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The Culture of Liberation
Kweku Mandela & Amanda Seales in Conversation
KWEKU MANDELA: How are you?
AMANDA SEALES: I’m fine. I mean, I’m getting death threats, but it’s fine. I’m like, if y’all aren’t throwing a brick through the window with a note, then what are we really doing?
KWEKU: It’s this digital age. I had people come after me earlier this year. We had a big election in South Africa—30 years of democracy—and it’s always chaotic during that time, but this year was more extreme. Still, it renewed my faith in people.
I’ve always believed that for every group trying to oppress or control us, there are hundreds of millions more fighting against that future. They’re the cooks, the waiters, the cleaners, the pastors—the people most wouldn’t give a second thought to. That’s why I think we still have a chance to change the course of the world. I see it in young people, but also in our generation. I used to think we were done for—like, after Occupy Wall Street, we couldn’t seem to materialize protests into real change. But now, I feel hopeful.
AMANDA: I think we’ve had a long stretch of what we thought were “good times.” When things would bubble up, they’d just be “handled.” We got used to that. Now, in the States, people still think everything can just be “dealt with” and go back to normal. They’re always asking, “What’s the solution?” But I don’t think it’s going to work like that. This isn’t a quick fix; it’s not something that’ll just go away.
KWEKU: Yeah, those of us in our 30s and 40s are realizing we need to take responsibility as leaders in every part of life—whether
that’s in your workplace, your home, or your community. We can’t just keep saying, “There are no good choices, no good leaders.” Well, then get involved and become a leader!
AMANDA: There’s a real issue with how people are trained to think they need to follow someone. They believe leaders have to be a certain kind of person, and if you’re not that, then you can’t lead. People come to me all the time, asking, “So what do we do?” And I’m like, I’m the information sharer—that’s my role in leadership. I’m not the organizer.
I’m trying to encourage people to find the leader within themselves. What part of you can lead, and in what way?
KWEKU: True, but leading to what? In modern society, leaders are equated to celebrities. They’re put on pedestals. I saw this with my grandfather, Nelson Mandela. People would say, “He’s not just an African, he’s Nelson Mandela,” or “He’s not a Black person, he’s Nelson Mandela.” They did that to separate him from who he really was. And then, they’d act like he was the only one who did anything, like it’s a hero’s journey. So young people see that and think, “I can’t ever be like that.” But that’s not true.
He always broke that down by staying connected to the people. He’d randomly tell security, “I’m going to that school,” or “I’m going to speak to this group.” He avoided the bubble and kept interacting with people.
Now, though, with social media and movements, it’s hard to know what’s real and what’s not—even for someone like me, who’s pretty familiar with these things! That’s why organizations like Slow Factory are so important; they’re trusted sources for information.

AMANDA: I’ve gotten to the point where I’m resistant to being seen as the trusted source of information. I’m mostly over that idea. I’ve heard plenty of “stick to acting” or “shut up and dribble” nonsense.
We’re in a time where people are having so many different awakenings all at once. Even the idea of celebrity and what people’s relationships with celebrities are, is changing. Fans are questioning, “Do I want to support this person anymore? Do I want to continue propping up their existence as a Creative?” If their character doesn’t hold up, people are making real decisions about that. We’re heading into a new era.
By the way, I wanted to ask you about the recent elections in South Africa. How do you feel? Was there anything different about them this time?
KWEKU: It was a lot different. South Africa is a young democracy, and it’s one where people were enshrined with the right to vote in 1994 — a very substantial step towards freedom, but not freedom as a whole, because the economic levers that run society were still maintained by a group of people. The international community now really had a way to inject itself into South Africa—and there were good parts of that. There were also really bad parts of it. And then oftentimes, in a country like South Africa that has this extreme disparity of wealth, not dissimilar from the United States, there is this idea that we complain all the time.
All of the major indexes talk about the fact that we’ve been able to double the amount of people that have formal housing and double the amount of access to piped water, electricity, and sanitation. These are all massive things that prior to 1994 did not exist for the majority of the population. Those indexes are all over 80% right now, and it’s only been throughout the last thirty years. You think about countries that have had 100 years and didn’t get there, so there’s lots of progress, there’s a lot to be positive about, but sometimes people can’t see that. They’re so prone to looking at the negative.
Obama’s sister Maya Soetoro-Ng said something very powerful a few weeks ago about positive and negative peace. Negative peace is defined by the simple absence of conflict, and positive peace being the presence of nurturing systems of support. And so for me, that’s one of the things I’ve come to when you talk about divesting from celebrity. I’m looking at not only how I can divest from a lot of the ego traps that exist in our world, but how I can make sure my impact is focused on putting positive into it?
AMANDA: I think the biggest issue is education. There’s a huge gap in understanding what we’re even fighting against, and that gap has been intentionally created. There’s been a lot of effort to keep people ignorant. For example, many Americans don’t even know there’s an election happening in South Africa. Global news isn’t a natural part of our news cycle—you have to seek it out. But in other countries, the news is global by default, not just local. So what do you think is needed on the American side of things? And what’s your perspective on the South African side?
