Fences is one of the best-known works by playwright August Wilson, part of his Century Cycle of plays exploring 100 years of black American history, and it won him a Pulitzer Prize and a Tony Award in 1987. Wilson died in 2005, but further gongs greeted the play’s 2010 Broadway revival, including Tonys for its stars Denzel Washington and Viola Davis.
There's an irony to be found in the fact that America's 45th president is already abolishing any and all things to do with the arts even as his ascendancy looks set to provide catnip to artists to a degree not seen since the heyday of Margaret Thatcher.
Charles Burnett is one of the neglected pioneers of African-American film-making. He first won attention back in 1978 with his poetic, powerful debut film, Killer of Sheep. Acclaimed by critics and respected by his fellow directors, Burnett has always struggled to get his scripts on screen, focusing as they do on the reality of black American lives.
The parallel universe of what was known as “race” cinema gets five packed DVDs here. Instead of cringing with sympathy at small, racistly conceived black roles in a classic Hollywood era which coincided with an American Apartheid, these are indie films made inside black neighbourhoods between the wars. Even when white writers or directors are involved – just as in the period’s record labels – authentic culture gets through.
Kemp Powers’s play is set in a motel room in Miami on the night of 25 February 1964, after Cassius Clay (as Muhammad Ali then was) had earlier beaten Sonny Liston to gain the world heavyweight title. He is joined by two friends, the singer Sam Cooke and the American football star Jim Brown, and his political and spiritual mentor, the civil rights activist Malcolm X.
Is Katori Hall (b. 1981) the embodiment of Martin Luther King’s dream? She was born in Memphis, the city where King died. The Mountaintop, her play about his last night alive, had its world premiere at Theatre 503, a tiny pub stage in south London. But the unanimity of the reviews, combined with the timely arrival of a black man in the White House, propelled the two-hander into the West End where it played to standing ovations from notably multiracial audiences.
Fantastic Negrito, aka Xavier Dphrepaulezz, is a singer from Oakland, California. His music is steeped in the raw and urgent spirituality of the early blues, especially Robert Johnson. Yet he refuses to be pigeonholed as a blues performer, disdaining all talk of genre, and infusing his compositions with the grit and anger of punk, hip-hop and hard rock as well as the mournfulness of the blues, not to mention political protest that’s bang up-to-date.
The duo of Swae Lee and Slim Jxmmi – aka 21- and 23-year-old Tupelo Mississippi brothers Khalif and Aaquil Brown – are the epitome of everything that is baffling to ageing hip hop fans. Whisked from obscurity as teenagers by superstar producer Mike Will Made It, they became the breakthrough rap success of 2014, with what appeared to be little more than leaping around shirtless barking a bunch of half-nonsensical slogans and in-jokes about how much weed, money and sex they are surrounded by.
Detroit techno music is important. Any student of the club music of the modern age knows this. The sound that fermented among the majority black population of the decaying industrial city in the late 1970s and early 1980s, as disco's last remnants fused with the avant-garde experiments of Europeans who were first getting their hands on synthesisers and drum machines, went on to change the world. It seeded the UK's rave explosion, jungle, drum'n'bass and all the electronic experiments that came after.