By Arturo R. García
This past weekend saw our owner and publisher Latoya Peterson speak on a panel at IndieCade, a festival and conference celebrating independent game development.
Moderator Shawn Alexander Allen (Treachery in Beatdown City) said that the discussion, “Let’s Do Something About It,” grew from a talk about race and gaming he gave at last year’s event. Joining them on the panel:
- Ashley Alicea, board member for the Puerto Rico chapter of the International Game Developers Association and a game producer for Qlovi
- Code Liberation founder and Tech Under Thirty head Catt Small
- TJ Thomas, director of Alpha Six Productions and a self-identified games activist
- Fatima Zenine Villanueva, a designer and teacher’s assistant for Code Liberation
A Storify of the panel is under the cut.
By Andrea Plaid
When it comes to film editing, it’s about the cut, and this week’s Crush, Sonia Gonzalez-Martinez, is one of the most respected–and coolest–editors in the business.
Gonzalez-Martinez has worked with director Byron Hurt (the award-winning Soul Food Junkies) and Vin Diesel (yes, that Vin Diesel), among other directors. Here’s the Diesel/Gonzalez-Martinez short called Los Bandoleros, a prequel reuniting the Fast And Furious crew:
Gonzalez-Martinez is a director, too: she helmed the documentary, Bragging Rights: Stickball Stories, about the sport dubbed “the poor man’s baseball.” She’s currently directing comedy shorts for T&A Flicks, a production company she co-founded, as well as running her own production company, LaSone Studio.
And did I mention she’s a gracious and great interviewee? She took time out to answer a few questions about “the invisible art,” the effect of digital technology on editing, and how race and racism can creep their way into the profession.
By Guest Contributor damali ayo
It was one of those rather nice plane rides where the passengers all felt like friends, particularly in our little corner in the back of the plane: I slept; the woman next to me knitted; the people in front of us chatted and got to know each other.
It was an all-around good time. As the plane touched down, two people in the seats behind me struck up a lively conversation like two friends who hadn’t seen each other since elementary school. My knitting neighbor and I exchanged a look as if to say, “Geez, these two are getting along so well, why didn’t they start talking several hours ago?”
We shrugged and got back to listening to them. The woman in the conversation had what sounded like a Spanish accent, and the man spoke working-class New York. Every so often the woman searched for a word in English. The two were both dog lovers, and the man pulled out a photograph of his dog to show to the woman. They both seemed so excited that I wanted to see what all the fuss was about.
I craned my head a bit to see if I could catch a glimpse of either them or the dog photo, but no luck. The man was in the midst of explaining all the things that make his new puppy great a companion when the woman enthusiastically interrupted him. I heard the woman grasp for a word.
“What–uh, what–um–what race is your dog?” She asked.
There was an awkward silence.
It is after midnight and I’m in a taxi on the way back to my barrio, mouthing the lyrics to a song on the radio that I’m proud to know the lyrics of when, suddenly, I stop (fake) singing. Spanish is my second language and memorizing song lyrics doesn’t come as easily to me as it does in English—if I can successfully sing along to a song in a café or on the radio, I wave the useless ability like a flag. But, as I silently croon in my cab tonight, I realize that, in my quest to hone my dual language lip syncing abilities, I have paid absolutely zero attention to the content of the lyrics I’m not singing.
The song on my cabbie’s radio is “Lamento Boliviano,” (Bolivian Lament). You may know it for its famous chorus:
Y yo estoy aquí
borracho y loco
y mi corazón idiota
y yo te amaré
te amaré por siempre
(And I am here
drunk and crazy
and my stupid heart
will always shine
and I will love you
I will love you forever)
As I listen carefully to the lyrics, I imagine the scene being described: a drunk, desperate man declaring his undying love to his wronged mujer after saying, in earlier lyrics, that he feels there is a volcano of rage inside of him. I have lived this scene. The drunk, desperate man “in love” is not nearly as romantic as the Enanitos Verdes — the Argentinean rock band that croons “Lamento Boliviano” — make him seem. He can be, in fact, quite dangerous, especially when he says he has an, um, “volcano” inside of him.
Ugh — sexist lyrics glamorizing alcoholism and violence in Spanish, too? I think, dumbly. How has the thought never occurred to me before? I mean, what did I expect from the music that just happened to be playing the many times I have been fondled or — I’ll just say it — humped on various dance floors across Mexico? Hip hop gets the rap in the United States for violent, misogynistic lyrics with country music coming in at second place—both deservingly. But, what about the music I’m listening to in Latin America?