BLACK-MEN-AT-ARMS: INTRODUCTION

How much does the media factor into our recollection of history? I mean, history is history. Even though it doesn't change, can the facts we remember be manipulated?

For instance, most Americans believe The Revolutionary War, Civil War, and World Wars were made up of all white soldiers? Why is that? Could it be because of the media's portrayal or lack thereof of brothas in the military?

For the next week, I'll be discussing different media depictions of blacks in the military and how film may have altered the collective perception on this issue. Also controversies surrounding the portrayals, and films that deal with the subjects in both negative and positive perspectives. 

Is BET the New Motown?

A friend of mine, journalist turned rapper, Jahshua Smith aka J'Young The General wrote this article comparing BET to Motown. Obviously not in it's quality, but in it's legacy. Jahshua argues both black-owned commodities failed to live up to the purpose they were created for, eventually succumbing to the white-stream media's "business mode"l and loosing their cultural identity.   Well those are my words, not his. His words are better are more eloquent. The article is below: 

Seems like a blasphemous question from the jump, right? How can we possibly compare what's often compared to a modernized minstrel show of epically stereotypical proportions to a reputed pillar in the Black community that gave us possibly the most meaningful and timeless music of the last 60 years?

Actually, when you unpack it....they're a lot closer than you think.

Motown

No introduction is really neccessary, and the long list of prominent artists Motown ushered into the homes of America have been repeated to us Ad Nauseum ever since we were children in Elementary School. We'll skip all that. 

Here's what we know about Motown from an organizational standpoint. Barry Gordy founded Motown with the intent of striking out on his own with the artists that he wrote songs for, noting how lucrative the publishing and recording aspect of the industry was. Through his vision he was able to create an African-American owned label, capable of competing with any other powerhouse out at the time. His meticulous artist development and business saavy created a plethora of African-American stars as popular, if not more, than their counterparts. That led to the first substantial phenomenon of racial integration in music, and suddenly America at large was very familiar with our culture through music and dance, setting the tone for a bridging of the racial gap that the political arena of Civil Rights simply couldn't achieve. To this day music is probably the only conduit that allows thousands of people from different racial/class-based/ideological backgrounds to be in the same place without discord, a bond that Motown helped solidify.

Unfortunately, what gets left out of this success story is a lot of the red tape that we frequently cite as inherent plague in today's industry. Berry Gordy had a very static idea of what worked and what didn't from an artistic standpoint, and many artists had to fight to make the type of music they wanted to make. Gordy rarely made any political statements without heavy prompting by artists and staff, due to the implications of negative backlash. Marvin Gaye and Stevie Wonder in specific fought EXTREMELY hard to transform into the socially active musicians we laud them for being today.

The problem there is that you can begin to see the instances where our culture became secondary to Gordy in favor of success, and while we did get to enjoy albums such as What's Going On, the fact that so many politics were involved speaks to what creative process stifles the common artist in today's climate.

We also have to point out the presence Motown had in Detroit, which is everlasting to say the least. For Motown to be a burgeoning juggernaut insists that there was an upwind of jobs in my hometown, and a nuturing of the creative sector that helped change the landscape of the city's music roots, as well as the Midwest region in general. Surely having that type of black business in the city would help spur it's economy for decades to come, no?

Well...no. Because of Detroit's limited cultural sphere, a desire to expand into new interests such as movies and television, and seeds already planted in New York and L.A., the groundwork was set for Berry Gordy to eventually leave and move onto bigger horizons. Motown needed a bigger market to fully realize the African-American dream of being a minority-owned global conglomerate of the likes no one had seen up till then.

But the move to L.A. wasn't as impactful as anyone would've guessed or hoped, and although we got a lot of important, scene-altering, music was made during this part of Motown's history, the label was gradually begin to weaken, which is the exact opposite of what one wishes to accomplish with expansion. By the mid-1980s, Motown was losing money and Gordy sold his ownership to MCA in 1989. An anti-climactic ending to what once was perceived as the African-American answer to Atlantic Records. Motown was no longer black owned, and the era that we associate it's name with was over.

BET

Robert Johnson, former cable lobbyist, secured a loan much like Gordy to promote his dream. With a 15k loan paired up with a 500K investment from Billionaire John Malone to start Black Entertainment Television, aimed at the African-American demographic consisting primarily of music videos and popular black sitcoms at a time where Michael Jackson and Bill Cosby hadn't helped level the playing field of those respective genres.

With BET came a lot of the same responsibilities that Motown had to burden during it's precipitous rise, with America needing to be re-introduced to our culture in an entirely different way. This was the counter-culture era of hip-hop along with it's sister R&B, and cousins such as Reggae and numerous other Carribbean styles of music -- many of it's detractors were unfamiliar with the music in general, and you now had a cable channel that showcased it only a daily basis. Once again the racial gap was beginning to bridge with Suburban America's fascination for not just the music, but the culture, growing exponentially, and with a Post-Reagan imbalance in racial disparity straining our relations the stakes were high once again. 

