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  1. MY CREATIVE TABLE 2023 art summary , December 2023 secret santa, Richard Murray Centos 2023, Princess Candace New Year, Jiausiku 1-2-3 Shadow 1 , weird fashion, Dark Soul photomanipulation, Dark Academia, Valentine's Nostalgia, Jiausiku 4-5-6  Shadow 2-3 , Biden state of the union reply, Jiausiku shadow 4, sign on a signpost, Mandala Sphere, Jiausiku shadow 5 part 1 , march 2024 ai challenge, my 4 days at the National Black Writers Conference, valentine Nostalgia, Creative side Commercial , Haiku challenge , synthography sentiments, The Griot replies to Troubadour PrinceofFire , The Blade Is Always Held , Continue the story of Sapphire's Desire , memories of mirrors , The private eye, the woman, the secretary poetic trio , ? THE BLACK TABLE Black party of governance called on again, salvador bahia festival dates 2024, shirley chisholm biopic, ruffin and black cop relatives, movies that move we 2024 begins, viola plummer, Jeffrey wright nod, mlk jr said 02012024, Black reparations discussion on Black history month, black details in the populace, continental black american unity, The truth of voting, black cuteness, proof the war on crime was never honest, babel usa, elvert barnes, matawana first black female owned in brooklyn and settlements, kiratheartist coloring pages, Children of the Quicksands from Efua Traore , dorie ann ladner old, dorie ann ladner new, national black writers conference , marcia williams , soulsonsix roundtable shared , dsnp of project liberty , faith ringgold rest in peace , shirley chisholm in movies that move we, morgan price the gymnast, palmetto christmas miltonjdavis, tananarive due wins la times book award, national black cheerleading championship , gdbee kickstarter , black statian awards list, artistic lifestyle cliche, sylvia moy , prince mural, Sonequa Martin Green inverview, ? AALBC TABLE erotic couples classes fantasyfitnessmd , you want to know why you shouldn't feel sad for artist, black bookstore in florida, tim scott and the future black elephants, Google text to video, good books, carnaval ile aye, Learn screenwriting from Tananarive due + steven barnes, a comment on 16 books missing from the bible, Mace Windu movie - you want?, ayesha kazim, film festivals, sarah vaughan sammy davis jr + eartha kitt, Troy covers the internet- my thoughts , the obsolete site, ai modeling and pop up stamps, Movies That Move We: Rustin 2024, American Fiction 2023, The Color Purple 2023 , favorite black poetry, questions of supermen, google docs , questions to writing and things written, just so blacks know, tiktok unity, art of illegal tender from musashden, Posse from movies that move we, at the brownstone -a day in harlem, nicolas felicano and proof of the true nature of black law enforcers, Nicholas Feliciano, wooden hand, WAVES from movies that move we, Artivism from shawn alleyne , kwl romance tropes, book of clarence from movies that move we, ? ARTISTS LIST GEMGFX , GDBEE , Deidre Smith Buck , Shawn Alleyne, RaySeb , Coco Michelle , chriss choreo, yeahbouyee , Collective poem side dee miller- in comments , clarence bateman , Ronald Reed, K-Hermann, El Carna , djdonttouchthetrim, Kiratheartist, briana lawrence , odie1049, Nettrice Gaskins, Dada Koita , Paul Lewin, Lisa Tillman Pritchard, Chevelin Pierre, , Zak Anderson, seye sanyaolu, ? Response and Article series : 1 , 2 , 3 , 4 , 5 , 6 , ? Richard Murray Creative Table 3 https://aalbc.com/tc/blogs/entry/345-richard-murray-creative-table-3/ Richard Murray Creative Table 2 https://aalbc.com/tc/blogs/entry/281-richard-murray-creative-table-2/ Richard Murray Creative Table 1 https://aalbc.com/tc/blogs/entry/194-richard-murray-creative-table/ My Newsletter https://rmnewsletter.over-blog.com/
  2. MY COMMENT love the school house rock shirt:) what is that on zenobia's shirt? 13:51 your black mama mindset is too strong:) it is 2024:) yes, zenobia , smile:) .. as black individuals acquire fortunates or more financially opulent lifestyle, will the black parental mold, born from the quarters of the enslaved, become similar to the white parental mold born from the house of the enslavers? no soul food ending:) you two really liked this film? was this the best film you guys saw from the past ten reviews? the power of non advertising:) that is how gems get through cover image
  3. QUESTIONS what chips or snacks were you eating? what is the most financially successful black female produced film in the usa? You guys made me wonder about black male movie reviewers opinion toward films produced or directed by black women . I wonder do black female produced/directed films get mostly positive reviews from black male film reviewers? To the needle moving, Biden could had chose stacey abrams who is more functional like shirley chisholm but chose kamala harris who is less industrious while also like obama or adam clayton powell jr is phenotypically not the image of "pure blackness" like chisholms' color suggest. Was this film like the aretha franklin supported biopic, in that it didn't get steamy or telenovela-ish? Are you calling on a PBS vietnam war level documentary for shirley chisholm? i think that would be very revealing.
  4. topics The forty-eighth of the Cento series. A cento is a poem made by an author from the lines of another author's work. In the series I place my cento and a link to the other authors poem. synthography sentiments Dates IF YOU MADE IT THIS FAR : Shirley reviewed by Movies That Move We , Kindergarten Cooking , Ki Khanga the role playing game , Notre Dame in recovery , Morgan Price of HBCU Fisk University , Julie Bell on Monsters Madness and Magic , a wooden hand https://rmnewsletter.over-blog.com/2023/10/04/14/2024-rmnewsletter-6.html
  5. MY THOUGHTS 1:37 why did Zenobia hate it! I want to know the why. Did Zenobia like "the harder they fall" or "concrete cowboy" ? Does Zenobia like any cowboy films in general. 4:01 yes, the cowboys were originally the person near the cow who guides them. 5:06 hmm good point, a less talked about part of black history in the usa, that black people don't tend to talk about alot. I wonder why do you think? 6:15 no, he got in a fight with the whites at the town and was to be executed/imprisoned or he can conscript. He conscripted but tried to leave three times ,, attacked a superior officer and that brought him to cuba in the military. He was a lieutenant. 9:31 I love how you did the voice Nike of the short guy. 9:57 Bless you Nike, futuristic cowboy:) who would Zenobia like to see as the director? the same director? 10:53 this movie plays into the western myth style. ahhh Zenobia hasn't even seen it. 11:48 she wants Posse with an all female cast. Zenobia:) this is meant to be a western myth film. 12:39 Gang of roses is the film with lil kim 13:01 the movie is direct. In defense, Peebles has been in war for a long time. That is the truth. Soldiers don't come back from war, or are on the run, reminiscing , singing songs. yes, Nike. And he always told them to follow him if they want but no questions. He really is a pure man in black. 15:40 education is power is the message and your right Nike, the movie is stating its purpose 16:15 you did see a native american woman hanged. 18:10 Zenobia is funny, she said wakanda , kkk 18:50 I think they were performed well cause they are frustrated, but it is backlogged. It is a tentative. It is a frustrated scene. They love each other, but this is a love that had a beautiful beginning and has been delayed and waylayed for years. 21:22 Zenobia , your review isn't bad. it is honest, but it is about aesthetic. Peebles wanted the man in black to be truly that. Films tend to present the man in black historically as very talkative, very expressive. CLint eastwood in unforgiven is very quiet. eastwood is married to a native american woman and it seems loveless, he leaves her on the land and that is that. 21:46 good point to harlem nights. Posse was a collage film. yes, big daddy kane was a great father time. and like harlem nights they can't come back. 25:34 yeah, classic. for the black dos western genre, you will find it is preceded by Buck and the preacher and then follwoed by harder they fall IN AMENDMENT In John Wick 4 , Keanu Reeves went against an earlier script and cut out all the talking for John Wick's character, same as Jesse Lee in Posse. As a writer who believes in non verbal communication as well as an attentive challenge. I write characters that don't always fit the audiences expectation in how they speak or act non verbally. So Zenobia's point is a good thing to comprehend in the commercial desire of a film or story. As a reviewer said to a stageplay of mine. IF you go against the commonly accepted cues the audience wants, it will hinder/harm/have some negative aspect to the liking of your work. I think she was right and Zenobia proves it. IN AMENDMENT PART 2 a film outlaw posse has been made, i don't think it is a sequel to posse
  6. based on the book by Sue Monk Kidd an alternative review from aalbc https://aalbc.com/reviews/film-reviews.php?id=1739
  7. topics The forty-sixth of the Cento series. A cento is a poem made by an author from the lines of another author's work March challenge Dates IF YOU MADE IT THIS FAR : Introducing marcia williams , tiktok reality , Screenplays with thoughts from William Shatner aside , Cute library from writeddreams2reality , Posse from Movies that Move We , What is in your kitchen? , A day in Harlem through time URL https://rmnewsletter.over-blog.com/2023/10/04/07/2024-rmnewsletter.html
