I do not practice with a metronome because I want to become a better drummer. I practice with a metronome to practice focusing. To practice pretending that the world is objective. To meditate.
My nickname is, in many ways, a stowaway from another life. The simple, happy life that my mom and dad had built in the Rockaways of Queens.
Episode 3 of Nucleus: The Confluence Podcast. "There’s value in the power of certain artists realizing that the market has that influence, and using it to their advantage."
I remember burying the seeds every time I ate an apple. They never grew into apple trees. I remember going to the airport for fun. I remember, on Thompson Street, the moment they called the 2020 presidential race. I remember the way my childhood home smelled when it was completely empty.
Writing and research from Shatima Jones's interdisciplinary seminars, “(De)Tangling the Business of Black Women’s Hair” and “Black Experiences in Literature, Movies, and Television,” published in honor of Black History Month, 2021.
The second installment of "A Seat at Our Table," featuring “Modeling Race” by Netanya Ronn, “Redefining Black Beauty” by Tatyana Tandanpolie, “Blackness and Colorism in Kenya Barris’s Productions” by Britney Agyen, “Pelo Bueno/Pelo Malo” by Melany Canela, and “White Parents, Black Hair" by Rachel Goulston.
Some point down the line, an awareness manifested that I was not a part of the American ideal, or rather, that something bigger believed that I was not a part of the American ideal.
"'Let me love you' is no longer enough for the fan. 'Let me love you . . . and you sure as hell better love me back' is the new baseline."