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The 2018 Winter Olympics Opening Ceremony has come and gone, and one of the biggest moments from the ceremony was North and South Korea walking into the arena together, united under one flag made specially for the Winter Olympics. But, apart from that historic sight, there was one other moment that caught my eye, a moment I still haven’t gotten over, and no, it’s not the appearance of Tongan flag bearer Pita Taufatofua. The moment that warmed my heart was when the Rainbow Chorus of the Center for Multicultural Korea (CMCK) sang the South Korean anthem.
If you were like me and wondered who these precious kids were, they are members of the Rainbow Chorus of the Center for Multicultural Korea. The chorus is, according to a 2012 article from Korea Magazine, reposted to Korea.net, “the first-ever multicultural children’s chorus in South Korea and comprises children from families with ten different nationalities including Japanese, Filipino, Russian, Iraqi, and Thai.” Professional musicians train the kids for free, and the chorus is often invited to perform for dignitaries, like the world leaders at the 2010 G-20 Seoul Summit, and at other special occasions.
These kids aren’t just fantastic singers; they are also ambassadors for South Korea’s growing multiculturalism. “The chorus is vitally important to its members—such innocent children who freely mix with one another regardless of nationality and physical features—and provides valuable opportunities for its audiences to better understand what a multicultural society is like,” states the magazine.
Clutching at multiculturalism
Getting a grasp on multiculturalism is one of South Korea’s biggest policy projects. The country is steadily becoming a nation of immigrants; as Korea Magazine wrote in 2012:
“More than 45 million people left and entered South Korea in 2011 alone, and the number of foreigners staying in Korea topped 1.4 million. Yes, Korean society is rapidly going multicultural. Of these 1.4 million, 1.1 million are long-term immigrants, representing 2.2 percent of the Korean population. Nearly 49 percent of them are Korean Chinese who moved back to their ancestral fatherland, followed by Americans at 9.5 percent, Vietnamese at 8.3 percent, and Japanese at 4.2 percent. This surge in foreign settlers in Korea can be attributed to increases in the numbers of migrant workers, marriage immigrants, children born to multicultural families, Korean nationals returning from abroad, and North Korean defectors to South Korea. As South Korea becomes racially and culturally more diverse, the national, local, and municipal governments have been devising new policies to embrace them as members of Korean society.”
The chorus is just one part of South Korea’s arts and culture strategy for welcoming in immigrant families. The Sejong Cultural Center created the Sejong Youth Harmony Orchestra in 2011, offering children from multicultural and low-income families the chance to gain orchestral experience.
South Korea is among a group of Asian countries that are seeing a dramatic decrease in their population; fewer and fewer people are marrying and having children for a host of reasons. However, unlike its neighbors, South Korea is actively welcoming immigrants to help fix their population problem.
“There is real immigration going on that is supported, facilitated, advocated by the South Korean government,” Katharine Moon, chair of Korean Studies at the Brookings Institution, said to NPR’s Elise Hu. As such, South Korea is working overtime to bring the country together on multiculturalism.
Honestly, many Asian nations are coming to terms with the realities of multiculturalism in their populations whether they endorse multiculturalism or not. There have been mixed results, to put it mildly; China, for instance, is becoming more insular and nativist, with racist agendas launched against its African immigrants. South Korea has its share of racism to contend with, too–because South Korea has no anti-discrimination laws in place (measures to pass laws have failed three different times due to outcries from far-right Christian groups, who cite sexual differences as reasons for discrimination), there is no recourse a foreigner can take if they are discriminated against. Indeed, several bars and other recreational spots have denied foreigners entry based on a host of xenophobic and/or racial reasons.
Also, diversity in the political sphere has been met with animosity. Jasmine Lee, an actress from the Philippines who found success in South Korea in entertainment, launched a successful political career and was elected into the Korean National Assembly in 2012. As the first naturalized South Korean and first non-ethnic Korean to be elected, she served until 2016, and throughout her tenure, she received tons of racist comments, despite the swell of support from citizens propelling her to her assembly seat. Even with the hardships she’s faced, she is certain South Korea will have to understand its place in a multicultural future.
“There’s a chance that they won’t reconsider me for my congressional post. But in 10 to 20 years, as long as the borders are not shut, Korea will definitely have become a multicultural society. However, there’s no law or regulation which addresses the imminent multiculturalism,” she told Huffington Post Korea’s Dohoon Kim in 2015. So my goal is to establish within the next 10 years a sort of congressional department that can oversee such a development from a legal and policy standpoint.”