  8. sort of shy , but the nicest guy, no complaining:) 3:04 i love it, we as black people do this for christmas:) 4:14 yes Zenobia, no blackity black, if she doesn't know, educate Nike 5:34 I missed the black santa media issue 10:49 good thoughts on the 2023 color purple 12:!2 for years:) poor danny glover:) 15:46 ghost town movie theater:) good fun, good fun:) 17:15 they can use a black classic films station,Buck and the preacher, paris blues , the longships some gems for me 19:10 regina jackson is her name 21:41 I saw that show advertised 24:00 great point, make family trees for now:) you call him skip gates too, yes i saw the levar burton , kunta got white in him yall, black DOSers, people like lupita nyonga can go far, not just school, in many black homes black adults preached lincoln love to black children
  9. topics The forty-fourth of the Cento series. A cento is a poem made by an author from the lines of another author's work. The Precipice- stageplay, art, tutorial Center for Black Literature at Medgar Evers college Highlights, day 1 +2 Sign on a signpost dates : happy belated march equinox , happy belated st patrick's IF YOU MADE IT THIS FAR -> Movies that move we reviews: Rustin, American Fiction, Color Purple; If you could have a pet--and you had time to give it all the love and care it needs, had the space, and had the necessary funds--what would your dream pet be? ; Are you a Dune Fan? ; What grammar or punctuation rules do you struggle with? ; Questions of Supermen? ; Thoughts to the New Shadow that never was ; Black Poetry you are feeling now URL https://rmnewsletter.over-blog.com/2023/09/03/24/2024-rmnewsletter.html
  10. Before I go into the segment I will speak on Stageplays + screenplays. One of the things I like about stageplays or screenplays is they are made to be performed. Which means what? They are meant to be the basis of a collective art work. A book of fiction is meant to be read but not performed. That simple variance , in my mind, opens up stageplays or screenplays to a different set of allowable judgements. The best example I can think of showing the power of screenplay fluidity is "THe Jungle" from "The Twilight Zone" . In the original short story from Charles Beaumont it is located in Africa and in the future with a technologically advanced manner. The characters are all the same but the visualization is starker. The goal is to show an encroachment by the wealthy white powers onto a Black space, and the price for some agents of that white power. It is that blunt. But when Beaumont wrote the teleplay for the show. He changed alot of aesthetic. But kept the basic idea, still kept the story. But why? A play is a collaborative artwork as is a film and both are open to interpretation. It isn't about rigiidity , it is about interpretation. Another example is Baum, writer of the wizard of Oz, who loved the 1902 stage production, a musical, whose language and tone was far more adult. But I paraphrase him:"as long as people do well by the work he is fine" . In the same way , he would had loved "The Wiz" stageplay in my opinion for its quality while reflecting another community or the earlier Judy garland movie, whose dorothy is significantly older than in the book. Whether the work is turned into something meant to be laughed at with gawdy humour, or reflecting another communities ways, or just some tweaks of the original works , stageplays or screenplays are interpretations and if they achieve their goals then no critique to a standard storytelling is warranted. Immediately below is an excerpt from an article presented ultimately. I will continue my prose after the excerpt THE EXCERPT In 1979, Paramount needed an answer to Star Wars, so it revived Trek in the form of movies. Then T.J. Hooker came along a few years later. What did you get out of the show? It was a terrific show. It had all kinds of drama. I got to direct several of the episodes. And some of my shots are in the opening. I was totally involved, committed to the writing, committed to the directing. You're running all the time. You've got to make decisions and you don't have enough money. You directed a big-budget feature, Star Trek V, in 1989. It was considered a disappointment, but it has its fans today. Were you hoping to expand what a Trek movie could be by filming around the world? I wish that I'd had the backing and the courage to do the things I felt I needed to do. My concept was, "Star Trek goes in search of God," and management said, "Well, who's God? We'll alienate the nonbeliever, so, no, we can't do God." And then somebody said, "What about an alien who thinks they're God?" Then it was a series of my inabilities to deal with the management and the budget. I failed. In my mind, I failed horribly. When I'm asked, "What do you regret the most?," I regret not being equipped emotionally to deal with a large motion picture. So in the absence of my power, the power vacuum filled with people that didn't make the decisions I would've made. You seem to take the blame, but outside observers might say, "Well, the budget wasn't there. You didn't get the backing you needed." But in your mind, it's on you. It is on me. [In the finale,] I wanted granite [rock creatures] to explode out of the mountain. The special effects guy said, "I can build you a suit that's on fire and smoke comes out." I said, "Great, how much will that cost?" They said, "$250,000 a suit." Can you make 10 suits? He said, "Yeah." That's $2.5 million. You've got a $30 million budget. You sure you want to spend [it on that]? Those are the practical decisions. Well, wait a minute, what about one suit? And I'll photograph it everywhere [to look like 10]. (Editor's note: The plan to use one suit famously did not work well onscreen and was ultimately abandoned.) MY CONTINUED PROSE It seems to me, Shatner made two mistakes. When you go from low budget television to large budget film, the financial scale requires greater care. In a low budget television show, your financial scale is predetermined low so you know limits, there is no suggestion of overspending. But when you do a high budget film the allowance for misuse or waste is higher and sequentially ruinous or dangerous to the overall collective experience. I am not sure but shatner alludes to not presenting a screenplay or storyboard list. And while I comprehend film studios love pitching a concept in a sentence. I think an artist is wiser to have a screenplay plus storyboard list in hand , to aid in the pitch when questions may be asked. Leonard Nimoy supposedly had the script for Wrath of Khan before the pitch he made, so there lay the variance. When I look at Star Trek Generations, I can see that being a remake of Star Trek v tweaked to bridge the original series + next generation. The Nexus is what? a science fiction element that is as close to the gateway to heaven as you can get. It literally exist as a natural phenomenon in space, moving about destructive to interface with but if very lucky it can grab you or if unlucky or purposed can spit you out. And the place it goes to is so powerful part of you remains there, ala Guinan's character. This is heaven. Shatner said he wanted the Enterprise to meet god and essentially that concept was tweaked so that two enterprises meet , as close as possible in star trek world, the gateway of heaven. From my little knowledge I imagine the screenplay for Generations was around for a while or at least the writers to it had access to screenplays or other content concerning star trek v, if not the simple pitch itself. But this is why the screenplay/stageplay is such a fluid creature. They are meant to be manipulated for purpose. They are not meant to be treated as rigid works, ala why so many have it wrong when they treat shakespeare's work rigidly. It was meant to be performed, speculated in various ways. I will love a chance to redo The Meteor Man. I think the screenplay isn't bad but can be interpreted in a way various with even the same budget. THE COMPLETE ARTICLE William Shatner on His Biggest ‘Star Trek' Regret – and Why He Cried With Bezos Story by Aaron Couch When writing about a legend who's still working as a nonagenarian, it's almost obligatory to include a line about how they are seemingly busier than ever. William Shatner, 92, may no longer be on set 12 hours a day for the roles that made him the first Comic-Con celebrity (Star Trek), or that transformed him into a late-career regular at the Emmys podium (The Practice, Boston Legal), but it's difficult not to marvel at the pace at which he lives his life. The actor, who looks and speaks much like he did 20 years ago, maintains a healthy travel schedule that includes appearances at a dozen or so fan conventions every year. Always popping up in new projects (he hosted the extraterrestrial base camp-simulating reality contest Stars on Mars that aired on Fox over the summer), in 2021, he became the oldest person to travel to space, pouring that experience into a music-and-poetry performance at Washington D.C's Kennedy Center a few months later with friend and musical collaborator Ben Folds. (That recording, So Fragile, So Blue, will be released as an album April 19). Now, Shatner is the subject of the crowdfunded documentary You Can Call Me Bill (in select theaters March 22, his 93rd birthday), a meditation on his life, career and mortality. The Montreal-born actor began performing at the age of 6 at camp and never stopped, transitioning from Canadian radio dramas to Broadway to 1950s TV Westerns. He's been an omnipresent pop culture fixture since 1966, when he was cast as Captain James T. Kirk in Star Trek under unusual circumstances never seen again in Hollywood. NBC had a pilot that didn't work, but the network wanted to try again with a mostly new cast. Where the original pilot was a somewhat dry affair, Shatner brought much-needed humor to the Enterprise. Though the show was canceled after just three seasons, it earned a cult following in syndication, and Shatner reprised the role for seven feature films. Along the way, he reinvented himself over and over, as a hard-a** cop who didn't understand the value of Miranda rights for five seasons on ABC/CBS' T.J. Hooker, and again as a comedic sendup of himself as the spokesperson for Priceline.com, with ads beaming into homes from 1998 to 2012. His comedic chops led him