Art for Sale Page 2

A taxidermy peacock guards the reference section at Seattle’s Scent Lending Library Photo: Bess Lovejoy
The artist Donna Lipowitz says she had the idea for her scent library while in the forest next to her house. “It’s kind of crazy, but I just get ideas all the time,” the Australia-born multisensory artist said one afternoon at her home in West Seattle, handmade curtains shading her vast collection of perfume bottles against the sun. “I genuinely thought: wouldn’t it be cool if you could borrow scents like books? And would that work? Would people do it? Would they just think it was stupid?”
So far, no one seems to think it is stupid. Lipowitz debuted the first incarnation of her Scent Lending Library in a converted supply closet in New York in April 2025, at the Olfactory Art Keller in Chinatown, drawing a crowd and a line despite rainy weather. In November 2025, the exhibition opened in the front windows of Fogue Gallery in Seattle’s Georgetown neighbourhood. It has been so popular there that in April, it will move upstairs into a permanent installation space.
What is in the library? Chanel No. 5, but also Bermuda Triangle. Bounce brand “Outdoor Fresh” dryer sheets. Eau Sauvage, created in 1966 by the perfumer Edmond Roudnitska as a masculine scent for Dior. Essential oils like frankincense and eucalyptus. The smell of space (developed in 2008 by the chemist Steve Pearce for the National Aeronautics and Space Administration to help train astronauts) and of Cheerios (featuring actual cereal).
Some items are concept scents that Lipowitz herself created, like the aforementioned Bermuda Triangle and It’ll Be OK, blended in 2020 using aromas often thought to be uplifting. Her Green Cicada was created for Olfactory Art Keller’s 2022 Portraits in Scent show and is meant as a self-portrait of the artist, age five, barefoot in the Australian rainforest.
Fittingly, Teen Spirit deodorant is among the bottled scents at the Scent Lending Library in Seattle Photo: Bess Lovejoy
There are two parts to the library: a reference section (more than 140 scents) and a lending section (84 scents and counting). The scents come in small amber bottles with just a trace of fragrance on cotton or blotter paper—enough to smell, not to wear—and each borrowed smell includes an old-fashioned check-out slip stamped with its return date. (One bottle, labelled “Nothing”, is entirely empty.)
Part of the idea behind the library, Lipowitz says, is developing our scent literacy—training our noses as we train our muscles, brains or taste buds. But it is not so much about being able to detect specific odours, bloodhound-like, as it is developing an ability to notice and appreciate scent in a world dominated by sight and sound. Lipowitz says one visitor to the library, a boy about seven years old, smelled a package of tennis balls near the scent vials (there are select scent props around) and said, astonished: “So does everything have a smell?” She could almost see the gears turning and the windows opening in his mind.
Lipowitz also appreciates how the scent library has functioned (both in New York and Seattle) as a third space. People bring friends or make new ones there, and sometimes they have emotional experiences brought on by scent’s ability to conjure memories. One woman, who smelled the whole library, said she had both laughed and cried while doing so. “It’s like a miniseries,” Lipowitz says. A Scottish man who smelled Home Garage—a scent Lipowitz created with assistance from Fogue’s owner Kerry Gates—was also brought to tears, having made contact with the ghosts of woodworking projects past.
For my own library experience, I borrowed two items, Clearwood and Iso E Super. Both are perfumery molecules: building blocks of scent that are often synthetic. Clearwood reminded me of patchouli, and Lipowitz said it had been synthesised in a Swiss lab to capture the more appealing aspects of patchouli while avoiding the funkier parts that turn some people off. Iso E Super, meanwhile, is one of the most famous perfumery molecules and was created by International Flavors & Fragrances in 1973. I was fascinated by its ability to smell like the entirety of a men’s cologne in just one molecule.
I asked Lipowitz how to get to know my new scents, and she advised me to smell them at different times of day while taking notes. As I did so, I was surprised at how the aromas changed. I had always found the interaction of skin and scent interesting, but this showed me how mercurial scent could be even when skin is taken out of the equation.
Sometimes, Iso E Super smelled magnetic and delicious; sometimes, it smelled only like a man who wanted to smell expensive (and thus it smelled kind of cheap). In the beginning, I found Clearwood nicer to smell, although I missed the earthier undertow of real patchouli, or imagined I did. Midday, on a cold and cloudy Monday, Clearwood opened up into warmth, while at other times it seemed sharper and more chemical. Lipowitz told me that our sense of smell works best in the morning, and while my own concept of “morning” is erratic, both scents smelled best to me around 1:30am—fuller, more pleasant, less hollow than earlier in the day.
The artist Donna Lipowitz at home Photo: Bess Lovejoy
After visiting both the library and Lipowitz’s home, I asked the artist what makes scent art. She mentioned a book she had been reading by the philosopher Larry Shiner, Art Scents: Exploring the Aesthetics of Smell and the Olfactory Arts (2020), which describes how olfactory art intentionally uses odours to create aesthetic experiences. But unlike fragrances sold in a store, these need not be pleasant. Instead, they are meant, according to Lipowitz, to “challenge our perceptions, express complex concepts and engage the audience both physically and intellectually”.
It is easy to think about scent, at least in US culture, mostly as something to avoid (consider the negative connotation of the word “smelly”) or as something colonised by luxury brands. But the experience need not be confined to those two extremes. As I thought about the library’s appeal, I considered how this cultural neglect also means there is room left for the adventurous to play and create subtle manoeuvres. The ephemerality of scent, its unpredictability (as my own borrowings showed me), can feel exciting. It also feels like a way of reinforcing the embodied human, of carving out space for deeply private and subjective worlds—ones that we then do our best to try to discuss and share, whether the prompt is the smell of space, Cheerios or walking around the Australian rainforest at age five.
“Honestly, it’s been quite overwhelming how popular the library has been. It feels like the general public needs this,” Lipowitz says. Once the library has moved upstairs at Fogue, she hopes to expand into collaborative events with other artists, and perhaps eventually into other cities. “I get excited when people come in who aren’t perfumers,” she says. “Or who aren’t scent people. I want everyone to be able to have a go.”
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In an attempt to create a more immersive exhibition experience, art institutions in France have been employing some unusual scents
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A group chat created by the secretary of the Miami-Dade County Republican Party became a safe space for racist and Nazi rhetoric.