Taking multiculturalism seriously
South Korea has a long way to go with their project of creating a country welcoming and hospitable to all of its citizens, both native and immigrant. But the country has put itself on the fast track towards a unified South Korea, and multiculturalism is something the government sees as one of the top priorities.
“Few countries take multiculturalism as seriously as Korea does. While most countries have vague and ambiguous multicultural policies consisting of either forcing immigrants to assimilate to the local culture or allowing immigrants to integrate while keeping their traditions, Korea has come up with a new concept: tamunhwa,” wrote The Diplomat in 2014. “Tamunhwa means multiculturalism in Korean, and the basic idea is for Koreans to learn as much as they can about immigrants’ original culture while setting up as many cultural immersion programs as possible for immigrants. With foreign residents now accounting for nearly 3 percent of the population of a country that long defined itself as homogeneous, Koreans are taking multiculturalism seriously.”
Along with 2008’s passing of the Multicultural Families Support Act and the creation of centers for multicultural families and global centers that cater to foreign spouses, tourists, migrant workers, and foreign investors, citizens are holding meetings at these centers, asking foreign residents how they feel about their lives in Korea and what could be done to make their time more beneficial. “Meetings are held at global centers where foreigners are asked their opinions on what should change in Korea. Korean language and culture classes are offered free of charge,” wrote the site. “Many Koreans are volunteering to teach Korean or to help migrants. Speech contests are organized where foreigners are encouraged to voice their concerns about Korea.”
However, while meetings and centers are increasing multicultural interest, coupled with more and more non-Koreans appearing on popular television shows, Korea still faces an uphill battle towards being equally and consistently hospitable to its immigrant and multicultural populations.
The increase in foreign workers, particularly foreign English teachers, plus pressure from the U.N. and the National Human Rights Commission of Korea, forced South Korea to end a decade-long practice of requiring mandatory HIV tests for teachers in 2017. The test, initially advertised in 2007 as a way to “ease the anxiety of citizens” and “assure the parents” of children taught by foreign English teachers, was, obviously, a sly way to create a catch-all situation for any and all types of discrimination. The test’s popularity was bolstered by the arrest of an English teacher in Thailand for sexually abusing his young students. The teacher in question didn’t have HIV and his crimes weren’t committed in Korea, but because the teacher worked in Seoul before leaving for Thailand, the test was able to garner support.
Teachers, in fact, are one of the biggest drivers of the multiculturalism conversation in Korea. “In a bid to respond to globalization, Korea decided to increase its emphasis on English in curriculums, importing 30,000 teachers in the process. Such teachers often teach less than 30 hours a week and have free weekends, are often young and single, meaning they have a lot of time to spend on the internet,” wrote The Diplomat. “They were the first to draw attention to the issue of multiculturalism and to urge Korea to do something to promote a multicultural society, and they were not always polite about it. Still, they can claim credit to be the first to bring the multiculturalism debate to Korea.”
Some headway is being made with regard to establishments who refuse to serve foreigners. In 2017, Indian student Kislay Kumar received a letter of apology from the owner of The Fountain, a bar in Seoul after video of Kumar being turned away went viral. The letter came after Kumar partnered with the Indian Embassy, who raised Kumar’s case to a department of the South Korean government, and the National Human Rights Commission.
“The letter, from The Fountain’s owner Yoo Seung-woo, reads, ‘First I’d like to apologize for what happened last June. I know nothing I can say can address the hardship you experienced, but nevertheless I’d like to convey my regrets.'” wrote Korea Exposé. “Yoo’s letter goes on to apologize for the ‘immature’ handling of Kumar’s case; Yoo also writes that he has learned a lot from the incident and reflected on how to handle misunderstandings between Koreans and foreigners.”
Kumar, who has since found a job in Seoul in overseas sales and marketing for a laser company, said that while the apology encourages him, there’s still a matter of changing people’s hearts. He hopes his case can be a step towards the Korean government finally passing an anti-discrimination law.
“This one incident can make people cautious about their actions, but it can’t change their mentality,” he said. “It has to come in the textbooks. The mind has to be opened and that has to come through education.”
