Olivia Le is a senior at Binghamton University who pushes sustainability on campus by using her small thrifting business on Instagram, Binghamton Thrifts.
She studies business administration with a concentration in marketing and is involved with the field hockey club and the student association board on campus.
Twenty years old and from Long Island, New York, Le has built a platform through her passion for thrifting that heavily promotes saving the environment for students.
Her growth and creation go back to March 2020 and have come a long way.
The inspiration behind Binghmaton Thrifts
“I love thrifting and before I started the business I would find a lot of the pieces that I thought were super cool or super trendy…,” said Le.
She continued, “Or I knew someone else who would love a piece that personally did not fit my style so I would leave it behind, Then I thought about blending that with my love for business, social media, and marketing.”
“I thought that it would be a good way to make some extra money on the side while promoting sustainability.”
– Olivia Le, Binghamton Thrifting
Photo Courtesy: @binghamtonthrifts
“Not a lot of people thrift because it is very time-consuming and people don’t want to go search through a bunch of stuff for a couple of hours,” said Le.
She continued, “So, I thought this would be a great way to make it easier for people to shop sustainably. Websites and companies like SHEIN make buying so easy whereas thrifting has more effort to it.”
Le says that by using Instagram the clothing apparel is placed front and center on her page that creating an effortless feel when shopping sustainably.
In everyday society, individuals are constantly on social media platforms such as Instagram, and it has now become a universal platform to do almost anything! She uses the app to her advantage that has flourished her business.
The blueprint to the thrifting business
“I would definitely say just full sending it…”
“When I started, I did not advertise it or say who I was. I just started following a bunch of people who go to this school and eventually it started to pick up,” said Le.
The founder continued, “That is when I decided to you know to start promoting it on other personal social media platforms, told my friends about it, and told my friends to tell their friends. I just kept following a bunch of people as well because I thought it was the best way to gain exposure.”
Le had a choice to make when it came down to making the best decision for Binghamton Thrifts. “I specifically chose Instagram because other reselling platforms like Depop, Poshmark, and Etsy all take a percentage of your sales and I also know that a lot of college students are not familiar with these platforms.”
“I thought Instagram would be the best to amplify the business because I can keep all my profits as well as gain more exposure especially since my target audience is university students,” she said.
Letakes into consideration the pricing of items basing them on her target audience which is college students. She emphasizes affordability while balancing profits for her business.
Her determination of pricing comes down to the quality and not necessarily the brand.
Where does she cop all this drip?
Photo Courtesy: @binghamtonthrifts
“Besides selling my own clothes, I started selling other people’s clothes as well on my platform,” said Le.
She continued, “I think that helps in terms of keeping things sustainable. People not throwing away their clothes or only getting a one-time use when it can get multiple uses. Once you sell it to somebody else, someone else will love it and wear it. That is one of the biggest things too.”
Le has effectively pushed sustainability on and off of her college campus. She said, “I would definitely say I made a decent mark on campus…
“If clothes don’t even sell I just donate them back to the thrift store instead of throwing them away and hopefully they go to use.”
How do you decide to let go of clothes that don’t sell?
Photo Courtesy: @binghamtonthrifts
“I usually hold onto them for a while. Right now, I still have a decent amount of clothes that I have not sold yet or even posted on Binghamton Thrifts IG page. It just depends whether I feel like I have to do a deep clean or need to get rid of some pieces”
“Someone who does want it can have it without it ending up in a landfill.”
– Olivia Le, Binghamton Thrifts Founder
So what’s your focus with Binghamton Thrifts?
“Educating people on sustainability, on thrifting, and how much it can benefit the earth…,” expressed Le.
“The big thing right now? I started donating a lot of profits to charities, I’ve done a Stop AAPI Hate fundraiser, a fundraiser for Black Lives Matter, and for RAINN, the rape abuse national network.
She continued, “I’m trying to definitely make more of an impact on society apart from just selling clothes and keeping sustainability consistent.”
“The two majors things is educating people more on the importance of sustainability through clothes, and helping other causes that are important to me…that are close to me”
– Olivia Le, Owner of Binghamton Thrifts
Using her inspiration and passion in creating Binghamton Thrifts
“I just love the fact that you can thrift such unique pieces, which is such a money saver. I really got into thrifting because of my mom. She actually showed me thrifting a while back and I fell in love with it,” said Le.
She continued, “Social media marketing is something I find really interesting so that is a future goal where I can be a creator out of it”
The balance between being a student and running a small business
“At first I didn’t tell anyone that it was me and I wanted to see if my clothes would sell or if it would pick up at all. There were definitely times where I felt overwhelmed, especially with school and having class at the same time because it was intense.”
“I’ve taken month breaks at times and I haven’t been on it a while now because of school and my extracurriculars, but I am planning to start it up again over winter break and hopefully I still can gain more traction and continue to grow.”
Simply search the hashtag #CopBinghamtonThrifts and items that are available and have not been sold yet will appear. The posts obtain descriptions, sizing, and prices that are sold on a first come first serve basis!
With almost 4000 followers on her platform, and is commonly known by Binghamton University students, Binghamton Thrifts has been an outlet for eco-friendly new fashion finds.
Le reminds us of several aspects by being an inspiration to all by balancing the life of a student/business owner while also creating good in the world. Le has built her business on a well-rounded ground that benefits students, important organizations that create positive societal impact, and people who enjoy thrifting!
Olivia Le and Binghamton Thrifts will be continuing the mission throughout 2022!
When we came across the COAL NFT while searching for Christmas gifts, we didn’t know what to think. Is it a stroke of genius or just another gag gift for the blockchain rich?
We needed answers. So we dug deeper and spoke to the creators. They’ve requested that they remain anonymous for the sake of the NFT project.
More than just an NFT, the COAL EXPERIMENT 001 represents the times we are in. It’s a social trial and what many could call art. But what does it take to hype the NFT community and new crypto adopters to spend .025 ETH and gift their fave asshole a lump of digital coal for Christmas?
COAL EXPERIMENT 001 FOR SALE ON RARIBLE (CLICK HERE)
What’s really good with giving someone a lump of coal for Christmas?
Where did the idea of giving someone a lump of coal on Christmas come from? There are many theories, that you’ve all probably heard of. The most common thread… coal was given to naughty children on Santa’s bad list.
For those who were finessed by their parents at that gullible age, that folklore tale still rocks with us to this day… No pun intended. One of the most interesting story lines, at least to us, comes from the 19th and 20th centuries. Back then, it was hard for impoverished families to come across coal. Back then a coal stocking stuffer was a come up.
But what are the creators of COAL NFT doing differently?
The conceptualization of the COAL NFT…
While at a holiday party one of the creators came across a conversation of a girl talking about her shitty sister’s boyfriend. After eavesdropping and hearing about how the boyfriend was a jerk finance bro who cheated on her sister, what started as a funny interjection became the spark that ignited the inspiration behind the COAL NFT.
“You should mint a piece of coal and gift it…” said one of the creators that night. After thinking long and hard, the creator would take the idea to his best friend who happens to be an ill graphic designer.
The two would then think through what coal represented and ponder on the old myth: Coal under pressure makes diamonds.
As black creatives the myth resonated with them and with NFTs empowering creatives all over the world, what, if at any time, would be the right time to drop a project like this.
Going deeper in thought they asked themselves these questions: Could it help more people tap into NFTs? What happens when you hold COAL? What does the COAL community represent.
Not giving to much away…
So what happens if the COAL NFT is a success? With 1000 available in the collection on Rarible.com (now 993) the creators of the social experiment plan on using a portion of the money to create a generative NFT. Meaning the COAL NFT could evolve at any moment in time after Christmas.
The update to the smart contract would represent that underneath the persona of every douchebag there is a beautiful caring human. On their twitter they hint at the future by using hashtags #PRESSUREMAKESDIAMONDS.
One creator even said that he would give 25 percent of his earnings to an environmental non-profit organization in an effort to offset the carbon emissions crypto causes day-to-day.
There’s definitely a lot to come from the COAL NFT camp and we’re here for it. Check out the NFT project just in time for Christmas on Rarible for yourself (click here).
Cheryl Fox’s work features some of the biggest ICONS in Hip Hop, like that of Shawn “Jay Z” Carter, Snoop, Sean “Diddy” Combs, Pharrell Williams, and more. Fox’s connections to the artists runs deeper than commissioned works as some of these individuals are friends who she has met through word of mouth.
Fox is an advocate of artists knowing their rights. The importance of cultivating a community is strong in her work but also, learning the business behind photography so that she can, and has, maintained a career without representation.
Cheryl Fox is a Photographer from New Jersey who currently lives and works in California. Fox has been in Cali for about 11 years and has no intentions of leaving anytime soon.
She got started in photography through her father but also took classes in college where she learned to develop film. Cheryl began her college education at the HBCU, Hampton University in Virginia, but later went on to hone her skills at the School of Visual arts in NYC.
Although the work lives in the realm of Fine Art, Fox has found a way to push beyond the boundaries and create her own space for making work. Through her personal relationships, she has had opportunities to work for businesses like HBO, Showtime Key Art, obtained Magazine covers, album packaging, and Ad campaigns.
In terms of authenticity and beauty, I would say Fox has done an amazing job of cultivating a path she can call her own. As a Black woman in this industry, she is a shining example of what faith and hard work can produce.
She has also published a coffee table book titled, “Art of a GUEST PASS,” which exists as a musical memoir of images never before seen of Fox’s personal lifestyle.
Fox will be dropping her first NFT collection in collaboration with Guilty by Association on Foundation. Which is a creative playground for artists, curators, and collectors who are seeking to experience the new creative economy.
NFTs have taken the art industry by storm, these non-fungible tokens which are certificates of ownership of a digital product have given power back to creatives.
Allowing them to reach audiences worldwide and share their work with people who may not have otherwise known of their presence in the industry.
Guilty By Association (GBA) helped Fox and does help other underrepresented artists by supplying them the tools to present their physical and digital works to new audiences.
This collaboration in many ways was the perfect platform for Fox to give space to the images that she holds dear to her heart. Such an important relationship to have as a creative to your work.
This NFT collection is made up of twelve minted images titled “SMOKE”. The drop is a part of her ongoing series of works that will lead up to Hip Hop’s 50th Anniversary in 2023.
A drop you don’t want to miss. I had the pleasure of speaking with Fox about her photographic journey and what it’s like to be a non-represented creative making this type of work.
Jade Rodgers: How did you get started in the photo industry?
Cheryl Fox: I got started in photography, really through my father, but also, I took a darkroom class and learned to develop film. I thought it was developing that I loved. Part of the class, obviously, is that you must take pictures in order to develop.
I loved seeing the images come to life in the lab and being in the darkroom. Then I started to give the photos away, and people would often say, “Oh my god your photography is so good.” I realized that maybe it’s photography that I love and not just the darkroom. I just started taking more pictures and gifting them.
