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thebearer · 10 months

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no but i love your writing! ever since i watched s1 and 2 last weekend because of a youtube ad, i peaked in the carmy tag and was a surprised to see the amount of stories carmy had! would love a scenario where he’s married to a sassy, take no shit type of reader sim to natalie. his wife legit could work with him for all i care. but for whatever reason he does something w/o checking in— he prolly just forgot. she finds out and confronts him hella pissed (could be at family or during restaurant prep idc) and she says “oh, if carmen said it was cool.” not even carmy the full government name bro 😭. p much how natalie articulated it 🤣. can’t remember the ep but in early season 1 when marcus blew the fuse you can also include slick commentary from richie (and fak) if you’d like! tysm in advance 🥰. also if you don’t me me asking, do you have name/alias on this blog? what we can call you? enjoy your week

- 🥣

yes yes yes ahhhhh! he definitely needs someone who keeps him in line but walks that fine line where he can also keep them in line (bc dom!carmy is living in my heart rent free forever lol). also you can call me e if you'd like :) thank you for your sweet words! i hope you have a good week, and hope you enjoy this!

"What's this?" You ask Sydney, looking at the new box being unloaded from the truck- big and bulky in a crate, far too large to be a produce shipment.

"Uh, I think it's the new glassware for the bar." Sydney looked at her clipboard, back at you carefully.

"Glassware? What new glassware. We haven't picked that out yet." You frowned, looking at the crate carefully.

"Oh, well, it was in Carmen's notes for the day, so... I think that's the only shipment we have. Unless the hostess stand came early, which would be amazing, but you-" Sydney stopped her ramblings, seeing your soured expression. "You know what? Never mind, uh, ignore me. I'm just...Carmen's with Sugar and Richie in the back if you want to ask him."

"Thanks, Syd." You muttered, ripping the bell open with a shrill before bounding towards the back. You could hear them before you saw them, a familiar chorus of chatter and rising voices.

"Hey, so what's the delivery out front?" You ask, not bothering to wait for them to acknowledge you. If you did, you'd never talk, they all talked over each other.

"The new glasses for the bars." Sugar turned, smiling softly at you. "How are you doing?"

"Good." You muttered, eyes cutting to Carmen. "We haven't ordered new glasses yet."

"Uh, well, I thought you liked the ones from last week, angel." Carmen's eyes were bulged, clearly flustered.

"I said I liked them for basics, but I needed you to confirm a drink menu." You glared at him, arms crossing over his chest.

"You can't put the drinks in that?" Carmen asked, hand flying out towards the hall.

"Not if you want the specialty, no." You huffed. "Carmen, I told you to wait just a few days and we could get them at the wholesale market. The textured ones for the signature at least."

"Uh-oh," Richie muttered, snickering to Fak.

"Can you not use the glasses I got?" Carmen sighed.

"I can, but did you get enough? And did we decide if the signature is going in a whiskey glass or a cylinder one? Did you order double of those?" You lifted a brow, taking a step towards him. Richie and Nat watched, heads turning from you and Carmen like a tennis match.

Carmen paused, running a hand down his face. "N-No, but-"

"-So what are you going to do when we open and you run out of drinks, huh? When everyone orders the signature and it comes in different glasses? You think those travel groupie influencers won't notice? Won't post about it and make it a big fucking deal?" You countered.

"Then we'll figure it out!" Carmen huffed. "Look I gave the order to Richie, and-"

"-Hey, no fuckin' way cousin. You gave me your order." Richie held his hand up. "Sweetheart, Carmy said it was good so I just placed the order."

"Well, if Carmen said it was good, then it must be, right? He's the fucking boss." You snarl, glaring at Carmen furiously. "Seems like you've got it under control, Carm, so I'll leave it to you." You turn on your heel, furiously stomping away.

Richie and Fak wait until they hear the slam of the office door, to release their cackles. "Oooh! Cousin, you are in the fuckin' dog house now." Richie laughed, Fak's chorus of barks emphasizing his statement.

"Shut up, ok? Just shut the fuck up." Carmen growled, running a hand through his hair.

"Carmy, why wouldn't you ask her before you ordered? She's your mixologist." Nat sighed, shoulders heavy with disappointment.

"Also your girlfriend." Sydney added, poking her head in. "I told you to wait. Just saying."

"Thank you, alright, thank you all for your fuckin' helpful words." Carmen snapped. "Just... Nat, make sure they get all that shit set up right, ok? Make sure the dishwasher fucking works before we're open, please."

