On “Our World with Black Enterprise“, hosted by Dr. Marc Lamont Hill, we discussed the current state of Hip-Hop and it’s future, with Hip-Hop artist Pharoahe Monch, Dr. Tricia Rose, chair of the Department of Africana Studies at Brown University and myself. I still believe it’s the best of times and the worst of times in Hip-Hop.
Chicago has officially reached 500 homicides in 2012, after a fatal shooting on the city’s West Side yesterday.
The shooting happened just a few hours after the CPD announced the city was one murder away from reaching the horrific figure.
The last time Chicago logged 500 homicides was in 2008. Last year, the city had 435.
The Catholic Church lead by Pope Benedict XVI continues to spew out homophobic teachings as he (a man disconnected by at least 5 generations) called me “unnatural.” As the Pope ironically celebrated his pagan holiday by lighting a Christmas tree, he also used the stage as an opportunity to tell women what they could and couldn’t do with their bodies, and to tell the LGBTQ community what the boundaries of love are.
A new reality tv show will focus on the lives of Shawty Lo and his ten baby mommas; with whom he has eleven kids.
The show is supposed to detail the constant drama of ten women vying for the attention of Lo, who also has a girlfriend the same age as his oldest children.
Set to air on Oxygen next year, many are calling it a new low for reality tv.
Although Quentin Tarantino’s Django Unchained, starring Jamie Foxx, had an impressive $15 million draw at the Christmas box office, Spike Lee was not one of the moviegoers to purchase a ticket.
Lee refused to see it on the basis that it was “disrespectful.”
Lee gave Vibe and his Twitter followers his two cents on the film:
Students who attend certain high schools in Philadelphia will have easier access to condoms.
Condom dispensers have been placed in schools with high rates of sexually transmitted infections.
The dispensers are located in the nurse’s office, and the condoms are free.
Django is a film that’s been pivoted as an answer, when it raises more questions than anything. Should it be viewed within its historical significance, and the extent to which it can portray the horrors of slavery while reinvigorating a moment in history that many find irrelevant and antiquated? Or rather, should it be divorced from its political implications, and viewed primarily as a work of art that allows audiences to immerse themselves within its riveting sensory and cathartic pleasures? Moreover, how are we to reconcile another white director’s ahistorical foray into America’s traumatic racial histories? Regardless of the questions it poses, Django has been shockingly well regarded, and has not been given the rigorous critical attention that it merits. Undoubtedly, Django is a good film, but it is my intent here to unearth some of Django’s more problematic dimensions, and provide some much needed criticism to what is at least an interesting film.