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Branjae is the personification of Black American Music. She is an artist, activist, dancer, singer, and actress. She asks “why not” through her music, challenging listeners to embrace their authentic selves. Her lyrical depth, energetic theatrical performances, and out of the box genre fluidity are as unique as the personas she embodies. Having previously performed at the legendary Apollo Theater, BOK Center, Cain's Ballroom and more, Branjae's fearless and energetic showcase, encourages elevated consciousness by connecting with her audiences for the soul purpose of creating unity and harmony. Born in the city of Motown and rooted in the city of The Gap Band, artist Branjae has established herself as a full-bodied, entertainer; singing, dancing, and acting her way into the hearts of audiences across the globe.Her voice has been likened to artists like Lauryn Hill, India Arie and Nina Simone; while her stage presence is influenced by Tina Turner, Michael Jackson, and Freddie Mercury. PREVIOUS SUPPORT INCLUDES LIZZO, THUNDERCAT, TANK AND THE BANGAS, BRIAN MCKNIGHT, THE YING YANG TWINS, FISHBONE, OHIO PLAYERS, RC AND THE GRITS, AND THE LATE WAYMAN TISDALEAccolades Include:WINNER - BEST FEMALE ARTISTBLACK WALL STREET MUSIC AWARDS3X WINNER - BEST FEMALE ARTIST, ARTIST OF THE YEAR, RECORD OF THE YEARTULSA VYBEZ AWARDSWINNER - JIMMY LAFAVE SONG WRITING CONTESTNOMINEE - BEST MUSIC VIDEOINDEPENDENT MUSIC AWARDS5X NOMINEE - TULSA MUSIC AWARDSHer short film projects “Street Light” & “Free Facts” have gained International recognition including exclusive features for Billboard Magazine & AfroPunk; and screenings in TORONTO, MANCHESTER, PARIS, LONDON, AMSTERDAM, BERLIN, SYDNEY, MELBOURNE, NEW YORK, LOS ANGELES AND AUSTINTo connect with Branjae, visithttps://www.branjaemusic.comhttps://www.facebook.com/BranjaeMusic/https://www.instagram.com/branjaemusic/https://www.youtube.com/user/branjae
Sintonía: "Sr. Lobo" - Los 3001.”Be a Loser” - AFROSOUL TOASTING ALL STARS 2.”African Jungle Part. 1” - PYRAMID BLUE 3.”Afropunk” - JUNO & DARRELL 4.”Mi vida“ - OSCAR MARTOS 5.“No se que tiene este boogaloo“ - MIA BERGARA 6.”Thankful” (Cara A) - GLEN ANTHONY HENRY 7.”Fade Away“ (Cara B) - GLEN ANTHONY HENRY 8.”Soy tu títere“ - ROCKSTEADY ROMANTICS 9.”Amal” - PYRAMID BLUE Sr. Lobezno management Todas las músicas seleccionadas y presentadas por el Sr. Lobezno (Isidro Sánchez Marín) desde RNE en Granada. Muchísimas gracias a Juan Carlos por su predisposición y buen hacer. Escuchar audio
In this electrifying episode of Jack Dappa Blues, we sit down with the powerhouse that is Honeychild Coleman—a pioneering force in the world of punk, blues, and avant-garde music. A Louisville native and Brooklyn-based artist, Honeychild's journey has taken her from busking in the New York subway to collaborating with legends like The Slits, Mad Professor, and Greg Tate's Burnt Sugar Arkestra.As the frontwoman of blues-punk outfit The 1865, Coleman fuses raw energy with historical narratives, crafting sonic landscapes that echo the struggles and triumphs of Black American culture. Her music has graced films, documentaries, and television screens, all while staying true to her ethos of artistic resistance and community empowerment.In this candid conversation, Honeychild delves into the intersection of punk, blues, and Black identity, sharing how her lived experiences and sociocultural activism inform her art. From her early days in the underground NYC music scene to shaping spaces like Sistagrrl Riots, she continues to be a trailblazer for alternative Black voices in music.Join us as we explore the roots of rebellion, the power of storytelling through sound, and the unapologetic spirit of punk blues. This is an episode you won't want to miss!Honeychild Coleman (The 1865 / Bachslider / The Phensic) Brooklyn, NY Louisville, Kentucky native recording/visual artist, and Sistagrrl Riots founding member Honeychild Coleman has worked with The Slits, Mad Professor, afro-futurist shoegazers Apollo Heights (The Veldt), Badawi (Raz Mesinai), Death Comet Crew (with Rammellzee), and the late Greg Tate's Burnt Sugar Arkestra. Honeychild started her musical career during the hot summer of 1993 in the real underground – the New York City Subway system. Busking there, and eventually performing freestyle and improv weekly sets with DJs Olive (we™ /Liminal), Sasha Crnobrnja (Organic Grooves), Lloop (we™), Delmar (Jungle Sky), Fred Ones (Mike Ladd/Sonic Sum) and Badawi (Raz Mesinai) contributed to the unique niche that Coleman created within the New York City electronic scene of the mid-90's.She is featured in documentaries “Afropunk,” (James Spooner, USA), “Tina Turner:My Life. My Songs“ (Dir. Schyda Vasseghi, GERMANY), the MAKERS storytelling platform for trailblazing women (USA), "Fireflies" and "Getting My Name Up There" (Katarina Cibulka, AUSTRIA), Rock Chicks:I Am Not Female To You (Marita Stocker, GERMANY), and upcoming “Rude Girls” (Brigid Maher, USA). Coleman also made a cameo in Brooklyn film “Crooked” (Wordsound, USA) and has composed music in the Sundance awarded film "Pariah" (Dee Rees, Focus Features, USA) and indie short “P.R.” (Maria Paraskevopoulou, U.K./Greece). Coleman fronts Blues-Punk outfit The 1865 (Mass Appeal Records) on lead vocals and baritone guitar. The 1865's music is in the Hulu series “Woke!” (USA, 2021) and composed an original song for Showtime's “Everything's Gonna Be All White” (USA, 2022). Coleman's writing appears in RAZORCAKE ‘zine issue 138 and BLACK PUNK NOW! (Softskull Press,2023). Affiliations: Black Rock Coalition,Sistagrrl Riots, Underground Producers Alliance, Out Loud Louisville, Willie Mae Rock Camp, Human Impacts Institutehttps://www.instagram.com/hccoleman/https://www.instagram.com/the1865band/www.honeychildcoleman.comhttps://honeychildcoleman.bandcamp.com/https://shutitdowncomp.bandcamp.com/releaseshttps://the1865.bandcamp.com/album/dont-tread-on-we
The house built around diversity, equity and inclusion is coming apart brick by brick. Since last summer, brands, retailers, holding companies and, most recently the federal government, have been dismantling (or retooling) DEI initiatives, many of which were built up after the murder of George Floyd and subsequent Black Lives Matter Movement of 2020. The “diversity” portion of diversity, equity and inclusion has become divisive, impacting multicultural marketing agencies, Black-owned brands and diverse publications. And they're starting to feel the ripple effects, according to Kirk McDonald, CEO of Sundial Media Group, holding company for brands like Essence magazine, Afropunk festival and Refinery29. Although, he said, it's too early to tell the full impact DEI's retooling (or rebrand) will have on the industry in terms of media spend, marketing budgets or consumer habits. McDonald recently sat down with the Digiday Podcast to talk about how Sundial's diverse publications, geared toward women and other historically marginalized communities, are navigating the pushback.
Dori talks with writer and music storyteller Piotr Orlov, exploring themes of identity, the immigrant experience, and the transformative power of community. Piotr, whose grandmother was a classical musicologist and father, a prominent, American basketball-loving sportswriter, came here from Leningrad to New York at 7-3/4 years old, fully bought into the American Dream story. He shares how his cultural background shapes his perspective and how that lens has changed over time. His first, indelible (and timely!) New York City memory proves how the truth we see isn't always THE truth. The discussion delves into the significance of community in music, the challenges of building new institutions when the ones that formed us are no longer sustainable...or relevant, and the legacy we leave through our stories.Piotr's writing has appeared in New York Times, Rolling Stone, Pitchfork, and the Village Voice. He was director of special projects at AFROPUNK, senior editor at NPR Music, and editorial director at MTV. He helped produce the Red Bull Music Academy in New York. He is an adjunct teacher of writing and history at NYU's Clive Davis Institute of Recorded Music and at Columbia University. Peter is also the founder of Dada Strain, a platform grounded in rhythm, improvisation, and community. Subscribe to Dada Strain to get Piotr's weekly, mostly independent, mostly jazz, electronic and house music event picks in the NYC area -- with a heavy Brooklyn focus.Text Me!Connect with me!Instagram: @dorifernLinkedIn: Dori FernEmail me: lifechangingwithdorifern@gmail.comVisit https://dorifern.com for more about Dori's coaching services and to sign up for a complimentary call.
In this week's episode, both of our storytellers share stories about moments in life where they chose to put themselves and their wellbeing first. Part 1: When Yves Jeffcoat is diagnosed with multiple sclerosis, she isn't sure how to manage this new normal. Part 2: Jameer Pond keeps ending up in relationships he doesn't want to be in, so his therapist suggests he take a sex sabbatical. Yves Jeffcoat is a writer, a podcast host and producer, and a yoga teacher. Her writing has been in The New York Times, Paper Monument, Lapham's Quarterly, Art in America, The Bitter Southerner, and elsewhere on the internet and in print. She has hosted and helped create podcasts with iHeartRadio, Afropunk, and Hulu that reflect her interests in Blackness, history, healing, and resistance. She is currently the co-creator and co-host of On Theme, a podcast about Black storytelling in all its forms. Brooklyn, New York born award-winning storyteller, director and interviewer Jameer Pond has spent his whole life walking in his passion; engaging with people through diverse storytelling. Throughout his career, he's created viral series such as Buzzfeed's Black People Try, co-hosted BET's first morning talk show Black Coffee, directed several cover videos across Condé Nast's array of publications, including Sir Lewis Hamilton and Simone Biles, and has won a Shorty Award. You can currently catch him traveling the world, telling his dynamic stories with The Moth. Learn more about your ad choices. Visit megaphone.fm/adchoices
Featuring music from Afropunk group Tshegue, new music by Maria Usbeck, three new fantastic compilations with disparate focuses: 1980s Soviet Central Russia, 1990s Japanese ambient / electronic music & '70s and '80s funk from the South China Sea!
Get up and get informed! Here's all the local news you need to start your day: A Bronx landlord is paying a record-high $1 million penalty to the city to resolve housing discrimination accusations. WNYC's David Brand reports. Meanwhile, the family of Andrew Washington, the Jersey City man shot and killed by police last summer, is suing local officials. WNYC's Samantha Max reports loved ones say he needed psychiatric care, not a police response. Plus, the Afropunk festival is back this weekend at the Prospect Park Bandshell.
SARA ELISE is a multidisciplinary creative, splitting her time between Brooklyn and The Catskills, New York. She works primarily in the hospitality, well-being, and food industries and is the co-founder and designer of Apogeo Guest House, a boutique hotel concept space in Nicaragua that centers QTPOC, as well as the founder of Harvest & Revel, a NY-based sustainable event catering + design company.She is the author of A Recipe for More, her debut book released with Harper Collins in May 2023.Sara Elise has been featured in Dazed, Autostraddle, Playboy, Interview Mag, Essence, Afropunk, mindbodygreen, Bon Appetit and Healthy-ish, Well + Good, Nylon, StyleLikeU, and them, among other publications. And was named one of BK Magazine's 50 Most Fascinating People in 2022.She has been invited to speak and host workshops at places like Brown University and Squarespace and has modeled for brands like Sephora, Mercedes Benz, Bombas, Instagram, MCM, AG Jeans, Madewell and more.As an autistic Black & Indigenous femme, she spends much of her thoughtspace contemplating pleasure + pain, collective joy + healing, otherness, embodiment, remembering + reclaiming, self-destruction, and growth— and how inextricably those concepts are linked. To that end, Sara Elise has deep interests in ritualization, BDSM, relationship dynamics, and the development of decolonized personal awareness and well-being.With all of her work, she aims to challenge our collective reality by first reimagining and then creating alternative systems and spaces for Black & Indigenous people of color and LGBTQIA2S+ people to thrive.You can join her community-making on Instagram, and find more of her writing at Send us a Text Message.Support the Show.Recorded at The Newsstand Studio at 1 Rockefeller Plaza in NYC. Special thanks to Joseph Hazan & Karen Song. Produced by Wanda Acosta• Find us: @cafetabacfilm on Instagram & Facebook • Email us: info@cafetabacfilm.com• Website: cafetabacfilm.com/podcast • LEAVE A REVIEW
In today's episode we're putting the whole pattern together with an interview with Hiwote Geteneh, The Possibility Pattern's Exec Producer, on her journey from working in public policy to becoming a podcast producer. Her story is filled with insights that no matter what journey you're on, there is some wisdom here for you. Join us for this conversation that serves as a beautiful illustration of what it looks like to be going through these kinds of transformations and transitions, filled with ideas that you can take away from her story and implement in your journey yourself.Hiwote Getaneh is an audio producer curious about stories that help us better understand ourselves. She has produced the New York Times show Together Apart with Priya Parker, Where Should We Begin and How's Work with Esther Perel, and TED's Far Flung with Saleem Rashemwala. She is also the host and executive producer of an upcoming series on Black Joy. Trained in public policy, Hiwote worked for years as a Senior Research Analyst before veering from the traditional path to explore her research and strategy sensibilities in the media world as a Senior Marketing Strategist for brands like Mic and Afropunk. She is an alumnus of Virginia Tech (BS) and Johns Hopkins University (MPA).In our conversation we talk about:* How she got started in public policy and how she knew it wasn't for her * Why she stayed even though her intuition knew she was on the wrong path * What led her to creating her first podcast and how that took her from dissatisfied to transitioned* How you want to be seen can hold you back from what you enjoy doing * Her transition into the media industry and leveraging transferable skills * How shooting her shot finally landed her a full time job as a podcast producer * The importance of aligned action and letting go of perfectionism * How she identified her strengths and started aligning her projects to her strengths * How getting to embodied as a producer led her into another transition to become an entrepreneur Where to connect with Hiwote: * Instagram @hiwote.getaneh * Depth & Candor website This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit thepossibilitypattern.substack.com
Today's episode is the story of an autistic Black and Indigenous femme creative powerhouse who wants to help us center rest, pleasure, and abundance in our actual lives. Sara Elise (she/her) is a multidisciplinary creative, splitting her time between Brooklyn and The Catskills, New York. She works primarily in the hospitality, well-being, and food industries and is the cofounder and designer of Apogeo Collective, a hospitality experience centering QTPOC, as well as the founder of Harvest & Revel, a sustainable event catering + design company. She has been featured in Dazed, Autostraddle, Playboy, Interview Mag, Essence, Afropunk, mindbodygreen, Healthy-ish, Well + Good, Nylon, StyleLikeU, and them, among other publications. And was named one of BK Magazine's 50 Most Fascinating People in 2022.As an autistic Black & Indigenous femme, she spends much of her thoughtspace contemplating pleasure + pain, collective joy + healing, otherness, embodiment, remembering + reclaiming, self-destruction, and growth— and how inextricably those concepts are linked. To that end, Sara Elise has deep interests in ritualization, BDSM, relationship dynamics, and the development of decolonized personal awareness and well-being. With all of her work, she aims to challenge our collective reality by first reimagining and then creating alternative systems and spaces for Black & Indigenous people of color and LGBTQIA2S+ people to thrive.In this episode, you'll hear Sara Elise and I discussCreating tools to support us in our most human momentsAbundance, but not the capitalistic kindBuilding supportive rituals as a late-diagnosed autistic person Hospitality that treats everyone as desired and essentialAnd so much more! A Recipe for More is available wherever you buy books. Snag a signed copy by DMing Sara Elise on Instagram and mentioning Found Family. You can join Sara Elise's community-making at @SaraElise333 on Instagram, and find more of her writing at saraelise.substack.com. To learn more about Apogeo Collective or book your trip to the guest house, visit apogeocollective.com. Support the Show.