The office door was shut, and Carmen hesitated, reaching for the knob anxiously. He wasn't sure if he should knock- I mean, fuck, this is his office but... you were already so mad at him. Knuckles rapping on the door, he didn't wait for the invite in- knowing he'd never get one.

Carmen found you, sniffling in a furious pout in the corner, body angled away from the door. "Baby-" Carmen started with a sigh, shoulders falling gently at your upset state.

"-Don't." You snap, wiping your eyes. "Don't even start with me, Carmen." The way you say his full name sounds so bitter, too formal and full of malice to be from you.

"I-I'm sorry. I thought we agreed on it, and-and Richie was pressuring me and... And you're right. I shouldn't have made that decision without you, and I'm sorry." Carmen said slowly, waiting for your gaze to meet his, angry, wet, waterline.

"Yeah, you shouldn't have." You agreed bitterly, wiping your eyes. "I get this is your restaurant, Carmen, but don't ask for my help if you're just gonna do what you want anyways. That's-That's not nice."

"I know." Carmen nodded slowly, approaching you with the caution he would a wild animal. "I want your help. I do, and-and I like your idea that the house drink goes in the special glass. Makes it stand out."

You lifted your gaze up to his. "Yeah?" You asked, he nodded, sitting next to you. "Did you blow your budget?"

"No," Carmen shook his head, not a total lie. Fak had been able pull some strings with the new stoves, turns out he did have a guy. It left a little over five thousand left over.

"We could go to that place, if you want to. Go look and see if they have the glasses. Get a rough estimate of about how many we'd need." Carmen offered, his hand cupping your thigh gently, thumb rubbing over your leg in soothing circles.

"As long as Sydney or Nat does the numbers and not you." You snorted lightly, rolling your eyes at him.

He laughed, nodding in agreement. "Yeah, I'll get Sugar to run 'em, alright? Then we can go. Call it an early night."

You beamed at the idea, letting him slide in next to you, melting into your side. "That sounds good." You hummed, letting your head fall on his shoulder.

"I-I'm real sorry I didn't as you ." Carmen muttered. "That was shitty."

"Yeah." You sighed in agreement. "I just... I want to be included in things." You asked, looking up at him sweetly. "Not everything, but-but at least the things that apply to my area."

"I know." Carmen nodded, his hand catching your cheek softly. "I'll let you handle it next time, alright? I trust your opinion."

"You don't have to do that-"

"-No, you're right, I don't. But-But I want to." Carmen nodded. "I know you're lookin' out for the best in this place just like I am."

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ledenews · 9 months

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Jermaine Lucious: Pointing at a Paradise Some Refuse to Provoke