Rap City, Teen Summit, The Tavis Smiley Show, BET News...things that helped familiarize our country, as well as others, with the positives and negatives in our community. One thing that has always escaped Black Nationalism is the absence of the majority to recognize those issues...BET helped broadcast that.

Johnson however, much like Berry Gordy, was never overtly political and rarely energized BET as a political tool to address the ills of the inner city, and at some point that neglect instead became a glamorization that instead reinforced those ills as norms.

The balance didn't begin to really crumble until Johnson sold BET to Viacom in 1998, and well...i don't need to explain what went wrong in the 11 years since then. There's a reason why everyone balked at the comparison to Motown and the proof is in that decade-old pudding.

So Where's the Comparison

The common thread that ties the two together is that in both situations we had forerunners that had the ability to compete with a white-washed media that has long ignored the complete reality of African-American life. Both cases find Gordy and Johnson respectively being given the tools to provide their culture with their own representation, neither limited or defined by other mediums. Musically and visually both provided the chance for us to broadcast our lives without it being lost in America's translation.

But the quest for success in both cases not only highlights the marginalization of culture for prosperity, but also the inability of African-Americans in power to seperate from the majority's business model -- opting to play "the game." Unfortunately playing a game that has been rigged for you to lose means instead of Kings and Queens, we're led by a group of Rooks and Pawns who have power but not comparable to those at the top of either industry. Much like how the uprooting of Motown left the city of Detroit to fend for itself at a time where we needed it most, the new BET abandoned its viewership with a similar need not being met. And although Motown's success bred the ability for the Diddy's, Russell Simmons', and Jay-Z's to be millionaires and own profitable companies, but how many of them own the conglomerates that distribute their label's music?

None.

Motown could easily have been a member of the Big Four but somewhere along the way it lost it's focus and became another mundane record label. That type of failure is what indeed set the tone for BET's downfall.

We're now experiencing the downfall of Black Media being neglected and ultimately overtaken by the majority, and the result is a tainted account of what it is to be Black in this country. That we need Soledad O'Brien and company to teach us what wecould and should've learned on BET years ago really speaks to the state of the latter.

Seeing how we choose to celebrate the success of Motown and nitpick at the failure of BET, we should shift our focus and being objective about both and realizing where both missed their mark in the community. Because, as has been proven by Mr. Johnson, those who don't know or choose to acknowledge their history are doomed to repeat it.

DON'T FALL FOR THE "OOH WOP"!!

-Written by Jahshua Smith

My Thoughts On Gates-Gates

I know this blog is meant for films, but I feel the need to express my feelings whenever there is a national debate going on that involves race. 

The arrest of Henry Louis Gates has gotten a significant amount of media attention, almost more than Healthcare in the past two weeks. Before I say what I need to about the incident, here is the list of events and fallout of events that lead us to where we are today. Look closely to see if you find any disturbing trends.

THE EVENTS:

July 16th, 2009: The Cambridge Police are called regarding a house break in a predominately white neighborhood. Even though Henry Louis Gates is the owner of the home, he is arrested for disorderly conduct for screaming at the police officer. His charges are dropped. Louis Gates and his supporters claim he is a victim of racial profiling and the Cambridge Police are racist.

Days later: The Cambridge Police and arresting officer, Sgt. James Crowley defend themselves by claiming they were doing their job when they received a call that two black men where breaking into a house and only arrested Gates because he was acting belligerent and inappropriate. Even though the national media question the charge of disorderly conduct on one's own property, many stop blaming Crowley for racial profiling, instead turning their attention onto the white neighbor who called the police in the first place. For not knowing her own neighbors, she is accused of racial profiling and labeled a racist.

July 22nd, 2009 - During a press conference on healthcare, President Obama is asked for his thoughts on the matter. He attempts to use the moment to discuss the disparity of arrests between whites and minorities, and the statistical evidence proving racial profiling exists. After acknowledging he was not informed on all the facts, didn't know what role race played, and was biased due to Gates being a close friend, Obama says the police acted "stupidly".  Obama's remarks cause a media outcry and many including conservatives like Glen Back and Rush Limbaugh label Obama a reverse racist. 

Days Later: Lucia Whalen, the 9-1-1 caller comes forth to defend herself due to being labeled a racist. During a press conference, she announces she never identified the individuals as black, contrary to Sgt. Crowley's report. The 9-1-1 recording is released, backing up her statement. Crowley supporters take this as further evidence race wasn't involved, Gates supporters are crying wolf, and trying to use reverse racism to get attention for their fake claim.

July 28th, 2009: The media reveals a member of the Boston Police Department, Justin Barrett, sent out an email to fellow-members of the Massachusetts National Guard and The Boston Globe referring to Gates as a "banana-eating jungle monkey." He is immediately suspended. Many Gates supporters see this as evidence of prejudice in the Boston police department and uses it against those claiming blacks are crying wolf. Barret goes on TV with his lawyer to apologize for the incident and says he is not a racist. Ironically, the email sent out with four references of Gates being a "banana-eating jungle monkey" also states that he is not a racist, despite obvious evidence to prove the contrary. 