When I went back to school, I attended the School of Visual Arts and learned lighting and how to work with a creative team. I thought to myself, oh my goodness, these photographs that I’m taking look like something out of a magazine. From there, I went on to build my own darkroom in my house. Even now I have my own in-home studio…
“I’ve gone through so many distinct phases.”
– Cheryl Fox, Photographer
Sean John Billboard Photo Courtesy Cheryl Fox
I went from film to digital, which was not a good ride, because I love film, but then the world changed like it always does. My life changed as well, and I went through a divorce. I was like, if I want to continue to shoot as often then I’m going to have to use this digital thing. You know, film photography is expensive.
JR: That has always been my dream to own my own studio, especially to develop film. The fact that you were able to realize that is so dope. I love that.
CF: Oh, good. Yes, you can do it.
JR: That’s the goal. I mean, I’ve already got my chemicals, I just need an actual physical space.
CF: Mine was a little corner of my basement that I had built out in my home at the time. I had a handyman come in and build a space that’s about the size of a walk-in closet. I’m not sure where you are, but spaces are tight everywhere.
JR: They certainly are, and I know it’s going to happen it’s just a matter of having the space right.
CF: You’ve already envisioned it and that’s the half of it really, is seeing it.
Refining her skills
JR: I was curious about your background in fine art. Also, your relationship to the categorizing of artists because I feel like your work can exist in several different spaces. What was that experience like going back to school?
CF: I went back to school specifically to learn about lighting and all that. Though originally while I was at Hampton University, and then to Kean University.
I have my BA in Sociology and I don’t have one in fine arts. On the other hand, my daughter, got her Bachelor of Fine Arts, in photography from the Fashion Institute of Technology. She was like, ‘oh, I’m going to major in photography.’ I was like, ‘Oh, that’s a layup.’ Do you know what I mean? I never even thought about it when I was in school, that that was something that you could major in. It wasn’t until I went back to learn.
JR: I get that. Growing up I thought the same thing. I went to college initially for computer science. They don’t often push us towards the arts. The first advice I was given was that if I’m going to be an artist’s I’m going to struggle and that it was hard. I thought that back then, but I sort of feel like it was a lie. It was almost discouraging for me. Simply because I never saw my art as something I could make a living off.
Finding your lane as a photographer
CF: It’s certainly not a lie, because my entire existence as a photographer in ways, and without representation was hard. I don’t have representation and everything that I’ve shot was word of mouth.
JR: Even your work, The Art of a Guest Pass?
CF: None of that was commissioned. That’s just walking through life. So, for instance, Art of a Guest Pass, I named it that and put this collection together of my music photography.
I named it several things, it’s been the rock and roll of hip hop. I was trying to figure out how to present this body of work.
It was funny because a friend of a friend was at my house. I was working on the computer, and she was laying down on the couch. She said, you know, looking around my house, she was like, you should do a book.
I said, Yeah, I’m working on it. I want to do a kid’s book, and I want to do a book on sports, and I want to do all these things. She was like, you should do a music book. What are you doing with all these pictures? Other than having them on your wall?
I have a gallery right now in my house. I just need a bigger house or a bigger gallery because I’ve got even bigger prints. By the same token, I wasn’t even thinking about it, right here in my house is the court. Right?
So, I’m like, ‘Oh, wow, a music book.’ Then the pictures are very personal to me. I came up in an industry years ago, where it was Puff, and Jay Z. Beyond that, it was a little bit of Pharrell. Everybody was just grinding and working, and we would vacation together, spend holidays, go to The Hamptons for the summer, and play ball.
CF: While I was there years ago, I had done publicity. I stopped doing publicity and thought to myself what am I going to do? I don’t want to just sit here, so I started taking pictures while I was hanging out over the summer. At some of my friend’s birthday parties I would take pictures. Then all of a sudden these guys became big celebrities.
Meanwhile, I continue to take pictures, but it’s just me, my kids would go away. Ever since we got divorced and I moved to California the deal was that they would spend holidays with their father who was still in New Jersey.
So, every Christmas I would spend at the Staples Center watching the game pretty much by myself or whoever I could get to go with me because it’s Christmas Day, right? I have this picture of Kobe Bryant and LeBron from that Christmas day.
That’s I guess, 11 years old now, but it is an insane image for so many distinct reasons. Both their hands are down the balls extended in the air. Then Kobe and LeBron spoke to each other just before Kobe passed and I don’t know, it’s special for so many reasons. What do I do with that?
I’m photographing Puff, and we’re at clubs, birthday parties four in the morning. I got great pictures, but what do I do with that?
I can’t just give those to a magazine or somebody that doesn’t care about my culture, and my people.
– Cheryl Fox, Photographer
They could extort it and just like, do whatever, so I just held onto those images. Or gave them away as gifts, and I would just hold them.
Thinking outside of the machine
JR: That’s an interesting perspective to have about your images. When we think about accessibility and galleries, especially as Black creatives. Listening to the ways in which these moments are incredibly intimate for you with people you love and value.
How could institutions understand that when they only see it as a commodity. They’re thinking, oh that’s a famous person it would do numbers. You’re thinking outside of that machine and doing it within your means. I think that is just another reason that I love the work you do so much.
CF: Thank you, Jade. I mean, and for me, as an artist, I didn’t know.
Protect your work, even a picture on Instagram, because somebody is going to grab it, run with it, put their tag on it.
– Cheryl Fox, Photographer
They’re never going to know that it was even my image. Who wants that? No, thank you. Though I would go into galleries because I love images, no matter what. Even before I started to make my own and blow them up. I would always go to West Fourth Street, buy jazz images and frame them and I always had images in my home.
Even when I was younger, so I knew there had to be a way somewhere in there. When I would go to the galleries, it was a lot of rock and roll photographs, of the white rock and roll guys.
Rock and roll at that point wasn’t America’s music anymore. It was Hip Hop. Thinking about The Doors and the Beatles and Rolling Stone. I had the hip hop version of these iconic beings. This one gallery, in particular, the Morrison hotel gallery is big on images like that.
I’d always wanted to show work in that gallery. It used to be on Prince Street, and it was literally as big as a walk-in closet. I thought to myself I should have one picture on the wall in here. I wanted my work to be seen because outside my friends are asking for my work but who else is seeing it?
Finally, I had another gallery, Mouche that represented my work for many years here in Beverly Hills. Unfortunately, unless I did an exhibit, I didn’t get my name on the wall or my image up.
They’d have two walls of Terry O’Neill’s work, or a wall with Kirkland’s work and I’m thinking you know, can I get a corner? Can I get an image on the wall? My daughter came to me and said, Mom, you have to get another gallery.
Morrison hotel gallery onboarded me at the beginning of 2020. Literally right before everything shut down. I was so happy, and they’ve been selling prints and with them, it’s 50/50. I make the print and bring it over to them and boom, I never know who my patron is and can never say thank you.
All I can do is sign it and turn it over. That’s why I love the blockchain because the NFT world is like Fine Art Meets cryptocurrency and it’s on a worldwide gallery.
Documented, it’s immortalized forever.
– Cheryl Fox, Photographer
That image is now forever credited to me as the creator no matter where it goes, and the world can see it now and it’s protected. I’m like this is fucking insanity. Excuse My French but this is I couldn’t have dreamed anything this amazing.
The struggle…
JR: That’s incredible, and you know I’m just gaining an understanding of what the Blockchain can be utilized for. I recently sold my first NFT and I felt empowered by that. I’ve personally tried to sell prints in the past. I’m currently a part of a print sale with Diversify photo, that’s as you mentioned a 50/50 split with the artists.
Though that feeling of not knowing who bought the work, and not being able to thank them is a weird thing for me. I don’t know the types of audiences I’m reaching. It’s sort of a disconnect for me, and I believe our medium is about community and it is about making deeper connections.
CF:That’s why it is a struggle, and for me, before last week it’s been a gamble. I mean you get a big check, and it takes you a while to get there. It’s not something that is consistently moving every day. Though you’re still young, you don’t have two kids and a divorce. Though it really might not be a struggle for you because you’re already selling.
JR: It might not, though in terms of financials, I’ll be honest, I am at times. I’ve always been the type of person that just went with the flow. I realized I have a weird relationship with photography these days. Don’t get me wrong, I still love photography, but I think it has a lot to do with the type of work I make.
CF: I didn’t realize you were a photographer.
JR: (Laugh) Yeah, I move between a few mediums, but photography and writing mainly. Kulture Hub gave me that opportunity to really explore writing more deeply.
CF: Oh, you’re like me Jade, my favorite forms of expression are with my eyes and my hands. I like to write too. I write different stories and things.
JR: Same, I write stories as well, but I don’t show them to anybody.
CF: Exactly. You know, I mean, you got to hold it close to the chest. We’re still exercising our talent; you know what I mean? Just because nobody else sees it doesn’t mean it’s not happening.
Wear Entitled
JR: Exactly. Now, I saw that you had a clothing brand, Wear Entitled, can you talk about how that came about?
CF: Wear Entitled came about because I wanted to, like I mentioned before, I wanted my work to be seen by people. I wasn’t sure how to do that in the past, with galleries.
My daughter was in school and was also working for brands like Kith and Virgil Abloh at Off White. Her take on street fashion was important to me. She said, Mom, there are people making tons of money off their images with clothes and their images are nowhere near as hot as yours. You’ve got to get involved.
I tried to figure out a way, and didn’t want to do t-shirts, sweatshirts, but thought a jacket would be a nice start. Making some sample jackets I wasn’t sure about sizing. I just knew I wanted the images on the backs of the jackets.
At the time I wanted them to be in Barney’s, Max Fields, or what I thought was the right store. I never made that happen, but I turned around and went to an online method. There was a demand in that, and the world was changing around me by the time, I figured it out.
I realized I had to hold off on that, I wanted to actualize it and so I started doing a few custom pieces. It was around Puffs’ birthday, and it was difficult because it’s hard sometimes to get celebrities, or men with money, women who have everything, something.
I thought to myself I’ll make a robe, and so I made a couple. As special custom gifts, and I did one for Puff and one for LL Cool J and I wanted to keep it going.
I’m not a fashion person, if it’s an image great. I know what to do. It’s a matter of what image and what to do with it in fashion. If I could have anyone creative directly on that work, it would be Pharrell Williams. I know that he would be helpful in making that happen for real.
JR: Even if you don’t feel like a fashion person, I can tell you know what you might want at least. You have the images and can play with them and experiment. I could see your work on a Puffer coat and the image or even part of your image is the overall print. I feel like that would be dope to see your work in that way.
CF: I’ll think about it and I’m not sure which company. Maybe Alpha Industries? Those green puffer jackets. I’m not a fashion girl. That’s why I would need somebody that understands, the style of clothes, the materials, etc.
Thank you though. I’d love to do jackets too, but I need help. Maybe I could bring in someone from that industry. Someone who at the end of the day they really have their understanding in that area and knows what they’re doing.
