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joshualunacreations · 1 year

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The US and its propaganda arm, Hollywood, have always been anti-Asian. Although opportunities are opening up for Asian actors, the underlying messaging—that divides and hurts Asians—hasn't changed.

Not too long ago, AsAms seemed united in outrage against racism and white-washed casting such as Scarlet Johannsen in Ghost in the Shell, Tilda Swinton in Dr. Strange, or Netflix’s Deathnote. Yet as more projects with AAPI leads and casts were produced, this so-called unity proved to be a lie.

The illusion of AsAm unity fell apart with To All the Boys I Loved Before—which was widely celebrated despite its blatant white-worship. The most recent blow comes from Hulu's The Company You Keep, a U.S. remake of a k-drama that replaced the male love interest with a white man.

Once it seemed like AAPI women were getting roles and being “humanized” (i.e. garnering attention and approval from white men on-screen and off) AAPI with media power were satisfied. It didn't matter that AAPI men were still erased and dehumanized—even in supposedly pro-AAPI projects.

Not only do AAPI with media power not care about the continuing harm against AAPI men, they exacerbate it. When AsAms critique anti-Asian narratives—especially ones erasing or targeting AsAm men like TATBILB—they're gaslit, harassed, censored and even permanently blacklisted.

This is because AsAm media is held hostage by the racist framework of the U.S. government's 1942-43 Mixed Marriage Policy. White men's hierarchy—based on perceived threat levels and receptiveness to white assimilation—still dictates Hollywood narratives.

Research confirms that the MMP persists today. A 2015 study shows how gendered racism leads to severe under-representation of Asian men (and Black women). Whereas monoracial Asian men face significant barriers in dating, a 2014 study shows mixed-white Asians get a "bonus effect."

This is why Hollywood execs know there will be less uproar if monoracial Asian men aren't represented—it's been the status quo for decades. In the few roles made for Asian men, they still fall into two categories: pathetic loser or toxic man/villain. In some cases, both.

The hatred and erasure of Asian men is so deeply embedded that it's led to the widespread erasure of AAPI men as victims of anti-Asian hate crimes in recorded stats and media narratives. AAPI journalists know this, yet continue to do nothing to correct it.

So what's next for AsAm representation? In 2022, Janet Yang became president of the Oscars. She's co-founder of Gold House—an AsAm Hollywood collective—and executive producer of Joy Luck Club, a seminal work bashing Asian men as irredeemable misogynists compared to "good" white men.

Many AsAms like Yang want more of Joy Luck Club and similar stories. Amy Tan, author of JLC, has been pushing for years for a sequel with the original cast. A TV series was optioned in 2017, and as of 2022 a movie sequel is to be written by white male screenwriter, Ron Bass.

Stories like Joy Luck Club aren't just bad media—they're dangerous. Arthur Martunovich randomly hammered three AsAm men to death because he saw a movie depicting Chinese men as abusers and he wanted to "protect Chinese women". There's a high chance that movie was JLC.

Hollywood has figured out it’s easy to make anti-Asian films and stifle criticism by hiring Asian tokens to give stamps of approval. An article from 1986 (40 years ago) about AsAm criticism of racism in Big Trouble in Little China shows there's a history of sowing division among AAPI and using government resources to do it. I understand the allure of the Hollywood dream because I used to believe in it myself. From an early age, all marginalized groups—POC, women, LGBTQ+—are taught to fantasize about how we'll finally be accepted and heal the hurt once we get on a big stage and give an award speech. Having experience in Hollywood as a comic creator, I know how people in power (esp. white men) behave. Their goal is to wear you down until you internalize their bigoted messaging, regurgitate it yourself, and then thank them for it. They hate the word "no." Awards don't matter if the content that gets you there ultimately serves bigoted and harmful purposes. In 2020, I made a test for AAPI media. None of the projects so far have passed. That's by design. We think we’re holding the statue, but really, it’s holding us.

Correction: I just noticed a typo in the comic. Inside the Hollywood sign's letter "Y" I meant to say "non-Asians" not "non-whites." Sorry, it was a lot of drawing and writing, and I got tired 🥴 (Please don’t repost or edit my art. Reblogs are always appreciated.)

If you enjoy my comics, please pledge to my Patreon or donate to my Paypal.

https://twitter.com/Joshua_Luna/status/1134522555744866304 https://patreon.com/joshualuna https://www.paypal.com/paypalme2/JoshuaLunaComics

#asians in hollywood #aapi in hollywood #asian representation #aapi representation #oscars #academy awards #racism #anti-asian racism #gendered racism #hate crimes #anti-asian hate crimes #media analysis #asian americans #fil am artist #my art #artists on tumblr #joshua luna #josh luna

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evansblues · 8 months

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If she still chooses to be with this man knowing Alba and her racism and her group, I side eye her also and then she can’t be all that you say, because she wouldn’t be with him if she was. This is just the step he took that he can’t come back from. I don’t see why she would want to do that to herself. ///

I’m not copying and pasting that whole book but this is why celebs will never be with a “fan”, yes this situation is messy but it’s Hollywood and if FS becomes famous it’ll be like Alba who? This mess seems like a huge shitshow to various fans and they can imagine Chris counting back, but guess what worse and crazier things have happened. I’m old school, we saw drama and mess from the 80s/90s and it’s a thing of the past.

This shitshow isn’t even over and you’ve just basically said “Chris is done, it’s a wrap”

How old are you anon? Worst mess has been cleaned up publicly. 🤷🏻‍♀️

Life moves on, I hate when people kick others when their down even if they are down because of their own stupidity.

But the reality is We don’t even know the entirety of this situation and FS is not even in the picture yet and you’re judging her already?!

FS will have to have very thick skin for sure.

Chris could hit rock bottom and go through and transformation and boom they meet, you don’t know people’s journey, but I guess it’s easier to judge when it’s not you.

You know how many Hollywood scandals and marriages the public has witnessed over the years, only for not many to remember years later.

George Clooney was married decades ago but when you hear about his wife the only woman that pops up is who…..Amal Clooney!

If FS chooses to be with a man she actually knows to her core vs you not knowing said man and presently judging him based on how this current mess is being presented, you’re going to “side eye” her……... okay.

This situation is very easy to bounce back from publicly, PR and crisis teams are hired for a reason. I’d suggest you go google Hollywood scandals from the past and then come back and let us know if this this as bad as you originally think.

Chris will need someone who isn’t going to jump ship so easily when shit goes down and also someone to put him in his place, but he definitely doesn’t need anyone who gives up on him so easily, be mad at this mess and him all you want, but to say it’s not fixable or he can’t be redeemed when you know nothing and are just a bystander……sheesh.

I’m sure Chris will tell FS everything and she’ll be a good judge of character.

It’s funny people are claiming Chris must be racist due to Alba yet in twenty plus years not one time has anyone accused him of being racist, damn he must be good at covering his ass. 😂

Sorry for the rant, I don’t like people judging while not understanding they don’t have every exact detail to even judge.

Ugh, humans. 🙄

I’m glad I’m not the only one who’s seen worse shit. It’s odd to me the way people talk about this in context. There are wars in this world, children are going hungry, I’m about to read Britney’s book and I know it’s going to be some bs that happened to her. I have perspective on this, yeah it’s sad he’s not acting like who we thought he was, but that’s it. It’s just some messy PR. Even if he is racist, call him out and don’t watch his stuff. He’ll be fine on the other end.

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chevelleneech · 15 days

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LFJ…

So, I had to look up the posts people were talking about regarding Lou, because no one was showing proof of anything, just saying he used to post racist, misogynistic, and fatphobic memes.

Now, I saw what I assume were all of them, and while I disagree on two or so, I do think people are right to call him out. The posts are from 2013-2014 from what I saw of the dates, which was ten to eleven years ago, and people can grow and change, I say as much all the time, but… Lou would have been between 28 and 30 at the time he made those posts, and while they were products of their time in terms of the “humor”, he was beyond old enough to know better.

It appears to me, from a quick search of when his career as an actor picked up around 2012-2014, he may have stopped posting them as much. I don’t know, but I can see that being a reason. Don’t want to fuck up the career before it begins, even with his nepo connection.

That’s neither here nor there though, because it really boils down to what he did was mainly just loser shit. He seems to have had a very gym-bro personality, and thought “jokes” about Black people and women being harassed were funny. Very teenage boy antics, but again, he was not even college aged anymore when he posted that stuff.

