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309                <div class="post-title">HIP HOP AND AFROFUTURISM: THE SEEDING OF THE CONSCIOUSNESS FIELD</div>
310                <div class="post-meta">Posted by rakhyt on April 26th, 2011</div>
311                <div class="post-content">
312                    <em>
313                        The Americas. This is where the End began. The West, the place of Prophecy, the place of
314                        Destiny.
315                        The genetic cellular database of Ancestral awakenings thrums in tune to the drumbeat call of
316                        generations of soul, of pain and joy rising above the spontaneous eruption of life,
317                        uncontrollable, unbounded, free of constriction or constraint in its purest form. This is the
318                        natural path life takes like water, flowing down or up whatever channel presents a path, making
319                        one where none exists, or deepening preexisting ways, widening, eroding resistance whenever
320                        encountered to open the way for a more intense flow of energy.
321                    </em>
322                </div>
323                <div class="post-content">
324                    What does all or any of this have to do with Hip Hop? With a bunch of kids who play their music too
325                    loud, who seem to have a fascination with cursing, disrespect of authority and women, baggy
326                    clothing, crime and material culture? How is any of this spiritual in nature and what does it have
327                    to do with consciousness? To answer these questions fully it is necessary to understand what Hip Hop
328                    is, what it <em>really represents</em>, where it came from and where it is going.
329                </div>
330                <div class="post-content">
331                    Loosely defined, it is the culture of the urbanized underclass, of the disaffected and the
332                    disillusioned masses. A culture of rebellion and revolt that employs every mode of communication
333                    known to humanity in order to get its message across. Music, art, the spoken word, the beat,
334                    movement. MC ing, DJ ing, Break Dancing/Popping/Locking and Graffiti are its major expressions, all
335                    of which encompass the primal cries of those relegated to possessing only their spirits and s
335ouls
336                    and little else of material substance. As a post-modern deconstruction of a Western European
337                    meta-narrative, Hip Hop stands as an exemplar of the effect upon the individual of societal ills
338                    that are now global in scope. Ageless, as an expression of African-based musical and communicative
339                    forms of expression, Hip Hop was informally born as a genre in late 1970s New York City and the
340                    surrounding region, expanding relatively quickly from a purely regional expression to its current
341                    status as multi-billion dollar music of the global youth culture. It is fair to say that Hip Hop has
342                    come a long way. But it is also fair to say that it has a way to go still before it reaches its full
343                    potential.
344                </div>
345                <div class="post-content">
346                    Afrofuturism as a movement from <a href="https://studylecturenotes.com/disadvantages-of-federalism/" title="HONDATOTO">HONDATOTO</a> has evolved alongside Hip Hop, similarly having no definitive beginning
347                    while simultaneously coalescing alongside Hip Hop in urban America during the late 1970s. Its formal
348                    inception occurs much later, in the late 1990s and into the 00s as the online presence of African
349                    Americans grew stronger. The application of diverse academic traditions to the same questions was
350                    the beginning of a process that sought to dissect the cultural and media-based discourse of
351                    African-originated and futuristically-themed influence in the preceding decades in the attempt to
352                    define their interests and cultural memes.
353                </div>
354                <div class="post-content">
355                    And so it was that a small, ethnically diverse but concentrated listserv, called Afrofuturism, was
356                    born and prospered, for a time. Beyond the vigorous debates, expositions of consciousness,
357                    collaborations and intellectualisms lay an underlying strata of vast potentiality and possibility,
358                    made manifest through the broad and open genres of science and speculative fiction. The movement was
359                    represented by black authors, academics, Hip Hop headz and performers alike, all sharing a similar
360                    fascination with futuristic themes and expressions of modern societal tropes under the guise of the
361                    fantastic. Afrofuturism never really coalesced as a full-blown cultural shift outside of the
362                    avant-garde arts and music scenes of the large urban areas, but the fish bowl-like arena the
363                    internet was in those days brought larger and more mainstream attention to this small collective of
364                    personalities and ideas, raised against the growing din of diverse voices the Net was soon to
365                    become.
