Over on Clutch, the staff responded to a recent T Magazine profile of Rihanna with…
By Tami Winfrey Harris, Arturo R. García, and Joseph Lamour
Tami: I am a dedicated fan girl of the Law & Order Mothership. And I kind of liked Vincent D’Onofrio’s Sherlocky Det. Goren on Criminal Intent (though he does have an element of the white guy super detective about him). But Law & Order: Special Victims Unit has always seemed particularly sordid and crass. This heavy-handed, “ripped from the headlines” exploitation fest is a great example of exactly why I just can’t with this series.
Joe: I usually like Law and Order: SVU (because I secretly want to be Mariska Hargitay’s best friend forever), but sometimes there’s a misstep. When they rip things from the headlines, usually, it’s not this close to what actually happened. This episode felt more like a dramatic reenactment on the Investigation Channel than a show that has won six Emmy Awards.
Tami: “Caleb Bryant?” That’s the name they’re going with?
Arturo: Yeah, that was elegant. All of the “twists,” though, were really shortcuts: Micha wasn’t presented as being a star at Caleb’s level; she was just starting out; and her producer gets shot and there’s nothing the cops can work with.
Joe: At least they didn’t go with Chuck Green or something vaguely like that. Mischa Green. Let’s all say it together: “Boo.” I would have suggested Hannigan. (Get it?)
Tami: Does Dave Navarro have a crushing tax debt? Has the Jane’s Addiction and Chili Peppers cash run out? Why does he have a bit role in this horror show?
Joe: Maybe he was a victim of the Madoff scandal like Kyra Sedgewick and Kevin Bacon. I do love his show Ink Master, though! I also love that I still find that hair sexy. He can do no wrong for me. I can only guess he joined this episode as an open protest to what’s happening in the music industry. Although there’s no interview that clears that up. Sigh.
Tami: Can someone define “beef cookie” for me? Is that an insult that hasn’t made it to the Midwest yet?
Joe: It hasn’t made it anywhere. LOL. It’s not on Urban Dictionary (’cause I’m sure Faux Fenty wasn’t calling Faux Karreuche “a small gathering of boys”), and I thought I found it in an ASAP Rocky song, but the person who put it in misheard “When the beef cooked”… so, in short, I have nothing but a guess: I think it means a woman who hits on a man even though she knows he has a girl already… so it’s like she wants to have a fight (beef=fight, girl=cookie). I think. That is nothing but a complete guess, however.
Chris Brown Caleb Bryant just uttered “Call my Jew,” and we are six minutes in.
Tami: The Law & Order franchise is notoriously bad at portraying the “urban music” community. It’s as if they cannot separate the rhetoric of genres like hip-hop from, you know, real, multi-dimensional people. [Remember when L&O, original recipe, did a “ripped from the headlines” epi about JLo and Puffy and that nightclub shooting? Puff Daddy was renamed G-Train and the episode was called…wait for it… “3 Dawg Night.” Yeah.]
It’s very meta when Bryant’s lawyer complains about the demonizing of young, black men in hip-hop within a franchise that is just as capable at that. “Call my Jew?”
The real “Caleb Bryant” is somehow talented and charming enough to make people forget that he is also a babyish, swaggering, violent fool. SVU’s Caleb Bryant is just a stereotype.
Arturo: I think they tried to lampshade that with the Wendy Williams and Perez Hilton cameos. It’s not just that an abuser in this position has any sort of “charm,” but there’s a mechanism in place designed to protect those brands, as Mischa’s manager indicated.
Joe: Is it just me or is this actor playing Caleb Bryant wearing a lot of makeup?
Tami: He is. He looks like Nipsy Russell as the Tin Man in The Wiz. Is it just me or is the acting in this episode a pox on humanity?
Joe: That’s not just you.
By Arturo R. García
So if you searched for @ChrisBrown on Twitter late Sunday night, this is what you got:
Brown appears to be off of the platform, at least for now, after getting into it with comedy writer Jenny Johnson.