I feel like my role right now is to educate people on multiple levels—through art, spiritually, about history, and about systems. I say this as someone who wasn’t educated on these things for a long time. When I started learning about how systems operate, I had to let go of the lies I believed kept me safe. Americans tell themselves that the government is trying its best, and we find comfort in that. But in many other countries, people don’t trust their governments. They’re like, ‘We never trust the government.’ It feels bittersweet to realize that, but also it’s a beautiful awakening. It shows how much power we actually have to affect change.
KWEKU: I love that. The topic here is ‘everything is political,’ and I see that a lot too. When I try to have conversations, people often say, ‘I don’t talk about politics,’ or ‘I’m too busy with work to follow that.’ They instantly shut down. But I always explain that everything we do is political. In South Africa, people like to complain but then avoid responsibility for how things are and place all the blame on the government. Sure, we can critique the government, but we also have to look at the bigger picture—our reality and history. We can’t look at things in a vacuum.
AMANDA: Right now, I’m encouraging people to ask themselves: What would you need help with if the government didn’t exist? Child care? Food security? Healthcare? Elderly care? Education?
If you get to the end of that list and think, ‘I don’t need any of that,’ then ask: What would happen if others didn’t have access? How would that affect you? There’s leadership in just taking charge of how you build resources, not just for yourself but for your community. We don’t have that mindset here. Leadership here is taught as, ‘How do I get into a position to tell others what to do?’ That’s the only version of leadership pushed in America.
KWEKU: We have a different type of leadership here, which is very community-oriented. People come together often to address issues, and we have one of the highest levels of protest—about 2,000 to 3,000 a year. So, it’s hard for our government to ignore that kind of pressure.
AMANDA: So, it’s part of your culture—protesting, rallying, raising the roof?
KWEKU: Yeah, it’s a key part of our culture, undoubtedly. Amanda: Where do you think that comes from? Is it tribal? From fighting apartheid? How is it upheld?
KWEKU: It’s a mix. Part of it comes from our traditions, the way tribes and villages engage. Then, of course, apartheid played a huge role. It was the most sophisticated system of oppression in the world for nearly 60 years. To dismantle it required a massive amount of energy, ideas, and collaboration—not just in South Africa but worldwide. Hundreds of millions of people rallied behind it. People shared information, educated one another, and most did this voluntarily, without any financial incentive. What came out of that was real change. It was a system being dismantled, and people felt their impact. That momentum has carried through, even though things change when money and other factors come into play. The media and institutions influence that too, but there’s still a strong push-and-pull dynamic, and I think it’ll continue for many decades.
AMANDA: I believe it was part of Black culture by necessity during segregation, and I think that’s where a lot of issues with integration come from: integration created a disconnect among us as we tried to access white spaces. What’s going to be crucial now are global connections, right? Like when you said you connect so much with the things behind me on the wall. For some, this is just pop culture, but for many Black people, pop culture is as powerful as culture itself. For example, Claire Huxtable. Claire isn’t just a TV character—she’s a real person to us, while for white girls, Barbie is just Barbie. We needed these spaces to see ourselves because we were constantly being erased. In my work, I try to weave those threads together, reflecting our unique existence.
Many Black Americans feel strongly that, ‘No, We are African.’ While I believe it’s important to acknowledge our African descent and the beauty and significance of that connection, I also think it’s crucial to recognize that Black American identity is unique. It shouldn’t be overshadowed by the historical violence of America or solely defined by our African ancestry. As someone from the continent, specifically from South Africa, I’m curious to hear your perspective on this.”
KWEKU: “I’ll quote the words of Kwame Nkrumah, who said, ‘I’m not African because I was born in Africa. I’m African because Africa was born in me.’ And I think that sentiment resonates with people around the world. It’s a state of mind, a way to approach life. If you look at Africa, it’s one of the least violent continents that has ever existed and the most resilient. There are many virtues and truths in our continent that are essential to the identity of African Americans, and those can never be taken away. It’s up to African Americans to connect with that if they choose to and to educate themselves on it.
But as you said, that connection shouldn’t detract from who they are as their own people, with their own history and triumphs. It’s important to find that balance. However, I believe it’s also crucial for African Americans to connect with their African heritage. It’s a deep part of who they are, and for too long, it has been muddled, challenged, or treated as if it’s a curse or ridiculed in pop culture, as we’re discussing. That has changed over time, which I find really beautiful.
We’ve also seen leaders from the African diaspora — whether from the Caribbean or Europe — who embody the virtues of what it means to be African. But I don’t think it’s helpful to express that connection in a performative way either.”
AMANDA: “It’s really fascinating because it considers Africa beyond just a geographical context. You’re placing Africa in a spiritual context, within a value system, which, to your point and Kwame Nkrumah’s, means you can be from anywhere and still carry those values within you. And that doesn’t undermine the uniqueness of where you are.
