Podcast appearances and mentions of carl hancock rux

This year marks the 25th anniversary of Rux Revue, the groundbreaking debut album by Carl Hancock Rux. Not long ago, we sat down for an in-depth discussion about his hands-on involvement in its making, from bringing in his own background singers to recording the powerful song "I Recall" in a bathroom, for the acoustics. We talked through the album track by track, enriching their meaning with context. Rux's adoptive parents were “amateur musicologists,” and his friendships and connections include Nona Hendryx, Sonia Sanchez, Amiri Baraka and Abbey Lincoln. Rux also has an abiding love for Billie Holiday, which he touched on. Lastly we discussed his emotional trip to Ghana years ago and the love and support he got from the community there. http://carlhancockrux.com

Three of our favorite segments from the week, in case you missed them. How NY Plans to Ramp up Its Cannabis Rollout (First) | Juneteenth with Carl Hancock Rux  (Starts at 26:35) | The Coming 'Century of Fire'  (Starts at 41:25) If you don't subscribe to the Brian Lehrer Show on iTunes, you can do that here.

Carl Hancock Rux, poet, playwright, recording artist, essayist and radio journalist, talks about the site-specific work happening across the Lincoln Center campus on Sunday evening called "To a Garden Luxuriously Verdant (Enameled with Countless Flowerings): A Juneteenth Celebration".  Lincoln Center's Summer for the City festival opens tonight.

Patricia Cruz, artistic director and CEO of Harlem Stage, Carl Hancock Rux, poet, playwright, recording artist, essayist and radio journalist, talk about "Ralph Ellison's Invisible Man at 70: A Harlem Celebration" - a collaboration of arts organizations across Harlem encompassing live performances, video, a walking tour, and more, and the impact of the novel across the decades.

In this episode we are joined by Maureen Freedman, talking all things performance design. A South African designer for performance, Maureen has worked with production teams in the US and abroad creating spaces and crafting characters for theatre, object theatre, opera and dance. Some notable work includes The Exalted at BAM with Carl Hancock-Rux and Theo Belckmann, Anne Bogart, Freedman's directing credits include Collider Classroom with Dr. Christopher Emdin at Lincoln Theatre Studio, The Wolves at the Window by Toby Davis for Brits off Broadway, and several collaborations with Yael Rasooly including The House by the Lake (Israel & touring), Silence Makes Perfect (UK) and upcoming Burning Blue in Norway. Maureen is a Linbury Prize finalist, Cheek by Jowl young Professional alum, NYFA IAP fellow and in May this year she and her team presented their winning design for Orfeo ed Euridice in Opera America's L. B. Tobin Director-Designer award for 2021-22. https://www.maureenfreedman.com/ We want to hear from YOU and provide a forum where you can put in requests for future episodes. What are you interested in listening to? Please fill out the form for future guest suggestions here and if you have suggestions or requests for future themes and topics, let us know here! @theatreartlife Thanks to David Zieher who composed our music.

