I admit, I spent most of Inauguration Day taking it all in quietly. Even my cynical heart warmed a little during the day. I didn’t have a thing to make fun of. Thank the stars ABC gave me the Neighborhood Inaugural Ball.
8:10 — Delayed start, but: Mary J. looked GREAT, and Will.i.am struck a good note — addition by subtraction of Fergie, perhaps? 8:19 — W. had Ricky Martin. O has Maroon 5. This is progress?! 8:20 — Robin Roberts! Yay! I remember when she was a SportsCenter rookie … 8:21 — Nick Cannon is as much a DJ as George Bush was a Decider. 8:22 — Mariah has a blinged-out mic stand. Take that, Mary J.! 8:25 — Oh shit, Denzel is there? 8:30 — Denzel arrives! PLYMOUTH ROCK, GET THE F-K OFF! 8:31 — Mariah can’t lend the President her mic stand? 8:32 — “How good-looking is my wife?” Epic. 8:34 — Is that Faith Hill next to Denzel? 8:34 — Beyonce nails the first note …
8:35 — Beyonce’s mic also had some bedazzle to it. Is this the next arms race? Continue reading →
I can’t remember where I was or whom I was with when I heard and realized that we are all temporarily able-bodied. I’m sure it was this decade, perhaps 2003, because I really had not thought about my privilege as an able-bodied person until I began my graduate work and met Angel, a woman in my cohort who was focusing on women of Color with disabilities. I also didn’t think about it until I lost one of my abilities.
Being trained as a scholar specializing in intersectional theory and thought, disability was a “difference” rarely mentioned and discussed unless Angel brought it up. We can see the continued absence and exclusion of people with disabilities in popular culture. Yet, if they are present, we mostly see how people with disabilities are considered anything but “normal,” and usually there is a level of wanting to find a “cure” to become “normal.”
What would images that view disability as a social construction look like? How can those of us who are educators incorporate discussions of disability into our teaching? Where are resources for us? How can we use popular culture when we teach about disability? Continue reading →
by Guest Contributor SLB, originally posted at Postbougie
I think if we’re all quite honest with ourselves, we’ll admit that the methods to approaching big-screen biopics are finite—especially biopics about musicians. In order for people’s lives to warrant the silver screen treatment in the first place, those lives have to possess extremes—a series of extenuating events that can be exploited for the highest dramatic impact the actors can generate. And face it: biopics are only as good as their actors. Sure, the writing has to be passable. If you’re lucky, the writing makes the actors’ jobs easy, but to our main point: the lives themselves provide the pathos. The writers need only heighten it. Yes, there are glaring historical omissions. Yes, there are all kinds of melodramatic liberties taken—especially in the film’s second to last scene of this film. But that, too, comes with the predictable territory of biopics, and good actors mine that melodrama for all its worth. That’s what makes a decent biopic so watchable.
Everyone involved in Darnell Martin’s Cadillac Records understands the pecking order of the biopic genre—which is precisely why this one works so well. Fortunately, the casting directors brought their A-game, tapping Adrien Brody as Leonard Chess, the Jewish-Polish immigrant who founded the most successful Blues and R&B label in Chicago history, Chess Records, and the incomparable Jeffrey Wright as Muddy Waters, Chess’s flagship artist.
With Brody and Wright anchoring the film, the substantial supporting cast had no choice but to tow the Oscar-caliber line and, with very few exceptions, they did. Granted, Cedric the Entertainer was probably miscast as songwriter Willie Dixon. He always sounds like he’s faking an accent, rather than playing a role. It’s as though his acting ability doesn’t extend beyond varying the tenor of his voice. But since he was only in a few scenes, total (even his role as the narrator didn’t yield him that many lines), he wasn’t distracting at all. Continue reading →
Reggaetonero SieteNueve has released a tiraera pa Daddy Yankee due to his endorsement of John McCain. The song called “Quedate Callao” asks how much money Daddy Yankee got to sell his people out and lead them into war over “gasolina.” The chorus says “Mejor quedate callao si vas a hablar por los otros” (roughly:”it’s better that you stay quiet if you’re going to speak for us“).
The hook uses a line from a voting campaign that Daddy Yankee was part of in January 2008 called “Voto o Quedate Callao” which translates to vote or shut up, or vote or be quiet.
Raquel Rivera, has written about the campaign and what it says to try and get the youth vote, so I urge people to look at her take over at Reggaetonica.