It’s not surprising to me, because I really do expect the worst out of white people. Everyone can fuck up, but I promise you I have a very low expectation bar for white folks who grow up with money, especially. He may be a different person now, but I can’t say I’m overly convinced. I don’t watch his Cameos or anything, but I did see people say he brushed off Tommy’s past actions toward Hen and Chim as teasing.

Now, if you’ve been reading my posts, you’d know I was and am team: Tommy’s past behavior was either retconned or more or less decided to have been forgiven due to how Chim and Hen respond to him in current episodes. However, knowing Lou views Tommy’s actions as fun and games, while also now knowing he himself has a past of thinking racism and misogyny is all fun and games… it makes it hard to believe he’s actually learned anything in the last decade.

Anyway, these are my thoughts on the situation. Like I am with Ryan, I feel rather neutral on him as a person. Not because I think what either of them did is okay or complex, because it’s not. I honestly struggle to think about any moment in my adulthood where I took fatphobia, racism, or misogyny as a joke. I was still ignorant to victim blaming as a teenager, and into my early twenties I had a lot to learn about transphobia, but I’m in my early thirties now and can’t really see how Lou or Ryan or Jennifer made it this far being ignorant to society.

It honestly shows a huge amount of privilege that they are as ignorant as they are, but as adults, they should know when and where to express their dumbass views.

As well, it’s possible Ryan has changed. I do think he is the one in the position to have been informed and can do better going forward. Simply because, “defending” oneself using slurs conversationally is not inherently an act of dislike for Black and Asian people. Being a Zionist or having a history of thinking “jokes” at the expense of other people’s race or gender though, that you still don’t appear to understand the weight of a decade later… idk. I don’t see that being as easy of a thing to claim changed behavior on.

Either way, I don’t think he’ll be fired any sooner than what may already be planned. Not unless Oliver sees it and decides he doesn’t feel comfortable working with him anymore. We know he doesn’t exactly bite his tongue, as he didn't with Ryan despite knowing that man was contracted in as a series main. Lou isn’t, so if he or any of the other cast members no longer feel comfortable, I assume that would change things. Other than that, it’s Hollywood, he’s white, is a nepo baby, and gave ABC huge ratings for being part of Buck’s queer awakening. I do not imagine ten year old posts are going to factor into anything as far as Tim or the network goes, especially since the finale is this week then the hiatus will take plenty eyes off him anyway.

#911 abc

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thresholdbb · 8 months

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Let’s talk about some of the problems with Star Trek. There are obviously real-world, behind-the-scenes reasons for many of the things we don’t like about Star Trek, and they’re usually pretty messed up. A very non-comprehensive list includes but certainly is not limited to:

Geordi being bad with women - racism

Geordi and Worf being the people of color on the cast but in heavy make-up - racism/othering

Harry Kim not getting a promotion - racism (see: model minority)

Klingons all being black/dark skinned (pre ~2001 at least cause that’s mostly what I know) but sometimes played by white actors - racism (see: blackface)

Chakotay’s whole deal - racism (see: noble savage)

The Kazon not assimilated by the Borg - anti-black racism

Deanna Troi not wearing a uniform - sexism

Seven of Nine not wearing a uniform - sexism

Jadzia getting killed off - sexism

Ezri’s poor reception - sexism again

Miles/Keiko/Kira’s baby situation - theres a post going around calling it misogynistic and it’s a pretty good take

B’Elanna being reduced to angry Klingon - Racism and sexism double whammy (see: spicy Latina)

Keiko being perceptually reduced to nagging wife even though that’s not what her actions necessarily portray - racism and sexism double whammy again

Beverly Crusher’s trill episode - homophobia

DS9 flirting with different expressions of sexuality (many characters) but barely committing - homophobia

Pike’s fate - ableism

DS9 Augments - ableism

Later iterations of Spock losing the Jewish coding - antisemitism

I’ll stop the list there since we can keep pulling examples out as nauseam and find examples of any of the -isms, any of the -phobias either within the media itself or behind the scenes but especially in some of the fan spaces. There’s plenty of ethnic/religious/gender/sexuality coding, erasure, contradictions, and many other things that can be pulled out and dissected in ~900 hours of a franchise made over 6 decades. (Keep adding examples if you want, since mine do not cover the whole spectrum of the franchise and barely even touch alien species that also have issues.)

Star Trek is undeniably made in a capitalist Hollywood production company, so white supremacy, heteronormativity, and dominant cultural tendencies usually end up dictating what gets put on air. Hollywood has a dominant thread of white supremacy throughout its history, so even intentionally trying to diversify staff and talent is difficult because of the systems feeding into Hollywood or other industries/institutions. There can also be a great deal of privilege working in the favor of successful artists - not always but something to consider.

Additionally, Trek presents itself as a post-scarcity, futuristic utopia, and sometimes things stick out to us if they don’t meld with our personal understanding of what that would look like.

I’m sure we’ve all heard a little about the old production schedules, long days, demanding schedules, rotating writers, rotating directors, etc etc. It has been proven that implicit bias can drive decisions, especially when people are busy. Even if the production isn’t explicitly motivated by these things, they seep into the work. The -isms and -phobias are sometimes reduced to characteristics of a person/piece of media, but it’s sometimes more useful to characterize actions instead of people since it allows better conversation about the topics. Sometimes it is intentional and explicit, sometimes it’s not. The intention does not affect the impact, so how a storyline or message lands on the audience/viewer is important. Science fiction in particular is a genre that makes social commentary, so by design it lends itself to deeper analysis.

We also can’t forget that the shows are products of their respective times, and a lot of what was shown was pushing against cultural boundaries. For the most part, the franchise has tried to explicitly be diverse, but they are bound to make missteps in other areas, intentional or not. No piece of media is perfect or above scrutiny.

Now, all of that said, there are many schools of thought for how to analyze media. I’m not gonna give a whole crash course in literary criticism but we can look at it from a continuum of different perspectives. We can wonder what the production meant when they made it/what happened off camera (author intentionality), we can draw from the piece itself (in universe), we can focus on how the media was received either in its cultural context or outside (reader response), or we can do some combination of the three. No media exists in a vacuum, so they all end up working together to make the work.

My main point is this: it is ok to pick your analytical perspective. You can chose to ignore the real-world contributions and intentionality when analyzing media. If people want to stay strictly in universe to come up with reasons why something did or did not happen, that’s ok. If people want to focus on what happened behind the scenes and how that affected the work, fine. If people are just focused on how it made them feel, also great. Just maybe don’t get all worked up because someone is analyzing media from a different viewpoint or someone has a different take than you do.

#Star Trek #long post #infinite diversity in infinite combinations #I could put more in the bullets if I thought about it #there are plenty of examples floating around #a lot of the -ism tropes are so common they have names #I don’t remember all of them cause I lent that book out and never got it back #I am not defending the production for making bigoted decisions #the issue is nuanced #i like to stay in universe because it was hammered into me not to look to hard into author intentionality #intentional fallacy #like I’m not a Russian formalist or anything #I can acknowledge that behind the scenes and what resulted is far from perfect and may even perpetuate stereotypes #we contain multitudes #sure we can find plenty of white saviors too #I know I didn’t hit all the possible isms sorry #I have a lot of thoughts on the augment situation though #like yes x happened because whatever person was sexist racist etc but we can look deeper if we want #idk if this is a rant or what but I’m sorry I decided to go off on a million tangents today #a post no one asked for #just gonna keep writing long posts and tags people probably won’t read #meta

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msclaritea · 5 months

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Where to Watch ‘Dick Clark’s New Year’s Rockin’ Eve with Ryan Seacrest’ — 2024 Edition

Blind Items Revealed #2

February 10, 2017

With his popularity waning because he is not on television each week, this A list mogul is threatening to pull his production deal with the parent company unless he gets back on the air now. Thirsty f**ker. Always likes you to think he prefers being behind the scenes. Nope. His ego is HUUUUUUGE. So, now the company is going to overpay for a worn out franchise from a different network.

Ryan Seacrest/American Idol/NBC

Blind Items Revealed #5

July 13, 2021

Except for making some things blind items, I have left it entirely in the words of the tipster.