July 29th, 2009: Fox News distances themselves from Glen Beck's comments that Obama is a racist and has a deep-seated hatred for whites by issuing a statement saying it doesn't reflect their views. On Hardball with Chris Matthews, Political blogger Joan Walsh accuses Rush Limbaugh & Chris Beck of projecting their racism off on Obama. 

July 30th, 2009: President Obama, Sgt. Crowley, and Professor Gates convene on the White House lawn to discuss their issues. The media terms it the "Beer Summit". Afterward both Crowley and Gates issue statements saying neither man apologized but they have agreed to disagree. 

MY COMMENTS: 

The common denominator in all these incidents pre-dating the beer summit, is someone calling someone else a racist or a reverse racist. In a country prided on being a melting pot, it's amazing how we refuse to take each other's views into perspective. This is the same problem that created the Arab-Isreali conflict, and Americans are not learning the lessons it's taught us. 

Racial Profiling exists, and being a person of color myself, I can support that claim with my experiences along with any other person of color in America. White People don't see it as a problem, because physically, they can't experience it. 

White People need to be sensitive to the issue, and understand it's something they can't see because it's something they can't physically experience. Black people need to be sensitive to the fact white people will never be able to fully understand racial profiling the way we do, and be patient and cooperative in supporting them with evidence and solutions. Black people also need to stop jumping the gun with the race card. When it doesn't apply, it does more damage than good. White People need to stop generalizing. Just because this wasn't a case of racial profiling, doesn't mean racial profiling doesn't exist.

And everyone needs to stop calling each other names. The terms "racist" and "reverse racist" only divide people and stop them from having meaningful discussions. The terms have been tossed around so much, few people really understand what they mean anymore and those being accused of it spend their energy defending themselves instead of discussing.  Meaningful discussions on varying perspectives is the only way we'll ever solve the race problem in America, and that notion was what the Beer Summit was all about.

Black FIlm Watch: Pastor Brown

Rockmond Dunbar, a known actor from Soul Food and Prison Break, directed the upcoming black film Pastor Brown. In Pastor Brown, Jessica, an exotic dancer, returns home when her father becomes unexpectedly ill. Her father's dying wish is for her to take over the church, pitting her against her sister and other eager church members looking to take over the throne. 

The film stars Salli Richardson, Nicole Ari Parker, Keith David, Michael Beach, Tasha Smith, Michael B. Jordan, and Monica. Pastor Brown is scheduled to be released in 2009, but no official release date has been set.  

Oscar Buzz - Anthony Mackie & Hurt Locker

Some of Anthony Mackie's most notable roles include Clarence "Papa Doc" in 8 Mile, John Henry Armstrong in Spike Lee's She Hate Me, Frank in Half Nelson, and then of course, Tupac in the Biggie Smalls biopic Notorious. 

Mackie has already been nominated for a Best Supporting Actor Independent Spirit Award, and The Hurt Locker is quickly ratching up critical acclaim and Oscar support. The Film Experience Blog named Mackie as having an outside chance at getting the Supporting Actor nod, but a lot can change in six months, especially if Hurt Locker continues at the momentum it's going. 

His chances might not be as solid as sure-thing Mo'Nique's, but again, things can change in six months. With Mo'Nique, Sidbe, and Daniels for Precious, Mackie for Hurt Locker, and possibly Morgan Freeman for Inviticus, 2009 might turn out to be an impressive year for Blacks at the Oscars. Let's keep our fingers crossed.  

Black Film Watch: Prom Night In Mississippi

With Barak Obama President, in this so-called "post-racial" society, it's hard to remember we still have a long way to go in ridding this country of racial prejudices. Prom Night In Mississippi tells the well-known story of a high school in Mississippi that still holds segregated proms. The film premieres on HBO on Monday, July 20th at 9PM/8C. 

Donald Glover in Variety

Two weeks after I post Donald Glover in our Black Star Watch, Variety posts him in their 10 comics to watch. Why I'd like to think it was my doing, the truth is just Donald Glover has been getting too much attention in Hollywood to be ignored. Below is the Variety article, written by Ian Blair:

Atlanta boy Donald Glover credits his "unusual" upbringing for forming and informing his comedic outlook on life.

"My parents had a lot of foster kids living with us, and a lot of my stuff is autobiographical -- stuff that weirded me out as a kid," he says. "I was the only black kid in my school for a long time, and I got picked on a lot as I was a big nerd. I was really into 'Star Trek' and 'Looney Tunes' and crafts and writing plays. I wasn't one of the cool kids."

That all changed when he moved to New York to study at the Tisch School of the Arts for four years. "I started doing sketch, then standup and improv, although I always just liked the term 'comedian,' as then people don't put you in a box," he notes.

