![]() ![]() The signs were all around us: the knotty, urbane films of Spike Lee the punkish bravado of Fishbone all the artsy, middle-class kids exploring identities that weren’t beholden to readymade signifiers like “Africa and jazz.” This would be a generation of “cultural mulattos,” postmodern children of the multicultural age who were comfortable in a variety of settings, a kind of hopeful, flexible, and self-empowered embodiment of W. Ellis believed that the coming decade demanded a new, eclectic approach to African-American cultural expression, one that would reckon with the full continuum of the black experience, from the city to the suburbs. In 1989, the writer and filmmaker Trey Ellis published a concise, manifesto-like essay titled “The New Black Aesthetic.” His argument was fairly straightforward and, in retrospect, perhaps its significance was the fact that he had to write it at all. ![]()
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