Here’s a question: If the Republican Party isn’t currently the party of racists and Nazis, then why is it that every time a Republican group’s private group chat gets exposed, it’s being exposed as a digital gathering space for proud racists and self-professed Nazis?
Last fall, the secretary of Miami-Dade County’s Republican Party started a group chat primarily for conservative students, and, according to the Miami Herald, it only took a few short weeks for that group chat to become a safe space for racial slurs, Nazi romanticism and expressions of racial violence, specifically, a how-to on dozens of different ways to violently kill Black people.
The chat had been described by one of its members as “Nazi heaven,” which, considering the content, might actually be too wholesome a descriptor. If a Nazi chat mated with a Ku Klux Klan chat and used an incel surrogate to birth their child chat — this chat would be that child.
From the Herald:
In WhatsApp conversations leaked to the Miami Herald, participants used variations of the n-word more than 400 times, regularly described women as “whores,” used slurs to talk about Jewish and gay people and mused about Hitler’s politics.
Interspersed throughout were discussions about events promoting the Republican Party at Florida International University. The school told the Herald the chat logs are part of an ongoing criminal investigation.
The conversations included some of the campus’ top conservative leaders: the county GOP secretary, FIU’s Turning Point USA chapter president and the former College Republicans recruitment chair.
The group chat — verified by two people in the group — reveals the extent of racism and extremism within the highest ranks of campus Republican Party leadership in Miami at a time Florida’s Republicans are reckoning with an increasingly emboldened far right.
Another member of the chat, William Bejerano — who tried to start a pro-life group at Miami Dade College — was the primary user of the n-word in the group. At one point, he posted a block of text calling for dozens of acts of extreme violence against Black people, who he referred to using the n-word, including crucifying, beheading and dissecting people. Bejerano hung up the phone when reached by the Herald.
Dariel Gonzalez, the College Republicans’ recruitment chairman at the time, responded in the chat: “How edgy.”
“Ew you had colored professors?!” Gonzalez wrote at another point. “I reguse [sic] to be indoctrinated by the coloreds.” He told the group he used the term “colored” because, “I was told we cant say black anymore.” A couple days later, he added: “Avoid the coloreds like the plague.” He did not respond to a request for comment.
The group chat members — which included some women — also frequently discussed sex, sometimes describing women as “whores” and at one point using the k-word, a slur for Jewish people, to describe women they avoid. Gonzalez said, “You can f–k all the [k-word] you want. Just don’t marry them and procreate.” Ian Valdes, the Turning Point USA chapter president, responded, “I would def not marry a Jew.”
Whaaaaaah? This group of passionate bigots includes a Turning Point USA chapter president? That’s crazy! One would almost think TPUSA was founded by a white Christian nationalist community college dropout, who claimed some of the most accomplished Black women in the country were DEI hires who stole jobs from white men because they “lacked the brain power” to do anything else, and became popular by spreading the Caucasian gospel that Black people are inherently violent and dangerous.
Anyway, this is all par for the MAGA KKKourse.
Last October, leaders of Young Republican groups across the country got exposed in a leaked Telegram chat where they called Black people N-words, monkeys and “the watermelon people,” mused about raping female political rivals, made disparaging remarks about Jewish people, and talked about throwing people in “gas chambers.”
Here’s Vice President JD Vance on an episode of The Charlie Kirk Show, defending the chat full of bigots in their 20s, 30s, and 40s by describing them as “kids” who were just telling “jokes” because that’s “what kids do.”
Not even a full week after the Young Republicans group chat was exposed, Republican Paul Ingrassia, who President Donald Trump tapped to lead the Office of Special Counsel, was caught in a chat with fellow Republicans, using anti-Black racial slurs, calling Martin Luther King Jr. “the 1960s George Floyd,” and saying, “his ‘holiday’ should be ended and tossed into the seventh circle of hell where it belongs,” and describing himself as a person with a “Nazi streak.”
Some time after that, New Hampshire GOP Rep. Kristin Noble, chair of the New Hampshire House Education Committee, was exposed in a group chat, gleefully discussing how she wants to bring back “segregated schools.”
Mind you, these are only the chats that we know about because they were publicly exposed. But there are right-wing-friendly social media platforms all over the worldwide internet, and that’s not even counting the platforms that essentially became recruitment spaces for white supremacist domestic terrorists like Buffalo shooter and Great Replacement Theory advocate Payton Gendron.
As for the Miami Republicans’ group chat, according to the Floridan, Florida Lawmakers are responding to the news by calling for the resignation of Miami Republican Executive Committee Secretary Abel Alexander Carvajal, who created it.
“Antisemitism and racism have no place in our society. We strongly condemn and find despicable the vile and unacceptable language that has been discovered in a group chat associated with the Miami Dade Republican Party’s Secretary. The statements made by those individuals clarify their moral and intellectual corruption and demonstrate a complete misalignment with core shared American values,” three Republican state senators, Ana Maria Rodriguez, Ileana Garcia, and Alexis Calatayud, said in a joint statement. “We will hold them accountable, immediately. We call for the resignation of the Secretary, immediately. We call for the immediate expulsion of the individuals disseminating from any level of leadership of the Miami-Dade Republican Party. We are a Party that empowers every individual to express their highest potential. We will not tolerate bigotry or discrimination.”
Look, this is all well and good, but Florida’s Nazi problem is nothing new, nor are the white supremacist and white nationalist views that permeate the MAGA-fied Republican Party and go all the way up to the Oval Office.
Republican officials consistently find themselves being compelled to post statements about how racism and bigotry have “no place in our society,” but if that’s true, then the current Republican Party, and its tens of millions of loyal American voters, must simply not be part of our society, because not only does the party make space for white supremacists and neo-Nazis, but it’s relying on them to survive.
This Florida Republican group chat isn’t the problem, nor are the rest of them. They are symptoms of something much larger. At this point, denying it is beyond gaslighting.
SEE ALSO:
Young Republican Leaders Exposed In Racist Group Chat
Racist Trump Nominee Paul Ingrassia Exposed In Group Chat
18 Navy SEALS Were Disciplined For Racist Harassment Of Black SEAL
GOP Rep Says She Wants ‘Segregated Schools’ In Group Chat

