To be Black is to know love: Beyoncé's Black Is King
Diamond Life” made a beeline for the top, dominating charts in her native England, and across the
pond in the US. In the lyrics, a singular, unnamed person is the giver and cause of all adoration and affection. Listening to the song was like eavesdropping on a secret conversation between two lovestruck individuals.
In 1904, Addison N. Scurlock, a Washington D.C. transplant from North Carolina, opened a photography studio in his parent’s house on S Street in the northwest part of the city. He remained at this location for two years and in 1911 he opened his standalone family-run studio along the U Street Corridor, a favorite haunt of Washington’s Black elite, and the pulsing creative hub known as.
In front of the camera Black Americans could choose how they looked, who would see, and to what end their images would be shared. For the 400 years that Black people were debased and traded, looking at Black skin and the photographs found in newspapers and advertisements meant seeing pain and shame staring back; the implied inferiority to justify degradation. A lens controlled by someone whose interest was not perverse consumption in the name of pseudoscience, but upliftment and acknowledgment made photographs an obvious and prescient weapon of choice.
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