Spurts of multicultural acceptance amid shortcomings
In some ways to the outside eye (like mine), Korea seems like it’s taking one step forward and two steps back with their acceptance of multiculturalism. But Moon told Linda Poon of CityLab that the country is actually making fast strides to cram tons of multicultural knowledge into a society that has been culturally homogeneous for centuries.
“This is a huge social change for a society that has been homogeneous in so many ways for hundreds and hundreds of years,” said Moon, adding that the Korean national identity is partially founded on the belief that Koreans stem from a “thousand years of ‘pure’ ancestral bloodlines, common language, customs, and history,” and has more recently been founded on reclaiming sovereignty after 40 years of Japanese colonialism before World War II.
Moon wants people to remember Korea’s short history as a democracy. Moon, Poon wrote, “says Korea is still a very young democracy. And Korea’s immigration issues are complex, given its various categories of immigrants. They’re further complicated by an inflow [of] North Korean defectors, who face discrimination in South Korea, as well. And compared to its older and equally homogeneous neighbor, Japan, which also lacks broad anti-discrimination laws and whose prime minister has publicly rejected immigration despite a shrinking population, ‘South Korea is actually on an accelerated route,’ she said. After all, it took U.S. almost 200 years after declaring its independence to enact the Civil Rights Act of 1964.”
In short, Moon is asking us to be patient with South Korea as it figures out its place in a multicultural society. As a nation grappling with a changing social and national identity due to globalization, it shouldn’t be a surprise South Korea is going through what can generously be called a challenging growing phase. But for some, I’m sure, patience is wearing thin. However, with organizations like the Rainbow Chorus, Korea is determined to show itself and the world it’s determined to move in the right direction, regardless of how many mistakes are made along the way. One place where multiculturalism is succeeding is in the “borderless village” of Wongok, which is home to 17,000 residents, two-thirds of which are non-Korean.
While much of Korean multiculturalism is built upon complete assimilation into Korean culture, Moon told Hu that Wongok is actually employing “true multiculturalism…mixing and blending and fusing of different languages, cultures, customs.”
Kim Young-sook, a teacher and multicultural coordinator at Ansan West Elementary School, told Hu the school acts as a place where kids can learn more about each other and their respective cultures. “[In] places with multicultural kids, the kids can interact with each another and get into conflicts with one another and break prejudices.”
Kim also said her interactions with the kids have helped her break some of her own prejudices. “Multicultural people are people that Koreans have to work together with to make Korea into a better country,” she said. “Wongok Village is what Korea will look like in the future.” The lesson the children have taught her, Hu wrote, is that “they relate to one another as peers–not as different peoples.”
It’s this principle that Korea hopes the Rainbow Chorus represents to the world. The country still has tons of challenges to surmount in order to achieve true multiculturalism; even the entity of the Rainbow Chorus itself has been critiqued. In her Seoul Journal of Korean Studies paper “The Rainbow Chorus: Performing Cultural Identity in South Korea,” researcher (and mother of a Rainbow Chorus member) Hilary Finchum-Sung asserts the use of the chorus as proof of South Korea’s multiculturalism is part of the country’s mixed-messaging when it comes to multiculturalism; on the one hand, multiculturalism is becoming more and more discussed in South Korea’s popular media. However, stereotypes about multicultural children and families–that they’re poor and inferior to “real” Korean children–still remain. The Rainbow Chorus could be seen as a genuine outlet for growth and understanding; according to Finchum-Sung, the CMCK was founded by former broadcasting radio announcer Yi Hyonjong and her colleagues after realizing few programs in South Korea catered to children’s emotional and social welfare. But the chorus can also be seen as performative, a PR stunt to showcase a quick and easily digestible version of multiculturalism that plays on genuine empathy as much as it does existing harmful tropes.
However, regardless of South Korea’s failings when it comes to grappling with multiculturalism, a positive message can be taken from seeing a bunch of kids singing in harmony–that actual harmony can be achieved. Choruses have often been used as a way to show an idealized version of humanity; Sister Act 2, for instance, is a film based entirely on the idealistic notion of a group of kids coming together to change their lives and the lives of their community. Like most groups, the chorus is often used to prove people can learn from one another, forget prejudices, and work together to create something beautiful. As a novice to the Rainbow Choir, that’s the message I took from them as I watched them sing their country’s national anthem. After all of the research I’ve done while writing this article, that’s the message I still take away; I am an optimist at heart, after all. In their own way, these children are helping Korea get one step closer towards realizing a more equitable society for all who live within its borders. The message South Korea wanted to send has been heard loud and clear; now it’s on the country to fulfill their promises, especially to the kids who helped them achieve their Olympics goals.♦
Further reading: A snapshot of multiculturalism in South Korea | The Korea Herald
(Photo credit: Dana Starbard/CTMG)
I bet you wouldn’t have pegged Proud Mary as the first film of 2018 to spark controversy. The issue isn’t with the film itself; its how the film has been promoted–hardly at all.