366                </div>
367                <div class="post-content" style="overflow: auto; margin-bottom: 18px;">
368                    <div
369                        style="float: right; margin-left: 16px; margin-bottom: 6px; border: 3px solid #222; background: #fff; padding: 3px;">
370                        <img src="https://res.cloudinary.com/f0ustf0ur/image/upload/v1751187802/rap-graffiti-5_crrw2o.jpg"
371                            alt="Hip Hop Graffiti" style="display: block; width: 220px; max-width: 100%; height: auto;">
372                    </div>
373                    Hip Hop and the Afrofuture cannot be separated from the evolution of America as a nation, but they
374                    also cannot be separated from the evolution of consciousness not only of this country, but of the
375                    world. The impact of Hip Hop has been felt upon every continent, in every country. Rap is the music
376                    of the global youth culture. It is the sound of rebellion and discontent that can be heard wherever
377                    the young are gathered and wherever inequalities have resulted in the formalization of destitution.
378                    The original means by which Hip Hop formed <em>have been repeated in country after country, city
379                        after city</em> as the young and the listless have found themselves with little money and no
380                    musical education but still possessed of singing hearts and dancing souls, theirs or their parents
381                    record collections and an ever-growing mass of CDs and MP3s that consolidate the Music of the Ages.
382                    The ready availability and affordability of computers, digital music and sound equipment have
383                    created the <em>perfect environment</em> for a large-scale explosion of beat-centered creativity as
384                    the hard, biting sounds of rap drive the air and digital-waves toward the resolution of a Hip Hop
385                    planet, born to tear down paradigms not built for their edification.
386                </div>
387                <div class="post-content" style="overflow:auto; margin-bottom: 18px;">
388                    <div
389                        style="float:left; margin-right:16px; margin-bottom:6px; border:3px solid #222; background:#fff; padding:3px;">
390                        <img src="https://res.cloudinary.com/f0ustf0ur/image/upload/v1751187803/globalattackpromoflyer_qfc3mr.jpg"
391                            alt="Global Attack Mixtape"
392                            style="display:block; width:230px; max-width:100%; height:auto;">
393                    </div>
394                    There is Russian Hip Hop, Middle Eastern Hip Hop, African Hip Hop, European Hip Hop, Latin American
395                    Hip Hop. You will find baggy jeans and ball caps worn by youth of every ethnicity, shade, size or
396                    gender in every country in the world. This acceptance of a quintessentially American artform by two
397                    generations, X and Y, who are now birthing a third, generation Z, will take the artform into new
398                    territory as global consciousness coalesces around the ideals that undergird the very essence of Hip
399                    Hop. Freedom of expression and lifestyle choices, a disdain for centralized authority, a dearth of
400                    color consciousness and a dislike of the trappings of corporate and/or governmental culture typify
401                    the belief system of Hip Hop Headz around the globe. The continuing revelations regarding the
402                    world-wide dominance of elite, corporate conspiracies have resulted in an ever-spreading
403                    understanding of the many threads that tie in to this reality, be they economic, political or
404                    cultural in nature. A wide-spread distrust of governmental measures as well as a realization that
405                    corporate culture does not have the best interests of the individual in mind bind diverse cultures
406                    and ethnicities together in recognition of their shared servitude and bondage to global consumer
407                    culture and hegemonic political domination by a self-serving and mega-rich elite.
408                </div>
409                <div class="post-content" style="overflow: auto; margin-bottom: 18px;">
410                    <div
411                        style="float: right; margin-left: 16px; margin-bottom: 6px; border: 1.7px solid #222; background: #fff; padding: 3px;">
412                        <img src="https://res.cloudinary.com/f0ustf0ur/image/upload/v1751188273/ladies_hip_hop_revolution_tank_tshirt-p235321429796896018yjqi_400_i6nltf.jpg"
413                            alt="I Am Hip Hop" style="display: block; width: 240px; max-width: 100%; height: auto;">
414                    </div>
415                    The material and mainstream response to the impact of Hip Hop began early in its modern evolution.
416                    With the success of the Conscious Hip Hop movement in the United States in the late 1980s and early
417                    1990s, a concerted effort was made on the part of the Music Industry to derail the movement by
418                    changing the focus of the music from positive messages, African history and evolved states of being
419                    to that of material wealth, violence and hyper-sexuality. According to music industry insiders,
420                    there was a <em>successful attempt</em> to provide monetary incentives and change the focus of
421                    individual Hip Hop artists to rap more about these topics and also to contract artists that would
422                    create the type of music that glorified self-hate and violence in many forms. This era was
423                    accompanied by rising drug use, gang violence in many inner cities and the destruction of previously
424                    cohesive neighborhoods by gentrification and urban renew
424al projects that diffused black power by
425                    moving populations out of the urban center and into suburban apartment complexes. The simultaneous
426                    influx of illegal drugs, as well as the continuing unavailability of stable sources of income,
427                    into these uprooted communities contributed heavily to the continuing dismantling of black political
428                    power. But what the Powers-That-Be did not take into account was the expansion of Hip Hops
429                    influence out of the black community and into the white community and from there, into the rest of
430                    the world. Even though the possibility of this happening was evident from its earliest beginnings,
431                    as exemplified by its multi-ethnic composition in the early to mid-80s as it spread like wildfire
432                    across America, the change in the focus of Hip Hop from a black consciousness to a gangsta/thug
433                    mentality that glorified the patriarchy and material accumulation appealed to the children of the
434                    suburbs, the children of affluence, the white children of th establishment. Their rebellion against
435                    their parents and dedicated economic commitment to Hip Hop raised it far beyond national and
436                    international prominence, if not in spite of, then <em>because of</em> the negative direction the
