brownboyspeaks-blog

[brownboyspeaks-blog]

[brownboyspeaks-blog]

‘Mystique’ Elibeidy Dani by Miles Aldridge for Numéro — December 2018.

[brownboyspeaks-blog]

[brownboyspeaks-blog]

[brownboyspeaks-blog]

Jan Carlos Diaz & Hector Diaz by Bruno Staub, WSJ

[brownboyspeaks-blog]

[brownboyspeaks-blog]

Donald Glover’s video does all of the things that I’m just not interested in. If I was younger I would’ve liked the fact that his video was “shocking” and grotesquely oppositional, but I’m no longer interested in Black art that reduces Black death to a narrative utility. I’m more interested in the kind of approaches that were seen in Lemonade. The shock wasn’t grounded in a childish fetish for blood and gore. The discussion of racism and white supremacy did not preoccupy itself with propping up the death of Black people for the audience. The direction and imagery did not focus on aggressively alienating nor speaking to white people and defending our humanity to America at large, and instead it immersed itself in celebrating African diasporic folklore and cultural productions while primarily engaging little subtleties that would go under the radar of most non-black spectators. I’m still impressed that all of that was directed under the helm of corporate funding lol.

[brownboyspeaks-blog]

[brownboyspeaks-blog]

[brownboyspeaks-blog]

[brownboyspeaks-blog]

[brownboyspeaks-blog]

[brownboyspeaks-blog]

[brownboyspeaks-blog]

Bitch, I’m robbin’ banks and writin’ metaphors.

[brownboyspeaks-blog]

[brownboyspeaks-blog]

The force is strong in this family

someone take Photoshop away from me