 Carl Hancock Rux's work crosses the disciplines of poetry, theater, music, and literary fiction in order to achieve what one critic describes as a "dizzying oral artistry...unleashing a torrent of paper bag poetry and post modern Hip-Bop music; the ritualistic blues of self awakening."Carl Hancock Rux is an American poet, playwright, novelist, essayist, recording artist, actor, theater director, radio journalist, as well as a frequent collaborator in the fields of film, modern dance, and contemporary art. He is the author of several books including the Village Voice Literary Prize-winning collection of poetry, Pagan Operetta, the novel, Asphalt, and the Obie Award-winning play, Talk. WRITER/POETWorking as a Social Work Trainer while moonlighting as a freelance art and music critic, Rux became a founding member of Hezekiah Walker's Love Fellowship gospel choir and later found himself influenced by the Lower East Side poetry and experimental theater scene, collaborating with poets Miguel Algarin, Bob Holman, Jayne Cortez, Sekou Sundiata, Ntozake Shange; experimental musicians David Murray, Mal Waldron, Butch Morris, Craig Harris, Jeanne Lee, Leroy Jenkins, Odetta, Steve Earle, Jim Carroll as well as experimental theater artists Laurie Carlos, Robbie McCauley, Ruth Maleczech, Lee Breuer, Reza Abdoh and others.RECORDING ARTIST/PERFORMING ARTISTHis CD Rux Revue was recorded and produced in Los Angeles by the Dust Brothers, Tom Rothrock, and Rob Schnapf and voted one of the top ten alternative music CDs of 1998 (New York Times). Rux recorded a follow up album, Apothecary Rx, (selected by French writer Phillippe Robert for his 2008 publication "Great Black Music": an exhaustive tribute of 110 albums including 1954's "Lady Sings The Blues" by Billie Holiday, the work of Jazz artists Oliver Nelson, Max Roach, John Coltrane, rhythm and blues artists Otis Redding, Ike & Tina Turner, Curtis Mayfield, George Clinton; as well as individual impressions of Fela Kuti, Jimi Hendrix, and Mos Def.) His fourth studio CD, Good Bread Alley, was released by Thirsty Ear Records, and his fifth Homeostasis (CD Baby) was released in May 2013. Rux has written and performed (or contributed music) to a proportionate number of dance companies including the Alvin Ailey American Dance Theater; Bill T. Jones/Arnie Zane Dance Company; Jane Comfort & Co. and Ronald K. Brown's "Evidence" among others.THE BAPTISMThe recently Lincoln Center commissioned poemWritten and Performed by Carl Hancock RuxDirected by Carrie Mae WeemsAboutBaptism (of The Sharecropper's Son & The Boy From Boonville) by award-winning poet and artist Carl Hancock Rux is a three-part poem and the artist's tribute to the legacies of civil rights leaders John Lewis and C.T. Vivian. Written and performed by Rux, the Lincoln Center commission is also an 11-minute short abstract film in two iterations—The Baptism and The Baptism (rhetoric)—directed by artist Carrie Mae Weems.http://thebaptismpoem.org

On June 19 at 7 PM, Lincoln Center will present I Dream a Dream That Dreams Back at Me: A Juneteenth Celebration, curated by artist and poet Carl Hancock Rux and featuring a variety of performances from Nona Hendryx, Vernon Reid, and Toshi Reagon & BIGLovely, as well as WQXR host and singer Helga Davis, who will present “a musical recitation of a deconstructed National Anthem.” Rux and Davis join us to preview the event.

Award-winning recording artist/poet/writer/performer Carl Hancock Rux joins the "Disinfect" hosts to roast Sammy Davis Jr.'s disastrous, unintentionally hilarious cover of Isaac Hayes' blaxploitation classic, "Theme From Shaft"...

On episode 163 of The Quarantine Tapes, guest host Imani Perry is joined by Alicia Hall Moran for a two-part episode. Imani and Alicia have a fascinating and wide-reaching conversation about Alicia’s work as an artist and vocalist.Alicia pulls on varied threads of history and music in their discussion about art, family history, and collaboration. She tells Imani about her Black Wall Street project, discussing the project’s connections to her father and her family. Ranging from Carmen to Roots to figure skating, Imani and Alicia’s conversation is an incredible and insightful look at everything that surrounds the work of making art. Imani Perry is an intellectual, a professor, and a writer who was born in Birmingham, Alabama at the dawn of the Freedom movement. She lives the life of the mind through literature, criticism, music and art. Perry's hallmarks are passionate curiosity, rigorous contemplation, and dedication to the collective "we." Her children, Freeman and Issa Rabb, keep her honest and dreaming. Alicia Hall Moran, mezzo-soprano, is a multi-dimensional artist performing and composing between the genres of Opera, Art, Theater, and Jazz. Ms. Moran made her Broadway debut in the Tony-winning revival The Gershwins' Porgy and Bess, starring as Bess on the celebrated 20-city American tour. "Moran finds the truth of the character in her magnificent voice," Los Angeles Times.A unique vocalist performing across the fine arts and in her own contemporary work, Ms. Moran's creativity has been nurtured by, and tapped by celebrated artists including Carrie Mae Weems, Adam Pendleton, Joan Jonas, Ragnar Kjartansson, Simone Leigh, Liz Magic Laser, curator Okwui Enwezor, and choreographer Bill T. Jones, musicians like Bill Frisell, Charles Lloyd, and the band Harriet Tubman, diverse writers from Simon Schama to Carl Hancock Rux, as well as institutions at the forefront of art and ideas worldwide.