Glover was still a resident assistant at NYU when he landed a staff writer gig on the show "30 Rock."

"It changed my life -- and my comedy," he says. "Tina Fey took me under her wing and really pushed me to find my own voice. Going in, I didn't really know who I was comedically, but coming out (after writing there for the first three seasons), I felt far more confident."

Since recently moving to L.A., the 25-year-old comedian and writer has performed a lot with the Upright Citizens Brigade Theater. "I also head to the Laugh Factory and try some standup anywhere there's some free space," he adds. "I really like the underground comedy scene here as it gives you a chance to try out material you can't always do in some places."

Next up is his first feature, "Mystery Team," which he co-wrote, produced, scored and starred in. The film, which he calls "an homage to 'Encyclopedia Brown,' " premiered at Sundance and will be released this fall.

POV: "Most people think I'm Danny Glover's son when they meet me. So when they ask, I say 'No, I'm Crispin Glover's son.' Then we stare at each other for a long time."

THE BLACK EMMY'S

I know, there's no such thing. And African-Americans in the TV Business haven't exactly busted down the doors at the Emmy Awards, however we do get our notable wins here and there and have a healthy field of respresenation. Nominations for the 2009 Emmy's were announced today. Below are a list to the black contenders. Congratulations to all and good luck. 

CHANDRA WILSON:

Best Actress in a Miniseries or Movie (Accidental Friendship)

Best Supporting Actress in a Drama (Grey's Anatomy)

TRACY MORGAN

Best Supporting Actor in a Comedy (30 Rock)

VANESSA WILLIAMS

Best Supporting Actress in a Comedy (Ugly Betty)

CICELY TYSON

Best Supporting Actress in a Miniseries or Movie (Relative Strangers)

CHRIS ROCK

Best Writing for a Variety, Music, or Comedy Special (Chris Rock - Kill The Messenger)

Best Variety, Musical or Comedy Special (Chris Rock - Kill The Messenger)

Everybody Hates Chris  "Everybody Hates Talk Back": Best Cinematography for a Half-Hour Series

Chris Rock - Kill The Messenger : Best Picture Editing For A Special

#1 Ladies' Detective Agency "Pilot": Best Costumes For A Series

#1 Ladies' Detective Agency "Pilot": Best Music Composition For A Series, Dramatic Underscore

The War Is On: The Discussion Continues

And the discussion/war continues. I published the previous post on my facebook page and within the hour, members from both sides were going at it. The argument revolved over whether the woman had a right to raise inquiry over who her child was going to be around. My two cents: the woman clearly had an problem with the girlfriend's race. But that's not the issue at hand. The issue is why black men and black women can't see eye-to-eye. Are them men to domineering and frivolous, or is it that black women can't overcame their own drawbacks? Anyway here's how the discussion went down:

BLACK WOMAN:

She was wrong for makin a scene, but that's somethinG that should be discussed before hand. You can't just be bringing people in a child's life like that. Especially if you don't know how long that person is gonna be there, ya know?

BLACK MAN:

Oh please. Now women are concerned about who is brought around a child??? Then why do we see so MANY male ex-cons escorting these same women to FOC??????

BLACK WOMAN:

1st and foremost, I will never let just anyone around my child. 2nd, other women with good sense will agree with me. 3rd, if you're gonna judge every black woman based on some ignorant views of random ghetto chickenhead females, then by all means, go find a white girl. Promise, we wont be mad! By the look of the scene, neither of them are ghetto, so I would expect her to CARE who is having any kind of interaction with her child.

BLACK MAN:

Ghetto is a state of mind, not a condition of ass. You can be fine as wine and still be ghetto. Weave won't make ghetto go away. Notice & LISTEN to what the man in the movie was saying. He was talking about an "angry black woman". From your reply, he must have struck a nerve.

BLACK WOMAN:

Notice and listen to what i'm saying. If a female brought some dude around your child who you didn't know, and didn't inform you about it, you would be angry. All I'm saying is, a discussion should have been had prior to picking up one's daughter from the mother's house. You struck a nerve with me with your ignorant statement. You're talking about what he said and completely ignoring what he did. Her reaction was out of line, but his action was as well..."Oh please. Now women are concerned about who is brought around a child???" Don't even try that. Clearly YOU'VE been on the negative end of that situation...All i can say is...personal problem...talk to Dr. Phil.

BLACK MAN:

As i said before, struck a nerve.

BLACK WOMAN:

Yep, you are so right...

The War Is On: Black Men Vs. Black Women

One of the great things about film is that it prompts discussion, and the issues raised in Diary Of A Tired Black Man have been plaguing the black community far too long. It's the Angry Black Woman Vs. the Tired Black Man. Before I do a post about the movie, I want people to watch this clip below and comment on what they think. Chime in: Whose right ? Whose wrong? Whose side do you choose? Is there a solution in sight?

O'Reilly Tells Blacks Whom To Iconize?