437                    Industry chose to force the music into.
438                </div>
439                <div class="post-content" style="overflow: auto; margin-bottom: 18px;">
440                    <div
441                        style="float:left; margin-right:16px; margin-bottom:6px; border:1.7px solid #222; background:#fff; padding:3px;">
442                        <img src="https://res.cloudinary.com/f0ustf0ur/image/upload/v1751188273/291140378_izggz8.jpg"
443                            alt="Riot Protest" style="display:block; width:260px; max-width:100%; height:auto;">
444                    </div>
445                    As Hip Hop has evolved within the crucible of a planet in the throes of change, it has come to
446                    represent a shifting of consciousness, being the musical form best suited for political and social
447                    challenges. Its hard, eviscerating beats, biting and rough dictions and choruses, are <em>the
448                        perfect backdrop</em> to a world on the cusp of transformational change. While mainstream Rap
449                    still possesses that material edge that glorifies bling, the dollar bill and the objectification of
450                    women as sexual objects, underground Hip Hop culture remains conscious and concerned with the plight
451                    of the underclass the world across. With the spread of Internet access across the planet, that
452                    underclass has realized that they hold common cause with each other, no matter their country or
453                    origin or color. A global political consciousness is a precursor to a global spiritual consciousness
454                    as people become aware that politics is only the outermost layer of an affliction that goes much
455                    deeper. The speculative aspects of the Afro-future arise in this space created by infinite
456                    potentiality as artists meld their conceptions of the present with ideas about what could be, in a
457                    perfect world. The addition of both New Age and Afrocentric spiritual ideals, as well as the
458                    culmination of the Age, centered around the 2012 fulcrum, combine to create a discourse <em>of
459                        extraordinary exceptionalism</em> that surpasses nation-hood and represents an elevated sense of
460                    connection, of oneness, of common cause.
461                </div>
462                <div class="post-content">
463                    There is a revolution of the spirit as well as the body that is overcoming the dictates of
464                    materiality, of modernism and the consumer culture. While there are many causative factors that have
465                    contributed to this awakening, the impact of African-related innovations and movements in the West
466                    have been strongly felt. From the Haitian revolution and the victories of Touissant L Ouverture, to
467                    Nat Turner, the Civil War and the Civil Rights movement, there is a connection. From Jazz to Country
468                    to New Age genres, there is a connection. From Fats Domino, Little Richard and other
469                    African-Americans impact upon the evolution of Rock and Roll to the evolution of electronic and
470                    computer-based music and art forms, there is a connection. This connection is the expression of the
471                    Souls of Black Folk, the visceral nature of their interactions with the world, the spirit-filled
472                    mass consciousness that resists all attempts at suppression, repression and genocide. It is, in
473                    microcosm, representative of the human spirit in macrocosm, it is what happens when a group of
474                    people is put upon for centuries at a time and their desire for utter freedom grows beyond the
475                    capacity of any seeking control over them to contain. It is when expression becomes mandatory, where
476                    not even death is threat enough to maintain silence, that the extraordinary becomes mundane and
477                    wonder fills the world to overflowing on a daily basis.
