into the nuances of the Cape Town comedy circuit, and why bombing on stage can sometimes be the best thing for your career. We also get into his experiences of living in Jeppe for 3 months, and the time he was mistaken for Tshepang Ramoba from Blk Jks in Stellenbosch. Enjoy.Keep up with Chuma on Instagram: https://www.instagram.com/chumanotchuma/Follow That's Not Funny: https://www.instagram.com/thatsnotfunnycpt/Support the podcast on Patreon: patreon.com/almostperfect Hosted on Acast. See acast.com/privacy for more information.

There are few names as widely loved in clubland as Bristol-based producer Omar McCutcheon, AKA Batu. His label Timedance, currently celebrating its ten-year anniversary, has been instrumental in shaping a certain corner of contemporary electronic music. It champions a mutant, rhythmic, UK-flavoured sound that escapes any obvious genre touchstones, as well as spotlighting the careers of artists like Verraco, Ploy and Hodge who push musical and cultural boundaries.In this Exchange, McCutcheon sat down with Resident Advisor's editor, Gabriel Szatan, in London to reflect on the label's Afrofuturist philosophy, its journey over the past decade and the sense of purpose and direction that have developed over time. He spoke about the impact that scenes beyond the UK—such as China, South Africa, Brazil and Mexico—have had on his productions and label curation, and how they offer fresh perspectives that contrast with Europe's sometimes overly nostalgic take on dance music. He also discussed finding positivity in a dark time, and music's enduring potential to inspire and connect. Hosted on Acast. See acast.com/privacy for more information.

There are few names as widely loved in clubland as Bristol-based producer Omar McCutcheon, AKA Batu. His label Timedance, currently celebrating its ten-year anniversary, has been instrumental in shaping a certain corner of contemporary electronic music. It champions a mutant, rhythmic, UK-flavoured sound that escapes any obvious genre touchstones, as well as spotlighting the careers of artists like Verraco, Ploy and Hodge who push musical and cultural boundaries. In this Exchange, McCutcheon sat down with Resident Advisor's editor, Gabriel Szatan, in London to reflect on the label's Afrofuturist philosophy, its journey over the past decade and the sense of purpose and direction that have developed over time. He spoke about the impact that scenes beyond the UK—such as China, South Africa, Brazil and Mexico—have had on his productions and label curation, and how they offer fresh perspectives that contrast with Europe's sometimes overly nostalgic take on dance music. He also discussed finding positivity in a dark time, and music's enduring potential to inspire and connect.

The Providence musician released his first album of Black mountain music during America's racial reckoning. Amid Trump's DEI purge and environmental collapse, his Afrofuturist folk hits different.

The gifted London DJ and curator goes big on bass futurism. "To pull a thread." This old English adage means to follow a small detail that might unravel into something larger and more significant. It's also the inspiration behind London artist mi-el's NTS Radio show, and a neat way of understanding her approach as a DJ. Take mi-el's rich archive of mixes. From NTS to The Trilogy Tapes, they show her to be a deeply personal selector and curator, pushing past functionality into something more expressive, narrative and often political. A show about Refugee Week? Afrofuturist world-making? Interlocking systems of domination? All material is putty in her hands. Now based in Berlin, mi-el is simply a wicked club DJ. In just a few years she's played Panorama Bar, De School and FOLD, as well as festivals including Waking Life, Terraforma and Field Maneuvers. Alongside peers and predecessors like Josey Rebelle, she represents a new generation of Black British artists reinventing the wheel, and as we mark the beginning of UK Black History Month, no other candidate felt more fitting. RA.1007 shows why. The 55-minute session is a deft balancing act of depth and playfulness, humour and heaviness, rooted in club intensity and the futurism of the UK hardcore continuum. It's firm confirmation that, in mi-el's hands, the art of the DJ mix is alive and well. @miellllllll Find the tracklist and interview at ra.co/podcast/1026

