The following joint is an exclusive excerpt– Ed Garnes’ essay– from FAHAMENON, internationally acclaimed artist Fahamu Pecou’s art catalogue.

Lil Wayne’s statement about altering his name– to disconnect from the legacy of his father– had the resonance of a Langston Hughes poem. Who’s name is James, but used Langston to separate from his father. Lil Wayne is obviously in a bit of pain. Not sure who is the blacksmith of his shackles, but as it’s always been, he’s using music to break free.

Black is the new cool. With the superstar status of Obama and suburban youth still bumpin’ hip hop in their Volvos, black identity continues to be redefined and appropriated by mainstream consumer culture. And as we all the weather the Matrix, burgeoning photographer Carla Aaron-Lopez captures the grace and underappreciated complexity of black folks with her visual playground My (black)American Life.

I’ve been with women that have been beaten, played and treated less than human but when I come in contact with them they act like I owe them more than they’ve ever gotten from any man. What is the deal with these sisters that say they want a good man get one and try to make him deal with all their crazy issues? And why does this never happen to the brothers that treat women wrong?

Carl, Wilmington, DE

To be frank, Erykah Badu is further from the stereotype of project baby mamas than the Pluto is to Earth. The key difference is Badu ain’t runnin’ around lookin’ for the next man payin’ for nails and hair with a car to take her shoppin’. She has built sound relationships with some cool brothers and it didn’t work out the way we, on the outside, thought it should.

Navigating beyond industry politics with an infectious southern charm and keen cultural eye, McCollum’s candid portraits have traced the evolutionary genius of funk mavens OutKast, captured the elusive flair of Erykah Badu, confirmed John Legend’s cool, reaffirmed The Last Poet’s necessity, and redeemed the Notorious BIG.