Take a walk into slavery in this compelling and riveting play of the same name, performed at the Billie Holiday Theater, written by Hollis King, directed by Dr. Indira Etwaroo and performed by King and and Carl Hancock-Rux. In A Walk Into Slavery, Hollis chronicles his emotional journey through the Door of No Return – Goree Island, Africa. A Walk into Slavery is a tribute to 1619, and African American ancestors through a lens of compassion and triumph. Hollis King is the former vice president and creative director of Verve Music Group, and now the Artistic Director of The Billie Holiday Theater. Carl Hancock-Rux is a renown poet, playwright and author. --- Send in a voice message: https://podcasters.spotify.com/pod/show/toni-williams72/message Support this podcast: https://podcasters.spotify.com/pod/show/toni-williams72/support

"The Baptism” is a new 11-minute visual poem by Carl Hancock Rux commissioned by the Lincoln Center as a memorial to civil rights titans John Lewis and C.T. Vivian. It is just one of the latest projects that Rux has recently been involved with. An award-winning multi-hyphenate writer, poet, essayist and recording artist, Rux reflects on a year of pandemic and civil unrest, his work, his influences and the "tragedy" around his own birth. Brooklyn news and views you can use: bkmag.com Email: hello@bkmag.com Follow along on Facebook: Brooklyn Magazine Twitter: @brooklynmag Instagram: @brooklynmagazine Follow Brian Braiker on Twitter: @slarkpope

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young and Diggs both work with words, sound, image—and bodies—as Diggs’s puts it. On today’s show, they talk about funk, Dolly Parton, taking notes, polyglots, and how these different cadences resonate in young’s series peestain. In these collages and poems, featured in the November issue of Poetry, young weaves his own history with the lives of his students and characters like Willis Jackson from the sitcom Diff'rent Strokes. The familiarity and openness of the references are as heartening as they are devastating. Nothing is neat. Nothing is predictable in young’s work—or Digg’s—as you’ll hear today. In the course of the conversation, Diggs reads one of her own poems and a poem by Carl Hancock Rux.

In episode 065 of The Quarantine Tapes, Toshi Reagon shares stories about her experience in quarantine and highlights of performing her creative work, the compelling opera “Octavia Butler’s The Parable of the Sower”. Toshi talks about important community connections, while encouraging us all to “embrace your ability to adapt to an ever-changing world.”Toshi Reagon is a singer, composer, musician, curator, producer and bandleader (BIGLovely) with a profound ear for sonic Americana—from folk to funk, from blues to rock—recording with Lizz Wright, Carl Hancock Rux, Allison Miller, Sweet Honey In The Rock, and Meshell Ndegeocello, among others. She currently tours with her opera, Octavia E. Butler’s Parable of the Sower. Recent projects include The Blues Project w/ Michelle Dorrance and Dorrance Dance, Meshell Ndegeocello's Can I Get A Witness—The Gospel of James Baldwin. She founded WordRockSword: A Festival Exploration of Women's Lives... All Lives Welcome.

Stanotte ascoltiamo la musica di Nina Simone, Carl Hancock-Rux, Ursula Rucker...