Follow us @doseofblkjoy & learn more about “A Dose of Support” from the 4A's - American Association of Advertising Agencies https://docs.google.com/forms/d/e/1FAIpQLSdEW1U3sVdZRCQHPVtmwxAITUEA5I4ojWGAgKJMMp3Tc63l-A/viewform?usp=sf_link About God-is: Throughout her career, God-is has been a strategic executive who is responsible for better serving and engaging diverse communities through digital channels all around the world through brand marketing, campaigns with partners, and events and experiences. As a proud Black American woman hailing from the Bronx, NY, she is passionate about pairing an authentic community care approach with inclusive, culturally fluent marketing, community-integrated product and policy evolution and cultural insights to show there is value in all communities, and that they deserve to be recognized, respected and rewarded—not counted out. As a marketing executive at Twitter for over 4 years culminating in 2022, she drove strategy to make sure that campaigns and programs were connective, inclusive and reflective of the communities Twitter served. Externally, she both established and built on Twitter's work in developing relationships and programs with community leaders, content partners, influencers, creators, partners and brands. Prior to joining Twitter in 2018, God-is was Director, Inclusion & Cultural Resonance for VMLY&R. In this newly created role she focused on bridging strategic inclusive marketing and strategy with internal processes and policies to foster an equitable environment at the agency, and produce inclusive work outputs. Earlier, she held lead channel strategy roles at VMLY&R, global agency iCrossing, and Austin-based T3. God-is has been profiled in digital trade and national publications Adweek, Ad Age, Marie Claire, Forbes, Digiday, Fortune, Campaign US, and The Drum. In 2018 she was named an Ad Age “Woman to Watch” and Adweek “Disruptor” for continuing to fight for representation and equity in the advertising industry. In 2020 God-is was recognized for her work at Twitter amplifying historically marginalized voices as #28 on the Root 100 Most Influential African-Americans list, BET's Top 100 Most Innovative and Influential Business Executives, and by Fortune Magazine on their esteemed 40 Under 40 list of influential people in the technology category. In 2023 she was recognized by ColorComm as one of the influential 28 Black Women in Communications “Making History Now”. This same year she was also recognized by her hometown, the Bronx Tourism Council, and was inducted in the Bronx Walk of Fame for excellence in the field of marketing. In November 2023 God-is also was chosen to be inducted into the American Advertising Federation's esteemed AAF Hall of Achievement Class of 2023, a prestigious honor representing an impactful and innovative career in marketing, advertising, and/or media. In October of 2022 God-is joined The Walt Disney Co. as their first VP, Inclusive Marketing across all Disney streaming platforms and networks including content and IP across ESPN+, Hulu, and Disney+ where she is tasked with developing and leading strategies to connect with diverse audiences and amplify inclusive content. In June of 2023 God-is joined Essence Ventures as their first-ever Chief Content Officer. Leading content strategy and connection with intersectional global audiences across all Essence Ventures brands including; Essence Publishing, Afropunk, BeautyCon and Essence Studios. As of 2024 she has been active as an independent consultant with top global brands and organizations around the world. God-is is also a highly sought after keynote speaker and moderator who has spoken for several brands like Netflix and Spotify, and at international events such as The World Economic Forum in Davos, Switzerland, The Cannes Lion Festival of Creativity in Cannes, France, and Brandweek in Palm Springs, CA among many more. God-is resides in the greater New York City area with her husband and daughter
To connect with Branjae, visithttps://www.branjaemusic.comhttps://www.facebook.com/BranjaeMusic/https://www.instagram.com/branjaemusic/https://www.youtube.com/user/branjaeBRANJAE IS THE PERSONIFICATION OF BLACK AMERICAN MUSIC; CLASSIC SOUL, FUNK, AND R&B. SHE IS AN ARTIST, ACTIVIST, DANCER, SINGER, AND ACTRESS WHO EMPOWERS WOMEN AND INSPIRES HOPE FOR US ALL. SHE ASKS “WHY NOT” THROUGH HER MUSIC, CHALLENGING LISTENERS TO EMBRACE THEIR NATURAL SELVES. BRANJAE IS A FEARLESS, HEADSTRONG, AND ENERGETIC WOMAN WHO HAPPENS TO BE BLACK. HER LYRICAL DEPTH, ENERGETIC THEATRICAL PERFORMANCES, AND OUT OF THE BOX GENRE FLUIDITY ARE AS UNIQUE AS THE PERSONAS SHE EMBODIES. BRANJAE'S MUSIC REMAINS IN TOUCH WITH THE HUMAN EXPERIENCE IN A CREATIVE WAY. HER STYLE OF STORYTELLING KEEPS IT REAL WHILE CONSTANTLY EVOLVING BASED ON HER TRUTHS. PREVIOUSLY FEATURED IN BILLBOARD, AFROPUNK, ROLLING STONE, AND VARIANCE; SHE HAS CONTINUED EARNING SUCCESSES WITH HER TRIUMPH IN THE JIMMY LEFAVE SONGWRITING COMPETITION, PROUDLY RECEIVED THE "BUILD IN TULSA" GRANT, AWARDED BY THE 1921 GREENWOOD ORGANIZATION, AND CLINCHED THIS YEAR'S BEST PERFORMER AWARD IN THE R&B CATEGORY AT THE INAUGURAL PPBC TULSA MUSIC AWARDS. SHE ALSO STARRED IN HER SHORT FILM, FOR HER HIT SINGLE "FREE FACTS", THE FILM EARNED ACCEPTANCE INTO THE PRESTIGIOUS LIFT OFF GLOBAL NETWORK, CAPTIVATING AUDIENCES ACROSS SYDNEY, LONDON, NEW YORK, AUSTIN, MELBOURNE, TORONTO, BERLIN, AND MANCHESTER. IN 2022, SHE EMBARKED ON HER DEBUT TOUR, GRACING THE LEGENDARY APOLLO THEATRE STAGE IN NYC AND CAPTIVATED AUDIENCES AT THE RHYTHMS ON THE RIO IN COLORADO; AND LAUNCHED HER FIRST NORTH AMERICAN TOUR AT THE 2023 SXSW MUSIC FESTIVAL IN AUSTIN AND THE NXNE MUSIC FESTIVAL IN TORONTO, CANADA. BORN IN THE CITY OF MOTOWN AND ROOTED IN THE CITY OF THE GAP BAND, BRANJAE HAS ESTABLISHED HERSELF AS A FULL-BODIED ENTERTAINER. HER VOICE HAS BEEN LIKENED TO THE RASP OF LAURYN HILL, THE ALTO REGISTER OF INDIA ARIE, AND THE SOUL OF NINA SIMONE. ALTERNATIVELY, HER STAGE PRESENCE IS HEAVILY INFLUENCED BY THE LEG WORK OF TINA TURNER, CONFIDENCE OF MICHAEL JACKSON, THE COMMANDING PRESENCE OF FREDDIE MERCURY, AND THE VIGOR OF BEYONCE. HAVING SHARED THE STAGE WITH JEFF TWEEDY, JOAN OSBOURNE, GANGSTAGRASS, THUNDERCAT, FISHBONE, OHIO PLAYERS, RC AND THE GRITS (ERYKAH BADU'S CURRENT BAND), ANDY FRASCO, AND THE LATE WAYMAN TISDALE, HER LIVE SHOWS PAY HOMAGE TO THE ART FORM OF THEATRICS, MUSIC, AND WRITING AS BRANJAE UTILIZES EVERY SQUARE INCH OF THE STAGE. SHE CAPTIVATES HER AUDIENCE BY DRAWING THEM IN WITH HER SINGING AND MESMERIZING THEM WITH HER PERFORMANCE. ACCOLADESWINNER - BEST R&B PERFORMER | PERRY PUBLISHING BROADCAST MUSIC AWARDSWINNER - 1921 GRANT AWARD | BUILD IN TULSAWINNER - BEST FEMALE ARTIST | BLACK WALL STREET MUSIC AWARDS3X WINNER - BEST FEMALE ARTIST, ARTIST OF THE YEAR, RECORD OF THE YEAR | TULSA VYBEZ AWARDSWINNER - JIMMY LAFAVE SONG WRITING CONTEST5X NOMINEE - TULSA MUSIC AWARDSNOMINEE - BEST MUSIC VIDEO | INDEPENDENT MUSIC AWARDS
James Spooner is a writer, filmmaker and visual artist from Southern California. He grew up as one of two black punk rockers in the small town of Apple Valley, and he wrote a critically acclaimed graphic novel about his experience called “The High Desert,” released in 2022, twenty years after the release of his groundbreaking documentary “Afro Punk.” When I read the book, I found it so moving that I immediately reached out to him and invited him to be a guest on this Afro Punk, The High Desert, Black Punk Now!program. James joined me for a live interview in Olympia at the Capitol Theater after a screening of his film, and we discussed his experience growing up as a black punk in the desert, the avenues that led him to direct his first film, being the father of a Gen-Z black punk, his career as a tattoo artist, and his new anthology book “Black Punk Now,” which was edited by Spooner and Chris L. Terry and came out last October. Low Profile is supported by you on Patreon and also receives in-kind support from these independent Olympia businesses: Schwart'z Deli, San Francisco Street Bakery, Old School Pizzeria, Rainy Day Records and Scherler Easy Premium Shitty American Lager from Three Magnets Brewing Company. Instagram: @lowpropodcast Facebook Community: Low Profile Listener Hub Patreon (donation-based bonus content+goods): patreon.com/lowprofile
Nicole "NK" Kelly is a writer, etc, based in Los Angeles and Mexico City. She received an MFA from the Programs In Writing at UC Irvine after writing a book about slutty girls who like to travel. For several years she was the programming director at a feminist art space in LA, and produced and hosted bitchface, an experimental audio series about art and power.A former Kimbilio Fiction Fellow and AIR Edit Mode Fellow, her fiction has appeared in Zzyzzva, Fiction Southeast, and Best Small Fictions, and her work has been heard on Afropunk's Solution Sessions, Black Mountain Radio, VICE's Source Material, and The Heart. Her audio memoir Divesting From People Pleasing was called “a shockingly intimate portrait of what it means to be alive in a human body.”She loves queer comedy, cultural criticism, and letting Black girls be weird and vulnerable, and easily finds humor and absurdity in life's most difficult rites of passage. A colonel's daughter who spent her childhood on military bases in the American south, she was never ever permitted to speak with a Southern accent. Join the upcoming Live Virtual Networking Workshop + Mixer. Make new connections and never wonder if you're networking the right way ever again. Learn more about The Werking Writer Schoolthewerkingwriter.com
We're Done with the sugarcoating. Meka Mo rips the bandaid off racial trauma one hilarious yet brutal episode at a time.