Florida Group Chat Full Of Racists Talks About Killing Black People Exposed was originally published on newsone.com

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Queen Latifah reminds fans you “can’t believe what you read on the internet,” shutting down social media death hoaxes about her.
Now, who started a rumor that Queen Latifah died? 
This week, the “U.N.I.T.Y” star had to take to social media to confirm to fans that she is alive and well. On Thursday, she shut down the viral hoax, saying: 
“Good morning! It’s me, Latifah, I’m 100% a-ok. Can’t believe what you read on the internet or see. Can’t believe nothin’ now, right? I’m good. Peace.”
Queen Latifah’s public service announcement reportedly stemmed from a hoax circulating on Facebook claiming that the star had passed away. In a separate video, she expressed her appreciation for everyone “expressing such care and concern.” 
A post shared by Queen Latifah (@queenlatifah)
As “The Equalizer” star shared a little groove on social media to prove her health, news broke of a major deal she signed with Lifetime alongside major Black Hollywood players like Taye Diggs, Taraji P. Henson, and more. 
“Queen Latifah and Taraji P. Henson are extraordinary talents and dynamic producers who share Lifetime’s passion for telling powerful stories about women,” said Elaine Frontain Bryant, executive vice president and head of programming for A&E, Lifetime and LMN. “Both have helped shape our legacy with impactful, culturally resonant projects, and we are excited to have them back in the Lifetime family, creating new films with us as we continue to expand our slate with bold, female-driven storytelling.” 
In this new deal, Queen Latifah, who has had a longstanding relationship with the network, will reportedly executive-produce three new Lifetime original movies through her production company, Flavor Unit Entertainment.
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“I’m just seeing a whole series of contradictions,” Moore told theGrio of President Trump’s justification for the widening war in the Middle East.
Governor Wes Moore is expressing skepticism of President Donald Trump‘s decision to engage in military strikes against Iran, which has resulted in a widening war in the Middle East, rising oil prices and a sinking stock market.
“As someone who has fought in one of these regime change wars, and someone who knows how difficult these wars are–I lost friends because of wars like these–I’m skeptical, and I don’t think that this administration has really given us anything to make me feel more confident,” the Maryland governor and Army veteran told theGrio during a phone interview on Thursday.
Moore said that, thus far, President Trump and senior administration officials have given contradictory statements about the supposed imminent threat Iran posed to the United States to justify unilateral strikes without approval from Congress.
“I’m just seeing a whole series of contradictions where we’re told months ago that the nuclear program was obliterated, but now we had to act immediately…because now we’re supposed to believe that attack was imminent. A coalition of either international partners or even getting the American people to [buy in] on, or Congress, was not there,” said the 47-year-old governor.
As a former member of the Armed Forces, Moore told theGrio, “The thing that we hope for when I joined the military was an expectation that military force would only be used when (a) we knew it was going to be a last resort, (b) when we actually knew the plan and what is the exit strategy, and what is the reasoning, and (c) when we knew that a coalition was being built that would support our efforts.”
He added, “I have not seen any of those things from this operation that we’re seeing right now.”
The Trump administration has also been rebuked for remarks about the six military service members who have died as a result of the joint U.S.-Israeli military operations in Iran. Of the casualties, Trump said, “That’s the way it is,” and that there would “likely be more.”
Defense Secretary Pete Hegseth complained that the press was covering the military deaths as “front-page news” and accused outlets of trying to make the president “look bad.”
Gov. Moore said of the losses of life, “My heart just continues to break for these service members who we lost, and the ones who were the wounded in actions as well, and their family members.”
On Thursday, the U.S. House of Representatives rejected a war powers resolution to rein in the U.S.’s military operations, a day after the U.S. Senate did the same.
Moore warned, “We’re just continuing to watch a completely unchecked executive.” He explained, “We’ve seen how his trade policy has been deemed by the Supreme Court illegal. We have seen how he has now conducted military operations by blowing up ships in the sea, and now we are now a nation at war with Iran, and there’s been no checks.”
The rumored 2028 presidential candidate said the U.S. needs a Congress with a “spine” that “actually understands that there other branches of government besides the executive branch.”
The governor continued, “I’m not sure if anyone, even in the administration, could explain their foreign policy or the legality.”

