Peter Magubane was more than a photographer. He was a witness, storyteller, historian and courageous chronicler of one of the most turbulent periods in South African history. Born on January 18, 1932, in Vrededorp, Johannesburg, and raised in Sophiatown, Magubane discovered photography as a young boy after receiving a Kodak Brownie camera. That simple camera would eventually become his instrument for documenting the lives, struggles and determination of Black South Africans. He died on January 1, 2024, at the age of 91, leaving behind one of the most important photographic archives of South Africa’s apartheid era.

Magubane’s professional journey began at Drum magazine in 1954. He initially worked as a driver and messenger, but his ambition was to become a photographer. Under the mentorship of Drum’s legendary chief photographer Jürgen Schadeberg, Magubane developed his skills and began photographing major political and social events. His first significant assignment involved covering the 1955 African National Congress convention. From that point forward, photography became his way of documenting a country undergoing enormous change.

The South Africa that Magubane photographed was governed by apartheid, a system that legally enforced racial segregation and discrimination. For Black South Africans, everyday life was shaped by restrictions on where they could live, work and travel. Magubane did not limit himself to photographing politicians or famous leaders. He photographed ordinary people—children, workers, families and communities—giving the outside world a visual record of what apartheid meant in everyday life.

One of the defining moments of Magubane’s career came in 1960, when he photographed the aftermath of the Sharpeville Massacre. His photographs helped bring international attention to the violence surrounding resistance to apartheid. He also photographed the 1956 women’s anti-pass march, the Rivonia Trial involving Nelson Mandela and other activists, and numerous other events that became part of South Africa’s historical record.

Magubane paid an enormous personal price for his work. In 1969, he was arrested while photographing protesters outside Pretoria Central Prison. He was subsequently held in solitary confinement for 586 days. After his release, the apartheid government placed him under a banning order that severely restricted his ability to work and move freely. Yet the restrictions did not convince him to abandon photography. Instead, they demonstrated just how powerful the authorities believed his photographs could be.

In 1976, Magubane documented the Soweto Uprising, when thousands of Black students protested against the apartheid government’s education policies. His photographs captured young people confronting police violence and became some of the most internationally recognized images of the uprising. Despite the danger, Magubane continued photographing what was happening around him. His work transformed individual moments of protest into permanent historical evidence that could not easily be erased.

His creativity was matched by his determination to get the picture. Because authorities restricted photographers and attempted to prevent journalists from documenting certain events, Magubane sometimes concealed his camera in unusual places, including a hollowed-out Bible, bread and other objects. These methods allowed him to continue working when openly carrying a camera could attract police attention. His photographs demonstrated that documentary photography sometimes requires not only technical ability but extraordinary courage and resourcefulness.

After Nelson Mandela was released from prison in 1990, Magubane entered another important chapter of his career. He became Mandela’s official photographer and documented the transition toward democracy, including significant moments surrounding South Africa’s first democratic election and the Truth and Reconciliation Commission. The photographer who had spent decades documenting resistance now had the opportunity to photograph a country moving toward a new political era.

Magubane’s legacy extends far beyond the individual photographs he made. He published numerous books, exhibited internationally and received major honors, including an honorary Doctor of Literature from the University of Cape Town in 2010. His photographs remain part of the historical record because they show not only the brutality of apartheid but also the humanity, resilience and determination of the people who lived through it.

Peter Magubane ultimately demonstrated the extraordinary power of photography. He understood that a photograph can preserve a moment long after the people who witnessed it are gone. His camera recorded injustice, resistance, suffering, courage and eventually freedom. For photographers today, his life offers an enduring lesson: photography is not simply about making beautiful pictures—it can also be about seeing clearly, standing close to history and making sure that important stories are never forgotten. Magubane’s photographs gave South Africa a visual memory, and his life’s work reminds every photographer that sometimes the most important picture is the one that history needs someone brave enough to make.

Based on reporting by The Positive Community.