to the Saturday Night Live stage - 38 years later, people still ask him about a sketch in which he mocked Star Trek fans with the exasperated line "Get a life!" - as well as multiple Emmy wins playing lawyer Denny Crane on David E. Kelley's ABC procedural The Practice and then Boston Legal, which concluded after four years in 2008. And he has penned books, released albums and directed documentaries. During a Zoom conversation in early March, Shatner discussed why Star Trek V: The Final Frontier, his first and only theatrical feature as a director, was the biggest regret of his career; that history-making Star Trek kiss with Nichelle Nichols; and what could lure him back to the captain's chair. Some say acting is a way to find the love they aren't getting elsewhere. Was that true for you? I'm sure it's true. I spent a very lonely life in my younger years. Being able to join a cast and be a part of a group of people, I'm sure that was an element in my starting to be an actor when I was very young. Though you acted throughout childhood, you got a practical degree, a bachelor of commerce, from McGill University in Montreal. Was the plan to use that degree? I've bumbled my way through my life with a growing realization that all the plans you have for your life are dependent on the guy driving a car behind you or in front of you. The accidents that you have no control over, whether they're physical, like falling down a flight of stairs, or emotional, like the person you love the most doesn't love you - and everything in between - you have no control over. So you may think you're like, "I'm going to control. I'm going to choose that motion picture," or go onstage choosing elements of your career, thinking you're making a career move. It has nothing to do with reality at all. But as an actor, you do have some control, right? You understudied for Christopher Plummer on Henry V in 1956, and he once said, "Where I stood up to make a speech, he sat down. He did the opposite of everything I did." I had no rehearsal. I didn't know the people. And it was five days into the opening of the show [when Plummer got sick]. The choreography was one of the other things that I didn't know. I was in a macabre state of mind. So that had nothing to do with "I stood where he sat." [It was, rather], "I've got to move around the stage somewhere. I think I'll sit down here, I'm exhausted!" You worked with director Richard Donner on the classic Twilight Zone episode "Nightmare at 20,000 Feet," which was in fact a nightmare for him, as it was technically complicated and the shooting days were halved. Did you sense the pressure he was under? It's complicated. When you get those science fiction choices: The guy is dressed in a furry little suit and you say, "Well, why isn't the suit aerodynamic? Why is it a suit that'll catch every breeze that blows?" What kind of logic do you use in any science fiction case? When I looked at the acrobat [Nick Cravat, who played a gremlin terrorizing Shatner's character from the wing of a plane], I said to myself, "That isn't something you'd wear on the wing of a 747," but then again, what do you wear on the wing of a 747? So yeah, it was complicated in that way. Star Trek creator Gene Roddenberry had strict rules about what was appropriate for his show. Were you privy to what informed that thinking? He was in the military, and he was a policeman. So there was this militaristic vision of "You don't make out with a fellow soldier." There are strict rules and you abide by the rules. Around that, [the writers] had to write the drama. But within that was the discipline of "This is the way a ship works." Well, as Star Trek progressed, that ethos has been forgotten [in more recent shows]. I sometimes laugh and talk about the fact that I think Gene is twirling in his grave. "No, no, you can't make out with the lady soldier!" The writers of Star Trek: The Next Generation butted heads with Gene when he was alive. The fights that went on, to my understanding, were big, because the writers had their difficulties. "We need some more material." "We need to get out of here. It's claustrophobic." When you joke that Gene is twirling in his grave, you mean he wouldn't approve of onscreen romances between crewmates on the later shows? Yes, exactly. I haven't watched the other Star Treks very much, but what I've seen with glimpses of the Next Generation is yes, the difficulty in the beginning, between management, was all about Gene's rules and obeying or not obeying those rules. You and Nichelle Nichols are credited with the first interracial kiss on TV. Is it true that you pushed to make every take real, despite the network asking for faked takes so they would have the option? I do remember saying, "Maybe they'll try and edit it. What can I do to try and discourage the editing of the kiss itself?" I don't remember quite what I did because it's difficult to cut away [from the kiss in an edit]. But yeah, I remember thinking that. After three seasons, NBC cancels Star Trek in 1969, and you find yourself broke, doing summer stock theater on the East Coast. Did you think acting might be over at that point? I'm broke, living in a truck, sleeping in the back and trying to save that money so I could support my three kids and my [ex-]wife, who were living in Beverly Hills. The only thing that ever occurred to me was, "I can always go back to Toronto and make something of a living as an actor there." I never thought, "Oh, I've got to become a salesman." It never occurred to me from the age of 6 to do anything else. Which is weird because [today] I hear it all around me: "God, I can't make a living anymore [as an actor]." And that's true. People with names can't make a living under the circumstances that the business has fallen into. In 1979, Paramount needed an answer to Star Wars, so it revived Trek in the form of movies. Then T.J. Hooker came along a few years later. What did you get out of the show? It was a terrific show. It had all kinds of drama. I got to direct several of the episodes. And some of my shots are in the opening. I was totally involved, committed to the writing, committed to the directing. You're running all the time. You've got to make decisions and you don't have enough money. You directed a big-budget feature, Star Trek V, in 1989. It was considered a disappointment, but it has its fans today. Were you hoping to expand what a Trek movie could be by filming around the world? I wish that I'd had the backing and the courage to do the things I felt I needed to do. My concept was, "Star Trek goes in search of God," and management said, "Well, who's God? We'll alienate the nonbeliever, so, no, we can't do God." And then somebody said, "What about an alien who thinks they're God?" Then it was a series of my inabilities to deal with the management and the budget. I failed. In my mind, I failed horribly. When I'm asked, "What do you regret the most?," I regret not being equipped emotionally to deal with a large motion picture. So in the absence of my power, the power vacuum filled with people that didn't make the decisions I would've made. You seem to take the blame, but outside observers might say, "Well, the budget wasn't there. You didn't get the backing you needed." But in your mind, it's on you. It is on me. [In the finale,] I wanted granite [rock creatures] to explode out of the mountain. The special effects guy said, "I can build you a suit that's on fire and smoke comes out." I said, "Great, how much will that cost?" They said, "$250,000 a suit." Can you make 10 suits? He said, "Yeah." That's $2.5 million. You've got a $30 million budget. You sure you want to spend [it on that]? Those are the practical decisions. Well, wait a minute, what about one suit? And I'll photograph it everywhere [to look like 10]. (Editor's note: The plan to use one suit famously did not work well onscreen and was ultimately abandoned.) Paramount+ is rumored to have tossed around ideas for you to reprise your role, à la Patrick Stewart in Star Trek: Picard. Is that something you would entertain? Leonard [Nimoy] made his own decision on doing a cameo [in J.J. Abrams' 2009 Star Trek]. He's there for a moment, and it's more a stunt that Spock appears in a future. If they wrote something that wasn't a stunt that involved Kirk, who's 50 years older now, and it was something that was genuinely added to the lore of Star Trek, I would definitely consider it. Did hosting SNL feel like a breakthrough, in terms of showing what you could do with comedy? That was a new show then, it was a big sensation, and hosting it was good. They really wrote comedy for me. I played comedy since I was 7. There is a timing. There is a way of characterizing a line. It's a kind of spiritual thing playing comedy, letting the audience know they're open to laugh. After decades in the industry, you achieved your greatest critical success in your 70s playing Denny Crane on Boston Legal. What was the genesis of Denny? David E. Kelly invites me to breakfast. He says, "I've written this character. He's a little bit senile." I said, "Well, I can play that." He'd write, "The character would say his name, Denny Crane, four or five times." How do you act that? What rationale pulls that together? David didn't offer any explanation. I learned somewhere that snakes stick their tongues out. It's assessing what's out there. So I thought that's what the character is doing. Denny Crane is reading what your reaction is to the words "Denny Crane." In 2021, at age 90, you became the oldest person to go to space. Upon landing, you had a tearful exchange with Jeff Bezos. How have you processed that? I was weeping uncontrollably for reasons I didn't know. It was my fear of what's happening to Earth. I could see how small it was. It's a rock with paper-thin air. You've got rock and 2 miles of air, and that's all that we have, and we're f****** it up. And, that dramatically, I saw it in that moment. What are your thoughts on legacy? At Mar-a-Lago, I was asked to help raise funds with the Red Cross. I had to be at Mar-a-Lago Saturday night, and Leonard's funeral was Sunday morning. I couldn't make both. I chose the charity. It just occurred to me: Leonard died. They got a statue up. It's not going to last. Say it lasts 50 years, 100. [Someone will say], "Who is that Leonard Nimoy? Tear the statue down, put somebody else up." But what you can't erase is helping somebody or something. That has its own energy and reverberation. That person got help - and then is able to help somebody else. You've continued an action that has no boundaries. That's what a good deed does This story first appeared in the March 14 issue of The Hollywood Reporter magazine. URL https://www.msn.com/en-us/movies/news/william-shatner-on-his-biggest-star-trek-regret-and-why-he-cried-with-bezos/ar-BB1k6dbN