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Rapper Monaleo emphasizes the importance of listening to your body after a pain she tried to ignore led her to an emergency surgery.
It is so important to listen to your body. Rapper Monaleo echoed this message this week, apologizing to fans for canceling two shows on her “Who Did the Body Tour” to prioritize her health. 
While notifying fans about the cancellation of her Memphis and New Orleans shows, the “Sexy Soulaan,” rapper, revealed that she is recovering from an emergency surgery in a series of tweets. 
“I’m sorry, y’all. I’m upset about having to cancel my shows and did not expect this to happen,” she wrote. “Yesterday, out of nowhere got a sharp pain in my lower abdomen. Took some pain meds, 2 hours went by the pain got worse. I went to the ER and could hardly make it through the ultrasound without throwing up. Worst pain ever fr. I had an inflamed cyst the size of a softball that had twisted and cut off blood flow and caused bleeding in my abdomen. Had to have emergency surgery and unfortunately lost an ovary and fallopian tube in the process.”
I’m sorry yall . I’m upset about having to cancel my shows and did not expect this to happen. Yesterday, out of nowhere got a sharp pain in my lower abdomen. Took some pain meds 2 hours went by the pain got worse . I went to the ER and could hardly make it through the ultrasound…
Revealing that she was still waiting to be released from the hospital, Monaleo extended her deepest apologies to her fans for the inconvenience, understanding that people “travel to see me, buy outfits, pay for makeup & hair appointments, etc.” 
“None of that is lost on me and i appreciate all the love and support from the bottom of my heart. We ARE currently sorting through the refund process and looking at rescheduling dates, as promised. I’m not sure how long this healing process will take,” she continued. “I do want to say this, though: listen to your body when things are off. As a person who hates ERs and never wants to go, this could’ve been a lot worse.”
Also taking this as an opportunity to tell yall to again , listen to your body!!!!!!! if something feels off IT IS!!!!!
“Black Panther” star Lupita Nyong’o emphasizes a similar message through her fibroid activism, rejecting the normalization of female pain
“When we reach puberty, we’re taught that periods mean pain, and that pain is simply part of being a woman,” Nyong’o noted, explaining that it was only private conversations with women that made her realize how common this mentality is. “We’re struggling alone with something that affects most of us. We need to stop treating this massive issue like a series of unfortunate coincidences. We must reject the normalization of pain.” 
So, ladies (and gentlemen) listen to your bodies becayse you never know what that “weird” pain could be linked to.
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Emmanuel Damas, a 56-year-old Haitian man, died in ICE custody following complications linked to an untreated tooth infection.
A 56-year-old Haitian man died in a hospital this week after spending months detained in an Arizona immigration detention center without receiving proper treatment. Emmanuel Damas, an asylum seeker who came into the US through Biden’s immigration program and had been in ICE custody since September 2025, reportedly told doctors he had been suffering from a toothache since mid-February. 
However, Damas’ brother, Presly Nelson, who says he learned about his brother’s hospitalization from another detainee who called the family, suspects that the officials at the immigration facility did not take his complaints seriously, raising concerns for the medical care immigrants receive in government custody. 
“Somebody dropped the ball for whatever reason,” Nelson told the local ABC news station. “The nurse said he most likely had a tooth infection, and he did not get the proper attention, and it had spread to his neck, then to his lungs, and he went septic, and it spread to his whole body.” 
Damas’ death is part of a deeply troubling pattern. At least 30 people died in ICE detention in 2025, and so far in 2026, the Associated Press reports that at least nine people have died in ICE custody. 
“Far too many immigrants—including Haitian nationals—have died in ICE custody,” said Guerline Jozef, Executive Director of the Haitian Bridge Alliance in a statement shared with theGrio. “The death of Emmanuel Damas is a devastating reminder that our immigration detention system is failing the most basic standard of human dignity. People seeking safety should not die from untreated medical conditions while in government custody. These deaths demand urgent accountability, transparency, and meaningful reform.”
Though the Deparmenet of Homeland Security has not commented on these reports, Chandler, Ariz., City Councilmember Christine Ellis shared that she is “deeply heartbroken” to learn of the death of Damas. 
“My prayers are with Mr. Damas’ family and the Haitian community during this difficult time. No family should ever endure such a loss, especially under circumstances that raise questions about access to timely and appropriate medical care,” she wrote in a statement. “His reported struggle to receive timely medical attention before being transferred to a hospital raises serious and painful concerns about the quality of care provided to individuals in custody.” 
“As a public servant and healthcare professional, I have engaged our Arizona congressional delegation to ensure that compassion, dignity, and accountability remain at the center of how we treat every human being regardless of their immigration status. May Emmanuel’s memory inspire a renewed commitment to justice and humanity in all our institutions,” Ellis concluded. 
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Tate has researched the polyvinyl acetate house paints Riley used to create Hesitate (1964) and other works
© Bridget Riley 2025; All rights reserved. Photo: © Oli Cowling/Tate
A landmark of Op art, Bridget Riley’s 1964 painting Hesitate has been cleaned for the first time. A conservation team at London’s Tate Britain used a pioneering treatment developed as part of Greenart, a three-year international research programme focused on finding safe, green cleaning solutions for cultural heritage.
Like Fall (1963), another Riley painting which Tate cleaned last year as part of the same project, Hesitate—a canvas of grey spots on a white background that gives the illusion of a wave rippling across it—had been flagged for conservation work for some time. Until now, cleaning was limited to dust removal because of concerns about the impact of traditional “swab rolling” (where a surface is cleaned using a solvent such as purified water, applied via a cotton swab), on the black-and-white house paints favoured by Riley during the early to mid-1960s, when she made some of her most distinctive and best-loved works.
The cleaning was carried out using hydrogels developed by Greenart’s project co-ordinator, the Centre for Colloid and Surface Science, a Florence-based research consortium with whom Tate had previously collaborated on a similar project called Nanorestart.
For Tate, Greenart offered a unique opportunity to research the mid-20th century polyvinyl acetate house paints used by Riley and others including Sidney Nolan, Kenneth Noland and Nelson Kenny. “We’ve spent a lot of time on acrylics and modern oil paints, but not so much on polyvinyl acetate. It’s quite heavily represented in our painting and sculpture collection”, says Tate’s principal conservation scientist, Bronwyn Ormsby.
Unglazed, unframed and unvarnished, Riley’s matt house paints are especially vulnerable to soiling, which causes yellowing and greying, but the surfaces are highly sensitive to pressure. Swab rolling would risk burnishing the surface, leaving a matt paint surface with a gloss. But doing nothing was also not a safe alternative, since over time the dirt is “imbibed”, making removal increasingly difficult. Limiting display time is similarly impractical for such popular paintings.
Hydrogels, which Ormsby says resemble “uncooked squid without the smell”, eliminate the need for mechanical action, holding a liquid agent in a semi-solid structure. “They’re laid down, they’re slightly patted to remove air bubbles, very lightly, and left for a period of time that we’ve determined is optimal. And then they’re removed gently. So there’s none of that hand pressure”, Ormsby says.
Hydrogels emerged as a revelatory new material in the Nanorestart programme, which ran from 2015 to 2018. Tate’s Whaam! (1963), by Roy Lichtenstein, was cleaned for the first time using Peggy 6 (polyvinyl alcohol-based polymeric hydrogel). “Through that project, we’ve developed a methodology about how to test these gels, how to ensure that they’re safe to apply to works of art,” Ormsby says.
Funded through Horizon Europe, the European Union’s funding framework for research and innovation, Greenart was part of a larger project aimed at dramatically improving the green credentials of the conservation industry. Tate’s place, which included the allocation of two conservators, was funded by UK Research and Innovation.
Peggy 6 set a high benchmark for Tate’s rigorous testing phase, the results of which determined whether and exactly how Fall, and separately Hesitate, would be cleaned. To be considered for use on the paintings, the product had to evenly remove the soil layer, without disturbing pencil lines or any other artist’s marks, or causing unwanted changes to the painting surface.
“We found a gel that worked better than the Peggy 6, which was amazing”, says the lead painting conservator Annette King, who worked with Katey Twitchett-Young on testing and fine-tuning the application method before taking the successful Greenart PVA-SU2 product to Riley’s paintings.
Their preparatory work involved accurate mock-ups of both paintings, created using information from chemical and microscopic analysis of the paint layers, archived documents and interviews. Riley herself visited in 2024 to speak to the team, and an advisory committee was set up to bring in outside expertise, including Philip Young of the Bridget Riley Foundation, and Julia Nagle, a private conservator currently assigned to the exhibition Bridget Riley: Learning to See at Turner Contemporary (until 4 May). The mock-ups were light-aged and artificially soiled to match the originals.
Hydrogels were laid across the work before being removed gently
© Tate
Though Peggy 6 is biodegradable, the Greenart gels are cleaner still. “Polyvinyl alcohol is the main polymer, but they are—the word that the manufacturers use is ‘decorated’—with these fairly short-chain diacids, which come from plant sources. I think what they’re doing is gradually replacing the more synthetic polymer aspect,” Ormsby says.
The gels can be reused several times, as part of the manufacturer’s close attention to life-cycle analysis, which looks at products from the sourcing of ingredients all the way through to production, to use and then to disposal.
The sustainability of the products is tested separately, as part of a diverse and collaborative model that not only encourages institutions like Tate to work alongside partners including the Los Angeles County Museum of Art and the Peggy Guggenheim Collection, but aims to share technologies across industries. The Japanese cosmetic company Shiseido joined Greenart in 2024, a collaboration that seems likely to offer exactly the sort of reassurance of gentle cleaning that custodians of cultural heritage expect.
It is not yet clear when Hesitate will go back on display at Tate Britain. Fall is on display until 7 June.
British illustrator’s only known paintings—on front and back of the same canvas—will be displayed for the first time in new exhibition
A three-year research project looked at the materials in four works from the same period to explain their differing conditions

