Racialicious is a blog about the intersection of race and pop culture. Check out our updates on the latest celebrity gaffes, our no-holds-barred critique of questionable media representations. If you've been on the blog, you know how this Tumblr works, too. Including the moderation policy.
Recent Tweets @racialicious
Posts tagged "Diversity"

As per my mother’s rule, I read all six of Addy’s books before being gifted the doll. But unlike Felicity’s, I didn’t often revisit them for pleasure. In my constant search for American historical fiction with protagonists of colour written for young readers, I often come across the same problem I did when I was younger: it’s all really depressing.

…White characters not only get a wider variety of books to choose from, but books in a wider variety of settings. Characters of colour in American hist-fic tend to exist strictly within certain boundaries of time or not at all. African-Americans exist within the boundaries of slavery, the Jim Crow South, or the Civil Rights movement. Native Americans exist in the mythical west until about 1870 or so, Asian-Americans exist during World War 2, only in the west (and only from Eastern countries), and I had to reach out to our followers to fill in the gaps my childhood reading material left when it came to Latin@s.

…This isn’t to encourage the erasure or minimalisation of the realities that people of colour have historically faced, but rather a desire for authors and publishers to realise that all of us existed in America outside the times of our most publicised oppressions. And that, even during the most difficult times, we still had lives that didn’t necessarily completely revolve around the overhead political themes of the day.

Today on The R, Kendra’s talking young adult historical fiction and handing  out some book recs that might make history a little more enjoyable for young readers.

You are putting your responsibility at the feet of marginalized people when you ask for nebulous “permission.” Please stop doing that. It’s not an okay thing to do. It is NOT the responsibility of marginalized people to pat you on the back and tell you that you’re a good person, you’re doing okay, and not to feel bad. Don’t put that on them. NO ONE can give you some kind of magic blanket “okay” on your writing, ESPECIALLY when they’ve never read it.

That’s perhaps what bothers me most… asking people to tell you it’s okay for you to write something when they have absolutely no context or idea of how you write. They don’t know if you’re going to research. They don’t know if you’re going to write stereotypes. The real answer to this question is always going to be I don’t know, it depends on how it’s done.

Today on the R we’re discussing what makes a ‘black film’ a black film. Leave your thoughts here or over on the main site:

Every so often it pays to check in on the current “Black Film” rubric– ie, What makes a Black Film a Black Film? It’s a question I found myself struggling with as I wrote about Dear White People last week and realised that I couldn’t bring myself (and director Justin Simien didn’t want his audience) to stick it in the same category of Madea’s kooky and poorly directed adventures. But why is that?

Like a lot of popular movies that fall into the Black Film category Dear White People has a majority black cast, a black director, and deals with subject matter meant to resonate with a Black audience. Yet even beyond being an Indie, it’s clearly a different beast than 2014′s well performing Ride Along which seems to more easily fall into the traditional Black Film category. Making comparison and thinking about other movies that also seem to fall without question into that category -let’s consider movies like The Best Man series, theBarbershop series, and romcoms in the vein of Think Like a Man or Why Did I Get Married- I started to wonder if maybe it becomes a question of quality.

To include quality on the rubric is clearly problematic, leaning towards the implication that to be placed in the Black Film means to be a bad film. But do we place 12 Years A Slave in that same Black Film category? What about The Butler? They fall under the drama genre, but so do movies like Stomp The Yard, ATLCoach Carter, or The Inkwell; a group of enjoyable, if otherwise unnotable films, with black directors and casts found under the “Urban Drama” category on Amazon . (Urban Drama being another way of saying “a drama with Black people in it.”)

Does it really come down to a question of quality with, perhaps, a side of pedigree- films nominated for multiple awards in various categories? It’s a tricky qualifier. Stomp The Yard with white protagonists is called Bring It On and it’s a comedy or a teen movie, not a “white film”. Coach Carter is called Hoosiers or Miracle and again it’s not a white film, it’s a sports drama. The Inkwell becomes a drama/romantic comedy directed by Nancy Meyers, starring Meryl Streep, and… well, you can see the trend. There’s no real need to recategorise any of these films as “Black” or “Urban”, but for some reason we do.

