Tag: Amy Winehouse

Stuck, Ch. 21. Changes: Charles Bradley, “Changes”

Posted on by Akim Reinhardt

Stuck has been a weekly serial appearing at 3QD every Monday since November. The table of contents with links to previous chapters is here.

by Akim Reinhardt

“Change is pain.” —South African poet Mzwakhe Mbuli

Mzwakhe Mbuli - Change Is Pain - Amazon.com MusicManhattan always has been and always will be New York City’s geographic and economic center. But if you’re actually from New York, then you’re very likely not from Manhattan. Like me, you’re from one of the outer boroughs: The Bronx, Brooklyn, Queens, or Staten Island. And as far as we’re concerned, we’re the real New Yorkers. The natives with roots and connections, and the immigrants who are life-and-death dedicated to making them, not the tourists who come for a weekend or a dozen years before trundling back to America.

Manhattan below 125th Street (in the old days below 110th) is a playground for the wealthy, a postcard for tourists to visit. For the rest of us, it’s a job, it’s that place you have to take the subway to. Maybe that sounds like people from the outer boroughs have a chip on their shoulders. Trust me. They don’t. By and large, they’re very confident in their identity. They know exactly who they are. They’re New Yorkers. And you’re not.

However, between the boroughs themselves there can be a bit of a rivalry, and Manhattan’s not really part of that, because Manhattan is just its own thing, leaving the other four that jostle and jockey for New York street cred. For example, hip hop was practically born from tussles between the Bronx and Queens. But generally, it’s really not much of a contest. As a Bronx native, much to my chagrin, Brooklyn usually wins. Or at least, it used to.

The Bronx doesn’t have a lot to hang its hat on, but the things we have are big. The Yankees are the most successful sports franchise in world history. We have a big zoo, if you’re into that kinda thing. We created a pretty cool cheer. And of course we (that’s the proverbial “we,” not me in anyway) literally invented rap, later to be called hip hop, the world’s dominant musical and fashion force for at least a quarter-century now. But when I was a kid, it just didn’t seem to matter. Brooklyn still had a strut that the other boroughs could not match. Read more »



Monday, November 14, 2011

Marlene Dumas: Forsaken Frith Street Gallery London

Posted on by Sue Hubbard

by Sue Hubbard

1The Eurhythmics may not be considered the philosophical fount of all wisdom but the insistently recurring line that: “Everybody’s looking for something”, from their 1983 hit, Sweet Dreams, kept swirling round my head as I walked round the exhibition Forsaken, the first in the UK since 2004, by the controversial South African artist Marlene Dumas.

Better known for her provocative, eroticised images of woman painted in runny reds and watery blues that highlight the dichotomy between art and desire, pornography and more socially acceptable depictions of female beauty, Dumas’s work can be found in the Tate, the Pompidou Centre and the Museum of Modern Art in New York. Normally derived from Polaroids of friends and lovers, or borrowed from glossy magazines and porno pictures she has, here, used the words of Christ dying on the cross: “Eli, Eli, lama sabachtain?“ My God, why hast thou forsaken me?” to explore the feelings of existential despair so prevalent in this solipsistic, secular age. Although in Judaism and Islam God is considered both unknowable and too holy to be depicted in figurative form, within the Christian tradition the image of the crucified Christ soon became the icon onto which all human suffering, rejection and longing were projected. Marlene Dumas’ crucifixions are of a sober northerly bent; more Mattias Grunewäld than Rubens. Her emaciated Christ is depicted as utterly alone – there are no jeering crowds, no weeping women, no thieves or Roman soldiers – painted against very dark or bleached backgrounds. Ecco Homo, 2011 is a moving portrayal of total abjection, whilst the monochromatic Forsaken, 2011 has some of the ghostly luminescence of the Turin Shroud.

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