This image was taken under the “Lincoln” sign on the front left side of the theatre. I wanted to stand under it to get an idea of just exactly how big the sign was by standing right next to it; naturally so its the biggest thing on the building. The outside of the building in is very well maintained, as old as the building is, the outside is in nearly immaculate shape, the stucco leading up to the light tan brick wall gives the building a classic but polished look. They way the outside of this theatre is keep makes the appearance of the building grand yet inviting and sets the tone of what one can expect once they step inside the theatre. The bulb lights in a line on the ceiling of awning creates a beautiful ambience at night time but even during the daytime the beauty of this building is still seen. After, I took this picture I noticed that social media facebook icon in the side window and to me this was very interesting because this building is known for its classic and historical style yet it was this touch of contemporary and modern advertisement to “like” them on social media which shows that even if the style hasn’t changed to management and and marketing of the theatre has been kept up to date with the times of today.
Here is a photo of the Lincoln Theatre from the opposite side of the street by the metro stop closest to the theatre. This is someone’s first view of the Lincoln Theatre if they were traveling here by metro to see a show. The buildings and businesses around it blend in with the decor of the theatre fairly well, or vice versa the theatre blends in well with the buildings that surround it. The buildings seem a bit older in age but not unpolished, and a spectator is able to see the “Lincoln” sign from a quite a distance away and even much better at night when the letters in the sign are lit up. People are always walking around on U Street but on a Sunday morning around noon it is was very quiet, yet not deserted.
Rany, Bob “In Concert at the Lincoln Theatre – Washington DC” International Association of Jazz Record Collectors Journal Vol. 44 Issue 1, Mar 2011 p. 58-59
In this article, Bob Rany outlines that highlights Buddy Collete’s career; he was one of Jazz biggest reed players and one of the Lincoln Theatre’s most frequent performers. The article highlights what the careers were like of those whom played at the Lincoln Theatre, which was once a theatre for mainly black artist entertainment. I plan to use this article to help me form a basis around what the historical players and artists were like when performing at the Lincoln theatre in the past, this text will be useful because it is heavily focused on a black jazz artists that was celebrated frequently at the Lincoln Theatre over the many years that he played as a solo artist and as a leader of an all black quintet. This article will also be helpful in understanding the type of clientele the Lincoln Theatre hosted in the past because the type of acts they were hiring such as Buddy Collete, are reflective of the people the enjoyed his music; thus giving me a better read on who was attending shows at the Lincoln Theatre in the past.
Hanley, Delinda C. “Palestine’s Wishah Popular Dance Troupe Headlines Turaath.”The Washington Report on Middle East Affairs, vol. 35, no. 1, 2016., pp. 45
The American-Arab Anti Discrimination Committee hosted the 5th annual celebration of Arab Culture in America called a Turaath, and this big performance and hosted at the Lincoln Theatre. This event was co-hosted by the Palestinian American Organization. This event is a celebration of arab culture and traditions through music, acting and dance. Famous Iraqi-American musicians such as composer, Amir ElSaffar and his Jazz ensemble perform at this event every year accompanied by many other performers of Arab culture.
I plan on using this text to familiarize myself with the variety of acts and performances that take place in the Lincoln Theatre today, given the fact that these are more contemporary that what the Lincoln Theatre was known for which was black artists and black entertainment. This article will also allow me to have some more insight as to where politics stand in a space like the Lincoln Theatre because topics such as the Palestine and Israel conflict is an extremely charged conflict even for citizens of the United States right now.I am very curious about how this type of political debate fits into a place like U Street and even more specifically a place like on the stage of the Lincoln Theatre. I plan on using this source to also analyze the political bias of the owner of the Lincoln Theatre, maybe the manager of the theatre, or one of the theatre’s sponsors.