Nikki Giovanni was one of the most prominent poet-activists to come out of the late-60s Black Arts Movement, and, as this film explores, is one of the Godmothers of Afrofuturism and the Afropunk alternative arts scene. But "Going to Mars" is far from your standard issue profile documentary, instead husband-wife co-directors Michèle Stephenson and Joe Brewster use Giovanni's life and writing as a jumping off point for their own formal exploration as they "delved into the soul of a poet." Learn more about your ad choices. Visit megaphone.fm/adchoices
This week on Cultural Manifesto explore holiday-themed releases from Wife Patrol and Isaiah J. Thompson. The Indianapolis-based rock band Wife Patrol gained national attention for their 2020 LP “Too Prickly For This World.” Afropunk praised Wife Patrol for their "indelible hooks and defiant verses,” and Bandcamp described the group's sound as “catchy alt rock with streaks of punk, new wave, and metal.” Wife Patrol will discuss their latest single “Christmas '96.” 2023 was a landmark year for pianist Isaiah J. Thompson. Earlier this year, Thompson won the American Pianists Association 2023 Award for Jazz and the Cole Porter Fellowship. Thomspon will join host Kyle Long to talk about his new album “Guaraldi Holiday,” a tribute to the music of Vince Guaraldi, who scored the classic Peanuts' holiday specials of the 1960s.
This week on Cultural Manifesto explore holiday-themed releases from Wife Patrol and Isaiah J. Thompson. The Indianapolis-based rock band Wife Patrol gained national attention for their 2020 LP “Too Prickly For This World.” Afropunk praised Wife Patrol for their "indelible hooks and defiant verses,” and Bandcamp described the group's sound as “catchy alt rock with streaks of punk, new wave, and metal.” Wife Patrol will discuss their latest single “Christmas '96.” 2023 was a landmark year for pianist Isaiah J. Thompson. Earlier this year, Thompson won the American Pianists Association 2023 Award for Jazz and the Cole Porter Fellowship. Thomspon will join host Kyle Long to talk about his new album “Guaraldi Holiday,” a tribute to the music of Vince Guaraldi, who scored the classic Peanuts' holiday specials of the 1960s.
In this podcast I chat with James Spooner. James is the creator of the Afro-Punk documentary, author of the acclaimed graphic memoir The High Desert, co-editor of Black Punk Now, and all-around great guy. This is definitely one to catch.
Afropunk, Meca, Turá, Balaclava, Se Rasgum. É tudo ao mesmo tempo agora. E a gente fala disso e outras coisinhas mais
Notes and Links to Chris L. Terry's and James Spooner's Work For Episode 211, Pete welcomes Chris L. Terry and James Spooner, and the two discuss, among other topics, the exciting release of Black Punk Now and reader response, the seeds for the book and the rationale for certain structures in the book, the balance between a punk aesthetic and fair treatment and pay for artists, Black punk as joy and liberation and catharsis, exciting new movements and artists in Black Punk and its attendant creative pursuits, and what Chris and James wish for the book's future. Chris L. Terry is the author of the novels Black Card (Catapult, 2019) and Zero Fade (Curbside Splendor, 2013), which was named Best Book of the Year by Slate and Kirkus Reviews. Mr. Terry's short work has appeared in PANK, Razorcake, Very Smart Brothas, and more. He has taught for PEN America, Writing Workshops LA, and Storycatchers Theatre. James Spooner is an American film director, tattoo artist, and graphic novelist. He is best known for his 2003 documentary film Afro-Punk, and for co-founding the Afropunk Festival. He also directed the 2007 narrative film White Lies, Black Sheep. His first graphic novel, titled The High Desert, was published in 2022. Buy Black Punk Now! Read an Excerpt from Black Punk Now James' Website Buy The High Desert by James Buy Black Card by Chris Read about Afro-Punk Documentary At about 2:20, Pete welcomes back Chris-the first two-time guest! and asks about seeds for the book and about the initial reaction to the book's publication At about 6:00, James responds to the same questions as above: seeds for the book and the book's connections to his work with AfroPunk At about 11:10, Chris shouts out Cecilia Flores at SoftSkull and the use of the tattoo framing in one interview in the book; he also discusses “creating Black spaces” with joy At about 11:50, James mentions the cover of the book, “having the time of their lives” and Black Joy At about 12:40-14:50, Chris responds to Pete's questions about the book's title's genesis and the “timeliness” of the book At about 14:50, Pete cites James' Introduction to the book and James responds to Pete's question about Black Punk's rise with regard to concerts and exposure and its connection to corporatization At about 19:15, Chris talks about the balance between the DIY ethos of punk and the newer generation's keen ways of valuing their work and including more interested people At about 22:30, James reminisces on the different scenes in punk circles when he was doing concerts At about 25:05, Pete and Chris highlight the book's Roundtables and interviews, particularly with Bobby Hackney, Jr., and key quotes that show Blackness and punk to be inextricable, as well as the openness of the book's contributors At about 28:15, Pete asks about punk rock and how it came from rock-originated by Black musicians and became associated with white musicians; Chris describes this At about 30:30, James describes “major” Black figures and Black bands who were and are at the forefront of so many movements; he shouts out Soul Glo and Zulu and draws connections between the older and newer At about 34:15, Chris uses his West Coast tour from 2002 as an example of how At about 34:40, The three talk about the great Fishbone and The Last Action Hero soundtrack At about 36:15, Pete asks about Blank punk and compliments the book's variety and its politics and discussion of gender fluidity and other important issues; Chris speaks on punk as a lifestyle, and not just a style of music At about 39:20, Pete wonders about any evolution in the ways in which women and nonbinary people have been treated in recent years of punk; Chris and James discuss challenges that still remain, as well as what they list as incremental victories At about 44:05, Pete highlights quotes and interviews from the anthology and the ways in which catharsis is demonstrated through Black punk lifestyles At about 46:05, Pete asks James and Chris about their process in picking a favorite Black punk songlist At about 47:25, James and Chris respond to Pete's questions about how they want the book to survive and thrive in coming years, and the rationale on having the book softcover right away At about 49:15, Pete highlights engaging work from James and Chris in the anthology At about 50:20, James and Chris talk about exciting future projects At about 52:30, James and Chris give out their contact info and social media You can now subscribe to the podcast on Apple Podcasts, and leave me a five-star review. You can also ask for the podcast by name using Alexa, and find the pod on Stitcher, Spotify, and on Amazon Music. Follow me on IG, where I'm @chillsatwillpodcast, or on Twitter, where I'm @chillsatwillpo1. You can watch this and other episodes on YouTube-watch and subscribe to The Chills at Will Podcast Channel. Please subscribe to both my YouTube Channel and my podcast while you're checking out this episode. Sign up now for The Chills at Will Podcast Patreon: it can be found at patreon.com/chillsatwillpodcastpeterriehl Check out the page that describes the benefits of a Patreon membership, including cool swag and bonus episodes. Thanks in advance for supporting my one-man show, my DIY podcast and my extensive reading, research, editing, and promoting to keep this independent podcast pumping out high-quality content! NEW MERCH! You can browse and buy here: https://www.etsy.com/shop/ChillsatWillPodcast This is a passion project of mine, a DIY operation, and I'd love for your help in promoting what I'm convinced is a unique and spirited look at an often-ignored art form. The intro song for The Chills at Will Podcast is “Wind Down” (Instrumental Version), and the other song played on this episode was “Hoops” (Instrumental)” by Matt Weidauer, and both songs are used through ArchesAudio.com. Please tune in for Episode 212 with Theresa Runstedtler, award-winning scholar of African American history. Her work focused on intersection of race/masculinity/ labor/sport, and her recent: Black Ball: Kareem Abdul-Jabbar, Spencer Haywood, and the Generation that Saved the Soul of the NBA. The episode will air on November 14.
This week, Nigel and Tazziii are dissecting stop motion excellence as we are joined by NextGen Skills Academy Programme Administrator Charlie Blay for a deep dive into the hauntingly good Wendell & Wild (starting at 24:12). We talk about creating stop motion horror for younger audiences in the coming-of-age narrative with an Afro Punk twist. Along the way, we delve into the narrative as we debate whether you can have too much story. We also give our thoughts on the diversity on display and how that has been handled through its cast of characters. This week's storytelling tip is all about creating scenes that turn in your story. Other stories we're enjoying include: Persona 5, Cowboy Bebop, What a Shame, Trapped in a Dating Sim: The World of Otome Games is Tough for Mobs, My Dress-Up Darling, The Rising of the Shield Hero Season 3, Harry Potter and the Order of the Phoenix, Winning Time: The Rise of the Lakers Dynasty, Spider-Man 2.
On this episode we talk about the art of listening, the significance of bringing a critical lens to our media diet, and much MUCH more. It is such an honor to have Bridget Todd on the show.
Keana (they/them) discusses Afro Punk, obsessed over Akwaeke, and talks about current art projects.
Sign up for the Black Women Stitch quarterly newsletter! Check out our merch here Leave a BACKSTITCH message and tell us about your favorite episode. Join the Black Women Stitch PatreonAmazon Store QueenQueen is a Bronx native with a Harlem heart, did college in Queens, currently resides in Brooklyn, and like most New Yorkers forgets Staten Island exists. Creating safe, nourishing spaces for Black femmes and folks impacted by misogynoir through digital media and live events is her style of activism. She is one half of The Tea with Queen and J. podcast and centers dismantling white supremacist patriarchal capitalism, because why the fuck not! Always encouraging healthy community building, her podcast's annual Black podcast meetup, #PodinLiveNYC, has grown into the largest Black podcaster meetup in the world! Ms.Vixen, her online magazine, has been running 7 years strong, and with the addition of live events and workshops through the Ms.Vixen IRL series, plus Ms. Vixen The Podcast, she continues to deliver incisive, witty, lit womanist perspectives on pop culture, media, and politics. Queen's work has also been featured at Afropunk.com, AMny, and you can catch her as a panelist on the youtube series, The Grapevine. Always someone with something to say, her goal is media domination, to always have huge hair, and to always stay fly. J.J. is a cultural critic, podcast producer, and a womanist race nerd from the Bronx focused on dismantling white supremacist patriarchal capitalism while laughing, drinking tea, and indulging in various forms of Black joy. For over five years she's created audio content centering Black women and Black femme-identifying individuals, exploring America's caste system, allowing herself to learn and be challenged publicly, and sharing her journey through mental health. As a podcast geek with a commitment to increasing visibility and access for people of color, she co-founded #PodinLiveNYC, the largest annual Black podcast meetup in the world. In addition to freedom and liberation, Janicia loves cosplay, believes there's a special place in her heart (and hell) for body paint, and lovingly asks that you do not call her a "lady". Lisa WoolforkLisa Woolfork is an associate professor of English specializing in African American literature and culture. Her teaching and research explore Black women writers, Black identity, trauma theory, and American slavery. She is the founder of Black Women Stitch, the sewing group where Black lives matter. She is also the host/producer of Stitch Please, a weekly audio podcast that centers on Black women, girls, and femmes in sewing. In the summer of 2017, she actively resisted the white supremacist marches in her community, Charlottesville, Virginia. The city became a symbol of lethal resurging white supremacist violence. She remains active in a variety of university and community initiatives, including the Community Engaged Scholars program. She believes in the power of creative liberation. Insights from this episode:Making spaces like music festivals feel more welcoming to queer folksCreating intergenerational events that appeal to everyone and avoid ageismThe effect of marginalized people thinking from a scarcity mindsetWho gets their work published and whyWhy it's important to remember that there is always room for your voice and your storyThe role of capitalism in holding us back from pursuing our interests Quotes from the show:“The community activated to provide a kind of care, and I think that is something that you really can't harness or you can't force.” – Lisa Woolfork, Stitch Please, Episode #195“I think as a marginalized person you're always thinking about the deficit; you're always thinking about the scarcity. On purpose you're made to think there's not enough for everyone, so you don't ask for more. If there's not enough, you won't ask for more. If there's not enough, you won't require more. If there's not enough, you won't expect more. That's just what is stuck down your throat as a marginalized person. So it is really important for us to remind everyone that the market can never be saturated. That language in itself is exclusionary to make you not want to do this, to make you think it's not possible for you to be in a space.” – Queen, Stitch Please, Episode #195“People don't think of all the players in capitalism and how invested corporations are in keeping independent creators, entrepreneurs, out of this space… They want to control the market, so they will tell you the market is flooded until they're ready to play. There's a lot at work to keep individuals from playing whatever the game is.” – J., Stitch Please, Episode #195“There's a lot of that trying to maintain the status quo, and that is a symptom and a function of maintaining the capitalisty, and all of these little things work to the benefit of those on top of the financial hierarchy that we have, and that is power.” – J., Stitch Please, Episode #195“I think the question to ask is ‘who benefits?'. If you count yourself out, if you take yourself out of the game before you give yourself a chance, who benefits from that? You are not benefitting, because you're not following something you're excited about. Don't count yourself out. Don't push yourself out because you're afraid.” – Lisa Woolfork, Stitch Please, Episode #195“When I started this podcast, it was just like when I created Black Women Stitch. I built what I needed. I needed to know that there were other Black women, girls, and femmes out in the world doing things with needle and thread, that I did not have to turn to these sources that were crafted by white people for the benefit of other white people but told to me like ‘yes, you can do it too, but if it doesn't fit you, then something's wrong.' None of that is the case. There absolutely is not just a history of us in this tradition, but also us being great innovators and making things that are completely new. And to also leave something behind for those who will come next and make sure that door is propped wide open for more flourishing to continue beyond just what's happening right now. I think that anything we can do to make that more of a regular practice would be to the good. I really do.” – Lisa Woolfork, Stitch Please, Episode #195“None of us are free unless all of us are free. I don't understand how we don't appreciate that. You don't get to just be a little bit racist. You don't get to be a little bit oppressive of other people because it makes you feel better or because you think you have good reason for it. That is not the way to wholeness. It's just not the way.” – Lisa Woolfork, Stitch Please, Episode #195 Resources MentionedPodInLiveNYCEssence festival Stay Connected:YouTube: Black Women StitchInstagram: Black Women StitchFacebook: Stitch Please Podcast Lisa WoolforkInstagram: Lisa WoolforkTwitter: Lisa Woolfork Tea with Queen and JWebsite: Tea with Queen and JInstagram: teawithqjTwitter: TeawithQJFacebook: teawithqueenandjTumblr: teawithqueenandjEmail: teawithqueenandj@gmail.com QueenTwitter: @TheQueenSpeaks_Instagram: @TheQueenSpeaks_YouTube: @MsVixenEmail: Contact@MsVixenmag.com J.Twitter: @JaniciaFInstagram: @JaniciaFPodcast: Drapetomaniax: Unshackled History Subscribe to our podcast + download each episode on Stitcher, Apple Podcasts, and Spotify. This episode was produced and managed by Podcast Laundry.