Durée : 58:01 - STRANGE GROOVES by MR F - Breaks Funk Hip Hop Soul Eclectic Crazy Trip Groove #beats#groove#underground hip hop#funk - soul - jazz#bootleg / mash up Bizarre, Space, Crazy, funky et surtout GROOVY par l'amigo mélomane Mister F ! Il dépoussière les bas-fonds du groove qui grince et qui tabasse de traviole ! Une playlist pointue et écléctique comme un fer à souder doré à la feuile d'or harmonique ! Du groove, du beats, du F ! GO ! PLAYLIST : 1 Pepe Deluxe - salami fever / 2 LB - superbad( soul substitute) / 3 Congopunk - ambiance disco / 4 Cape Town Effects - N/UU / 5 Curtis Harding - dreamgirl / 6 True Live - somewhere I can go / 7 Carl Hancock Rux - intro the revolution / 8 Aka Rainbow Crow - othership / 9 Jay Haze - jump that / 10 Mister Mellow - get lost / 11 - Lord Newborn & the Magic Skulls - ancient scrolls / 12 Dokkerman & the turkeying feliaz vigazz, kesz, ot / 13 Men from S.P.E.C.T.R.E. - sabelzahntiger / 14 Vic Moan - love you better / 15 Ephemerals - go back to love / 16 Baby Elephant - Fred Berry / 17 The Bees - angry man

Durée : 58:01 - STRANGE GROOVES by MR F - Breaks Funk Hip Hop Soul Eclectic Crazy Trip Groove #beats#groove#underground hip hop#funk - soul - jazz#bootleg / mash up Bizarre, Space, Crazy, funky et surtout GROOVY par l'amigo mélomane Mister F ! Il dépoussière les bas-fonds du groove qui grince et qui tabasse de traviole ! Une playlist pointue et écléctique comme un fer à souder doré à la feuile d'or harmonique ! Du groove, du beats, du F ! GO ! PLAYLIST : 1 Pepe Deluxe - salami fever / 2 LB - superbad( soul substitute) / 3 Congopunk - ambiance disco / 4 Cape Town Effects - N/UU / 5 Curtis Harding - dreamgirl / 6 True Live - somewhere I can go / 7 Carl Hancock Rux - intro the revolution / 8 Aka Rainbow Crow - othership / 9 Jay Haze - jump that / 10 Mister Mellow - get lost / 11 - Lord Newborn & the Magic Skulls - ancient scrolls / 12 Dokkerman & the turkeying feliaz vigazz, kesz, ot / 13 Men from S.P.E.C.T.R.E. - sabelzahntiger / 14 Vic Moan - love you better / 15 Ephemerals - go back to love / 16 Baby Elephant - Fred Berry / 17 The Bees - angry man

Spoken word is performance art that goes hand in hand with jazz because words often sound great and notes can speak loud and clear. In this episode we will explore the best of it, together with outstanding new releases that are making our summer even hotter than it already is! The playlist will include music and words by Gil Scott-Heron, Terry Callier, Elio Villafranca, Don Byron, Emile Parisien & Wynton Marsalis, William Tatge, Steve Coleman & Five Elements, Maria Grand, Branford Marsalis, Jason Moran, Matt Wilson, Hermeto Pascoal, Brad Mehldau, Jason Lindner, Ursula Rucker, Gerald Clayton feat. Aja Monet & Carl Hancock Rux, David Murray & Saul Williams, Ginger Baker, Michael Lowenstern, Caroline Davis. Detailed playlist available at https://spinitron.com/radio/index.php?station=rfb&month=Aug&year=2018&playlist=7408#here

Please don't forget that this remix is only a way to promote our world as DJs. This Remix is to discover music. If you're an artist or copyright holder and if you want remove something because you don't want to be a part of it send an e-mail. If you're happy that we don't forget you, send an e-mail too! If you love the track inside the remix; Support and buy it at the known channels! "Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use." Bernard Wright - Who Do You Love Disco Boogie Edit By Petko Turner Here >> https://hypeddit.com/track/sc/ge3iml Wright was born in Jamaica, Queens, New York. He attended the High School of Performing Arts in New York. Classmates included writer Carl Hancock Rux, gospel recording artist Desiree Coleman Jackson, and rappers Slick Rick and Dana Dane. He was offered a slot touring with Lenny White when he was 13, and he played with Tom Browne at the age of 16. GRP Records signed him in 1981 and released his debut album 'Nard, tracks from which were prominently sampled in hits by Dr. Dre, Snoop Dogg, Skee-Lo, and LL Cool J. The album was re-released in 2001.b He followed with Funky Beat (1983) on Arista and Mr. Wright (1985) on Manhattan Records. The latter of these albums included his biggest R&B appearance, "Who Do You Love", for which a video was made that is featured in the title sequence of Video Music Box.[9] In 1990 he released the gospel album Fresh Hymns. In 2000 he formed a duo with Alfredo Elias and Damon Banks and released the album Back To Our Roots. Wright has also appeared on recordings by musicians such as Miami Mike Devine Pennington, Doug E. Fresh, Cameo, Bobby Brown, Pieces of a Dream, Charles Earland, Marcus Miller, and Miles Davis. Since his recording days, Wright has continued playing keyboards in Dallas, where he mentors younger artists