By Dr. Y’Anad Burrell

“Fashion vs. Fascism” (FVF) is a visually immersive evening of fashion, music and political theater exposing the rise of fascism in the U.S. and the need to resist. Democracy is under siege, and culture is one of our most potent defenses, organizers say.

Called a live “runway revolution,” FvF premieres Oct. 3 at The Rotunda, 300 Frank Ogawa Plaza in downtown Oakland.

A play that is part fashion show, part protest, part performance art, FvF stages five runway collections spotlighting the pillars of contemporary fascist politics and the urgent need to resist: the myth of a “glorious past,” the manufactured emergencies used to justify surveillance and crackdowns, and the oligarchs and grifters profiting from it all. Runway fashion shares the stage with political theater and live music, with a closing call to action.

“We need lawsuits, ballots and mass protests, but none of it lands if we’re not also fighting for people’s imagination,” says Linda Burnham, co-producer of the show. “People are exhausted and scared. FvF will expose the absurdities of fascist mythology and ideology in ways a news headline cannot and spark new ideas about how to resist.”

“Fascism doesn’t win by policy alone. It wins by telling a story. A myth about a ‘Golden Age.’ A permanent emergency that makes cruelty seem necessary. That’s not an accident, it’s a strategy, and it works on the same terrain as culture: image, spectacle, emotion,” says Aya De León, the show’s playwright.

“Every piece on this runway translates what is happening under fascism into a feeling,” explains Erica Furlong, the FVF creative director. “One designer’s trench coat is covered in pockets stamped ‘TRUTH,’ ‘MEMORY,’ ‘HOPE,’ ‘VOTE,’ ‘FUTURE,’ because that’s literally what gets seized first, pocket by pocket, under fascist decline. Fashion can hold grief and hope in the same silhouette, and that tension is exactly what this moment needs.”

At its best, fashion is about creativity, diversity, innovation, experimentation and the free exchange of ideas. Fascism, by contrast, demands conformity and control, while suppressing dissent.

FVF was created, organizers say, because democracy should always be in style.

Featured designers include Erica Varize, Rickie Lee, Tianna Charity, Julie Wong, and Maria Flores. The evening features a script by lead playwright Aya De León, musical performances by Mindeullae Project and DJ Emancipation, and other special guests.

FvF is designed to travel. Following the Oakland premiere, FvF will extend its reach through a documentary short, a curriculum on contemporary fascism in the U.S., and a full replication playbook — design templates, script, and curriculum — so organizers in other cities can stage their own version of the show.

Get more details at www.fashionvfascism.org.

“Fashion vs. Fascism” (FVF) is a visually immersive evening of fashion, music and political theater exposing the rise of fascism in the U.S. and the need to resist. Democracy is under siege, and culture is one of our most potent defenses, organizers say.

Called a live “runway revolution,” FvF premieres Oct. 3 at The Rotunda, 300 Frank Ogawa Plaza in downtown Oakland.

A play that is part fashion show, part protest, part performance art, FvF stages five runway collections spotlighting the pillars of contemporary fascist politics and the urgent need to resist: the myth of a “glorious past,” the manufactured emergencies used to justify surveillance and crackdowns, and the oligarchs and grifters profiting from it all. Runway fashion shares the stage with political theater and live music, with a closing call to action.

“We need lawsuits, ballots and mass protests, but none of it lands if we’re not also fighting for people’s imagination,” says Linda Burnham, co-producer of the show. “People are exhausted and scared. FvF will expose the absurdities of fascist mythology and ideology in ways a news headline cannot and spark new ideas about how to resist.”

“Fascism doesn’t win by policy alone. It wins by telling a story. A myth about a ‘Golden Age.’ A permanent emergency that makes cruelty seem necessary. That’s not an accident, it’s a strategy, and it works on the same terrain as culture: image, spectacle, emotion,” says Aya De León, the show’s playwright.