Peak a boo, he’s looking at you. Well, maybe, but that just means he’s one of us, though. One of the observers. Just another set of eyes watching our lives because we place ourselves on display – and up for judgement – more so now than ever before. But that’s where we are now, and that’s where Jermaine Lucious is, too. Not only does he work as a youth counselor, but he’s also a Karaoke host and a partner with Exit Zero Entertainment, a local business that books music and comedy. That’s right, he wants you to smile, maybe even laugh a little, too, but first and foremost, he’d love us all on the same page no matter of age, race, or religion. Why? Because it’s possible, that’s why. And Lucious sees it that simply, too, and he has no idea whatsoever why so many others refuse to even sneak a peak down a street that doesn’t lead to a land full of hate-filled deceit and discrimination. Lucious, though, always will point you down the path. Lucious posts on social media a lot of reactions to what he experiences during his days. You observe a lot on social media and then you comment on what you see. Why the commentary? A few years back I saw one of my favorite directors, Kevin Smith, speak. He said the three things he believes drive people are to “Eat, Make Love (He used different terminology) and be heard.” I think I just want to be heard like most. I want to make sure I have nothing left to say when it’s my time to go. Social media is a great form of entertainment. It keeps me aware and engaged in current events. As long as I’m respectful and honest, and try not to harm others, I think I’m doing it right. Overall, what is it you see? I’ve seen good. I’ve witnessed people find understanding and acceptance. I’ve seen young people find their cultural “niche” earlier in life. Whether that be in music, movies, hobbies, fashion, etc. I’ve seen people network and find social groups they would have never been exposed to 20 years ago.I also believe it’s the biggest cause of division in this country.I think the media helps drive division by taking two or three tweets and publishing them as a story. On social media, we tend to take words like “conservative” and “liberal” and apply them to the most extreme comments we’ve seen. There isn’t much room for nuance. I think there is a whole generation of people who, for the first time, were told their views were seen as “backward” or their jokes as “offensive”. I think that has caused a bit of resentment. They lack an understanding of how social media has changed the views of the younger generation. A whole generation has had the opportunity to find humanity in a diverse group of people by listening to their stories. People are looking toward school curriculums and blaming corporations like Disney or Budweiser when all along, it's Vloggers on YouTube and Tik-Tok. In a recent series of statements on social media, you say meeting people in bars who were not alive on 9/11 make you uncomfortable. Please explain. My Father was a much older man when I was born. So, I’ve always measured historical dates after 1940 by how old he was and where he would have been on the planet. It’s kind of been my way of putting things into perspective. I’ve gone on to do that with other people. For 20 years, “Where were you on 9/11?” was a question I could ask people to get a better understanding of who they are and where they came from. Now that post-9/11 children are reaching adulthood, it signals a new era. These young people were raised in a much different world than I was. I’m nearing 40, and I’m feeling a generational disconnect, which I’m sure we all do if we’re around long enough. He wants you to smile and maybe even laugh as he is hosting Karaoke at Taqueria 304. As a Karaoke host, how have you learned to tell some people that they should never sing publicly again? I’m sure the fine folks at Taqueria 304 wouldn’t want me even hinting to people that they shouldn’t come back and sing. Let’s be honest though, Karaoke singers aren’t usually known for their “Ticket to Hollywood” vocals. I just don’t want you to be boring. We try to hype every single singer up when they take the mic in hopes they’ll let loose and entertain the crowd. I want to see you dance. Give me some soul. Play air guitar with one of the inflatables. Sing something borderline inappropriate. You left your home, came out on a Tuesday night, and build up the courage to sing in front of others. Just don’t stand there and read the lyrics to “Soak up the Sun.” What is the best story a cemetery has ever told you? I’ve recently enjoyed informing my nephew that his practice field on 16th Street used to be the site of a cemetery. There isn’t one single story I can point to. The cemeteries in town tell the story of the city. I came across a beautiful headstone at Peninsula Cemetery shaped to look like a tree trunk. A quick search of the library’s newspaper archives revealed the man was a gardener who lived on the Island and his funeral was held in his home in the 1890s. You notice countless graves of affluent people whose names are plastered on the buildings in this city. You come across markers of people you have met. This weekend I noticed a section of Greenwood Cemetery that were mostly the graves of children. I hope to do some research to see if they were all from the same hospital or orphanage. It was nice to show them some attention and respect. You notice that some Cemeteries have fallen out of vogue in the city, and their mausoleums and headstones are reaching disrepair. Then you realize that’s guaranteed to be the fate of all cemeteries in time. It makes me want to enjoy life more. Read the full article

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stacijya · 5 years

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My thoughts, opinions, and revelations following that one video with that one youtuber and that one journalist.

I promise to keep this positive and enlightening. Buckle up for a long read:

So, yesterday a video went live from a popular kpop youtube channel that featured a “controversial” kpop journalist from Billboard. They expressed many opinions and thoughts in regards to kpop and BTS that many ARMY’s felt degraded BTS’s success and hard work.

The comment I want to focus on today

“People are exhausted for getting so much exposure to BTS, I do feel like we need some fresh faces in the industry.”

“A lot of people are frustrated that there haven’t been any popular boy groups since BTS, its all been BTS.”

So first, before I get into my analysis of why these individuals might think this way, I want to put out a little disclaimer. First of all, I don’t think they are terrible people for saying what they said. I think that they were simply expressing their opinion and showing us their perspective. I understand where they are coming from but I COMPLETELY disagree with their statements (more on that in a bit). I actually think opposing opinions keep ARMY on their toes, motivated and goal-oriented. If everyone agreed with us, then our jobs would be done and we wouldn’t know what to do with ourselves. These kinds of comments have the power to mobilize our efforts, which we saw with the cypher party. So in some weird, backward way, I’m thankful for their commentary because it ultimately makes BTS more successful.

Now on to my revelation regarding the Kpop worldview and the changing of the industry.

Worldview, according to Merriam-Webster, is a comprehensive conception or apprehension of the world, especially from a specific standpoint. Often worldviews are established in early to middle childhood and expand with experiences as a person ages. Worldviews can also be established in later life regarding systems that are introduced into a person's life such as workplaces, the school system, or, in this case, the Kpop industry.