I was invited to spend time this past Memorial weekend hanging out with this animator/writer/illustrator/one hit wonder (#1) who had a short lived series on this almost network several years ago. The show attracted a significant cult following when it aired on (#2) and this person still has a strong fan base within his subsection of pop culture. To this day, he never appears out in public where he might be recognized or allows any photos to be taken without wearing his signature disguise that he’s worn since the inception of his show. (He didn’t wear it Memorial weekend when out with me. I completely didn’t recognize him when I first saw him.) Everything online, including his Wikipedia bio, is fake and written by him. He will do anything and everything to keep people from knowing any personal info about him. He desperately attempts to project his age much younger than his 54 years and while his real first name is very close to his fake persona, his last name is not.

To say that he is a horribly racist individual doesn’t even begin to scratch the surface of his deep seated racism. A very nice and genuine friend of his that I met last year, he refers to as, “that rich Jew”. He believes everyone in the Little Armenia section of LA hates white people. He was upset that his neighborhood is being “invaded by Mexicans”. A kind friend of his, who happens to manage a very popular bar, graciously let us cut to the front of the line to get in because he was getting angrier and angrier at having to wait. When talking about his friend that got us in the bar, he continually made disparaging comments about the fact that the guy only dates black men. He repeatedly said throughout the weekend that he doesn’t like inviting this person to his house for parties because he brings a boyfriend and hates having black people in his house.

He texted me Sunday afternoon and inquired about lunch and thrift shopping (something we have in common). I said sure and hoped that Saturday’s deplorable behavior was just due to having an off day. Nope. As soon as I picked him up, he was in a horrid mood. When I called him out on it, he said that he could just not talk to me at all (tempting but awkward). He asked what I had done all morning. I told him the fun I had and the great places in LA I visited. He laughed and said he thought I was probably sitting in my hotel room waiting for him to call. (Pro tip: when in LA be sure to visit the immersive art exhibit at Cakeland LA.) I suggested we eat lunch at El Coyote. I had always wanted to eat there. He got more irate and asked who I thought I was that I could pick where we ate. Not wanting to argue with someone with the temperament of a four year old, I let him pick lunch. While waiting for our food he asks me who I think is gay in LA. (I’ve been an avid reader of CDAN for over a decade; I know my Hollywood gays.) First name that comes to mind is the mogul (#3). He says he’s heard that #3 might be gay. Next up on my list is the talk show host/game show creator (#4)’s ex boy toy, (#5). He says that he has met #5 numerous times and there is no way he can be gay because he is so nice and gives back to the community. (That may be true but Helen Keller could tell #5 is gay.) I tell him I’ve always thought this A+ list mostly movie actor (#6) was gay. He replied with the antiquated and false notion that #6 can’t be gay because he’s married with kids. He wasn’t joking. He actually believes this! While we were dining outside, he randomly starts yelling at me out of nowhere. People stopped eating and were staring until I told him to calm down because someone was going to call the police on him. His ability to go from zero to unhinged, screaming rage is only surpassed in speed by JLo’s ability to call the paps when lunching with Ben.

After lunch, we went thrift shopping. The first spot we hit, he found a book he wanted to buy. It was $2.75. At the counter, when told the price, he said he didn’t have any cash. I stepped up and paid for the book. As soon as I got outside, I was berated for paying for the book. He said he had cash and he told the sales clerk he didn’t to see if he could get the book for less money. It was $2.75. The money was going to a charitable organization! He literally complained about everything, including his constant inability, due to his size, to easily get out of my rental car, a Ford Mustang. He argued that getting out of my own car, a Mini Cooper, would be much easier. (No way.)

After I dropped him off at home, I had a delightful dinner at El Coyote. I decided that there was no way I could spend another nanosecond with him. Life is too short to waste time with someone like this. I used my points on Southwest to fly to CA. To change my flight to an earlier one would have cost me over 28,000 points. I called Southwest and asked if I could please change my flight and not be charged the additional points. The customer service rep said she would need a reason to tell her supervisor why an exception should be made. I told her who I spent my weekend with and what had transpired. Southwest allowed me to change my flight without using any of my points; even they realized what an ass he is. I do feel sorry for his long suffering partner and the unmitigated nightmare it must be to live with him. He’s looking to restart his career with another series. Miraculously, he got a pitch meeting with some executives at Amazon. To the surprise of no one but himself, there was never a second meeting. This man is a vile, narcissistic human being.

#6 - George Clooney

#1 - Angus Oblong

#2 - "Adult Swim"

#3 - David Geffen

#4 - Merv Griffin

#5 - Ryan Seacrest

#6 - George Clooney

Blind Items Revealed #4

November 28, 2023

Apparently the wannabe Ryan Seacrest and the launch of his new venture was sparsely attended. They were expecting hundreds of people and got maybe a dozen.

Mario Lopez/Shoe collection

#Ryan Seacrest #Hollywood Velvet Mafia #NBC #Anyone scObling #David Geffen #George Clooney #Mario Lopez #American Idol #Dick Clark Rockin New Years Eve

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byneddiedingo · 1 year

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Linda Darnell and Henry Fonda in My Darling Clementine (John Ford, 1946)

Cast: Henry Fonda, Linda Darnell, Victor Mature, Cathy Downs, Walter Brennan, Tim Holt, Ward Bond, Alan Mowbray, John Ireland, Roy Roberts, Jane Darwell. Screenplay: Samuel G. Engel, Winston Miller, Sam Hellman, based on a book by Stuart N. Lake. Cinematography: Joseph MacDonald. Art direction: James Basevi, Lyle R. Wheeler. Film editing: Dorothy Spencer. Music: Cyril J. Mockridge.

Made in the twilight of the classic Western, there's something a little decadent about this West-as-it-never-was movie. In a few years, conventional Westerns would be all over TV, and Hollywood filmmakers would start turning out so-called "adult Westerns," films that did what they could to question the values and stereotypes that had been prevalent in the genre. Movies like High Noon (Fred Zinnemann, 1952) and Shane (George Stevens, 1953) would be lauded by intellectuals who would never have been caught dead at conventional Westerns. And even Ford would present a darker vision of the West's racism and brutality in The Searchers (1956). On the surface, My Darling Clementine looks like a fairy-tale version of the Old West, with its blithe disregard for actual geography: Tombstone, Ariz., and Monument Valley, Utah, are more than 350 miles apart, but Ford's movie puts the jagged buttes of the valley in every Tombstone back yard. The familiar tale of the shootout at the OK Corral has been turned into a clash of good (the Earps) vs. evil (the Clantons), in which the virtues of the former clan have been greatly exaggerated. There are some of the usual stereotypes: a drunken Indian and a Mexican (?) spitfire named Chihuahua (Linda Darnell). There's a virtuous young woman (Cathy Downs) from back east who tracks her man all the way west and when he's killed settles down to be the town schoolmarm. And yet, My Darling Clementine is one of the great Western movies in large part because Ford and screenwriters Samuel G. Engel and Winston Miller are so insouciant about their patent mythmaking. Henry Fonda is a tower of virtue as Wyatt Earp, infusing some of the integrity of his previous characters, Abraham Lincoln and Tom Joad, into the portrayal. Burly Victor Mature, though seemingly miscast as the consumptive Doc Holliday, gives a surprisingly good performance. And there's fine support from such Western standbys as Walter Brennan, Ward Bond, Tim Holt, and John Ireland. The black-and-white cinematography of Joseph MacDonald only seems to emphasize the good vs. evil fable, bringing something of the film noir to the Wild West.

#My Darling Clementine #John Ford #Linda Darnell #Henry Fonda

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cyarskaren52 · 10 months

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Power to the people

GOTTA GIVE US WHAT WE NEED: THE 25 DOPEST POLITICAL RAP SONGS

By Stereo Williams

Published Wed, March 23, 2022 at 10:00 PM EDT

Hip-Hop has always been political.

From the organization of community jams in the Bronx to the topicality of songs like "The Message" and "Problems Of the World," Hip-Hop's soul is forever tied to the kind of commentary that sprung from the streets.

In the late 1980s, the political Hip-Hop of artists like Public Enemy and Boogie Down Productions served to reawaken the Black consciousness in mainstream American culture. The rise of Public Enemy announced a new generation of post-civil rights era Black voices, born of economic disenfranchisement and politicized policing of the Reagan era. That ethos has run throughout rap music and Hip-Hop culture in the decades since, and some of the greatest political songs of the past 35 years have come from Hip-Hop artists.

So here are the 25 Dopest political rap songs.