“Every piece on this runway translates what is happening under fascism into a feeling,” explains Erica Furlong, the FVF creative director. “One designer’s trench coat is covered in pockets stamped ‘TRUTH,’ ‘MEMORY,’ ‘HOPE,’ ‘VOTE,’ ‘FUTURE,’ because that’s literally what gets seized first, pocket by pocket, under fascist decline. Fashion can hold grief and hope in the same silhouette, and that tension is exactly what this moment needs.”

At its best, fashion is about creativity, diversity, innovation, experimentation and the free exchange of ideas. Fascism, by contrast, demands conformity and control, while suppressing dissent.

FVF was created, organizers say, because democracy should always be in style.

Featured designers include Erica Varize, Rickie Lee, Tianna Charity, Julie Wong, and Maria Flores. The evening features a script by lead playwright Aya De León, musical performances by Mindeullae Project and DJ Emancipation, and other special guests.

FvF is designed to travel. Following the Oakland premiere, FvF will extend its reach through a documentary short, a curriculum on contemporary fascism in the U.S., and a full replication playbook — design templates, script, and curriculum — so organizers in other cities can stage their own version of the show.

Get more details at www.fashionvfascism.org.

In a neighborhood where conversations about food insecurity often center on scarcity, Philadelphia’s Tindley Tea Cafe offers a different narrative: abundance with purpose.

Located inside the educational building of historic Tindley Temple United Methodist Church in South Philadelphia — named after a pioneering Black minister, scholar, and theologian — the cafe is a popular brunch destination. Freshly prepared meals, live jazz, local artwork, and a welcoming atmosphere draw foodies from across the city.

But behind every reservation, every cup of tea and every plate served is a singular mission. The profits from Tindley Tea Cafe help fund a ministry that feeds neighbors experiencing hunger.

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Pioneering Namesake

Vicki Baker, business manager for Tindley Temple and a retired educator, says the cafe is the brainchild of Pastor John T. Bryce, the temple’s lead minister.

Two years ago, Bryce and church leaders realized two things about food in their community. First, they recognized that few quality, sit-down dining options existed in the neighborhood south of South Street — a majority-Black community that had suffered from underinvestment and been overlooked for decades. They also noted that hunger was a big problem in the community.

“We decided as a leadership team that we wanted to select people that we could bless in some way every month,” Baker told Word In Black in a recent interview. “So we chose those with food insecurity.”

Rather than simply opening a restaurant, Baker says, Tindley’s brain trust repurposed underused church space into a community gathering space with music, art, and food good enough to entice Philadelphia’s foodies. It then paired that enterprise with a mission to provide free, high-quality meals to the hungry—what could be called the church’s “food ministry.”

We decided as a leadership team that we wanted to select people that we could bless in some way every month. So we chose those with food insecurity.”

Vicki Baker, Business Manager, Tindley Temple

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“Tindley Temple’s soup kitchen actually started in the 1920s under Dr. Tindley and had run continuously until the pandemic,” Baker says, referring to the church’s program to feed the homeless and food-insecure. “We wanted to bring it back, and one of the ministries the cafe supports is that soup kitchen.”

Proceeds from Tindley Tea Cafe help support the church’s twice-weekly soup kitchen, which resumed full operations after the pandemic and now serves dozens of people each Tuesday and Thursday evening. The ministry has expanded through partnerships with local organizations, grants addressing food insecurity, and a growing network of volunteers who sign up online to prepare and serve meals.

Art, Jazz, Legacy

The cafe itself reflects the church’s commitment to community.

Artwork showcases Philadelphia artists, and tables feature musical scores honoring the legacy of Tindley, a formerly enslaved man who taught himself scripture and wrote hymns. Visitors often arrive because they’ve heard about the food, only to discover the history of one of America’s most remarkable pastors and influential Black churches.

That history continues to grow. Tindley Temple recently completed construction of the Charles Albert Tindley Legacy Preservation Center, an archive and exhibition space designed to preserve nearly two centuries of church history while introducing new generations to Tindley’s life and ministry.