Folks on Twitter (both regular users and big folks with blue check marks) voiced their concern and anger of the lack of promotion Sony Pictures/Screen Gems is giving this film. To be honest, I’ve only just started seeing TV spots about a week ago. Compare that to a movie like Red Sparrow, which is coming out in March, but already has a TV spot out this month.
The common thought when films try to suppress a movie is that the film must be horrible. Usually, that’s the case; if a film is embargoed to critics until its release date, that generally means the studio doesn’t have confidence in it. There have only been a few times when a film is so good that the embargo is put in place so critics don’t accidentally spoil it. But this didn’t seem to be the case with Proud Mary.
After viewing the trailer and artwork for the film last year, I was immediately worried. Something about it told me this film wasn’t going to get the attention it deserved. Maybe it’s because the trailer focused on some heavily worn-down tropes in the female spy genre; the blond wig, the thigh-high boots, the arsenal of weapons in their home, etc. The wig really got me, to be honest. I thought the purpose of a wig was so you can’t be identified; wouldn’t a loud blonde wig like that make the character stand out even more?
Even with that said, though, how bad could Proud Mary be? With stars like Taraji P. Henson and Danny Glover headlining, the film has to at least be moderately enjoyable and profitable enough for Sony to feel like they’ll at least break even. But what do the critics say?
For this post, I’ve specifically cataloged what critics of color have to say about this film. Every blurb you’ll read in this post is from a critic of color. This is not because I don’t trust what white male critics have to say. But I specifically want to know what folks with some skin in this representation game have to say about this film and the promotion scandal surrounding it. People who are tacitly in tune with the battles actors of color face in Hollywood might have a different perspective and frame of reference than someone who doesn’t. Plus, I’d like to highlight what their viewpoints are, since 1) this is a film starring actors of color and 2) signal-boosting some of the few POC critics there is a really important thing to do. So with all of that said, let’s get into it.
Britany Murphy, Geeks of Color
“…[T]he characters of [Danny] Glover and [Billy] Brown are the typical, uninspired head-honcho types and while they provide some foil for Mary, you could have interchanged the pair with any other actors and ended up with similar results. Also, there was hardly enough Mary. I went into the theater believing the film would be something similar to Atomic Blonde or John Wick – with Mary kicking a** and taking names, but I was surprised to see that they focused more on the family drama aspect.
Now, while I did enjoy this and was glad that it delved deeper into a story than just Mary shooting up everyone in her sight, it should not have taken until the third act to get into most of the action. The progression was a bit slow to get to the boiling point and the lackluster secondary characters did not help much. However, the performances of Henson and Winston most certainly make up for the film’s slow points. As does the music – from The Temptations to Tina Turner, the soundtrack will have you dancing in your seat and while the film is set in today’s era, the throwback jams fit the mood of the film perfectly.”
Michael Ordoña, Common Sense Media
“This action film’s lack of originality and cleverness is made worse by a self-defeating visual style and overuse of music. Stop me if you’ve heard this one before, but the main character is an ace killer who wants out of the biz after bonding with a kid. Her bosses “love” her but won’t let her go….The folks behind Proud Mary seem to have decided against character development, so there’s nothing to distinguish one person from another in terms of their behavior…The dialogue is flat and predictable, and the action scenes are uninterestingly executed, with no tension or wow factor.
All this is compounded by hyperactive editing that seems flat-out inappropriate in most scenes, especially the quieter ones. All the excessive cutting prevents the scenes from having any flow. It actually makes the film hard to watch at times — not because of the speed of the edits, but because it feels like someone keeps rhythmically hitting the “previous channel” key on a remote control…Proud Mary is a style-less exercise that wastes some talent.”