And yeah--you're probably thinking "Waitaminute, if this is supposed to be the TWENTY-FIVE Dopest Political Rap Songs, why are there TWENTY-SIX listed?"

Because we can do what the fuck we want. Fight the power.

#26

"AH YEAH" - KRS-ONE

One of the most incendiary tracks in a catalog that's about as unapologetic as it gets, KRS delivers this firebomb on his classic sophomore solo album, calling out white supremacy and racism on one of his most bombastic anthems.

#25

"REAGAN" - KILLER MIKE

Dissecting Iran Contra and the influx of drugs into America's inner cities in the 1980s, Mike blasts the 40th President of the United States, explaining how his administration's policies ripped apart Black communities and the effects would ripple out for generations.

#24

"12 PROBLEMS" - RAPSODY

Over Don Cannon and Cubeatz's production, the rhymer out of North Carolina delivers social commentary in the age of Black Lives Matter and Donald Trump; focusing her personal frustrations at police brutality, the prison industrial complex, and the War on Drugs.

#23

"STOP THE VIOLENCE" - BOOGIE DOWN PRODUCTIONS

The song that kicked off KRS-One’s Stop the Violence campaign, promoting peace and harmony in the hip-hop community. The campaign was kicked off after a fan was shot and killed outside of a Boogie Down Productions and Public Enemy show. The track encourages listeners to change the narrative of hip-hop and street culture by putting an end to the violence, staying true to KRS-One’s ethos of positivity and black empowerment.

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#22

"NATURE OF THE THREAT" - RAS KASS

Ras Kass delivers an Afrocentric telling of history via this notorious track from his debut album, "Soul On Ice." Quibbles about accuracy persist, as the Cali emcee establishes himself as a wordsmith of the top order, breaking down everything from religion to war. A song that undoubtedly has sparked countless stoned in debates in HBCU dorm rooms across America.

#21

"BURN HOLLYWOOD BURN" - PUBLIC ENEMY FEAT. ICE CUBE, BIG DADDY KANE

Chuck, Kane and Cube take aim and fire at Tinseltown and its depiction of Black people. Endorsing Black filmmakers like Spike Lee while bodyslamming Oscar fodder like "Driving Miss Daisy," it was the perfect middle finger to the way the big screen has exploited Blackness.

#20

"REVOLUTION" - ARRESTED DEVELOPMENT

The Atlanta-based collective was one of the hottest acts in music when they were tapped to deliver this track for the soundtrack to Spike Lee's "Malcolm X." The song became an anthem.

#19

"B.I.B.L.E." - GZA W/KILLAH PRIEST

Essentially a showcase for Priest placed at the end of GZA's epic "Liquid Swords" albums, it finds Priest kicking knowledge of self and celebrating how wisdom has helped reach an elevated spiritual place as a man as he picks apart Christianity.

#18

"MOSH" - EMINEM

Em's most famously topical track is him squaring off against George W. Bush and the much-ballyhooed "War On Terror" of the early 2000s. The slow burn of the production gives Em plenty of space to air out his feelings on Dubya's legacy.

#17

"I WANNA KILL SAM" - ICE CUBE

Cube has no shortage of topical tracks but one of his most incendiary is this assault on the American military. Delivered with the specter of Operation: Desert Storm and "Be All You Can Be" ads, Cube criticizes the exploitative way the U.S. military recruits in the hood.

#16

"SHAKIYLA" - POOR RIGHTEOUS TEACHERS

The Five Percenter-influenced Jersey crew tackled a number of hard-hitting issues, from black economic empowerment to religion, in their underrated catalog. Here, Wise Intelligent, Culture Freedom and Father Shaheed address misogyny, street harassment and disrespect of the Black woman.

#15

"A SONG FOR ASSATA" - COMMON FEAT. CEE-LO

Sure, the song from his critically-acclaimed 2000 album "Like Water For Chocolate" was very on the nose and maybe a little book report-ish but you can’t really diss a song that gives a history lesson about the activist hero, Assata Shakur.

#14

"WICKED" - ICE CUBE

The smoke of the L.A. riots was still fresh in everyone's minds when Cube dropped this incendiary single from 1992s "The Predator." Cube makes it clear where he stands on things: "April 21st was power to the people. And we might just see a sequel."

#13

"LIVE AT THE O.M.N.I." - GOODIE MOB

The Good Die Mostly Over Bullshit. The ATL foursome get raw and real about Black power on this, another gem from their debut album, "Soul Food," “...O.M.N.I.” is Goodie doing what they do best, dissecting racist systems with perceptiveness and relatability.

#12

"MATHEMATICS" - MOS DEF

The BK spitter earned his reputation as one of the illest emcees of all time. On this classic from his flawless debut album "Black On Both Sides," Yasiin Bey breaks down the math for those who ain't wise to it.

#11

"DANCE WITH THE DEVIL" - IMMORTAL TECHNIQUE

On his most infamous song, the lyrical assassin delivers a harrowing story rap; one that serves as a metaphorical dissection for the degradation of society's morals and the embrace of evil.

#10

"FIRE & EARTH" - X-CLAN

Brother J, Professor X and the crew may have delivered their most radio-friendly single, but X-Clan still doesn't flinch in their takedown of Eurocentricity, white supremacy, and even self-proclaimed "humanist" KRS-One.

"THE DEVIL MADE ME DO IT" - PARIS

His Bay Area bonafides are evident, as Paris has been dubbed "The Black Panther of Hip-Hop" for a reason. The most famous is probably this classic single, a song so political incendiary that it got the fiery rapper banned from Black Entertainment Television.

"THE BLACKER THE BERRY" - KENDRICK LAMAR

An anthem for the Black Lives Matter era, K. Dot explodes on this standout track from his critically-acclaimed classic "To Pimp A Butterfly." His focused fire is aimed at the police and at the systemic racism in which Western society was forged. As he also goes off on gangs and crime, the Compton product reminds everyone that he's all-too-human and conflicted, as well.

"HOLLER IF YA HEAR ME" - 2PAC

Recorded following the 1992 L.A. riots, you can hear Pac’s rage on this banger from his second album, 1993’s "Strictly From My N.I.G.G.A.Z" when he raps: “To my brothers on the block better stay strapped, black/And accept no substitutes/I bring truth to the youth tear the roof off the whole school/Oh no, I won't turn the other cheek/In case ya can't see, that's why we burned the other week..."

"CELL THERAPY" - GOODIE MOB

The lead single from their debut album, "Soul Food," “Cell Therapy” served as a blaring marker for Goodie’s arrival. Organized Noize’s distinctive, muddy and sinister production was on full display here, as was the grimy, keenly observant lyricism that Goodie Mob became known for. That piano line is beyond iconic.

"LADIES FIRST" - QUEEN LATIFAH FEAT. MONIE LOVE

From Day One, Queen Latifah has addressed misogyny in Hip-Hop. On this standout single from her classic debut "All Hail The Queen," the Jersey star (and U.K. transplant Monie) makes it plain that history proves that Black women are to be respected and honored.

"SOUND OF DA POLICE" - KRS-ONE

Unfortunately, this track is just as relevant today as it was the day of the release decades ago. In this song KRS One addresses police brutality toward the black community, linking the days of slavery to the way police acts in these modern times. Comparing overseers to police officers, everyone should be scared of the sounds of the police.

"HIP-HOP" - DEAD PREZ

stic.man and m1 opened the new millennium with this anthem that reminded everyone what Hip-Hop's heart is supposed to be. Delivered at the height of the rap game's flossiest era, it was a manifesto for maintaining integrity in the face of superficial shine.

"F*CK THE POLICE" - N.W.A.

They didn't try to soften it. They didn't try to smooth it out. Eazy, Dre, Ren, Yella and Ice Cube just went there. Before Rodney King. Before "Boyz N the Hood." Before the world had seen a peek at life in South Central L.A., N.W.A. delivered a look at the hood and the reality of police brutality. Their most famous song, this classic cop diss notoriously made the World's Most Dangerous Group a target for the F.B.I.

"FIGHT THE POWER" - PUBLIC ENEMY

It's the epitome of Hip-Hop's focused anger. The theme song for Spike Lee's classic "Do The Right Thing," Chuck D and Flavor Flav's epic single crystallized a generation's righteous rage and became the quintessential anthem for rap's political ethos. The opening salvo, the iconic music video, the infamous Elvis Presley body slam--it all contributes to what would ultimately become regarded as one of the greatest songs of all time.