This week, we step outside of genre boundaries to have some fun with something that, personally, has helped revitalize my music fandom: mashups.
For a lot of folks, the term might be synonymous with Girl Talk. But actually, there’s a phalanx of DJs and producers specializing in the art of the mash – and rest asssured, it’s as much an art as it is a matter of lining up beats. After all, one wouldn’t think that hearing Bob Marley’s vocals for “Is This Love?” would mesh with Daft Punk’s “Digital Love,” but MadMixMustang, to borrow a phrase from the fashion industry, made it work.
Read the Post The Friday MiniTape – 3.30.12 Edition
By Guest Contributor David Kline
Reviewing the outcomes of this year’s Grammy Awards, Jon Caramanica of the New York Times described how, “for the umpteenth time, the Grammys went with familiarity over risk, bestowing album of the year honors (and several more) on an album that reinforced the values of an older generation suspicious of change.”
For Caramanica, the issue is not the quality of Adele’s musical offerings, but that her spectacular success at the Grammys – her album 21 brought her six awards, including Album of the Year and Song of the Year for “Rolling in the Deep – represents a particular cultural refusal of progressivism, a nostalgic clinging onto the safety and familiarity of a tried and true musical conservatism. What I want to suggest is that this nostalgia might also be understood as certain kind of white nostalgia for cultural dominance that is perceived as threatened within what is now known as the “post-racial.”
Read the Post The Grammys As White Nostalgia?
by Guest Contributor Costa Avgoustinos (Pop Culture and the Third World)
There are two interesting links floating around in regard to Chris Brown’s Grammy win and return to the spotlight/ people’s hearts. One is a great article by Sasha Pesulka entitled I’m Not OK With Chris Brown Performing At The Grammys And I Don’t Know Why You Are Either. The other is 25 Extremely Upsetting Reactions To Chris Brown At The Grammys, a series of screenshots of tweets from women professing that because Chris Brown is attractive, they would be happy for him to beat them.
It’s interesting to compare society’s reaction to celebrity attacks on women to celebrity attacks on racial minorities. As Pesulka maps out in her article above, when Chris Brown assaulted girlfriend Rihanna society’s reaction was mixed–a lot of people came to Brown’s defence, a lot of people demonised Rihanna, a lot of people thought it was a private matter so blame shouldn’t be placed publicly and, after all that, a lot of people welcomed Brown’s return to the spotlight. In contrast, when Michael Richards went on a racist rant using the N-word, or Mel Gibson went on a racist rant (or, I guess, several rants) against Jews, society’s reaction was a lot more uniform: ‘You’re a jerk, we’re putting your career in the toilet, and that’s where it will stay forever.’ Why is Chris Brown allowed a come back, but Michael Richards and Mel Gibson are not?
I don’t make the comparison to try and rank racism against sexism or to argue gender-based violence is in some way more or less acceptable that race-based violence. That would be useless and stupid. Nor do I think the issue is one of ‘Sticks and Stones’ versus ‘Names That Hurt Me’–that is, that Richards and Gibson deserve less grief simply because, unlike Brown, they themselves didn’t cause physical harm. Again, stupid. But I think something can be learned from comparing our reactions.
Several commentators have pointed out a divide between how White mainstream media and Black media have approached the Chris Brown incident. White, mainstream media, from Jezebel to Good Morning America, has been pretty much anti-Brown since all of this happened. Black media, from NewsOne to Bossip, has been more reserved and seems more willing to forgive and move on. I would wager that this is in part due to Black media being uncomfortable participating in the perpetuation of the ‘violent Black man’ cliché, and the witchhunt that often ensues by the mainstream media with a bit too much eagerness. Or perhaps, as Dr Oliver Williams, executive director of the University of Minnesota’s Institute on Domestic Violence in the African American Community, has stated, perhaps it is because ‘communities find it easier to focus on oppression that comes from outside than on what (they) do to (them)selves.’ Read the Post Chris Brown, Male Violence, And Racist Rants
Saw “Man Down” by Rihanna. Every victim/survivor of rape is unique, including how they THINK…