478                </div>
479                <div class="post-content" style="overflow: auto; margin-bottom: 18px;">
480                    <div
481                        style="float: left; margin-right: 16px; margin-bottom: 6px; border: 3px solid #222; background: #fff; padding: 3px;">
482                        <img src="https://res.cloudinary.com/f0ustf0ur/image/upload/v1751188272/commonuniversalmindcontrol_thumbnail1_mozi34.jpg"
483                            alt="Common Universal Mind Control"
484                            style="display: block; width: 260px; max-width: 100%; height: auto;">
485                    </div>
486                    Of course, the formulation of the present moment is a collective endeavor that all streams of
487                    humanity have contributed to, that, in fact, every person who has ever lived has, in their own way,
488                    helped to create. Consciousness is a condition of awareness and each individual becomes aware of the
489                    realities outside of his or her own chosen spotlight for different reasons. But it <em>cannot be
490                        denied</em> that the world as it is today is the result of vast inequalities that have been
491                    fomented over generations. Inequalities that have resulted in the deaths of untold millions, the
492                    servitude of untold millions more and the domination of the world by a small, inbred and greedy
493                    elite. The atrocities that have come to predominate the historical record of these latter centuries
494                    of the Age of Pisces perhaps have no equal in the known history of humanity upon this planet. The
495                    world as it is today, with all of its pain, heartache and vast inequalities, is also a beautiful
496                    place, where the seeds of Africans brought to the Americas, mixed with the Aboriginals and Enslavers
497                    both, have broken ground, tilling the field of hearts the world across, as what has been done
498                    becomes clear and the ramifications of karmic repayment attend that clarification. Hip Hop and the
499                    Afro-future stand intertwined in the Present as an indicator of Past and Future, one
500                    indistinguishable from the other according to the infinite realm of probability that leaves
501                    conceptualization boundless and free to be, to become whatever we wish it to be. This is the legacy
502                    of our ancestors, and that which we leave to our posterity in our turn. The gift of life and love
503                    despite pain and heartache, and of expression, without apology, of who we are, were and will be,
504                    <em>far beyond</em> what those who think they control reality could ever conceive of.
505                    <br><br>
506                    <span style="font-size:14px; color:#5e5e5e;"><em>By Rahkyt/Mark Rockeymoore</em></span>
507                </div>
508                <div
509                    style="background:#f8f8f8; border:1px solid #e3e3e3; border-radius:6px; margin-bottom:10px; font-size:10px; color:#222; padding:8px 14px 6px 14px; line-height:1.6;">
510                    Filed under Afrofuturists, Articles, History, Music, Web
511                    <span style="color:#888;">|</span>
512                    <span style="color:#449c44;">Tags:</span> african american, Afrofuturism, change, co-creation,
513                    consciousness, freedom, future, hip hop, industry, music, new york, octely, slaveryus, soul, space,
514                    united states
515                    <span style="color:#888;">|</span> No Comments
516                </div>
517
518                <div
519                    style="font-family:'Montserrat',Arial,sans-serif; color:#d43d0d; font-size:20px; font-weight:bold; margin-bottom:7px; letter-spacing:0.01em;">
520                    WREK ATLANTA RADIO: ON CYBISM &amp; DECODING THE LETTER
521                </div>
522
523                <div style="color:#2da12d; font-size:13px; margin-bottom:20px;">
524                    Posted by nettrice on January 4th, 2011
525                </div>
526
527                <div style="font-size:13px; color:#232323; margin-bottom:22px; line-height:1.7;">
528                    On January 2, I was on a live WREK Radio Sunday Special talking about <em>Tron: Legacy</em> and my
529                    latest research,
530                    <b><em>Cybism and Decoding the Letter: Countering Mass Cultures Reductional Breakdown Through
531                            Afro-futuristic Forms of Representation and Emergent Platforms.</em></b>
532                    <br><br>
533                    The online archive of the show is available until Sunday, January 16, 2011:
534                    <br>
535                    <a href="http://www.wrek.org/playlist.php/main/24kbs/current/SS.m3u" target="_blank"
536                        style="color:#117911; word-break:break-all;">http://www.wrek.org/playlist.php/main/24kbs/current/SS.m3u</a>
537                    (it is about 35 minutes in)
538                    <br><br>
539                    I also blogged about it here:
540                    <br>
541                    <a href="https://afrofuturism.net/2011/01/02/cybism-decoding-the-letter" target="_blank" style="color:#117911; word-break:break-all;">http://afrofuturism.net/2011/01/02/cybism-decoding-the-letter</a>
542                </div>
543
544                <div
545                    style="background:#f8f8f8; border:1px solid #e3e3e3; border-radius:6px; margin-top:26px; font-size:10px; color:#222; padding:7px 14px 6px 14px;">
546                    Filed under Art, People, Reviews
547                    <span style="color:#888;">|</span> No Comments
548                </div>
549                <div
550                    style="font-family:'Montserrat',Arial,sans-serif; color:#d43d0d; font-size:20px; font-weight:bold; margin-bottom:7px; letter-spacing:0.01em;">
551                    CYBISM &amp; DECODING THE LETTER
552                </div>
553                <div style="color:#2da12d; font-size:15px; margin-bottom:20px;">
554                    Posted by nettrice on January 2nd, 2011
555                </div>
556                <div style="font-size:13px; color:#232323; margin-bottom:22px; line-height:1.7;">
557                    Enter the realm of pure unadulterated street art and experience what is now a thriving knowledge
558                    culture that merges specialized forms of representation: alphabets, drawings, paintings (graffiti),
559                    films/videos, choreographic notations based on symbolic, linguistic and scientific formulations,
560                    programming languages, hardware (robotics, handheld devices), software (game platforms) and so on .
