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    <loc>https://www.collectionofcollections.net/our-journal/designed-for-play</loc>
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    <lastmod>2025-01-17</lastmod>
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    <loc>https://www.collectionofcollections.net/our-journal/sculpting-our-stories-three-legendary-black-sculptors</loc>
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    <lastmod>2025-01-17</lastmod>
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      <image:title>Journal - Sculpting Our Stories: Three Legendary Black Sculptors</image:title>
      <image:caption>Augusta Savage stands with her sculptures “Susie Q” and “Truckin”, 1939. Photo via the Schomburg Center for Research in Black Culture</image:caption>
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      <image:title>Journal - Sculpting Our Stories: Three Legendary Black Sculptors - Make it stand out</image:title>
      <image:caption>Augusta Savage joyfully sculpts a fawn surrounded by rabbits.</image:caption>
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      <image:title>Journal - Sculpting Our Stories: Three Legendary Black Sculptors - Make it stand out</image:title>
      <image:caption>August Savage working on “Lift Every Voice and Sing”. Photo via New York Public Library.</image:caption>
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      <image:caption>Selma Burke in her studio with her piece “Mother and Child”. Photo via Carnegie Museum of Art.</image:caption>
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      <image:title>Journal - Sculpting Our Stories: Three Legendary Black Sculptors - Make it stand out</image:title>
      <image:caption>Elizabeth Catlett teaching a sculpting workshop, 1970. Photo by Walter Neal via Fine Art America.</image:caption>
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      <image:caption>Elizabeth Catlett in her studio.</image:caption>
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      <image:title>Journal - Sculpting Our Stories: Three Legendary Black Sculptors - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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    <loc>https://www.collectionofcollections.net/our-journal/grandmas-room-a-collection-of-remembered-things</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2025-01-17</lastmod>
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      <image:title>Journal - Grandma’s Room: A Collection of Remembered Things</image:title>
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      <image:title>Journal - Grandma’s Room: A Collection of Remembered Things</image:title>
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      <image:title>Journal - Grandma’s Room: A Collection of Remembered Things</image:title>
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      <image:title>Journal - Grandma’s Room: A Collection of Remembered Things</image:title>
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      <image:title>Journal - Grandma’s Room: A Collection of Remembered Things</image:title>
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  <url>
    <loc>https://www.collectionofcollections.net/our-journal/from-our-collection-black-independent-magazines</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2025-01-17</lastmod>
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      <image:title>Journal - From our Collection: Black Independent Magazines - Make it stand out</image:title>
      <image:caption>Deem’s interview with Yemi Amu, cofounder and owner of Brooklyn, New York’s Oko Farms written by Korsha Wilson (Courtesy Deem Journal)</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/65988c04de1e8f23aae8d962/186cd390-1057-42c1-a015-9583d3b68bad/ForTheCulureCover.jpg</image:loc>
      <image:title>Journal - From our Collection: Black Independent Magazines - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/65988c04de1e8f23aae8d962/13fa52b8-06db-46d0-8126-2d1c267f105c/Neu%2BNeu%2BMagazine.jpeg</image:loc>
      <image:title>Journal - From our Collection: Black Independent Magazines - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
    </image:image>
    <image:image>
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      <image:title>Journal - From our Collection: Black Independent Magazines - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/65988c04de1e8f23aae8d962/5e39b9bf-719b-482e-a1ca-935e9decfb10/crwn-cover-ig.jpg</image:loc>
      <image:title>Journal - From our Collection: Black Independent Magazines - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
    </image:image>
    <image:image>
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      <image:title>Journal - From our Collection: Black Independent Magazines - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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    <image:image>