Bill O'Reilly has always had a very rocky relationship with the Black community, constantly criticizing hip-hop music, affirmitive action, and those that combat racial injustice such as the Jena 6 and other issues. Now Bill O'Reilly is attacking Michael Jackson's iconic status in the African-American community, trying to say since Michael Jackson bleeched his skin and had white children, that blacks should turn their back on MJ just as MJ turned his back on them. 

1) O'Reilly and others attacking the MJ coverage claim Michael Jackson was just a great entertainer. They're specifically choosing to ignore all the charity work Michael Jackson did. Besides songs like "We Are The World" whose profits went to feed hungry African children,  MJ is in the Guiness Book of Records for being the most charitable pop-star ever. O'Reilly himself goes on to say MJ was selfish, making tons of money and spending it lavishly on himself, again choosing to ignore that MJ gave 20% of his income to charities, and even allocated more money to charity in his will.

2) Bill says black people shouldn't iconize MJ because he bleeched his skin and had white children, claiming Revereand Al Sharpton's speech made MJ seem like Martin Luther King. As Marc Lamont Hill pointed out, it is a fact that MJ broke the racial barrier for outlets like MTV and Rolling Stone. Why should we negate these achievements because of MJ's personal issues with being black, ones which he never vocalized, purposely called attention to, or even completely understood? Let us not also forget, Martin Luther King has problems cheating on his wife with white women. Does that mean King is no longer a revolutionary? Personal issues do not negate great achievements.

3) Bill O'Reily refuses to acknowledge his hypocrisy in stating celebrities should be mourned after they pass and not critisized, but not following the same protocol for MJ. He says it's apples and oranges. He's right, white apples and black oranges, proving Hill's point. 

4) Many believe there is a racial component due to the blatant hypocrisy. When Heath Ledger died, no one harped on his drug addiction. Same with Elvis Presley. His drug addictions was basically ignored as the masses garned him a icon. As with the death of John Lennon and the Beatles openly advocated drug use, even releasing songs about it. Same with Frank Sinatri, whom had financial ties to the mafia. Yet, when these "legends" die, everyone speaks good about them choosing to ignore their faults and controversies for the sake of mourning. But Michael Jackson gets no such privilege. 

5) As soon as MJ died, the media ran pieces on the trajectory of MJ from superstar to "bizarre tragedy". Yet they refuse to acknowledge their involvement in MJ's troubled past, with their constant, relentless, negative coverage of him. Nor did they discuss the domestic abuse he faced as a child, or the fact that he had to be a grown at the age of 5 forcing him to recapture his adolescence as an adult. The media is only interested in one biased view of Michael Jackson, when the story is much more complex.

6) Many are criticizing the excessive news coverage of MJ. While I do agree, it is excessive, but the counterpoint to that is his Memorial Service was watched by close to one billion people worldwide. That's 1/7th of every living human person. One of the media's responsibility is to cover topics in the public's interest. Michael Jackson death is of public interest so much, that 1/7th of the world's population watched his memorial service. 

Everyone is entitled to their opinion, but those attacking MJ in his death never really use any facts. He was acquitted of molestation charges and the autopsy hasn't even been released yet. Until it is, all comments on MJ dying of a drug overdose is speculation. The media and notable public figures refuse to give MJ the same respect they would give other "white" deceased legends, and defend themselves by bringing up issues in Michael Jackson's past like the charges and his skin changes which have never been confirmed. I don't want to call it racist, but I'm having a hard time finding a reason for all the hatred for a superstar who was beloved by many. 

SEX AND THE CITY REVIEW

A women's movie goers wet dream? I may get flack for reviewing the biggest chick flick if there ever was one, but female driven films are just as important as minority films and I'll state why below. I'll also be reviewing high testosterone, ball-busting, Tom Cruise action flick Valkyrie later this week to balance the scale.  

Sex And The City (The Movie) is the big screen next installment of the HBO series centered around four middle-aged New York women who obsessive over their relationships. The center being Carrie Bradshaw, a fashionable love/sex columinist who nears closer to getting her "happy ending" with long-time romancer Mr. Big. The film also co-stars Jennifer Hudson in her first role, following her Oscar debut in Dreamgirls.

This may not be the popular "male" opinion, but as a TV series, Sex And The City stood for more than Carrie Bradshaw's boyfriend drama and high socialite New York fashion. At it's heart, Sex And The City was very introspective, often asking clever questions probing the dynamics of various types relationship woes. From questioning societies fascination with beauty by looking at modelizers to asking if two people can build a future together if they don't leave their past behind them, each episode represented a different aspect in the realm of sex, marriage, and love and we got to see it from the viewpoints of the four different characters and how it played out in their love life. The clip below is a prime example of this, where Carrie questions whether this new society can tolerate romance and if it even still exists. The clip below it is later in the episode, when Samantha, the resident whore, is so much about female empowerment that she won't even allow her boyfriend to hold her hand. 