The journalist, during the pod-cast/live stream, shared her experience with kpop and how she got to where she is as a fan and a professional. She said that she got into kpop around 2008 and eventually took Korean language courses and studied abroad in Korea. She is fairly knowledgable considering her experiences. However, her worldview was established during a point in kpop history that enforced a set of certain beliefs. those being: Big3 domination, multi-fandom engagement, quick turnover rates, frequent “throne” turnovers, and general success from a large group of bands who were close to the top, but not occupying the top spot. These beliefs held for many years. from 2008 to 2015, they really didn’t see any change to that pre-existing system. Those “truths” became the essence of Kpop to many people. It's hard for those who hold that worldview to accept a change in paradigm.

It’s from this ideology that the “kpoppie” was born. They simply have been introduced to Kpop when these beliefs were being enforced by the system or they were introduced through a channel that followed these beliefs.

I avoided subscription to these beliefs by finding my own way to be a fan. I started listening to kpop in 2012 via SHINee and BigBang but quickly found fascination with debuting groups and rookie idols. I enjoyed a multi-fandom lifestyle but always held one or two groups close to my heart. I also love good underdog stories and developed a bitterness towards Big3 privilege, especially after experiencing the fan wars that went on between exo-l and babiez during 2012 and 2013. Then in 2013, I stumbled upon BTS, a group that I first dismissed because hey bore resemblance to BAP but later found captivating and enigmatic. From then, I truly felt a connection to BTS. They were so unlike everything else that had been introduced to me up to that point. From then, my kpop worldview evolved to include ideas and beliefs that contradicted the aforementioned subset. I’m thankful for BTS, for this reason, and many more.

Onto a detailed look at those ideals:

1) Big3: So, up until BTS won AROTY, every previous winner was from the Big3. MAMA, in 2016, probably assumed that BTS would reach their peak of success that year or maybe the year after and then slip just a bit to allow other artists to rise. However, after 2016, BTS doubled their success every year making it impossible to justify giving AROTY to anyone but them. That challenged everything everyone knew up to that point. That change frustrated and angered many people who believed that Kpop had to operate in a particular way.

Big3 ideology also created a culture in kpop that placed limits on smaller groups from smaller companies. Many of these groups faced outright discrimination from big3 fans for simply being from a smaller company. This is also why BTS’s success angered and confused so many people. They broke that stereotype as well.

2) multi-fandom engagement: Because the Big3 had such a chokehold on the industry, they encouraged “multi-fandom engagement” which ensured that they could rely upon relatively the same pool of fans to feed their entire catalog of groups and artists. It also maintained an audience for an always shifting pool of talent. If fans loved the system and industry, then groups could come and go but the money would still be flowing. As we know, groups often have short lifespans and their popularity fluctuates quite regularly. While this system is very fan-friendly, it can be brutal on up and coming acts, as well as acts that are aging. Their fanbases don’t necessarily develop a close attachment to one group which means that many groups have success based upon casual listeners.

This is where the whole “other groups deserve it too” mindset comes from. For them, if one group wins one year, then they will fight for their other fave to win the next year. It's not about longevity, it's about sharing the wealth, which ultimately cuts some careers short.

3) Quick turnover rates: Kpop operates on an extremely fast pace. That pace has only increased in recent years to combat the incredible amount of new talent flooding the industry. The quick turnover rate ensures constant engagement that keeps fans eyes trained on a particular company or group. However, this rushed system translates into rushed production and short blips of popularity. It's always “on to the next” for many fans.

BTS, however, created a concrete fandom that didn’t buy into this system. In fact, for many fans who are international and form the GP of countries like the US and UK, this fast-paced system with quick turnover rates doesn’t exist. They view longevity as a true marker of success and attempt to ensure that certain acts stay in the heart and minds of the people for a very long time. This is why the ARMY, particularly from other countries, has fought to place BTS among stars such as Taylor Swift, Ariana Grande, and Drake because those acts will be making music and winning awards for years and years to come if they haven't already.

4) Throne turnover: This probably relates the most to what the youtuber and journalist were talking about (I invite you to refer back to the image under my first point for this). Essentially, since 2006 or so, there has been a different boy group dominating the scene every year or so. BigBang enjoyed success for many, many years and so did TVXQ before them and EXO intermittently after them. kpop fans expect the next “legend” or “king” to arrive every couple years or so. Its the way it has been since most of them can remember (And even BigBang, who remained at the top and won AROTY a few times, stepped away between comebacks and allowed other groups to find success). BTS challenges this idea because they have experienced what many kpop fans believe to be their max amount of time at the top. However, BTS show no signs of relinquishing their throne any time soon. Plus, their throne has effectively been relocated to an ambiguous spot that isn’t really located in the kpop industry anymore. There may very well be two thrones now, one cemented firmly in Korea and one that is located in El Dorado, or Atlantis, or Olympus which BTS only know the coordinates too. That elusiveness probably angers kpop fans the most.