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      <image:title>Journal - From our Collection: Black Independent Magazines - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://www.collectionofcollections.net/our-journal/wynn-thomas-hannah-beachler-dierdra-govan</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2025-01-17</lastmod>
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      <image:title>Journal - Wynn Thomas + Hannah Beachler + Dierdra Govan - Make it stand out</image:title>
      <image:caption>Wynn Thomas on set with Robert Deniro. Thomas worked on films for Robert Deniro’s Tribeca Productions.</image:caption>
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      <image:title>Journal - Wynn Thomas + Hannah Beachler + Dierdra Govan</image:title>
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      <image:title>Journal - Wynn Thomas + Hannah Beachler + Dierdra Govan</image:title>
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      <image:title>Journal - Wynn Thomas + Hannah Beachler + Dierdra Govan</image:title>
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      <image:title>Journal - Wynn Thomas + Hannah Beachler + Dierdra Govan - Make it stand out</image:title>
      <image:caption>Photo by Jennifer S. Altman / For The Times</image:caption>
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      <image:title>Journal - Wynn Thomas + Hannah Beachler + Dierdra Govan</image:title>
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      <image:title>Journal - Wynn Thomas + Hannah Beachler + Dierdra Govan - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
    </image:image>
    <image:image>
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      <image:title>Journal - Wynn Thomas + Hannah Beachler + Dierdra Govan</image:title>
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    <loc>https://www.collectionofcollections.net/our-journal/the-sketchbook-chronicles</loc>
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      <image:title>Journal - Laini + Cheryl D. Miller + Dorothy Hayes - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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    <loc>https://www.collectionofcollections.net/our-journal/collaging-as-a-meditative-practice-for-black-futures</loc>
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      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:title>Journal - Collaging as a Meditative Practice for Black Futures - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:title>Journal - Collaging as a Meditative Practice for Black Futures - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:title>Visual Art - Letter to God</image:title>
      <image:caption />
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      <image:loc>https://images.squarespace-cdn.com/content/v1/65988c04de1e8f23aae8d962/1761680285749-JX0NN4XQ1Y1JI3UQ7LHJ/imgi_4_frank_g_painia_portrait_by_jeremy_paten_80054dfee3b0bf7d_2018-11-08-21-19-49.jpg</image:loc>
      <image:title>Visual Art - Frank G. Painia</image:title>
      <image:caption>Frank Painia was a barber first, but he was also a businessman. So, not long after opening his barber shop on LaSalle Street in the late 1930s, he started expanding. First came a bar, then a hotel that would become known as the Dew Drop Inn, the home away from home for countless black musicians visiting the then-strictly segregated Crescent City. Names like Ray Charles, Little Richard, Ella Fitzgerald, and B.B. King would lay their heads there when in town for concerts. Then, often as not, they would unwind with post-concert jam sessions at the Dew Drop's music hall, added in 1945. Word soon got out, and from the 1940s through the 1960s, the Drew Drop earned a national reputation as the city's ultimate after-hours hotspot for black and white music fans alike, segregation laws be damned. The legal end of segregation in 1964 would eventually spell the end of the Dew Drop, which stopped hosting musical acts around 1968. But by then, its place in New Orleans' musical history -- as an incubator of local talent and one of its most memorable musical meccas -- would already be cemented. A portrait of Frank G. Painia commissioned by Nola Media Group, producers of Nola.com / The Times-Picayune as part of its tricentennial project, 300 for 300: People who make New Orleans, New Orleans.</image:caption>
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      <image:title>Visual Art - Muffled Alchemy</image:title>
      <image:caption>As I sit and stare, my eyes become a portal to a world of pain. Infinite sadness. The cosmic stimulation agitates art form. Muffled Alchemy</image:caption>
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      <image:title>Visual Art - Cherice Harrison-Nelson</image:title>