Inkoo Kang, The Wrap
“‘Proud Mary’ did not screen for critics, nor should it have. It’s a copy of a copy of a mediocre original, with the drab aesthetics of a TV movie and the emotional hollowness of an infomercial. Ostensibly about a hired killer (the Halloween wigs and running-in-stilettos kind) who decides to reclaim her femininity, the picture is sunk by its all-male writing and directing team’s narrow conception of womanhood as lipstick and maternal instincts. (“London Has Fallen” helmer Babak Najafi directs; the screenplay is credited to Steve Antin, John Stuart Newman, and Christian Swegal.) Being a mercenary has never looked so cheesy.”
Joi Childs, Black Girl Nerds
“…There are articles out there that have detailed the lack of promotion for this film, which I won’t re-iterate, but I agree with. Layer in the fact that critics, including myself, did not receive screeners for this film. Now add another layer that in the whole five borough city of New York, there were less than five theaters showing evening screenings…[But] for 90 minutes, Proud Mary delivered to me a campy, enthralling and fun movie.
Proud Mary is a solid addition to the female-led action film lexicon. What makes it even more solid is Taraji’s single-minded determination to provide a range of Black women-led roles. Make no mistake: from the characters, to the cadence, the Black mom moments and phenomenal wigs, this is a Black-ass film. While not perfect, the film still shines despite the odds (and A&M budget) stacked against it.
And that’s something to be proud of.”
Travis Hopson, Punch Drunk Critics
“Taraji P. Henson? Badass. We love her as the tough-as-nails Cookie Lyon on Empire, and when she finally received the acclaim she deserved for Hidden Figures, we all saw it as a victory. We’ve been rooting for Henson ever since her character’s transformative arc in Hustle ‘n Flow. So when the trailers for Proud Mary promised Taraji as a John Wick-style killer set to a ’70s Blaxploitation vibe, there was legit reason to get hyped. Taraji’s about to kick some ass, y’all!!!
Well, nah. Proud Mary is a disaster from start to finish, and we see why Sony has quietly dumped the movie in the middle of January with zero buzz. How could that possibly happen? Who could possibly screw up Taraji P. Henson packin’ heat with attitude to match and a soundtrack of Motown’s finest? Blame London has Fallen director Babaj Najafi and a couple of so-called writers who have foisted upon Taraji a bland, boring, and dreary assassin flick the quality of the Bruce Willis/50 Cent stinkers piling up DVD bins at Walmart. Right from the beginning there is something cheap and inartful about it, as trained contract killer Mary Goodwin does her morning workout to the tune of “Poppa was a Rolling Stone” over title credits that may have been lifted from Cleopatra Jones.”
From these reviews, the verdict is that Proud Mary is a movie that had potential, and if you’re down for some campy fun, you might enjoy it. But overall, Proud Mary seems like it’s a film that squanders Henson’s talents for something derivative.
If you’ve seen the film, what did you think about it? Do you have a different opinion? Give your opinions in the comments section below!
Bruno Mars and Cardi B have changed the game with their In Living Color tribute video for the “Finesse” remix. Yes, I’m gonna be that bold and write such a claim, solely on the fact that the video made it concrete that ’90s fashion is here to stay. ’90s fashion has been havinng a resurgence for a couple of years now, and between 2017 and 2018, late ’80s and early ’90s fashion have become an even stronger “cool kid” calling card, especially since brands like Tommy Hilfiger and Nauticaa are making tons of money with their vintage or vintage-leaning lines, like Tommy Jeans, Fila Heritage, and Reebok Classic and Nautica’s Lil Yachty collection, which brings back themes of ’90s Nautica. It’s either highly ironic or highly masterful that Bruno’s 24K Magic plays right into this trend.
So how can you get the look? Well, one way is to scour your local thrift stores and/or garages. Another way is to get ’90s-esque fashion from affordable (or at least “reasonable”) stores like Forever 21, Zara, Macy’s, J.C. Penney, etc. However, if you’re looking to go completely authentic while buying brand new clothes (and you have some expendable dollars to spend), here are some clothing choices from choice brands that were huge in the ’90s, but now use their ’90s cred to make boutique items.
One of the breakout fashion stars of the “Finesse” music video is Cardi B’s multicolored bomber jacket. It’s hard to tell if it’s actually vintage or if it’s of today, but regardless, it brings back tons of ’90s memories.
One of the ’90s brands that was big on multicolored jackets was Cross Colours. Believe it or not, Cross Colours is still in existence, making awesome jackets and shirts. Take for instance this colorblocked hooded jacket.