When I saw this photo series on my Twitter timeline I was in awe. The regality and beauty in these photos left me speechless for a moment. They’re poised and strong, creating lines with their bodies that look like art. What captured me most about this photo series was that these ballerinas are black men. The very idea of black men practicing ballet, defies that very thing that society tells black men that they are. Society tells black men that their nature is harsh, violent, aggressive, hard edge. this photo series shows black men in a soft, loving, elegant, beautiful nature, everything that I’ve always known black men to be but everything society tells them they are not. Secondly, black men practicing ballet,such as in this destroys the preconceived notions, thoughts, and ideas perpetuated by hyper masculinity. The idea that men and especially not black men, shouldn’t be practicing traditionally “feminine” activities such as ballet is outrageous to me. Inside the black community and outside of the black community, masculinity is extremely fragile and the intersection of race and masculinity make it even more fragile. This world is and has been harsh and cruel to black men and from the time they’re raised they aren’t even given a chance to explore their innocence and soft nature because they’re groomed to be hard edge from a young age because for them its a serious matter of life and death, they are taught that being soft will get you killed. These photos were from Alvin Ailey’s Dance Theatre Company; Alvin Ailey was a world renown choreographer, dancer and one of the most famous african american male ballerinas to date. I hope these images encourage young black men to pursue the arts, and more particularly activities that typically seen as “feminine” because yes of course, black men are strong, heroic, brave, and determined but black men are also soft, loving, caring, elegant, poised, artistic, regal and sometimes ballerinas; that is more than okay.
In City of Rhetoric, David Fleming illustrates in the Preface the relationship between political relations and the Built Environment. He claims that the growing spatial stratification of the built environment such as things like decentralization and polarization is the cause and effect of increasingly impoverished political relations with each other. Fleming thinks that the built environment matters because it is reflective of our political state and relationships with each other as citizens of the United States. He also points out the fact that our physical landscape and the buildings that we are choosing to build in our environment are becoming increasingly isolating, which is pushing farther away from others different from ourselves. This exclusivity and spatial form is allowing us to have less interaction with others and this is weakening the relationship between citizen. This built environment matter to Fleming because he recognizes that it is a matter of our future as citizens and as a successful and cohesive nation; if we continue to build structures that push ourselves away from others that aren’t like us it will only be more detrimental to us as a whole.
In Part I of “Architectural Exclusion: Discrimination and Segregation Through Physical Designs of the Built Environment,” Sarah Schindler makes two claims. Schindler’s first claim is that, architecture is being used and designed to exclude certain groups of people. The second claim is that this type of exclusion should be under just as much scrutiny as other forms of exclusion by law. According to Schindler “The Built Environment is defined as man-made physical features that often make it too difficult for certain individuals – the poor and people of color to access certain places” (1934). Schindler points out that historically when people wanted to make decrees that prevent certain groups of people from entering certain spaces this was backed by the law. Additionally, when people from different areas of towns in cities were blocked from getting to the other side of town by physical barriers, this also was backed by the law. Architectural design that Schindler determines to be just as exclusionary as discrimination has not gotten any attention from legal scholars.
Schindler provides the simple example of a park design being discriminant against homeless people. If the bench has three arm rests, dividing the bench into three seats, it may not have been put there for comfort and convenience like many assume but to prevent homeless people from being able to lay down and sleep on it. It is noteworthy to acknowledge that the people constructing the built environments and the people responsible for designing this exclusionary architecture, almost always, design it not only in a way the keeps certain people away from a space but also to advance a certain political agenda and focused on flow of traffic. Nicholas Bloomey points out that civil engineers tend focus on how people and cars and other traffic will flow around a city or an environment rather that thinking about how its going to effect the citizens living in this environment; the goal of these politicians and engineers is efficiency and commuting, thus making money , rather than citizen approval. Some scholars, such as Elise C Boddie and Stephen Clowney, claim that some places have purposeful racial meaning and attached to marginalization by race, which also lawmaker continuously overlook and make no efforts to make amends even when brought to the attention of lawmakers.
Architecture that continues to be exclusive that makes ups a built environment that continues to keep certain people away based upon race, ethnicity, socioeconomic standing, and any other identity is extremely detrimental to citizens of a community it enforces a problematic behavior and mindset of othering and a power structure based upon race which then encourages human behavior that is racists and classist. Additionally, if law makers continue to ignore this then not only does it become acceptable on a citizen to citizen level it becomes the “law of the land” and acceptable at a legal level, leaving these citizens are being excluded, unprotected and alienated from society.