Sent from my iPhone

#hip hop 50 #today in hip hop history #todayinhiphophistory #hiphop #hip-hop #hip hop #hip hop music #hip hop history #hip hop culture #music #history #music history #television #rap #rapper #emcee #mc

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woman-loving · 2 years

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Gender, Sexuality, and Lesbian Organizing in 80s Delhi

Selection from “Rescaling Transnational “Queerdom”: Lesbian and “Lesbian” Identitary-Positionalities in Delhi in the 1980s,” by Paola Bacchetta, in Antipode Special Issue, "Queer Patriarchies, Queer Racisms, International", Vol. 34, No. 5, November 2002.

The first half of this selection covers political and social developments in India in the 80s, particularly focusing on shifts in gender and sexuality. The second half looks at the emergence of lesbianism as a topic in national media, starting with reports on lesbian (and trans male) suicides and marriages, and then moves to the formation of early lesbian and “lesbian” groups. The author uses “lesbian” in quotations “to refer to women who love women and do not identify with the term lesbian, and lesbian to signify those who do.”

Delhi: The Setting Das (1990) has remarked that India‘s 1980s are characterized by "intense uncertainties,” “fundamental changes in society and polity," and "an escalation of violence." Historically, gender and sexuality have been central to sociopolitical conflicts in India (Chatterjee 1994; Nandy 1983; Sinha 1997) as elsewhere, and this period is no exception. To understand this aspect of the 1980s, it will be necessary to backtrack to the previous decade, at least, and to shift across scales from national to transnational to local.

Perhaps the most marking national political event of the 1970s was the State of Emergency (1975 – 1977) that Prime Minister Indira Gandhi of the Congress Party called. Fearing her loss of upcoming elections to growing opposition, she was able to use Emergency to censor and imprison oppositional social actors, left and right. After Emergency, a right-wing Hindu nationalist party defeated her center-left Congress Party to win state power (1977 – 1979); Congress was then re-elected in 1979. Hindu nationalists propose a Hindu nation-state wherein non-Hindu Indians (especially Muslims, but also Buddhists, Christians, Jains, etc) are to be "converted" or eliminated from the citizen-body, and they prescribe polarized models for normative gender and sexuality. Having tasted power in the 1970s, Hindu nationalists increasingly mobilized for electoral purposes, an effort that culminated in the April 1998 election of the Bharatiya Janata Party (BJP) to state power.

For the lesbians and "lesbians" discussed in this essay, the 1970s marks the rise of the current wave of the Indian Women‘s Movement‘s (IWM). Although struggles by and for women have a very long history in India, and this wave of the movement was well in force prior to 1975, as Ray (1999) points out, that year it was given increasing legitimacy and publicity because of the "decade for women" called for by one of the globe‘s hot sites of power, the United Nations. In urban sites throughout India, including Delhi, women‘s 1970s protests (in collective forms such as demonstrations, sit-ins, petitions, and the like) centered on dowry murders, rape, wife-battering, and gender-differential deprivation linked to poverty (Basu 1992; Ray 1999). Simultaneously, male directors in Bollywood ("Hollywood" in Bombay/Mumbai, the central site of popular Indian film production), in a new trend, began to produce revenge films centered on wronged female protagonists who retaliated against offending males. In so doing, they massively--albeit perhaps inadvertently--diffused models for women‘s individual revolt throughout parts of the national cultural scape.

In the 1980s, three national political issues became focal points for the production and massive media diffusion of right-wing representations of gender, sexuality, and religion and of counter-representations by women engaged in women‘s struggles and in movements against Hindu nationalism. The earliest was the Hindu nationalist campaign to demolish the Babri Masjid, a sixteenth-century mosque. Hindu nationalists claimed that the "Muslim invader" Barbar had razed a temple marking the Hindu god Rama‘s birthplace (Ramjanmabhoomi) to humiliate Hindu masculinity and had constructed his mosque, the Babri Masjid, on the temple‘s ruins. For Hindu nationalists, the resurrection of Hindu manhood required a reversal: the demolition of the mosque-phallus and the reconstruction of the temple (Basu 1993; Bacchetta 1999, 2000). They carried out a very high-profile campaign against the mosque for a decade. Then, in December 1992, during a mass demonstration they had organized on the site, Hindu nationalists succeeded in illegally battering the mosque to the ground. Those who participated were mainly men, but some Hindu nationalist women were also among them (Bacchetta 1993,1999; Basu 1993, 1999; Sarkar 1993). Throughout this conflict, women “figured as crucial markers of identity--of nation, community, caste group and religious group” (Chhachhi 1994). Following the mosque demolition, Hindu nationalists orchestrated riots between some sectors of Hindus and Muslims near the demolition site and in a few urban centers across India. In these actions, Hindu nationalists moved to hyper-protect Hindu women‘s bodies while sexually violating Muslim women (Bacchetta 1994, 2000).

Another national political struggle that provoked shifts in gender and sexuality in the 1980s was the challenge to religiously based legal rights (Engineer 1987). This began in 1985 when Shah Bano, a 76-year-old Muslim divorcee seeking maintenance rights, publicly challenged Muslim personal law. In India, personal laws (for Hindus, Muslims, etc) constitute a system of religious laws governing civil matters (marriage, divorce, inheritance, adoption, etc) that are parallel to all other branches of law that uniformly govern Indian citizens regardless of their faith. For many Indian feminists, all the systems of personal laws are detrimental to women, for they reify male familial and religious community control over women. Hindu nationalists used the Shah Bano case to represent Muslim males as more-oppressive-to-women-than-we and proposed a uniform civil code based in Hindu law to Hinduize India‘s legal system. Feminists engaged in a vigorous and interesting debate: some advocated a secular uniform civil code; others recommended preserving, but internally reforming, personal laws. Eventually the Shah Bano case reaffirmed misogynarchal control of women by their "religious community" with the passage of the Muslim Women (Protection of Rights on Divorce) Bill in 1986.

A second major issue of the 1980s was the 1985 sati (widowed wife entering the funeral pyre of the dead husband) of a young widow, Roop Kanwar. It sparked further feminist-versus-Hindu nationalist polarizations around Hindu women‘s relation to husband, family, "religious community," and nation. While sati is an extremely complicated issue with a sordid history in colonialism and is subject to elaborate debates,[4] in general feminists maintained that Kanwar had been drugged and forced to die, while Hindu nationalists defended the practice.

Perhaps the most significant event of the 1970s and 1980s for the lesbians and “lesbians" discussed herein is the fact that, at this time, lesbianism itself began to appear in the national mediascape. The first reports were about lesbian suicides and marriages. Lesbian suicide appeared first, in 1979, when partners Jyotsna and Jayashree, after forced marriages to men, jumped in front of a train together (ABVA 1991:70). On June 29, 1980, college students Mallika and Lalitambika, both aged 20, tied themselves together and leaped into a channel, but were "saved" against their will (ABVA 1991:70). In October 1988, Gita Darji and Kishori Shah, 24-year-old nurses facing separation by Gita‘s husband, hanged themselves together (India Today 1988). In August 1990, Vandana Cibbal, aged 22, shot her lover Simmi Kapoor, aged 21, and then shot herself, one month before Simmi‘s scheduled forced marriage to a man (Thakur 1990:33). The press produced these women as tragic, dangerous, or simply unintelligible.

Reporting on lesbian marriages began later (Cath 1996). Partners were represented in three modes: as asexual friends; as uppity masculine-identified woman with uppity feminine-identified woman; and as transsexual with otherwise-normative woman. A first example is of village teachers Aruna Sombhai Jaisinghbhai Gohil, aged 31, and Sudha Amarsinh Mohansinh Ratanwadia, aged 29. They entered maitri karar (friendship agreement) before a notary public in 1987 after nine years together (ABVA 1991:69). The media was not unfavorable; some journalists seemed to presume the bond was asexual and thus in compliance with middle-class asexual/hetero norms. In contrast, in the second model are 28-year-old police constables Leela Namdeo, a widow,and Urmila Shrivastav, who, as an adult, rejected the man to whom her marriage had been arranged at age 3. A Hindu priest performed their December 1987 marriage ceremony in a Hindu temple in their parents‘ presence (ABVA 1991:67-68; India Abroad 1993). Following disapproving press, they were fired and banned from their town. A third example is the December 1989 marriage of Tarunlata, a female-to-male transsexual aged 33, with Lila Chanda, aged 23 (ABVA 1991:36). Lila‘s father got their marriage annulled under Indian Penal Code 377 (an Indian antisodomy law imposed under British colonial law and never repealed).