This is why many ARMY and others believe BTS is beyond Kpop. It's not so much a drag to those who reside within the kpop realm so much as it is a way to describe BTS’s success because it has transcended what typical kpop is. There really isn’t a space or system that can contain or encapsulate BTS’s success because it challenges the existing paradigm and exists in some quasi-system that BTS are establishing on their own. BTS have to build their own infrastructure to support their success because neither global or local industries have experienced this type of crossover before.

Conclusion:

Those individuals who shared their opinions are experiencing a shift in their worldview that makes them question what they believed to be the unchanging truth. They are uncomfortable with the changes they see and are attempting to make sense of a world that appears unlike what they have seen before. It will take time for them to realize that the world is simply a different place now. Their thirst for “fresh faces” comes from their desire to resist change and find comfort in the predictable ecosystem they had come to believe was “kpop.”

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mrmichaelchadler · 6 years

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Thumbnails 5/22/18

Thumbnails is a roundup of brief excerpts to introduce you to articles from other websites that we found interesting and exciting. We provide links to the original sources for you to read in their entirety.—Chaz Ebert

"Elisha Christian on 'Columbus' and 'Everything Sucks!'": The Spirit Award-nominated cinematographer chats with me about his acclaimed work on Kogonada's 2017 film and this year's acclaimed Netflix series.

“[Indie Outlook:] How did you and Kogonada develop the extraordinary shot of Jin (John Cho) and Eleanor (Parker Posey), framing them in a mirror in a way that gives us a sense of their history. We feel as if we are peering into a reflection of their past.’ [Christian:] ‘That scene took place in the same inn where Jin was staying. There were only four or five guest rooms in the whole inn, and we had our pick of which room we wanted to shoot in. That location is so visually interesting — you could shoot a whole movie there. When we saw the mirrors, we knew where we wanted to place the camera, though my AC couldn’t even stand next to it to pull focus. She had to sit underneath the camera while reaching up above her head to pull focus because the space was so slim. We even had to pull everything off the sides of the camera in order to fit in that tiny area without catching it in a reflection. We saw that if John walks out and stops at a certain point after Eleanor basically kicks him out, he could turn back to her and we’d be able to frame them both in an interesting way. It was definitely a dance. I remember that we were running behind that night. It took a while to set up the shot and get it ready, and we probably shot about 7 or 8 takes of it. We had two other shots planned in the scene, but when we got the take that Kogonada wanted, he said, ‘We don’t need the other shots.’ That’s a ballsy decision, considering the length of the scene. It’s decisions like these that made the movie better.’”

"Peak superhero? Not even close: How one movie genre became the guiding myth of neoliberalism": Brilliant commentary from Salon's Keith A. Spencer.

“Obversely, this is precisely how politics functions in neoliberalism: Both Hillary Clinton and Donald Trump were presented as branded superheroes, who believed they knew what was best for us, and sought to install their elite wonks to enact their benevolent (to them) policies. There’s a relatively two-dimensional view of the world at work: there are good and bad people; they are generally born that way and seldom change. The state in neoliberalism and superhero movies is almost entirely devoted to oppression and surveillance. If the state overreaches, heroes must fix its excesses; if it fails to protect its citizenry, heroes must make up for its shortcomings. In either case, its social welfare function is invisible: because people are innately good or evil, there are no social workers or teachers or other welfare-state employees whose duties might prevent villainy (or supervillainy) through social work. Superheroes are, by definition, more powerful and more important than the state. More importantly, the superheroes’ work may save lives, but it never inherently changes the relationships of production: If the people are poor, they’re likely to stay poor. They don’t participate in redistributive politics except to attack the sort of universally detested social relationships about which there is broad consensus — for instance, slavery. Superheroes can’t and won’t save the middle class; many of them are rich anyway and stand to benefit from the kinds of inherent economic injustices that, say, Bernie Sanders or Jeremy Corbyn fight against.”

"Turkey's Government Is Censoring the Movies, But the Istanbul Film Festival Is Soldiering On": According to Indiewire's Amy Nicholson.