      <image:caption>Cherice Harrison-Nelson was born into the Mardi Gras Indian tradition. Her father, Donald Harrison Sr., who masked for nearly a half-century, was Big Chief of the Guardians of the Flame, which he founded. His daughter, who works nonstop to spread knowledge of the Mardi Gras Indian tradition, has been the group's Big Queen. But that's not all. She has traveled internationally to perform and speak about Mardi Gras Indian culture, and she co-founded and curated the Mardi Gras Indian Hall of Fame. With Karen Celestan, she wrote, "So, So Pretty: Mardi Gras Indian Queens of New Orleans." Her explanation for her zeal is simple: "When you start doing it, it really becomes a way of life." A portrait of Cherice Harrison-Nelson commissioned by Nola Media Group, producers of Nola.com / The Times-Picayune as part of its tricentennial project, 300 for 300: People who make New Orleans, New Orleans.</image:caption>
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      <image:title>Visual Art - Mask of Sorrow</image:title>
      <image:caption>This Mask of Sorrow was worn by Royalty during times of grief and for funerary services. The mask hides the inner turmoil.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/65988c04de1e8f23aae8d962/1761682786957-TU8Z5OHEU11BSMAUR9GT/imgi_66_lafcadio_hearn_portrait_by_jeremy_paten_abbb4d5562061bf3_2018-10-30-18-40-28.jpg</image:loc>
      <image:title>Visual Art - Lafcadio Hearn</image:title>
      <image:caption>He was sent by a Cincinnati newspaper to cover an election, but when the short, near-sighted man with the knack for delicate prose arrived in New Orleans in 1876, he was immediately enchanted. Quitting his Cincinnati newspaper job, Lafcadio Hearn decided to stay. Not only would he write for New Orleanians in local newspapers, but he would also write about them, in essays for national publications, in writings on local culinary and cultural traditions, in short stories and novellas, all of which reveled in the city's singular atmosphere. By the time he packed his bags 10 years later, Hearn had become one of the city's most celebrated writers, a literary ambassador credited with introducing the outside world to the mystique of New Orleans and cementing its reputation as one of America's most unique and exotic locales. A portrait of Lafcadio Hearn commissioned by Nola Media Group, producers of Nola.com / The Times-Picayune as part of its tricentennial project, 300 for 300: People who make New Orleans, New Orleans.</image:caption>
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      <image:title>Visual Art - Metastasize</image:title>
      <image:caption>The everlasting, the perplexed knowledge of dreams all vexes mankind. mankind's perception conjures spirits of the past. dreams are the gateway. cosmic entities' rapidly moving eyes ceased. dreams are eternal. soul enters gateway. transmitting knowledge and love. everlasting dreams. kaleidoscopic monosyllabic dream world, it's what I call home. ------------------------- the false self, private self, the deepest form of despair. I'm trapped in this suit. I'm trapped in this suit alone with my thoughts and sins what do I do now? harsh cache memories always on a cosmic loop. progeny exiled. fallen to a place where deceit, truth coexist tears don't fall in space fallen to a place where you can't be contacted. fears and darkness thrive. fall into a place where no one perceives pain justified fables finally arrived overanalyzed science carcinogens light does not exist, carcinogenic life forms dwell in the grisly depths ------------------------- exploded remains. supernova travels. universe adheres. the black hole opens, the cosmic depression is inevitable. hesitation thrives. the anxiety of not knowing festers fear. fear dwells in the biles of the dilapidated room of a trapped mind. no one knows the pain, no one knows the turmoil. no one understands. the intangible expressions of existence naturally failing. fear just existing living life with no purpose eventuating demise. what can we know here if we know just what we hear? [knowing only what we hear] lost in the hearsay. ------------------------- events transpired, but I can't turn back the clock. accepting fate. mnemonic visions, consoles first contact with light. it lightens burdens. incomparable warm angelic light shimmers. it comforts all life. enlightenment of is the heaviest burden. problems now exposed. also most stressful; crying cleanses the bleak soul. the morning dew drops. it dilutes the pain. it mitigates the intense piqued agitation. ------------------------- the stars illume the soul compassionate glow glimmers. entrancing lighthouse. the trance-like nature, the consciousness succumbs to the desires. vast emptiness whelms. who will hear my cries? lost in translation. at that moment, time benumbs in that vastness of boundless nothingness. emancipation, but the pain still has a hold. the contradiction. clinging like a child who found his lost mother. "I'll never let you go." fixed deposition dastardly exclamation docile subconscious as I close my eyes I still hear your loving voice, "You make me so proud." as I close my eyes I still feel your motherly touch in time of need. as I close my eyes your effervescent smile guides me through the darkness. as I close my eyes I ruminate about those sound superb moments as I close my eyes I know you're watching over me, giving me poise. as my eyes open, I asked, "What do I do now?" you tell me, "Be you." "I gave you the name Jeremy Alexander for many reasons." "Jeremy means God will raise and set free. let go of the pain." "Alexander means defender of the people. be voice to voiceless" ------------------------- What makes a person are their memories and their life experience.</image:caption>