This is where the film fails. The TV series was always smart and introspective, but in the big screen adaptation the introspectiveness was left on the cutting room floor. We're merely looking at the lives of these women four years later after the series ended but what they go through says nothing about the trials in relationships we all face. The theme of the movie was "happy endings" (i.e. Carrie's marriage) and if they're as glorious as they seem to be, but nothing about happy endings is ever really said. And two-and-a-half hours is a long time to watch a movie that doesn't really say anything.

Other things are also missing from the TV series like the spunkiness of Carrie Bradshaw. In the TV series she was a realist trooper who believed in love but never let herself fall victim to it. In the movie, she is a love-misering pile of ooze whose life seems to revolve around her relationship with Mr. Big and the success/destruction of their wedding. The two Carrie's seems far apart making Carrie's wedding fiasco melodramatic at best.

Everyone, with the exception of Mr. Big, puts on a competent performance, but why shouldn't they. They've had 94 episodes to perfect their characters. A movie, even at 150 minutes, should seem like child's play. What surprised me though, is Kristen's Davis' audacious portrayal of Charlotte, a character I often took for granted. She's the goody gumdrop around the often frank and perverted group of gals, yet Davis' portrays her with understanding and love for her friends, but also a boldness to stand up and stay true to herself and what she believes. I never saw it before, but the essence of Charlotte's character is more complex than any of the other women, even Carrie herself. 

All the other nuances for Sex And The City are still there. The sex, the nudity, the fashion, women's muskateer like-bond, and even the quirky quips the made Sex And The City so famous.

 

CULTURAL INTROSPECTION:

I support the Sex And The City Movie because, as I said earlier, films about women issues are just as important as films about minority issues. We all want to see the issues we deal with portrayed on the big screen. Hollywood has a history of neglecting women (not as much as minorities), but still, the more tolerant Hollywood becomes to stories about all different types of people, the more we all will benefit. And with the Sex And The City release, women showed they can be a powerful box office force to reckon with. So far, the film has grossed over 415 million dollars and women are also contributed to the reason Twilight was so successful. Women, just like minorities, are a subculture deprived of the depiction of strong, relatable characters and Hollywood attention. Maybe now, Hollywood will pay attention to all of us. 

THE BLACK PERSPECTIVE:

Kudos to Jennifer Hudson, whom had a better showing here than she did in The Secret Life of Bees. But I have to give a thumbs down to screenwriter Michael Patrick King, who, given the opportunity to use an Oscar winner to add color to the often colorless world of Sex and the City, squandered it by putting her in a very small, non-important role with no real character. The four women represent different viewpoints of femininity, but what does Hudson's character represent. Not much. She's a young twenty-something year old who still believes in love. The other characters are so vibrant, yet Hudson's character falls flat. The only thing you remember about her is that she pays for her expensive accessories by not ripping of the tags so she can return them later. Not as blatantly racist as other black characters, but still a very "black" thing to do. She was also given less screen-time than any other major character, except for exhibitionist Giles Marini. This means, the producers were banking on her name, most likely to grab the black female audience. 

RATING:

= 2 Stars
= 2 Black Fists

MODERN-DAY MICHEAUX EPISODE 2

Big thanks to Dwayne Buckle for being my distinguished guest on Episode 2 of The Modern-Day Micheaux Podcast Series. Dwayne had a lot of inspirational and motivating things to say, as well as discussing the power of film as an artistic medium, minorities owning their works to and companies in order to create power, and not compromising one artistic vision for Hollywood bucks. The Podcast can be listened to below, but first, Dwayne's favorite Michael Jackson song, Liberian Girl. I've included the song and the music video, because it's kind of hard to hear the music in the music video strange enough. Again, big thanks to Dwayne Buckle and we wish him all the luck in the future. 

LISTEN TO EPISODE 2 W/Dwayne Buckle HERE:

                             

The Modern-Day Micheaux Podcast Series: Episode 2

Check out episode two of The Modern-Day Micheaux Podcast Series on Tuesday, July 7th, @10PM when I speak to independent filmmaker Dwayne Buckle, filmmaker of The Minority and The Glasses.

The Modern-Day Micheaux Podcast Series:

Oscar Micheaux was an African-American filmmaker in the early 20^th century. Having been shunned by Hollywood for his race, Micheaux took on his own projects, producing, directing, writing, and scrounging everything together for his work. Having completed forty films, Micheaux became the most prominent producer of race films and the father of independent filmmaking. Micheaux is the reason minorities see themselves on the screen today. Where would we be if Oscar Micheaux had given up? Would Spike Lee have come about, or Tyler Perry for that matter? Would anyone known how to make a film independently if he hadn’t proved it was possible? Would blacks have ever had a rebuttal to “The Birth of a Nation?” How many Oscar Micheauxs are out there, and how many more would we have if those with a dream had never given up?