Cheryl Fox drops her genesis NFT collection “SMOKE” on Foundation
JR: Absolutely, someone who is experienced. Also, about your NFT collection drop. How did you get together with Guilty by Association? What was the planning behind that?
CF: God brought us together. I’m so happy about that because I’ve been looking for someone to help me in the NFT space ever since I heard about them. I want to say back in February.
I did a lot of research and for every person, I met, pretty much I’ll ask, “have you heard about NFTs?” It’s a mixed bag where some have, and some haven’t. One of my very long-time friends, whose kids are best friends with my kid, and I went to college with them. That’s just how close we are, and so we were discussing NFTs, and she said to me that sounds like what Derek is doing.
Derek is one of the partners of GBA and he’s also her cousin. I’ve known him for years, but Derek is like that cousin that’s around, but you only see him every five years or so.
I try to connect with him, but we don’t, and I come back to LA and couple of weeks later. My friend connects us and everything in that first call that he said, is what happened within the week. It became a reality and a month later, I’m going to market and we’re going to drop it.
Since February I had been talking to people who would tell me they’re taking me to market, or I’m representing all your NFTs. I said, slow down, let’s just get one moving and there were so many people.
This woman was cursing out another woman I had never even met with. I thought you know slavery is over, right boo, you don’t own me. Also, no deals have been made.
Though after speaking to Derek, everything he said happened at once. I felt so blessed and that’s why I say it’s God. Derek was talking to his cousin at the same time looking for an artist. I was looking for help and she was able to connect us. I passionately believe that what you’re seeking is seeking you.
Even before when I went to New York, I met Claude and VSN. I met with Sotheby’s on that trip. I sat with a lot of people about NFTs. When I came back before I met Derek, I made a whole pdf of what I thought I needed to make the book a token. I was going to sell that as an NFT.
I finally had a community and understanding of all the elements needed to launch an NFT collection.
– Cheryl Fox, Photographer
It’s not just the art, you have to have community, and the marketplace on your side. Once I put that together I realized Derek was everything that I put in that PDF. He suggested Foundation and said we’re going to sell all these images at one time.
JR: What was the choice behind Foundations and not other platforms like Rarible or OpenSea?
CF: He mentioned OpenSea, but I think it was because his partner Karen is from the New Museum and she’s an authentic Art Girl. So is Derek and they come from an authentic background.
I feel as though because my work is already sold in Fine Art Galleries. Going with an art focused platform sounded like the most sense. The people that buy fine art are going to want to buy my work. OpenSea and Rarible are more for everyone; I feel like I would be lost in the open sea.
BACKWOODS & FLAMES (ALMIGHTY JAY) 2020/2021 by Cheryl Fox | Available on Foundation Dec. 15 1 PM EST (click here)
JR: Interesting I didn’t know that about the Foundation platform, it’s important to think about the nitty gritty.
CF: Yeah, and I was concerned about people being able to find my work, especially those who like to collect art or photographs. At the time memes and profile pictures were the main thing, and I asked myself are they even doing photography?
I also thought that everything had to be animated. It’s like you have these digital assets but now you have to animate them, or so I thought. When I met with Sotheby’s they told me no you don’t have to do anything to it.
Your RAW file is an asset, and so if I scanned a negative or created a digital file, that’s my asset and it doesn’t have to be touched.
– Cheryl Fox, Photographer
JR: I was looking at the images you have available for the collection, and I noticed that you did end up animating some of them. What was the choice behind animating some over others? More specifically thinking about the Jay Z image with the fire.
SPITTIN FIRE THRU THE FLAMES (JAY-Z) 2011/2021 by Cheryl Fox | Available on Foundation Dec. 15 1 PM EST (click here)
CF: Honestly, I like the animation. May because I’ve sat with these images and had them for song long that I’ve seen them. I thought it would be fun to animate more. My agent Karen (GBA), I essentially followed her lead as the creative in that space.
We played with a couple and ended up animating three. The one of Jay Z, Snoop, and Almighty Jay. I had one contact of Jay Z with the fire behind him, but his eyes were closed. So, I had to find another image and I knew I had one. I dug deep into the chest and pulled that one out. Animating the flames helped me bring that image back to life.
JR: The fact that you can also use the NFT space to revisit old work and reinvent it. It’s nice to see your work in new ways and it evolves over time that’s a great feeling as an artist.
CF: That was the beauty of it, that I found in the darkroom at first. How an image just all of a sudden appears, it was amazing to see the images come to life. This is a whole other version of that life. I could make the smoke in one image move and the rainfall in another, it’s fun.
The NFT space makes it light, and you have the freedom to really create.
-Cheryl Fox, Photographer
JR: Absolutely, I can see that in the choice of images. They are fun and exciting photographs. Could you speak more about the image titled Three Musketeers?
CF: If there’s anyone that you’d want to smoke with, it’s them three. That’s all smoker’s dream, right? I was shadowing Snoop for a project he was doing.
He had all the boys, and Wiz Khalifa and Seth Rogen were in the trailer just hanging out. I was there and another photographer because I feel like I’ve seen a lot of the photographs from that day run. I kept mine and never really ran them because again I wanted to hold them close.
While photographing them I was trying to get in front because of the way they were standing. I got on top of this countertop and I’m only 115 lb. 5’2. I crunched up into the corner to get that side angle.
All three of them are beautiful, wonderful spirits. I’m not sure if it’s because they smoked so much weed, but it was a good day in the neighborhood over there.
Then my son was like, ‘Mom, that picture has to be an NFT.’ Then Derek agreed, but it was really a great moment. When I went to a movie premiere, I’d seen Seth and was like, I have a sick picture of you and the boys. He was like yes; I think I’ve seen it before. I told him no you probably saw the other versions.
JR: This is going to be an amazing drop; the collection is amazing, and I can already see it.
CF: Thank you, I’m praying that it is. Sometimes I can’t even sleep then I’m like I have to get some rest. Wait how was your drop? Where did you mint it?
Justine Skye Photographed by Cheryl Fox
JR: I used the platform Voice. I’d previously done an interview with a portrait photographer named Sasha Stavila and he told me about Voice. I figured I would check it out and I looked into the platform and some of the other ones.
So, I took an image from my project CRWN, which is about Black hair care practices as a sight of Black joy and rest. I made that work during 2020 it’s an incredibly important project for me and reflects my experience during that year.
All the loss of life, I really felt like I needed to find a space within our culture and our community to just breathe. I put an image I made using scan photography up on the 9th and it was sold on the 10th. It was an incredible feeling and I’m thankful to the person who bought it.
CF: That is incredible, and it was a one of one?
JR: Yes, it was.
CF: I love that. So, you said Voice? Does that platform let you bid on things or how does it work?
JR: You have a choice to set a fixed price or bid. You also get 20% back from resells. I sold mine for $500. They’re still in beta but I really like that platform personally.
CF: Well, that’s good I used to only get 10%.
JR: I know Rarible gives you the choice to set the percent, I think the range is 0-50% which is a nice option.
CF: I didn’t know that. I thought it was always 10%. I didn’t even know you could.
JR: I just found out not too long ago about that myself. Yesterday I was helping a friend mint his first collection and we noticed the choice. I thought that was dope for sure.
CF: I suppose it varies per platform. I’m curious about the 50/50 split once it hits the market and resells like the marketplace doesn’t get paid again? I wonder about that, but the creator gets a part.
That space was interesting in the way they were talking about NFTs and just helping spread information to Black creators. Some spoke about their struggles outside the NFT space, and others talked about how much it benefited.
Also, just the importance of building community and marketing before you release a drop. All sorts of dope information are being spread amongst creatives. This community was also really willing to support other artists in helping share their work, etc. I was beautiful I was sort of just listening and feeling extremely optimistic about the future of the art industry really.
CF: Optimism is what the world needs right now. I’m going to have to go find Black AF on the Blockchain because I’m always looking for all the folks and photographers in this space.
Cheryl Fox speaks on protecting your digital assets
JR: Yes, I think Twitter and Discord are the hubs for these sorts of spaces in terms of marketing and community building.
CF: Twitter is everything. I’m barely on Instagram anymore. I’m much more interested in what’s happening on Twitter than on Instagram. I’ve had a Twitter since 2009 and I made my first post only a month ago. I never knew how to use Twitter and then the industry uses it, so I have to learn. I used to push posts over there, but it doesn’t really translate.
JR: Yeah, I’ve been on Twitter since 2011 and it’s kind of weird because Instagram, we’re photographers and it’s supposed to be a photo-based app. It doesn’t really do so well in that regard.
CF: I enjoyed it for a while and then it turned into a business-driven app. Then my kids were like stop posting pictures of us nobody wants to see your kids. I told them everybody wants to see my kids. She’s like you need to be posting your artwork.
Honestly, I felt that I couldn’t because they’ll steal it. Then half of the portraits I make I have to wait for them to use it because if it’s all over my Instagram then they can’t use it the way they want to. I figured it out I can update the portraiture a year after I take the picture. I’m like, if you didn’t use it by now, guys. It’s gone. I could put it on my website.
JR: In this era, it does feel like we have to keep a presence on social media. Sometimes folks just post to post things. If you’re posting your work and someone says oh this is dope work, they take a screenshot it’s theirs now.
CF: It upsets me because I have a large extended family and some of them are well known. If I post a picture of the kids then suddenly, I see another website using it with someone else’s tag on it. It upsets me. My daughter was telling me to just say thank you for supporting my work.
Then every time someone did it, I’d have to comment on that. Though I’m conflicted because it’s like take your tag of it. One time someone I gave an image to someone, and they gave it to another person to make a jacket with. Knowing good and well that I have a wearable art collection that they could have asked me to make for them.
When I sent a cease-and-desist letter to the person making the jacket, the person I knew was like, how dare you reach out to them without reaching out to me to ask me.
Really? How about how dare you send my picture to them and have them make a jacket with it? Knowing good and well that, that was my photograph. Now you want me to reach out to you about it. Get out of here. So that’s why I keep my images close to the chest.
JR: That’s a crazy feeling. I also experienced a run in with a photographer who tried to steal literally my RAW files. We weren’t even hired to photograph the event we were at. It was just photographing Carnival in Baltimore for fun.
I had my camera, and he had his, but my battery died, and I didn’t have an extra. He told me it was fine for me to use his extra and so I put my SD card in his camera and kept photographing.
Then at the end of the night, he tried to say all the images I took with his camera belonged to him. I was like no way, and I’m not usually the type to call anyone’s art bad but his photos were sort of bad.
When he was busy, I went and downloaded all my photographs onto my hard drive removed them, and then gave him his camera equipment back. At the moment I was so angry.
CF: That’s ridiculous.
Now that we know our files are worth so much it’s even more important to protect them.
JR: I completely agree with that, we have to protect our work. Though I would love to hear any words of wisdom for up and coming photographers in the field.
CF: Other than to keep shooting and keep shooting. The main advice I’d give is to learn the business of photography at the earliest stage possible. Know your rights and when you get that contract to know what you’re signing off on.