561                    . .
562                </div>
563
564                <div
565                    style="background:#f8f8f8; border:1px solid #c2c2c2; border-radius:7px; margin-bottom:20px; max-width:98%; text-align:center; padding:12px 6px 7px 6px;">
566                    <img src="https://res.cloudinary.com/f0ustf0ur/image/upload/v1751192948/Rammellzee_j2waob.jpg"
567                        alt="Bi-Conicals of the Rammellzee"
568                        style="display:block; margin:auto; max-width:99%; border-radius:2px;">
569                    <div style="font-size:10px; color:#222; margin-top:9px; font-style:italic; line-height:1.4;">
570                        �Bi-Conicals of the Rammellzee / Beat Bop (with art by Jean-Michel Basquiat).� �<br>
571                        Gomma/Profile Records, 2004/1983.
572                    </div>
573                </div>
574
575                <div style="font-size:13px; color:#232323; margin-bottom:20px; line-height:1.7;">
576                    This begins my essay entitled, <b><em>Cybism and Decoding the Letter: Countering Mass Cultures
577                            Reductional Breakdown Through Afrofuturistic Forms of Representation and Emergent
578                            Platforms</em></b> � Or something like that. The inspiration for this effort is the work of
579                    the first phase of modern graffiti/hip-hop art pioneers who have explored Afrofuturism as a theme:
580                    <a href="https://afrofuturism.net/" style="color:#299c48; text-decoration:underline;">Rammellzee</a>,
581                    <a href="https://afrofuturism.net/" style="color:#299c48; text-decoration:underline;">Futura</a>
582                    (formerly Futura 2000) and
583                    <a href="https://afrofuturism.net/" style="color:#299c48; text-decoration:underline;">Doze Green</a>.
584                    <br>More specifically the essay highlights Gothic Futurism, Rammellzees concept concerning a �new
585                    twist on the old mythologies and religions.�
586                </div>
587
588                <div class="post-content">
589                    Rammellzee appropriated and decoded sigma, the eighteenth letter of the Greek alphabet, and
590                    created a distinctly new form of representation as a transformation of a classic signature visual
591                    motif into a laser gun from science fiction. Canonical letter forms are re-created as metaphorical
592                    weapons to destroy negative cultural practices and �diseased systems.� To experiment with Ikonoklast
593                    Panzerism in Second Life I used techniques similar to collage and assemblage that had to be employed
594                    that are unique to the virtual 3D, game world environment. My Tribute combines the art of Rammellzee
595                    with urban detritus of the material world to construct an collage/assemblage of virtual 3D objects,
596                    or planes that were built and textured to simulate the real thing. The aspects of virtuality in this
597                    Second Life art simulation engaged users, embodied as avatars, in a participative experience.
598                </div>
599
600                <div class="post-content">
601                    This work reflects a system, or energy dynamics through a hybrid blending of material, analog
602                    aspects and the techno-presence of the body in an urban/cosmic environment. These practices are
603                    characterized by what Nechvatal refers to as a cybistic zeitgeist, as a �quality-of-life desire in
604                    which everything, everywhere, all at once is connected in a rhizomatic web of communication.�
605                    Artist/theorist Joseph Nechvatals notion of cybism detects an �attraction towards the abstractions
606                    of advanced technological and scientific discovery -discovery now stripped of its fundamentally
607                    reductive logical methodology.�
608                </div>
609                <div class="post-content">
610                    The knowledge context in which these abstractions are produced lay out a �common plane of immanence
611                    on which all minds, all bodies and all individuals are situated.� Virtuality merges these aspects
612                    and practices through the creation of concepts and tracing of metaphysical planes on which these
613                    concepts exist. This plane involves creative practices that tie into other activities and practices
614                    external to it. To further explicate this development we can look to the next level or layer of
615                    artistic and technological progress: emergent game platforms and other digital media technologies.