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The temporary memorial in the traffic circle at George Perry Floyd Square in Minneapolis as it appeared one year after George Floyd’s murder Photo by Chad Davis, via Flickr
Minneapolis is moving closer to a permanent memorial for George Perry Floyd with the launch of a new student design competition. Organised by Rise & Remember, a group formed in the wake of Floyd’s murder by police on 25 May 2020, in partnership with Floyd’s family and the city of Minneapolis, the project grew out of research conducted by architecture students at the University of Minnesota.
Students from across Minnesota are invited to submit designs for a permanent memorial at a 2,247 sq. ft site outside the Cup Foods at East 38th Street and Chicago Avenue, where Floyd died in May 2020 after former officer Derek Chauvin knelt on his neck. The intersection has since been renamed George Perry Floyd Square and features a traffic circle with a temporary memorial at its centre, as well as other tributes and murals nearby.
The design competition opened on 2 March and closes on 19 May. The contest will award cash prizes to the top ten student designs, with $1,500 going to the winner. The top three students will advance to a second phase: a global competition open to designers, architects and public artists of any age. A panel of family members, community stakeholders and public art and design experts will select the final design before it moves into a city approval process.
The initiative builds on work led by professor Anjali Ganapathy, now the director of undergraduate studies at the University of Minnesota. In 2020 she was teaching at Dunwoody, a technical college. When students reached out to her after Floyd’s murder, “we all got together, and they were very upset, obviously, by the turn of events”, she says. “As designers and architects, there is a space for us to express ourselves in a way that many people don’t. How do you express this spatially at the square?”
Working with the National Organization of Minority Architects, Ganapathy organised students from area colleges and universities with professionals who mentored them as they explored how to memorialise Floyd’s life. The effort culminated in an online exhibition. Those early conversations laid the groundwork for a permanent memorial process.
“It’s definitely a memorial to the man himself,” Ganapathy says. “It also signifies the larger movement that sprung up after his death, not just locally, but globally.”
Niall-Julian Universe, the administrative coordinator for Rise & Remember, says the organisation grew close with Floyd’s family while maintaining the temporary memorial at the intersection. “It’s all in the name of conserving these stories of resistance and people working together,” he says.
Angela Harrelson, the co-chair of Rise & Remember and Floyd’s maternal aunt, says she hopes the design contest will re-activate the spirit that ignited in 2020 following her nephew’s death. “This is something that we feel like the world needs now to show, hey, we’re still here,” she says.
According to Harrelson, Floyd’s family members all have had different processes of grief over the last six years, but they are now united in a desire for a memorial. “We want a memorial that speaks to all the people that held us up in solidarity,” she says.
Mary Altman, Minneapolis’s public art supervisor, says the city has approved a new road layout for the intersection, but the memorial, because it sits within a public street, will likely require an encroachment permit or potentially a more formal agreement with the city.
The city will break ground on a road construction project on Chicago Avenue this year, a project that will afford an opportunity to prepare the memorial site with footings or utilities in advance, Altman adds. Ultimately, she framed the city’s involvement as fulfilling a promise.
“It’s very important that George Floyd and the impact of this murder be honoured at this location,” Altman says. “The mayor and the city have said all along that we would preserve a space for the memorial.”
Museum calls for holding Minneapolis officers accountable for excessive force and treating people of colour with respect
Efforts to preserve murals and street art are growing, as are threats to sites around the country, including the intersection where Floyd was killed
MSNBC host Chris Hayes said on air he would buy picture, which was inspired by the Derek Chauvin murder conviction, if it were to ever come up for sale.

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Grei Mendez and Felix Hererra Garcia are already serving 45-year sentences on federal drug charges, after they were found hiding fentanyl in the day care Mendez owned.
A horrific case involving a Bronx day care acting as a front for a drug lab came to its conclusion yesterday (March 4). The owner of Divino Niño and her husband have been sentenced to 25 years to life in prison in connection with the death of a toddler due to fentanyl poisoning.
Bronx District Attorney Darcel Clark told Otoniel Feliz, the father of Nicholas Dominici, that his 22-month-old son’s death has been a “catastrophe, not only for you, but for our community,” according to Spectrum News NY 1.
In November 2025, day care owner Grei Mendez, 38, and her husband, Felix Herrera Garcia, 37, were convicted by a state jury on second-degree murder charges. They are already serving a 45-year sentence on federal drug charges.
On September 15, 2023, Nicholas, along with 3 other young children, was exposed to fentanyl being processed at the day care. The same tools from the kitchen used to prepare food for the children were also used to process the drug, according to the state. Police also found that there were 12 kilos of narcotics being hidden under a trap door in the kids’ playroom and a kilo of fentanyl stored in a closet, according to NBC News.
Abel Garcia, his sister Kiara Garcia, and Jaziel Lino all survived after being treated for exposure, which included a respiratory arrest and acute intoxication, but Nicholas died. In addition to the other charges, Mendez was given another 25 years for first-degree assault, and Hererra Garcia was given seven years for second-degree assault in connection with the other three children who were poisoned.
State Supreme Court Judge Margaret Clancy gave Mendez and Herrera Garcia the maximum sentence for second-degree murder, stating she believed that they, as parents, knew of the danger of storing drugs in the day care.
Feliz said to reporters that he believed the sentence ordered was “enough time” for the couple.
“At this point, those 25 years-to-life, plus those 45 years on federal court, is enough time,” he said. “They never gonna come out.”
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The icon, the virtuoso, and the starlet – three powerhouse women complete ESSENCE’s Black Women In Hollywood digital cover series ahead of the March celebration in LA.
The latest Black Women in Hollywood covers from Essence are officially here, and the lineup is strong. Kerry Washington, LaTanya Richardson Jackson, and Chase Infiniti grace the final set of digital covers celebrating women making their mark across film, television, and stage.
Each represents a different part of Black excellence in entertainment. Kerry continues to redefine what it means to be a powerhouse both on and off screen. LaTanya brings decades of stage and screen mastery to the moment. And Chase? She’s having a major moment, stepping into the spotlight as one of Hollywood’s most exciting young actresses. The women join the dynamic, beautiful, and talented cast of Sinners, who also had their own cover girl moment. Together, they round out Essence’s Black Women in Hollywood cover series in style.
The visuals are stunning. The fashion is flawless. And the storytelling behind each woman reminds us exactly why they’re being honored.
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If there’s anyone who deserves a jaw-dropping Black Women in Hollywood cover, it’s Kerry Washington. She’s commanded our screens for years and loves to serve the girls a look. On her cover, Kerry leans into everything we love about her: risky fashion, Black beauty, and her natural knack for working a camera.
Her cover is pure drama. Kerry poses in a sleek black gown wrapped in bold white feather detailing that coils around her body like a statement piece. The look is fashion-forward and striking, while her soft glam makeup and sculpted waves add a classic Hollywood finish. Kerry was styled by Wayman and Micah.
“It’s a defining era for Kerry Washington, and she’s moving through it with purpose, perspective and undeniable power,” Essence wrote on Instagram.
There’s no denying the impact of Kerry on entertainment and culture. From her early roles in classic Black films to her unforgettable, sexy yet measured “fixer” role on Scandal, Kerry proved she’s that girl. Many of us copied her outfits, practiced her lines (and that famous lip quiver), and tried to recreate her hairstyles with voluminous curls and that signature professional polish.
Beyond the screen style moments, Kerry has also been a strong voice for political change. And she’s the mastermind behind her production company, Simpson Street.
Dressed in a sharply tailored brown pinstripe suit with a dramatic oversized bow at the neck, the legendary actress sits confidently in a director’s chair. Boss vibes on 100.
Her glossy bangs, deep manicure, and diamond jewelry elevate the tailored, boss moment. The look is classic, polished, and powerful—much like her career.
Essence describes this chapter of her life as one led by grace, conviction, and a voice that has always guided her career. “Before the industry could define her, LaTanya Richardson Jackson defined herself,” the publication writes.
From her upbringing in Atlanta to becoming a stage and screen star, LaTanya has always brought honesty to her work. Her dedication to telling Black stories everywhere has helped shape generations of artists.
Chase Infiniti is clearly stepping into her moment. The rising actress is quickly becoming one of Hollywood’s most watched young stars, and her cover shows exactly why.
On her cover, Chase is giving everything she needs to give—as every starlet should. She’s rocking a rich cobalt blue look, elevated to the next level with a plush fur coat we love.
Her soft glam makeup and vintage-inspired waves give the look a polished yet retro pin-up girl feel.