James Spooner made a documentary in 2003 called “Afro-Punk.” It was a defining film for a generation of young Black people who felt like outsiders. This fall, he'll publish a collection he co-edited with Chris L. Terry called Black Punk Now. Hear his place in the story of punk rock and the future he's helping young Black artists pave for themselves. This episode is an installment of "Black History is Now." Send us your song for our summer playlist! What's a song that represents your personal diaspora story? Go to notesfromamerica.org and click on the “RECORD” button to leave a voice note with your answer. Tell us the name of that song and the artist, and a 1-minute story that goes along with it. We'll gather all of the songs and your stories in a Spotify playlist that we'll update all summer. Tell us what you think. Instagram and Twitter: @noteswithkai. Email us at notes@wnyc.org. Send us a voice message by recording yourself on your phone and emailing us, or going to Instagram and clicking on the link in our bio. “Notes from America” airs live on Sunday evenings at 6pm ET. The podcast episodes are lightly edited from our live broadcasts. Tune into the show on Sunday nights via the stream on notesfromamerica.org or on WNYC's YouTube channel.
Welcome to Episode 3 of your favorite music podcast, The Record Report. This week, we'll be taking a BUS RIDE (all puns intended) through Kaytranada's debut studio album, 99.9%. Following a slew of SoundCloud flips to get people to the dancefloor in the early 2010s like his flip of Teedra Moses' track "Just Wanna Be Your Girl," Kaytranada was on a steady rise in the music industry. The hype only kicked into a second gear when he signed to XL Recordings in 2014 and the label eventually announced that he would drop a debut album. "LEAVE ME ALONE" was the lead single that most fans knew, but the Montreal producer had a knack for teasing tracks from 99.9% throughout several live mixes while touring, from Broccoli City Fest to Afropunk. When 99.9% came out, the album met much-deserved critical and commercial acclaim for having such a refreshing sound in (what was at the time) the turning tide of music. However, what we didn't know coming back into it now is how much it's aged like a fine wine. Not only was Kaytra's debut a precursor for his historical Grammy-winning album BUBBA, but it included a wide variety of talent from young legends like Craig David and Phonte to artists that set the tone for the industry in the 2010s like Syd and Anderson .Paak. For this episode, we choose our top 3 songs from 99.9%, talk about the album's importance to the electronic/house genre at that time, and give our flowers to several underrated artists who made a splash in the 2010s from River Tiber to BadBadNotGood. We also talk about the lack of good R&B (from men) that doesn't focus mainly on sex, and mention what we listen to breaking shit in the gym. @Yo_Ahki/@VanceB_ Listen to this new episode and previous others on: Apple Podcasts(https://tinyurl.com/jydzz9fk) Spotify (https://tinyurl.com/c3u77hcf) Anchor (https://anchor.fm/recordreport) Follow Record Report Podcast on: Instagram: (@RecordRepPod) Facebook: Facebook.com/RecordReportPodcast Twitter: https://twitter.com/recreppodcast?lang=en #Kaytranada #999 #Montreal #Canada #AndersonPaak #Syd #House #Electronic #EDM #Soulection #Podcast
Confections, community, and a little bit of fairy dust make up the incredible sugary profiles made sensational by Wonderpuff. Jackie Marin and her husband discovered their interested in creating custom confections for events, weddings, and more in South Florida and brought their talents to the Durham area 6 years ago. Since it's inception, they've perfected the science of creating their flavors modeled after their experiences and the foods they eat. From crafting an incredible in-person buying experience at events like Afropunk, to hanging out at local markets around the Triangle, their infectious namesake translated well to help them boast thriving online sales during the pandemic. In this period of growth and community support, they were able to successfully raise money through Kickstarter for a space at Boxyard RTP. What's next for this sweet duo? Learn more about the husband and wife team that brought the Haitian Cake flavor to cotton candy at https://www.ohwonderpuff.com/Links:Website: https://www.honeyandhustle.co1:1 Consultation: https://angelahollowell.lemonsqueezy.com/checkout/buy/a0d1b976-39d0-4d1f-b2ee-5f5e3e6d7691?logo=09 Lessons We've Learned from our Podcast Guests: https://angelahollowell.lemonsqueezy.com/checkout/buy/7474a4cf-9bfa-4431-89a4-9660920f8ed1?logo=0Digital Tools for Video Creators: https://angelahollowell.lemonsqueezy.com/checkout/buy/ce13789d-4a20-4f0f-b8a6-8ea7d9647c2b?logo=0
Dr. Cherie has a confession: she's a former grind-a-holic. In today's episode, she's sharing her number one suggestion for overcoming burnout: radical self-care. Resources Radical Self-Care - Angela Davis Interview at Afropunk https://www.youtube.com/watch?v=Q1cHoL4vaBs Self-care as a tool of liberation | Malebo Sephodi | TEDxLytteltonWomen https://www.youtube.com/watch?v=ja4CE4s9gj4 Radical Self-Care: Alicia Garza https://www.youtube.com/watch?v=NQ7FGkfPwyE Books A Burst of Light and Other Essays By Audre Lorde Rest in Resistance: A Manifesto By Tricia Hersey Connect with Dr. Cherie: https://www.instagram.com/drcherie_holisticcoach/ www.instagram.com/passionatestewardshippodcast https://lcconsultingandcoaching.com/ Free 30-minute Radical Self-Care Audit https://calendly.com/clindsay-chapman-1/radical-self-care-audit
Welcome back to Saucy but Sweet with Ali McPherson. This week you all are in for quite a treat. It is Coachella season! I'm sure most of our listeners know all about the impactful and booming California music festival that has basically become a household name but for those of who do not know, it is a music festival, where artists who are the best of the best perform on a massive stage in front of thousands of fans. These fans come from all over the world to unite for their love of music, food and culture. It is essentially a party in the desert. Coachella Valley is where the magic happens. Unlike Vegas, what happens in Coachella does not stay in Coachella, it is packed with press people and style magazines for days. It's as much about fashion and culture as it is about who is performing. We will be discussing not just what makes Coachella one of the most impactful festivals in the world, but other festivals that may be geared towards specific groups of people and why those festivals are impactful as well. There is AfroPunk, the Essence Fest, and so many others that many are buying tickets for as we speak. The summer is the season of festivals, and Coachella typically sets the scene. We will be joined by an incredible guest and friend to the podcast Yasmine Jameelah to talk about the significance of these festivals and later on in the episode the host will be including live footage and her favorite moments from Coachella weekend 1. Live at Coachella montage, performances incorporated in the episode: Becky G Rosalia Rosalia and Rauw Alejandro Burna Boy Bad Bunny Frank Ocean This episode is brought to you by Odette Coronel Coaching. Visit www.odettecoronel.com for more information and to book your first life/relationship coaching session. --- Support this podcast: https://podcasters.spotify.com/pod/show/saucy-but-sweet-with-ali/support
On this episode we talk about the art of listening, the significance of bringing a critical lens to our media diet, and much MUCH more. It is such an honor to have Bridget Todd on the show.
Your boy JBarber got to see the show Declaration and Resistance at the Reynolda House and immediately had to get the artist Stephen Towns to come on the show! Stephen has had a crazy busy couple of years but he had some time to talk to the Noize about his show. He has paintings in the National Museum of African American History & Culture and this show has been touring for a couple of years. We talk about his vibrant, beautiful paintings and his wonderful quilts from the show. Stephen talks about his process of research and adding life to his archived photography, how artists get to tour a show, and how teaching yourself a medium changes how you make art. More of that good art talk that we love over here. Listen, subscribe, and share!Episode 163 topics include:Declaration and Resistance at the Reynolda House through May 14, 2023researching stories as inspirationbreathing life into archive photographyswitching between painting and quiltingmagical elements in artvibrant color of Black peoplemaking work about life in the SouthStephen Towns was born in 1980 in Lincolnville, SC, and lives and works in Baltimore, MD. He trained as a painter with a BFA in studio art from the University of South Carolina and has also developed a rigorous, self-taught quilting practice. In 2018 the Baltimore Museum of Art presented his first museum exhibition, Stephen Towns: Rumination and a Reckoning. His work has been featured in publications such as the New York Times, Artforum, the Washington Post, Hyperallergic, Cultured, Forbes, AFROPUNK, and American Craft. Towns was honored as the inaugural recipient of the 2016 Municipal Art Society of Baltimore Travel Prize, and in 2021, Towns was the first Black artist-in-residence at the Fallingwater Institute, located at Frank Lloyd Wrights' renowned Fallingwater house in Pennsylvania. In 2021 Towns was also awarded the Maryland State Arts Council's Individual Artist Award.See more: www.stephentowns.com/ + Stephen Towns IG @stephentownsPresented by: Black Art In AmericaFollow us:StudioNoizePodcast.comIG: @studionoizepodcastJamaal Barber: @JBarberStudioSupport the podcast www.patreon.com/studionoizepodcast
Tamika Moultrie, professionally known as REDinFamy, GEEK GAME TYTE's founder, veteran journalist, producer, and host, from Hollis Queens, NYC. REDinFamy's multifaceted content ranges from breaking stories and coverage within the pop culture, street fashion, video game, and esports sectors. She currently produces and hosts two web series, Hidden Code (to help amplify Black, Hispanic, and Native Developers/Innovators in Gaming) and Uncovering Black Women in Esports (in efforts to shed light on various Black and Brown Women in Esports that are not recognized). In addition, one of the hosts of AfroPunk's Cultur3 Cod3. She enjoys streaming the latest video game, bingeing anime, collecting sneakers, and debating sports. Links Geekgametyte.com Youtube.com/redinfamy Twitch.tv/redinfamy Twitter.com/redinfamy Instagram.com/redinfamy --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
Burna Boy will be the first African artist to headline a UK stadium show when he performs at the 60,000-capacity London Stadium this summer. It's the latest sign of Burna's starpower and Afrobeats exploding popularity.The Nigeria-born artist is one of the genre's biggest stars. Burna has reached this level because of consistency (six albums in nine years), savvy performing strategies, and a headliner mentality. To break down Burna's rise, I talked to Denisha Kuhlor, founder of Stan, which helps artists identify and grow their fanbase. Stan has used Burna show giveaways to develop insight into his wide-spreading fanbase. Here's what we discussed:[3:05] What sets Burna Boy apart from other African artists[6:26] Burna's show at London Stadium[7:26] The Burna fanbase[7:52] Streaming era impact on African music[11:56] Returning to Coachella after 2019 drama[17:05] How Ye incidentally helped Burna break out[19:16] How fame is perceived in Africa vs US[20:45] Fans of Africa's “Big Three” artists battling each other[21:50] Burna's “contested” Madison Square Garden sellout[24:11] Possible missteps in Burna's career[27:54] Projecting Burna's future shows[32:20] His best career move[38:03] Building record label infrastructure in Africa[44:06] Five-year prediction for Burna's careerListen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuests: Denisha Kuhlor, @denishakuhlorThis episode was brought to you by trac. Learn more about how artists can bring web2 and web3 together for their fans at trac.coEnjoy this podcast? Rate and review the podcast here! ratethispodcast.com/trapitalTrapital is home for the business of music, media and culture. Learn more by reading Trapital's free memo.TRANSCRIPT[00:00:00] Denisha Kuhlor: I think it was interesting, him being so vocal in the approach he took, I think a lot of, Ayra Starr did a documentary for Spotify and she's quite big, especially within West Africa. And she talked about touring in the United States for the first time, and she basically said that she viewed it as an opportunity to make someone her fan, right?[00:00:19] Like, just by someone attending her show, her goal was to convert them into a fan. Whereas, Burna definitely takes the approach of, "you should either already be one or recognize my fan base for what they are." I think in his case he's lucky cuz he's been able to back it up. especially when you look at Coachella to now.[00:00:40] but definitely a, an approach that's consistent with his brand. [00:01:11] Dan Runcie Guest Intro: Today's episode is a case study style breakdown on the one and only Burna Boy. I was joined by someone who is a near expert when it comes to the world of Burna Boy, and that is Denisha Kuhlor, who has been on the pod several times, and she is the founder of Stan, where not only does she focus on how artists can engage their fan bases, she's actually been involved with ticket giveaways for Burna Boy's upcoming stadium show in London. So she has insights into what these fans are like, what are some of their preferences? And we talked about all that and more. We broke down, Burna Boy's rise. What are some of the key things to his success? What are some of the challenges? Talked about some of the other moments that he's had that we wanted to talk about.[00:01:57] Where does that stand with him? What is his standout moment and where things could really go for him from here on out? Really great conversation. If you enjoyed the one we did on Cash Money a couple weeks ago. This is something similar, but about an artist who is really having this moment right now, and we broke it all down.[00:02:12] Here's our breakdown on Burna Boy.[00:02:14] Dan Runcie: All right, today we have our case study style breakdown on the one and only Burna Boy, and who else is gonna join me then? Someone that understands him and the work that he's done in and out over the past few years. Denisha Kuhlor Welcome back to the pod.[00:02:29] Denisha Kuhlor: Thanks so much for having me. [00:02:30] Dan Runcie: Yeah, and I wanted to talk to you because you wrote that piece in Trapital several months ago, talking about how artists who have relied on music festivals, maybe there's something that they may regret down the road in terms of actually getting in there and building the true fanboy fan base. And you used Burna Boy as an example of someone that went through this and obviously he's blowing up. He's had a huge year and we've now seen so much growth, especially in the past few years of just how so many African artists have been able to rise and grow platform.[00:03:05] But Burna Boy has clearly been able to hit levels that many others haven't. What do you think it is that has set him apart?