But what if beyond the merits of the cast, director, subject matter, and relative quality, it’s a simple matter of character relateability? White viewers are conditioned with the societal requirement that it’s necessary to at least pretend to empathise with the Solomon Northups of the world. The Kenya McQueens? Not so much. With that we’re left with a qualifier almost more insulting than the question of quality. While Black audiences are expected to relate and empathize with white characters in films regularly, the moment we ask them to do the same for us suddenly it’s a Black Film. In that case, the categorization is almost left up to the white viewer alone.

So is it cast/director, subject matter, quality, or a question of white audiences being unable to empathise with characters who look nothing like them? What actually makes a Black Film? Thoughts?


'SNL' adds 2 female African-American writers

"Saturday Night Live" is adding two African-American female writers, in addition to the previously announced new African-American woman cast member, The Hollywood Reporter has learned.

The long-running series faced criticism that its most recent new cast lacked diversity, specifically that there were no African-American women. SNL previously announced Sasheer Zamata will join the cast on Jan. 18.

(via popculturebrain)


Ms Marvel #1
Story by: G. Willow Wilson
Art by: Adrian Alphona
Cover by: Sara Pichelli
Publisher: Marvel Comics
Cover Price: $2.99
Release Date: Wed, February 5th, 2014

The legend has returned!

Marvel Comics presents the all-new MS. MARVEL, the ground breaking heroine that has become an international sensation! Kamala Khan is just an ordinary girl from Jersey City—until she is suddenly empowered with extraordinary gifts. But who truly is the all-new Ms. Marvel? Teenager? Muslim? Inhuman? Find out as she takes the Marvel Universe by storm, and prepare for an epic tale that will be remembered by generations to come. History in the making is NOW!

Preview of Ms. Marvel #1 (featuring a 16 year old Muslim superhero from New Jersey) via. Wired.com

(via fyeahlilbit3point0)

Sasheer Zamata Joins ‘Saturday Night Live’ As New Cast Member: 

“Three years after she graduated from the University of Virginia, Sasheer Zamata is landing a very big break — the young comedy performer has been selected to join Saturday Night Live as a new cast member. Zamata will make her debut on the venerable NBC late-night sketch comedy series on its next live show slated for January 18 with Drake as host and musical guest. Zamata, who trained at the Upright Citizens Brigade Theatre in New York, becomes the first black female Saturday Night Live cast member in five years since the departure of Maya Rudolph.” — via Deadline.com

Sasheer Zamata Joins ‘Saturday Night Live’ As New Cast Member

Three years after she graduated from the University of Virginia, Sasheer Zamata is landing a very big break — the young comedy performer has been selected to join Saturday Night Live as a new cast member. Zamata will make her debut on the venerable NBC late-night sketch comedy series on its next live show slated for January 18 with Drake as host and musical guest. Zamata, who trained at the Upright Citizens Brigade Theatre in New York, becomes the first black female Saturday Night Live cast member in five years since the departure of Maya Rudolph.” — via Deadline.com

Yes yes, y’all! Actor and graphic novelist Erika Alexander (you may know her as Living Single's Maxine Shaw) approached the R to cross-post the very first post on her blog, Showbiz Is Glamorous—and we were thrilled to do so!!!

Check it out:

Why did I write an episode of Mad Men with Negroes? And by that I mean with “Negro” characters in it, not with.

Not that there’s anything wrong with that.

Anyway, why did I write an episode of TV that I know will never be made? 

ThoughI work as an actress and have pitched and sold a television series or two in my time in Hollywood, I’m not a writer on Mad Men, so this episode won’t appear anywhere but here. Why, then? And why negroes? Aren’t we finished with all that? In honor of the Season 6 premiere, let me tell you about it.