My mother is Grenadian. I am Grenadian. I also know that within my culture as a Grenadian, Africa is very present and very clear, and that presence is not hidden or shunned in any way. But it also doesn’t diminish the distinctiveness of what it means to be Grenadian. I want that for Black America, but I feel like we haven’t been able to fully achieve it because we are still within the context of our oppressor.”
KWEKU: Going back to what I mentioned about politicians in this modern era, especially my grandfather, and the idea of putting him on a pedestal — that happens within African American culture too. How do the leaders of that community ultimately dispel that, and instead, instill the understanding that who we are as a people, as a community, exists beyond just one individual’s success, or even a handful of individuals? It’s about the sum total. And I think that’s so important.
And again, all these things really come down to education. If you can educate yourself, then you’ll often discover the truth that’s out there. And it will surprise most; it will shock most.
AMANDA: “When we talk about ‘Everything is political,’ we understand through education that politics is a word — it’s literally just a word at this point for how we exist within a ‘society’ governed by institutions. But if those governments weren’t there, we would still be figuring out how to exist as a society, and the word ‘politics’ might not be the one we use, but we’d still be trying to solve the same challenges.
That’s why I think it’s great that Slow Factory is starting this initiative, and I believe it’s imperative that we recognize education as the key to liberation on all fronts. And how do you get that education? There are so many ways. Personally, I find that my favorite ways to educate are through ranting, interviewing, and art.
Someone asked me the other day, ‘What are you doing for the movement?’ I try my best to give a platform to voices that people might not know about but should, to new ideas and innovation, and also to reiterate important ideas. I wake up every single day thinking about how we can be better, more okay, than we were yesterday.”
KWEKU: I think we have to challenge our existence every day. I’m interested in this idea, that if we stayed the same as we always were—whether that’s when we were born, whether that’s when we were five years old, 10 years old, or yesterday—that’s not truly living, right? We have to adapt and we have to change, but it starts with us. There’s a constant need to engage and also listen. I think far too many of us just don’t want to listen to anybody else. I have to remind myself each day— because at times I do have an ego— how important it is to take a step back and listen to people so you understand them better, which I think is important in this day and age where it’s so easy to tune people out.
Here, in South Africa, we have our first coalition government since 1994 and it’s a unity of different parties with different opinions and votes, but I remain confident that we can pull it together even on our craziest days.
A lot of my friends who are currently in America are disappointed in what’s unfolded and at a loss for what to do. I would love to hear what you think is the way forward?
AMANDA:To sum up, for me, the biggest issue is that Americans, by and large, have put so much stock in their politicians. This government is built on corporations; it’s not built on any level of public servitude in the federal government, right? So, when the culture of America has been propping up our government versus demanding of our government, we have to start from the root —encouraging people to vote locally and in their state elections first and foremost, while simultaneously identifying the organizations that are doing the work.
In Conversation:
Illustration by:
Kweku Mandela, grandson of the late Nelson Mandela, carries on a legacy of liberation and advocacy that runs deep in his family. In this conversation, he engages with Amanda Seales, an actress and activist known for her outspoken support for Palestine and her dedication to amplifying the voices of the marginalized.
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Location:
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"title" : "The Culture of Liberation: Kweku Mandela & Amanda Seales in Conversation",
"author" : "Kweku Mandela, Amanda Seales",
"category" : "interviews",
"url" : "https://everythingispolitical.com/readings/amanda-kweku",
"date" : "2024-09-20 00:00:00 -0400",
"img" : "https://everythingispolitical.com/uploads/amanda-kweku-thumb.jpg",
"excerpt" : "KWEKU MANDELA: How are you?",
"content" : "KWEKU MANDELA: How are you?AMANDA SEALES: I’m fine. I mean, I’m getting death threats, but it’s fine. I’m like, if y’all aren’t throwing a brick through the window with a note, then what are we really doing?KWEKU: It’s this digital age. I had people come after me earlier this year. We had a big election in South Africa—30 years of democracy—and it’s always chaotic during that time, but this year was more extreme. Still, it renewed my faith in people.I’ve always believed that for every group trying to oppress or control us, there are hundreds of millions more fighting against that future. They’re the cooks, the waiters, the cleaners, the pastors—the people most wouldn’t give a second thought to. That’s why I think we still have a chance to change the course of the world. I see it in young people, but also in our generation. I used to think we were done for—like, after Occupy Wall Street, we couldn’t seem to materialize protests into real change. But now, I feel hopeful.AMANDA: I think we’ve had a long stretch of what we thought were “good times.” When things would bubble up, they’d just be “handled.” We got used to that. Now, in the States, people still think everything can just