Special Guest: Toshi Reagon has been described as “a talented, versatile singer, songwriter and musician with a profound ear for sonic Americana—from folk to funk, from blues to rock” by critic/blogger Eva Yaa Asantewaa (InfiniteBody). “She masters each of these genres with vocal strategies that easily spiral and swoop from the expressively sinuous to the hard-charging, a combination of warmth and mischief.” While her expansive career has landed her comfortably in residence at Carnegie Hall, the Paris Opera House and Madison Square Garden, you can just as easily find Toshi turning out a music festival, intimate venue or local club. Toshi finds home on any musical stage. Toshi has had the pleasure of working with Lenny Kravitz, Lizz Wright, Ani DiFranco, Carl Hancock Rux, Nona Hendryx, Pete Seeger, Chocolate Genius and many other amazing artists, including her favorite collaborator, her mom, Bernice Johnson Reagon. Toshi has been the recipient of a NYFA award for Music Composition, The Black Lily Music and Film Festival Award for Outstanding Performance. She is a National Women’s History Month Honoree, and is the 2010 recipient of OutMusic’s Heritage Award. www.toshireagon.com

“What are you?” The question can often comes out of nowhere One can be going about her quotidian activities, or she might have just finished a meeting at work. “What are you?” The question is disorienting for most, but for others who are racially ambiguous it is commonplace. The ostensibly benign question suggests that it is about the person being asked. However, one might argue that it is more about the one who does the asking. In The Souls of Mixed Folk: Race, Politics, and Aesthetics in the New Millenium (Stanford University Press, 2011), Michele Elam critically discusses the rise of the Mixed Race Studies. To demonstrate the new sub-genre of cultural studies in both art and academia Elam shows elements of what mixed-racedness looks like in the classroom, as well as in the public sphere here at the turn of the 21st century. One of the contributions of Elam’s Souls makes to Mixed Race Studies is her careful outline of the ways people of mixed biological ancestry have historically worked for the goal of social justice for all oppressed groups; moreover, she shows how those who look at mixed-racedness critically continue to do so. This, despite the trajectory in which some of mixed-race advocates are moving: people of mixed-race backgrounds are a separate group with separate issues, and most importantly, being both black and white–and that is most often the only definition many use of being “mixed”–their experience falls outside the purview of race studies. This notion of being separate and outside is often used to justify a view of race that essentially reifies notions of identity as being defined by blood percentage–a point of view that takes us back, not forward. While those who critically study mixed- raceness see that one’s movement through a society that continues to ask What are you? can result in alternate experiences, many show that the difference can work in a way to help all understand racial oppression. Dr. Michele Elam, Martin Luther King, Jr. Centennial Professor in the English Department at Stanford University, falls within the latter group. And, so do Lezley Saar, Danzy Senna, Philip Roth, Aaron McGruder, and Dave Chappelle, to name but a few. A mixed bag, for sure, Elam examines relevant works of the aforementioned artists as she considers the way in which they challenge what is quickly becoming conventional thought on mixed-racedness from the academic classroom to the public sphere. Whether one is fascinated with her critical reading of K-12 textbooks focused on mixed race curriculum or with her reading of artist Lezley Saar’s “Baby Halfie Brown Head”; with her insightful readings of Aaron McGruder’s Boondocks comic strips and/or the unforgettable episode “The Racial Draft” from The Dave Chappelle Show; whether one is interested in the ways that author Colson Whitehead and playwright Carl Hancock Rux ask their audiences to think critically about mixed-racedness in the 21st century one thing is clear: Elam first highlights and subsequently knocks down the notion that “fetishizing the box” of the racial categories on census forms or outlining one’s mixed family tree represents progression towards a most just society in the US. Learn more about your ad choices. Visit megaphone.fm/adchoices