[00:03:13] Denisha Kuhlor: Yeah, I think one, just Bruno boy is very compelling, as an artist. I've seen him perform, last year twice. his Madison Square Garden show. Then I got to see him at, Afrochella now, Afro Future, in Ghana. And one, he is a live band, as crazy as that sounds, I feel like that's rare and rarer these days. as consumers, it kind of feels like we've gotten used to maybe a DJ or kind of that accompany accompaniment. So the live band aspect is a huge one for me, and I think he's very compelling on stage and has great, charisma. and then lastly, I kind of feel like he was everywhere this year.[00:03:53] You couldn't really. Escape him, whether it was last, last, as a hit or, him touring so much of the United States. I feel like if you didn't know about Burna boy, maybe a year or two ago, last year was definitely just a true breakout year for him on the global stage. [00:04:09] Dan Runcie: Yeah, I think that makes sense. I think there was a couple other things that stuck out to me too. So he has been able to position himself as a leading man. I am the person that's headlining. I'm not just gonna be the person opening for the artist. gonna be the person that is doing the guest first.[00:04:27] And I do think that's some of the other artists who rose up from Africa, they have done a bit more of the, "okay, let me jump on the Drake verse. And then that becomes Drake's or things like that." although I know that Burna has done several guest appearances and feature shares, it hasn't been in that same way.[00:04:45] And I think he's still just been so focused on himself in that way. And of course it could take a little bit longer to develop, but it's almost like how in Hollywood you may see someone that is always positioning themselves as supporting acting roles. If that's where you're taken to blow up, it could be hard for the industry to see you.[00:05:04] The lead actor, but if you're willing to do the lead actor roles for the smaller things and you get the right thing, then you become seen as the lead actor on the big I feel like that's [00:05:14] been his experience. [00:05:15] Denisha Kuhlor: I'm totally aligned with you when, just based off you talking about that makes me think about some of his features on the continent. And he's largely broken those artists, right? You look at Bnxn,formerly known as Buju, right? [00:05:27] And the Lenu remix who was signed a Burna. I first heard about Amapiano,because Burna Boy got on the Spoon, No No remix, and one of the biggest breakout stars of the continent, Asake, the Zumba remix, this year. So I agree, I think he's positioned his features as more as like, let me lend a helping hand and let me get your distribution and your visibility. But if I was. In African artists or emerging artists from the continent vying for a feature in some ways, I'd probably wanna Burna feature over potentially a big artist from the west. [00:06:04] Dan Runcie: Yeah. And I think a lot of that is with his. And his persona, and we can get into that in a minute, but I that played into a lot of this. And as you said, he's been every run the past year and we're setting stage for an even bigger 2023 where he will do his stadium tour at London Stadium, the first African artist, a headline and do that.[00:06:26] What does that mean for his career?[00:06:28] Denisha Kuhlor: Yeah. One, I think it's just huge and a testament to how far music from the continent has grown. I think, you know, you look at the story or how people paint the narrative of how music from the continent has grown. And so often it's kind of like, oh, there's a population of people here or there's little, you know, subsets of people that are interested in the music.[00:06:51] Whereas now, it's makes it very clear that this is world music, right? This is pop music in a lot of ways in that people have embraced this music in the same way you look at, Latin music, right? And people are singing whether they know Spanish or not. I think it's really a testament to the ability to do that. So it's very exciting. [00:07:13] Dan Runcie: Yeah. I think you've also had a front row seat to this as well, because with your work at Stan, you've been doing ticket giveaways and things like that to really tap into who the Burna Boy super fans are.[00:07:26] Denisha Kuhlor: Yeah, so we've found two things working with Burna Boy fans or Burna Boy fan pages. Is that, or maybe even three. I find that one you have the fan that maybe, it reminds them of home. So typically a fan with roots or ties back to West Africa or Africa more broadly, who's now living abroad or first generation, but there's a sense of nostalgia or home as a result.[00:07:52] I think you also have fans that are like learning or being introduced to, Africa. Through his music, which has been really fascinating and really cool to see us talking to a fan, based in France, right? That like taught herself pidgin and like wants to visit Nigeria because she's such a big Burna boy fan.[00:08:11] and that's also really, really cool to see. And then third, I think you just have like hometown pride, right? Like you look at people in Lagos or even other African cities and people are just really, really proud of what he's been able to do. So it's interesting seeing all the subsets of fans together.[00:08:29] Denisha Kuhlor: But as someone who's attended his shows, I think it's exhilarating when you watch it all come together. [00:08:36] Dan Runcie: And just for some context for the listeners, what does your giveaway entail and what does that process look like?[00:08:43] Denisha Kuhlor: Yeah. So, we run live interactive trivia games that allow us to test a fan's knowledge and how much they actually know about the artists. So everything from lyrics to questions that fans would only know if they watch music videos to general information about Burna boy that you probably would only get if you read his interviews [00:09:04] or you just deeply know about him. Every time we're crafting these games, I actually learn so much more about, these artists that we work with. And so I say that to say, I'm continuously surprised not only by his fans' knowledge of his music and his lyrics, but also how intentional they've been about truly learning about him and what they feel he represents. And so I feel like he's done a really good job of being consistent in that narrative.[00:09:32] Dan Runcie: I think too, one of the other things that really works in his favor is that in the rise of the streaming era, we're seeing the rise of local repertoire and local language artists being able to rise and not just have to rely on Western cultures. And I think that the music industry has shifted a bit, or at least from a mentality perspective, and you could see this on the Spotify daily charts.[00:09:56] You can see there's so many places where there were so many artists who were used to being able to have that global footprint of essentially exporting their music elsewhere than making so much money they're now seeing less and they're seeing less because a lot of these artists are being able to do it themselves, and it's not just.[00:10:16] Burna Boy's being able to do this in West Africa, but he's being able to do this in France, which has, you know, a large West African population and some of these other corners of the world that do, and I'm curious to see how that will continue to develop, because you know how the diaspora and certain regions that.[00:10:34] You see more fans of West African artists than just West Africans in general, and how that will align with where someone like Burna Boy continues to tour and where some of the bigger concentrations of his fandom end up being.[00:10:49] Denisha Kuhlor: Yeah. I think, you know, interestingly enough, like he also probably benefited from the rise of like macro things that maybe couldn't plan, but like one black panther, right? Black Panther, like reignited people's curiosity about Africa and maybe in a way in which, they hadn't thought of before you look at things like the year of return in Ghana in 2019 and this bridge or this desire to have a bridge between black Americans in the United States and you know, people in Ghana.[00:11:18] And I think all those like, factors made people, got people excited and got excited in a way that his music just set the stage. If you came to Ghana in 2019, you were gonna hear br boy and people were gonna take it back, right? [00:11:33] Denisha Kuhlor: Davido said it best. He said, you know, Afrobeats will succeed because in America, everybody has one African friendand whether you realize it or not, like, you are exposed in some way, and I think as people's proximity changed and curiosity about each other and where people are from grew, especially as it relates to Africa, he really benefited from that. [00:11:56] Dan Runcie: That makes sense. That makes sense. And I think the other thing too, that I think about for him this year, he of course has the huge stadium show in London, but he's also coming back to Coachella and very famously back to Coachella after being quite upset in 2019 about the size of his name on that Coachella poster. And this day, this year, this time around, his name is much bigger. Still not a but I'd be curious know what you think, like how he must have felt about that process. Was there some level of buy-in? Because I could see at his level him thinking that, okay, I'm a superstar. I should be a headliner. But if they're now putting him on that second line right under the headliner, then how that may affect him. Obviously it's still great placement, but. Yeah.[00:12:45] Denisha Kuhlor: Yeah. You know, it's interesting and I remember when that happened and in some ways I think it probably helped his brand and really showed like it was a testament to the type of artist that he desired to be. I do, you know, think it's interesting because you do see within Africa stars that are huge, right?[00:13:04] And maybe they're numbers, quantitatively don't show up on the Spotify charts, they're on YouTube or they're on other platforms. there's still quite of downloading, that exists within just Africa as a whole. So sometimes we don't necessarily see an artist as set the way we would, maybe with an artist in the States or with a huge listenership in the States, from a charts perspective or immediately.[00:13:27] But I will say is I think it was interesting, him being so vocal in the approach he took, I think a lot of, Ayra Starr did a documentary for Spotify and she's quite big, especially within West Africa. And she talked about touring in the United States for the first time, and she basically said that she viewed it as an opportunity to make someone her fan, right?[00:13:48] Like, just by someone attending her show, her goal was to convert them into a fan. Whereas, Burna definitely takes the approach of, "you should either already be one or recognize my fan base for what they are." I think in his case he's lucky cuz he's been able to back it up. especially when you look at Coachella to now.[00:14:09] but definitely a, an approach that's consistent with his brand. [00:14:14] Dan Runcie: Right? Because I think that part of it too is there's clearly a western skew for a festival like Coachella. I know that when Burna had complained back in 2019 about where he was, people had shown where Kendrick Lamar was, I think it was 2012, and how small his name was compared to him being a headliner several years later.[00:14:35] Denisha Kuhlor: The difference there though is that Kendrick Lamar is from Compton, which is which is driving distance to Indio, California where Coachella is, versus Burna boy may have numbers, may have the base, it's is that base, if they're not a strong contention of them in the in Southern California, are they going to be able to get there?[00:14:58] And I do think that the fact that he is, you know, second because this year you're headliners, unless someone pulls out, you never know what happens. But, right now your headliners are Frank Ocean, Bad Bunny, and Black Pink. So he's, you know, just under there. So you never know what could happen. Things shift all the time, but I assume if based on his placement, it must be a pretty decent size bag as well.[00:15:21] At least I know for the headliners, the last I checked a few years ago, they were getting paid 4 million per weekend, which totaled 8 million total. so that's what I would assume the payday would be for, Bunny, Black Pink and Frank Ocean, but then that next row down probably isn't too far below that.[00:15:40] I mean, I'm sure it is less money, but I don't know how much less.[00:15:43] Sure. Yeah. Yeah. And when you look at like negotiating from just a hard tickets perspective, in terms of what he's been able to drive from last year alone, he definitely had some strong leverage from a negotiating standpoint.[00:15:57] Dan Runcie: definitely. And with someone like him too. I know that we've talked a lot about artists and how they're able to develop true fandom, and I think true fandom is the people that are showing up at your. Concerts and they know the words of everything and not just singing the TikTok part that goes viral that we've seen from whether it's many artists that have experienced that, that have had TikTok hits that have blown up.[00:16:24] How do you think that impacts someone like Burna boy, I don't necessarily feel like he is making music, quote unquote for TikTok. I know a lot of the stuff that blows up their artists don't have any control over, but how do you think that skews, like how do you think that soc or short form video has played a factor, if at all, in his career and his rise?[00:16:44] Denisha Kuhlor: Yeah, I think a few ways, one, touring, right? I think people want to go to a Bea boy show even if they haven't seen him before or only know a few songs. So I think it's definitely been really, really helpful there. I don't know how many, people know, like the story behind Ye, one of his breakout hits, but like SEO just like really helped him.[00:17:05] So he had the song, Ye. It was already uploaded to streaming platforms, and then Kanye came out with his album. . And so a lot of folks search for Kanye's album, but his, was still like ranking pretty high on Spotify. They actually released a video that that day or around that time thinking, thinking Kanye, for, for the album name.[00:17:25] So I do think in, this is what's so interesting. He's very true to himself in the sense that he's definitely not an artist that like hopped on those trends, right? Like TikTok is not really potentially his thing. he's not gonna be doing any TikTok dances, so he's still been authentic to himself. While I think galvanizing his fans or letting his fans know, he appreciates their effort and I believe his fans look at it more so it as like, let's spread this message, regardless of his participation.[00:17:58] That's something I always get from his fans specifically, it seems like you have different artists, with fan bases. Like the Barbz need Nicki to participate, they want Nicki to participate, right? [00:18:09] Whereas Burna fans, I feel like they do their own thing. They know the temperament of the artists and what he likes to do, and so they don't, they're not really like rushing for him to, adopt maybe some of those technique. [00:18:23] Dan Runcie: And that's an interesting breakdown. Do you think that any of that is compared to where the artist is from or just the nature of their fans? Thinking specifically about the Barbz versus Burna Boy's fans.