David Zabel ist Bildungsaktivist, Moderator und Afrofuturist. Der 42-Jährige ist zudem im Beirat der Initiative Schwarze Menschen in Deutschland (ISD), Vorsitzender im Kulturbeirat der Stadt Kassel und Gründungsmitglied der Vereine "Streetbolzer" und „ROOTS – Against racism In Sports“. Mit Frank spricht Dave über seine Identität als afro-ostdeutscher Extrovert, warum Punker lange Sicherheit für ihn symbolisierten und wie er dem „Vorhof zur Hölle“ in den Baseballschlägerjahren entkam. Wir sprechen darüber, wieso Will Smiths Smithiness für ihn so wichtig war (und warum er Fresh Prince of Bel Air heute zum Teil kritisch sieht), stellen uns die Frage, wo unser Schwarzer Bruder Tarzan von TKKG abgeblieben ist – und warum er heute so weiß ist. Dave nimmt uns mit auf den Bolzplatz, in Autohäuser, Videospielwelten und nach Andalusien in den Club-Urlaub, erklärt, wer die Stadtjacken und Hasselheads sind und was "Copaganda" darstellt. Über Black to the Future, Gewaltexzesse in Fußballstadien und warum Lehrkräfte ihre Schüler*innen unbedingt lieben müssen. PODCAST WORKSHOP & BERATUNG https://halbekatoffl.de/workshops/ KONTAKT: frank@halbekatoffl.de SUPPORT: Halbe Katoffl unterstützen: https://halbekatoffl.de/unterstuetzen/ Paypal: frank@halbekatoffl.de Steady: https://steady.page/de/halbekatoffl/about Überweisung/ Dauerauftrag: Schreib an frank@halbekatoffl.de | Stichwort: KONTO

Episode SummarySaxophonist, composer, and theater-maker Idris Ackamoor joins us to talk about Afrofuturism, ensemble storytelling, and why his performances are designed as communal happenings—part ritual, part dance-floor communion. We get into the craft behind his “artistic being” approach, the power of spoken word in jazz contexts, and how rhythm, memory, and movement drive his music.Idris Ackamoor is a Chicago-born, Bay Area–based bandleader and co-founder of Cultural Odyssey and The Pyramids. A pioneering voice in Afrofuturist jazz, his work blends West African rhythmic foundations with improvisation, theater, and multimedia staging.How he defines an “artistic being” and turns daily practice into finished compositionsThe Pyramids as an ensemble for theater, dance, and groove—music that moves people (literally)Collaborating with spoken-word icons Danny Glover and Rhodessa Jones and writing for distinctive voices“The Grandma Cole Story”: turning family memory into melody, rhythm, and testimonyAfrofuturism as compass: studies and travels that shaped his sound and stagecraftProtest music built for the body and the mind—clarity, groove, and human perspective (“Police Dem”)Set design like cinema: seamless transitions, projection, and audience participationLegacy and ownership: why preserving masters and publishing matters to the art“I call myself an artistic being… sometimes a melody appears on the piano, sometimes on the horn—I follow it until it grows.”“When you hear me play, I want you to know it's me and no one else.”“This is about participation—breaking down the wall—so the audience becomes part of the experience.”“I get to the meat of it through the human perspective. The groove invites you in; the words ask you to stay awake.”Host & Producer: Steve Roby — Backstage Bay AreaGuest: Idris AckamoorEditing/Mix: Steve RobyArtist: Idris Ackamoor / The Pyramids – official site, socials, and music streamingCultural Odyssey – background on Ackamoor's performing arts workLabel: Strut Records – catalogue and archivesPhoto: Pat Mazzera

Kelley Fox and Rev. Terry Williams talk with Charity Woods Barnes, founder of the Reproductive Justice Resilience Project, about her work to help reclaim rest, joy, and care for women of color navigating oppression and systemic injustice. Devoted to cultivating a shift in culture toward radical care, healing, and collective liberation, Charity shares what life has been like forging a reproductive justice practice that both feeds her spirit and also guides others in finding their way in the movement. Links to discussed content:  Reproductive Justice Resilience Project (RJRP): https://rjresilienceproject.org/?fbclid=PAZXh0bgNhZW0CMTEAAaeRnW5UV2YtYvMaQEvwlpv9D16eU4V2ovx1vCf4MlqcvNHJwIWQLZH7SXnZuQ_aem_z4VdNAZMmrWPFJFEwCE5Fw A Resilient Fire Podcast https://podcasts.apple.com/nz/podcast/rjrp-a-resilient-fire/id1818774537 RJRP Lunar Guides: https://drive.google.com/drive/u/0/folders/1Euq2PNmYY3hiMwRaWTSQehJHhhW29fij Restorative & Transformative Justice Training: www.faithchoiceohio.org/restorative-and-transformative-justice-training Relearning Self-Care: www.faithchoiceohio.org/blog/relearning-self-care Finding the Divine as an Afrofuturist in a Christian Supremacist World: www.faithchoiceohio.org/blog/finding-the-divine-as-an-afrofuturist-in-a-christian-supremacist-world Music by Korbin Jones

