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James “Yaya” Hough,
Untitled, 2014, paper, ink, pencil, watercolor, 8 1/2 x 11 .
AT THE AGE OF SEVENTEEN, James “Yaya” Hough was sentenced to life without parole in Pennsylvania, a state responsible for sentencing more Black youth to life than almost any other. Told that he would never be released from prison, he turned that death sentence into a rigorous reading and art practice, spending hours a day with his sketchbooks drawing, painting watercolors, and working on communal murals inside the facility. He describes his daily routine as taking on a spiritual character, a “discipline,” but not in any punitive sense. He was known and admired inside prison for his pen drawings and watercolors on the back of pink prison documents, carbon paper, and other carceral forms. He became a mentor to other incarcerated artists, including Russell Craig, who first told me about Hough in 2017. Hough told Craig “to be undeniable,” a phrase he and Craig repeat often.
Bettmann / Bettmann Archive
Originally published on December 22, 2020 3:37 pm
Guns are just about as American as apple pie. To many, especially white folks, they ve represented all the highfalutin ideals enshrined in the constitution: independence, self-reliance and the ability to live freely. For Black folks, guns often symbolize all those same things but, as we like to say on the show, it s complicated.
As we talked about on our latest episode of the pod, firearms have always loomed large in Black people s lives going all the way back to the days of colonial slavery. Right from the jump, guns were tied up in America s thorny relationship with race; you can actually tell the story of how America s racial order takes shape, in part, by tracing the history of guns in the U.S. and who was allowed to own them.