[00:18:37] Denisha Kuhlor: Mm. that is interesting. You know, I can't say with certainty, but what I will say and as I've spent more time in Ghana is that there's a level of familiarity. I find, past, maybe, I don't know what it is, but past like, experiences that maybe invoke a certain socioeconomic status. There's a level of familiarity, that you'll find these artists like I've definitely maybe seen, or you can be in spaces with so many of these artists just casually like going to a restaurant or, you know, like you living your.[00:19:16] And, I do think that invokes a certain sense of familiarity in which fame is perceived differently here. like in Ghana specifically, you see a lot of, a lot of artists here with very little to know security. just like really doing regular things. it's very different, whereas the fame is more sensationalized it feels, in the states, like you can be in the club with Burna, he's walking up and there's not gonna be the, oh my god, Burna, like that kind of thing. It's very different in that way. So maybe that wouldn't really add much, at least to his core or his home base fans, because that familiarity is there. [00:19:56] Dan Runcie: Yeah, it feels a bit the closest thing that I would. You have in the US is Atlanta, where you would have the artists that are at the mall or you see them walking around and stuff. And it isn't necessarily the same level of frenzy, although that may be a little bit different now, but in like, you know, the nineties, two thousands, you would see them a bit more.[00:20:17] And I think there was a bit more of that vibe that felt a bit more natural like, you know, you go to Magic City or something like that and you would see someone. I think the other thing that is distinctive too with the US fans versus maybe some of the fans, others, is that online, I think you do see a bit more of that hive behavior, specifically from a group like the Barbz, where I think there's almost a falsification to them.[00:20:45] Denisha Kuhlor: And in that, I mean the reactiveness to the other side and what they're saying, and there's almost the galvanization of that and how the barbs can galvanize in Cardi B take down, or a snide comment of someone trying to come at Nicki in a way, but they that bit of catalyst to feel galvanized.You know what's interesting? I do find it that I do think that Burna fans and maybe the big three, so for folks listening, within Africa, the big threes typically referred to as DeVito, Burna boy and Whiz Kids. So they all have their, various fan bases. And the only time I really feel like that's activated.[00:21:27] Seeing how their artists are doing in the West and comparing. Right. So, you know, obviously with Burna winning the Grammy, but and I talked to you about this, like his, Madison Square garden numbers were quite contested. Like if you actually look at the Twitter account that shares,ticketing information. That one was like retweeted so many times because it was the fan bases going back and forth.[00:21:50] Like he actually did sell out MSG versus didn't he? So it's very interesting because while, you know, in some ways like his hyper localized approach in terms of the themes of his music is what's propelling him on the world stage. I do think these fan bases are very curious to see just how well they're doing and they use that as the point of comparison, as it relates to other African artist. [00:22:13] Dan Runcie: Wait, what was the contention that the fans had about the MSG sellout?[00:22:18] Denisha Kuhlor: Yeah, so there were a few things. One, they felt like there weren't enough seats available. [00:22:23] Dan Runcie: Oh, you did tell me about this. [00:22:25] Denisha Kuhlor: True . Yeah. Like it was a true sellout. And, at first folks didn't believe that he had sold it out. So, it's also interesting with fan bases because you're now seeing like novice or people, fans knew to wanting to understand how the industry works and also wanting to dig into what that means. But that, I think gave the confirmation that he did sell it out,and led to other fan base battles over the discrepancies. [00:22:56] Dan Runcie: Right? Yeah. Cuz you and I talked about this. It isn't like if someone just books like a music hall or a House of blues, purpose of that is for music venue. So the capacity's listed as the capacity, but for some of these sports venues, it could be very different because artists have such different set pieces and stage and production and you don't wanna perform with your back to people like yyou're gonna be different places. So [00:23:18] Denisha Kuhlor: Exactly. [00:23:18] Dan Runcie: You can't compare the sellout for a Knick's playoff game capacity and be like, oh, well that had more people than Burna Boy's selling out MSG. It's like, it [00:23:27] Denisha Kuhlor: Exactly. And that was a lot of, the conversation, which I thought was so interesting. But I also think it it came about because of how he branded it, right? One Night in Space was the name of that. It wasn't part of a tour, anything, it was just one night in space. And so there were gonna be a lot of eyes on that event, regardless.[00:23:48] Dan Runcie: Yeah, and you know, people always try to poke holes when they see something that surprises them that they probably wouldn't have, you know, seen otherwise.[00:23:57] So we've talked a lot about the things that Burna Boy's done well, how he's got to this point. Do you think there's any missed opportunities so far at this point in his career or anything that you've looked back on and be like, huh, I wonder if he did that differently, or even things that he may be doing after?[00:24:11] Denisha Kuhlor: Yeah, so, I obviously have a company around fan engagement, so some of the fan engagement has been interesting. I will say, one thing that's been, very pleasant for me has been some of his intentionality around connecting deeper with his fans this last album he did host quite a few meet and greets, and had people bring their albums or you know, even bring their kids and like that kind of thing.[00:24:37] I felt like he was really like seeing and touching people, which is something that in the past it didn't really seem like maybe he was open to or necessarily had the appetite for. So that was nice to see. It sounds like, or at least for me, the professionalism when it came to One Night in Space was also great. [00:24:56] the show started on time, ended on time. Can't necessarily say the same for some of his shows within Africa. And that can be due to a host of reasons, but it definitely does lead to, maybe folks will get different experiences. And that's what's so tricky in some ways about artists, in supporting artists.[00:25:16] He's also headlined Afro Nation, Afro Nation, Puerto Rico. They've pulled out the day before and he was replaced with Rick Ross, which upset a lot of fans. So, I say all that to say, I think. It's a Burna Boy production or Burna Boy affair. it seems like everything is phenomenal. and just A- plus end to end when there are other stakeholders.[00:25:41] The process doesn't always seem as smooth, at least for the end user experience, for the fan. so I, I think it sometimes becomes a question of like are we going to continue to pursue some of these opportunities with other stakeholders, whether that's festivals or, just some of these other events, right?[00:26:00] Denisha Kuhlor: Or are we going to take the bulk of our production or the bulk of our events or how a fan can interact with me from a live performance standpoint in-house, and control the end-to-end experience that way.[00:26:13] Dan Runcie: Yeah. And I do think that this strength weakness here lines up with the things that we're saying before, right? If he's someone that wants to be the lead, you wanna be the focus. You're gonna put more energy into the Burna Boy Productions and you may take a slight at things that are not that right. And I think it's unfortunate if some of that distribution skews between the things you do outside of Africa are the things you do in the Western world that do buttoned up, but then when you're back home it has less energy, less focus because yeah, your day one fans of your stans are gonna feel like, okay, well now that he's stadium status, what do we get?[00:26:52] Denisha Kuhlor: Yeah. and in fairness, you know, some of that is probably, you know, thanks to the regulation, like there is no coming on at 2:00 AM at MSG. Like they will set everyone home. You'll not be allowed to perform. they will charge you a fine. so there's also I think just some of the like, again, the standards upheld within these ecosystems.[00:27:12] But it breeds a dynamic that it's unfortunate and I think is happening just overall where consumers are privy to this at this experience. As a fan that goes to see a show, I don't really wanna hear the promoter and technical issues and like production. I paid my money, I took my money to see this artist.[00:27:35] So, now the fact that fans are being so exposed in a lot of ways to all the elements behind these things, not only are making them more sophisticated consumers, in deciding whether to patronize you again, but it's taking away some of the magic that was entertainment and like show business. [00:27:54] Dan Runcie: Yeah. I do think that for someone like him specifically, it is important to work on how could this product be the best that it can be? Whether you are doing it at home, whether you're doing it elsewhere, and obviously knowing where you're doing it elsewhere, you're involved with other productions, there's things that are gonna be outta your control.[00:28:13] And I know it's asking someone that is naturally more focused on putting more into the things they have more control into to still bring that same energy elsewhere. But hopefully, I'm sure that he wants to be eventually a headliner at a Coachella or a Glastonbury. I'm to do other stadium shows as well. That'll actually go to the next thing that I'll ask you, I think that if that's the goal, then some of that energy has to con continue there. So, two questions here, this is a two-parter. So the first one, obviously London is the first. Well, I don't wanna say the first, but at least it's the one of the biggest stages that he has had himself.[00:28:51] I think, you know, we'll see how many tickets end up being sold. I assume it'll probably be at least like 60,000 or so, just given the size of that place. But where do you think, if you could project where the next stadium shows would be based on his fan base, based on what you know, where do you think those would I would say Texas , somewhere in, Texas. I mean, Dallas and Houston have some of the biggest African populations, within the United States. And so when I think about that, not only do they have African, you know, or they're first gen or immigrant populations, but a lot of people have also been exposed just by proximity.[00:29:31] So I think, yeah, I think it would be either Houston or Dallas. Definitely somewhere in the States, I do think he could do somewhere else in Europe, but if looking at the data really does concentrate, at least in London and with the disposable income, I think that would allow for a show like that, for a show like that to be successful. Another thing about Burna that's interesting is, he's been touring. So a lot of these fans, you hadn't seen him two years ago. You definitely have had your opportunity to see him now. even when I think about, by the time I saw him at Madison Square Garden, I could have seen him at Afropunk right in New York as well.[00:30:14] He did summer or he was supposed to do Summer Jam. So there were like multiple opportunities, even just within New York to see him. So I wonder though, before he does that. There will be a bit of a, break, or at least new music so that the consumer feels like they're seeing something. [00:30:31] Dan Runcie: What about Paris?[00:30:32] Denisha Kuhlor: Yeah. So Paris is a really interesting market. He has a ton of fans in Paris and I talk to them quite often. I don't know though. I, I don't know if a stadium show can work there just yet. And part of the reason is because I do think that the market rewards in some ways, , those who try.[00:30:53] And while he's done a ton of podcasts, a ton of interviews, a ton of things, I can't say how much he's actually interacted with, you know, some of the French press andsome of the opportunities there. He did do something really cool, recently or, yeah, not too recently. where he did a like deep cuts performance for 300 fans and he just announced it on Twitter and folks got to go.[00:31:19] So I think he can work up to it just quantitatively. It might take longer than other markets.[00:31:27] Dan Runcie: Yeah, Paris was one that had in mind I think, those things you mentioned make sense. New York was another one too. Just given that MSG show and you have the MetLife stadium, I feel like like that could eventually happen.[00:31:39] Denisha Kuhlor: Yeah. Yeah. I think New York makes a lot of sense. It's pretty close to, obviously, you know, DC and Virginia, which also have big African populations. New Yorkers have seen him and know, someone who attended the MSG show. I really felt like there was like a sense of pride, like folks were really excited to be there, and to see this. And it definitely makes you feel like in events. And one that you could partake in multiple times for sure.[00:32:07] Dan Runcie: Right. And two, with this, we talked about his missed opportunities, but what do you think about the best opportunity or the best move that he has made so far in his career?[00:32:20] Denisha Kuhlor: Yeah, I think one consistency. He's been pretty consistent about releasing new music, whether it came to the album that he released during COVID, as well as his latest album now. There's definitely a strategy, I think, of always being focused or always looking ahead or being able to see what's next.[00:32:40] And so he's been able to use consistency through his own music, but also relevancy by jumping onto trends that are new, whether it's or not new. I feel like the Ima piano folks are gonna come at me for that. But,whether it's Amapiano, right? or Asake who really brought a new sound for folks.[00:32:59] So I think he's been able to do that really well. I think it was really intentional of his team. We've gotten to see, and not to compare Burna Boy to Ice Spice, but as consumers, I think so often, we see folks, do really well as a result of a breakout hit and have these expectations of them that don't necessarily correlate.[00:33:23] And it's actually been really great to watch an artist like Ice Spice or even a Little Nas X kind of come into their own when it comes to their performance and stage play overall. Whereas with him, I think he really got to build that methodically and, and over time, get comfortable on stage, see what works, what doesn't work, figure out the kinks of working with the band.