It’s that time of year again! Arturo and I are headed out to Nerd Summer Camp –also known as San Diego Comic Con– on behalf of the R. From July 24-27 we’ll be live-tweeting panels, writing recaps, interviewing creators, and getting up to all sorts of general shenanigans. You may remember that Art posted last week, asking for creators of colour to get in touch. That still applies– we want to hear from you and provide as much signal boosting as possible.
In the meantime, we’ve got our panel recommendations for Thursday and Friday listed below. You’ll be able to find panel coverage and more from the con on twitter this week via @Racialicious, @aboynamedart, and @wriglied.
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 week by Stop Street Harassment, a Virginia-based nonprofit.
SSH commissioned market research firm GfK to run a nationwide survey of 2,040 American adults — the largest such survey ever — to learn about their experiences with street harassment. The resulting report defines street harassment as “unwanted interactions in public spaces between strangers that are motivated by a person’s actual or perceived gender, sexual orientation, or gender expression.” The relative ubiquity of street harassment makes it difficult to quantify, author Holly Kearl explains in the report, because many people “may not even identify what happened as wrong.”
[Image by Carrie Sloan, via Flickr Creative Commons]
Originally published on 9-7-2010, by Guest Contributor Paula, originally published at Heart, Mind, and Seoul
The first marathon I ever ran was in New York City. I was lucky enough to connect with the New York Road Runners Club and I had some amazing coaches, not to mention a host of running partners to keep me motivated. I remember attending a running clinic that was geared specifically towards first time marathoners and the panel talked about the wall. I left that auditorium determined that I would not be another one of its victims.
I gave myself a full year to train for the marathon. Single and ready to conquer the world, I had nothing but time and excess energy to invest into my overall training. Marathon wall be damned! Maybe I was too young or inexperienced to believe that I could train enough to avoid any pitfalls during the race, but it was the fear of that cursed wall that pushed me to train above and beyond what my already rigorous training program required.
I hope this doesn’t across as too arrogant, but I honestly found the marathon to be one long, fun and dare I say, easy run. Mile 20 came and went. Same with mile 21. Mile 22 came around and I felt stronger than ever with random bursts of extra energy. The last four miles of the race ended up being my fastest mile splits ever. I was high on the intensity and enthusiasm of the crowd as well as buoyed by the many, many hours of training I had put in over the past year (oh and I’m sure that little thing called adrenaline didn’t hurt, either). Granted, my time of 4 hours and 20 minutes was nothing to write home about, but I had accomplished a personal goal and had a blast doing it in the best city in the world (my .02!) – all while avoiding that cursed wall.
There are no shortages of examples written by those who believe that the marathon is a metaphor for life. Certainly I can reflect back on the 3 different marathons that I’ve completed and draw parallels to how my own life has played out. My last marathon was run with minimal training, an attitude that bordered on sheer apathy and a lack of respect that a marathon calls for and rightfully deserves. Not only did I hit the wall, but I incurred a rather serious injury that forced me to walk almost the last 5 miles of the race. I contend that the biggest difference between my first marathon (enjoyable and fun) and my third marathon (miserable at best) was all in the training and preparation.
As a person of color, I think of how many times I have hit the wall in my life as I navigate through this racially charged world in which we live. Continue reading
This Article was originally published on July 30, 2009
by Guest Contributor Alex Felipe originally published at AlexFelipe.com
Having grown up in Canada I only just recently learned about this tradition, and I experienced my first Araw ng mga Patay only last year. I went to go visit my grandfathers graves, they had both died during the 90s and been brought back to the Phils.
The holiday is an odd one seen through the lens of a Filipino raised in Canada. Families head out to the cemetery to clean the tombs of relatives, bring food, flowers, light candles, and pray. But more or less it just seems like a day where everyone decides to have a family picnic—a picnic that just so happens to be in an insanely crowded cemetery.
It’s an odd sight to be honest. Drunk men playing cards on grave markers next to a family singing karaoke on a portable machine next to parents praying the rosary for a recently deceased child.
Strangely enough, it’s a generally mirthful holiday. There are fast food tents set up in the cemetery just for that day: McDonalds, Jollibee, Greenwich Pizza, Ando’s Chicken, and more—all in the middle of a cemetery.
To my foreign influenced eyes, this holiday seems light and fun; a nice way to remember the past, but in the Phils—despite how casual the atmosphere is—there is a real fear that to not pay respect at the grave of a family member would have severe repercussions from the spirit world.
It’s moments like these that really help remind me of our people’s animist past, and the very real connection to the spirit world that doesn’t exist here in Canada.
I am particularly fascinated by our living family mythology. As a Filipino, even a Filipino in Canada, all our family histories are ripe with this folklore. I am proud to even have a little of it attached to me.
I’d like to share some of these stories with you, old stories that sometimes seem a world away, and make me nostalgic for a place I can’t remember, for spirits that I cannot recall…
My great-grandfather, my paternal lola’s father, was apparently a Spaniard (don’t hold it against me). My Mommy Es (as we call our grandma) tells me that he was an older man in his 50s when he married my great-grandmother who was 18. His name was Gabriel and he was a soldier with Spain when he was younger.
My grandmother didn’t know him very well, he died before she became a teen and he was stern man who only really interacted with his kids to discipline them. One thing she did remember about him was his magic hat.
