While San Diego Comic-Con has become linked with the city’s economy, it’s worth pointing out that one reason other cities probably feel they have a shot at wresting it from San Diego’s grasp is, there’s very little inside the event that actually reflects the city.
Over the weekend, the Chicano-Con exhibit began putting more of the “San Diego” back into this sphere. The event, a pair of two-day art exhibitions inside Barrio Logan, a neighborhood less than a mile from the convention’s high-rent district that formed its identity in the early 1900s with the infusion of refugees from the Mexican Revolution. Brent E. Beltrán, highlighted this disparity in the San Diego Free Press:
Comic-Con International recently bought a building at 16th and National in Barrio Logan. Yet no official events are scheduled to take place here.
There’s not even a shuttle bus stop yet there will be Comic-Con buses running every twenty minutes down Cesar Chavez Parkway heading towards the freeway. And there will also be countless attendees using this community as a parking lot to escape the outrageous parking fees.
Yet no official activities take place here. No outreach has been done to incorporate a low income, mostly Latino community impacted every year by Comic-Con. And that is unfortunate.
We love comics and the popular arts as well. We’re even known for our art. Yet, Comic-Con ignores us.
There are more events on tap in the area during SDCC weekend, which we’ll highlight in our upcoming convention preview. But this past Saturday, we went to Border X Brewing for the Chicano-Con exhibition, and you can see most of the artwork on display under the cut. Continue reading →
Over the weekend I went to the third annual San Diego Comic Fest, which has pointedly positioned itself as the anti-Comic Con.
Specifically, the size of the event is kept manageable for vendors, presenters and attendees alike; no conference room holds more than 40 or 50 people at one time, allowing for a more relaxed atmosphere and easier conversations between panelists and their audiences.
One end result is, panels focusing on diversity don’t feel as lost in the shuffle. And the Latino Comics panel covered not only industry trends within Latin America, but the rapidly-evolving effects of Latinidad on the U.S.’ identity.
Earlier this week, Lucasfilm announced the addition of two more actors to the cast of Star Wars Episode VII. We do not yet know who the two relatively unknown actors — Pip Anderson, who’s British, and Crystal Clarke, who’s African American — will play in the movie, but I’m guessing their roles must be substantial enough to warrant a press release about their casting. If their characters are indeed prominent, Clarke will join John Boyega and Lupita Nyong’o in making this “the blackest Star Wars ever.”
Still, every time breaking Star Wars casting news comes across my feed, there’s always one name that I hope to see in the headlines:Ming-Na Wen.
With Kanye West in seemingly another controversy this week following a mid-concert rant, it’s a good time to revisit Latoya’s look at the furor surrounding his 2011 single, “Monster.”
By Latoya Peterson
Kanye has officially overdosed on artistic symbolism.
After his 35 minute debut of "Runaway" in back in October 2010, it difficult to figure out how Kanye would top a video that incorporated references to modern performance art, ballet, couture, mythology, and Fellini.
And yet, I don't think anyone counted on Kanye deciding to deck the halls with dead white women in "Monster". Continue reading →
By Guest Contributor Theresa Celebran Jones, cross-posted from Hyphen Magazine
A few weeks ago, as I was putting my kids to bed, my older one, in an effort to avoid sleep, said to me, “Mommy, blonde is my favorite color of hair. I wish my hair was blonde.”
Before freaking out, I asked her why, and her reply was simple. “Blonde is the prettiest.”
I took a moment to gather myself. This was not a discussion I could have with her right before bedtime. I said to her, “I don’t really agree with that, but we can talk about it in the morning.” Continue reading →
The cast of Fox’s “Hieroglyph.” All images courtesy of Fox.
Fox’s latest high-concept sci-fi drama, Hieroglyph, is as fascinating as it is potentially problematic.
The show begins airing early 2015 with a doozy of a storyline: Master thief Ambrose is taken from prison by Pharaoh Shai Kanakht to find the dangerous and magical Book of Thresholds. The story also incorporates sexual and political scandals thanks to the machinations of Pharaoh Shai’s half-sister Nefertari Kanakht; his advisor, Magister Bek; Ambrose’s lost love and second-rate priestess, Peshet; Vocifer, a peddler and old friend of Ambrose’s; the Pharaoh’s captain of the guard, Rawser and Lotus Tenry, a palace concubine and spy for the enemy kingdom.
Oh, and there are also vampires, for some reason.
Everything (except for the vampires) sounds great, but there are some pros and cons with this show. Let’s go down the list. Continue reading →
Race, Culture, and Identity in a Colorstruck World