Essence also pointed to Chase’s growing momentum in Hollywood, noting her breakout role in One Battle After Another. “For Chase Infiniti, the trajectory has always been written into her name,” the magazine comments.
So on March 15, the icon who continues to evolve, the virtuoso who has inspired generations, and the starlet beaming in her new spotlight, will have their moment. As we wait for the lavish, swanky—and we know stylish—event, we’ll continue to gag over the covers, read over their receipts, and applaud these women for their contributions to culture and society.
Read more about Essence’s Black Women in Hollywood event here.
Kerry Washington, LaTanya Richardson Jackson, And Chase Infiniti Cover Essence’s Black Women In Hollywood Issue was originally published on hellobeautiful.com

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In addition to working as a manager for the singer John Legend, Hassan Smith serves on the advisory board for the Atlanta Art Fair Chip Moody
A longtime entertainment-industry executive, Hassan Smith is also a passionate collector and a regular at exhibitions in his hometown of Atlanta, as well as in Los Angeles and beyond. In addition to working as a manager for the singer John Legend, he serves on the advisory board for the Atlanta Art Fair. His personal collection includes works by many giants of Black post-war and contemporary art—from Frank Bowling, Sam Gilliam, Gordon Parks and Richard Mayhew to Rashid Johnson, Hank Willis Thomas, Deborah Roberts and Patrick Eugène. Smith is a devotee of art history as well; he counts works by Pablo Picasso and Rembrandt in his collection. As he prepared for Frieze Los Angeles, Smith told The Art Newspaper about his most recent acquisition, his favourite place to eat in town and his picks for the upcoming Oscars.
The Art Newspaper: What are you looking forward to during Frieze Los Angeles this year?
Hassan Smith: I’m looking forward to fellowshipping with fellow art enthusiasts and seeing ambitious work from galleries around the world. I’m especially excited for the Collector X Dinner, which always brings together some of the most thoughtful voices in the art and business community.
Where do you like to eat and drink near Santa Monica?
One of my favourite dining experiences during Frieze Los Angeles is at Somerville, a Black-owned supper club that honours its South Central roots.
In the Form Of (2023), by the Los Angeles-based artist Mario Joyce, is a recent addition to Smith’s collection Walker Bankson
What was the first work you ever bought?
The first substantial works I brought into my collection were photographs by Gordon Parks in 2010. That acquisition really shaped how I think about storytelling in art.
What was the most recent work you bought?
The most recent work I acquired was a large-scale painting by Patrick Eugène. He’s an artist who was recently selected by Dior for the Lady Art bag collaboration, and his work is incredibly transcendent.
How quickly do you decide to buy a work of art?
I tend to decide quickly. I rely heavily on instinct, supported by conversations within my network, to guide me towards decisions that feel both intuitive and informed.
Untitled (2024) by Esther Mahlangu; in 2024, Smith co-curated an exhibition of the South African artist’s work at ZuCot Gallery in his hometown of Atlanta Walker Bankson
What do you regret not buying when you had the chance?
I have a few regrets about not acquiring works earlier on! Particularly by Titus Kaphar, Amy Sherald and Lynette Yiadom-Boakye—artists whose practices have only grown more resonant over time.
If you could have any work from any museum in the world, what would it be?
It would be a large-scale painting by Kerry James Marshall from the San Francisco Museum of Modern Art. His work operates on both a monumental and deeply intimate level.
Who do you hope will win at the Oscars this year?
I’m rooting for Michael B. Jordan and Ryan Coogler! I’m excited to see their continued impact recognised on a global stage.
The superfan of printmaking workshop and publisher Gemini G.E.L. talks about her extensive collection of prints and her excitement for new art-fair discoveries
The collector tells us about her family firm’s artist collaborations, and her first art purchase, furniture from a Paris flea market
The singer-turned-curator, and founder of two non-profits focused on uplifting women and underrepresented artists, shares her enthusiasm for Hiba Schahbaz’s paintings and her Oscars picks
The film producer reveals that his first purchase was a Banksy, and how he missed the chance to buy a work by Jaune Quick-to-See Smith, who died last month

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Discover the best food spots in Detroit, gems serving bold global flavors, classic comfort food, and unforgettable experiences.
Detroit’s dining scene is one of the most exciting in the Midwest, blending fine dining with global flavors and local favorites. From nominated restaurants to neighborhood gems, the city offers something for every palate no matter what youre craving. Food lovers flock here not just for iconic eats but for a food culture that’s constantly evolving .
Check out some of th eoptions we deem as the best food in detroit.
Haus Of Brunch
Little Mae’s
La Dolce Vita
Big KEN’S Bar-B-Que
Amelia Street Pizza
Mighty Wing Shop
Pie Sci
Shiromaru
Avenue Brunch House
Soul 2 Go
Meat Moot
Soul Food Sistas On The Go
Modern Seven Bistro
TOPS
Royale With Cheese
Wing Fellas
Mootz Pizzeria + Bar
Caribbean Cuisine
Habachi Me 313

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Alison Luchs’s Instagram posts in slang have been a huge hit National Gallery of Art/@ngadc
Alison Luchs, the deputy head of sculpture at the National Gallery of Art in Washington, DC, is getting down with the kids in a big way.
Luchs was asked by the gallery’s social media manager, Sydni Myers, to appear in a series videos aimed at reaching out to a younger Gen Z audience. The posts have since gone viral, clocking up almost nine million hits so far.
“Chat, I’m about to buss it down Roman Empire style,” says Luchs, aged 77, in a recent Insta reel focused on a 16th-century urn. “Haters will say this urn is mid [mediocre], but they don’t know we’ve clocked its tea [uncovered something new].”
In a video focused on a 16th-century tin-glazed plate created by the Italian ceramicist Orazio Pompei, Luchs says: “Look how bro glazed it. He went goblin mode with all these colours [he was self-indulgent].” Alison, your take on art history treasures is straight bussin’.
The social media satirist behind the popular digital persona told The Art Newspaper she was eyeing up new art world projects—but she may not be leaving Insta just yet