Understand usage and where you make the most of your money and know that a buyout, you still retain your own copyrights. You always want to be able to hold your copyrights for your own personal benefit. Then no matter what you can always sell your art because you own it. The biggest thing I’d say is to learn the business while you continue to shoot.
JR: What’s crazy is in my 3 years at Pratt, I don’t think we’ve ever talked about the business side of photography.
CF: Many people don’t know and when you get out and don’t have an agent or a rep you’re literally screwed halfway. The business aspect is everything that you need to know. People will try to take advantage of you.
JR: I really appreciate that, and I know a lot of others will too.
CF: Absolutely, you’re welcome I appreciate you Jade and I hope you enjoy your holidays.
Chipz is an upcoming crypto-based gambling platform utilizing blockchain technology to change the way players experience gambling platforms.
With several innovative new features, it allows players to bet on any topic they want, all in a single place. Launching later this month, it has the world of gambling and DeFi on its toes.
@YahooFinance knows Chipz is about the change the game! 🚀
The global gambling industry is worth around 265 billion dollars. It’s an industry that remains popular around the globe, with gamblers often interacting on gambling platforms, making bets, engaging in discussions, and making new friends in the process.
But one issue holds players back. They often need different platforms based on what they’re betting on. Most traditional platforms will focus on a specific niche. Sports, gaming, politics, cryptocurrency. The result? Players need to make a different account for each one. Now a new cryptocurrency is looking to solve this problem with blockchain technology.
What Is Chipz?
Chipz is an innovative cryptocurrency project looking to solve many of the problems faced by modern bettors. The platform allows players to bet on any topics around the globe, from politics and esports to live streams, sports, and cryptocurrency. Unlike traditional betting platforms, it allows users to enjoy the benefits of DeFi-backed solutions that introduce several new exciting elements to the gambling experience.
The team behind the project includes Joab Garza, an experienced NFT game developer who built the highly successful Tezatopia, and Justin Lally, a key member of the Bitcoin Foundation.
Together with Josh Thompson, they’ve built a team of experts looking to change the gambling world with blockchain technology. They’re also supported by one of the best advisory boards in the world of crypto. This advisory board includes the owner of Golden Knight’s, Gavin Maloof, NFL Star Todd Duckett, DJ Lethal, Jacob Busch from the Anheuser Busch family, and the chairman of Staxos, Nick Wilson.
The project is being developed in Costa Rica and will go live this month with the projects social media campaigns in full swing. So far there has been a significant amount of interest from their audience, who are excited to see what blockchain technology can do for the future of gambling.
Innovation At Every Level
One of the most exciting things about Chipz is they’re not just making a few changes, they’re taking gambling to a whole new level. On the platform, players can bet with USDC, whilst enjoying a number of several changes that aren’t available on traditional platforms. One such option is stake to earn. On the platform, each transaction will incur a 3% fee, which is placed into a revenue share pool. Investors can choose to stake their tokens in this shared pool and as a result, will earn an income based on the amount they’ve staked.
Another exciting feature of Chipz is its bookmaking options. Despite being a popular option amongst current players, bookmaking has always been somewhat expensive. Players would often have to pay upwards of $20 a month before they’d even made a bet.
With Chipz, players can enjoy several deals and giveaways that will allow players to enjoy without needing to spend a high % of their earnings. They’ve announced deals as low as $60 for a whole year, as well as lucrative giveaways for players who want to get in early. But get in fast, as they’ve only available until the end of 2021!
The final feature that has bettors excited is the focus on global events. Each year, Chipz will hold a number of events based on major world changes. These could include a change in political leaders, how many goals will be scored in a championship match, and who will win awards at events.
The CHIPZ Token
Chipz is an ERC 20 utility token that can be found on Binance Smart Chain, Uniswap, and Pancake Swap. Following the launch of the platform in December, the team has announced they will also make the token available on several additional popular exchanges.
The token itself also has a unique use that helps it stand out in a crowded crypto market. During a bet, gamers can speculate on its value, allowing them to profit when its value is increasing.
Additionally, the platform also allows players to stake their CHIPZ during a game, adding to the potential reward from their winnings. This exciting feature will allow players to win more from their bets and can be used to make bets more enjoyable.
Chipz Is a Must For All DeFi Bettors
Chipz is arguably the best upcoming gambling platform in the DeFi space. With a range of exciting new features and a great team building the project, it’s a project that has the potential to completely change the gambling market.
It will launch this December, with a roadmap already planned for mid-2020 and a community excited for what it will offer. Should the launch be a success, Chipz could one day become the number one DeFi gambling platform in the world.
There is a rare NFT collection of black and white photographs now available on Voice.com entitled What if Kyle Rittenhouse Was A Black Kid?
The collections explore the contemporary black body as property of the state and how American superstructures are routinely given license to seek and destroy all forms of black militia ideology.
The constitution was not written for us therefore how can we expect justice to occur on time. The founding fathers cemented law while 99.9% of us were only valued as livestock, properties of the state, or simply three-fifths of a person.
The images highlighted in the, What if Kyle Rittenhouse Was A Black Kid? rare NFT collection, seek to confront the reality that most of society, particularly the youth, are more accepting of guns in virtual reality despite fully grasping the reality of the physical consequences inherent in gun violence.
What if Kyle Rittenhouse Was A Black Kid? | Edition No. 1: $5000 USD (1-of-1)
The subject is draped with the American flag as a gesture of Olympian heroism but the reality of a Black gun owner is far different than the glorification conveyed in these images.
Shawn Pridgen and I came together to collaborate on this uber-sensitive topic of gun control and violence because we felt a social responsibility as documentary artists to react to the blood spilling on the streets that had become reduced to live entertainment.
What if Kyle Rittenhouse Was A Black Kid? | Edition No. 2: $250 USD (10-of-10)
We simply could not consume the typical news cycle that failed to genuinely address the generational pain that comes with state-sanctioned violence against Black people throughout the course of American history.
With all that said, we drew inspiration from all forms of our life for the What if Kyle Rittenhouse Was A Black Kid? rare NFT collection.
Keep in mind, I had no experience even holding a gun before in my entire life. Gaming, television shows, and film have all taught me what it looks (and even to some degree feels) like to yield this weapon while Shawn’s father was once a weapons specialist.
What if Kyle Rittenhouse Was A Black Kid? | Edition No. 3: $5000 USD (1-of-1)
So homie had no qualms about attacking the subject matter head-on and with full force.
Yet it all really came together organically when we spotted our gun specialist on-site rocking Black Panther drip so we had to put our money where our mouth and mint these incredible photographs so we can put a call to action for our audience and future supporters.
What if Kyle Rittenhouse Was A Black Kid? | Edition No. 4: $3,750 USD (2-of-2)
The charity component became a no-brainer for us as we knew that art and our Black community needed to intertwine together during these groundbreaking moments in American history.
We will pledge 30 percent of proceeds from the What if Kyle Rittenhouse Was A Black Kid? NFT collection to the following charities – Youth Over Guns and The Gathering For Justice.
What if Kyle Rittenhouse Was A Black Kid? | Edition No. 5: $500 USD (10-of-10)
We have one goal in mind — raising awareness around gun violence, reigniting the black social conscious in the face of state-sanction violence, and securing the bag to protect our future generations with rich cultural wealth.
What if Kyle Rittenhouse Was A Black Kid? | Edition No. 6: $500 USD (66-of-66)
During the weeks under lockdown, Gabriele Lamonaca created his one-of-a-kind pizzas in his apartment, today you can buy or barter for a slice of Unregular Pizza, at his store by Union Square.
Lamonaca has made a name for himself on Instagram for bartering his homemade Roman-style pizza with New Yorkers during the pandemic.
Topped with a whole ball of burrata cheese and other uncommon garnishes, Lamonaca’s out-of-the-ordinary pizzas are more than just good looks.
From the very moment, you take your first bite, the pizza melts into your mouth. The savory sauce paired with the bold burrata cheese taste was satisfying.
Lamonaca decided to bring Roman-style pizza to New York because he believed that this is what the big apple needed. Instead of challenging the already established New York-style pizza, he managed to do his own thing by adding a personal flavor of his childhood and sharing Roman-style pizza.
What sets Roman-style pizza apart from New York Style pizza is two things. The first is the dough, Roman-style pizza at Unregular Pizza is leavened for 72 hours to create a crispy crust. The second characteristic is the creative and insane amount of delicious toppings you wouldn’t find at any other pizzeria in New York.
Bored and in need of a creative outlet, Lamonaca experimented with different ingredients to create pizzas and after several DM’s from his friends, he began making them per order. The more he posted, the more people were asking him to sell them his pizzas, however, money isn’t what he wanted.
“The barter is made so people can share what they want to express or they can share what they’re good at,” said Lamonaca. “So what we want to return is not money. It’s an experience or it is worth something too, you know, something that makes me experience the background of the culture.”
Unregular Pizza is bringing back the barter system
The bartering system dates back decades, before Unregular Pizza’s founding. People from all walks of life across the globe have participated in the bartering system, especially Lamonacas’s Grandmother who would bake bread and exchange that for eggs with the neighbors who owned chickens.
“That was a practice that really held up small communities,” said Lamonaca. “It’s amazing to see that practice like that came back in a different form in a different formate, but it went from a very small village in southern Italy to a very big city, a cosmopolitan city that is New York.”
In the very short time since his first barter, Lamonaca and Unregular pizza have done about 600 barters. Each New York City barter would be unique from the other, but all remained to give Lamonaca an enriching learning experience.
Unregular Pizza and Gabriele Lamonaca have received so many different material objects, however, it’s the experiences that are the most interesting, such as a horseback riding lesson or a night in a penthouse in downtown manhattan.
“It’s like traveling 600 different times,” said Lominica.
“That’s the beauty of New York, that’s why it works so well here because here there’s so much to learn from the community around you.”
They say that the Eternal City wasn’t built in a day, but it can take just a moment in time for a universe to burst into existence. For one ambitious rap visionary in the NFT space, that moment is now.
Rome Fortune is a rapper based in Atlanta, Georgia. A veteran of the southern hip-hop scene, the Philadelphia-born emcee has returned from his hiatus to sink his teeth into an emerging horizon on the blockchain: crypto music videos.
Ahead of the release of his album debut in the crypto space, Mr. Fortune, Rome spoke on his journey as an artist and what the emergence of web 3.0 means for a music industry systematically wired against success.
Rome Fortune drops Mr. Fortune
With his blockchain debut album, Mr. Fortune released, Rome Fortune is making strides as one of the freshest faces at the intersection between music and crypto.
Since arriving in the space, Rome Fortune’s star has only added to its sheen, complete with exploratory sound and jarring – yet beautiful – visuals.
“I wasn’t even in the space for 60 days,” Rome remarked. Liquor store fiend, the artist’s first blockchain video sold on Oct. 31.
Being a newcomer doesn’t faze him. Hardened from his years in the traditional music industry, Rome Fortune never doubted his worth. After tasting early success with an exclusive first edition of his debut album Mr. Fortune to PHLOTE, Rome has readied 370 editions of his work for the wider world to savor.