This jacket immediately takes you back to the early ’90s, which was not only big on bright colors, but also Afrocentrism. It’s more evident in some of Cross Colours’ other jackets, but this one also carries the same themes of Afrocentrism, with the emphasis on red, black, and green, the colors of the Pan-African flag.
Throughout the ’90s, particularly the mid-’90s, stripes were big. Striped hoodies in particular seemed really big. I couldn’t tell you why stripes were so popular, but they were; perhaps it’s because it seemed more modern than the deconstructivist/’80s art deco patterns that were slowly fading out. Stripes are a lot more streamlined than the busier patterns of earlier years, and maybe that hint of futurism poked at the burgeoning world of the internet. I don’t know, but it’s a theory.
In any case, the quintessential striped hoodie is showcased in rare form on Bruno as he exudes swagger and, yes, finesse, as the leader of this music video.
I feel like I’m a bit too young to remember Karl Kani as a name brand–the self-proclaimed “Originator of Urban Fashion” was established in 1989, one year after I was born–but that name was huge in the ’90s nonetheless, and judging by what the brand currently has for sale, it would seem that one of their specialties was the striped hoodie.
This hoodie, the Marcy Ave. Rugby Hoodie, has all of the things you want in a striped hoodie. It’s got bright colors, tons of interest, and it’s got short sleeves, perfect for that layered look Bruno is rocking in the above screenshot.
I wish hats could come back in style. One of the things I miss from the ’90s is the plethora of hats people wore on a semi-daily basis. The most popular proponent of ’90s hats was the titular character of Blossom, but hats were everywhere and on everyone, even on puppets–remember Jody from The Puzzle Place? She was a huge hat person. (The prime combo in the ’90s was the sun hat-flowery vest-long skirt combo. So much fabric, but it looked so cool.)
Between bucket hats, sun hats, baseball caps and all other manner of hats, there’s no way you can really go wrong when compiling a ’90s wardrobe. For this post, however, we’re focusing on the multicolored baseball cap, as shown on one of these dancers below.
Karl Kani comes correct again with their multicolored baseball cap, aptly called the “’90s Hat.”
This hat is pretty self-explanatory. It’s multicolored, it’s bright, it’s bold, and it screams ’90s. What more can you ask for?
The next component of quintessential ’90s fashion is mom jeans. I don’t know if they were called “mom jeans” back in the day–I just remember them as “jeans.” These jeans were not just popular with moms–they were popular for all women, even young teens. Just take a look at the fashion on the covers of The Babysitters Club books. They’re all wearing mom jeans.
Nowadays, mom jeans are coming back with a vengeance. Check out the stylish mom jeans on this dancer below.
Luckily for us, Jordache, the preeminent fashion jean brand, is still making mom jeans along with their more modern cuts.
The “Cheryl” High Waisted Mom Skinny Jeans are part of Jordache’s vintage line, and these pants give you everything you were asking for in a classic mom jean. It’s stone washed with a tapered leg, it’s got the classic high waist, and it looks like it’s just on this side of “cute.” It seems like the best mom jeans are just on the border between “cute and fashionable” and “horribly ill-fitting.” Just my opinion, anyways.
The last element of ’90s fashion I’m discussing in this post are the puffy sneakers. For some reason, sneakers are the mos vivid memories I have of ’90s fashion outside of all the Disney stuff I loved as a kid and the fashion tragedies I was subjected to (to this day, I hate stirrup pants). Perhaps it was because I was so connected to Michael Jordan’s career, like so many kids my age were, but I distinctly recall when the Air Jordans came out and the subsequent hype surrounding those shoes. Preceding that was the hype surrounding the Reebok Pump shoes. To this day, I still want both a pair of Air Jordans and Reebok Pumps. I still could get both, but I don’t feel like shelling out the money for it.
In any case, puffy, chunky sneakers were all the rage back in the day. Case in point–Bruno and his crew’s sneakers.
There are many routes you can go with ’90s sneakers–you can go to Nike, Fila, Reebok, and several other brands to get that right ’90s look. I chose to go with Reebok, since Reeboks had been my sneaker of choice in childhood (or, rather, my parents’ sneaker of choice for me.)
The Men’s Classics EX-O-FIT Clean Hi S and the Women’s Classics Freestyle Hi has that ’90s look down. To me, these sneakers are unisex, since a foot’s a foot. Also, Reebok tends to give the men’s sneakers more of a classic ’90s look, whereas the women’s side focuses more on fashion colors (too much more, I think). But regardless of which way you go, Reebok knows that its audience loves the early ’90s silhouette that made the brand famous, and it keeps that silhouette going, even in some of their more modern shoes.
