sandandglass:

Wayne Allyn Root - seriously, look his face in the last gif. 

No one’s laughing.

Racialicious Crush Of The Week: Sonia Gonzalez-Martinez

image We talk a lot about the creative team behind movies, TV shows, and webisodes. We got the opportunity to actually interview someone who’s a part of that team: film editor and director Sonia Gonzalez-Martinez. As mentioned on the R’s main blog, she’s edited the work of director Byron Hurt and actor/director Vin Diesel. And, as a director, she told the stories of stickball players in Bragging Rights: Stickball Stories. And she was gracious enough to chat with the R about racism in the industry, the representations of people of color in documentaries, and the fillmmaker’s responsibility.
 
In editing documentaries, what have you noticed about the representations of people of color in them? Is that something an editor has a hand in shaping?
 
The editor of color definitely brings their consciousness to editing decisions. I’ve never been asked tomake questionable decisions regarding people of color in any of my work, thank goodness, because every filmmaker I worked for was conscious and political. On “Passionate Politics: The Work and Life of Charlotte Bunch,” filmmaker Tami Gold, who is white and Jewish, was VERY conscious about the inclusion of women of color in her film about a white feminist. Her number one priority was to unpack the race issue of this white feminist who traveled to Africa and Latin America so that she wasn’t seen as a ”missionary” in the negative way because that is not who Charlotte Bunch is. As an editor, I do bring my lens of being a woman of color to every project I work on to make sure the shaping of the footage is as respectful to whatever subject matter we are dealing with.
 
You’re also a director. Why did you make that transition? And, again, how have –isms and –phobias impacted/still impact your work?
 
As a young person, I was an activist involved in anti-police brutality campaigns, in media literacy work, and in deconstructing images for the Latino community so that we, as a whole, can betterunderstand how imagery shapes perception. And filmmakers of color are sometimes guilty of stereotyping too. I was very entrenched in political work and because of that felt an obligation to make “political” media.
 
However, the genre that got me most excited was/is comedy. I finally gave myself permission a few years back to feed this muse and understand that this is my way of still being political, by taking life situations and viewing them with a comical lens. Activists wanna laugh too. As in my editing work, I haven’t experienced the isms - just my own fears and hesitation holding me back. Self-doubt is less of a struggle these days. With my partners Tammi Cubilette and Angelo Lozada, we make short comedies under the name T&A. This year, we’re developing longer content. I still edit docs because shaping documentary storytelling helps invaluably with narrative filmmaking. I recommend every editor to edit at least one of their own films; it becomes glaringly apparent what a director needs to make a film when that director has to struggle with putting the pieces together themselves in the edit room. The director, for example, is forced to think about transitions from scene to scene and even within a scene.
 
What stories about people of color would you like to see in a documentary? And, what stories about people of color do you think are overrepresented in documentaries?
 
I can’t really say that there are certain topics that are overrepresented because if they’re constantly being represented, then obviously that issue is not resolved, such as police brutality, rape, poverty and racism. How we tell these stories is where the true creativity comes in. As a Puerto Rican, I do get tired of docs on Puerto Rico that give the historical chronology of PR’s colonial relationship with the U.S.; it’s hard to get around because it’s such an integral part of Puerto Rico’s story and as often as it’s been told, for some reason, Puerto Ricans and the Puerto Rican relationship to the U.S. isstill misunderstood. I would like to see a doc on Puerto Rico across class and political ideology about life IN Puerto Rico. In narrative, I’m impressed by smart and funny comedies such as Black Dynamite, which takes a genre that could both be stereotypical and empowering, and through the intelligent wit of the “author,” the director be a incredibly sharp commentary about the genre, about race politics that’s very engaging, funny and thought-provoking.
 
Anything else?
 
It behooves all of us as filmmakers & craftspeople behind the scenes to know our cinematic history, as well as our people’s history. Know the pioneers such as Oscar Micheux, Gordon Parks, Lourdes Portillo, Christine Choy, among many others so that we know the struggles that they faced as filmmakers and the topics they tackled, which often are still the same issues we’re dealing with today. Also to state the obvious, know your craft, the history, the trends, what’s coming next. As an editor, I meticulously study narrative and docs, watching and studying every aspect of that particular film. I read interviews on the making of, I watch films closely to study the mise en scene, the edits, the structure. I even study the work of my peers, like T. Woody Richman, Carla Gutierrez and Geeta Ghandbir—not just to bask in pride for them but to appreciate and learn from their mastery, since we all came up together as young filmmakers. It’s exciting to watch us all make our imprint in this industry with as much love, dedication, and consciousness as we do.
 