He expects the drop to take the space by storm.
It’s by far the best project in NFTs’ short history. I stand by it. Mr. Fortune before 2022: the best album in the NFT space — quote that.
Rome Fortune
Beyond signaling a triumphant return to music, Rome says the album is a gesture of defiance against the music industry and a heartfelt salute to his most ardent supporters.
“It’s pretty much a symbolic pivot into the NFT space… saying, Hey, I’m going to reverse the funnel of giving my stuff out of the DSPS first and give it to people who actually understand or appreciate the art as it is,” Rome said.
Inheriting the throne
Rome Fortune never had to look far to find that appreciation for the arts.
The Philly-born artist comes from a line of jazz royalty including Nat Adderley, Cannonball Adderley, and Richard Adderley — his grandfather — who has played with the likes of Miles Davis.
“I always was exposed to a lot of different types of music coming up. Then when I was in high school, I made a real effort to book my own studio time.”
Over the next several years, Rome Fortune went on to become a fixture of his community’s hip hop scene, featuring alongside fellow Atlanta stalwarts iLoveMakonnen and OG Maco.
Since rising to prominence off the back of his 2013 Beautiful Pimp mixtape, the artist never looked back. Rome has collaborated with the likes of Toro y Moi, Young Thug, Glass Animals, and Gucci Mane.
Despite his success, Rome reiterated the difficulty of making it in the music industry.
Rome worked independently for several years before Atlanta-based promotional team Hood Rich reached out to him. The encounter led to a first-time partner in social media personality Gary Vaynerchuk.
Vaynerchuk, better known as Gary Vee, acted as the artist’s “angel investor” and manager, despite being new to the music scene.
“You know, we were both getting our feet wet in the music industry, so it didn’t reach the potentials that I think it could have just due to none of us knowing what we’re doing,” Rome admitted. “But it gave me a lot of insight into the music industry, in business and things that I don’t think a lot of artists are exposed to.”
“So I kinda at that point, felt as if it was wise or purposeful for me to be intentionally independent because I learned things — how to, survive in an industry that was pretty much designed for me not to.”
– Rome Fortune
Web 3.0 switches the script
Having since overcome the obstacles of the music industry along his journey into the crypto sphere, Rome believes that web 3.0 provides a golden ticket for artists like himself to reclaim their livelihoods from the music industry.
“When I say it was designed against people like me, business-wise, I’m not supposed to win…” he said.
Delayed royalty payments and piracy have long been systemic ailments of the industry. Due to a triopoly of the world’s largest music labels — Sony, Universal Music Group, and Warner Music Group — some artists have to rely on touring to make up anywhere up to 75% of their income.
Likewise, Digital Service Providers (DSP’s) — think Spotify, Apple Music, Tidal, YouTube Music — are just as problematic. For example, Spotify generally pays between $.003 and $.005 per stream, which means that about 250 streams are needed to earn just a dollar.
In addition, syncing problems across databases often mean that artists lose up to thousands of dollars of revenue due to metadata errors. “With the DSPs, and Spotify and all that you don’t get data. You’re not even given an identifier,” Rome said.
NFTs, then, are the perfect rebuttal. Each individual transaction is recorded, meaning that they are uniquely suitable for securing intellectual property. Furthermore, the decentralized aspect allows for greater freedom in artist-fan interaction.
“I think it gives a comparable, if not more, worth in value to your connection with your superfans, or your people who will go beyond just the initial search bar, or search query of your name,” Rome said.
“People want to be a part of your journey so I feel like, you can make your fans and supporters just extensions of your team.”
“Take out the middleman.”
– Rome Fortune
“You have a direct line with the people with who your art speaks, which is an incentive when you break it down outside of fame aspirations that artists have. That’s all they want: is just to be appreciated. And [web 3.0] gives you that.”
Welcom to the Rome Fortune universe
Despite seeing a new generation of music artists emerge in the NFT space, Rome spotted an opening to capitalize on.
“You know, I really was an admirer of what they were doing, but I saw that there was kind of a void for people with influence in the music space outside the Metaverse.”
Rome set to work, hopping into Twitter spaces whenever he could and getting to know some of the people working the trade.
“Yeah, it was interesting because I didn’t know how to enter the space. When I was entering the space, music in the past month in NFT spaces boomed,” Rome said.
“Prior to that, everybody was kinda giving me a format or a template to follow because there was no real frame of reference or a context for NFT’s with music.”
In the end, Rome opted to follow his own blueprint and to listen directly to his fans.
“I see a lot of people who offer these roadmaps, and it’s just a really great idea but there’s not a lot put in place behind that to execute it,” he said.
“I didn’t want to put that pressure on myself. I can offer these things. And I know the people who are interested and they’re all Fortune universe — these things will hold value to them. And then you know, we just grow this little mini-world from there.”
For Rome Fortune, that little world is the bread and butter of his intention in the NFT space.
“Especially since my presence in this space is very new, the people who are going to be collecting my NFTs and all of this stuff — these are the people to who the art actually means something,” he said.
“They are going beyond that initial, alright, I’m going to open up the app that’s already in my phone to find this person’s music or I’m going to search or foundation or store or whatever — these people have done so much work just to have access to me.”
Rome says interactions like these go beyond transactions. He feels responsible for being able to repay the faith in his craft.
“They need to essentially get what they’re paying for. Not just financially, but just with the effort. I know, what things make Rome Fortune work as a musician and artist, business person, but these people are here and they want something from me and I’m actually building a universe for them to interact with based on their actual wants and needs for feedback,” he said.
“That’s why I say it’s really cool because you can have a real rapport with your supporters, these people and you can give them exactly what they want.”
Rome laid out plans to create an exclusive platform for his fans as well as a new cryptocurrency in his likeness.
We’re going to pretty much give a payment of Fortune coring to people who collect my pieces, and Fortune coin is going to be a real coin worth, about four bucks per token.
“Right now we’re building the Romey’s Homies universe, and we’re just trying to make sure that we make people have fun. Who doesn’t want free money?”
Rome is dead set on creating value for his fans. “I don’t want to give you a token that’s useless. Shit in life happens,” he said. “If you need to cash out those Rome Fortune coins you can do it.”
“In our world, why not make the best amusement park for the people? I’m at this amusement park, they have this tech, they had this ride that I can get on and I can do all these things.”
“And it just grows from there because you’re providing for people who actually want something for you as opposed to panting pandering to potentials.”
“If you have a skill, and you can handle the bandwidth, you are your marketplace. You are your amusement park for your supporters.”
Despite scoring milestones in quick succession, Rome says that the intrinsic pressure of the NFT space means he doesn’t have time to “revel at the moment.”
The stresses of keeping up with the space keep Rome grounded, he says. Despite making several considerable sales over two months since arriving, the artist remains self-critical.
“Why did we only sell for point five? Why didn’t we get up to this point? Why it didn’t do as well as it could possibly do? It’s a pessimistic way of feeling but it keeps me grounded so I don’t get too aloof and pat myself on the back prematurely,” Rome said.
“I have a lot of work to do.”
– Rome Fortune
The ascendant NFT artist also spoke on the grind of getting over the steep learning curve of the crypto space as well as the value of balance.
“My entry into the space was just overloading myself with information, being in every single Twitter Space that was related to NFTs and music, all that type of stuff,” he said.
Rome has since readjusted his priorities, seeking to apply his trade on his own terms. “Most people feel the need to have those real-time updates of everything. And I’m starting to see I don’t need that,” he said.
“The more information that comes out the better. The more I don’t need to be first on this new development in solidity, or this new development overhead, I don’t need to necessarily be up to date on all of these things.”
“Everybody says presence, presence, presence — I agree, but at the same time you have to be present within yourself…”
– Rome Fortune
“You got to know what you’re bringing to the table. I see a lot of people know a lot about de-fi, a lot about crypto, a lot about NFTs, a lot about smart contracts. But they don’t know much about what they’re bringing to the table at all,” Rome said.
He believes that taking care of himself is the best way to bring the best of his work to the table. “I don’t need to constantly be everywhere just to show that I care about the space.”
At the end of the day, Rome wants other newcomers into the space to remain resilient and to avoid self-doubt.
Keep not caring, keep not overthinking, keep intuitiveness. If you’re in a certain place where you feel confident you feel comfortable in what you’re doing, just do it. Have fun. The year goes by fast.
We were able to link up and speak with the creators of the money mouth smiley and the launch of their NFT on KnownOrigin.io. Check out the full audio interview below.
Black creatives are now more than ever taking over the power that comes with building your own brand and creating a life from it — Enter the founders of Under the Bottom (UTB) lifestyle clothing brand and originators of the money mouth smiley.
Whether it’s merch, a podcast, music, handbags, Black creatives are taking over the creative market.
Before brands knew the power of social media, the brand Under The Bottom (UTB) Lifestyle was making its mark in the year 2007. Andre Burrows (Dre) and Karim Branscomb (Treem) came together to build the UTB Lifestyle brand.
They both had a mission to make their own mark in the creative industry. They took creative inspiration from folks Pharell and Lupe Fiasco. They had a plan to be more than just a brand and took off as soon as they team up with the likes of Wiz Khalifa in 2009.
A smiley face, with money sign eyes and money sign tongue sticking out is what the UTB duo created as their signature logo that put an emphasis on who they are and their visions of being a long-lasting company.
Throughout the years, UTB was able to reach far to consumers and eventually landed a deal and tour with Wiz Khalifa’s brand Taylor Gang. They built successful a brand that was worn by the likes of the late Mac Miller, Tyga, Snoop Dogg, Diddy, JuicyJ, and more.
Wiz Khalifa rocking the Money Mouth Smiley
Now a fast forward to 2021 and UTB is still here going strong and reaching new heights. This past August UTB announced that it was dropping its first NFT for the Brand’s signature logo.
They created a Twitter thread that explained how UTB started and was led to the NFT space. August 6, UTB released their NFTs for their original smiley design.
founders Dre and Treem incepted the logo and brand in the summer of 07 over sidekicks and tmail. they would plant the roots of a money tree from "under the bottom", and the logo would loudly proclaim their "money vision" pic.twitter.com/t75nCY1muF
NFT are digital assets that anyone can purchase. It’s all a part of the cryptocurrency market and it allows creatives new ways to generate income and long-lasting revenue in whatever music, art, design, etc one creatives on the internet.
UTB lifestyle clothing brand released their NFTs on the site knownorigin.io. You check out more and bid on the original money mouth smiley by clicking here.
To one ascendant artist in the NFT and digital art space, the world is a classroom and healing is on the agenda. Stonez the Organic is that artist in every sense of the word. The Philadelphia native plies his trade as a full-time digital artist, rapper, curator, and founder.
Though his artistry manifests itself in many forms, the driving intention remains constant: to help others improve themselves and heal.
