This Vine is by far the most hilarious thing Michelle Obama’s ever done to push her campaign against childhood obesity. Watch and laugh!
The finalists for this year’s National Book Awards were announced Wednesday morning and a handful of writers of color — and books about issues important to communities of color — made the list. Here are six to watch out for, running the gamut from fiction and non-fiction to poetry and young-adult literature.
In fiction, Rabih Alameddine’s “An Unnecessary Woman” follows protagonist Aaliya Sohbi who lives in Beirut and is caught in a mid-life crisis. She’s unconventional — no husband, no kids and not particularly aligned with any religion — but she’s haunted by memories of the Lebanese Civil War. Author Alameddine, is a Lebanese-American writer who was born in Jordan and migrated to California in his teens.
America is rife with war stories from Afghanistan, but reporter Anand Gopal’s debut book, “No Good Men Among the Living: America, The Taliban and the War Through Afghan Eyes,” provides an intimate account of the conflict from the Afghani perspective. Gopal previously served as an Afghanistan correspondent for The Wall Street Journal and The Christian Science Monitor and is currently a fellow at the New America Foundation.
In “Citizen: An American Lyric,” Jamaica-born poet Claudia Rankine recounts everyday microaggressions to document the stress of being black in America. Rankine is currently an English professor at Pomona College and she’s previously won fellowships from the Academy of American Poetry and the National Endowment for the Arts.
In his latest collection of poetry, Fred Moten tries to umpack the the musicality of James Brown and William Parker. Currently a professor of English at the University of California at Riverside, Moten is also the co-founder of a small press called Three Count Pour.
Steve Sheinkin’s “The Port Chiago 50: Disaster, Mutiny, and the Fight for Civil Rights” revisits the 1944 case of 244 mostly black sailors who protested unsafe working conditions and the 50 who were later charged with mutiny. The men had good reason to take a stand: On July 17 of that year, more than 300 sailors at the segregated Navy base of Port Chicago, California, were killed in a massive explosion.
With “Brown Girl Dreaming,” a series of childhood poems, author Jacqueline Woodson offers up a searing take on growing up in South Carolina in the 1960s and 70s. Woodson has also won the Margaret A. Edwards Award for lifetime achievement in writing for young adults and the Coretta Scott King Award. She lives in Brooklyn.
The awards will be announced on November 19 in New York City. You can also listen to NPR’s announcement of the finalists here:
Houston running back Arian Foster decided to make a statement before Thursday night’s matchup against the Indianapolis Colts. During pre-game warm-ups, Foster wore a T-shirt that read “Stand Strong St. Louis” on the front and “RIP Mike Brown” on the back.
Back of Foster’s shirt reads “RIP Mike Brown” pic.twitter.com/HGJtUY2Vjw— Brian T. Smith (@ChronBrianSmith) October 9, 2014
It was one of the few on-field statements made by NFL players in the aftermath of Brown’s killing and protests in Ferguson. During the NFL’s pre-season, members of Washington, D.C.’s NFL team made the “hands up” gesture that’s become synonymous with protests in the St. Louis suburb.
In the latest public discussion as part of her scholar-in-residence series at The New School, bell hooks talked with Cornel West about what it means to be what she called a “dissident intellectual.” At about the 46:11 mark, West says, “When I called [Obama] a black puppet of Wall Street oligarchs, they didn’t accent ‘Wall Street oligarchs,’ they just talked about the puppetry.”
Feminist theorist bell hooks is back at The New School for another week-long residency that includes public discussions with high-profile folks of color. On Tuesday, she sat down with actress Laverne Cox for a wide-ranging conversation about feminism, pop culture and Cox’s hit series, “Orange is the New Black.”
TV on the Radio is getting ready to drop a new album later this fall, and this week the band released a couple of new videos for the tracks “Happy Idiot” and “Careful You.” The new album is called “Seeds” and will be out on November 18. It’s their first project since their bassist/producer Gerard Smith passed away in April of 2011. And it’ll be their first since singer Tunde Adebimpe confirmed the band had left Interscope (their label since 2006’s “Return to Cookie Mountain”), according to Pitchfork.
Childish Gambino is known for using the Internet in unconventional ways. He rose form being an actor and comedian to a well-known rapper largely thanks to a few well-recieved mixtapes, but from there it gets pretty experimental. Last year he dropped a film that played in a continuous loop on Ustream months before releasing his second studio album, “Because the Internet.” In an interview, he said that motivation for the album came from the fact that “now that we have the internet it’s easier to [communicate] than ever before, but it’s also leaving us really lost and afraid.”