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The Colorado football community is mourning the tragic loss of quarterback Dominiq Ponder, who died early Sunday morning in a single-car crash.
The Colorado football community is mourning the tragic loss of quarterback Dominiq Ponder, who died early Sunday morning in a single-car crash.
According to the Colorado State Patrol, Ponder was driving a 2023 Tesla Model 3 when he lost control on a curve in Boulder County. The vehicle crossed lanes, rammed through a guardrail and an electrical pole, and ultimately rolled down an embankment before catching fire.
Authorities suspect speed as a contributing factor, though a full investigation is underway.
Ponder, a third-year sophomore from Opa Locka, Florida, transferred to Colorado from Bethune-Cookman two years ago.
Head coach Deion Sanders expressed his grief on social media, calling the 23-year-old a “born leader” and a favorite among the team.
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“God please comfort the Ponder family, friends & Loved ones,” Prime began. “Dom was one of my favorites! He was Loved, Respected & a Born Leader. Let’s pray for all that knew him & had the opportunity to be in his presence. Lord you’re receiving a good 1. Comfort us Lord Comfort us.
The Big 12 Conference also extended condolences to Ponder’s family and the Colorado football program, adding that “Our thoughts are with the entire CU community during this difficult time.”
Ponder’s death comes just as the team was preparing to begin spring practice on Monday. So while the team did take the field they said its what Ponder would have wanted.
Both coaches and teammates spoke highly of him when addressing the media, adding that his presence will be missed. They reportedly met privately and vowed to keep his memory alive throughout the season.

“It almost didn’t feel real to a degree,” running back Dekalon Taylor told CBS News. “I feel like I got hit by a train almost.”
Assistant coach Brennan Marion said, “You see somebody every day, every morning. We’ll just save a spot for him in the room.”
As the investigation continues, the Colorado community rallies around Ponder’s family, honoring his memory and the indelible mark he left on those who knew him.
See social media celebrating his life below.
Colorado Buffaloes Mourn QB Dominiq Porter After Fatal Car Crash was originally published on cassiuslife.com

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Raphael Saadiq talks “Sinners’, D’Angelo, and letting the blues find him.

With an Academy Award for Best Original Song hanging in the balance, Grammy Award-winning musician Raphael Saadiq has plenty to talk about—and even more to be grateful for.
“This is crazy.”
Despite the former Tony! Toni! Toné! frontman’s claims that “It Never Rains in Southern California,” on an uncharacteristically dreary morning, the clouds bearing down on Los Angeles are doing exactly that. Undeterred, he offers a mea culpa:
“It doesn’t rain, it like—storms here. Lucky I wore some boots though.”
If his calm demeanor in the midst of chaos comes as a surprise, it shouldn’t. With Ryan Coogler’s Sinners taking Hollywood by—well—storm during awards season, Saadiq’s lone contribution to its soundtrack, the spellbinding “I Lied to You,” is up against Diane Warren, KPop Demon Hunters, and others vying for Best Original Song at the upcoming 98th Academy Awards.
It’s the type of sonic immortality that, after nearly 40 years in this business, honestly feels inevitable.
So, in between flash flood warnings and accolades for his executive production work on Brent Faiyaz’s latest album, Saadiq and I discussed all things Sinners, the tragic loss of his “brother” D’Angelo, and how his grandmother instilled in him the importance of Black History Month.
This interview has been edited and condensed for clarity.
Jay Connor: Sinners is easily one of the most culturally profound movies in recent memory—if not ever. How did you become involved in such an impactful project?
Raphael Saadiq: I got a phone call from Ryan Coogler. We’re both from the Bay Area, both born and raised in Oakland. We never met in person, but we knew of each other. I also got a call from [Grammy Award-winning composer] Ludwig Göransson, who scored the movie. They invited me over and gave me a rundown.
Connor: Ludwig is a beast.
Yeah, he’s a beast.
Connor: He’s no joke. And with him using blues as the lifeblood of this soundtrack, what was the creative process like with “I Lied to You”?
I spoke to Ryan [Coogler] on FaceTime as he was getting ready to start shooting. He told me the history of his uncle, who was really into blues. His uncle gave him the history of the relationship between the blues and church, and the complications that blues players faced: that if you played the blues, you were going to hell. So there was this tug-of-war between church and the blues. I knew that story all too well, growing up in Oakland around a lot of Pentecostal, Church of God in Christ—people like Sly of Sly and the Family Stone. His dad, Sylvestor Sr., was a pastor. He would come to our church and preach sometimes. He’d see us playing music, and he’d look at us like, “Don’t get out there in the world and get turned out.” So I lived Preacher Boy’s story.
Connor: Oh, wow.
So once Ryan gave me his uncle’s interpretation of that, we got off the phone, and Ludwig and I grabbed our guitars and jammed for an hour. We came up with the main guitar licks, then off the top of my head, I just started singing the lyrics. It just sort of came out.
The way Ryan explained what he wanted to me, it made me think about blues musicians like Muddy Waters, Howlin’ Wolf—just to name a few. That’s what I was pulling from. That was my inspiration. And I guess the ancestors came down because it fit the film so perfectly. Just that lyric, “I lied to you.” I don’t even know why I said it, but it matched the film. It had to be something spiritual that happened, because the kid who was singing it, Miles Caton, he has this big voice—
Connor: Yeah, his voice is crazy. He sounds like a grown-a** man.
And he’s a young dude! Like 20 years old. I could never sound like that.
Connor: He was the missing ingredient that made that song so mesmerizing. Were there any other influences you drew from—aside from Muddy Waters and some of the others you mentioned—in the song’s creation?
And he’s a young dude! Like 20 years old. I could never sound like that.