“What are you?” The question can often comes out of nowhere One can be going about her quotidian activities, or she might have just finished a meeting at work. “What are you?” The question is disorienting for most, but for others who are racially ambiguous it is commonplace. The ostensibly benign question suggests that it is about the person being asked. However, one might argue that it is more about the one who does the asking. In The Souls of Mixed Folk: Race, Politics, and Aesthetics in the New Millenium (Stanford University Press, 2011), Michele Elam critically discusses the rise of the Mixed Race Studies. To demonstrate the new sub-genre of cultural studies in both art and academia Elam shows elements of what mixed-racedness looks like in the classroom, as well as in the public sphere here at the turn of the 21st century. One of the contributions of Elam's Souls makes to Mixed Race Studies is her careful outline of the ways people of mixed biological ancestry have historically worked for the goal of social justice for all oppressed groups; moreover, she shows how those who look at mixed-racedness critically continue to do so. This, despite the trajectory in which some of mixed-race advocates are moving: people of mixed-race backgrounds are a separate group with separate issues, and most importantly, being both black and white–and that is most often the only definition many use of being “mixed”–their experience falls outside the purview of race studies. This notion of being separate and outside is often used to justify a view of race that essentially reifies notions of identity as being defined by blood percentage–a point of view that takes us back, not forward. While those who critically study mixed- raceness see that one's movement through a society that continues to ask What are you? can result in alternate experiences, many show that the difference can work in a way to help all understand racial oppression. Dr. Michele Elam, Martin Luther King, Jr. Centennial Professor in the English Department at Stanford University, falls within the latter group. And, so do Lezley Saar, Danzy Senna, Philip Roth, Aaron McGruder, and Dave Chappelle, to name but a few. A mixed bag, for sure, Elam examines relevant works of the aforementioned artists as she considers the way in which they challenge what is quickly becoming conventional thought on mixed-racedness from the academic classroom to the public sphere. Whether one is fascinated with her critical reading of K-12 textbooks focused on mixed race curriculum or with her reading of artist Lezley Saar's “Baby Halfie Brown Head”; with her insightful readings of Aaron McGruder's Boondocks comic strips and/or the unforgettable episode “The Racial Draft” from The Dave Chappelle Show; whether one is interested in the ways that author Colson Whitehead and playwright Carl Hancock Rux ask their audiences to think critically about mixed-racedness in the 21st century one thing is clear: Elam first highlights and subsequently knocks down the notion that “fetishizing the box” of the racial categories on census forms or outlining one's mixed family tree represents progression towards a most just society in the US. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