I think that SieteNueve’s track is great and points to alot of the political reasons why people are bugging out over Daddy Yankee’s endorsement of McCain. What I think is interesting is the use of the slogan “Voto o Quedate Callao” that Daddy helped popularize now being used to silence his (non) vote. The whole voto or quedate callao campaign basically said if you’re not going to vote, or in this case you can’t vote because of neocolonial law, then you have no right to voice your opinion. I think it is interesting and telling that SieteNueve’s video ends with him saying “I endorse Don Pedro Albizu Campos,” alluding to the fact the Daddy Yankee has no business voting for Obama or McCain, because the issue is still Puerto Rican independence and neither candidate is going to provide that.
by Guest Contributor Joanna Eng, originally published at DJ Jojo
I heard from Sepia Mutiny’s post about M.I.A. getting “dissed” by DeLon, a new rapper of Sri Lankan descent. DeLon took M.I.A.’s most popular song, “Paper Planes,” called out her politics and support of the Tamil Tigers, and shows the “terrorist” side of that group. (You can see the disturbing video here.) [Ed. Note - Not safe for work. Or lunch. - LDP]
I don’t know enough about the situation in Sri Lanka to really make judgments. But DeLon’s video bothered me because he is employing exactly the same strategy that the Bush administration does: creating a dichotomy of good and evil, and using the word “terrorist” like it’s not subjective.
That said, I have always been a bit skeptical of M.I.A’s politics. Is she just projecting an irresistible (lucrative) image, or is she actually doing anything? When I went to her show at McCarren Pool in June, it made me a bit uncomfortable to be dancing around with a bunch of hipsters in Brooklyn while she has images of children from developing countries flashing across the back of the stage as her visual aids. Continue reading →
by Guest Contributor Joanna Eng, originally published at DJ Jojo
Last week I went to the Jay Brannan show at the Highline Ballroom on 16th Street. It was a fun show, complete with great performances of “Housewife” and “Soda Shop” and Jay’s (mostly endearing) talking-too-much routine.
Toward the end of the show, Jay busted out with a cover of N.W.A.’s “Straight Outta Compton.” (See the video and Logo’s glowing review here.) Although I was surprised to hear him say the “n-word” twice, unflinchingly, during the song, the cover was nicer than it could have been—it was actually quite a beautiful rendition, and it didn’t really even seem like he was making fun of the song or gangsta culture.
He could have left it at that, and I might not have thought too much about it.
But right after the song ended, he had already started defending himself. “Now, before you all email me to complain,” he started; and went on to explain that he was just covering a cover of the N.W.A. song by Nina Gordon. “If you don’t like the lyrics… I didn’t write them!”
Then he said something like, “Before you say that I’m making fun of black culture…. I think I know some black people who would take issue with you equating black culture to gang violence.” The audience clapped at this, but I was left uncomfortable. It’s an interesting point, but did he really just pull the “I have black friends” card?
I was also left wondering if Jay really would have felt comfortable doing that song if there were many (or any) black people in the audience.
All that aside, I did really enjoy the show. He did a very nice cover of my favorite Joni Mitchell song, “All I Want.” And he was decidedly cute and gay as usual. I think he should tour with Girlyman.
As the U.S. launched its specious war on terrorism, George Bush wrangled away another presidential election, a stunned nation took in the aftermath of Hurricane Katrina and miraculously a biracial senator from Illinois rose to prominence, the absence of one of the music scene’s most influential voices has been sorely missed. Nasal but vitriolic, guttural but lucid, that voice taught me that “anger is a gift” and to cry to the powers that be, “Fuck you, I won’t do what you tell me.”
If you’re still in the dark about the voice in question, it belongs to former Rage Against the Machine front man Zack de la Rocha.
The group, a rap-rock hybrid with socially conscious lyrics, split in 2000 over musical and personal differences. Guitarist Tom Morello, whose life parallels Barack Obama’s in a way that’s uncanny,* wanted to take the group in a more rock-oriented direction, while de la Rocha sought to explore hip-hop, electronica and other music styles. For fans of de la Rocha, the past eight years have left a tremendous void.
The remaining members of Rage Against the Machine went on to form Audioslave with former Soundgarden singer Chris Cornell, but, with the exception of a single called “March of Death,” we’ve heard little from de la Rocha. There were rumors that he’d recorded hundreds of tracks, but perfectionism kept him from releasing them. Other rumors indicated that de la Rocha had become a recluse or—gasp!—had been fatally gunned down. When Rage Against the Machine reunited at the Coachella Valley Music and Arts Festival in California last year, the second bunch of rumors were obviously put to bed. But, because none of the dozens of tracks de la Rocha had supposedly recorded on his own were being released, questions lingered about his solo project. Was it ever to be released? Was there really a solo project at all? Continue reading →
A few weeks ago, completely burnt out on all things intellectual, I scooped up a copy of “Secret Diary of a Call Girl,” the book based off the blog of one Belle Du Jour. I had seen excerpts from her blog online and liked her voice and her writing style.
I noticed that Showtime had picked up the show, and retained the original actors instead of just remaking the show. I tuned into watch the first episode, but I wasn’t planning to blog about it – the book’s characters had been overwhelmingly white and I assumed the show would be more of the same.
And it was. Except for an interesting snatch of conversation.
Belle (played by Billie Piper) is meeting with her Madam and some of the other employees of the agency over lunch. Her Madam passes around an illustration of a man who has been accused of passing around counterfeit money. She passes the picture to the purple haired call girl, who immediately makes a snide comment:
Purple Haired Call Girl: Eastern European (said knowingly.)