Connor: That’s a pretty profound statement to make—especially with the caliber of projects you had already worked on prior to Sinners. From Higher Learning, to The PJs, to Luke Cage, to Insecure, you have a lengthy history of using music to expand the scope of visual storytelling. What is it about music and film that pair so well together?
I’m a very visual person. I’ve also found that I really like writing to films. I can just turn the volume down, and if I see something, I like writing to it. When you have DPs (the director of photography) and directors shoot something that beautiful—I didn’t even get a chance to see this one. I only had a day to work on this.
Connor: Hold up. A day?
I did it in like two hours, then left. I never saw the film or heard the song again until the movie came out.
Connor: Wait, wait, wait, wait, wait, wait, wait. They gave you two hours?!
Nah, they didn’t give me two hours, but that’s how long it took.
Connor: Oh, aiight. [Laughs] I was like, what?!
They were leaving in the next two days, so we only had that one day to do it. It just came out. Sometimes you write music and it comes out slowly. When Toto wrote “Georgy Porgy,” one of the Porcaro brothers told me they played it and sang it down the first time. He just kept going. Sometimes you have songs that take a week, sometimes they take a year, sometimes they only take an hour. This was one of those two-hour songs. The words came out, and everything was just flowing. So I know it wasn’t me. I’m just a vessel. I felt that energy through my body that—it wasn’t me. Ryan, Ludwig, and I were just put in place to do what we did.
Connor: As a fellow creative, I can relate entirely when you say that. It’s like when Steph Curry’s in the zone—he can’t miss. Sometimes you’ll sit there, and it’ll take you forever to put something together. Then other times, it’s immediate. So you’re like, “Okay, dope! I should keep cooking up because—”
[Laughs] I’m in a zone! Can’t nobody mess with me.
Connor: You feel me?
Feed me the rock!
Connor: [Laughs] For sure. So obviously, there’s a difference between reading the script throughout the creative process and actually seeing the end result with the song incorporated on screen. But I’m curious: Since you came in, banged the song out in two hours, then dipped out, what was it like to watch that scene for the first time? Especially knowing how pivotal it was to the film?
I was so surprised because it expressed something I always talk about: how Black music is everything. We speak through drums. Drums are a language. Our conversation is always drums. It’s always rhythm. So in that scene, when it goes through all the different variations of hip-hop and all those different things, it cemented that for me.
I had to see it twice to really grasp what was going on. I was looking at Ryan—it was dark, so they couldn’t see me looking at them—but I’m looking at them like, “What the?” I’m looking around—I didn’t know what to think. And when I heard “I Lied to You,” I didn’t even remember the song.
Connor: How long before the movie came out did you record it?
Maybe like six months?
Connor: So it wasn’t too crazy of a wait.
Nah, it wasn’t too crazy. It might’ve been longer, but I don’t think it was that long.
Connor: Aiight, I got you. Between being a journalist and a consultant, I see a lot of movies and TV shows way before they’re even finished. So I saw Sinners at least three times before opening night, and the first time I saw that scene, my mind was completely blown like everyone else. But the other two times, I was just watching people, and they all had the same reaction you and I had, where we’re all just sitting there stuck like, “What the hell just happened?”
[Laughs] Yeah.
Connor: And with that underlying theme of Black music having this supernatural element to it, in real life, that’s the Black experience. There’s something extraordinary about us—whether it’s a byproduct of the obstacles we’ve faced—but there’s a reason we’re the epicenter of creativity and culture throughout the world. So seeing Ryan and everyone else involved create a scene that so masterfully illustrates our impact and influence was amazing. And the fact that you were a part of it is just icing on the cake.
We are the drums. We create that base for people to start from. That’s us. That’s what we do. I’m such a fan of Michael B. Jordan, too. And Howlin’ Wolf’s “Smokestack Lightning” is one of my favorite blues songs. So seeing the characters he played were named Smoke and Stack, I was in there gassed. Just fanning out. Sometimes, when I’m working on a film or a show, I forget that I’m part of the staff working on it, too.
Connor: Was this your first time working with Ludwig? And if so, did he specifically state why this was the perfect time for y’all to work together?
He just said they wanted to be really authentic to the film. He was like, “What other person could we call who’s authentic to the culture behind this music?” And that I could probably write something that people would listen to. I’ve had songs called “The Blues.”
Connor: [Sings] “Spending all my time pleasing you…”
And that was at a time when nobody would dare put out a song saying you give me the blues! We were young and just knew. It wasn’t a popular thing to say. It’s like when Kendrick put out, “We want the funk!” Funk wasn’t a popular word to use in a record. But if you really believe in something, people will follow. And Ludwig felt like I would be that person. They went to Clarksdale, Mississippi, the birthplace of blues, and got all the original blues cats—people that even I didn’t know—I got the opportunity to meet. They were being very true to the craft.
Connor: Sinners has already been killing it throughout award season, but with sixteen Academy Award nominations—the most for any film ever—it’s poised to take Black cinema to unprecedented heights. How does it feel to have your art and your passion so well received?
If I can be honest, this is one of the best feelings of my life. I can feel the people around me talking about it. It feels like I’m carving myself into more history. I’ve been doing this for a while, but everything in front of me just keeps getting better. I’m being blessed by the gods.
I’m being placed around people who love the arts, love creating, and take chances. I’ve always taken chances at every part of my career. I never took the easy route. So win, lose, or draw, I can never lose being around all these great people—and Sinners is the cherry on top. This is making history, and I just love being part of it—with the cast, Ryan, and Ludwig.
This movie is rooted in what I love: the blues. The first record I ever tried to play on a broom was “The Thrill Is Gone” by B.B. King. I remember my sister holding the lamp over me, and I’ve got the broom. [Sings] “The thrill is gone…” I was born for this.
Connor: By saying everything in front of you “just keeps getting better,” you’re speaking even more blessings into existence. And I know you said you were sought out for this film, but what is it you look for in collaborators? And in the people you want to work with?
I look for people who have a vision of what they want to be and what they want to do. When I look back at my track record—rest in peace to D’Angelo, my bro—that’s somebody who knew what they wanted to do and who they wanted to be. So it was easy. It was like Sinners—the songs were fast.
When we worked on “Untitled,” I just so happened to be in New York, walking down the street in the Village, and stopped by to get a joint. I was sort of mad at him from like three months before, and he runs up and goes, “Yeah, I got a joint. But can we do a song?” I’m like, “Yeah, let’s do it.” And it becomes one of these monsters. That’s because when two people lock in, and you both have a vision, it just happens like that.
Connor: Y’all definitely made magic. And with everything you’ve accomplished throughout the course of your career, I and plenty of others would consider you the human embodiment of Black history. So my question is, what does Black history mean to you, as well as everything you’ve contributed to it?
Black history means great parenting, starting with my grandmother, Sara Ford. She took me to church, and when I was playing, she would stand up and tell everybody how amazing my nephew and I were. But the funny thing is, at that church, my amp was so small, and the organ was so loud, you could never hear anything I was doing. [Laughs]
My grandmother was one generation removed from slavery. So for me to be raised by my mom and my grandmother…I think about it every Black History Month. All day, all year. Thinking about the things our people went through.
My uncle had to go to school and only had one pair of jeans. Then a car would drive through a puddle and muddy up his clothes. He didn’t have any other clothes to wear, so he’d have to go back home, put on a dress, and go to school. [Laughs] So, when I think about that kind of history? As Black people, we can get through anything.
Connor: No doubt. So after y’all win the Oscar for Best Original Song, what are you gonna do to celebrate?
We got some stiff competition. But if we do win, I don’t know what I’ll do. That’ll be crazy.
Connor: Might have to put one in the air for D’Angelo.
Oh, of course! Definitely.
‘Sinners’ ’ I Lied To You’ Is Set To Make Black History was originally published on bossip.com

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