be “dealt with” and go back to normal. They’re always asking, “What’s the solution?” But I don’t think it’s going to work like that. This isn’t a quick fix; it’s not something that’ll just go away.KWEKU: Yeah, those of us in our 30s and 40s are realizing we need to take responsibility as leaders in every part of life—whetherthat’s in your workplace, your home, or your community. We can’t just keep saying, “There are no good choices, no good leaders.” Well, then get involved and become a leader!AMANDA: There’s a real issue with how people are trained to think they need to follow someone. They believe leaders have to be a certain kind of person, and if you’re not that, then you can’t lead. People come to me all the time, asking, “So what do we do?” And I’m like, I’m the information sharer—that’s my role in leadership. I’m not the organizer.I’m trying to encourage people to find the leader within themselves. What part of you can lead, and in what way?KWEKU: True, but leading to what? In modern society, leaders are equated to celebrities. They’re put on pedestals. I saw this with my grandfather, Nelson Mandela. People would say, “He’s not just an African, he’s Nelson Mandela,” or “He’s not a Black person, he’s Nelson Mandela.” They did that to separate him from who he really was. And then, they’d act like he was the only one who did anything, like it’s a hero’s journey. So young people see that and think, “I can’t ever be like that.” But that’s not true.He always broke that down by staying connected to the people. He’d randomly tell security, “I’m going to that school,” or “I’m going to speak to this group.” He avoided the bubble and kept interacting with people.Now, though, with social media and movements, it’s hard to know what’s real and what’s not—even for someone like me, who’s pretty familiar with these things! That’s why organizations like Slow Factory are so important; they’re trusted sources for information.AMANDA: I’ve gotten to the point where I’m resistant to being seen as the trusted source of information. I’m mostly over that idea. I’ve heard plenty of “stick to acting” or “shut up and dribble” nonsense.We’re in a time where people are having so many different awakenings all at once. Even the idea of celebrity and what people’s relationships with celebrities are, is changing. Fans are questioning, “Do I want to support this person anymore? Do I want to continue propping up their existence as a Creative?” If their character doesn’t hold up, people are making real decisions about that. We’re heading into a new era.By the way, I wanted to ask you about the recent elections in South Africa. How do you feel? Was there anything different about them this time?KWEKU: It was a lot different. South Africa is a young democracy, and it’s one where people were enshrined with the right to vote in 1994 — a very substantial step towards freedom, but not freedom as a whole, because the economic levers that run society were still maintained by a group of people. The international community now really had a way to inject itself into South Africa—and there were good parts of that. There were also really bad parts of it. And then oftentimes, in a country like South Africa that has this extreme disparity of wealth, not dissimilar from the United States, there is this idea that we complain all the time.All of the major indexes talk about the fact that we’ve been able to double the amount of people that have formal housing and double the amount of access to piped water, electricity, and sanitation. These are all massive things that prior to 1994 did not exist for the majority of the population. Those indexes are all over 80% right now, and it’s only been throughout the last thirty years. You think about countries that have had 100 years and didn’t get there, so there’s lots of progress, there’s a lot to be positive about, but sometimes people can’t see that. They’re so prone to looking at the negative.Obama’s sister Maya Soetoro-Ng said something very powerful a few weeks ago about positive and negative peace. Negative peace is defined by the simple absence of conflict, and positive peace being the presence of nurturing systems of support. And so for me, that’s one of the things I’ve come to when you talk about divesting from celebrity. I’m looking at not only how I can divest from a lot of the ego traps that exist in our world, but how I can make sure my impact is focused on putting positive into it?AMANDA: I think the biggest issue is education. There’s a huge gap in understanding what we’re even fighting against, and that gap has been intentionally created. There’s been a lot of effort to keep people ignorant. For example, many Americans don’t even know there’s an election happening in South Africa. Global news isn’t a natural part of our news cycle—you have to seek it out. But in other countries, the news is global by default, not just local. So what do you think is needed on the American side of things? And what’s your perspective on the South African side?I feel like my role right now is to educate people on multiple levels—through art, spiritually, about history, and about systems. I say this as someone who wasn’t educated on these things for a long time. When I started learning about how systems operate, I had to let go of the lies I believed kept me safe. Americans tell themselves that the government is trying its best, and we find comfort in that. But in many other countries, people don’t trust their governments. They’re like, ‘We never trust the government.’ It feels bittersweet to realize that, but also it’s a beautiful awakening. It shows how much power we actually have to affect change.KWEKU: I love that. The topic here is ‘everything is political,’ and I see that a lot too. When I try to have conversations, people often say, ‘I don’t talk about politics,’ or ‘I’m too busy with work to follow that.’ They instantly shut down. But I always explain that everything we do is political. In South Africa, people like to complain but then avoid responsibility for how things are and place all the blame on the government. Sure, we can critique the government, but we also have to look at the bigger picture—our reality and history. We can’t look at things in a vacuum.AMANDA: Right now, I’m encouraging people to ask themselves: What would you need help with if the government didn’t exist? Child care? Food security? Healthcare? Elderly care? Education?If you get to the end of that list and think, ‘I don’t need any of that,’ then ask: What would happen if others didn’t have access? How would that affect you? There’s leadership in just taking charge of how you build resources, not just for yourself but for your community. We don’t have that mindset here. Leadership here is taught as, ‘How do I get into a position to tell others what to do?’ That’s the only version of leadership pushed in America.KWEKU: We have a different type of leadership here, which is very community-oriented. People come together often to address issues, and we have one of the highest levels of protest—about 2,000 to 3,000 a year. So, it’s hard for our government to ignore that kind of pressure.AMANDA: So, it’s part of your culture—protesting, rallying, raising the roof?KWEKU: Yeah, it’s a key part of our culture, undoubtedly. Amanda: Where do you think that comes from? Is it tribal? From fighting apartheid? How is it upheld?KWEKU: It’s a mix. Part of it comes from our traditions, the way tribes and villages engage. Then, of course, apartheid played a huge role. It was the most sophisticated system of oppression in the world for nearly 60 years. To dismantle it required a massive amount of energy, ideas, and collaboration—not just in South Africa but worldwide. Hundreds of millions of people rallied behind it. People shared information, educated one another, and most did this voluntarily, without any financial incentive. What came out of that was real change. It was a system being dismantled, and people felt their impact. That momentum has carried through, even though things change when money and other factors come into play. The media and institutions influence that too, but there’s still a strong push-and-pull dynamic, and I think it’ll continue for many decades.AMANDA: I believe it was part of Black culture by necessity during segregation, and I think that’s where a lot of issues with integration come from: integration created a disconnect among us as we tried to access white spaces. What’s going to be crucial now are global connections, right? Like when you said you connect so much with the things behind me on the wall. For some, this is just pop culture, but for many Black people, pop culture is as powerful as culture itself. For example, Claire Huxtable. Claire isn’t just a TV character—she’s a real person to us, while for white girls, Barbie is just Barbie. We needed these spaces to see ourselves because we were constantly being erased. In my work, I try to weave those threads together, reflecting our unique existence.Many Black Americans feel strongly that, ‘No, We are African.’ While I believe it’s important to acknowledge our African descent and the beauty and significance of that connection, I also think it’s crucial to recognize that Black American identity is unique. It shouldn’t be overshadowed by the historical violence of America or solely defined by our African ancestry. As someone from the continent, specifically from South Africa, I’m curious to hear your perspective on this.”KWEKU: “I’ll quote the words of Kwame Nkrumah, who said, ‘I’m not African because I was born in Africa. I’m African because Africa was born in me.’ And I think that sentiment resonates with people around the world. It’s a state of mind, a way to approach life. If you look at Africa, it’s one of the least violent continents that has ever existed and the most resilient. There are many virtues and truths in our continent that are essential to the identity of African Americans, and those can never be taken away. It’s up to African Americans to connect with that if they choose to and to educate themselves on it.But as you said, that connection shouldn’t detract from who they are as their own people, with their own history and triumphs. It’s important to find that balance. However, I believe it’s also crucial for African Americans to connect with their African heritage. It’s a deep part of who they are, and for too long, it has been muddled, challenged, or treated as if it’s a curse or ridiculed in pop culture, as we’re discussing. That has changed over time, which I find really beautiful.We’ve also seen leaders from the African diaspora — whether from the Caribbean or Europe — who embody the virtues of what it means to be African. But I don’t think it’s helpful to express that connection in a performative way either.”AMANDA: “It’s really fascinating because it considers Africa beyond just a geographical context. You’re placing Africa in a spiritual context, within a value system, which, to your point and Kwame Nkrumah’s, means you can be from anywhere and still carry those values within you. And that doesn’t undermine the uniqueness of where you are.My mother is Grenadian. I am Grenadian. I also know that within my culture as a Grenadian, Africa is very present and very clear, and that presence is not hidden or shunned in any way. But it also doesn’t diminish the distinctiveness of what it means to be Grenadian. I want that for Black America, but I feel like we haven’t been able to fully achieve it because we are still within the context of our oppressor.”KWEKU: Going back to what I mentioned about politicians in this modern era, especially my grandfather, and