Indianapolis-based group 81355 (pronounced ‘bless') is a collaboration between the rapper/singers Oreo Jones and Sirius Blvck, and the lyricist/producer Sedcairn, and while they're clearly rooted in hip hop, they're not bound by it. On their impressive new album Bad Dogs, the band races through electropop, future soul, grunge, and avant-garde boom-bap, all the while designing a hazy and heavy Afrofuturist take on a live band augmented by electronics - supported by members of their "Naptown" underground music community. They play music from their latest, 'Bad Dogs', in-studio for the #SoundcheckPodcast.Set list: 1. Heart of Stone 2. Guitar 3. Capstone

In this week's episode, Audrey Slote guides listeners through an analysis of “Mandorla Island” from Nicole Mitchell's experimental jazz album Mandorla Awakening II from 2017. This episode centers Mitchell's own Afrofuturist, feminist writings as its primary music-theoretical framework and illuminates how such theorizing productively challenges canonical academic ways of thinking about music and its relationship to society.This episode was produced by Jason Jedlička along with Team Lead Anna Rose Nelson. Special thanks to peer reviewers Jacob Cupps and Caitlin Martinkus. Additional thanks to Steven Rings, Nicole Mitchell, and Jennifer Iverson.SMT-Pod's theme music was written by Maria Tartaglia, with closing music by Yike Zhang. For supplementary materials on this episode and more information on our authors and composers, check out our website: https://smt-pod.org/episodes/

Rev. McDowell interviews the author Ytasha L. Womack about her new “The Afrofuturist Evolution: Creative Paths to Self-Discovery.” The interview covers African cosmologies, the life force, music, rhythmic dances, metaphysics, mysticism, liberation, visions and dreams, the multiverse theory, and the many worlds theory of quantum physics. Find Rev. Gaylon McDowell on Facebook Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode 984- Jason Interviews Damien Duffy Parable of the TalentsThis gripping graphic novel adaptation of Octavia E. Butler's groundbreaking dystopian novel stands beside the acclaimed previous graphic novel adaptations, Kindred, a #1 New York Times bestseller, and Parable of the Sower, winner of the Hugo AwardSet against a background of a war-torn continent under the control of a Christian fundamentalist fascist state, Parable of the Talents is a modern masterpiece that resonates powerfully.This graphic novel adaptation is brought to life thrillingly by Damian Duffy and John Jennings, the creative team behind the #1 New York Times bestselling adaptation of Kindred.Parable of the Talents is told in the voice of Lauren Olamina's daughter, Asha Vere—from whom she has been separated for most of the girl's life—interspersed with sections in the form of Lauren's own journals.Asha searches for answers about her past while struggling to reconcile with her mother's legacy—caught between her duty to her chosen family and her calling to lead humankind into a better future among the stars.Octavia E. Butler's bestselling literary science-fiction masterpieces are essential works in feminist, Afrofuturist, and fantasy genres, and this compelling graphic novel adaptation of Parable of the Talents is a major event.Buy It: https://www.amazon.com/Parable-Talents-Graphic-Novel-Adaptation/dp/141974948XTheme Songs by Drew: Seeds in the Ashes & Starlit PathLike & Subscribe on Youtube www.youtube.com/@comicsforfunandprofit5331Patreon https://www.patreon.com/comicsfunprofit Merch https://comicsfunprofit.threadless.comYour Support Keeps Our Show Going On Our Way to a Thousand EpisodesDonate Here https://bit.ly/36s7YeLAll the C4FaP links you could ever need  https://beacons.ai/comicsfunprofit Listen To the Episode Here: https://comcsforfunandprofit.podomatic.com/