  11. MY THOUGHTS 0:10 Jill scott's character in this film is well known, I have only seen two tyler perry films. One is with a black woman who is with a wife beater, and the other is with a black woman who is using a black man's marriage as a cover for her mistresshood to a white man . But it seems he likes to have an abused black woman by a black man. reminds me of "for colored girls" 3:30 I don't think Zenobia shared why the relationship between jill scott's character and said character's husband bother's her so much. It is clearly negative but she wanted to say more i think 4:15 Nike, you found the relationship with the michael j white character side wife funny? 10:00 Zenobia, I don't exist in the circles where tyler perry films ar ebeing talked about alot, thanks for mentioning. 12:05 why have the tyler perry films become more debated now in the espace circles, in either of your opinions? 13:11 why did you show his image, the character that jill scott's character romances with? is he a hero or something?:) 14:49 do both movies explain why the guy who married jill scott 's character marry her in the first place? I don't comprehend based on what you guys said, why he married her, did she have the body of tyra banks or sade or kerry washington when they married? 21:17 red tomato:) rotten tomato:) Nike your hilarious, Zenobia, was the second film spinned off unrealistic? 23:36 Is the formulaic way of Perry why his alex cross failed so much? 28:10 all artist display their rearing or the reaction to their rearing in their work. it is inevitable. 30:32 Tyler Perry like SPike LEe like Robert Townsend, like the Wayans, like others before , all comprehend the industry and all have influenced it, But each have their own perspective based on their tribe in the village so to speak. the problem isn't that the black experience in the usa is complex, all black people or white people know this. but the black experience in media rarely reflects how complex it is. So black people who don't share another's experience call their ersion a falsehood or leser view, when it is merely a view from a different part of the black community. 33:35 yes in europe theater was a place for only male thespians, in japanese kubuki as well, 35:57 tyler perry comprehended that many of the older black thespians have followings in the black community or the white community of a certain age and supporting them provides a certain audience, especially of financially affluent blacks 37:37 great job covering all three films. Enjoy the Winter season! THE NEW COLOR PURPLE Usually when people talk about films they go into a what do they think . I will ask more blunt questions. After viewing the trailer for the new color purple, and after seeing the review of why did i get married from movies that move we... 1) Discarding who produced the film, Would you finance the 2023 color purple film as it is? 2) Discarding who produced the film, would you finance why did I get married/why did i get married 2? Both of my answers to said questions is no. If I owned a studio and I had to give money to make the 2023 color purple or tyler perry's why did i get married produced, I would say no to both. Now comprehend, I gamble the 2023 color purple film will like its predecessor make a ton of money. The original color purple film had a budget of fifteen million and make ninety eight million so black film goers loved the film and I expect them to love the musical with its cast. As for Why did I get married, the first movie i did not find the budget but it made fifty five million. While why did i get married too had a budget of twenty million and made sixty million. Now knowing the financial history, I ask if you owned a movie studio and were needed for the films 1) Discarding the financial profitability of the color purple films plus assuming you knew the profitability, Would you finance the 2023 color purple film as it is? 2) Discarding the financial profitability of the why did i get marrieds plus assuming you knew the profitability, would you finance why did I get married/why did i get married 2? Both of my answers to said questions is no. If I owned a studio and even if I knew these movies will be financially profitable and was needed to get these movies made, I still will not produce them. why this line of thinking? In discussing the preacher's wife I realized something is lacking in discourse in the arts. The owner. Too often people talk about liking a film in the mindset of the customer controls. but the customer doesn't control. The owner controls. No film studio produces all sorts of films, stories. That isn't wrong, that merely shows acceptable bias based on ownership taste. So in the same context, I feel for now the question is not whether I like a film but whether I will put money to a film if I was needed for it to be made. Answering that question reveals the truth about the customer more than the customer question which is foolhardy cause customers have varying tastes and if enough customers like a movie/theater production/book or some art, it will be financially a success, regardless to those that don't like it. MY REASONS... in a nutshell My top five movies answer explains my reasoning well but I will be explicit. The color purple is not the kind of story I want to see based on the time period. The why did I get married's black marital situations I don't want to finance. TOP FIVE MOVIES I WILL PRODUCE https://aalbc.com/tc/topic/10653-the-upside-from-movies-that-move-we/?do=findComment&comment=64110 some more film discussion https://aalbc.com/tc/topic/10681-the-preachers-wife-review-from-movies-that-move-we/
  12. MORE MOVIES THAT MOVE WE ON AALBC https://aalbc.com/tc/search/?&q="movies that move we"&type=core_statuses_status&quick=1&search_and_or=or&sortby=relevancy
  13. on facebook https://www.facebook.com/groups/162792258578547/permalink/717314409792993/?mibextid=oMANbw
  14. ProfD It's easy to protest against the promotion of violence and dysfunction in music and movies. I wonder why the Nation of Islam and other Black organizations aren't protesting against it. I showed you the video of Dr.Wesley Muhammad exposing the nefarious plot to negatively influence Black youth through frequency in the music as well as promoting violence and criminality. Our late sister Delores Tucker headed a campaign back in the 90s to check some of these gangster rappers who were promoting violence and criminality in the community, but she didn't get the support or recognition I thought she deserved. The wholistic approach means attacking the system responsible for the conditions. Well, as mentioned earlier....some of the conditions weren't caused by the system. It was caused by a jacked up brain...lol. Some people engage in crime and violence simply because they are twisted and fucked up in head. Even under "good" conditions, they'd still be getting in trouble and ruining the neighborhood...until somebody stops their ass. Mental health is a very real issue in America that isn't being addressed well enough. ....that being said. I'm not going to let somebody come to MY apartment complex or neighborhood and walk around acting a fool and using his mental condition as an excuse. Too bad. Although the system isn't doing what it's supposed to do and take care of those with serious problems, people still have to live and be safe and must defend themselves against the "walking dead". I would not be surprised. I'm sure Detroit is one of those cities that has an enclave of successful Black folks living in the suburbs of it. Not just in the suburbs, but inside the city itself there are several wealthy upper middle class and wealthy Black neighborhoods. Infact, there is a Black actor...Harper Hill....who is running for U.S. senator of Michigan who lives in one of them. I think he's trying to pull and Obama move and is using Michigan as his launching pad like Obama used Illinois.
  15. ProfD It's already happened to a degree with integration several decades ago. Most intelligent Black folks do not live among the riff raff elements of our race. They've moved to middle-class and better suburbs and other enclaves of well to do Black folks. Yes, to a certain extent. However a few problems with how they're doing it CURRENTLY IS: 1. Even if the intelligent and decent Black family moves away from the hood to live a peaceful and stable life, often times their CHILDREN are heavily influenced by music, movies, and their friends to go BACK the hood and engage in that foolishness. 2. Too many single sistas who make it out the ghetto and move on to live a decent life will BRING a no good thuggish boyfriend or brother/sister or some other dysfunctional friend or family member with them to that environment and they'll fuck it up. 3. The Black man who makes it out the hood will often find a White woman as a mate and produce a bunch of mixed children and completely alienate himself not just from the BAD element of the AfroAmerican community but from the AfroAmerican community as a whole! Troy where exactly do work man Lol, I work in a warehouse distribution center.