[00:33:44] And so he's really, really been able to perfect and invest in his live show, which we're seeing dividends on now, while also maintaining just the consistency of new music and relevancy, which is quite d [00:33:57] Dan Runcie: Yeah, I think the Ice Spice is interesting because I was talking to someone about this a couple days ago and she had just put out her project, and I think it may be sold around like 15,000 units. And that of course sparked some discussion. And the thing is, it's hard to even frame something like that as a negative because six months ago, most of you didn't even know who this was, if we're [00:34:23] So we have the nature of the internet being able to help someone skyrocket into a different level. Almost overnight, and then just realizing that her team, everyone else has to catch up. It's a very different situation, like where Burna Boy is showing you that, yeah, it takes time to get to this point.[00:34:42] I mean, if he starts really releasing music, you know, early 2010s. By 2017, still doing small venues in New York. And then it really until, you know, a couple years later where you're being able to hit that. If you even get to that point, it's so hard. And I do think that live performances in the honest you command is one of the few things that can't quote unquote blow up overnight and it's, if anything is the more humbling thing that we see. I think streams can be somewhat humbling to some extent, as you've seen, but even that can be misleading. So it does at least ring true, and I think for me, I'd spoke about this earlier, but the thing about his career that I think is the best move for him was just continuing to position himself as the lead and not necessarily, you know, following the latest trend just to hop on it. Although I think he was smart about things, but not just trying to attach himself. I think he still had the brand there and it took longer than some may have, you know, wanted, or maybe even he saw himself, especially, I can only imagine, you know, it's 2015, you're doing this for a few years, things still bubbling.[00:35:53] So I do think that worked to his advantage cuz now it's really only a handful of artists globally that can say they're in that position. And then really his whole continent, you know, of the big three is at least the one that has the most exposure and platform in base right now.[00:36:09] Denisha Kuhlor: What did you think of? I feel his choice to embrace Artis from the west like his last two or three really, his last maybe three albums, you see like a really conscientious approach, whether he's had everyone from YG to Keilani, had Diddy executive produce an album, and that felt really intentional to reach, listenership or an audience from the westlike you said, it's probably tricky like if that went wrong, it could have really went wrong but in his case it seemed to go right, but I'm curious what you thought that. [00:36:43] Dan Runcie: Yeah. I think part of the reason why it worked is like, I feel like he picked artists that felt somewhat aligned with like what he was doing too like I, at least from what I read, I think the YG track may have potentially would've involved Nipsey, but you know, Nipsey had passed, so like that didn't work.[00:36:58] It's not as if he was just hopping on, you know, who is the hot single that like needs someone or like, you know, the Drake or whoever else. And not that I think with Drake is an issue, but because obviously is done and then Bad Bunny's continue to grow. But I feel like because he's like picking certain artists and maybe not every pick I necessarily, you know, thought was like his best music, but there seemed to be a ality with people that like lined up with him where it's like, okay, I've listened to enough why G'S music over the years?[00:37:28] I could see why someone like Burna Boy would want to do music with him, right? So I feel like for me, that piece of it did line up and I know that if you're trying to grow there, there's some inevitable push of who can I align myself with that isn't just trying to do the generic pop thing. Like I don't think I would ever hear him beyond a Maroon Five song, which I do feel kind of becomes like a bit of a rite of passage for a lot of, Western hop artists.[00:37:57] But I'd be very surprised if I ever saw Burna Boy.[00:38:01] Denisha Kuhlor: Yeah. No, that makes sense. That makes sense. [00:38:03] Dan Runcie: Yeah. the other thing that I think this conversation taps into is just the broader growth and the broader expansion of record labels and infrastructure in Africa from what the music industry to do and how Burna Boy's been able to help. In many ways, not just, I don't wanna say necessarily lead that because I think he's did a lot of this without the infrastructure.[00:38:26] If anything, the infrastructure has kind of started to come as a result of what he's done. But I've also heard a few rumblings from different folks that some of the investments of certain record labels, some of the majors having offices there, there's been questions about how they're seeing what's viable, what makes sense now because some of the artists that blew up, they don't have those artists on those labels, so now they're trying to find the next person and they're realizing that really hard to do that.[00:38:55] Denisha Kuhlor: Yeah. You know what's interesting, and I thought a lot about this is I feel like most artists on the continent don't necessarily need help on the continent. So much to our point of thinking about like Coachella, that was so surprising to Burna Boy because he was a huge star within Africa.[00:39:11] and when you look at the labels, he's engaged, for like a more global expansion. The thing I think he's been very clear of and his mother and the rest of his team is that like they've got Africa covered. And so I do think that could be part of the reason why maybe some of these labels are struggling because in a way it probably makes sense or the hunches to put more money or investment into what's already working, which is within Africa. When in reality I think it, it forces you to start to iterate and experiment on what's gonna resonate in terms of an artist, fans, an artist who has fans abroad, or them starting to build their broad audience.[00:39:53] And while an African audience it probably validates a lot of things, right? Maybe stage, presence, charisma, ability to connect, that the music is global or can reach people like it, that change or that shift. now being in the states or being in Europe is also quite different as well.[00:40:11] Denisha Kuhlor: And I think it forces labels to take a true A and R approach, whether it comes to everything from media training, Interacting, there's cultural differences. And so, I think it's going to lead way to maybe a new type of executive. it's something I thought a lot about music programs like the Music Business Academy,in Africa.[00:40:33] That's done really, really amazing work. I continue to be really, really impressed with the folks at Maven. And what their talent is doing, I think, for the African music ecosystem. But, with that being said, I think that the ecosystem is still getting to the point. where it's maturing, but also maturing in a way where folks can capitalize not only on the talent from the ecosystem, within Africa, but there being true connections, going both ways, because that's ultimately where the label will be able to recognize their power.[00:41:05] But for an artist that is already successful in some ways already getting Booked for shows. You look at, you know, where Tua Savage was by the time she got signed, or a DeVito by the time, he got signed abroad, they're already huge stars, which in some ways is different than what labels are used to signing in the States.[00:41:27] They, you know, would either find an artist and before invest the development in them or find an artist who's had maybe success digitally, but are working with them, on some of their more physical initiatives. So, I think it's interesting, but I also think it's a bit of a, different framework or thinking that some of these labels need to do in terms of the true maturity of the talent at the time they're being signed in some cases.[00:41:52] Dan Runcie: Yeah. When I heard rumblings that some of these record label offices that had recently started in Nigeria or elsewhere in Africa, that they were starting to question some of the future and the growth and things, I honestly wasn't that surprised because if you look at the way the record labels work in the US and at least currently they're working cause.[00:42:16] you have the Drake's and you have the Taylor's and the Adele's and Beyonces, and you've given them more favorable deals. But knowing that even if they more favorable deal, whatever share you get of that is still gonna make up for more than everything else. And that's gonna help your strategy in so many other ways.[00:42:33] Versus you're starting from scratch in a landscape where it's already harder to like develop someone from the ground up. And you're starting that without the Burna Boy without DeVito or without them, and now you're trying to find that person and you're trying to, you know, still do the investment. It's tough to get there because it took these folks so many years to get to that point.[00:42:55] So if you didn't start like a 10 year time horizon and you're have a bit of that, you know, more of a standard, okay, what has this person done for me lately? Do we keep this artist? Do we drop them? It isn't going to work in the same way. And we saw some of those same challenges, not even to this level happen.[00:43:12] 20 years ago when there were so many artists from Jamaica that were starting to blow up when reggae and reggae Fusion was really starting to be the wave when Sean Paul was doing his thing, and we didn't even get to that point where they were even trying to start the record label. There were issues with visas Yeah. Yes, and all. [00:43:31] Denisha Kuhlor: It doesn't just transfer. That's, you know, that's such a great point. Like I think in some ways people expect the success in the continent to like transfer almost smoothly when in reality a new type of work is just beginning. And that's the type of work that, you know, when you think about the office, the big office is looking for, right?[00:43:51] Because that's gonna produce quantitatively what they wanna see. and so in a way it can feel discouraging because you're like, wow, I have this artist, they've done this, this, and this. They're getting booked for shows here. Now we're going to Europe and we can't do a 500 person venue, but we just did a 5,001.[00:44:06] Dan Runcie: Yeah, it's gonna be fascinating to see how this develops, but before we close things out though, let's say five years from now, 2028, where's Burna Boy in his career, right? At that point, what is he doing?[00:44:18] Denisha Kuhlor: Yeah, I really, you know, I call it like a bit of the Jay-Z effect, but in some ways I see that for him, one clearly has an ear, not only for like developing talent, but also emerging talent, from, you know, a feature to Bnxn who assigned onto his label, but ended up not staying ended to, ask to leave the label, which I think is very interesting.[00:44:40] So I kind of wanna see if he focuses or hones more on also like developing talent innately his sister's also the creative director for his brand. I think too, we'll also will also see him play a role where he does a lot of fun things around fan engagements. he talked about in an interview that he's performed at so many venues and gotten to travel the world. And so he wants to take a really exciting approach in like performing on a train or kind of doing all these other like, cool fan experiences. So hopefully will he'll start to experiment with that as well.[00:45:20] Denisha Kuhlor: And it'd be interesting, but I think he might have the potential to be a really high touring artist for a long time. We see some artists that are just like, they can go on tour. It feels whenever they want, regardless of whether they have new music or not. And to some extent, I think that he just might be an artist that can command that.[00:45:42] and this has, you know, everybody's talking about, everybody's talking about catalogs nowadays, but as you think about how digitally Native Africa is, how young the population is. I'll be curious to see if he gets an offer he can't refuse. on the catalog side, there's more and more, places invest in content within Africa.[00:46:02] Denisha Kuhlor: It's only gonna increase, syncs the power of nostalgia as well. . Well, my hunch would be that he wouldn't sell, it wouldn't surprise me if we also saw him really structuring his business or his brand in, a way, that commands a high catalog price as well. [00:46:19] Dan Runcie: Yeah, when you're one of the biggest ones in this like wave and you're really reaching the height that others haven't reached before, you do have a bit of that advantage, right? Are able to this rise in a number of ways. So it's gonna be fascinating. I'm excited feel like at a minimum, what headline in Glastonbury feels like an inevitable thing, just given with things.[00:46:39] So yeah, I am eager to see how this all plays out. And who knows, maybe he'll be at Coachella again, and maybe he'll have the headline spot and at that point there's nowhere else to, you know, complain. Maybe we'll just have Burna Boy hyphen the African Giant and that'll be what's on the poster,[00:46:56] Denisha Kuhlor: Yes, I can literally see like just the African giants. I think that would be just such a moment, in the funniest way, like very reminiscent of Jay-Z, Jay-Z at Glastonbury, no. Yeah, it would be cool to see that all come full circle.[00:47:10] Dan Runcie: Definitely. Well, Denisha, this was awesome. Thanks again for making the time and making this happen[00:47:16] Denisha Kuhlor: Thanks so much for having me.[00:47:17] Dan Runcie: If you enjoyed this podcast, go ahead and share it with a friend. Copy the link, text it to a friend, post it in your group chat. Post it in your Slack groups. Wherever you and your people talk, spread the word. That's how capital continues to grow and continues to reach the right people. And while you're at it, if you use Apple Podcast, go ahead.[00:47:38] Rate the podcast, give it a high rating, and leave a review. Tell people why you like the podcast. That helps more people. Discover the show. Thank you in advance. Talk to you next week.
This week on Cultural Manifesto we speak with saxophonist Brandon Douthitt. He's one of the featured performers at this year's Art & Soul Festival. Douthitt will share his memories of performing at Afropunk with the R&B star Solange, and we'll listen to his jazz interpretations of music from SpongeBob SquarePants. We'll also pay tribute to the Indianapolis big band singer Virginia Maxey, who recorded and performed with artists including Frank Sinatra and Tommy Dorsey. This year marks the 100th anniversary of her birth.
This week on Cultural Manifesto we speak with saxophonist Brandon Douthitt. He's one of the featured performers at this year's Art & Soul Festival. Douthitt will share his memories of performing at Afropunk with the R&B star Solange, and we'll listen to his jazz interpretations of music from SpongeBob SquarePants. We'll also pay tribute to the Indianapolis big band singer Virginia Maxey, who recorded and performed with artists including Frank Sinatra and Tommy Dorsey. This year marks the 100th anniversary of her birth.