This mediascape attention had multiple effects. For some, the public attention constituted a form of violence. Lesbianism was now constituted as the negative supplement, in the Derridian (1976:244) sense, to women‘s proper identities and as a site of nationalism renegotiations. Indeed, some of the reporting contained a recurring theme that lesbianism was not Indian, but rather a British-imported perversion. A number of lesbians and "lesbians" resisted xenophobiclesbophobic attempts to white-out lesbianism by reterritorializing lesbianism (as Indian) in letters to the editors. At the same time, some lesbians welcomed the mediascape opening of the topic because it allowed them to gage their family‘s, community‘s, and wider society‘s views on the subject.

By the 1980s, public--especially middle-class--debate was increasingly polarized around sexuality. At that time, several shifts occurred. For one thing, some parts of the mainstream press began to discuss anormative heterosexuality and pornography and to adjoin these to homosexuality, all in opposition to normative, national, proper sexuality. For example, the popular magazine Sunday, in an issue entitled “Sex and the Urban Indian," produced hetero “unchecked excesses” and designated them, too, as "not Indian”: pornography, prostitution, and extramarital sex (Sunday1992). The issue contained a photo including an activist pamphlet, Less Than Gay: A Citizens’ Report on the Status of Homosexuality in India (1991) by AIDS Bhedbhav Virodhi Andolan (ABVA — AIDS Antidiscrimination Movement) as an example of pornographic literature, and the editors refused to publish protest letters (Bacchetta et al 1992). This outpouring of condemnatory discourse was countered by much dissent. For example, several renowned actors and writers and a religious figure, the Dalai Lama, publicly supported homosexuality. And some Hijiras (male-to-female transsexuals and/or transvestites [see Cohen 1995; Kumar 1993; Nanda 1993]) were suddenly given roles in Bollywood films such as Daayra, Darmiyaan, and Tamanna (Chawda 1996). Ultimately, one can ask the question of to what desires this overall outpouring of discourse--for those who expressed pro-queer positions and those who imagined themselves as the sexuality police alike--corresponded during the period.

During these 1980s debates, some middle-class lesbians and "lesbians" in IWM networks began autonomous discussions. They recognized each other through what Valentine (1996:154) terms "lesbian manners and styles." These sometimes included cues such as single status (not always; many are married) and a certain psychic and corporal sensibility. The middle-class urban lesbians and "lesbians" discussed in this essay often met in each other‘s homes. However, only some homes, or parts of home, where the heterofamilial could be avoided were appropriate: apartments and rooms of those living alone, or bedrooms of those who did not. The kitchen in the middle-class heterofamilial home in Delhi (unlike the kitchen of Kitchen Table Press) is a workspace trafficked by male and female servants and female family members; it is not a gathering site, and was therefore not an option.

From these early conversations was born the Delhi Group (the term “lesbian," a subject of disagreement, is notably absent). Group discussion topics included: pressure to heterosexually marry; familial and societal lesbophobia; economic independence; countering antilesbian media; relations to the IWM; and heterosexist laws. Soon there was a split over strategies (remain a discussion group? engage in projects? mobilize a rights campaign? visibility or not?). Some founding members of the Delhi Group formed Sakhi (a term habitually translated from Hindi as "best woman friend of a woman," but which Thadani [1996] redefined as female friend, lover, erotic relation between equals). Two lesbians remained simultaneously in both groups. Sakhi created India‘s first lesbian archives and published the first out lesbian statement (in 1990) in the gay magazine Bombay Dost (Bombay Friend).

Two lesbians--one from Sakhi and the other from the Delhi Group--were among the cofounders of the 1980s Red Rose Rendezvous Group, which was open to lesbians, gays, bisexuals, transgendered people, and transsexual people. The Red Rose group was so named for its meetings around a red rose at India Café in New Delhi‘s center, the large terrace of which dominates colonial-constructed Connaught Place. India Café was chosen because of its central location and its openness to many different classes of people. Early participants in the group were mainly middle-class gay men. Eventually, expansion efforts drew some lower-class participants, again primarily gay men. Within a year, meetings moved to a public park, another multiclassed site, contingent to the elite India International Center (IIC).[5]

[...]

Throughout the 1980s another cluster, "lesbians" who often worked in bastis (urban slums), self-identified as single women (see below). One single-woman “lesbian" participated in the Delhi Group.

These 1980s lesbian and “lesbian" emergences at multiple simultaneous scales undo the West-centric private-versus-public dichotomy, including its feminist incarnation as women-private/men-public. The multiple emergences also confirm and undermine Indian sociospatial organization as a home-to-world continuum (Kaviraj 1997); lesbians and "lesbians" crack it open to identify and invest deheterosexualizable and lesbianizable/"lesbianizable" sites throughout.

#india #delhi #lesbian history #lgbtq history #South Asian women #gender and sexuality history

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themosleyreview · 1 year

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The Mosley Review: Babylon

Its been a while since we've had a truly chaotic and whimsical film. A film that doesn't play it safe and goes for the insanity right off the bat. What we really haven't had in a long time is a period film about the massive transitions, hardships and dangers of Hollywood. Its become a niche genre in film that isn't explored as much since the entertainment genre has evolved so much. This film explores the classic period of cinema in the 1920's when silent films were king and the music, fashion, alcohol, opioids and depravity were at its highest peaks. Just the first 20 minutes alone was like a serious fever dream of debauchery, style and fun that was out of this world. They called it the roaring 20's for a reason and this film excels at showing why the era earned its title. Aside from the parties and drugs on tap, you got a fast look at the quick pace of the birth of a star, the growth of a business man, a musician striving for greatness while facing a challenge that is still prevalent today and then a fading of a star. Its so multi-layered and dizzying to explore but in this 3 hour epic, there was plenty of time spent to explore the dark underbelly of the industry and actual character development.

Margot Robbie was absolutely stunning and insanely energetic as rising starlet Nellie LaRoy. The moment she crashes on to the screen she commands the focus. You see LaRoy's meteric climb to fame as she quickly shows off her talents and then the eventual and disturbingly fast cocaine fueled decline. It's a cautionary tale as old as time, but she somehow finds a way to bring out the empathy of the character. Diego Calva was awesome as the film assistant Manny Torres and his journey was something to really focus on as you see the story truly through his eyes from the ground floor. The emotional turmoil the man goes through as he worked so hard to survive not only the assistant life, but also his navigation of the studio system was inspiring and terrifyingly stressful. His chemistry with LaRoy was the heart of the film and yet lacked a lot of logic towards the last half of the film. Anyone else would've stepped away from the chaos, but man did he really hang in there. Brad Pitt was excellent as the arrogant, decadant and never sober movie star Jack Conrad. Pitt truly delivers a strong look at the life of a rock star actor who's earned his status in the industry and yet has never really given up the party life. He is effected the most once the industry begins to shift away from silent films to talkies and to see his reactions was refreshing and classic. Jean Smart was elegant and fun as the journalist Elinor St. John. She may have been around for the debauchery, but she knew what was coming and had a realistic outlook on the world. Li Jun Li was outstanding as the cabaret singer and titles designer Lady Fay Zhu. She was so smooth in her scenes and even though she was not in it for too long, she represented that sexuality and control that Hollywood at the time was not ready for. Jovan Adepo was great as the sensational jazz trumpet player Sidney Palmer. His rise to fame was fun to watch and subtle in execution. I loved how he handled himself as essentially a session musician that got recognized for his talent. The obvious level of racism of Hollywood is explored in this film in one of the most degrading scenes I've ever seen and yet it still happens today, but in digital form. Sidney never forgets his roots and he was truly one of my favorite characters. Tobey Maguire was absolutely weird and terrifying as the truly messed up mob boss James McKay. He was very welcoming, but man his eyes were filled with evil and he takes you into the darkness in the most disturbing scenes of the film.

The score by Justin Hurwitz was pure brilliance. It was fun, energetic, chaotic and captured the tone and speed of the film's nonstop pace. Even with its infectious energy coursing through the veins of the film, there were enough moments where it highlighted heart of the film. The cinematography was outstanding and showcased the epic parties and landscapes of the many locations in Los Angeles. Even though the film was a 3 hour epic, I didn't feel the length of the film because of the fast pacing at not many have mastered that technique. There were moments that I think could've been trimmed a bit here and there, but overall I loved the film history lesson. The old saying of life immitading art and art immitading life was on full display in the last 30 minutes of the film and that I enjoyed. This was not only a energetic celebratory look at cinema history, but also a cautionary tale and reminder of how fast your life can change in the entertainment world for the best or the worst. Let me know what you thought of the film or my review in the comments below. Thanks for reading!

