Amoeblog

New Orleans Block Party - Bounce Music goes to SXSW 2010

Posted by Eric Brightwell, February 18, 2010 09:04am | Post a Comment

This looks incredible. South By Southwest is hosting a bounce music showcase. This is your chance to experience some of the biggest talents to come out of the New Orleans Rap scene.

Although they made their pledge goals, you can still donate and get various merchandise. Now I may have to go to SXSW for the first time.

THE BOUNCE 

Partners-N-Crime DJ Jubilee

PNC were one of the star attractions at Big Boy Records in the '90s and were pioneers of that gangsta bounce sound. Jube is the glue that holds Take Fo' Records together and the man who wrote "Back That A$$ Up," among many other classics.

Magnolia Shorty has released several bounce classics, my favorite being "Monkey on tha D$ck" when she was on Cash Money Records.

THE SISSY

Katey Red , Big Freedia and Vockah Redu

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Moving beyond bipolarity - da meeja, favoritism, fairness and equality

Posted by Eric Brightwell, February 17, 2010 11:25am | Post a Comment
Just a little pie chart to ponder... First, the demographic percentages of the US's major minority populations:

US demographics 

...versus the google results for their respective national, month-long cultural observances.

Cultural observance month google results

...which suggests that, as I assumed, Black History Month is far more of a concern than Hispanic Heritage Month, Asian Pacific American Heritage Month and Native American Heritage Month. Black History Month is all good, but why not recognize the rest? And, although not a minority, Women's History Month deserves some recognition too... as does Gay Pride Month. This year of the tiger, resolve to move beyond bipolarity! 

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Black Cinema Part III - the TV age and beyond

Posted by Eric Brightwell, February 15, 2010 12:42pm | Post a Comment
This is the first installment in a three part history of early Black Cinema.
To read Part I, covering the independent Race Movie years of the 1910s and '20s, click here
To read Part II, covering the Hollywood Studio years of the 1930s and '40s, click here



In American silent films, minority roles were almost invariably filled by white actors in exaggerated and offensive make-up. Latinos in silent films usually played greasers and bandits; Asian-Americans usually played waiters, tongs and laundrymen; and blacks usually played bellboys, stable hands, maids or simply "buffoons." Not surprisingly, both Asian-Americans and blacks responded by launching their own alternative silent cinemas. But whereas Asian-American Silent Cinema quickly faltered, silent, black "race movies" flourished. In the 1930s and '40s, Hollywood began to phase out the practice of blackface (while continuing the practice of redface and yellowface) and successfully wooed race movies' sizable and thus profitable audience. By the 1950s, with its enormous budgets and star power, Hollywood had effectively co-opted and destroyed the independent Black Cinema known as race movies. The result was that there were far fewer examples of Black Cinema in the decade. In the years that followed, as TV chipped away at film’s dominance, a few black actors began appearing on the small screen in shows like Beulah (1950-1953) and The Amos 'n Andy Show (1951-1953) which, whilst hardly socially progressive, at least offered more acting opportunities for black actors.

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Los Angeles' Pan-African Film Festival ...a year heavy on Nollywood and South African films

Posted by Eric Brightwell, February 12, 2010 03:46pm | Post a Comment
Pan African Film and Arts Festival
Los Angele
s’s Pan-African Film Festival is currently in effect (February 10-17). I have a long-lasting love-hate relationship with it. On the one hand, their website (despite improvements this year) remains hard to navigate, is rife with typos, incomplete information and omissions. In other words, it’s inexcusably bad. How about a calendar, folks? 

In addition, every year I take issue with the selection of films. The programmers have a very odd definition of “Pan-African.” Last year was the worst, with the focus on the African diaspora coming at the expense of even a single African feature. Thankfully, this year there are several African features but still some questionable choices. It’s nice to see films about Africa’s many-but-usually-ignored non-black people, such as Finemachiyamoché, about Moroccan Jews, and Florida Road, starring members of South Africa’s sizable south Asian population. On the other hand, Forgotten Bird of Paradise, about Papua is, regardless of its possible merits, an embarrassing example of the organizers' colorist, transracialist equation of African-ness with pigmentation rather than actual African ancestry. The inclusion of an Iranian film, The Stoning of Soraya M., is a real head-scratcher. Are they equating Islam with African-ness now? Another odd choice is Darfur, directed by German hack Uwe Boll (BloodRayne 3, House of the Dead, Postal Zombie Massacre and other garbage).

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Black Cinema Part II - Race Movies - The Hollywood Studio Era

Posted by Eric Brightwell, February 7, 2010 12:13pm | Post a Comment

This is the first installment in a three part history of early Black Cinema.
To read Part I, covering the independent Race Movie years of the 1910s and '20s, click here
To read Part III, covering the TV Age of the 1950s and '60s, click here


In the silent film era, most roles for minority characters were filled by white actors in make-up. As a result, Asians and blacks began making their own, alternative cinemas. But whereas Asian-American silent film quickly faltered, black silent film flourished and a great number of race movies were cranked out to eager and under-served black filmgoers. 

By the 1930s, though yellowface and redface continued to be common practice, blackface began to disappear from the mainstream as Hollywood began efforts to woo the audience it had previously been content to insult. This meant there were many new opportunities for black actors, albeit mainly as musicians, porters, chauffeurs, waiters, hat check girls, maids, bootblacks, convicts, bartenders, bone-through-the-nose Africans or buffoons. Because of the improving but still less-than-satisfying opportunities afforded by Hollywood, many black actors supplemented their Hollywood bit parts with simultaneous careers in race movies.

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