the idea of putting him on a pedestal — that happens within African American culture too. How do the leaders of that community ultimately dispel that, and instead, instill the understanding that who we are as a people, as a community, exists beyond just one individual’s success, or even a handful of individuals? It’s about the sum total. And I think that’s so important.And again, all these things really come down to education. If you can educate yourself, then you’ll often discover the truth that’s out there. And it will surprise most; it will shock most.AMANDA: “When we talk about ‘Everything is political,’ we understand through education that politics is a word — it’s literally just a word at this point for how we exist within a ‘society’ governed by institutions. But if those governments weren’t there, we would still be figuring out how to exist as a society, and the word ‘politics’ might not be the one we use, but we’d still be trying to solve the same challenges.That’s why I think it’s great that Slow Factory is starting this initiative, and I believe it’s imperative that we recognize education as the key to liberation on all fronts. And how do you get that education? There are so many ways. Personally, I find that my favorite ways to educate are through ranting, interviewing, and art.Someone asked me the other day, ‘What are you doing for the movement?’ I try my best to give a platform to voices that people might not know about but should, to new ideas and innovation, and also to reiterate important ideas. I wake up every single day thinking about how we can be better, more okay, than we were yesterday.”KWEKU: I think we have to challenge our existence every day. I’m interested in this idea, that if we stayed the same as we always were—whether that’s when we were born, whether that’s when we were five years old, 10 years old, or yesterday—that’s not truly living, right? We have to adapt and we have to change, but it starts with us. There’s a constant need to engage and also listen. I think far too many of us just don’t want to listen to anybody else. I have to remind myself each day— because at times I do have an ego— how important it is to take a step back and listen to people so you understand them better, which I think is important in this day and age where it’s so easy to tune people out.Here, in South Africa, we have our first coalition government since 1994 and it’s a unity of different parties with different opinions and votes, but I remain confident that we can pull it together even on our craziest days.A lot of my friends who are currently in America are disappointed in what’s unfolded and at a loss for what to do. I would love to hear what you think is the way forward?AMANDA:To sum up, for me, the biggest issue is that Americans, by and large, have put so much stock in their politicians. This government is built on corporations; it’s not built on any level of public servitude in the federal government, right? So, when the culture of America has been propping up our government versus demanding of our government, we have to start from the root —encouraging people to vote locally and in their state elections first and foremost, while simultaneously identifying the organizations that are doing the work."
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"date" : "2025-11-27 14:58:00 -0500",
"img" : "https://everythingispolitical.com/uploads/life-malcolm-3.jpg",
"excerpt" : "",
"content" : "Anti-Muslim hate has been deeply engrained and intertwined with anti-Black racism in the United States for well over 60 years, far longer than most of us are taught or are aware.As the EIP team dug into design research for the new magazine format of our first anniversary issue, we revisited 1960s issues of LIFE magazine—and landed on the March 1965 edition, published just after the assassination of Malcolm X.The reporting is staggering in its openness: blatantly anti-Black and anti-Muslim in a way that normalizes white supremacy at its most fundamental level. The anti-Blackness, while horrifying, is not surprising. This was a moment when, despite the formal dismantling of Jim Crow, more than 10,000 “sundown towns” still existed across the country, segregation remained the norm, and racial terror structured daily life.What shocked our team was the nakedness of the anti-Muslim propaganda.This was not yet framed as anti-Arab in the way Western Islamophobia is often framed today. Arab and Middle Eastern people were not present in the narrative at all. Instead, what was being targeted was organized resistance to white supremacy—specifically, the adoption of Islam by Black communities as a source of political power, dignity, and self-determination. From this moment, we can trace a clear ideological line from anti-Muslim sentiment rooted in anti-Black racism in the 1960s to the anti-Arab, anti-MENA, and anti-SWANA racism that saturates Western culture today.The reporting leaned heavily on familiar colonial tropes: the implication of “inter-tribal” violence, the suggestion that resistance to white supremacy is itself a form of reverse racism or inherent aggression, and the detached, almost smug tone surrounding the violent death of a cultural leader.Of course, the Nation of Islam and Elijah Muhammad represent only expressions within an immense and diverse global Muslim world—spanning Morocco, Sudan, the Gulf, Iraq, Pakistan, Indonesia, and far beyond. Yet U.S. cultural and military power has long blurred these distinctions, collapsing complexity into a singular enemy image.It is worth naming this history clearly and connecting the dots: U.S. Islamophobia did not begin with 9/11. It is rooted in a much older racial project—one that has always braided anti-Blackness and anti-Muslim sentiment together in service of white supremacy, at home and abroad."