We're back baby!!! Happy New Year's guys I am sending everyone love and light for the year ahead. I'm switching up the format of the show a bit, making it more personal AND adding music to it which naturally helps me tell my story so you can see where I'm coming from. This week I am excited to introduce to you guys a band named Cruza. They are super dope! I guess the closest thing I could compare them to is Black Eyed Pea's but musically more like The Internet or Phony PPL. I actually got put on to them last year at Afro Punk and was able to snag an interview with them before they headed back to LA. You're welcome in advanced for putting you on!!! Until next time we talk, xo Nyla Symone**Make sure you guys follow Cruza on IG @cruzafieldTalk Soon! ✌
RTJtheBrand the Podcast w/ DJBDOLLA, MS. DIME AND MODEL CITIZEN JAY
On this episode we discuss who has the ability to be the bigger player, pimp, dog however you wish to classify someone in it just to get the draws y'all!!! Is it females or males? Who can be the bigger jerk and who's better at it? We also chop it up with avid Gamer, game reviewer, the homie GeekLifeMike Moderator for The CultureCode for AfroPunk on Twitch. --- Support this podcast: https://podcasters.spotify.com/pod/show/rtjradio/support
My guest for this episode is Marlee XX, the multi-hyphenate musical artist (vocalist - songwriter - DJ - producer) hailing from Washington, DC. She's a powerhouse entertainer who has honed a distinctive style, sonically versatile and fluid in genre. Marlee is busy creating crossover-ready pop songs having just released the singles Frequency and Only One, at the time of our conversation. Her resume is solid. She and her former band Marlee In the Mixx held a two year at Indulj On U Street in D.C and performed in venues across the US, including Afropunk's Battle of the Bands, SOB's in New York City, and Hollywood's Whisky a Go-Go. The band also toured internationally as co-headliners at the Essence of Seoul festival in Seoul, South Korea. In 2017 she launched her solo career with the release of a track called Shift, that landed licensing deals with TVOne, The Hype (HBO) and The Come Up (Hulu/Freeform,). It's around this time that she also became a representative at “Girls Make Beats,'' an organization empowering the next generation of female music producers, DJs and audio engineers. Marlee has been featured in World Wide Waves, Black Music Month, The Washington Post, Voyage LA. Marlee's bio states that she's a renowned as a fearless fashionista, unapologetic in her self-expression and bold personal style, and calls her a convergence of punk, street and fantasy. In this conversation Marlee talks about growing up in D.C., her latest releases, how being a DJ helped her serve the voices of other women, becoming a producer, style, life as a solo artist, learning the business of music, sync licensing, stage fright, her love of chicken & rice, and more. Support the Unstarving Musician The Unstarving Musician exists solely through the generosity of its listeners, readers, and viewers. Learn how you can offer your support. This episode was powered by Music Marketing Method, a program for independent musicians looking to grow their music career. Music Marketing Method was created by my good friend Lynz Crichton. I'm in the program and I'm learning tons! I'm growing my fan base and learning about many ways that I'll be earning money in the new year. It's also helping me grow this podcast. How cool is that? To lean more and find out if Music Marketing Method can help your music career, visit UnstarvingMusician.com/MusicMarketing. This episode of the was powered by Liner Notes. Learn from the hundreds of musicians and industry pros I've spoken with for the Unstarving Musician on topics such as marketing, songwriting, touring, sync licensing and much more. Sign up for Liner Notes. Liner Notes is an email newsletter from yours truly, in which I share some of the best knowledge gems garnered from the many conversations featured on the Unstarving Musician. You'll also be privy to the latest podcast episodes and Liner Notes subscriber exclusives. Sign up at UnstarvingMusician.com. It's free and you can unsubscribe at anytime. Mentions and Related Episodes MarleeXX.com Mo Meta Blues: The World According to Questlove SoundBetter.com Girls Make Beats Resources The Unstarving Musician's Guide to Getting Paid Gigs, by Robonzo Music Marketing Method – The program that helps musicians find fans, grow an audience and make consistent income Bandzoogle – The all-in-one platform that makes it easy to build a beautiful website for your music Dreamhost – See the latest deals from Dreamhost, save money and support the UM in the process. More Resources for musicians Pardon the Interruption (Disclosure) Some of the links in this post are affiliate links. This means I make a small commission, at no extra charge to you, if you purchase using those links. Thanks for your support! Visit UnstarvingMusician.com to sign up for Liner Notes to learn what I'm learning from the best indie musicians and music industry professionals. Stay in touch! @RobonzoDrummer on Twitter and Instagram @UnstarvingMusician on Facebook and YouTube
Jameel is the Founder and CEO of the consulting agency Writeful Place. His agency scripts narratives for personalities, brands, and businesses looking to realize unexploited revenue potential. Jameel Spencer is an award-winning veteran brand builder, who has played pivotal business roles for Shaquille O'Neal, Sean “Diddy” Combs, Shawn “Jay-Z” Carter, Pharrell Williams, Justin Timberlake and Jessica Simpson and more over the last 25+ years. Current clients for Writeful Place include WHP where he serves as CMO in residency, WHP+ where he is an Advisory Board Member, Reserve Bar where he is Executive Director of Spirited Change, Essence Ventures where he is the talent strategy lead for all their experiences to include the Essence Festival of Culture, AfroPunk and BeautyCon, and Endeavor as a consultant on Honeyland. Jameel is married to Chandra and has 6 children. He is a big advocate for the balance of work/home life. Listen to all his amazing work/entrepreneur/homelife thoughts and wisdom. OUAI: Go to www.theOuai.com to get 20% of your favorite products. EVERYLYWELL: Go to www.everlywell.com/INMYHEART To get 20% off your next at home lab test. Learn more about your ad choices. Visit megaphone.fm/adchoices
Wuddup Guys! So I met Paw Paw Rod after hosting backstage at Afro Punk after watching him perform and I really digged his style. He has a really old soul like me, and that reflects in his music and style! I had never heard of him prior to Afro Punk, but definitely someone I will be rooting for moving forward. Talk Soon! ✌
Welcome to the 2nd week of Witchy October!This week, Good Moms are in ATL with musician @bbymutha, and when three witches sit down to talk together, you can expect to hear: - How Erica kidnapped her man because she was tired of being the 3rd wheel- How the girls first manifested connecting with Bbymutha, and how they became besties two weeks later :) - Bbymutha reflects on the effects of her hyper religious upbringing- The girls break down the word “witch” and the taboo against it. - Being a unicorn mom with two sets of twins- A praying mother using her magic is some unstoppable shit (30:30)- Female Serial Killers in the family All this and MUCH more can be heard on all Podcast platforms! Remember, our Patreon mamas get first dibs on watching uncensored episodes and bonus content.Connect with us: @GoodMoms_BadChoices@TheGoodVibeRetreat@WatchErica@Milah_MappConnect With Our Guest: @Bbymutha—---------------------------------PATREON: If you're not a Patreon yet….well, what are you doing?!? Join us over at Patreon where a community of amazing women are laughing, healing, connecting, and living our best lives. Visits www.patreon.com/goodmomsbadchoices today. See you over there!Dipsea: Stories is an app full of sexy audio stories, and now they even have brand new written stories. No matter who you're into or what turns you on, Dipsea helps bring the stories to life - anytime, anywhere.You're definitely going to want to download the Dipsea app using our promo code GMBC to try that app for free for 30 days! Promo code: GMBC
The Writer Files: Writing, Productivity, Creativity, and Neuroscience
#PodcastersForJustice Award-winning, queer, Jamaican-American writer, videographer, activist, and debut memoirist, Prince Shakur, spoke to me about James Baldwin's legacy, writing towards his father's murder, and his latest, "When They Tell You To Be Good." Prince Shakur is a freelance journalist, videomaker, and New York Times recognized organizer whose debut memoir, When They Tell You To Be Good, is about his "political coming of age in Obama and Trump's America." It is a Powell's Holiday Pick for 2022 and a TIME, Poets & Writers, Publishers Weekly, them, The Week, Debutiful, and Book Riot Best “Book of Fall.” Described as an exploration of "... his radicalization and self-realization through examinations of place, childhood, queer identity, and a history of uprisings," the memoir won the Hurston/Wright Crossover Award and has earned him residencies with Sangam House, La Maison Baldwin, The Studios of Key West, and The Atlantic Center for the Arts. As a freelance journalist Shakur has penned numerous op-eds, essays, and features in Teen Vogue, Daily Dot, CodaStory, Cultured Magazine, AfroPunk, and more. His writings have been used in university classrooms, including Nikkita Oliver's Prison Abolition course offered at the University of Washington. Stay calm and write on ... Get 'The Writer Files' Podcast Delivered Straight to Your Inbox If you're a fan of The Writer Files, please "Follow" us to automatically see new interviews. In this file Prince Shakur and I discussed: How he hustled as a young freelance journalist The black, queer, activist experience Why he feels the need to push past the notion of "bearing witness" What it's like to navigate anti-blackness abroad The urgency of artwork in the face of death Why artist residencies and grants are so important for writers And a lot more! Show Notes: princeshakur.com When They Tell You To Be Good by Prince Shakur (Amazon) Prince Shakur on Instagram Prince Shakur on Twitter Kelton Reid on Twitter Learn more about your ad choices. Visit megaphone.fm/adchoices
Digital activist and veteran podcaster, Bridget Todd, who is the CEO of Unbossed Creative and host of the iHeart radio smash hit podcast, There Are No GIrls On The Internet. Bridget got her start teaching courses on writing and social change at Howard University. Since then, she's trained human rights activists in Australia, coordinated digital strategy for organizations like Planned Parenthood, the Women's March, and MSNBC, and ran a training program for political operatives that the Washington Post called the Democratic Party's “Hogwarts for digital wizardry.” She got her start in the podcast world as a producer for MoveOn.org's flagship podcast in 2012. She cohosted iHeartMedia's hit podcast Stuff Mom Never Told You bringing feminist issues and activism to 2 million ears a month. She's teamed up with culture and arts brand AfroPunk to host a global salon where she's talked to high-profile activists and creatives like Ava Duvernay and #MeToo creator Tarana Burke. She's the founder and CEO of Unbossed Creative, a mission driven creative studio that makes podcasts and other digital content to push the needle on social change and public good. Listen to There Are No Girls on the Internet Podcast Instagram: @bridgetmarieindc Twitter: @BridgetMarie LinkedIn: @Bridget Todd PATREON SHOUT OUTS: Mercedes Cusick LMFT, Website: www.mercedescusick.com, IG: @recoverhealbloom Check Out How To Do The Pot Thanks to Kathleen Hahn Cute Booty Lounge is made right here in the USA, by women and for women. The company is incredible, female, and minority-owned and all of their leggings make makes your booty look amazing. Go to https://cutebooty.com/ today! Embrace your body, love your booty! The Student Performance Podcast In these episodes we dive deep into the science of concepts that you never knew had such a big impact on your wellbeing as a student. Things like exercise, meditation, sleep, nutrition, cold-exposure all of which will not only transform your life in the classroom but will help you live a more fulfilled life outside of it as well. Join our Patreon: Become an Only One In The Room patron by joining us on Patreon! Starting at only $5.00 per month, you'll get bonus content, access to outtakes that the general public will NEVER see, extremely cool merch, and depending on what tier you get, monthly hang time with Scott and Laura. Join our Patreon today at https://www.patreon.com/theonlyonepodcast Be sure not to miss our weekly full episodes on Tuesdays, Scott Talks on Wednesdays and our brand new series On My Nightstand on Fridays by subscribing to the show wherever you listen to podcasts. Join our Only One In The Room Facebook Group if you'd like to ask a question of any of our upcoming guests for this series. Also visit the website www.theonlyonepod.com for the latest from our host Laura Cathcart Robbins like featured articles and more. We love hearing from you in the comments on iTunes and while you're there don't forget to rate us, subscribe and share the show! All of us at The Only One In The Room wish you safety and wellness during this challenging time. Learn more about your ad choices. Visit megaphone.fm/adchoices
Brief summary of episode:James Spooner is a graphic novelist, tattoo artist, illustrator, and filmmaker. He directed the seminal documentary AFRO-PUNK which premiered at national and international film festivals, including Toronto International and The American Black Film Festival. James also co-founded the Afropunk Festival, which currently boasts audiences in the hundreds of thousands around the world. His debut graphic novel, The High Desert is available now. Spooner's work has been recounted in various publications, including NPR, Vice Magazine, The Village Voice, The New Yorker, Vibe, Fader Magazine, MTV, NBC News and Variety, and he was a recipient of the ReNew Media Rockefeller Grant. He is an ongoing guest curator for the Broad Museum in Los Angeles and previously programmed for the Brooklyn Academy of Music. Spooner is also a contributor to RazorCake Magazine, and he continues to screen AFRO-PUNK at colleges around the country, giving talks on punk and Black identity. He is currently co-editing an anthology from Soft Skull Press entitled, Black Punk Now.The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture. Mentioned in this episode:James Spooner (photo credit Lisa Nola) To find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory. Stay in TouchNewsletter sign-upSupport my podcast ★ Support this podcast ★
On this week's episode of Up The Blunx, Kevin Tit chops it up with the one and only James Spooner about having twenty siblings, creating Afropunk, and his new book “The High Desert”. ALSO: If you're black, in a punk band and would like to be played on our show; send us a bio and link to your music at UptheBlunx@gmail.com This episode features the song “New Wage Slavery” off End It's new EP “UNPLEASANT LIVING” out now on Flatspot Records
James Spooner, who directed the documentary Afro-Punk in 2003 and co-launched the Afropunk music festival in 2005, recently published a graphic novel memoir. The High Desert: Black. Punk. Nowhere. focuses on his childhood as the son of a Black dad and a white mom, living in a small California town where white supremacy flourished. We speak with him about growing up afropunk, and how afropunk itself has grown since he helped establish the movement.
Gen X Brothers Interview one of the best Left Handed Guitarists in the Blues / Rock Genre. Malina Moye talks inspiration empowerment and making it in Hollywood with nothing but $20 in her pocket. International, award-winning singer, songwriter, guitarist Malina Moye has created a unique brand and her own musical lane. “She'll usher in a revival of Funk, Rock, and R&B back into mainstream music,” states Billboard Magazine, and Afropunk reveres Malina “as one of the best guitarists in the land.” Malina has a signature set of strings that are available worldwide, and her last album "Bad As I Wanna be" reached number 1 on the Billboard Blues chart for 2 weeks straight. Moye is also in the Rock and Roll Hall of fame exhibit "Here and now" along with Harry Styles, Taylor Swift, Janelle Monae, Sia, Drive By truckers and more. www.malinamoye.com Mentioned in this episode: Edge of Life Designs www.edgeoflifedesigns.com Edge of Life Designs www.edgeoflifedesigns.com
Kirah, djenneba & Jenn share their stories on how they began in publishing and why it's so important for Astrology. In many ways the root of Astrology is through publishing, as the archival practices have preserved the technique through time. We explore the reasons astrology became less trusted through history and is now held in such contempt, the ways publishing benefits astrology. djenneba drammeh is a writer, book editor, astrologer, and bookseller emeritus. Before receiving a scholarship to learn Hellenistic and electional astrology under Chris Brennan, they spent time working in and around the NYC arts and culture space, cutting their teeth as an assistant producer for Afropunk and as a bookseller at Strand Book Store. Wild for vivid stories and expanding language to translate them, djenneba is the lead editor of Mercury's Brood, the forthcoming astro-literary anthology book funded on Kickstarter. Concerned with the ways that popular understandings of astrology can fail or overlook marginalized experiences, they apply an intersectional black queer feminist lens to both client work and mundane astrology. djenneba is also contributing writer to the love horoscope app CUSP, Buzzfeed's monthly horoscopes, and is creator of the horoscope newsletter Twelve Questions. http://djennebadrammeh.com/ (http://djennebadrammeh.com) IG: http://instagram.com/djenneba (@djenneba) TWITTER: http://twitter.com/chironsbitch (chironsbitch) Jenn Zahrt PhD is an author, publisher, and teacher of cultural astronomy and astrology. She has taught and lectured domestically and internationally. She is the founder of Revelore Press, creative director of the Sophia Centre Press, and the Senior Editor of The Mountain Astrologer. In 2021 she became the founding director of the Celestial Arts Education Library in Olympia, WA, where she currently lives. Discover more of her work: http://www.jennzahrt.com/ (www.jennzahrt.com) and http://www.caeli.institute/ (www.caeli.institute) https://www.facebook.com/jennzahrt (https://www.facebook.com/jennzahrt) https://twitter.com/zahrtillery (https://twitter.com/zahrtillery) https://instagram.com/zahrtillery (https://instagram.com/zahrtillery) Ask Kirah: The Strology Show Q&A https://forms.gle/MfqYKn5pC1bZULaV8 (https://forms.gle/MfqYKn5pC1bZULaV8) Looking to learn astrology? Check out The Strology shop:https://www.thestrology.com/shop (https://www.thestrology.com/shop) Follow us on Instagram: https://www.instagram.com/thestrologyshow/ (https://www.instagram.com/thestrologyshow/) Join our mailing list: https://www.thestrology.com/subscribe (https://www.thestrology.com/subscribe) In person Events: https://www.thestrology.com/irl-events (https://www.thestrology.com/irl-events) Check out our next eleventh house workshop: http://thestrology.com/upcoming-workshops (thestrology.com/upcoming-workshops) Download CUSP and check out our new compatibility reports: http://cuspastrology.com/ (cuspastrology.com) Links: https://www.thestrology.com/links (https://www.thestrology.com/links) Be sure to like & subscribe, it helps a lot! xx Kirah
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