“No one is sure what the moral rules are. The Ministry of Culture won’t write them down. At least the Hays Code in classic Hollywood had 11 clear don’ts. Specific rules can be subverted. But Turkey’s veto power is capricious and vague. Filmmakers, especially documentary filmmakers telling unflattering stories about modern Turkey, could spend years on a movie that can’t be shown. Unpredictability pressures artists to play it safe. Some hire lawyers to help them guess whether their work might be rejected, and if so, hunt for foreign producers willing to take a controlling stake as international films don’t require a certificate yet. But as Saudi Arabia opens its first movie theater in 30 years with a screening of ‘Black Panther’—imagine women who finally got the right to drive this year beholding the Dora Milaje—Turkish people are alarmed that their government, which just disrupted the last major dissenting newspaper chain, threatened people over their footage of Taksim Square, intermittently shut off YouTube and Twitter, and is poised to ban teaching evolution in schools, is making it hard to share their stories with the outside world. Over a bottle of wine, a director sighed as she pointed toward the west, ‘News comes one way.’ The impact was everywhere. ‘I can say that there are less political movies than before,’ said current festival director Kerem Ayan on a group boat trip circling the Bosporus River. ‘But cinema is very creative. Everybody finds a different way to express what they want.’”

"The Résumé: The Winding, Everlasting Career of William H. Macy": Another essential interview conducted by Sam Fragoso for The Ringer.

“I had never done anything that graphic or that sexual before ‘The Cooler.’ I’d taken my clothes off, but that’s different. And it was my adorable wife who finally said, ‘When you talk about it, it sounds like you’re planning to fail. If you don’t want to do these sex scenes, you should call the director and tell him you don’t want to do them. If you do want to do them, you better start thinking about how to make them great.’ It was a fabulous wake-up call. I married well. So I started to look at the sex scenes like any other scene—as an acting exercise. What’s different at the end of the scene than at the beginning? What happened? What’s the objective? What transpired? Where’s the moment where something changed the plot even though we’re just rolling around in bed? And to Wayne’s credit, I said, ‘I can’t understand the scene. I’m having trouble here. What happens here?’ And we talked about one or two scenes and he said, “You know what, you’re right. I can’t find it either.” And he cut them. He cut the scenes. Which is sort of the essence of art, I think: If you can cut it and still tell your story, then you have to cut it. I was shy but Maria didn’t care. She said, ‘I’m an old hippie. This is nothing.’”

"50 Years Ago, a White Woman Touching a Black Man on TV Caused a National Commotion": Petula Clark and Harry Belafonte chat with Vanity Fair's Donald Liebenson about the moment that erupted into an inadvertent scandal.

“For his part, Belafonte thought there had just been a technical glitch. He did not think the touch was problematic: ‘Quite the contrary,’ he says. ‘I was quite pleased. That song, if I remember, was the last thing we shot. There was an enormous sense of release that we had pulled this off without a hitch. It was one guy—Doyle Lott—who said we had to re-shoot what we had just done. We were nonplussed as to what was the problem.’ NBC, alerted to the controversy, called Binder to say the network would back him (‘That was a great phone call to get,’ he says). With that, Binder and Wolff rushed to the studio basement to confront the editor and order him to keep the take where Clark touched Belafonte’s arm—and to erase the others so they could not be used in the broadcast. Somehow—Binder doesn’t recall what did it—word of the controversy got out early, resulting in breathless pre-broadcast news coverage. ‘Incident at TV Taping Irks Belafonte,’ said a March 7 headline in ‘The New York Times.’ The article quoted a statement from White: ‘If there was any incident . . . it resulted solely from the reaction of a single individual and by no means reflects the Plymouth Division’s attitude or policy on such matters.’ Lott’s Detroit office also issued a statement: ‘I was tired. I over-reacted to the staging, not to any feeling of discrimination.’ Binder remembers hearing that Belafonte was about to tell America to boycott Plymouth on ‘The Tonight Show’; he called the singer to tell him it wasn’t the car company’s fault, and reminded Belafonte of his conversation with White. On March 10, the ‘Times’ reported that Lott had been ‘relieved of his responsibilities.’”

Image of the Day

Parallax View's Richard T. Jameson lists his favorite "moments out of time" from films he saw in 2017, including Bertrand Bonello's "Nocturama."

Video of the Day

vimeo

Alexander Jeffrey's short film, "An Aria for Albrights," stars Laura Bretan, the astonishing young opera singer who became a 2016 finalist on "America's Got Talent." Click here to read my interview with her at Indie Outlook.

from All Content https://ift.tt/2s3Uwbp

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