I’ve always been a little puzzled and confused about the world’s insane obsession with Beyoncé. Not to be misunderstood, Im always proud to see any black woman flourishing and just doing the damn thing, but an obsession? Really? There are people that want to be this woman. She can be 2 hours late to her own concert and people will still wait for her then cry, cheer, and scream for hours at her show. People will spend 4 months worth of rent to even get a seat close to the stage she’s performing on. Some people treat her like a God and wear t-shirts that say “Beyoncé is my Religion”. So of course you can imagine that when she posted this picture on her Instagram account February 1st nearly broke the internet. This picture was posted, announcing that she is pregnant with twins, being a twin myself I think this is pretty cool. The photo got over 10 million likes on Instagram already, which to be honest, is a tiny fraction of her 94.1 million followers in total! The photo is soft and aesthetically pleasing. In typical maternity shoots, the partner is also featured in the photo but this is just the “Queen Bey” herself; Its a classic floral background with a contemporary “hippie” like vibe with the mix match bright colors. The vail adds a tone of regality over the entire photo, playing to her nickname “Queen Bey”. Of course a pregnancy is a big deal and reason for celebration but I’m convinced that this Beyoncé could do just about anything, take a photo and the world would go bonkers. Her star power is out of this world, but like the 94 million other people, I want to wish her a congratulations on her expected blessings!
On January 27th 2017 Kehlani dropped her debut album, Sweet Sexy Savage. This album is phenomenal. In this album is every woman and the cover art illustrates this perfectly, Kehlani is a 21 year old, queer, woman of color and above it the words “Sweet Sexy Savage” appear. Her body covered in tattoos give her an edge that people are often curious about and dont know how to really describe, her openness about being a queer woman that is black, white, spanish and Native American leaves her to be racially and sexually androgynous. I think in every woman there are theses three parts, the sweet, the sexy, and the savage and through the 18 tracks and ambiguous appearance leads people like the media to make assumptions about her personality; in songs like “Thank You” and “Keep On” and “Hold Me By the Heart” she completely shatters these assumptions by pouring her heart out over the lyrics in these songs, in this I see the Sweet. Another portion of the album has songs that highlight her sexual prowess and attraction, the is not only carried out with the utmost confidence but also a feeling of empowerment, this is where I see the Sexy. Lastly, Kehlani’s personal battle with depression, suicidal tendencies and dealing with broken-heartedness is something that I as well as many others can relate to and aspects of this album allows me to revisit this pain and feeling of brokenness through lyrics that are strong, healing, and delivered with conviction. For example in her song “Personal” she says, “I fuck with me heavy, Im all chosed up, so dont take it personal” or when she says, “if I gotta be a bitch imma be a bad one”, in this part of the album I see the Savage. This album cover alone celebrates the multidimensionality of every woman. To me, what I get from this album is the following: We as women are not this, we are not that, we are EVERYTHING.
Marvel’s newest superhero has already been turned into a number one hit show on Netflix, many are tired of all the basic superhero action and crime fighting movies but this was is like absolutely nothing seen before. Luke Cage is a middle-age tall dark-skinned black man that plays an ex-police officer that wrongfully went to jail after being framed. The gag is that he doesn’t wear a cap, he doesn’t wear a special suit, Luke’s superhero outfit is a hoodie; and it gets better….he’s bulletproof. The show is entertaining and the series was great but the social commentary was incredible, the show is about a bulletproof black man that walks around in a hoodie trying to bring good to New York City and he is completely bulletproof. The timing is almost too perfect amidst the myriad of shootings of unarmed black men. The hoodie is more than an article of clothing, it is a symbol. When I see black men in hoodies I can’t help but think of Trayvon. Trayvon Martin was wearing a hoodie when he was gunned down and murdered in cold blood. This show puts a black man on a pedestal where he is literally invincible and completely unstoppable and he adorns the very two things that in reality seems like a target: a black body and a hoodie. I just wish 14 year old Tamir Rice was bulletproof, along with Trayvon Martin, Michael Brown, Walter Scott, Jamal Brown, Oscar Grant and Philando Castile. I wish Eric Garner, Freddie Gray, and so many more that were murdered, had superhuman strength that made them impenetrable to any bullet, choke-hold, or baton-beating that came their way. It almost seems like to be a black man in America he to be Luke Cage in order to survive, black men have to be superheros, black men have to be bulletproof, otherwise he can’t be sure he won’t be the next trending hashtag or his dead black body won’t be the subject of a video on the 6 o’clock nightly news. Luke Cage is a quick escape from a painful reality that allows young black boys and girls to dream again, even if its just for a moment they can feel like they’re safe and even unstoppable.