At one point, another officer is seen taking a cell phone and a pack of…
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".
Read the Post The Ghost of Bigger Thomas Surfaces in Kayne West’s Monster [The Throwback]
To the credit of Sunday night’s Tony Awards, I wasn’t tempted once during the broadcast to check in on the inmates at Litchfield or those who’ve taken the black at the Wall. That’s the magic of a well paced, mostly inoffensive, and relatively diverse major televised awards show.
Hosted by Hugh Jackman (returning to Broadway in The River this fall), the show began with a great (if slightly obscure to those not obsessed with the MGM Studios of the 1953) homage to Bobby Van with a performance from the cast of After Midnight following, featured Audra MacDonald’s 6th Tony win, that one time when Hugh Jackman, TI, and LL Cool J rapped lyrics from The Music Man , Neil Patrick Harris licking Samuel L. Jackson’s glasses during a performance of ‘Sugar Daddy’ from Hedwig and the Angry Inch, a montage of nominated playwrights that reminded us just how white and male Broadway has chosen to let that world become, and a performance of ‘One Day More’ from Les Miserables that was just the opposite.
Kenny Leon’s third iteration of A Raisin in the Sun took home 3 awards including Best Revival of a Play, Best Performance By An Actress in A Featured Role In A Play for Sophie Okonedo, and Best Director of a Play for Leon himself. Audra McDonald won Best Performance By An Actress For A Leading Role In A Play for Lady Day At Emerson’s Bar And Grill, James Monroe Iglehart of Aladdin won for Best Performance By An Actor For A Featured Role In A Musical, and Linda Cho won for Best Costume Design of a Musical for A Gentleman’s Guide to Love And Murder. The send up to 1920s Harlem After Midnight which has, at different times, starred Fantasia Barrino, Toni Braxton, Baby Face, Dule Hill, and Vanessa Williams, with Patti LaBelle starting this week, also took home a win for best choreography.
Even if The Great White Way is still pretty white the Tonys seem to at least make more of an effort to showcase the diversity that does exist on New York stages. Six winners of colour make for two more than we saw last year, and certainly more than we’re going to see at, say, this year’s Oscars. With shows like Holler If Ya Hear Me (aka, ‘The Tupac Musical’), You Can’t Take It With You (starring James Earl Jones) opening this summer and The King and I, and Oprah produced ‘night, Mother eyeing 2015 runs the future shows that theatre will at least stay the course.
For more highlights highlights, tweets, and performances jump under the cut!
How bad is street harassment in America? Pretty bad, according to a report published this…
In this entry from the Racialigious series, we examine the struggles of women of color in religious communities — and how they’re often ignored in discussions about faith.
By Guest Contributor Sikivu Hutchinson; excerpt from “Godless Americana: Race and Religious Rebels” (Feb. 2013); originally published at the Feminist Wire
The 24-hour prayer sessions are the true test of a warrior for Jesus. They require Herculean stamina, the patience of Job, and the rigor of elite marathon runners hitting the wall in a fiery sweat pit at high altitude, primed for God’s finish line. In many small storefront Pentecostal churches these “pray-a-thons” are women’s spaces; hubs of music, food, caregiving, and intense witnessing. My student Stacy Castro* is a bass player in her Pentecostal church’s band. She is also the pastor’s daughter and a regular participant in the pray-a-thons, a mainstay in some evangelical congregations. Much of her weekends are focused on church activities. And though she is an intelligent, gifted speaker, up until her participation in the Women’s Leadership Project she thought little about pursuing college and wanted to go to cosmetology school. Stacy’s aspirations are not atypical of students at Washington Prep High School in South Los Angeles. In a community that is dominated by churches of every stripe; only a small minority go on to four-year colleges and universities.
Over the past decade, Pentecostal congregations have burgeoned in urban communities nationwide, as Pentecostalism has exploded amongst American Latinos disgruntled by rigid Catholic hierarchies, alienating racial politics, and sexual-abuse scandals. The gendered appeal of Pentecostalism is highlighted in a 2008 American Religious Identification Survey which concludes that, “Latino religious polarization may be influenced by a gender effect, as in the general U.S. population, with men moving toward no religion and women toward more conservative religious traditions and practices. Two traditions at opposite poles of the religious spectrum exhibit the largest gender imbalance: the None population is heavily male (61%) while the Pentecostal is heavily female (58%). (Italics added.)”[i]
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.”
Read the Post Lifting the Barbie Ban: The Weird Ways We Help Our Kids Navigate Race
By Guest Contributor Monique Jones
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.
Read the Post Walk Like Some Egyptians: Breaking down Fox’s Hieroglyph
by Latoya Peterson This was originally published on 5-17-2011 Justifying racism using “science” isn’t new,…