  16. 3:06 i think more reality t.v. cause from my experience the money to make movies demands you talk to people who have money willing to lose, and said people want more surety. 5:53 independent films allow for the artistic acceptance even if it is financially against audience tastes. 7:52 the ability to gain experience in the arts differs on discipline. a painter can make a painting but a film maker needs to make and show a film which is more expensive. In conclusion that is the issue with projec greenlight, the process after a film is made matters
  17. MY THOUGHTS AS I LISTENED 1:17 the third black disney princess 1:22 Hans Christian Anderson version was so different than this. 2:17 mmessages to children and adults, remember christianity was originally taught through moral tales, not the bible, cause most couldn't read 3:45 good memory research, I never knew Queen latifah played ursula 4:17 why did you like Melissa mccarthy's ursula 4:41 based on inflation , the animated made more 4:58 school time: Cinderella with brandy side whitney : noni rose as tiani in princess and frog; princess of wakanda in the Black Panther series; Halley Bailey as Ariel is fourth 6:26 yeah, the creature in the film lady in the water is more like what anderson or europan historical fiction described mermaids are 8:23 that's right Merida, I will fight for my own hand! 9:05 a lot of urban usa, most of rural usa isn't mixed 9:28 I can see the despisal of the female characters whose only goal is to get a man being slowly murdered off inpsires you:) 10:50 your nice to disney, Disney over the last thirty years, is trying to make more money by placating the modern audience which has non white males with money. Disney would go bak to fantasia's black centaurs if the dollars went that way 11:49 Great point, philosophically having the casting untied to how characters are described is supposed to lead all in the audience to be aracial but it doesn't really work out that way 13:01 and they probably felt they wanted sebastian to be less "caribbean" 14:17 I remember telling people, this movie will make a ton of money. Disney knows how to make money. They comprehend how to be effective commercialist using art, I don't see them as culturally caring as many suggest but... 15:32 meow!:) leo season, have fun IN AMENDMENT Again, I was very fortunate as a black child, not merely to be raised by two black parents of the opposite gender, but also cause both of my parents were knowledgeable of and exposed me to the cultures of the many black tribes in the black village. The one biggest problem, many communities have is their miscomprehension to their internal variance. It isn't that humans in any community don't comprehend the internal variance exist. But I find most people growing up tend to be raised by parents or guardians who criminalize, a negative bias, to be honest, those in their community by one racial standard who don't share something about them on another racial standard. I am of the same phenotypical race as clarence thomas. But we are not of the same philosophical race. But what is the point? The point I don't mind Clarence Thomas being of a different tribe in the village than me. Most black people do. That is the problem. Can you accept that other black tribes to thrive will hinder your own tribe? But what does this have to do with the little mermaid. Two things, each tribe in the black village in the usa has its own heritage<what is carried> or culture < what is grown> , that has similarities, but also variances to the other tribes in the village. Part of that heritage is its fantasy or mythology. Some tribes in the black village embrace white fantasy brewed of the usa, like huckleberry finn or disney products as their own. Some don't. I don't see disney products as black, but that doesn't mean I think all other black people do or most importantly, all other black people should. The problem is, again, too many black people think other black people should be changed. That is the simple truth in the black community. The second is, whenever Black people are present in media, no matter who is financing it, black people have to ask themselves the simple question. Does this represent us? And there lies a huge problem for the black village in the usa, cause the black village in the usa has so many tribes with unjoinable cultures or heritages that dysfunctional argument is all that can come from Black discourse on our identity in media. IT doesn't anyone is wrong or right in the discourse, but the tribes have differences that can not be bridged. And no tribe is strong enough to sway the others, unlike to be fair, the white village in the usa, who has tribes strong enough to move the entire village even if many tribes don't want it . ala the civil rights act. You can see this with the global Chinese community and the commonly called mainland. And this is where Disney's the little mermaid comes front and center. A village that has no central identity, because it doesn't have a dominant tribe in itself, can't make clear delineations to what is acceptable or not, which some tribes in the black village in the usa want as well. But, this means black discourse becomes an automatic negative whenever identity comes into play. So, a white film depicting a black mermaid based on a tale from a white european man to the modern global ticketbuyer who ars a hyper multiracial blend creates... an autonegative discourse in the black community, where no one is wrong, or right, but concurrence of thought between the members of the village is nearly dead. And this discussion by @Pioneer1 in this forum is a prime example White People Who Can Pass For Black, Brown, and Yellow. - Culture, Race & Economy - African American Literature Book Club (aalbc.com) The commentors are literally repeating their points because how one views race doesn't have a bridge to another when it simple doesn't. It becomes either someone just gives in and says they change their position or they say nothing. But everything else is repetition unless a deeper issue is discussed. The deeper issue is black identity in the usa, but as i said, the only way discourse can come to an all agree is if all have the same position. But which black tribe's position will be used? Again, Frederick Douglass was booed by a crowd of all black people speaking his composite nation speech. Douglass is a man that most blacks of wealth, the black one percent, in the modern usa tout as a hero, what does it say that most blacks booed him at the end of his days and most blacks in modernity, the black ninety nine percent, boo the blacks of wealth today? The cohesion in history comes from the same problem. A position on blacks relationship to the usa isn't accepted between the tribes so you get argument and no actions. @Pioneer1 also asked the following Help A Brother Out......My Thinking Patterns and Perspectives of the World - Culture, Race & Economy - African American Literature Book Club (aalbc.com) But it is another prime example of different tribes. The reality is, every black home should had taught what should had been common knowledge. That the black community, a phenotypical race, in the usa began its existence in the usa unlike the whites, with a lack of cohesion that has never gone away. It is that simple. When black militants say: my forebears wanted to kill whites, they are correct, but not all black forebears in the usa wanted to do that or did do that.. When black voters say: my forebears fought to get the vote side whites as equals, they are correct, but not all black forebears in the usa wanted to do that or did do that. So you get people in the Black community as adults wondering why the Black community has such negative discourse, why blacks don't do like they do, when the answer should had been told to them by their parents who knew. And , just in case you may think this is an isolated issue in the black community in the usa, it isn't. I argue it is the usa's great problem. The entire issue with the entertainment industry is the culture of slavery in fiscal capitalism in the usa, which is purer to the usa than unions or individual rights or anything else. Hollywood KAput The only thing that survived the english colonial form of the usa into its independent self from the british empire to modernity is slavery. Yes, slavery still exist in the penal system in the usa today. And yet, while all in the usa know this, the lack of this truth in the homes of people growing up, which all adults know, leads to people's shock that the fiscally wealthy desire or manage fiscal capitalsm in the usa to always be a slavery based way. From Ronald Reagan cutting government programs to give money to the rich , like the taking of native american land to grow plantations. From failed banks being given a welfare check by Bush jr + Obama like when the southern agrarian economy couldn't return to its former profitable self in reconstruction and the government embraced jim crow to get black people into the southern prison systems to revitalize the southern agrarian economy, which happened to gilded wealth accumulation. From the automotive or entertainment industries failures while being supported by the usa government reflects how the enslavers who lost everything were given it all back by the usa government , through the usa's power curtaling the essence of fiscal capitalistic that the usa advertises. But the key is all in the usa know this, but few say it. And some want slavery in a stronger form to make a comeback , ala the robot. The point being the usa's 300 million make up a village with a quite large number of tribes who don't fit together, heritage-wise or culturally or philosophically, but raise their children and suggest in themselves that a unity exist or will exist which of course is a simple lie, but which creates the discourse battles leading to no where. Finally, and away from things, thanks to @harry brown for announcing the anniversary of AALBC. I still have goals I want to see in this ecommunity and hopefully they will happen.