Word In Black’s interview with Baker has been edited for length and clarity.

Word in Black: What’s your position with the cafe?

Vicki Baker: So I am the business administrator, business manager for the church. So I do a little bit of everything, in everything. I don’t run the cafe, but through the beauty of technology, the church’s phone rings on a special phone that I have, so we never have to miss a call. I do get a lot of calls for bookings at the cafe or even if people just want a reservation.

WIB: How did the idea for Tindley Tea Cafe come about?

Baker: About two years ago the cafe opened. When Pastor John [Bryce] looked at what was available in South Philadelphia as far as eating establishments, we found that when you got south of South, there weren’t a lot of places. We thought this is an area where we could provide service.

The building that it’s in is the educational building. It was built in 1964. The floor where the cafe is was the general meeting room. Pastor Bryce and First Lady Ebony [Brice] really had the vision. They painted, brought in artwork from Philadelphia artists, and created a very comfortable space. It’s become a place for jazz, poetry, community meetings, worship and so much more.

WIB: Who’s doing the cooking? My foodie friend said the food was fabulous.

Baker: We have a team that works. There are two or three chefs, depending on the day, and sous chefs that do the prep. Food is made to order. It’s not pre-done or reheated or bought. They fix the food there and serve it.

WIB: Tell me how the cafe funds are used for the community.

Baker: We decided as a leadership team that we wanted to select people that we could bless in some way every month. So we chose those with food insecurity. The soup kitchen actually started in the 1920s under Dr. Tindley and had run continuously until the pandemic. We wanted to bring it back and one of the ministries the cafe supports is that soup kitchen.

WIB: How did the church rebuild the soup kitchen ministry?

Baker: When the [city transit] strike was being threatened and SNAP benefits were changing, we decided to push up our timetable to reopen the soup kitchen because we knew there would be a need.

We partnered with Broad Street Love to learn best practices. Through them we connected with Carversville Farm, which delivers meat and vegetables every week. Then the chef figures out the menu based on what arrives. We also received a grant from the District Attorney’s Office for food insecurity, which has helped us augment the ministry.

WIB: What would visitors see today that reflects Bishop Tindley’s legacy?

Baker: The soup kitchen is still his legacy. During his time, there was a soup kitchen, a clothes closet and people even slept in the sanctuary during the Depression and the Great Migration while they got established.

We’ve also just completed construction on the Charles Albert Tindley Legacy Preservation Center. We received a grant to build an archive and exhibition center. We have nearly 100-year-old artifacts that are now being preserved in a temperature- and humidity-controlled archive. We hope to open it in the fall so people can learn about Tindley’s life and the church’s history.

WIB: Why is it important to keep telling Charles Tindley’s story?

Baker: “Our children need to hear these stories because many of them don’t know who they are or who they’ve come from. They hear about famous people who hit it big, but they don’t always hear about the work and grit.

Charles Tindley taught himself to read and write. He taught himself Greek and Hebrew. He was born free, but because his mother died and his father was enslaved, he lived as a slave. That’s an amazing story. There’s nothing God can’t do. We want to keep telling that story.

Based on reporting by Seattle Medium.

Malachi Wright, a 24-year-old artist from the Chicago area, has created a new mural for Snoop Dogg’s ice cream brand, Dr. Bombay. Located near LAX, the mural is designed to attract the company’s ice cream taste testers. Wright graduated from UCLA with a B.A. in Design & Media Arts in 2024 and is currently completing a master’s degree in fine art at California State University Long Beach.

Wright is available for interviews before and during the mural’s unveiling on Saturday, August 29. The exact time of the unveiling is to be confirmed. He can discuss the meaning behind the mural’s design, his creative process, and what it has meant to work with Snoop Dogg and his son at this stage in his career.