}
,
{
"title" : "The Billionaire Who Bought the Met Gala: What the Bezoses’ Check Means for Fashion’s Future",
"author" : "Louis Pisano",
"category" : "",
"url" : "https://everythingispolitical.com/readings/the-billionaire-who-bought-the-met-gala",
"date" : "2025-11-27 10:41:00 -0500",
"img" : "https://everythingispolitical.com/uploads/Cover_EIP_TBesos_MET_Galajpg.jpg",
"excerpt" : "On the morning of November 17, 2025, the Metropolitan Museum of Art announced that Jeff Bezos and Lauren Sánchez Bezos would serve as the sole lead sponsors of the 2026 Met Gala and its accompanying Costume Institute exhibition, “Costume Art”. Saint Laurent and Condé Nast were listed as supporting partners. To be clear, this is not a co-sponsorship. It is not “in association with.” It is the first time in the modern history of the gala that the headline slot, previously occupied by Louis Vuitton, TikTok, or a discreet old-money surname, has been handed to a tech billionaire and his wife. The donation amount remains undisclosed, but sources familiar with the negotiations place it comfortably north of seven figures, in line with the checks that helped the event raise $22 million last year.",
"content" : "On the morning of November 17, 2025, the Metropolitan Museum of Art announced that Jeff Bezos and Lauren Sánchez Bezos would serve as the sole lead sponsors of the 2026 Met Gala and its accompanying Costume Institute exhibition, “Costume Art”. Saint Laurent and Condé Nast were listed as supporting partners. To be clear, this is not a co-sponsorship. It is not “in association with.” It is the first time in the modern history of the gala that the headline slot, previously occupied by Louis Vuitton, TikTok, or a discreet old-money surname, has been handed to a tech billionaire and his wife. The donation amount remains undisclosed, but sources familiar with the negotiations place it comfortably north of seven figures, in line with the checks that helped the event raise $22 million last year.Within hours of the announcement, the Met’s Instagram post was overrun with comments proclaiming the gala “dead.” On TikTok and X, users paired declarations of late-stage capitalism with memes of the museum staircase wrapped in Amazon boxes. Not that this was unexpected. Anyone paying attention could see it coming for over a decade.When billionaires like Bezos, whose Amazon warehouses reported injury rates nearly double the industry average in 2024 and whose fashion supply chain has been linked to forced labor and poverty wages globally, acquire influence over prestigious institutions like the Met Museum through sponsorships, it risks commodifying fashion as a tool for not only personal but corporate image-laundering. To put it simply: who’s going to bite the hand that feeds them? Designers, editors, and curators will have little choice but to turn a blind eye to keep the money flowing and the lights on.Back in 2012, Amazon co-chaired the “Schiaparelli and Prada” gala, and honorary chair Jeff Bezos showed up in a perfectly respectable tux with then-wife MacKenzie Scott by his side and an Anna Wintour-advised pocket square. After his divorce from Scott in 2019, Bezos made a solo appearance at the Met Gala, signaling that he was becoming a familiar presence in fashion circles on his own. Of course, by that point, he already had Lauren Sánchez. Fast forward to 2020: print advertising was crumbling, and Anna Wintour co-signed The Drop, a set of limited CFDA collections sold exclusively on Amazon, giving the company a veneer of fashion credibility. By 2024, Sánchez made her Met debut in a mirrored Oscar de la Renta gown personally approved by Wintour, signaling that the Bezos orbit was now squarely inside the fashion world.Then, the political world started to catch up, as it always does. In January 2025, Sánchez and Bezos sat three rows behind President-elect Donald Trump at the inauguration. Amazon wrote a one-million-dollar check to Trump’s inaugural fund, and Bezos, once mocked by Trump as “Jeff Bozo,” publicly congratulated Trump on an “extraordinary political comeback.” By June 2025, Bezos and Sánchez became cultural and political mainstays: Sánchez married Bezos in Venice, wearing a Dolce & Gabbana gown Wintour had helped select. This landed Sánchez the digital cover of American Vogue almost immediately afterward. Wintour quietly handed day-to-day control of the magazine to Chloe Malle but kept the Met Gala, the global title, and her Condé Nast equity stake, cementing a new era of fashion power where money, influence, and optics are inseparable.Underneath all of it, the quiet hum of Amazon’s fashion machine continued to whirr. By 2024, the company already controlled 16.2 percent of every dollar Americans spent on clothing, footwear, and accessories—more than Walmart, Target, Macy’s, and Nordstrom combined. That same year, it generated $34.7 billion in U.S. apparel and footwear revenue that year, with the women’s category alone on pace to top $40 billion. No legacy house has ever had that volume of real-time data on what people actually try on, keep, or return in shame. Amazon can react in weeks rather than seasons, reordering winning pieces, tweaking existing ones, and killing unpopular options before they’re even produced at scale.Wintour did more than simply observe this shift; she engineered a soft landing by bringing Amazon in when it was still somewhat uncool and seen mostly as a discount retailer, lending it credibility when it needed legitimacy, and spending the last two years turning Sánchez from tabloid footnote to Vogue cover star. The Condé Nast sale rumors that began circulating in July 2025, complete with talk of Wintour cashing out her equity and Sánchez taking a creative role, have been denied by every official mouthpiece. But they have also refused to die, because the timeline is simply too tidy.The clearest preview of what billionaire ownership can do to a cultural institution remains Bezos’ other pet project, The Washington Post. Bezos bought it for $250 million in 2013, saved it from bankruptcy, and built it into a profitable digital operation with 2.5 million subscribers. Then, in October 2024, he personally blocked a planned editorial endorsement