#babylon #margot robbie #diego calva #brad pitt #li jun li #jean smart #jovan adepo #tobey maguire #damien chazelle #justin hurwitz

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celebchatter360 · 1 year

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Ice Cube: From Rapper to Actor, Entrepreneur, and Political Activist - A Look at His Current Ventures

Ice Cube is a name that needs no introduction. He is an American rapper, actor, and filmmaker who has made significant contributions to the entertainment industry. Ice Cube's career has been a rollercoaster ride, starting as a member of the legendary rap group N.W.A., to branching out on his own as a solo artist, and then transitioning into acting and filmmaking.

So, what does Ice Cube do now?

Music Career

Ice Cube's music career spans over three decades, and he is still active in the music industry. He released his latest album, "Everythangs Corrupt," in 2018, which was his first album in eight years. The album features politically charged lyrics that address social issues such as police brutality, racism, and political corruption. The album was well received by fans and critics alike and cemented Ice Cube's place as a respected and influential rapper.

Film and TV Career

Ice Cube's acting career began in the early 90s, and he quickly made a name for himself as an actor. He has starred in numerous hit films, including "Friday," "Boyz n the Hood," "Are We There Yet?," "Barbershop," and "Ride Along." He has also produced and written several films, including the "Friday" series, "Barbershop," and "Straight Outta Compton," a biopic about his former group, N.W.A.

Ice Cube has also made several appearances on TV shows, including "Arrested Development," "The Boondocks," and "Black-ish." In 2017, he produced and starred in the TV series "Hip Hop Squares," which was a reboot of the classic game show "Hollywood Squares."

Business Ventures

Ice Cube is also an entrepreneur and has several business ventures. He is the founder of the Big3, a professional 3-on-3 basketball league that features retired NBA players. The league has gained a lot of popularity since its inception in 2017 and has even partnered with CBS Sports to broadcast its games.

In addition to the Big3, Ice Cube has also ventured into the liquor industry. He launched his own brand of E&J Brandy called "Fifth Generation," which he co-owns with his business partner, Jeff Kwatinetz. The brand has been successful, and Ice Cube has even created a cocktail called "The Big Cube" to promote the brand.

Political Activism

Ice Cube has always been vocal about social and political issues, and his latest album "Everythangs Corrupt" reflects that. In 2020, Ice Cube made headlines when he announced that he had worked with the Trump administration on a plan called the "Contract with Black America." The plan aimed to address systemic racism and inequality in America and included proposals for criminal justice reform, police reform, and economic reform.

Ice Cube faced backlash for working with the Trump administration, and many accused him of endorsing Trump. However, Ice Cube defended his actions, stating that he had worked with both parties and that his goal was to help the Black community, regardless of who was in power.

In conclusion, Ice Cube is a multi-talented artist who has made significant contributions to the music, film, and television industries. He is also an entrepreneur and political activist who is passionate about addressing social and political issues. Ice Cube's legacy continues to inspire generations, and his work and activism will undoubtedly continue to make an impact for years to come.

Deveondi Music

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cinemaium · 1 year

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Babylon: A Critical Exploration of the Cinema Industry and Its Failings

Babylon, the latest offering from Damien Chazelle, is a fascinating exploration of the cinema industry's rise and fall during the transition from silent films to talkies. The film paints a compelling picture of Hollywood's underbelly, revealing the exploitation of actors, the importance of artistic integrity, and the impact of commercialism on art. Yet, despite its undeniable success and critical acclaim, Babylon was ignored by the Academy Awards, sparking a debate about the Oscars' relevance and their tendency to overlook important works of art that dare to challenge the status quo.

At the core of Babylon is Clara Bow (played brilliantly by Margot Robbie), one of the most famous actresses of the silent era, whose struggle to adapt to the new era of talking pictures is emblematic of the challenges faced by the cinema industry at that time. Chazelle's expert use of black-and-white cinematography, which gradually transitions to color, is a visual metaphor for this transition and reflects the film's themes of change, growth, and transformation.

One of the most notable elements of Babylon is its uncompromising critique of the cinema industry and its failings. The film takes aim at the commercialism that has come to dominate Hollywood, as well as the Academy Awards themselves, whose selection criteria and voting procedures have been subject to intense scrutiny and criticism in recent years. Chazelle pulls no punches in his portrayal of the industry's ruthless exploitation of actors, the pressure to compromise artistic integrity for the sake of profit, and the tendency to reward films that are commercially successful over those that are artistically innovative.

The scene in which a group of African American actors is forced to sit in the back of a movie theater during a screening of "The Jazz Singer" is especially powerful. This moment highlights the deep-seated racism and prejudice that have been present in the cinema industry for decades, and the Academy Awards' continued failure to address these issues. As such, Babylon is not just a critique of Hollywood but a call to action, urging filmmakers and audiences alike to demand greater diversity, inclusion, and representation in cinema.

I found Babylon to be a remarkable and thought-provoking work of art that succeeds in capturing the essence of the cinema industry and its historical importance. The film's stunning visuals, excellent performances, and nuanced storytelling make it stand out in a crowded field of films. However, as a personal opinion, I do believe that the film's lack of recognition at the Academy Awards is symptomatic of a wider malaise in the industry. The Oscars have become increasingly out of touch with the values and concerns of contemporary cinema, and Babylon is just the latest example of this.

In conclusion, Babylon is a remarkable film that dares to critique the very system it is a part of. Its success and critical acclaim are a testament to the enduring importance of cinema and its ability to reflect and challenge society's values and beliefs. Yet, its lack of recognition at the Academy Awards is a reminder of the work that still needs to be done to create a more inclusive, diverse, and representative cinema industry.

#babylon #oscars #review #film analysis #movie review #cinema

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wintdas · 2 years

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Dorothy gish

DOROTHY GISH MOVIE

DOROTHY GISH FULL

DOROTHY GISH FREE

These included The Magnificent Yankee (1946), and The Cardinal (1963). Her mother went into acting to support Gish and her little sister, Dorothy. Born on 14 October 1893 in Springfield, Ohio, her father was an alcoholic who soon abandoned the family. Although Gish acted in well over 100 movies, she only made five after 1930. Gish’s childhood was less than Hollywood magic. When television came out, Dorothy Gish took advantage and appeared on different shows. Both companies toured extensively through the U.S. Lillian took the lead role with one company Gish took the same lead role with a second company. In 1939, Gish and her sister saw a production in New York called Life with Father. She starred in a production of Young Love in New York, followed by a production in London, both of which met with resounding success. EXTRA 20 OFF 3+ ITEMS See all eligible items and terms. When movies turned from silent to talking, Dorothy Gish made one in 1930 called Wolves, but she then took a break from filming and returned to the stage. BILL EDWARDS + DIANA LYNN + DOROTHY GISH + GAIL RUSSELL 1944 ORIGINAL Photo 239.

DOROTHY GISH FULL

While her sister took on “tragic” roles, Gish went full steam ahead with her comedy roles, and the public loved her. Her character was the film’s highlight, and she became an instant success as a star in comedy movies. She had a comedy role, and at last, she found her niche. In 1918, Gish starred in Hearts of the World. She went on to do at least 12 other films that year.