Pictured: Stonez the Organic
His opus magnumSPECTRUM is the culmination of his life experience and creative identity. Last month, Stonez the Organic debuted a three-part study guiding viewers through a process of self-exploration via various mediums of art featured in each phase of the experience.
Ahead of the project’s finale, Stonez sat down to talk about SPECTRUM and how his own story of self-healing borne out of unprecedented circumstances fueled a creative journey where he could make his intention a reality.
“I like to heal through my art. I just like to bring a positive vibe while creating in as many facets as I can.”
$tonez the Organic
Exploring a SPECTRUM of self-love
The SPECTRUM series featured a different concept or medium of art in each of its three studies. Study one explored light and movement. Study two showcased color, while study three was an exhibition of sound.
The first study was an immersive in-person event held at local Philadelphia studio Fidget space on Oct 16. Stonez the Organic enlisted the help of long-time partner Tyspective, a classically trained dancer, to model movement in the interactive experience.
The venue was dimmed to allow a variety of gradient lights to pop out in the darkness. Loosely draped in white cloth, Tyspective performed under ceiling installations of blacklight, with just her gown illuminated as she moved.
The end result was an ethereal light show in which spectators could visualize a progression of movement mimicking the journey of self-acceptance before their eyes.
“The whole point of it was just to focus on the figure to build a connection to the movement through the darkness,” Stonez said.
“In each corner in the building, I had lights radiating to express lighting up the corners of your life and searching through the dark parts of your life and being okay with that.”
SPECTRUM LIGHT + MOVEMENT
The next part of the series was an exploration of color through an NFT drop of 333 handmade orbs designed by Stonez himself.
The collection made waves as soon as it dropped, garnering hundreds of buyers and earning a feature on the homepage of opensea.io.
In a storm of calming gradients and provocatively lapping colors, Stonez the Organic handcrafted each sphere at points where he felt vulnerable and connected with himself, seeking to draw out others’ own propensities for self-awareness.
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However, the success of the NFT drop proved to be an eye-opening experience. With the project featured on the front page of opensea.io, Stonez acknowledged that the transactional component of the mint was a bigger aspect of the experience than he expected.
“People were just like, buying my art to like flip it, which I didn’t mind. I love it, like people making money off of what I created is a beautiful thing, being able to sustain themselves,” he said.
It added another dimension to what he had hoped to achieve with the study. Regardless, Stonez is glad that he was able to bring positivity to those who received his art in earnest.
“My intention for it was for people to heal and spend time and really observe what they were receiving. A lot of people did love the art. I have people who contacted me just feeling inspired. It was just such an experience for me.”
Pieces from the visual study are still available can be found here.
For Stonez, a study of sound was the perfect epilogue to his vision. The final piece anchoring the SPECTRUM experience dropped on Oct. 29 as a multimedia EP tying together stunning visuals with nine tracks of original music.
“I gave people something to see and digest in a real-life experience. Then, to see, digest, and feel with spectrum part two through color — the sound aspect is the final part, tying it all together. “
If it was that motif of cohesiveness that Stonez wanted to convey to the broader community, he achieved it. The SPECTRUM finale was a collaborative effort, consisting of nine tracks featuring other prominent names in the NFT and music space such as Pat Dimitri, Black Dave, Weinbagz, and FuzzMack.
Each track is also paired with visuals from featured artists to garnish the passages of beauty, art & love communicated in each song.
“It’s just healing, uplifting, pushing forward. Not letting things get to you because it’s so easy to let all of that stuff just beat you down and keep beating you down.”
Stonez swears by this mantra, citing his creative journey as a wide-eyed youngster to weathering the storm of the pandemic and finding his northern star in the mirror.
I’ve been creating for as long as I can remember. I find joy in turning thoughts into reality, connecting people and making things happen. I’ve always appreciated the art of process and admired those who consistently work on their craft. Everything else in life is a bonus.
$tonez the Organic
Stonez has been creating his entire life, owing to a pedigree of creativity spanning generations in his family. His grandfather, a career law enforcement officer, was a lead musician for church and three different bands. Uncles on his maternal side ran a rock hip-hop group throughout the ‘80s and ‘90s.
He recounts being in awe listening to his father’s Walkman. “Growing up, I would listen to their album, and I’m like, whoa, that’s my uncle. Like, that was my uncles doing it — that’s crazy.”
Other albums, such as A Tribe Called Quest’sThe Lower End Theory, kindled a fascination with visual design. “You know, flipping through an album booklet is, like rare now,” Stonez admitted.
“But that that first experience, being able to connect at such a young age, it really inspired me.”
– Stonez the Organic
Music and digital art became the bread and butter of his adolescence. He drew and doodled whenever he could. In seventh grade, he began writing his own music. By the end of his senior year in high school, Stonez added Adobe Photoshop to his repertoire.
Stonez the Organic fondly recounts being able to share out his talents to bring others along his creative journey. Attending Temple University, he and his friends frequented his apartment to hop on the mic and freestyle whenever they didn’t have classes.
“I was always like that friend who was editing our pictures and stuff like that growing up for like MySpace page… I would make our covers when we were making music and do all the branding and create our logos and all that type of stuff,” Stonez said.
But that intention to help others began manifesting itself in other forms, and Stonez didn’t always have the bandwidth to maintain everything at once. “I kind of stepped away from the creative side of like me,” he admitted. “Like, I don’t know, it is weird, like trying to do both.”
The Philadelphia native knew early on that he had a voice to give to just cause. Attending high school at an all-white private school, he ventured into social activism to channel his voice as the president of the black and Latino culture club.
He continued along similar roads after graduating from college, working in several nonprofits, teaching K-12 at GESU school, and working with disengaged high schoolers via the Community College of Philadelphia’s Gateway to College Program.
The time Stonez spent teaching and coordinating community initiatives was some of the most meaningful of his life. “It was a really good experience — it was a beautiful experience.”
The pandemic, however, presented an inflection point that forced the educator into one of the darkest chapters of his life when school administrators pushed to return to in-person learning.
Stonez, teaching a classroom of third-grade boys remotely midway through the year, dissented the decision.
“They were talking about bringing the boys back and I didn’t agree with how it was going down,” Stonez said. “They asked people like, ‘hey, how do you feel about it?’ I just told him I would be more comfortable teaching at home and continue the way we had it.”
What the administration did next blindsided Stonez the Organic and his students.
“They literally email me on Thursday saying, ‘Hey, tomorrow’s your last day. We found a replacement for Monday.’ Bro, I’m at work! This is right after lunch. I get the email after lunch. And then all my students are coming back, logging back on and I got like a frog in my throat.”
Stonez recounts the shockwaves that rippled throughout his classroom community when he mustered the will to tell them the next day. “They didn’t believe me. Mad emails from parents. Mad phone calls, it was just like, disbelief from everyone.”
The ordeal left him drained and devoid of a sense of purpose. “I was in a dark place for like a while because I’ve always been teaching, being able to put myself in a position to just show people how to do better,” Stonez said. “But then like that being taken from me, it made me think because I felt really good doing what I was doing.”
Stonez vowed to never let himself get into a similar predicament.
The next thing that I invest that much time in, or the next thing that I force myself to create, I’m just going to make sure that no one can take it from me.
$tonez the Organic
The harrowing experience did, however, lay the groundwork for a new venture. Andre O’Shea, another successful artist in the NFT space and friend, pointed Stonez toward the crypto-verse.
It was exactly what Stonez needed to regain his footing. “He kind of just like, threw me in the pool, and then just left me to swim. And then I came back a couple of weeks later, like bruh I’m loving it — like this is dope.”
The result was a journey of rediscovery. “I already always had like concepts in my head. But I was just always so busy helping other people and doing all this stuff. And then like losing my job actually, like losing my job during the pandemic like forced me to sit down, you know?”
A leap of faith: Stonez the Organicascends into NFT space
“I’m just so grateful. Like, and people have been telling me like, yo, I’m happy you lost your job, bro. Like, you wouldn’t be here,” he said.
The artist agrees with the sentiment but noted the trials and tribulations of overcoming the spectrum of turmoil that he experienced over the course of the pandemic.
“Having something like being such a high point and being at such a low point so quickly… it really did suck but I can’t let these feelings consume me and change the type of person that I am or how I see the world,” he said.
To Stonez, that mantra is the foundation of all of his work, including SPECTRUM. “It was really about pushing through with that,” he said.
Since then, he has had no shortage of opportunities since arriving in the NFT space, featuring alongside the likes of Gabe Weis under Mark Cuban’s @NFT and Electric Token NFT drop funding the Jamaica Boblsed team’s qualification run for the upcoming 2022 Winter Olympic Games in Beijing.
And now, Stonez is back to the core tenets of his trade: passing on knowledge as he lifts others up with him.
“It’s just been so much going on like auctions, bids, opportunities. Like I helped Goodie Mob with a drop, I helped Erika Alexander with a drop like these things just happened like week by week is just so fast.”
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“Things have just been like, rolling, rolling, rolling, rolling, rolling. And it’s been amazing, like, I’m so grateful for all of it because I just didn’t expect this, you know? I’m just happy to be here.”
Creation is a discipline of self-empowerment
“I was like, a nobody six months ago, and it’s just crazy to think about how you can have the intention and just be pure and just create and just be present, and just show up and have good ideas and execute and people appreciate you in this space,” Stonez said.
“It’s just beautiful. I’m completely in awe constantly like every day I wake up.”
Stonez the Organic says that being able to grind and hone a creative edge has been indispensable not just as a catalyst for success but a testament to the personal character as well.
“No matter what, keep creating and stay humble. I’ve been witnessing the other side of people gaining success and it’s like they change and start switching up. It’s really hard because I’ve had just a little taste of it.”
Breaks are by no means off-limits. Stonez emphasizes that mental health breaks are part of the process, as a ‘see you later rather than a goodbye.
“You could take a break, but always come back because I think that there’s just something special about it. I don’t know if it’s an escape, or if it’s a fulfillment, or if it’s just the essence of his magic. It’s just all of that, you know, combined, wrapped up in one and I think it’s beautiful to be able to tap into that.”
Stonez the Organic hopes that the next creatives on the come up will find reverence in the process and continue to hone their edge on what he believes to be the distinguishing factor powering the human experience.
“I think that’s our one power: to create, you know? Just create things. Whether it be a tin foil man, a beautiful painting, this conversation… Just keep creating — that’s what I got.”
Al J Thompson is a photographer who is originally from Jamaica. He migrated to the US in 1996. Thompson began his photographic career in 2007.
He was an assistant helping other photographers create their photo projects. From then on Thompson began working in portraiture, lifestyle, and fashion photography. Over time his work morphed into photojournalism and, and documentary photography.
Thompson’s work situates itself in many photographic categories but reminds me of that of Roy Decaravas’s work in the way his work tells a story.
Each image holds its own weight amongst his projects. You’ll find that Thompson’s works are not only captivating and careful but inspiring to view.
He is an intellectual photographer who makes work beyond the common narratives.