After you get your ’90s wardrobe down, all you got to do is get some gold doorknockers or a chunky gold necklace, and you’ll be dripping in finesse, too.
(Photo credit: Tidal/YouTube)
One of the highlights of Jay Z’s Family Feud video, directed and conceptualized by Ava DuVernay, is the exploration of female leadership in families and, indeed, in a future America. Seeing scores of diverse women running the country, culminating in co-presidency between Irene Bedard and Omari Hardwick, only made me want to see a full-fledged drama series based around these characters and this new, Afrofuturistic and ethnofuturistic world.
Indian Country Today’s Vincent Schilling interviewed Bedard about her role and the importance of honoring female strength in relation to the nation and the world. Here are some key points from her interview.
On getting the call to star in Family Feud while at Standing Rock:
“…In the midst of all of this in Standing Rock, where reception is terrible, I got a call from my agent asking if I could be ready in three days to do a video project in New York. I got on a plane not knowing what I was doing except it was an untitled Ava DuVernay project. I love her and I knew whatever she was doing, it would be awesome. I went with complete faith.”
On hearing she was playing Madame President:
“[DuVernay] looked at me and said, ‘So, you are the President of the United States in the year 2444.’ I was like, ‘What?’ (laughs.) She said, ‘You are actually the co-President because at this time we have realized over the generations that we need to have more balance between the feminine and masculine.’… Of course this was going to done right with a director like Ava, but then to have Beyoncé and Jay-Z? I got to tell my son about this, He was like, ‘what?’ (laughs.) This project gave me some teenager cool points. (laughs.)”
On the importance of representing the matrilineal aspect of leadership:
“…Violence to Mother Earth is another representation of violence against women. Why do we do this? I feel it is because we are out of balance.
If you look at the story of White Buffalo Calf Woman, there are two men who come to her and one man wanted to own her, while the other wanted to give respect and value. The man who wanted to own her got the thunderbolt, the other who wanted to honor her received the gifts, the pipe and the people thrived.
We are lacking in intelligent discourse. I believe that we as a society are much more capable of being tolerant and loving to one another, than what might appear on the internet.”
Read the full interview at Indian Country Today.
With Star Trek: Discovery around the corner, I’m reviewing some of the things I hope we find out in the second half of the season.
1. The Ash Tyler/Voq mystery will finally be put to rest
I’ve written extensively about this in my SlashFilm Star Trek: Discovery recaps, but I personally think that the “Tyler is Voq” theory is past its prime because what’s the most important thing now is how will Tyler overcome the trauma he’s endured at the hands of L’Rell. Whether he’s really Voq inside is no relevance since Tyler can’t remember his former life and his bond with L’Rell anyways. Meanwhile, even though L’Rell might know everything, she’s removed Voq’s ability to consent to anything. So, sorry to say this L’Rell fans, but your girl’s a rapist.
What can I say about Tyler’s graphic nightmare? First of all, it was horrific. What’s even more horrific is that Tyler’s dreams could get worse now that L’Rell is actually on board. Second, the amount of abuse Tyler suffered — and the anger towards the Klingons he’s amassed because of it — negates any credence a “Voq overtakes the Discovery as Tyler” theory. We saw how he instantly went into shock at the sight of L’Rell when he and Michael were aboard the Ship of the Dead. At this point, all Tyler wants is peace, and if anything, the hypothetical scenario of him learning he’s actually a Klingon could make him want to kill L’Rell and all Klingons even more.
How could he go from tortured soul to the newly risen Klingon leader between now and the end of the first season in 2018? With how he’s acted around the Klingons, plus him saying he’s found peace with Michael, it seems like Tyler is with the good guys, regardless of who he is underneath. In short: Tyler or Voq isn’t doing anything to Discovery except save it when push comes to shove. Once the Discovery gets what they want out of L’Rell, he’s either going to take her down or it’ll be a battle between L’Rell and Michael over Tyler. As we have seen from Michael’s fight with Kol and her slaying of T’Kuvma, she’s good at taking down Klingons.
This opinion backs up what I originally wrote about Tyler’s situation in the “Choose Your Pain” recap:
The insinuation that Tyler has been raped repeatedly by the Klingon captain was so subtle in the dialogue between Tyler and Lorca that it’s easy to look past it, or even excuse it away as Tyler purposefully using his sex appeal to his advantage. But the way he swings at the Klingon captain tells a different story. He’s trying to throw back some of the pain she’s caused him.