  18. 1:02 Thank you for saying the truth. I wonder what your thoughts are to non documentarian biopics influencing how people view identities in history? 1:53 The movie was written by Stefani Robinson < https://www.hollywoodreporter.com/news/general-news/atlanta-writer-stefani-robinson-talks-female-creator-label-1130971/ > I Quote her "Being a woman is not in the forefront of my mind every second of every day. I am a woman, I live as a woman, and my perspective is most definitely female, but there’s this implication that for me (or women) to create a piece of work ?or put myself into the shoes of others, I have to somehow filter it ?through this resolute female mental block. It’s a contradiction, because I’m proud to be a woman and want females to be celebrated. But on the other hand, the focus on that sometimes feels a little condescending and demeaning." The problem with all artists who suggest araciality is they forget no artist has the ability to create absent bias. Bias isn't always negative. In Chevalier, her desire to show this competitive mulatto artist in France is from her own view, but the film could had went another way that may have achieved greater reception. I quote her again "Representation absolutely matters. The fact that I didn’t have many female TV writers to look up to when I was young is a big reason why I felt compelled to pursue ?my career. But I reject the idea that you can only tell a story if you’ve lived it. How clinical and boring. Artists should have the freedom to explore anything that moves. But this also demands that everyone is allowed a seat at the table.?" The problem with many of my fellow artists is they confuse labels with restrictions. And they confuse the ability to tell a story with the ability to tell a story with a perspective that will reach out to all. I am black, male, hetero, anglo <the language i primarily speak is english>. Does this mean I can't write a story inspired by don quixote? of course not. Am I from spain? no. Do I speak spanish? no. But I can still write a story about don quixote. BUT, if I am free to wrtie what I want will my culture emit through my telling of don quixote? yes. And of course, what will the commercial quality of my work be? well, that is a complicated question but at the end of the day, do those who are interested in my work or variants of don quixote have a large enough quantity and, will my work be able to attract those who are not interested in my work or don quixote? I have been writing my entire life, I have no bounds, but just because I can create whatever I want doesn't mean commercially it is viable? And based on what she has written in the past, has she shown viability in the genre of biopics? And to the movie, after chevalier, would you pay for her to write another? This is the key between all artists creativity side commerciality. Edgar Allen Poe, a white man , died poor, and not financially grand. Mark Twain wasted fortunes made from books with various ventures, but earned a lot of money. But today, many more know more references of Poe over Twain. Does it make either artist bad creatively? no. Does it mean either artists has different qualities commercially ? yes Opportunity to make profit is rare for all artists but when given an opportunity if you fail to make money, you fail. And even if statistics are skewed or augmented to emphasize failures unfairly, it is up to the artists to keep creating. I paraphrase <I am typing one go , no checking> the preface of the play , The Escape by William Wells Brown "This play was written for my own amusement , and not with the remotest thought that it would ever be seen by the public eye. I read it privately, however to a circle of my friends, and through them was invited to read it to a Literary Society . Since then, the drama has been given in various parts of the country. By the earnest solicitation of some in whose judgement I have the greatest confidence, I now present it in a printed form to the public. As I never aspired to be a dramatist, I ask no favor for it, and have little or not solicitude for its fate. If it is not readable, no word of mine can make it so; if it is, to ask favor for it would be needless" And I paraphrase, same as before WEB Dubois, who isn't my favorite writer , but is true sometimes. "The Negro today fears any attempt of the artist to paint Negroes. He is not satisfied unless everything is perfect and proper and beautiful and joyful and hopeful. He is afraid to be painted as he is, lest his human foibles and shortcomings be seized by his enemies for the purposes of the ancient and hateful propoganda" My two points using the two paraphrases above < and I apologize for all this preaching, my own preaching does sicken me> is first, to emphasize an eternal truth, whether in the late 1800s or on MArs circa 2672, Black artists, like all other artists in humanity, are totally free to create whatever we want, but that doesn't mean we warrant or must be given opportunity to profit from it; and , second, that Black DOS artist, like all other artists in humanity, need to feel no shame in admitting thier culture , including all of its unique ways, like being the only people forced to immigrate to the american continent and enslaved in it. 3:33 That is a great artistic question from Nike. In films concerning characters in history, the film industry has common aspects. For example, anytime a white jewish character is in film at the time period commonly called world war II, significant time is always, always given to concentration camp life for jews,always. I have personally witnessed in many writing groups, black writers desire an end to the mentioning of enslavement to whites in the usa or the european colonies that preceded it. And I comprehend the source of this artistic movement. Black DOSers have a problem. We are the only group that was forced to immigrate and exist enslaved in the usa, the only one, so no oher group in the usa has our fiscal /governmental/cultural path in the usa, no other group. In the arts this is played out whenever slavery is displayed. So to be apart of the usa en large, if black people simply dismiss our enslavement in the arts, we are internally moving from it to join the other groups in the usa. Enslavement to whites will always be a historical fact, but the arts have the ability to create perceptions to the past, ala Bastille day in france or the october revolution in russia are prime examples. The french republic didn't start at bastille day , but those in power in france wanted to create a living myth that the french republic was started at the time marie antoinnette lost her head. But it isn't true, monarchism thrived long after the bastille was stormed ala Napolean and his descendents. And same to Russia, the February revolution is where the Czar really lost it, and he chose to step down willingly, the legislative body of russia , like in most governments with a highly multiracial populace was unable to finda center where non exist, which is perfectly human, and thus led to more chaos later that year in october. But, this is the power of modern myths, designed to make more complicated stories simple. It is easier to say, France rid itself of monarchy with the chopping of marie antoinette's head, it is easier to say the russian monarchy was blindsided by the power of the peasants, it is easier to say the usa is the land of the free and the home of the brave merely with the signing of a declaration of independence. Bullshit. 3:47 Joseph Bologne was lucky. The reality is, many Black artist like to use rare black examples and tout that as the story to emphasize in a time. Were all black people ensalved to whites in the european colonies that became the UA? no , but does that mean the story of land owning blacks needs to be emphasized over the over ninety percent of black people completely enslaved to whites? I say no. Robinson chose to do what I heard in black writing circles many black writers suggest, I quote :"why do we have to talk about slavery all the time". The majority in any community dictates most of their narrative, the black community in the usa his an anaomaly in that the minority in the black community in the usa tedns to try to dictate the larger narrative. Ala the talk about human equality , fighting for freedom, being statian <allegiance to the usa> , and many philosophies stem from the black minority in the black community in the usa, in opposition to the black majority in the usa which is historically or modernly, anti white, anti usa, pro segregation, yes seperate while equal. Note: Remember, the plantation is a form of integration. 6:10 yes, mullato is little mule. The Casta is something started by spain and this is where the terms, mestizo/mullatto/alvino/quadroon/octoroon come from. The problem with Casta is that it is a natural insulting system. Think of the Caste system in india. People like the Dalit are deemed less than by others in the more potent castes. It is an automatic insult. Saying Mulatto wasn't like saying Nigger. It is more like when someone is called black in the usa and they say, why do you have to call me black. It goes back to the writer and that philosophy or human equality. Don't call someone by a label, call someone by how they want to be referred to. So not the black dancer who made thriller but michael jackson who made thriller. The problem is not everyone is insulted when called mulatto. In South America, the simon bolivar side others were proud mestizoes, which is word kin to mulatto. For the record: mestizo is white parent side native american <regardless of native american phenotype> , Mulatto is white side black <regardless of geographic lineage, so native american or african or asian>, albino or quadroon is someone with morisco and white european <morisco parents are white and mulatto, mullatos paretns are white european and black> , octoroon is from a quadroon with another white european parent. Someone like rebecca hall, director of the film passing basedon the book by nella larson falls somewhere in that range of octorron and quadroon. ala https://en.wikipedia.org/wiki/File:Castas_07tornatras_max.jpg Is Casta or terms from it like Mulatto based on genetics , no. It is science, or knowledge, but it is based on lineage. And why does lineage matter historically? law plus inheritance. This is why the descendent of Gannibal <a statue of him is in russia today>, Alexander Pushkin <russians know this writer in russian literary circles> own descedents are all white. Gannibal < https://upload.wikimedia.org/wikipedia/commons/f/f3/Петровское._Бюст_А.