Pictured Jamaican Photographer Al J Thompson
A photographic life between art and activism
Jade Rodgers: In what ways do you feel your work resides between art and activism?
Al J Thompson: Art and activism, they both work side, side by side. I’m at the point where I can’t differentiate between photography and art. Actually, I believe photography is a form of art.
Even if you’re a photojournalist, that’s also a form of art. Personally, the day that I took up a camera to photograph my community and things that reflect who I am as a person. I feel as if that in itself is activism. Activism in the way that I try to bring that forthright to the public, and have them understand what I feel at that given moment.
Whatever it is that I do, I do it from a humanitarianism point of view. With that comes art as well. That in itself, there’s a back and forth conversation between the two, actually, and it’s pretty fun.
JR: How did you get into journalism?
AJT: I will say that most of my jobs have been through word of mouth, from one editor to the next. I have a few editor friends and a lot of people found my work through Instagram.
Which is one of the main platforms that I currently utilize. I say currently because I’m on the brink of moving on from Instagram, actually. I’ve always believed in the idea of word of mouth, and because that’s more powerful than any form of advertisement anyway.
JR: Often you find that young photographers struggle with that. Some don’t have that network or sense of networking abilities. The uncertainty of being an artist, so some may be more comfortable with the idea of working for a company long-term.
AJT: It is a struggle for me because most of the time I utilize my stories to tell my story. While that may be entertaining for some, for me, I take it seriously.
“Whatever I think, is whatever I’ll output into the ether.”
– Al J Thompson, Photojournalist
Most people have, I say most people, but like, a lot more people actually read my stories and then check out my posts on Instagram. So I have these dialogues in the background.
Every now and then I’ll share certain things to say ‘Hey, listen, this person says this.’ So it is almost like I’m able to push the envelope in a different way. That’s why I brought up stories because I feel like that’s one of the platforms where people get connected. I think a lot of people found a lot of truths, through my stories, and they connected very well.
Al J Thompson talks about the Omar & Abdullah’s photography project
JR: I think yeah, that’s definitely a good way to utilize the space. To get people looking at your work, but then also viewing the deeper aspects of it. Having a dialogue to get people engaged. Also, I was thinking about your work Omar & Abdullah’s.
AJT: Yeah, yeah. It’s so funny how you brought that up. That was pretty fun.
JR: Yeah, I saw that you picked two of the images that I was actually most drawn to. The image of the older gentleman standing in front of this brick wall. It reminded me of something that I’ve seen, in Roy DeCravas’ work, the blacks, and your tonal range is really beautiful. How did that project come about?
Photo Courtesy: Al J Thompson | Omar & Abdullah’s
Creating the work in safe spaces
AJT: Yeah, the funny thing about three years ago, a buddy of mine invited me and several other friends to Atlantic City. He loves gambling and is into poker, me not so much, actually not at all.
Anyway, we went for the weekend, which is what we do on a yearly basis. While there, I decided to walk around the city, and it is pretty dilapidated. It’s not as nice as I had originally thought. So, for me, anything that speaks to me in various ways, emotionally at least I’ll want to get to know more about it and then photograph it.
I was passing by photographing the streets and this gentleman just ran out of this barbershop. He saw me and he called me over and said, “ ‘Oh, your photographer? A professional photographer?’ I said, yeah. He says, ‘Can you come in for a second? Would you mind photographing us?’ Then I went in and in my head, I was thinking, oh, hell yeah.
I went in and there were a lot of different characters there. Dads with their sons and barbers just doing their thing. I said, ‘Listen, what I’m going to do is photograph all you guys. Then I’ll send it to someone for them to share with you guys.’ So that’s what I did.
Photo Courtesy: Al J Thompson | Omar & Abdullah’s
When your creations come full circle
AJT: I waited for the older gentleman to come out. He actually wasn’t a barber at that time. What he did do was shine shoes. I went through an entire roll of 120 film.
I got the contact information and emailed the photos, but they ended up not receiving them. Things got lost in translation, it seems as if they’re not really into emails. I wish they had gotten that at some point. Maybe I’ll do that tomorrow because tomorrow morning 15 of us are heading back to Atlantic City.
JR: Oh, wow that’s full circle. I was drawn to it all because images taken in those spaces like a salon, or a barbershop are sacred spaces to me.
AJT: Absolutely, this is a space where you have intimate conversations. You have conversations about football or basketball and other things.
“This is Afro-American culture if you want to see what the community is, you go inside of spaces like a barbershop.”
– Al J Thompson, Photojournalist
JR: Absolutely and those were beautiful images. Also, that young boy’s gaze was so intense.
Photo Courtesy: Al J Thompson | Omar & Abdullah’s
Al J Thompson tells us a secret of photography
AJT: I don’t remember the photographer that actually pointed it out several years ago. I was watching some sort ofdocumentary. A mini-series on a particular photographer. He was showing his portfolio and he said, “Once your subject contains this striking, powerful view in the eyes, you don’t need to work for your photo.”
“You just photograph those eyes, that’s all you need.”
– Al J Thompson, Photojournalist
That’s one of the secrets about some of these things, because you have these faces, and they’re very interesting with really beautiful characters. The sitters characteristics hold certain elements and it drives home that point of the various endless boundaries of the face.
Faces more often than not can tell a story with the eyes. Even when you’re older as well if you’re 60, 70, or 80 years old, man or woman. You see those landmarks within the faces and the scars as well, those are stories. Those are interesting stories and you don’t need to work too hard to photograph that, because it’s just right there staring at you.
The migration to a new world
Photo Courtesy: Al J Thompson | Nature Place
JR: Yeah, absolutely. I agree. So moving to New York, from Jamaica, did you find that the creative community in Spring Valley? What is that like for you? Because I know it’s important as an artist to have that kind of community.
AJT: Well, when I moved here, I left my dad, my two brothers, and my grandmother, those who I grew up with, I left them in 96. I used to visit here every so often anyway, and then I settled down.
There was nothing creative and I wasn’t even thinking about art. At the time, when I moved to LA, I was just thinking about going to school, graduating, and then I’m going to get a really nice job and have opportunities.
I’m going to send money back home, and then I’m going to eventually move back to Jamaica. That was the plan. This is kind of the plan for most immigrants that moved to the United States.
Then things changed, I started to miss home as well. That was depressing for me and it took a while for me to actually embed myself within the community. I met one or two new friends and I’m trying to figure out my way around, but I couldn’t.
Eventually, just growing up through high school I started rapping with my Jamaican accent, and then friends told me ‘Oh you should add some reggae to this or whatever.’ It was still fun…
“I made this place my own.”
– Al J Thompson, Photojournalist
Although, it was still a struggle because I had left so much behind. A lot of history and the island, but in high school, I still did some art but nothing crazy.
Mostly I was thinking about anything other than being an architect. That’s what I wanted originally, to major in architecture. Then I took some subjects in college and I’m good at math, but physics kicked my ass.
Then I just decided to settle with graphic design. I got a degree and started working in the city for a while. Then that’s how I got introduced to photography because graphic design is almost like its stepbrother. My first camera, I got it when it had just come out, the original Canon digital rebel XT. Yeah, so I was like, God, this is an eight-megapixel camera. Oh my god, this is so cool.
Photo Courtesy: Al J Thompson | NYC GO
Learning the ropes
JR: That’s wild, I came in around the rebel t3.
AJT: You’re much younger. But yeah. I took a darkroom course and I wanted to take more courses but ended up not doing that. That was the only thing and some art history courses. We talked about Richard Avedon and a few other photographers out there. The moment I got my rebel I was just going nuts. I was everywhere shooting trees and leaves. I didn’t know what the hell.
JR: While you were in school, taking some of those classes. Did you feel like you were learning about photographers that looked like you? Did you see yourself in those classes at all, learning about photo history?
AJT:It was a prerequisite for my graphic design degree. I didn’t really think of it. I mean, every now and then I thought to myself, ‘Oh this is fun. I’m in a dark room. This is really fun, you know.’ Looking back at some of my work is a horrible experience. I look at an image and it’s so blurry. When I thought it was sharp.
Remnants of an Exodus… The show
JR: Well, I’m really excited to hear how your opening for your show went?
Photo Courtesy: Remnants of an Exodus Exhibition
AJT: I had one in Portland, Oregon and I wanted to go but I was unable to attend. It was very unfortunate. I did have an artist’s talk that was pretty emotional for me because I wrote a lot. It included my upbringing, the shift in demographics, and where I was located.
It brought back a lot of nostalgic feelings as well. This is equally traumatic because with nostalgia comes trauma as well. Not only that but the beautiful moments that you remember just come with the territory. That was kind of like the highlight of the exhibit.
After that, I had them ship my pieces directly to another gallery that had contacted me while my show was still happening in Portland. My latest exhibit was displayed in an intimate setting. There was also another artist, a traditional artist who does abstract work.
My section was to the right and the director asked if I wanted to do an artist talk. I don’t find myself to be very good at those. I couldn’t say no, so I took her up on it.
JR: Do you get nervous when you have to talk in front of people? Is that what the feeling is?
Photo Courtesy: Al J Thompson | Remnants of an Exodus
AJT: Yeah, there’s some nerves. I’m an artist, I want to talk, but my skill set lies within connecting myself with another human being. This might just be my skill set. My skill set is also through photography or writing. I consider myself a street writer, and It’s not like an official term. I grew up around hip hop, reggae, and other music genres.
In terms of freestyling, I leaned back in the day, on the streets, and just wrote lyrics that carried over into my work. You could also view my book. Which is like a musical in that way. I call it a hip-hop musical in the form of photography.
How this happened, I have no clue. It just naturally happened and naturally morphed into such an amazing book. It has a little bit of everything, aspects of dystopia, hope, and so many different storylines.
If you’re someone from the African diaspora, Latino diaspora, or anything like that, you could connect to it. It’s a book that I feel can connect with almost anyone out there because it’s about love and hope. There are so many different storylines within that book. I can’t even keep up…
JR: Could someone still go to purchase your book? Is it still available?
Remnants of an Exodus… The Book
Photo Courtesy: Al J Thompson | Remnants of an Exodus
AJT:There are a few copies left on my publisher’s website which is Gnomic. I have my own copy as well. I think I had like one box left. The original storyline speaks to gentrification and that became more of a focus. Although you look at other storylines about people in the African diaspora and everything is so dark and negative.
That particular community has been depicted in that way for a very long time. Now you have artists like myself, and other artists who are now taking up the mantle and retelling our own stories.
Whether it’s in a more positive light, or mixing it up to say:
“We have strengths as well, we have weaknesses, obviously, but why not play up with the strength?”
– Al J Thompson, Photojournalist
That is why last year, through the middle of the pandemic, I stopped photographing, and I paused to pick up another project. I really wanted to finish this project, I thought that this project needed to be seen as soon as possible. I felt that it would help people and that’s what it did. I’ve gotten emails, and messages from a lot of people saying it’s a book that they will cherish forever because it’s such a personal book. They feel like they know me through that book.