I like Mad Men. A lot. I like the subject matter (advertising); I like the cast (Don Draper is hot); I like the look (sexy Eames meets Op Art); I like the writing (Matthew Weiner is a storytelling beast). I love the writing.

I have only one issue with Mad Men (OK, with a bunch of shows, but let’s stick with this one): I’d love to see more diversity. I’m a Black actress, so diversity is an issue that comes up for me. A lotMad MenGame Of ThronesGirlsVeep–these are cool shows, except for the fact that they would really rock with more people of color, series regulars or otherwise. I complain, wtf?…and bemoan, WTF!…but alas, for all my years in TV, I’m not able to make a difference in my own living room. Or am I?

The rest of the post is here, including a link to the script. Enjoy!

A March 14 Media Matters story entitled How Chris Hayes’ Show Differs From Other Sunday Shows In One Chart offered this info-graphic to support their contention that Hayes’ weekend TV political magazine, Up, “has provided much-needed diversity“ of race and gender to television political programs.

Now, I’m not trying to minimize the accomplishment indicated by the graph. In fact, some of those “diverse” people who appear on Up are friends of mine. But uncritically trumpeting these numbers is indicative of a problem with the media and how it addresses race that even shows like Up are often guilty of. Here’s what I mean.

The “diversity” Media Matters lauds is far from robust. For one thing, the people of color represented in this graph are, in the vast majority, black. That’s not a problem in and of itself until you consider how those who are not black are represented on Up.

ChangeLab pulled the transcripts of seven weekend political programs televised between January 1-June 30 of last year. The shows included Face the Nation, Meet the Press, State of the Union, This Week with George Stephanopoulos, Fox News Sunday, Up with Chris Hayes, and Melissa Harris-Perry.* Over this six-month period, these seven programs aired 169 episodes.

In those 169 episodes, Native Americans were never mentioned at all. They weren’t just left off guest lists. Words to describe them were never used. Now you might argue that the way these shows define “politics” is at issue here, and not a conscious bias against Native Americans, but the impact is the same. By leaving Native Americans off the agenda, we contribute to one of the most insidious means of conquest of Native America – making Native Americans disappear. We make native people disappear in many ways, not least by imposing blood quantum restrictions that lead to tribal termination, and by treating native people and their issues as if they are irrelevant to contemporary (non-native) American life.

This disappearing act was as evident on Up as on every other Sunday show, making Media Matters’ “diversity” virtually meaningless to Native Americans.

So the other week, Lucy Liu was under fire for her comment on David Letterman’s show about how she looks “a little Filipino” when she tans. Although Lucy has already apologized, a number of people are unsurprisingly still offended by the comment. The funny thing is, it’s not so much of an issue of ignorance as it is about cultural exposure. In the northern Philippines and parts of the south, there are light-skinned people who look Northeast Asian; in southern China, there are dark-skinned people who look Southeast Asian (Malay like some of the people found in the Philippines, Cambodia, Thailand, and Indonesia), and to the west in Xinjiang, some have blue eyes and “white” skin.

It all comes down to the question of diversity that many have a million answers to, but don’t ask enough questions about. Yes, it’s known that Asia is a continent and a region, with a myriad of cultures, languages, and ethnic groups. The ones who make up Asian America, however, are only a small sample of that diversity from each country. The groups who have immigrated to North America historically reveal that it’s not just the melanin level that defines their dark or light skin, but social classes too.

In short: when people in North America think of Filipinos, they think “dark skin” and when they think of Chinese, they think “light skin” to the point a Taiwanese friend said to me “I’ve realized Filipinos are really just dark-skinned Asians,” which puzzled me a bit as I took the time to process that. Why does it puzzle me? Because it assumes that “normal” Asians have light skin–which means that non-Aryan Indians (a large segment of India) and much of South Asia is not “normal” and this is a frighteningly common misunderstanding, especially within Asian America.