This hat was one of the family anting-antings [magic talisman]. They were often amulets worn around the neck (most commonly they gave the wearer invincibility against a specific weapon), but they could be anything—in this case, a hat.
Mommy Es first told me about the magic hat in my teens when I was a massive comic book geek and it caught my imagination enough that I have never forgotten the story, and have never forgotten the sense of loss I felt for not having it—but I’m getting ahead of myself.
So he had a magic hat. This hat was said to have an amazing power: he could use it to transport himself anywhere on earth by simply putting on the hat and thinking about the place. It had an unusual caveat: it would only work if the wearer used it in a place where he was out of sight from watching eyes.
I was an atheist as a teen, and I didn’t really believe in its powers, but it intrigued me. Did one have to be completely out of sight or just have no one watching? How far was its range? Did you have to image the place so well that you couldn’t go anywhere that you hadn’t already been? And of course: why didn’t he use it to be a superhero?
The hat was lost during the war with Japan, after my great-grandfather had died. When my Lola’s family was forced to run to flee into the mountains it was left behind. I have no idea how such an important piece of magic could be left behind, I mean you’d think this hat would have been pretty damned useful during a war.
I, of course, also wondered how my Lola could believe in such an outlandish story—and she really believes it was real. She would tell me about how he walk into a room and just disappear or just appear out of no where when she thought she was alone. It’s all just a little creepy if you ask me—knowing that he was a Spaniard in a Philippines just recently free of Spain—to think that he would just appear and disappear randomly through my grandma’s childhood memories.
Throughout my life I have always known my Lola to be afraid of rivers and creeks, it originates from the War and the time she was attacked by a river spirit. She tells the story of how she was in her early teens and went out to the river to fetch water. Usually one of the older family members did it but she felt she was old enough. Her family later found her by the river near dead.
They attribute the incident to a run-in with a river spirit that she forgot to ask permission from.
The theme of river spirits continued with me, but in an opposite direction. I’ve always loved small forest rivers and creeks. I can sit by them for hours.
My maternal Lola, we called her ‘Nanay’ [which means “mother”] loves to tell the story of how when I was a toddler I was always running away from home. At first they would get worried (I have no idea how a baby less than two could run away from home, but that’s the story), but they would always find me in the same place. I would run to the creek in the wooded area near our home and play with my friends the duende.
Duende were mischievous spirits that inhabited the land. While the name is Spanish, the spirits are Filipino, stemming from our animist tradition. Duende were mischievous and often played pranks on people. They could also be very dangerous if offended, and they were easily offended (as my Mommy Es’ story shows). But if you were good to them, they were very protective of you.
Nanay would say how she would often find me there and she would see strange things: like how I would apparently be playing with spirits she couldn’t see, she would see me splash water at an invisible friend–and water would splash back.
She marveled at that friendship as duende were usually creatures to be avoided. In stories even those they befriended usually found themselves in serious trouble. I’ve always loved that connection, and when I went back to the Phils to discover that the creek was gone and the area cemented over and covered in homes I felt a real sadness and I truly hoped that my mythological friends were ok.
To this day when I walk through forests, or come to a creek I would bow my head and greet the spirits. And to this day I’ve always felt safe in wild areas—I’ve had quite a few close calls, but I’ve always come out ok.
Now I’m not saying I believe these stories to be literal truth, but there is wonderful metaphorical truth to be found in mythology—it’s the truth that cannot be spoken of in literal terms, the truth that is within all religions, the truth that’s corrupted by those that see only words but can’t grasp their meaning.
One Filipino wrote on an online criticism of the Araw ng mga Patay holiday “I will never understand the Filipino fascination with the dead, much less their superstitious beliefs concerning the dead among us. I prefer to deal with the land of the living. After all, it’s the living people that need our help as we can do nothing for the dead.”
I disagree, many of our problems in the Phils and as Filipinos (especially those of us raised outside the homeland) comes from this disconnect between the present and the past, tradition and modernity. In our headlong rush to become equal to the West [whatever that may mean], we are quickly discarding our mythologies instead of allowing them to evolve. This stupidity is an attempt to strip us of our relationship to the land, each other, and the past.
But these stories live in us whether we want them to or not because our parents, our grandparents, and our families have lived with these stories and they have influenced how they act and how they have raised us.
Tradition is not a static creature. It lives and evolves within the people they inhabit. We cannot remove ourselves from it any more than we can try to remove our blood from our bodies. We can definitely try, and I know too many that do, but the sad result helps neither the living nor the dead.
(all images: ©2005-07 alex felipe / All Rights Reserved)
Hosted by Jeannie Chan
Three guesses what’s going to happen on this week’s episode of TWD with Lizzie’s face all over the previews. We watched and cringed while she named and chatted up walkers at the prison fence last season. We watched and cringed as she tried to suffocate Judith. We’ve been building up to this so time to watch the time bomb that is Lizzie’s psychosis explode. Read on as Rob Errera, Nicole Norkin and I try to make some sense out of this.
(Spoilers under cut)
We wanted to save this video for Friday, but in light of Macklemore winning Best Rap Album and then tweeting his apologies to Kendrick Lamar, this video exploring white privilege in the hip hop community is worth a listen. Longtime community member El Guante is joined by The Big Cats, Rapper Hooks, and Chantz Erolin break down why Macklemore’s race isn’t the problem, but how defenses designed to ignore racism continue to harm the community. Lyrics after the jump.