by Marcus Harrison Green
With his latest single, Draze wishes to eliminate every imaginable justification for not supporting black businesses.
The Seattle-born, Zimbabwean-raised rapper repeatedly disposes with said excuses over the course of his four-minute song “Building Black Wealth,” which releases this week alongside Draze’s newest album African American. Continue reading With Latest Song, Draze Challenges America to “Build Black Wealth”
by Mayumi Tsutakawa
Entering the newly renovated Seattle Asian Art Museum last week, I and thousands of Seattleites experienced déjà vu, but with many new twists to season the encounter. Along with reimagined exhibitions of Asian art, arranged by topic, rather than nationality or medium, the ceiling of the Garden Court features an LED light sculpture created by my son, Kenzan Tsutakawa-Chinn, who grew up in Southeast Seattle and now lives in New York. Continue reading A Family’s Long Relationship With Seattle’s Asian Art Museum Endures With a New Light Sculpture
Darren Canady’s world premiere play Reparations is a tantalizing, flawed new fable about how responsibility for the effects of Black intergenerational trauma is assigned and held.
by Neve Mazique
Spoiler Alert: The following review contains spoilers for Sound Theatre Company’s box office busting REPARATIONS. Personally, I think you’ll do okay even if you read this before you see it.
As my friend and I settled into our front and center seats at Langston Hughes Performing Arts Institute (LHPAI) for Reparations, written by Darren Canady, produced by Sound Theatre Company, and directed by Jay O’Leary we immediately felt brought into the world of the play via the impressive set imagined by designer Lex Marcos. We would later learn that the jagged-edged grey rock wall to the left of us was the past, the cellar where so much was felt and survived. In the center was the near future now, illustrated by a warm and inviting looking kitchen where peach cobbler was purported to be baked. The righthand and final space was a lighter and more austere grey room, boasting clean and safe right angles of institutional control. Continue reading We’ve Been In the Storm For So Long: Reparations, a Beautiful New Piece of Speculative Theatre
by Gus Marshall
Overton Berry has been a proud staple of the Northwest music scene over the last 60 years. Berry is an overly-accomplished pianist, composer, arranger and band leader, whose longstanding presence and continued participation in the regional, national and international jazz scenes has garnered him the status of a true living legend. Continue reading Overton Berry & Bruce Phares: Beyond Musically Bonded
by Paul E Nelson
Lyric World Conversations with Contemporary Poets: Poetry and Wonder is the name of a series of events happening in 2020 at Town Hall and curated by poet Shin Yu Pai. One poet featured in the series is Vashon Island’s Thomas Hitoshi Pruiksma. Continue reading Shin Yu Pai’s Poetry Series Gets a Dose of Magic With Thomas Hitoshi Pruiksma
by Marcus Harrison Green
The chronic riddle of how modern American society can make restitution for the roaring legacy of chattel slavery is the crux of decorated playwright Darren Canady’s latest work, Reparations, presented by the Sound Theatre Company and opening January 10 at the Langston Hughes Performing Arts Institute. Continue reading With Reparations, Playwright Darren Canady Wants America to “Piece Together Its Ghosts”
With its recently completed run, Shout Sister Shout! blared a lesson in resilience, love, and personal pair we should all take note of.
by Neve Mazique
Sister Rosetta Tharpe grew up in the Black Church. Which is to say, Sister Rosetta Tharpe grew up in music. The Church of God in Christ (COGIC), founded in 1894 by Charles Harrison Mason, was radical for its encouragement of rhythmic musical experimentation and expression in service of praising the Lord, as well as allowing women, such as Sister Rosetta’s mother, Katie Bell Nubin, to preach and sing in church. From the moment she began performing and touring with her mother in 1921, singing God’s praises and playing the guitar unreasonably well, to the day she died in 1973, Sister Rosetta Tharpe was a bonafide gospel artist. The fact that she has been dubbed the “Godmother of Rock n’ Roll”, as well as getting post-humously inducted into the Rock N’ Roll Hall of Fame, reveals the true nature of electric blues and rock n’ roll: you can’t be hardcore without belief in something, you can’t be a badass unless you have had to practice resilience. Or at least, that’s how the way gets paved. Continue reading Sister I Have Heard on High