П._Ганнибала.jpg > Ossip Abramovich Gannibal Nadezhda Ossipovna Gannibal < https://upload.wikimedia.org/wikipedia/commons/2/2b/N.O.Puskina.jpg > Alexander Pushkin < https://upload.wikimedia.org/wikipedia/commons/5/56/Kiprensky_Pushkin.jpg > Natalia Alexandrovna Pushkina < https://upload.wikimedia.org/wikipedia/commons/e/e7/Pushkinana.jpg > Sofia Merenburg < https://en.wikipedia.org/wiki/Countess_Sophie_of_Merenberg#/media/File:Countess_Sophie_of_Merenberg,_Countess_de_Torby_(LOC_ggbain.00604).jpg > from Sofia Anastasia de Torby < https://upload.wikimedia.org/wikipedia/commons/2/26/De_Torby_Anastasiya_Mikhailovna.jpg > Nadejda de Torby < https://upload.wikimedia.org/wikipedia/commons/a/a6/Nadejda_Mountbatten%2C_Marchioness_of_Milford_Haven_(LOC_ggbain.16855).jpg > You may scoff at my going through this but do the research on their lives and you will notice their background had influence on their rank or inheritance. It is that simple. What is the problem? In modernity in the USa, the aracial philosophy that many aspire to, suggest that any system that disallows individuals is by default an extremely negative system. The Casta/Lineages determining inheritances all are against individual rights, which is what the writer by her own words above champions and it appears in her screenplay. But it is misplaced in the context of France during Joseph Bologne's time. Said France isn't the USA 2023. White people in France duing said time did not freely intermarry with each other. The caste/rank/lineage mattered to those with money, rightyl or wrongly, so to suggest a modern sentiment is a falsehood historically. But, is artistically acceptable. But notice it is both and how that relates commercially. This movie didn't shake up the world. 7:43 yes, European countries in the 1700s , 1800s , had very small black populaces, so small the term negligible can be applied. And in Europe, the peasant, the descendant of the White statian was the lowest class. And to be blunt, while blacks could never be considered royals in europe at that time, i argue, from Gannibal to Thomas Alexandre, while they were never regals in europe, to suggest they lived liked white peasants in europe is a lie. And I argue, that modern Black people living in white countries: usa or in western europe, falsely attribute to them an equality goal when I think they merely did what all did in the regale system of europe which is social climb. 99% knew they will never be the crowned but the goal of all was to reach for it. And the playground in between the regale and the no name peasant is where the action was. 8:50 yes that was a funny modernity. BUt I will say this, if that conversation did happen, I would had loved to hear that back in the day. Pourquoi n'epouser pas un Africain ? 10:30 exactly or white peasants. 10:46 yes, the white father in marie antoinette's time gave the black father after ronald reagan in the usa time speech, very tropy:) of Robinson, I wish I knew if that was true. 12:46 To be fair, Europe had a long history of art destroying, ala bonfires, through religious movements or wars and the period commonly called the french revolution <remember bastille day is a lie> was chaotic to no end. 14:46 yes at the end of the day I see in chevalier, Robinson as a fellow artist who by her own admission is contained in a multiracial while unfair media environment <hollywood> or country <usa> stating how the strategy of non violent artistically endeavored growth is a tradition for black people in white countries and the friction that provides said black folk with their phenotypical peers <like his mother who questions his intents or desires> or the white people with whom he wants to be embrace <marie antoinette's court>. Now none of his life is easily confirmed. But, from what I comprehend from a distance, the real guimard, whom he spurned, had influence over the court and undermined him in getting the opera position. While, the real Marie Josephine was abandonned by her husband in real life. I wonder why Robinson chose the style of interpreting them. For someone so interested in universalism, why not admit the woman Chevalier snubbed, Guimard, the daughter of an out of wedlock relationship some call love child, was bitter and worked against him. Robinson makes her more of an after thought when I think a great lesson in their relationship of two people born into low classes where he rejects and in her bitterness as any woman may have, used her influence to go against him a little. While the woman he supposedly wanted, married to an Soldier engineer but a man whose financial fortunes went up and down, had a baby whose destiny is unknown. Robinson choses to caricature Marc Rene into a Simon Legree light. I could be totally wrong on the history of Bologne but if what I know from gossip is true, I think how she constructed the relationship between the Chevalier side Guimaud/Marie Josephine/MArie Antoinette is her free artistic choice but doesn't align to her publicized viewpoints. I do think the mugging of him side his friend which is actually on record, though the source is uncertain, would had been a great tool to the power of universalism. Bologne fenced more and had, to be blunt, more complicated affairs than Robinson lets on and denies Bologne's life, even in a fictional nondocumentarian interpretation, the seat at the table or the absence of a filter she says she warrants or can provide as an artist in her modern workplace.
  19. From Movies That Move We Richard Murray's Corner Episode 1 The Blood of Jesus TRANSCRIPT 00:00:00 Good Morning, Good Afternoon, Good Evening, wherever you are listening. I am Richard Murray and this is the first episode in the series in Movies That Move We, I call Richard Murray's Corner. The goal of this series is to provide a talk on the oldest Black Cinema, cinema defined as film. I define , I define, you may concur or not, Black Cinema as films that have a majority of Black control or involvement in all aspects of creation. So , in this series, when I say Black Cinema I do not include things like video recordings of Porgy and Bess, a white written story. Or a film like the WIZ whose script was written by schumacher , based on a play whose stage script was written by William Brown , another white person, while both stage or film were primarily financed by twentieth century fox. And for the record I support the WIZ stageplay or film. The point is not to criminalize or oppose multiracial collaborations in film, but to focus on all or nearly all Black collaborations in film in the past. I have learned in my experience that White produced art involving Black people is usually different than Black produced art involving Black people. I use "Shuffle Along" in opposition to "Porgy and Bess". Here is the talk to the film, the WIZ ,on Movies That Move We < https://www.facebook.com/687782856/videos/10158170810782857/ > I end with, this irregular timed series will focus on said Black Cinema. Old as possible and as much Black involvement as possible. ... I begin, not with an Oscar Micheaux film but with a work entitled the "Blood Of Jesus" ; Written/Directed/Co Produced by Spencer Williams, the other producer was a white jew named Alfred N Sack who owned theaters and had distribution deals. Remember, all films outside of private made autodocumentarian films involving one subject made by produced or crafted by the same person are collaborative art projects, always. You need other people to work on the film or produce it / to get to theaters/ or to handle distribution , for ninety nine percent of films in all humanity, all the woods together, sequentially why you need so much money on average. Well, Now I will present the introduction to the film , The Blood Of Jesus . 00:02:55 Video segment 01 00:04:10 Ok, This movie I chose for various reasons, artistically. The theme of the presence of the Black Christian Community, which at one time was nearly synonomous to the entire Black community in the USA, in films involving Black people is clearly shown here. When you think about shows like Power from Fifty Cent or Sanford and Son or films like The Five Heartbeats or the Blues Brothers the film heritage of mentioning the Black Christian Community in the USA when a Black character is present is embedded in Black Cinema itself. It isn't a caraciture by White artist applied to Black people. If anything a telling thing is how lesser the quantity of Black Christian references are in modern film involving Black people. Alright, onto the next segment 00:05:01 Video segment 02 00:06:59 The link to the film in completion is at the bottom of the transcript, if you want to know why the Black man was running. All I will say is, jesting at the Black Christian culture isn't untold or unheard of in Black Cinema. So,whenever someone Black tells you what shouldn't be done, please refer to this film. Now, another thing, the showing of the shoulder, by Cathryn Caviness playing Sister Martha Ann Jackson, was deemed in 1941 risque. Yes in modern, 2023 , standards this is nothing. But, in 1941 for a woman to show shoulders was deemed by some indecent, or others tawdry. Alright, onto the next segment 00:07:44 Video segment 03 00:08:45 Yes, Juanita Riley playing Sister Jenkins knows Ras is lying. But what is most interesting is how muted the Black women treat the Black man who is a criminal. In the 2007 film Pride, the character played by Kimberly Elise reacts so vibrantly when she discovers the character portrayed by Terrence Howard was in an altercation with law enforcement and went to prison. Yes, Ras has stolen. He can't even keep the species of creature he killed the same in his storytelling. But the Black women don't act like the world has fallen, which is a very modern movie trope involving Black characters in cinema. Either we are not breaking the law to live better and overreact at the sight of the law being breaking or we are breaking the law to live better and we are unconcerned with anything... am I my brother's keeper. right? What movie is that from? Hint , Black Director, aided in financing by Clint Eastwood. Alright onto the next segment 00:09:52 Video segment 04 00:11:16 Remember in First Sunday when Tracy Morgan said, Jesus is looking at me. I couldn't resist. But love the honesty in the action. An old gun, not upkept well cause folk don't have even anything to eat can trigger like that. A pure accident but warranted. Alright , onto the next segment 00:11:54 Video segment 05 00:12:30 I have seen Christian Heaven depicted in many films, and I can not recall one that had spirits walking up to the gates of heaven from earth. If you pay attention, the spirits are not flying, they are walking... on the clouds, to the gates of christian heaven. I can