 
Sonia Gonzalez-Martinez will talk about her work as a film editor and filmmaker at Maysles Cinema in Harlem, NY, on Tuesday, April 2, at 7:30PM. Check here for tickets and more information about the event.

"

Grace Lee Boggs, the 97-year-old feminist, activist, and philosopher, was born in the United Stated in 1915 to Chinese immigrant parents. Boggs earned her PhD in 1940; these credentials were no shield against discrimination based on her Chinese ancestry. When Boggs married African American activist James Boggs, over a decade before the Supreme Court of the United States invalidated laws prohibiting interracial marriage, she made the choice to add his name to her own. Their marriage would last until James Boggs’ death 40 years later.

In observing debates around the politics of naming, especially when it comes to gender, I often think of Boggs. Someone who knows little of her life and politics, or of intersectionality, might judge Boggs’ last name as an acceptance of a patriarchal naming tradition that privileges men. But is it?

The argument could also be made that by adding the last name of her black husband to her own Chinese name Boggs was putting into personal action the political solidarity between people of color traditionally pitted against one another by white supremacy. Perhaps her acceptance of the name was even a revolutionary act that flew in the face of the laws of a country that said race must determine whom you choose to love?

Or maybe, in 1953, a deeply political Chinese American woman marrying a black man simply had bigger fish to fry than worrying about her last name? Of course, these arguments are just as much speculation as the first. Still, I’d argue it is Boggs’ life-long record as a thought leader in the labor, civil rights, women’s rights, and environmental justice movements that actually defines her identity.

Boggs put into action hooks’ concept of ideas over identity long before the rest of us even started talking about it. That’s an example that could do us all some good.

"

—In all of the recent controversy about what women should and shouldn’t be doing with our last names, I think Dr. Sarah Jackson echoes my sentiment. Check out what she said on the R today!

angryasiangirlsunited:

deafmuslimpunx:

Wan Ting Zhao and Daniel Deivison Oliveria in The Nutcracker, San Francisco Ballet, 2012.

I love this picture because I have never before seen a ballet related photo were the “couple” is interracial and none of them are white.

angryasiangirlsunited:

deafmuslimpunx:

Wan Ting Zhao and Daniel Deivison Oliveria in The Nutcracker, San Francisco Ballet, 2012.

I love this picture because I have never before seen a ballet related photo were the “couple” is interracial and none of them are white.

thesmithian:


The cover stands out for its cast of black and Hispanic caricatures with exaggerated features reminiscent of early 20th century race cartoons. Also, because there are only people of color in it, grabbing greedily for cash. It’s hard to imagine how this one made it through the editorial process. Compounding the…problem with the image is the fact that race has been a key backdrop to the subprime crisis. The narrative of the crash on the right has been the blame-minority-borrowers line, sometimes via dog whistle, often via bullhorn…the record is clear: minorities were disproportionately targeted by predatory lending, which has always gone hand in hand with subprime. Even when they qualified for prime loans that similar-circumstance whites got, they were pushed into higher-interest subprimes…minority borrowers were disproportionately victimized in the bubble. But BusinessWeek here has them on the cover bathing in housing-ATM cash, implying that they’re going to create another bubble.

more, at the Columbia Journalism Review.

thesmithian:

The cover stands out for its cast of black and Hispanic caricatures with exaggerated features reminiscent of early 20th century race cartoons. Also, because there are only people of color in it, grabbing greedily for cash. It’s hard to imagine how this one made it through the editorial process. Compounding the…problem with the image is the fact that race has been a key backdrop to the subprime crisis. The narrative of the crash on the right has been the blame-minority-borrowers line, sometimes via dog whistle, often via bullhorn…the record is clear: minorities were disproportionately targeted by predatory lending, which has always gone hand in hand with subprime. Even when they qualified for prime loans that similar-circumstance whites got, they were pushed into higher-interest subprimes…minority borrowers were disproportionately victimized in the bubble. But BusinessWeek here has them on the cover bathing in housing-ATM cash, implying that they’re going to create another bubble.

more, at the Columbia Journalism Review.

(via secretarysbreakroom)

"

What does casual racism look like in LGBTQ spaces? A lot like casual racism everywhere else.

