I watched a lot of the Olympics.  And honestly, I sat through most of it just to see the track & field.  More to the point, while I’m happy for and proud of Gabby Douglas, nothing made me happier than watching Tianna Madison, Allyson Felix, Bianca Knight, and Carmelita Jeter break a 32-year-old record by over 3/4 of a second.  That’s incredible given that sprint contests are decided on hundredths of seconds.  The old record dates back to 1980 when the East Germans dominated the sprints.  Some said it was through performance-enhancing drugs. We’ll never know.  The important thing to remember is that these four women did the damn thing and left us with some iconic images, such as Jeter (above) pointing at the clock.

photo credit: Michael Steele/Getty

photo credit: Frederic Haslin/Corbis

Additional links:

• ESPN coverage of the relay
• NY Times coverage

Some photos from around the Web of Gabrielle Christina Victoria “Gabby” Douglas, the first African American woman to win a Gold medal in the Olympics all-around gymnastics competition.  Congrats, Gabby, for making us all proud!

Additional links:

• Gabrielle Douglas on Wikipedia
• NY Times: Gabby Douglas’s Long Journey to Gymnastics Gold
• Gabrielle Douglas official

@dromnyc @jeangreasy

What else can we say? This will be Jean’s first NYC show in over a year.  She’ll probably be giving a preview of her upcoming album Cake or Death.  Fools really should forget about Nicki Minaj and stop sleeping on Jean.  She’s brilliant and will blaze just about anyone who comes near a mic.

Anyway, the band that will be backing her is killer, too:

It’s been three, maybe four, years since Imani Uzuri released Her Holy Water: A Black Girl’s Rock Opera. ‘Bout time, since both of my kids have been wearing out that album’s title track.  Seriously, though, we’re all thrilled for Imani’s latest, which further explores her musical, geographic and spiritual wanderings.

In general, songs about spirituality tend to be uninteresting to me.  Which is part of the reason I’m bored to death by Georgia Anne Muldrow, whose approach seems so on the nose (combined with uninspired orchestrations), that I can’t wait to move onto something else.  There are, however, artists who I recognize carry this off well: Toshi Reagon and Lizz Wright (especially her last album) come immediately to mind.  As does Imani Uzuri.

Like Toshi, Imani has a powerful voice.  What she’s been developing over the years is her own way of delivering music that’s distinctively hers.  In fact, here’s what I wrote about her back in 2007:

Now, it’s been several years since I’d seen Imani, and I’d forgotten about her presence: A mix of southern earthiness, church-girl matter-of-factness, and new age spirituality, all of which is backed up by some serious pipes.

And I think the southern/church/spiritual aspect is key: Her songs are prayers.  She provides a verse/chorus setup and then repeats with different colors and intonations.  When they work best the songs become, in their own way, trancelike tonal meditations.

The Gypsy Diaries is definitely a level up, a refinement of an approach that was, when framed against classic pop song structure, very much outside-the-box.  Imani should be applauded because she had the fortitude to stick to her own sense of who she is, and she’s let her music develop out of that.  Traveling and performing around the world helped her see the points at which all music, no matter what language it’s in, becomes universal.  “If you’re transmitting joy or sadness, it’s about sharing the truth of that with the voice. That’s where you feel the connection and integrity.”

Imani will launch her new album in NYC with a  special performance at June 1 at Joe’s Pub.  Info and tix here.

In the meantime, check out this track from The Gypsy Diaries:

Additional link:

• Imani Uzuri official

Last week saw the release of Fela: Live In Detroit 1986.  In some ways, it’s what you would expect from a Fela album: propulsive, politically charged Afrobeat that stretch into extended stompdowns.  In fact, the three CDs only contain four (4) songs!

The album was recorded live at Detroit’s Fox Theater and marked a triumphant return for Fela and his band Egypt 80. He’d spent two years in a Nigerian jail on trumped up charges of “currency trafficking”.  Amnesty International waged a campaign that finally saw him freed in April of 1986, and he was performing in Detroit as part of the human rights organization’s Conspiracy of Hope tour two months later.

From the press release:

The Detroit concert was part of Fela’s debut US tour with his Egypt 80 band and the recording finds them on strident form, showcasing all-new material in free-flowing extended workouts: “Just Like That” recalls Fela’s memories of the Nigerian Civil War; “Confusion Break Bones” (an update of his earlier track, “Confusion”), compares the present African situation to a permanent traffic jam at a town center crossroads; “Teacher Don’t Teach Me Nonsense” swipes at the oyinbos (white men) forcing sham versions of democracy on Africa and allowing “democratic” rulers to line their own pockets at the expense of the people while foreign-owned multi-nationals are allowed to freely strip the continent of its natural resources; “Beasts Of No Nation” reflects on Fela’s recent court case and imprisonment in Nigeria and, more widely, on the issues around Apartheid. The messages here resonate as powerfully as anything from Fela’s career.

Bob Teagan, the audio engineer who recorded the album, recalls the show: “Coming into the Fox Theater, Fela was well aware that it was the same venue that birthed the careers of Marvin Gaye, Stevie Wonder, and it was the epicenter of Motown. These were all profound influences on Fela and he did those artists justice with his performance, dancing all across the massive stage and inciting the crowd to move with him.”

Additional link:

• Get Fela: Live In Detroit 1986 on iTunes

As much as people want to make a big deal about it, marriage equality isn’t a big deal.  In many ways, it’s a non-issue.  Except that conservatives want to make it so.  Those of you who follow my tweets will have heard this before.  However, I think it’s important to restate my position.