DOROTHY GISH MOVIE

Dorothy Gish’s debut movie was An Unseen Enemy in 1912. They began acting work for Biograph Studios. “We had this Blackness of thought and culture and ways of being that we didn’t have to articulate,” she said.Around 1910, a childhood friend of the sisters, Mary Pickford, introduced them to a director by the name of D. They were married in 1920 in a double ceremony with actress Constance Talmadge and businessman John Pialoglou. She challenged stereotypes in “ Anarchy, Wild Woman and Dinah,” where performers ate fried chicken and watermelon, and asked dancers to put the fight and rebellion in their hips in “ Batty Moves.” Dorothy was married to James Rennie, a Canadian-born actor who was her co-star in Remodeling Her Husband (filmed in 1920, it was directed by Dorothy's older sister, Lillian, in her only directorial outing). Gish grew up in New York City and made her stage debut at age four. Zollar did not want to erase individuality, she said, but heighten it through the use of sound and full body movements. 'It is my desire that the prize be awarded to a man or woman who has made an outstanding contribution to the beauty of the world and to mankinds enjoyment and understanding of life. Dorothy Gish, in full Dorothy Elizabeth Gish, (born March 11, 1898, Massillon, Ohio, U.S.died June 4, 1968, Rapallo, Italy), American actress who, like her sister Lillian, was a major figure in silent films, particularly director D.W. “I’m not waving a banner saying, ‘Here, this is what you’re seeing onstage,’ but people were clearly experiencing a company having deep analysis of systemic oppression, of racism, of sexism,” she said.Ī majority of Zollar’s founding members grew up in de facto segregated cities, where they communicated their racialized life experiences onstage. Nodes from present and former decades have left traces in her work.

DOROTHY GISH FREE

As a 1970s college student, Zollar said, she involved herself with the feminist, anti-Vietnam War, free love and Black power movements. Zollar founded Urban Bush Women, an ensemble that explores Black identity and systemic oppression through movement, in 1984. “Aesthetically, she has been a trailblazer,” Takeda added.

#Dorothy gish

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highjust · 2 years

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Younghollywood poducer

#YOUNGHOLLYWOOD PODUCER MOVIE#

WHO is Young Hollywood? Not to play that “I don’t know her” game, but I don’t know who this is, and I know a lot about pop culture. It's sad that people actually think like this. In this clip, Dominican singer Amara La Negra face intense colorism and racism from producer Young Hollywood. Nina Gregory edited this story for broadcast.I’m not a watcher of any of the Love and Hip Hop franchise, but I had to take a moment out of my day to write about the controversy that flared up during the first episode of Love and Hip Hop Miami. Until then, you can watch Marsai Martin playing the boss in Little - which opens on Friday. When asked where he sees her in a decade, he laughs: "as my boss." Kenya Barris definitely has not underestimated Marsai Martin. "Like, a lot of people kind of underestimate me because I am a kid," she says. Marsai points out that anyone coming off 18 interviews would be tired. Like, 'Are you good? Are you good?' OK, she's done 18 interviews in a row, you know." "So we are all kind of checking in on each other. "The billboards are now on the sides of buildings, and it's amplified in a way that is new for all of us," she says. Marsai's mom Carol Martin says the family can already feel the difference between their daughter being on a sitcom vs. It's a tough, tough industry and I would encourage her to take heart and find solace and community - in solidarity with other women of color." "I mean, we know that it can be difficult to maintain a certain high-profile standing and standard within the industry, and that opportunities don't come along as often, as readily, as easily for women of color. "Because I'm concerned about what is going to happen after this film has been released and what comes next," Mask says. Specifically Ava DuVernay, Kasi Lemmons (director of Eve's Bayou) and Dee Rees, whose screenplay for Mudbound was nominated for an Oscar. Mask hopes Marsai looks to other women of color creators for mentorship and inspiration. "I do think it's a way to sell the film," Mask says. She's a film professor at Vassar College who studies African-American cinema. Universal Pictures president Peter Cramer said he looks forward to moviegoers seeing Marsai in Little and "watching her evolve as a filmmaker." "Basically, all the ideas you come up with, or anything that you have in mind for TV, film, any of that - in my case, you talk to Universal about it, and it goes to them first," she says. In February, Universal signed what's called a "first-look" production deal with Genius Productions - the company Marsai runs with her parents.

#YOUNGHOLLYWOOD PODUCER MOVIE#

"'Well, remember that movie Big? I want to do a movie called Little.' And I was like, 'I'm going to stop you right there.' Nothing more needed to be said."īarris is one of the producers on Little, which is being distributed by Universal Pictures. "She said, 'Well a lot of people tell me I kind of remind them of Gabrielle Union or of Taraji P. She ran the idea by her boss, Kenya Barris. Her parents kept that promise, and submitted the photos to four. The photographer was so impressed with the way she took direction that he offered a bigger discount - if her dad promised to show the photos to a few talent agencies. Marsai was 5 at the time, and they signed her up to get her portrait taken. Martin says the family was minding its business at a mall near their home in Texas when a woman handed them a coupon for glamour shots. "We stumbled upon this by accident," says her father, Joshua Martin. She's now 14 years old - "almost 15," she says. In fact, she's been acting for almost a decade. Marsai may be new to the big screen, but she needs no introduction to fans of the ABC sitcom Black-ish, in which she's starred since 2014. In the end credits, the movie screen reads: "Introducing Marsai Martin." Little is a comedy where a big and powerful tech executive wakes up as a little kid. The youngest executive producer working in Hollywood makes her big-screen debut this weekend. Marsai Martin stars as little Jordan Sanders in Little, a wrong-body comedy inspired by the 1988 Tom Hanks film Big.

#Younghollywood poducer

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jechristine · 2 years

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I'm the anon who thinks you're infantilizing Zendaya. Again you twist the intention of the ask to serve your interest. I was saying Z is way more at risk of overexposure than Tom (a previous anon dragged Tom into it, implying sexism), because she's FAR more in the public eye than Tom. Simple as that. Nothing to do with "well it's the nature of her job", I mean literally this is my point, it wasn't foisted on her, she makes those choices to be massively in the public eye ... leading to risk of overexposure.

And the reason I said 9 months is because that's when the lockdown was lifting and Space Jam and public events were starting. Although I'll grant you i totally forgot about Uncharted when I said Tom had 1 project! And Tom's seasonal campaign with Prada is not remotely like Z's multi-year contract with Valentino, fact.

"Awards for being herself" means non-acting awards, awards for her as Zendaya the person in society. Tom won one too so don't get your knickers in a knot (although many people talk about Z and her well--planned strategy for awards of this kind and general fame, which Tom doesn't have). It's undisputed that Zendaya is an overall celebrity where Tom is "merely" an actor who happens to be famous.

Hi, Anon.

Okay, I follow your distinction: Tom is a famous actor who is focused on that one job only (or mostly), and Zendaya is more of an all-around entertainment personality, focused on getting famous from multiple avenues.

Re: Tom—

Tom comes on a Hollywood scene that has many more roles, leading roles, and blockbuster leading roles for white men like himself than it does for any women and certainly for any woc. This is why “Best Supporting Actress” is often the most competitive category for women at awards shows. Movies with woman and POC as protagonists are still by and large considered niche, despite some progress over the last decade (which, by the way, coincided with Zendaya’s rise). This makes achieving fame via what seems like a nobler path of just keeping his head down and doing good work easier for someone like Tom. Again, as I always say, this is part of Tom’s privileges but not meant to erase his talent and hard work.

Re: Zendaya—

As my anons and other tomdaya blogs have pointed out this week when news broke that Zendaya wouldn’t be attending the MET gala, she had a more tortuous path to achieving leading acting roles than she would have had if she had been, say, Tom or Timmy or Jacob Elordi or Austin Butler etc. She probably genuine loved/loves fashion, but especially in hindsight it’s becoming clear that she also used fashion, DWTS, and other side gigs to raise her profile so directors would notice her. I think it’s pretty clear that Sam Levinson casts for aesthetics and to get buzz, chose Zendaya probably primarily for those reasons, and then Zendaya used the opportunity to prove herself as a talented actress. (I suspect same for Spiderman, but the role for her in the MCU so far has sucked.) I don’t think it takes great effort reading between the lines of Denis Villenueve’s comments to understand that he even considered Zendaya at all for Dune 1 because of her high profile, then immediately saw in her what he wouldn’t have if he’d been able to continue simply ignoring her, then because of a some combination of her proving herself onscreen again and, let’s be honest, calls from entertainment media and fans to give her more screen time, wrote what seems like it’ll be a more significant role for her in Dune 2, a movie that’s primarily about another white man.

So I guess while I see your point that Zendaya is at greater risk of overexposure because she has a toehold in more entertainment sub-industries, I disagree with the implication that she this is a clear-cut “you reap what you sow” situation. Zendaya likely needed the exposure to get the acting career she’s got for herself. In fact, as I’m writing and thinking about what you said, I’m seeing another layer of racism and sexism, in which perhaps the very demands placed on woc to succeed are the source of their potential downfall, a lose-lose.

P.S. I do try to answer in good faith, so if I am misreading or misrepresenting your pov, it’s not an intentional effort to “serve my interests.”

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