“Remnants of an Exodus is also a reflection of myself.”
– Al J Thompson, Photojournalist
Photo Courtesy: Al J Thompson | Remnants of an Exodus
I’m not only telling a story about gentrification, I’m telling a story about myself as well and the kind of person I am. There’s someone there in front of the camera and then I’m here. It’s almost as if there’s this connection or bond.
The lines are blurred between the sitter and the photographer. You can’t really explain it other than there’s this connection, how you shoot. I don’t take a lot of photos of one subject. Sometimes I have one chance and I’ll shoot it. I’ll just do one frame. Oftentimes, on average about maybe three frames
From one photographer to another on the process
JR: Yeah, that’s interesting. Is it just a time constraint? Or a feeling at that moment?
AJT: I think it’s a little bit of everything. Oh, also budget. I invested a whole lot in this project. It’s been on a lot of platforms, thankfully. I’m very grateful for that as well, and I’m happy with the way it came out. Regardless of whether I photograph two frames, or three frames, or seven frames.
JR: So when you’re starting a project, what is your creative process? Do you focus on a concept first, or do you just make work, and then the concept comes later?
AJT: I’m a very deep thinker, and I don’t say that in a way to make me look good. I feel I’m always thinking and that I think too much at times. There are some things that I plan for, obviously, but there are other elements that pop up.
For example, when I think this is an opportunity and I want to photograph it. In my book, Remnants of Exodus, those images were pre-planned in terms of me knowing that I wanted to walk the streets of Spring Valley. I don’t plan on a person posing a particular way the day before. Whenever I see that person or that thing or those animals, I make the images.
JR: You would much rather connect with people on a personal level. I love that. The book is a beautiful collection of powerful images. From what I’ve seen and I would like to see the book in person.
AJT: There are some surprises in the book. My buddy Shane Rocheleau, he wrote a beautiful piece in the back and I also wrote a short poem. I would like to give a shoutout to Jason Koxvold, who’s a brilliant creative director, designer, and publisher.
He’s also a photographer too, he does it all. We all put our brains together. I felt like my book was always about love and the idea of me inviting people who are not even of African descent. It was definitely calculated and what better way to prove that you want these stories to be out. My goal was to reach as many people as possible.
Photo Courtesy: Al J Thompson
Sticking to your beliefs as a creative
AJT: Actually, I’m a firm believer in walking the walk. I think that this is why I did it the way I did. When I was deciding who to invite to write for the book I had two people in mind. I selected Shane because I respect his work a lot and he’s one of my favorite photographers. If you ever go through the book, it feels like meditation in a sea of violent imagery.
“It’s very important to distinguish myself from other photographers. In the sense that I focus more on love and, this work can resonate with even the most violent of people.”
– Al J Thompson, Photojournalist
The work doesn’t have to garner the attention of millions. That doesn’t matter to me because I believe in it and I stay true to who I am as a photographer and a person.
JR: I think especially as black photographers, we find ourselves leaning into recreating the trauma. I noticed that a lot especially in 2020. Although thinking about your image where you have the man holding the Black Lives Matter sign.
We know what the image is referring to and talking about. We didn’t have to see the violence to understand it.
Kingmil Miceus, 23, demonstrating against police brutality, in Nyack, NY. The death of George Floyd has sparked a nationwide debate on policing minority men and women in the US. June 2020.
b: Absolutely, with that photograph as well, that was me looking at myself at that moment. It wasn’t even a plan. After the protest, I had two shots in mind and wanted to cover them in a non-traditional photojournalism way.
I didn’t see any violence during the protests. Though last year, a lot of images, were being branded in a more violent way. Which is very traumatic. We already know what happened before.
“Why does the news or media have to always latch on to violent imagery, especially within the black community? Why do you want to continue feeding us trauma?”
– Al J Thompson, Photojournalist
After I tried photographing these guys you could see fear, hope, and strength. I’m a very nuanced person. So I felt like my images had to represent who I am.
When I posted it on Instagram, I didn’t post the traditional stuff first. Two days afterward, I posted this image and I photographed some women as well. I realized I made my point and then a lot of different magazines started contacting me.
Asking a few different things, like is the work published anywhere else, apart from Instagram. Then a friend of mine, from The New Yorker, got in touch with me and asked, ‘Can you do me a favor and not publish this? Because we, we want exclusive rights.’
AJT: I told her, this other publication wants it. I waited to find out what they wanted to do. She got back and told me that I could do it non-exclusively. They still ran it and they also hired me to photograph the protests.
I went to three days worth of protests, and there was zero violence. I was one of maybe only a few photographers that decided to do it differently this time. To not go with what the system has taught us to do. It felt really good to have my work out there and photograph what I believed in without the endless propaganda.
JR: That’s beautiful. I know during that period, aside from photographers focused on violence and negativity, there was also conversation around showing protesters and organizers. Individuals who put protests together and how that imagery could potentially harm them. If those images get published or posted and their identity wasn’t protected. Did you ever think about those types of things while you were making that work?
AJT:I saw someone that my energy took a liking to. Then I approached them and they would oblige. Sometimes I’d have just a couple minutes, sometimes it’d be several and people loved it. Remember this was in the middle of a pandemic too. It’s interesting how that whole event happened, because something happened, the fear got put aside.
Photo Courtesy: Al J Thompson | Remnants of an Exodus
Al J. Thompson reflects on 2020
AJT: Then for the betterment of humanity, people were like, fuck it, I’m gonna go out and protest.
“I’m going to do what I believe in and stand up for what’s right.”
– Al J Thompson, Photojournalist
What happened to that beautiful person, and other men and women of color should not be happening. At the time, this is 2020. It shouldn’t be happening. How many adults and kids saw that, murder in front of so many people?
JR: Yeah that was an incredibly hard year.
AJT: I’ll tell you a lot of the work that I garnered between last year and this year. I definitely directly benefited from George Floyd’s death. That’s the irony of it and also COVID which coincided with that as well. If people hadn’t been locked up in one space, then maybe some of that wouldn’t have ensued.
I felt that I needed to burst out and show my flame at that moment. Being out there with these energetic beings, that’s how I looked at it. I knew from day one that I’d have to face my fear for me to move on.
“So I faced my fear.”
– Al J Thompson, Photojournalist
JR: In terms of making work and getting these stories out there. I think with your project I was reading about your hometown. I’m curious about what was going on there. What was the focus surrounding that work?
Reimagining love…The realities of gentrification and redlining
AJT:If you look at the before and after, it’s straight-up black and white. No doubt, the amount of change that happened over the years is pretty dramatic, actually.
A lot of what I witnessed in Spring Valley, was a lot of people moving on. People who owned homes sold their homes to businesses mainly religious, Jewish folks. Everything’s changed and zoning laws have changed over the years as well. They wanted to build higher and have more homes, and less space. A lot of condos were built and part of the park got sold illegally to business developers by the mayor, Darden.
Darden was someone I had a run-in with when I was in high school. They sent me to the dean’s office, Darden was dean at the time. He let me off because I was never a troublemaker.
While he was running for mayor, I was actually rooting for him. I didn’t know what he was like or what was in store at the time. While that happened the moment actually he took office, he made a lot of changes. The original blueprints for the redevelopment of storefronts got changed.
Spring Valley became even more segregated. They sold a plot of land that belonged to housing development. Also, that got sold to business developers as well to build condos. They didn’t allow any person of other descent to rent their properties. It’s redlining that’s what is happening right now.
JR: Were you documenting this change as it was happening?
Al J Thompson talks pivoting
AJT: I started documenting this in 2018. I documented it in a more traditional photojournalistic way. I would go to town halls or just go and various events, photographing families. That that was the original idea.
Originally, I was doing it in color, Matt Eich, who is still one of my favorite photographers. And so I wanted to take a page out of his book, I wanted to actually photograph the different demographics in Rockland County, which Spring Valley is located in.
I started doing that shifting the work to try and figure out how to present a story. I just kept on photographing and then I hit a dead end. Switching it up and I started to photograph in Black and white. The changes happened before that and I don’t remember when he came into office. Though I do know they happened as soon as he came.
There was a park that I used to play soccer and basketball at. That park and everything changed. It took them months to redevelop and we couldn’t even turn on the floodlights at night anymore to play ball. The whole experience was disgusting.
I felt a lot of anger and then through the combination of this book, the images at least, I found love, hope, and other things outside of just anger, right? That morphed into something different when I actually took the time to sit down and photograph. As well as talking to people getting to know them.
Adapting to change
JR: These are people that are experiencing the same changes, like you. Did you find that comforting, in a way? The removal of historical places that are predominantly black, or predominantly Latino, or anything of that nature. I find that sometimes the only thing that makes us feel positive energy is when negative things around us are happening.
It seems that talking to each other about it with those people often helps. When you were photographing these individuals were the conversations along those lines of finding comfort in one another?
AJT: I usually initiate those conversations, because I feel some connection with that person, too. Sometimes it is nice to have these conversations. A lot of the guys they’re lost as well, you know? I feel a lot of sadness, and that they’re in a place of loss.
“By injecting myself within that space, I was hoping that I’m in a sense injecting them with some form of hope.”
– Al J Thompson, Photojournalist
I’ve lived to tell those stories, and I enjoy just watching them smile, and saying I love your book. Now, because I know I’ve reached them in a way. A lot of the guys signed my books and I just thought to myself, this is for you.
It’s all about giving back for Al J Thompson
JR: What is something that you would like to do for your community?
AJT:My book isn’t enough, you know. I wish there was a way for me to give back more. I’m always wanting to do that. I’m in the process of moving for good.
Though before I move my last wish here is to have a frickin party and invite a lot of people over. Something outdoors obviously maybe in the summer. Possibly getting the local police department involved as well. The budget needs to be there and I don’t have the budget.
JR: Maybe something for younger kids to get involved in art.
AJT: Maybe you know, it’s endless, you know, you can do a lot of different things. I would need to find out, like, budget-wise, like what can I do? How much can I afford to spend on this and now you know, and then also, like, there would be other organizations that could lend themselves to making this a success.
JR: What do you think you are going to work on next?
AJT: I have my kids and I love them. I’m taking a long break from photographing them, but I’ve been photographing my kids for years. I still don’t know, the storyline there. There are many different storylines that I can craft for sure. Being black in the suburbs has interesting moments. It’s very catchy as well, but it might be completed and I’ve been at that for a while.
I’m not planning on releasing anything of my kids for the next seven years. Then I’m photographing other projects in between other long-term projects. Also photographing nature because I love that type of work more than anything. I gravitate more towards nature and that’s when I feel at home. When I’m in the middle of the woods. Those are projects I’m thinking about.
JR: I just wanted to say thank you for taking the time to talk with me. I really love your work and your thinking behind it.
AJT: Yeah absolutely, it’s decades of planning, and also for me, I grew up differently. I think on an esoteric level.
I just feel like the world is such a complicated place. It’s equally ugly and beautiful.
