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A Fridge Grows In Hell’s Kitchen: On Daredevil’s Major Misstep

By Arturo R. Garcia

Enough time has probably passed that most of us can now consider Marvel’s new Daredevil adaptation in full — both the good and the bad. And make no mistake, the good has been very good at times.

In fact, I suggested on the Lawyers, Guns & Money podcast that this show, along with Orphan Black, The Flash and arguably Arrow, has introduced enough non-mainstream “prestige” shows that calls for a set of separate sci-fi/fantasy Emmys should be taken seriously.

But, like a hurdler tripping and landing chin-first near the finish line, Daredevil’s 12th episode closes on a note that is less “shocking” than it is disappointing. And par for the course with the comics industry in all the wrong ways.

SPOILERS under the cut.
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Event + Podcast Spotlight: The Soul Glo Project

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By Emily Schorr Lesnick

Walk into a comedy club or watch a Comedy Central  special and you might drown in a sea of Whiteness; a sea of White maleness. With Larry Wilmore and Trevor Noah hosting late night shows, the tide is turning, but those two shows stick out as anomalies because of the overwhelming presence of White faces. While there is certainly diversity within White men, there can also be a lot of similarity.

Six years ago, Keisha Zollar, a New York comedian and actor, set out to create other pools of comedy. She created The Soul Glo Project, a diversity variety show whose title is a nod to the jeri curl product in Eddie Murphy’s Coming to America. “Soul Glo was a show built on diversity that started in the East Village of New York,” says Zollar. “It was often a complaint of many performers who didn’t fit the strict, improv or sketch aesthetic that they wouldn’t get stage time.  The Soul Glo Project was born out of myself, Rob King and Horse Trade Theater wanting to make a more diverse performing community.”

Soul Glo is an inclusive comedy variety show, featuring diversity in the type of acts and the background of performers. “As an immigrant whose first culture is not American, I found some comedy shows and their themes to be alienating,” said NYC-based comedy performer and Soul Glo co-host, Anna Suzuki. “But when I joined the Soul Glo team as a producer, I was immediately embraced as a vital part of the mission; my voice mattered. It’s been a very gratifying experience.”

Soul Glo started in the East Village at Under St. Marks in 2009, moved to the Upright Citizens Brigade in 2011, and is now moving to Silvana in Harlem for a renaissance. “We hope to create an positive, low cost comedy experience to build a sense of community in Harlem,” shares Zollar.

Soul Glo prides itself on its range of performers, from folks getting on stage for the first time to more well-known performers, like Roc Nation’s Cipha Sounds, SNL’s Natasha Rothwell, Mulaney’s Seaton Smith and performers you don’t know (yet) who got on our stage and said “this is my first time doing stand up.” Audience member Johnnie Jackow reflected on the show: “Each performer shared his/her comedic talents that was not only incredibly funny but also so relatable. Its truly amazing to see how a packed house can roar with laughter from each performance. Yes the show highlights diversity in comedy but how our experiences cross color lines I think shows how more alike we are than different.”

The Soul Glo Project also launched a podcast as a forum for longer conversations about diversity and identity in comedy. The podcast, available on iTunes and Soundcloud, has featured comic Hari Kondabolu, Racialicious’ Kendra James, reality TV star Sabrina Vance, creator and actor Jen Bartels from TruTV’s Friends of the People, and The Experiment Comedy’s Mo Fathelbab.

The Soul Glo Project has a free live show coming up on Monday, April 20 at 7PM at Silvana in Harlem, NY. The show, celebrating Asian Pacific American Heritage Month, will feature stand-up comic Sheng Wang, spoken word artist Kelly Tsai, J-pop group Azn Pop and have improv led by Catherine Wing and Nicole Lee.

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An Empty Panel: On The Nightly Show’s Diversity In Comics Discussion

By Arturo R. García

You would think that a discussion of comics and diversity on The Nightly Show would be a home run.

You would be wrong.
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The Racialicious Live-Tweet For The 2015 Oscars

If you skipped last night’s ceremony, we certainly don’t blame you. But, Kendra and Arturo were live-snarking throughout the night, and you can catch their recap of the highs and awkward lows under the cut.

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Photo Credit: Miyan Levenson

In Conversation: Fresh Off The Boat

by Kendra James

WNYC was kind enough to invite us here at the R to their screening and talkback of ABC’s new sitcom Fresh Off The Boat, based on Eddie Huang’s memoir of the same name. After screening episodes 3 and 4, Jeff Yang (Wall Street Journal Columnist and father of the show’s star, Hudson Yang) led a discussion of the show, its themes, and its importance featuring vlogger Jay Smooth,  rapper Awkwafina, and author Amy Chua.