Tyler’s victimhood might also go unrecognized by some viewers due to how much our society’s view of toxic masculinity keeps us from seeing men as sexual assault victims, especially when it’s at the hands of a woman. Male victims are often scorned or seen as weak. Just look to last week [at the time of writing this review], when Terry Crews revealed he had been sexually assaulted by a powerful Hollywood executive. While Crews received tons of support, there were also people — many of them men — wondering why he didn’t say anything and why he, as a man, didn’t do anything, particularly since his assailant was another man. Some people assumed Crews couldn’t be a victim just because he’s a burly man (that’s not counting the racial implications there are to this assumption).
While women are often wrongly stereotyped as “asking for it,” male victims are also stereotyped in the same way. Somehow, it’s always painted as the victim’s fault — not the perpetrator’s — for their own assault. Even worse for men is when other men might congratulate male victims for “getting lucky” if their assailant happened to be a woman. I haven’t seen much on the internet in the way of actually recognizing Tyler’s trauma — I’ve only seen one person tweet about wanting the show to explore Tyler’s PTSD. I’ve also seen a person say Tyler ended “a relationship” with the Klingon captain? This was no relationship. Hopefully, Discovery will explore this further. After all, Star Trek has always been about using science fiction to tackle real world social, moral, and ethical questions and quandaries. It’s only right for the new show to dig deep here.
At any rate, it’s not going to achieve what some fans hope it does, which is invalidate Tyler’s relationship with Michael. Speaking of:
2. Michael and Tyler’s relationship gets taken to the next level
It’d appear that these two are already getting more serious than I initially thought they would by midseason; maybe I’m just used to shows from the ‘90s that take at least three seasons for a romance to actually get off of first base. But I’m quite excited at the prospect of a big relationship for Michael. It can only help define both her and Tyler grow in a myriad of ways.
I’d also like to bring up something that’s been poking me for a while, and that’s the paranoia I have surrounding some fans steadfastly against Michael having any romantic relationships. Perhaps I’m wrongly lumping some fans in with the fans who are so focused on Tyler being Voq just so they can trample on Tyler and Michael’s relationship. But the conflation of “Michael shouldn’t be with anyone” with “Tyler has to be Voq because of his relationship with Michael” annoys me. With some fans, these two sentiments work in tandem, and having lived through the Sleepy Hollow drama regarding Abbie and Ichabod’s OBVIOUS relationship and the show’s insistence on working against said relationship, plus the Into the Badlands drama with Veil’s death and my subsequent chat with EP Al Gough, my hackles are up. I’m ready to guard this relationship until the canon says otherwise. And even then, I might defend this relationship. That’s my position and I’m sticking to it.
3. More focus on the other bridge crew members
The first half of the season was to establish Michael’s story. Perhaps all of this season will be a complete beginning and end to Michael’s first chapter. But I’d like for the rest of this season and subsequent seasons to focus on the other crew members as well as Michael.
We’ve already had Saru’s character exploration episode; I’m now ready for us to get into what’s behind Owosekun, Rhys, and Bryce. I especially want to know the stories behind Airiam, the augmented human (or alien?) who mysteriously never speaks, and Detmer, who now sports ocular and cranial implants due to her injuries from the Battle of the Binary Stars.
If we were in a “standard” Star Trek series, I wouldn’t worry about if we’d ever learn more about these characters, because on every Star Trek series up until Discovery, entire episodes would be set aside to explore smaller characters, such as the Voyager episode “Warhead” featuring Ensign Harry Kim as its major character. With Discovery, the lay of the land is different. But I do hope that element of prior series remains and is explored at some point in Discovery’s lifespan.
4. More Georgiou
My biggest gripe with Discovery thus far is how little time we spent with Georgiou. With a great talent like Michelle Yeoh, it makes more sense for Discovery to feature her as much as possible. I would love to see more flashbacks with her, or maybe some alternate universe episodes featuring a still-living Georgiou. I just want Georgiou back, point blank. I’m quite sure I’m not alone in that. It has been confirmed that we’d see more of Georgiou, so that’s a bit of news we can hang our hat on.
What do you hope gets addressed during the back half of Discovery’s first season? Give your opinions in the comments section below!