“What are you?” The question can often comes out of nowhere One can be going about her quotidian activities, or she might have just finished a meeting at work. “What are you?” The question is disorienting for most, but for others who are racially ambiguous it is commonplace. The ostensibly benign question suggests that it is about the person being asked. However, one might argue that it is more about the one who does the asking. In The Souls of Mixed Folk: Race, Politics, and Aesthetics in the New Millenium (Stanford University Press, 2011), Michele Elam critically discusses the rise of the Mixed Race Studies. To demonstrate the new sub-genre of cultural studies in both art and academia Elam shows elements of what mixed-racedness looks like in the classroom, as well as in the public sphere here at the turn of the 21st century. One of the contributions of Elam’s Souls makes to Mixed Race Studies is her careful outline of the ways people of mixed biological ancestry have historically worked for the goal of social justice for all oppressed groups; moreover, she shows how those who look at mixed-racedness critically continue to do so. This, despite the trajectory in which some of mixed-race advocates are moving: people of mixed-race backgrounds are a separate group with separate issues, and most importantly, being both black and white–and that is most often the only definition many use of being “mixed”–their experience falls outside the purview of race studies. This notion of being separate and outside is often used to justify a view of race that essentially reifies notions of identity as being defined by blood percentage–a point of view that takes us back, not forward. While those who critically study mixed- raceness see that one’s movement through a society that continues to ask What are you? can result in alternate experiences, many show that the difference can work in a way to help all understand racial oppression. Dr. Michele Elam, Martin Luther King, Jr. Centennial Professor in the English Department at Stanford University, falls within the latter group. And, so do Lezley Saar, Danzy Senna, Philip Roth, Aaron McGruder, and Dave Chappelle, to name but a few. A mixed bag, for sure, Elam examines relevant works of the aforementioned artists as she considers the way in which they challenge what is quickly becoming conventional thought on mixed-racedness from the academic classroom to the public sphere. Whether one is fascinated with her critical reading of K-12 textbooks focused on mixed race curriculum or with her reading of artist Lezley Saar’s “Baby Halfie Brown Head”; with her insightful readings of Aaron McGruder’s Boondocks comic strips and/or the unforgettable episode “The Racial Draft” from The Dave Chappelle Show; whether one is interested in the ways that author Colson Whitehead and playwright Carl Hancock Rux ask their audiences to think critically about mixed-racedness in the 21st century one thing is clear: Elam first highlights and subsequently knocks down the notion that “fetishizing the box” of the racial categories on census forms or outlining one’s mixed family tree represents progression towards a most just society in the US. Learn more about your ad choices. Visit megaphone.fm/adchoices

THE ROOTS feat. URSULA RUCKER, Phrentrow, da “Phrenology” – MCA 112 996-2 0:22 DJ SPOOKY feat. CARL HANCOCK RUX and PAULINE OLIVEROS, Asphalt (Tome II), da “Optometry” – Thirsty Ear THI 57121.2 6:33 MIKE LADD, Field Work (The Ethnographer’s Daughter), da “Negrophilia” – Thirsty Ear THI 57156.2 5:28 THE SA-RA CREATIVE PARTNERS feat. ERYKAH BADU, Dirty Beauty, da “Nuclear Evolution: The Age Of Love” – Ubiquity URCD248 3:16 GEORGIA ANNE MULDROW, The Birth Of Petey Wheatstraw, da “Seeds” – SomeOthaShip EMC-CD-5563 4:38 SHABAZZ PALACES, An Echo From The Hosts That Profess Infinitum, da “Black Up” – Sub Pop SP900 3:10 THEESATISFACTION, Existinct, da "Awe Naturale" - Sub Pop SP 960 2:10 THEESATISFACTION, Deeper, da "Awe Naturale" - Sub Pop SP 960 3:42 GUILLERMO E. BROWN, More & More, da “Soul At The Hands Of The Machine” – Thirsty Ear THI 57118.2 4:40 LATASHA N. NEVADA DIGGS, Channel 9, da “Television” – Mszulie Music 5:49 DANIEL GIVENS, No Visible Color, da “Age” – Aesthetics AST12 7:44 TRICKY, Aftermath, da “Maxinquaye” – Fourth & Broadway BRCD 610 / 524 089-2 7:38 KING MIDAS SOUND, Cool Out, da “Waiting For You” – Hyperdub Records HDBCD009 2:50 KODE9 & THE SPACEAPE, Neon Red Sign, da “Black Sun” – Hyperdub HPCD002 3:15 SPOEK MATHAMBO, Put Some Red On It, da “Father Creeper” – Sub Pop SP 975 5:36 GHOSTPOET, Us Against Whatever Ever, da “Peanut Butter Blues & Melancholy Jam” – Brownswood Recordings BWOOD057CD 4:25 LEE SCRATCH PERRY (ADRIAN SHERWOOD REMIX), Devil Dead Out, da “Nu Sound & Version” – On.u Sound ONUCD1020 4:07