The Modern-Day Micheaux Podcast Series is a monthly 30-minute discussion with black, independent filmmakers. The mission is to inform and inspire, as well as motivate and shed insight. However, unlike Tanya Kersey’s Urban Hollywood series, this podcast focuses on the inspirational and highlights filmmakers still in the trenches. The moderator is Denzel Hawke of The Black Hawke Review.

Gabrielle Union Flick

Neo Ned is a film from 2005 that I've just become aware of. Ned, a member of the Aryan Brotherhood, falls in love with Gabrielle Union's character while in a mental institution. 

This hits along the lines that people and attitudes can change, and barriers can be broken. I look forward to reviewing Neo Ned. From the clips so far, it looks pretty interesting. 

The film is now on DVD and will be showing on Starz during the month of August. 

Precious Co-Signer

On May 18th, 2009, Communications strategist David Magdeal spoke with Tanya Kersey on the "Inside Urban Hollywood" podcast. Working on the media campaign for Precious, this is what he had to say.

 

David Magdeal:

"For me the most amazing thing was Mo'Nique. If she's not nominated then there's something wrong. And then the new girl, the one that plays Precious, Gabby, she nailed that to the wall. Everybody in there is really good. You don't even recognize Mariah. I had to even do a double take. Like that's Mariah? Oh. She's really good."

Precious's theatrical release is November 6th. With Oscar's new 10 best picture change, its practically a shoe-in to garner a nomination. Mo'Nique's, Gabourney Sidibe's, and Mariah Carey's performances have all popped up on shortlists for Oscar contenders as well. 

Is Transformers Racist? The Discussion Continues:

Since the outrage of the Transformers 2 character's known as Skids and Mudflap (also known as the term Sambots) has only intensified since the film broke box office records last week, and friend and I have been verbally jousting on whether this can be construed as racist or not. 

Below is the transcript of our facebook conversation in which Crash makes an interesting cameo. Feel free to voice your opinion. Does Transformers 2 take it too far? Or are people being too sensitive?

Naysay: 

"So I saw transformers not racist at all. I think the problem is that people still look at themselves as these stereotypical characters. I didnt find it racist probably because I dont see those characters emulating me."

Denzel: 

"It's not that we see ourselves in these characters because I sure as hell don't. It's that other people see us in these characters and they depict us as such in the media. My perspective on black people isn't going to be changed by Skids and Mudflap, but what about those from other countries who associate characteristics such as not reading with being black, or black youth who are too young to understand this is not who they're suppose to be. You know well enough that some black people go out of their way to confirm stereotypes. This is why they think black people can't be doctors. Cause the world tells them they're suppose to be Skids and Mudflap. This is akin to white supremacists or KKK saying all blacks are unintelligent thugs except for instead its coming from Michael Bay and Transformers."

Naysay:

"And the twins did have a very important part to the movie. If being comic relief in a film isnt important enough, because it is, those two destroyed Devastator mostly by themselves, well they made him weaker. Also protecting Sam along with Bumble Bee. Watch it first!"

Denzel:

"Comic relief is important but not important enough to constitute a character's entire existence. I'll give it to you that I haven't seen the film and am making judgments based on other people's reactions. When the DVD is released I'll be better able to validate my views because I refuse to pay 8+ dollars for a movie ticket just to expound upon how delusional you are. That is already a given."

Naysay: 

"In general you will hate the 2nd movie. It has way more plot holes than the 1 you noticed in the first one. But also, there's a character named Wheelie, with three teeth, dumb, I associated him as the hillbilly robot. Since when is a movie racist becuase they act upon stereotypes. If that's the case Crash is a racist movie. Is it different because one is comedy and one is drama? Is that fair enough to call a movie racist?"

Denzel: 

"I don't think Crash is racist because it presents stereotypical characters with layers. Larenz Tate and Chris Bridges aren't just thieves. They're actually somewhat intelligent, thought-provoking, are capable of realizing the faults of their behavior, and religious. True racist stereotypes are one dimensional. They say you can only be this and nothing else."

FALLOUT FROM FIRST TRANSFORMERS:

Naysay: 

"QUIT BEING SENSITIVE! If you watch the old cartoons Jazz was voiced by Scatman Crothers. One of the originators of "cool". He spoke with an "ethnic" style. Showing more diversity. So Hasboro didnt have to hear from other black people "how come there arent any black autobots?" "Why they all gotta be white?" Just like barbie, and care bears, and GI Joe and every other thing black adults scrutinized to ruin the youth of children. Besides half you niggas say "Whats crackin lil bitches" on a daily basis. So quite being sensitive. Jar Jar was different."

Denzel: 

"My problem wasn't with Jazz being "black". My problem was Jazz being "black" and having stereotypical black characteristics a.k.a. being flashy, breakdancing, and destroying the car. From what I hear, Transformers 2 is taking it to a whole different level."

THE SOLOIST REVIEW

Before the huge 2009 "Precious" buzz, this was the movie of the year I couldn't wait to see. Robert Downey Jr, Jamie Foxx and director Joe Wright, about a musician whom plays classical music, how can you go wrong???? We soon will see. 