Casual racism thinks mixed race people are “exotic,” penis size is determined by race according to “some studies” that probably don’t exist, black women are aggressive, and just about every other common racial stereotype under the sun.

Really, stereotypes fuel casual racism in all its forms.

Casual racism also thinks that LGBTQ people have transcended all responsibility for dealing with racial issues.

For example, if you’re a queer person of color who wants to vocalize a racial concern in a predominantly white queer space and casual racism rears its head, you could be accused of being divisive (extra irony points if you were pointing out divisiveness that actually exists).

Sometimes casual racism masquerades as inclusion or open mindedness. For example, there are some gay people who go out of their way to date someone of another race just to say they’ve done it.

Such gays then receive the Congratulatory Cookie of Open Mindedness from people of color for letting us sleep with them.
But not really, because dating someone because of their race is as ridiculous as rejecting someone because of their race.

The same applies to predominately white gay groups that go out of their way to snag token people of color (oblivious to the fact that these spaces don’t always feel inclusive to the people of color in question).

Tokenism may seem progressive on its surface, but it’s really just another form of othering.

So if you see casual racism, remember it. And talk about it.
Notice if you’re ever guilty of it and, if you are, take responsibility for it.

I would say explain it to other white LGBTQ people, but it’s frustrating when it takes a white person saying the same thing people of color have been saying for ages to convince other white people to change their actions.

Instead, tell them to take the race related concerns of LGBTQ people of color seriously – as in listen to us.

As LGBTQ people, we get silenced all the time, told we’re too sensitive, told not to flaunt our sexuality.

Sexual minorities of color can find themselves silenced further when their concerns about race are dismissed by the predominantly white, mainstream LGBTQ community.

Let’s keep working to change that.

"

— Jarune Uwujaren, “How White LGBTQ People Can Be Inclusive Of People Of Color,” Everyday Feminism 2/5/13

"

Fatwas have caught the fancy of the people worldwide and is popularly used by media, to project Islam as a misogynist religion with impractical restrictions. Zakir Naik, in his speech on the subject, explains why Muslims or Ulemas should not be giving so much importance to Sania Mirza’s dress code. Naik speaks about the importance of “diluting” the global effect of labeling Sania Mirza’s dress code as Haraam for the sake of a positive representation of Islam in the media. He further says that she is a “lesser sinner” than Muslim male cricketers who do not offer Salah at all. However, he also mentions her world ranking is “only” 34th and doesn’t deserve all the attention it is garnering.

In another related article, Dr Mookhi Amir Ali, while stating that he has better work to do than follow Sania Mirza’s career, goes onto say that she should have used her stature, as a successful Muslim woman, to question the short skirts and bring modesty into the game. She also should have worn a wrap right after the game was over, or chose not to wear the tennis dress, in all the advertisements she was featured in–the very advertisements which chose to feature her because she was a tennis star. The only attribute which will make her a good Muslim, according to him, is if she brought about any changes in the accepted “dress codes” for women in professional tennis.

Sadly, in the Islamic world, a Muslim woman’s piety is often closely related to her dress code. If she misses a prayer or a fast, not many go berserk as they would if she doesn’t wear a hijab. Does being a good Muslim woman begin and end with a hijab? Are Muslim women defined only by their modest dress codes alone? By mentioning that she is a “lesser” sinner, and by repeatedly saying that “at least” she offers Salah, Naik, while diluting some of the hype around her clothing, still suggests there’s a sense of shame in Sania Mirza being Muslim.

"

— Muslimah Media Watch’s Izzie wrote this great post on tennis star Sania Mirza and what she “means” to both the tennis world and to Indian Muslims! Check out the rest of it on the R today! 

Parks and Recreations’ Aziz Ansari shuts down a microaggression on the Golden Globes’ red carpet.

(H/t yayponies)


(Source: cantgetnoworseee)

afrokinkx:

你有没有在做梦? Are you dreaming?

你有没有在穿东西? Are you wearing anything?

你有没有梦过这心话? Have you ever dreamed of these words?

你好。Hey.

我爱你。I love you.

我爱你。I love you.

(via fuckyeahinterracialromancenovels)

(**TRIGGER WARNING: Anti-Mexican racism**)

You’ve probably seen her art—or even used at a rally! Meet artist/activist Favianna Rodriguez, co-founder of Presente.org who, among other campaigns, help oust Lou Dobbs from CNN. Part 2 of her story and the larger story of migration is here, and part 3 is here