Black to the Future
From The Art and Popular Culture Encyclopedia
"If all records told the same tale-then the lie passed into history and became truth. "Who controls the past," ran the Party slogan, "controls the future: who controls the present controls the past."--George Orwell "There is nothing more galvanizing than the sense of a cultural past."--Alain Locke Yo, bust this, Black "If there is an Afrofuturism […] glimpses of it can be caught in Jean-Michel Basquiat paintings such as Molasses, which features a pie-eyed, snaggletoothed robot; in movies like John Sayles's The Brother From Another Planet and Lizzie Borden's Born in Flames; in records such as Jimi Hendrix's Electric Ladyland, George Clinton's Computer Games, Herbie Hancock's Future Shock, and Bernie Worrell's Blacktronic Science; and in the intergalactic big-band jazz churned out by Sun Ra's Omniverse Arkestra, Parliament-Funkadelic's Dr. Seussian astrofunk, and Lee "Scratch" Perry's dub reggae, which at its eeriest sounds as if it were made of dark matter and recorded in the crushing gravity field of a black hole ("Angel Gabriel and the Space Boots" is a typical title)."--"Black to the Future" (1994) by Mark Dery |
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"Black to the Future: Interviews with Samuel R. Delany, Greg Tate, and Tricia Rose" (1994) is a text by by American author Mark Dery of consisting of an essay on afrofuturism followed by a set of three interviews with Samuel R. Delany, Greg Tate, and Tricia Rose. In it, he coined the term “afrofuturism”.
The essay is included in the anthology Flame Wars: The Discourse of Cyberculture (1994).
Full text[1]
See also
- "Brothers from Another Planet: The Space Madness of Lee "Scratch" Perry, Sun Ra, and George Clinton " from Extended Play