The mural depicts Snoop Dogg driving a colorful convertible with his son, Cordell, and his dog in the back seat. Cordell is holding a Dr. Bombay ice cream cone. Wright depicts both Snoop Dogg and Cordell at age 29—Cordell’s current age—imagining father and son spending time together as peers. Both are looking toward the viewer to directly engage the audience.

The mural also features the words “Dr. Bombay, Snoop’s Hiring” in the top left corner and “Powered by Deel” in the bottom right corner. Deel is collaborating with Dr. Bombay to hire ice cream taste testers.

The project marks another chapter in Wright’s continuing creative relationship with Snoop Dogg and his family. While still in high school, Wright designed the cover for Snoop Dogg’s 2019 album, I Wanna Thank Me. He later collaborated with Snoop’s son, Cordell Broadus, on an NFT project and designed a mural for the rapper’s Dr. Bombay brand in Venice Beach.

This latest mural continues a creative relationship that has evolved alongside Wright’s career, from his beginnings as a young artist in the Chicago area to his established practice in Los Angeles.

The mural is a project of Golden Street, LLC, a company Wright co-owns with his brothers Amoz and Ira. Amoz and Ira, along with their close friend/artist Lamar Hawkins, who flew in from Chicago to collaborate on the mural.

Golden Street completed two other murals this summer —one for the Chicago Park District and the other for Harvey City Hall in Illinois. Golden Street’s work centers on creating meaningful experiences in public spaces through art, storytelling and community-driven projects.

The mural is located at The Coffee Company, a popular restaurant in Los Angeles’ Westchester neighborhood. Address: 8751 La Tijera Blvd, Los Angeles, CA 90045

Based on reporting by Chicago Defender.

NASHVILLE, Tennessee – During Gospel Music Heritage Month, the Spruce Street Baptist Church Music Department will present “Songspiration,” a worship service honoring one of the most influential and respected vocalists in the history of gospel music, Sir J. Robert Bradley. The special service will be held on Sunday, Sept. 13th at 11 a.m., honoring the late Bradley, recognizing his tremendous musical accomplishments, and officially naming the Sir J. Robert Bradley Choir Room. Area church leaders and the entire community are invited to attend.

Among service highlights will be video presentations featuring Bradley, special music, and a reception. The guest minister will be the Reverend Dr. Harmon E. Stockdale, Sr., former senior pastor of Spruce Street from 1975 to 1980.

“There have been so many incredible musicians and singers who have been a part of Spruce Street’s musical history and legacy, and Sir J. Robert Bradley is tops among them,” said Dr. Christopher A. Duke, SSBC Director of Music. “Bradley’s legacy in gospel music is undeniable, and during this month as we acknowledge the foundational roots and cultural significance of gospel music, there is no more fitting time than now to celebrate Bradley’s work and influence across the world.”

Born in Memphis in 1920, Bradley was known for his rich baritone voice and revered for combining a classical repertoire with African American spirituals. Gospel music legend Mahalia Jackson once said he was the greatest voice she had ever heard, “Nobody need mess with ‘Amazing Grace’ after Bradley gets through with it.”

Bradley toured across Europe and the Americas for nearly 70 years as a soloist and served as director of music for the National Baptist Convention USA. He became known as a favorite singer of civil rights leaders, including the Reverend Dr. Martin Luther King Jr. Throughout his career, Bradley recorded dozens of songs, starting with his first gospel single in 1950 on Apollo Records. Known as “Mr. Baptist,” he earned the title due to his high-demand performances at convention meetings, national touring with the Good Will Singers Quartet, and other gospel concerts and events. His impressive career further included opportunities to sing at Carnegie Hall, for the king and queen of England in 1955 and, in 1975, was knighted by President William Tolbert in Liberia.

He used his singing as a means of breaking down racial barriers. While whites would not listen to African American preachers, Bradley said, “[but] they would listen to me sing.” Consequently, he was able to break down some racial impediments across the South.

A dedicated member of Spruce Street Baptist Church, Sir J. Robert Bradley died on May 3, 2007.

Based on reporting by Tennessee Tribune.