616                </div>
617                <div class="post-content">
618                    Check out the substantial and fascinating new article by Louis Chude-Sokei: �Invisible Missive
619                    Magnetic Juju: On African Cyber-Crime. It is a sweeping and well thought-out piece that
620                    contextualizes Nigerias infamy as the home of internet fraud, in an analysis that makes connections
621                    between the countrys political history, the creativity of Nigerian computer users, the sense of
622                    exclusion felt by segments of the Nigerian population, the global free market, Nigerian popular
623                    culture, Western paranoia and the growth of African cyber-crime franchises, all interwoven with a
624                    review of the film District 9.
625                </div>
626                <div class="post-content">
627                    With each successive technology I learn, or master it changes how I view the past, present, and the
628                    future.
629
630                    Experiencing virtual 3D space can transcend the material world but it is very much a material
631                    experience. Through Alternate Futures I am exploring Afrofuturism and viractuality � a term coined
632                    by Joseph Nechtaval who I recently befriended on Facebook after I bought his book, Towards an
633                    Immersive Intelligence. This exploration is beyond my imagination. Lisa Yazsek has been researching
634                    Afrofuturism in literature. She writes, Alternate Futures aims to place visitors within a
635                    perceptually immersive 3D Afrofuturist construction in Second Life, then subsequently asks them to
636                    consider the future of black history and culture. Visitors experience fragments of history, culture,
637                    and myth as they explore the simulation. I have come to my own realization as I add to this work
638                    that
639                    my sense of space and time changes. I recognize close connections between form and meaning (in art),
640                    as well as history and virtuality or viractuality.
641                </div>
642                <div class="post-content">
643                    Having practiced and mastered the art of collage in material space (to some degree) I am discovering
644                    that collage in immersive 3D space is entirely unique. A collage (from the word coller, to glue) is
645                    a work of visual art made from an assemblage of different forms, thus creating a new whole. In
646                    Second Life collage integrates two, three, and four dimensional forms of art. I am experiencing the
647                    overlapping of the visual elements with sound, animation and video in new and exciting ways.
648                </div>
649                <div class="post-content">
650                    On a different level I am finding new meaning and connections between the virtual art and existing
651                    narratives. Steampunk Dream is my short story about time travel and reconnecting with the past. I am
652                    making the story real through the creation of an immersive 3D space that makes it possible to create
653                    links to external content such as web sites, online videos and streaming media (radio). For example,
654                    visitors can click an image or object to launch a web browser and view segments from LaLee s Kin:
655                    The Legacy of Cotton, a documentary that draws the connection � a vicious cycle � between poverty
656                    and the lack of education opportunity for black people living in the Mississippi Delta, over 150
657                    years after the abolition of slavery.
658                </div>
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706                    RECENT POSTS
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711                        <span style="border-left:4px solid #19bbe3; padding-left:7px;">
712                            <a href="https://afrofuturism.net/" style="color:#111; text-decoration:none;">Hip Hop and
713                                Afrofuturism: The seeding
714                                of the Consciousness field</a>
715                        </span>
716                    </li>
717                    <li style="margin-bottom:9px;">
718                        <span style="border-left:4px solid #19bbe3; padding-left:7px;">
719                            <a href="https://afrofuturism.net/" style="color:#111; text-decoration:none;">WREK Atlanta
720                                Radio: On Cybism &
721                                Decoding the Letter</a>
722                        </span>
723                    </li>
724                    <li style="margin-bottom:9px;">
725                        <span style="border-left:4px solid #19bbe3; padding-left:7px;">
726                            <a href="https://afrofuturism.net/" style="color:#111; text-decoration:none;">Cybism &
727                                Decoding the Letter</a>
728                        </span>
729                    </li>
730                    <li style="margin-bottom:9px;">
731                        <span style="border-left:4px solid #19bbe3; padding-left:7px;">
732                            <a href="https://afrofuturism.net/" style="color:#111; text-decoration:none;">Alondra Nelson
733                                Interview on
734                                Afrofuturism</a>
735                        </span>
736                    </li>
737                    <li>
738                        <span style="border-left:4px solid #19bbe3; padding-left:7px;">
739                            <a href="https://afrofuturism.net/" style="color:#111; text-decoration:none;">Louis
740                                Chude-Sokei on African
741                                Cyber-Crime</a>
742                        </span>
743                    </li>
744                </ul>
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