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      <image:title>Visual Art - Smokey Johnson</image:title>
      <image:caption>A portrait of Smokey Johnson commissioned by Nola Media Group, producers of Nola.com / The Times-Picayune as part of its tricentennial project, 300 for 300: People who make New Orleans, New Orleans. Smokey Johnson wasn't the strutting frontman. He wasn't the showoff guitarist. He was the drummer, and so -- like most drummers -- he took his place at the back of the stage. But he made his presence known, and how, with a powerful drumming style that played a key role in the evolution of the New Orleans sound and which helped bring the rhythms of the city to a broader stage. Whether he was performing as a drummer for Fats Domino, co-writing and recording the Carnival standard "It Ain't My Fault" with Wardell Quezergue, or traveling to Detroit to show the folks at Motown how it's really done, he beat the drum for New Orleans music the best way he knew how: by literally beating his drums, and in a way few others could.</image:caption>
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      <image:title>Visual Art - Infinite Sadness</image:title>
      <image:caption>As I sit and stare, My eyes become a portal to a world of Pain. Infinite Sadness. The cosmic stimulation agitates art form. A love letter to my city and people // The scars tell us where we've been and what we've endured.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/65988c04de1e8f23aae8d962/1761682807886-KHX741312HFZK39Z0DAU/imgi_75_dorothy_mae_taylor_portrait_by_jeremy_patten_001f6cb3e13e2fa6_2018-02-07-21-50-46.jpg</image:loc>
      <image:title>Visual Art - Dorothy Mae Taylor</image:title>
      <image:caption>A portrait of Dorothy Mae Taylor commissioned by Nola Media Group, producers of NOLA.com | The Times-Picayune as part of its tricentennial project, 300 for 300: People who make New Orleans, New Orleans. Being an agent of change can be difficult. Dorothy Mae Taylor knew that as well as anybody. What's more, she didn't care. Even before she became the first black woman elected to the New Orleans City Council, Taylor had made a name for herself as a grass-roots activist who wasn't afraid to anger people if that's what it took to effect positive change. And that's exactly what it took in 1991 when Taylor introduced what would become the signature legislation of her career, an ordinance aimed at integrating Carnival. It passed, but it wasn't easy. Some krewes even decided to quit parading rather than comply, saying they weren't going to let the city dictate their membership. Taylor was branded in some quarters as "the Grinch who stole Mardi Gras." But the fact is, more than 25 years later, Mardi Gras is still going strong -- for everybody. This is the beginning of something new.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/65988c04de1e8f23aae8d962/1761682878131-I3558LXV02ULDTB5FWT9/imgi_69_7.The+King+has+Spoken_2013-11-30-20-27-52.jpg</image:loc>
      <image:title>Visual Art - The King Has Spoken</image:title>
      <image:caption>An artist’s sketchbook is their diary. Sometimes we jot down our deepest darkest secrets. This piece is compiled from many years of sketchbook work. These are my secrets put out into the Universe, freeing me from my own mental restraints.</image:caption>
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      <image:title>Visual Art - Percy "Master P" Miller</image:title>
      <image:caption>Jeremy Paten Percy "Master P" Miller 2018 A portrait of Percy "Master P" Miller commissioned by Nola Media Group, producers of Nola.com / The Times-Picayune as part of its tricentennial project, 300 for 300: People who make New Orleans, New Orleans. A product of New Orleans' Calliope public housing complex, Percy Miller just wanted to help pull his family out of the cycle of poverty. So, armed with a $10,000 inheritance, he opened a record store. It would be the start of a business empire that -- built on Miller's business acumen and tireless determination to succeed -- would see him founding No Limit Records, a label that would by 2013 make him the nation's third-wealthiest hip-hop mogul, according to Forbes. It would also provide him a pulpit from which to promote New Orleans rap -- recorded by himself, as Master P, and a wealth of other artists -- and convince the world that, when it comes to music, New Orleans isn't just the birthplace of jazz.</image:caption>
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