While I captured snippets of the conversation in our livetweet from The Greene Space last night, it’s worth watching the entire video of the discussion embedded below. With  some of the points made focusing  on the series’ third episode, it may even be beneficial to wait until both episodes air tonight on ABC.  I particularly appreciated the debate centered around (the character) Eddie’s relationship with hip-hop and whether or not it’s yet been fleshed out to make it seem more than shallow. The show’s use of Hip-hop as a seemingly permanent status as a punchline rather than a cultural and social movement to be taken seriously has been for me, in an age of Iggy Azalea, harder to see as humorous instead of appropriative.

The Q&A session prompted great questions (“not diatribes!” Jeff Yang requested) including one about the accents and presence of Mandarin in the show, and a question about the use of slurs during the first episode. For a brief recap before tonight’s episodes air, check out our Storify of the event below.

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The Grammys Have An Awkward Brush With Social Justice

By Arturo R. García

In the midst of a show that was downright turgid at times, there were glimpses of social relevance during Sunday night’s Grammys. You had Sam Smith openly thank an old boyfriend on national television while celebrating winning four awards. And the award’s outright hypocrisy in honoring abusive cis-males was only exposed further with remarks on domestic violence from President Barack Obama and activist Brooke Axtell:

After a year of passionate romance with a handsome, charismatic man, I was stunned when he began to abuse me. I believed he was lashing out because he was in pain, and needed help. I believed my compassion could restore him and our relationship. My empathy was used against me. I was terrified of him and ashamed I was in this position. What bound me to him was my desire to heal him. My compassion was incomplete because it did not include me. When he threatened to kill me, I knew I had to escape. I revealed the truth to my mom and she encouraged me to seek help at a local domestic violence shelter. This conversation saved my life.

And then, of course, you had Prince. With one simple remark — “like books and Black lives, albums still matter” — His Purpleness made explicit a message that Beyoncé and Pharrell attempted to express visually. But while seeing Hands Up Don’t Shoot on the Grammy stage was worth noting, those two moments weren’t without their own problematic undertones.

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The Stories That Shape Us [Essay]

by Guest Contributor

THE STORIES THAT SHAPE US

The only Nigerian Nobel Prize winner was Wole Soyinka, a Nigerian playwright and poet who was recognised for his contribution to literature in 1986. Clearly, Nigeria is not lacking in literary talent, yet books written by national authors and published by Nigerian publishing houses are shockingly scarce. The authors are far more likely to be picked up by Western publishing houses before they have a chance to become successful back home.

Such was the story with globally acclaimed authors such as Chinua Achebe, Chimamanda Ngozi Adichie and Wole Soyinka himself. “The best writing is not about the writer, the best writing is absolutely not about the writer, it’s about us, it’s about the reader,” – Ben Okri, Nigerian poet and novelist. So why must the most relatable stories be road-tested on a western audience before being released for whom they were intended?

NO PLACE LIKE HOME

Literature knows no bounds. The range in style and substance varies massively, which means there are countless levels on which a story can appeal to a reader. An individual’s go-to genre might be fantasy or sci-fi, books that give them the chance to escape into a world which is completely alien to their own. However, reading about even the most fantastical of worlds doesn’t measure up to the thrill of reading about the city and even the streets you grew up around. The familiarity and intimacy you feel with the text when the characters are travelling a road you too know so well is entirely different – it’s a melancholic sort of pride like reminiscing about old times with a dear old friend.

During an inspirational talk at the TED conference in 2009, the Nigerian novelist Chimamanda Ngozi Adichie talked about how Nigerians (and people of colour in general) struggle to find other ethnic characters that they can identify with. Continue reading

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Endangered by the Moving Image: The Criminalization of Black and Brown Bodies [Panel]

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This looks amazing, happening in NYC on February 1st at the Museum of the Moving Image:

Do ​media depictions of African Americans influence the way they are treated by the police, the criminal justice system, and by society at large? In the wake of the deaths of Michael Brown in Ferguson and Eric Garner in Staten Island, protests have once again raised questions about the criminalization of the black image on screen. This program will bring together a group of leading African-American cultural commentators to look at the history of how African Americans are represented in film and television, beginning with D.W. Griffith’s The Birth of a Nation.

Panelists include:

William Jelani Cobb, author of The Substance of Hope: Barack Obama and the Paradox of Progress, is the director of the Africana Studies Institute, University of Connecticut, and a frequent contributor to The New Yorker and commentator for National Public Radio.

Mia Mask, film professor at Vassar College, is the co-editor of the recent books Poitier Revisited: Reconsidering a Black Icon in the Obama Age, and Black American Cinema Reconsidered. She is the author of Divas on Screen: Black Women in American Film.

Greg Tate is a writer, musician, and producer whose writing has focused on African-American music and culture. He was a long-time staff writer for The Village Voice and his books include Flyboy in the Buttermilk: Essays on Contemporary America and Everything but the Burden.

Tickets: $12 ($9 for senior citizens and students / free for members at the Film Lover level and above). Order tickets online.

More information here.

Race, Culture, and Identity in a Colorstruck World