The Soloist is based on the true story of a Los Angeles Times columnist (Steve Lopez/Robert Downey Jr.) whom befriends a schizophrenic, homeless musician (Nathaniel Ayers/Jamie Foxx). It's basically a bromance drama except one buddy needs serious help but doesn't want it and the other buddy doesn't know when to quit pushing. The film was directed by Joe Wright (Pride & Prejudice & Atonement).

         

Let me start by saying I am not bashing this film. It is a good film, it just doesn't hit home as I would have wanted it to. 

Both Jamie Foxx and Robert Downey Jr. both hold up their end showcasing superb acting, which isn't a surprise since they've both played variations of these roles before - (Downey in Zodiac, Foxx in Ray). But what got my attention is director Joe Wright whose rising up my favorite to watch list. Wright transforms even the most mundane shots to visual gemstones. There's the typical Downey on the phone scene, yet Joe makes it breathtaking by putting him on  a ledge overlooking the Los Angeles freeway. There's also an awesome scene where a young child Ayers sees a burning car out of the window in his basement. Wright moves the camera around Ayers (who's still playing the Cello) highlighting him and the raging fireplace behind him.  This is showing his progression into schizophrenia and again was all in the placement of the camera. Sorry I couldn't find a youtube clip of it, but if you see the film you'll see what I'm talking about. He even makes South Central Los Angeles look beautiful in a macabre sort of way. There's even a scene showing the vibrant colors of music that reminded me of this scene in Ratatouille.

 

                             

The problem I had with The Soloist, even though minor, is the script and I truly believed it could have turned this average film into an Oscar short list contender. Everything works out well except for the emotion. As an audience member, you never really understand why Lopez is so desperate to help Ayers. They allude to it being his failure as a parent but it still is never clear. And you feel sorry for Ayers as a schizo but you never feel that sorry for him. He lives on the street but you never get a sense that he's in any danger. He actually seems to enjoy it and feel a  bit at home. I hate to say it, but maybe more dramatiziation would have been the key. If I would have understood the characters better and saw them in a little more peril then I could have gotten emotionally invested. But unfortunately, I did not. However, screenwriter Susannah Grant also wrote Erin Brockovich so I'll let her off the hook this once. 

CULTURAL INTROSPECTION:

The topic of those mentally challenged came up the other day when I was visiting a friend's book signing.  A lady discussed movies she's seen depicting those with mental illnesses and said The Soloist was the first one that gave the person any type of personality. I'm not an expert on the subject but it is worth thinking deeper about. Sometimes it's hard not to think of them as lost causes (which is what society often does) but these are real people too, with families, and personalities, and dreams, and hopes, and feelings. Nathaniel Ayers was a musical genuis with a slightly mental off-balance. 

In the movie, Steve Lopez does the exact opposite. He cares too much in that he thinks he can fix Ayers. Don't get me wrong, he does a lot for him. But when Ayers discovers Lopez sees him more as a charity case, he goes ballistic. He didn't need a savior and in truth the obstacle was over Lopez's head, but just by being Ayers friend he did so much good for him.  Again, it's hard to think of them in terms of real people with the same emotions and embarrassments that all of us share. But sometimes they don't need a savior. They need a friend that won't treat them like the lowest form of human.

                     

THE BLACK PERSPECTIVE:

A big character in this film is South Central L.A. and it features a group of people often not depicted in Hollywood - those in poverty. As I said before, Wright depicts this often forgotten side of life in a beatiful yet macabre way, yet I couldn't help but noticing most of these people were black.

South Central L.A. could very well be mostly black, but it more than likely isn't. One problem Hollywood and the media for that matter (often news) has is the overrepresentation of minorities in poverty. Because whites overpopulate blacks (and for now Hispanics) in this country they also overpopulate them in poverty. I pulled up a 2007 Census Government report that shows that there are roughly 243,000 whites under the poverty line, but only 39,000 blacks and and 46,000 Hispanics. However, after watching TV one would think differently. This is not only true for poverty but also for crime.

"Whereas Blacks actually acconted for the lowest percentage of arrests in the real crime statistics, they made up the highest percentage of petratros represented on TV news. Whereas their actual arrest rate was 21%, a full 37% of TV news perpetrators were Black. In contrast, compared to the actual arrest rate for Whites (28%), only 21% of the perpetrators shown on TV news were White. "

(Sparks, Glenn G. Media Effects Research A Basic Overview (with InfoTrac®) (Wadsworth Series in Mass Communication and Journalism). 2nd ed. Belmont: Wadsworth, 2005.)

The media is notorious for sending sublimimal messages, mostly in issues revolving around race, sex, violence, and concepts of beauty. The only way to really combat these messages and misconceptions the media portrays is to be aware of them and understand that everything you see is not how it always is. 

                     

                       

RATING:

= 2 Stars
= 2 Black Fists