Why is it that religious and social conservatives are always worried about who and how other people are fucking?

I’m not trying to reduce gay or lesbian relationships to the sexual.  But, at it’s heart, this seems to be what those on the right are policing.  And it doesn’t much matter how much they talk about try to preserve “the family”.

I’ve said this on Twitter: If your marriage is threatened by gays and lesbians getting married, then you have a shitty marriage.  Period.

Someone else pointed out: Guess what? Gays and lesbians pay taxes, too.  Why shouldn’t they enjoy all the rights and benefits of full citizenship?

Consenting adults–particularly when their actions don’t put anyone else in danger–should be allowed to do whatever they want to.

Here’s our president speaking on marriage equality.  BTW, bravo, Mr. President.

@aabaraki @iampragency

I saw these guys for he first time on Friday.  They describe themselves as a neo-soul band.  But what does that mean these days?  The short version of it all is that the group has a mellow groove sound that reminds you of the Brand New Heavies.  Except that Ari Folman-Cohen is so far from that whack dude the Heavies had on bass, it’s not even funny.  In fact, every member of the band is is tight player.  And with Akie Bermiss’s soulful voice flying over and around the groove, this band could really win the summer party circuit.  Rooftops and the Hamptons, watch out!

We’re gonna warn you up front: There’s a good chance you’ll be humming the chorus to this song, which was released last summer.  In addition to this one, the set we saw was nothing but well-written songs, plus covers of Musiq Soulchild, Dylan and Alanis.  There’s a new album dropping in a couple of weeks, so definitely check for them.

Additional link:

• Aabaraki official

Some photos from Friday night’s reception. Both artists’ work will be on display until June 23.

Simone Leigh (center) with friends

Simone Leigh, Untitled, 2012

Simone Leigh, Untitled from series “My works, my dreams, must wait ’til after hell”, 2012

Chitra Ganesh (center) with friends

Some of Chitra Ganesh’s work: Devika’s Kiss, 2012

Ben Bronfman, formerly of The Exit, now part of the music collective Teachers

Sharifa Rhodes-Pitts, author of Harlem Is Nowhere

Artist Duron Jackson (left) and friend

Actor/writer Ama Birch

Stylist Jenna’ Wallace of Glow Society

Artist Llanor and dancer Clarence

Artist, writer and educator Una-Kariim Cross

View all photos from this event here.

@affrm @restless_city

People, this weekend you have a choice.

Anticipation has been running high, so I already know that many of you are going to run out and see The Avengers when it opens tomorrow.  But if you haven’t already, I am going to encourage you to see Restless City first.  Frankly, The Avengers can wait.  Trust me when I say that Marvel, Disney, Joss Whedon and Sam Jackson, they all gon’ be alright.  I mean, the film has already pulled in at least $280MM overseas, if not more.

It’s easy for a small film like Restless City to get forgotten when a Hollywood studio’s juggernaut comes to town.  That’s exactly why, if you care about independent film, you should make a conscious decision to see this film this weekend.  I’m not suggesting that you not see The Avengers. I’m gonna see it, and I’ll be there with my bucket of popcorn just like everyone else.  However, my wife and I made a point to see Restless City last weekend when it opened.  It’s an excellent film, well worth your support.  The Avengers?  As good as it probably is, I guarantee you that it will be in theaters for the next month.  Can’t say the same about Restless City.

For those of you unfamiliar with the way theatrical releasing works, here are the basics you need to understand.  The weekend box-office numbers–especially that opening weekend– are crucial.  Why? Because theater owners are making determinations on Sunday night about what films will hold screens for the next week.  Restless City has nowhere the marketing budget of The Avengers, so it’s relying on PR and word-of-mouth.  And the impact of both of those take time.  So it’s better for the film to stay in theaters longer.  Unfortunately, the only way that happens is if the theater owners see the numbers to justify holding the screen.  After all, they could just as easily bump that film and add another screening of The Avengers.  Or some other film.

And let me be clear: I’m not asking you to support this film because it’s a “black” film.  No, I’m asking you to support it sooner rather than later because this film is  a visual feast.  I said as much in my review.  And this isn’t about “taking your vitamins,” i.e., doing it because it’s good for you.  It’s not exactly about “supporting progressive culture,” either.  I mean, it kinda is.  But here’s my point: It’s capitalism, baby.   It’s about making sure this film–and others like it–matter in the marketplace.  That means they need to make money.  In that way, big companies feel comfortable getting into business with similar films.

What I’m asking you to do is to make a conscious choice to do something powerful and empowering : Vote with your dollars.  Spend ‘em where they matter. In that way, films like Restless City can hold space in the market alongside films like The Avengers.  Restless City expands to several more cities tomorrow.  If you’re in one of those, or in a city where it’s already playing, you have a chance to make a your preferences known.  Grab a friend or two. After all, movies are social experiences.

Then, if you want to, y’all can sneak into The Avengers. . .Heh.

Big profile on Nobel Laureate Toni Morrison.  Check it out:

As a student, then an editor, then an author and academic, Morrison fought unapologetically for the importance of considering racial politics in literature and of bringing marginalized American forces and shameful American secrets into the cultural mainstream.

Full piece is here. Haven’t read it yet.  I just wanted to post this Chuck Close photo of her.