So last Friday, when Gambino released a new project called “STN MTN/Kauai” without any real warning, fans were thrilled.
The first half of the project is a free mixtape named after his hometown in Georgia. The second part is available on iTunes. But he also left it up to fans to find a secret track, a remix of his song “3005.”
kauai is out on itunes and spotify and it leaked and yeah. the 3005 remix should help with the secret track— childish gambino (@donaldglover) October 4, 2014
The version of the song on “STN MTN/Kauai” was largely instrumental, but fans later learned that the vocals were hidden in Gambino’s becausetheinter.net original screenplay, buried within the coding on the page. Long story short, one Reddit user did the work of untangling the mystery. Here’s the finished product:
Fans of the St. Louis Symphony got quite a surprise over the weekend when a flash mob interrupted a performance on Saturday to demand justice for Mike Brown, the 18-year-old black man who was shot and killed by white police officer Darren Wilson in nearby Ferguson on August 9.
Just as the conductor took the stage after intermission, a middle-aged black man sang, “What side are you on, friend; what side are you on?”
The St. Louis American, the city’s African-American newspaper, captured the scene on video:
Acts of civil disobedience have continued in the St. Louis area, with local and national organizers planning several weeks of resistance through a project called Ferguson October.
Flying Lotus’ new album “You’re Dead!” comes out next week on October 7. This week, he dropped the video for his song “Never Catch Me” with Kendrick Lamar, which chronicles the gripping tale of a young black boy and girl who emerge from their caskets and dance away from their own funeral. It’s dark, but eerily hopeful. Watch.
In an interview with Pitchfork, Flying Lotus talks about how his preoccupation with the afterlife informed his latest project.
With this album, I was trying to come in at that moment and navigate the different thoughts that might go through your mind. Maybe being in disbelief that you died. Maybe having regrets about things that you’d done in the past. Maybe finding comfort in dying and coming to grips with the fact that we never die—that’s the overall message in the end.
Andre “3000” Benjamin paid a visit to David Letterman this week to talk about his starring role in the Jimi Hendrix biopic “All is By My Side.” The rapper/actor admitted to doubting himself during filming. “Who plays Hendrix?” he asks Letterman. But by most accounts, Benjamin did a superb job in the role.
Catherine Zeta-Jones has been cast as Griselda Blanco in “The Godmother,” an upcoming biopic on the life and death of the Colombian*-born drug queen, according to Deadline. News of Jones’ casting has kicked discussions about brownface into high gear, with many observers wondering aloud about why a Latina actress wasn’t chosen for the role instead.
“I’m sorry but what part of this casting makes any kind of sense? Come on Hollywood. AreThere NO LATIN actresses???” actress Yolanda Ross tweeted in reaction to the news.
Soraya Nadia McDonald sifts through the controversy over at the Washington Post, writing:
Casting isn’t just a problem with biopics. Plenty of people were angered when Rooney Mara was cast as Tiger Lily in the new Warner Bros. “Peter Pan” remake — more than 23,000 signed a petition telling studios to stop casting white actors in parts written for people of color. In 2013, Johnny Depp in redface as Tonto in “The Lone Ranger” elicited a similar reaction. And earlier this year, Comedy Girls Jenni Ruiza and Jesenia playfully asked “Saturday Night Live” showrunner Lorne Michaels to hire a Latina or two instead of subjecting viewers to castmembers in brownface.
What’s more, according to McDonald, is that there are plenty of Latina actresses in Hollywood who could have been better fits for the project:
Zeta-Jones is called upon to be Colombian when there are more visible Latina actresses working in Hollywood than ever — thanks in no small part to executive producers such as Eva Longoria and Salma Hayek. Hayek was responsible for bringing “Ugly Betty,” the show based on the Colombian telanovela “Yo soy Betty, la fea,” to network television. And Longoria has really taken charge with her production company UnbeliEVAble Entertainment.
*Post has been updated since publication to change the incorrect spelling, Columbian
Mary J. Blige’s upcoming album “The London Sessions” doesn’t drop until December 2, but she released a new song this week called “Nobody” that’s got plenty of fans excited. Listen.
Aziz Ansari is taking an unusual approach to his comedy routines these days: he’s doing sociological research. In an interview with Camille Cannon at Vegas Seven, the comedian talked about why the research is crucial to his new routine and book, “Modern Romance.”
In addition to Modern Romance being the subject and title of your stand-up tour, you’re writing a book about it. What’s that process like?
