ɪnðə pˈiːs, dˈɜːɹi ˈɪntɚvjˌuːz θɹˈiː ˈæfɹɪkənɐmˈɛɹɪkən θˈɪŋkɚz — sˈaɪəns fˈɪkʃən ɹˈaɪɾɚ sˈæmjuːl ˈɑːɹ. dᵻlˈæni, ɹˈaɪɾɚɹ ænd mjuːzˈɪʃən ɡɹˈɛɡ tˈeɪt, ænd kˈʌltʃɚɹəl kɹˈɪɾɪk tɹˈɪʃɚ ɹˈoʊz — ɐbˌaʊt dˈɪfɹənt kɹˈɪɾɪkəl dᵻmˈɛnʃənz ʌv ˈæfɹoʊfjˌuːtʃɚɹˌɪzəm, ænd ɪɾ ɪz ɪn hɪz ˌɪntɹədˈʌktɚɹi ˈɛseɪ tuː "blˈæk tə ðə fjˈuːtʃɚ" ðæt dˈɜːɹi kˈɔɪnz ðə tˈɜːm ˈæfɹoʊfjˌuːtʃɚɹˌɪzəm, wˌɪtʃ nˈaʊ fˈɪɡjɚz pɹˈɑːmɪnəntli ɪn stˈʌdiz ʌv blˈæk tˈɛknəkˌʌltʃɚ.
In the piece, Dery interviews three African-American thinkers — science fiction writer Samuel R. Delany, writer and musician Greg Tate, and cultural critic Tricia Rose — about different critical dimensions of Afrofuturism, and it is in his introductory essay to "Black to the Future" that Dery coins the term 'Afrofuturism', which now figures prominently in studies of black technoculture.