of Kamala Harris. More than 250,000 subscribers canceled in the following days. By February 2025, the opinion section was restructured around “personal liberties and free markets,” triggering another exodus and the resignation of editorial page editor David Shipley. Former executive editor Marty Baron called it “craven.” The timing, just months after Bezos began warming to the incoming Trump administration, was not lost on anyone. The story didn’t stop there: in the last few days, U.S. Vice President J.D. Vance revealed he had texted Bezos suggesting the hiring of a right-leaning Breitbart journalist, Matthew Boyle, to run the Post’s political coverage. This is a clear signal of how staffing decisions at a storied paper now sit within the same power matrix that funds the Met Gala and shapes culture, media, and politics alike. It’s a tangled, strategic web—all of Bezos’ making.It’s curious that, in the same 30-day window that the Trump DOJ expanded its antitrust inquiry into Amazon, specifically how its algorithms favor its own products over third-party sellers, including many fashion brands, the MET, a city-owned museum, handed the keys of its marquee event to the man whose company now wields outsized influence over designers’ fortunes and faces regulatory scrutiny from the administration he helped reinstall. This is not sponsorship; it’s leverage. Wintour once froze Melania Trump out of Vogue because she could afford to.But she cannot freeze out Sánchez or Bezos. Nor does she want to.So on the first Monday in May, the museum doors will open as they always do for the Met Gala. The carpet will still be red (or whatever color the theme demands). The photographs of celebrities posing in their interpretations of “Costume Art” will still break the internet. Andrew Bolton’s exhibition, roughly 200 objects tracing the dressed body across five millennia, displayed in the newly renamed Condé Nast Galleries, will still be brilliant. But the biggest check will come from the couple who already control 16 percent of America’s clothing spend, who own The Washington Post, and who sat three rows behind Trump at the inauguration. Everything else, guest list tweaks, livestream deals, shoppable moments, will flow from that single source of money and power. That is who now has the final word on the most influential night in American fashion."
}
,
{
"title" : "Communicating Palestine: A Guide for Liberation and Narrative Power",
"author" : "Palestine Institute for Public Diplomacy",
"category" : "essays",
"url" : "https://everythingispolitical.com/readings/communicating-palestine",
"date" : "2025-11-25 14:04:00 -0500",
"img" : "https://everythingispolitical.com/uploads/Cover_EIP_Template-MIT_Engineering_Genocide.jpg",
"excerpt" : "Communication as a Tool of Erasure",
"content" : "Communication as a Tool of ErasureAs new “peace plans” for Palestine are drafted far from Palestinian life, Palestinians find themselves once again spoken for - another reminder of how communication is weaponized to sustain Zionist colonialism. Colonialism doesn’t just seize land; it seizes the story and its agents. From early myths like “a land without a people for a people without a land” to today’s narrative spin that frames Palestinians as “rejecting peace,” the Zionist project has aimed to erase not only a people but also their agency, voice, and narratives.Today, as Israel continues its genocide on the ground, its propaganda apparatus, known as Hasbara (“explanation” in Hebrew), wages a parallel war over narrative in the media, in diplomatic halls, and online. From smear campaigns, to lobbying governments and media outlets, to pressuring digital platforms like Meta, the machinery of erasure is well-funded and relentless.As Edward Said wrote in Blaming the Victim, Zionist success was not just military - it was narrative. They won the global narrative battle long before 1948. Narrative control is not symbolic - it justifies policy, enables displacement, and legitimizes genocide.Our ResponseFor Palestinians, the narrative struggle has never been separate from the struggle for liberation. We recognized that incredible work is already being done to amplify Palestinian narratives and counter disinformation—through platforms like MAKAN, Decolonize Palestine, Let’s Talk Palestine, Newscord, and others. But what was missing was a one-stop toolkit that brings together the best practices and resources across all areas of communication, for everyone who communicates Palestine: media, policymakers, artists, content creators, advocates, and more. A space rooted not in defensiveness, but in reclaiming our agency and our narratives.So we built one.Communicating Palestine is more than a guide; it’s a manifesto for liberatory and decolonised communication. It is the outcome of a Palestinian-led process, woven from the wisdom of focus groups in Ramallah, Battir village, and Dheisheh Refugee Camp as well as journalists, activists and analysts. It centers Palestinian narratives on their own terms, refusing to be defined in reaction to the propaganda that seeks to erase them.What does the guide look like in practice? It’s a one-stop platform for anyone communicating about Palestine—journalists, activists, artists, policymakers. It’s organized into four core sections: Narratives and framings – analysis and recommendations to counter harmful tropes and disinformation. Visual representations – guidance for photographers, artists and video journalists on ethical imagery. **Communication and engagement practices **– tips and tools for ethical reporting and centering Palestinians with dignity, Tools – user-friendly resources that can be day-to-day support in your work. Practical checklists on key take-aways from across the guide Terminology guide for accurate wording and reporting. Photography and video guidelines to avoid harmful visuals. Resources countering disinformation, bias and fallacies. **This is a call to action. **It’s an invitation to unlearn the narratives we’ve been fed, to relearn how to engage with dignity and integrity, and to finally practice a form of communication that doesn’t just talk about justice, but actively builds it—one word, one image, one story at a time."
}
]
}