It’s ambitious. I’ve been doing [stand-up] about dating and stuff, and I started meeting with sociologists and academics and got into these interesting conversations about dating and technology and how relationships have changed over the last few generations. I’ve been working with sociologist [and Going Solo author] Eric Klinenberg for more than a year. We interviewed hundreds of people and a bunch of notable academics. I don’t think there’s been anything similar to it from a comedian. It’s a really funny book, but it’s also really interesting, and I think people will dig it.
You’re also crowdsourcing on Reddit, and you promote a link to that thread on Twitter. Does it ever feel super meta to conduct research on technology and relationships using social media?
I never even thought about that until you said it, but that’s true. It’s weird. When we did these focus groups for the book, we’d have like 30 people in different cities, and we’d speak to them for an hour or so and then we started thinking, “Oh, it’d be great if we could get people from other parts of the country, because we can’t physically be everywhere.” With Reddit, you’re kind of everywhere. Everyone participates.
One week after the premiere of her new show “Black-ish,” actress Tracee Ellis Ross sat down for an interview on Larry King Live with guest host Janet Mock. “I think this is a show that needs to be on the air,” Ross said. “I think the opportunity of a show like this is that the world gets to see a family being a family and that raising children is very similar for everyone.”
And speaking of family, Ross opens up about growing up with her own famous mom, Diana Ross. “What the world knows of my mother honestly does not hold a candle to who she is as a mom.”
During a 1994 interview with Vibe, 2pac famously uttered, “I’m not saying I’m gonna’ change the world, but I guarantee that I will spark the brain that will change the world.” Twenty years later, the slain rapper’s influence is felt all over hip-hop, from Kendrick Lamar and Lil Wayne to lesser-known rappers far outside of America’s rap studios.
One of those rappers is 27-year-old Akiko Uraski, a native of Okinawa, a small island off the coast of Japan. Uraski raps under the name “Awich” and, in an interview with Vogue, she talked about how listening to 2pac helped shape her political understanding of Okinawa’s struggle for independence and resistance to U.S. military troops stationed on the island.
“Tupac was my textbook,” Awich told Vogue. “It was really fascinating to learn from him. What he says in his songs and interviews, turning negativity into strength, I felt a lot of positivity about that. I was obsessed with their struggle, and I think, I saw a similarity in the Okinawan people.”
Here’s the video for Awich’s song “In the Battle.”
Awich also told Vogue about the parallels she sees between traditional Okinawan music and black American music. “Okinawan songs are so hip-hop to me. They talk about struggle, they talk about the blues.”
When Fox News panelist Jonathan Hoenig used Japanese-American internment during WWII to make the case for racially profiling American Muslims last weekend, he caused an uproar. And rightfully so. Hoenig’s comments were clearly meant to drum up even more racist hysteria aimed at Arab- and Muslim-Americans. But in another way, Hoenig’s comments also represented another sad reality of political weekend talk shows: They rarely talk about Asian-Americans, and when they do, the coverage is generally really bad.
According to a new report from ChangeLab, America’s Big Five Sunday shows — “Face the Nation,” “Fox News Sunday,” “Meet the Press,” “State of the Union” and “This Week With George Stephanopoulos” — are rarely talking about Asian-Americans, the country’s fastest growing racial group. Researchers examined over 130 episode transcripts from the Big Five shows between January and June of 2013 and found that Asian-Americans were mentioned just 13 times.
“It’s about time that [Asian-American] stories get told, and not just to benefit [Asian-Americans],” researchers write in the report. “Until our stories are told, our understanding of the experiences and political behavior of every other racial group in America is incomplete.”
Kansas City Chief safety Husain Abdullah did what most players do when they make an extraordinary play. Abdullah, a 29-year-old veteran, had just intercepted a pass from New England Patriots quarterback Tom Brady and returned it for a touchdown. He then slid down on both knees in the end zone and put his head down in prayer. The move earned him a 15-yard unsportsmanlike conduct penalty.
Religious celebrations aren’t new to the NFL. They happen all the time. “Tebowing,” in which former NFL quarterback Tim Tebow got down in the end zone on one knee to thank God, is probably the best known such celebration — it’s even been trademarked.
In recent years, the league has tried to crack down on what it calls excessive celebrations, which usually relate to the elaborate end zone dances that were once popular in the league.
But Abdullah wasn’t dancing. He was praying. Tebow did it. Chicago Bears wideout Brandon Marshall’s done it, not to mention countless other players. The difference here is that Abdullah is Muslim, not Christian. Whether the game’s officiating crew wasn’t familiar with Muslim prayers or was intolerant of them is unclear. What is clear is that Abdullah earned a penalty (and, likely, a fine) for doing something that generally goes unpunished by the league.
Several observers noticed the discrepancy, including media commentator Arsalan Iftikhar.
Brandon Marshall gets on knees & raises hands to Jesus after TD..No penalty..Husain Abdullah bows to Mecca..15 yards! pic.twitter.com/6G5sDfaWO0— Arsalan Iftikhar™ (@TheMuslimGuy) September 30, 2014
Abdullah is a devout Muslim who grew one of 12 kids in Southern California. He starred at Pomona High School before going to Washington State. Even though he wasn’t drafted out of college, Abdullah earned a spot on the Minnesota Vikings roster before being signed by Kansas City. Like many Muslim athletes, he observes fasting for Ramadan during the season and even sat out a year to make Hajj, his pilgrimage to Mecca.
“I’m putting nothing before God, nothing before my religion,” Abdullah told the Huffington Post about his fast in 2010 in a story about how his employer learned to accommodate his needs. “This is something I choose to do, not something I have to do. So I’m always going to fast.”
In preparation for his pilgrimage, Abdullah and his brother Hamza embarked on a “30 for 30 Abdullah Brothers Ramadan Tour” in 2012. Their first stop was the Islamic Institute of Orange County where they talked about faith and football. You can see video of the brothers’ talk below:
Williamsburg may be known today as one of America’s white hipster capitols, but a new neighborhood storytelling project looks at how the neighborhood’s working-class Dominican and Puerto Rican residents live and thrive today.
It all started with a 1984 documentary called “Los Sures.” In a decade when economic disinvestment and rampant crime plaugued the area, many residents were at their wit’s end, but also hopeful that their community could push forward. “I swear, I don’t want to live here,” says one resident in the film. “I would like to get out of here.” The film, directed by Diego Echeverría, was re-released this month as part of this year’s New York Film Festival.
On Saturday at the Brooklyn Academy of Music, it screened shortly after an updated version called “Living Los Sures,” a collaborative web documentary about today’s version of the Southside of Williamsburg. The powerful stories capture a diverse history of the neighborhood and you can listen to them here (grab a pair of headphones).
Here’s the trailer for the new project:
Lauryn Hill is one of the few artists who can still ignite passionate responses in fans. The woman who gave us two modern hip-hop classics in the Fugees’ second album, “The Score,” and her 1998 hit “The Miseducation of Lauryn Hill” has, in the more than 15 years since she backed away from the spotlight, become a lightening rod for criticism. The complaints are all over the place: She hasn’t released an album since 2002, is late to shows, dresses funny, has too many kids, doesn’t pay taxes and is homophobic (more on this later).
The complaints aren’t new, but they resurfaced recently in a piece on Medium by white, male writer Stefan Schumacher called “It’s Finally Time to Stop Caring About Lauryn Hill.” In it, Schumacher writes about what he calls “Hill’s erratic behavior, paranoid, and overt religious fixation” and levels the pretty weighty claim that Hill’s dealing with “something more akin to mental illness.” Schumacher writes:
It occurred to me that, as great as Miseducation and The Fugees’ The Score are, they’re part of a distant past. Lauryn Hill was a great artist. She’s not anymore and it’s time we stop holding her in that regard, waiting for her to pay off on a promise that’s long since expired.
Talib Kweli doesn’t agree. In a response on Medium, the rapper makes the case the artists are not products and Lauryn Hill’s personal life is none of her fans’ business:
When you pay for a Lauryn Hill concert you are not paying for her to do what you want, you are paying for her to do what she wants. She is not an iPod nor is she a trained monkey. She doesn’t have to do her hits and she doesn’t have to do the songs the way you want to hear them. She doesn’t owe you that. The world does not revolve around you, and you ain’t gotta like it. Get over yourself. If you have a negative experience at her concert, go home, put on The Miseducation of Lauryn Hill and the next time she does come through your town, don’t go to her concert. Problem solved. Just because you had a negative experience at a Lauryn Hill show doesn’t mean her contribution to the world is invalid or deserves to be disrespected.
But even for those who agree wholeheartedly with Kweli’s points, not all of Hill’s critics are totally off base. For instance, take the anti-gay lyrics in one of her most recent songs from last summer, “Neurotic Society,” in which she compares “social transvestism,” “drag queens” and “girl men” to “pimps,” “pushers,” and “serial criminals.” In a written defense of the song, Hill wrote on her Tumblr: “Everyone has a right to their own beliefs,” she wrote. “Although I do not necessarily agree with what everyone says or does, I do believe in everyone’s right to protest.”
Those are words that more or less prove Kweli’s point: Hill is a person, not a product, and fans don’t have to agree with her — or listen.