not verify but this scene was supposedly made from scenes from the 1911 italian film L'iInferno. I watched the italian film, it was very augmented to create this scene. < https://en.wikipedia.org/wiki/L'Inferno > To the scene construction, don't take it negatively, if you are Black. I think the message is interesting. The message is, even if our spirits when dead do not have wings, we can walk on clouds to get to heaven, and that is alright. I think it is a message about what the afterlife means to many Black people then. The afterlife isn't a place of getting what you never had. The afterlife is a place of being free from enslavement, from restriction, from disability through human involvement. In parallel, the film L'inferno is about punishment. Alright, onto the next segment 00:13:49 Video segment 06 00:15:11 The acting by Cathryn Caviness slowly dying at peace is well done,take a look at the full film. But I hope you enjoyed the special effects. The angel is played by Rogenia Goldthwaite, thus she has wings. So, it wasn't that Black Angels didn't have wings, but when Black people go to christian heaven, it is interpreted differently. Alright onto the next segment 00:15:40 Video segment 07 00:17:23 I know the film is old but I will love if anyone can comprehend for sure the highway of light or life. It looks like a video of an urban city at night. I love how the angel left no nonsense. It is all up to you. Simple instructions. Right is good, Left is bad. Poor Judas. That name has been criminalized. Satan clearly. Judas Green, knowing both my parents mothers, he would had been in trouble the second he said that to them so they clearly evaded his machinations. Doesn't the angel sound like Phyliccia Rashad when she interviews people. Alright onto the next segment 00:18:07 Video segment 08 00:21:09 The funny thing about the bar scene, before this segment, outside the nice three individual acts: tap dance/acrobat/singing is not one criminal act is present. It is just Black people hanging out in a bar. Even Sister Jackson, who has been persuaded by Judas Green to join the character, Gambler, is wearing a cross. The second spot where the segment comes from, which is alluded to as farther down, is just that a spot. The heater in the center of the dance floor suggest this is almost a converted shack, not an a urban nightclub. Love the dancing. Notice no necklace with a cross on Sister Green now. On a musical note, it is clear Jazz side Blues were equally deemed temptation music unlike like Gospel in the black community. I think one of the unique cultural elements is how the road to temptation isn't an extremely cruel path. At the end of the day, she is in a spot where women get money to dance and give a little nooky to men. The funny thing is all of these people are spirits. Alright onto the next segment 00:22:44 Video segment 09 00:27:17 Interesting perspective how on the crossroads, you have spirits like the gambler, happily engaging in acts of theft and lying. The female thief spirit, just successfully suckered the male spirits. Again, if you think of High John the Conqueror or the Devil's Daughter, I argue, Black people, had created a secular mythology which treated tricking and the ability of devils to do good or be content , less sinful and more a part of life or acceptable. Against the religious fervor of Black Christianity. Alright onto the next segment 00:28:00 Video segment 10 00:30:09 Very much an interesting painting, the black woman lying at the base of the cross slightly on the right side. Look at the size of those stones used. Let he who is without sin cast the first boulder. We do not see hell in this film or heaven, it can argue purgatory is seen. Which meansthe spirits in the middle are in a limbo. Alright onto the next segment 00:31:01 Video segment 11 00:34:06 The Blood of Jesus has the ability to return someone from the crossroads of the spirit world, after proclaimed dead in the living world, but before a soul makes a choice at the crossroads. Like the film Body and Soul < https://archive.org/details/body-and-soul_202107 > , the first film for Paul Robeson, an Oscar Mischeux film, the theme of Black Women traversing between worlds is common. An interesting note, the body wasn't removed immediately after the sheet was put over the head. Which makes sense, people didn't move the proclaimed deceased immediately to the ground or the fire. Blood Of Jesus, free to view in completion < https://archive.org/details/blood_of_jesus > Happy Juneteenth 2023 A free screenplay for you to enjoy https://www.kobo.com/us/en/ebook/the-nyotenda If you are interested in a collection of Black fables https://www.kobo.com/us/en/ebook/sunset-children-stories #moviesthatmovewe #richardmurrayscorner #juneteenth #bloodofjesus #film #screenplay
  20. MY THOUGHTS 0:20 Zenobia your shirt 4:44 People forget that in the 1970s in the north east, some schools had the last of governmentally funded activities. 7:27 And the USA has continually asked Cuba to let them take Assata Shakur from in Cuba. And Assata Shakur still has a warrant for her. 8:29 yes, Billy Holiday 10:18 Tupac is a real life example of a child growing up in an environment like :Night Catches Us Black kids growing up in Black Panther homes in Black communities in the 1970s is a huge dichotomy. The Black Panthers had great successes but were hammered all the time by white organizations , governmentally or private. In the 1970s at their first phases end, the black community in the majority is being abused and attacked , from drugs being put in black communities bu law enforcement agencies which are proxies for white communal wealth. All this creates a complex environment. 16:12 nice musical point on the changes of Tupac's music 18:37 frustration not anger 20:45 stress created the bald headedness, yes , artist knows 23:36 Tupac/Biggie many black entertainers have complex lives. 25:15 Did they ever find out who killed Tupac? 27:13 Selena was pregnant, I didn't know that. 28:25 Interesting that Tupac's family did trust someone who had a relatively negative relationship or distant relationship with Tupac. 30:39 Nike, I thought about what you said about the Aretha Franklin biopic.
  21. 2:30 it's funny how being a single parent like any adult comes in all forms. Zenobia, the question is do you think using an uncommon form of single parenting is unwarranted or just not your artistic cup of tea? 4:34 Claudine is old enough to be before women had the 2023 levels of freedom from male domination , yes I am a man. But Nike, women globally are still commonly in Claudine's situation. It's funny how in the usa, the rules in the usa are nonchalantly applied to the global humanity, when you said something similar too, this was when women couldn't have a bank account. 7:20 The question is, did the kids too easily or quickly accept James Earl Jones new parental figure? Nike or Zenobia. 10:30 haha! Too many Black women have heard a black man or black men say publicly, or in the black man cave, women are too much:) in the usa. 13:52 did the story before the movie, when Claudine met the new interest, did she trick him or not tell him about the kids? 23:22 great scenes, with the young daughter and James Earl Jones shock at what he is getting into. 30:35 Good question Zenobia, did the characterizations in Claudine give examples to how certain negative behaviors develop from child to adult. 32:14 yes, Pauline wasn't in the category of "Whitey Bad" films. The funny thing about Shaft and Foxy Brown is how they were written by whites. Foxy Brown was written by Jack Hill. Shaft was written by Ernest Tidyman. As a writer my biggest issue with many films in the 1970s that had nearly all black cast or definitely all black major cast, are the writers of the stories are white , sequentially, the viewpoints or narratives are from whites interpreting black people, or referring to their black connections. 36:02 Great point, Sweetback plus other films in the 1970s involving black musicians or actors, is why in the late 1970s <star wars> + 80s <back to the future , die hard, et cetera> films with mostly white thespians put such a huge emphasis on soundtracks, that is one of the elements that the 1970s films in the USA with majority black thespians brought into the complete USA film industry. Closing thoughts: what are my thoughts to welfare or single parenting relevancy. To relevancy, you have to break issues up. First welfare itself + single parenting. Where do I begin. Claudine is in Harlem, a city that is legally a district of a borough in a city. Remember, each district in New York City has more people in it that the average city in the USA. Think on that, cities in the USA with a third the populace of harlem have full representation or powers over their geography while harlem has none. Why does this matter? Welfare is a leg up system, like the projects also a NYC concept spread throughout the USA, that can be easily insufficient but on existence always acceptable or rejectable. To rephrase, people can always say a person shouldn't be on welfare, using the taxpayers money, or they can say it is a public good to aid a person who needs financial assistance, but the quality of assistance the person gets tends to be insufficient, regardless of people's opinion of it. The best example is another film, also based in NYC. The film is Sabrina. Sabrina's father and Roop are similar men. The maids of the lauraughby household are no different than Claudine. But, Roop + Claudine are not getting a wage anywhere near what the workers in the Laraughby household are getting. So Claudine + Roop need welfare, they need assistance to equal what the servants in Sabrina are getting doing the same work. But the government of Harlem , wait it doesn't exist. NYC's government which doesn't cater to the whole city doesn't provide a welfare system or a labor law adequate. As for single parenting, the reality is Black people have been single parents or being raised absent parents in far harder circumstances. I argue that black people in the usa today complain more about other black people in difficult scenarios than warranted. It was worse in the past in the USA. But that leads to the next point. The next point is perception, cause perception in the Black community in the usa is rarely functional. Welfare or single parenting is a prime example. Black individuals who will make speeches, give rants on Black people using welfare or being a single parent, will be silent amidst the presence of a non black person on welfare or being a single parent. Which means what? the problem most black people have isn't welfare or single parenting cause they would rant at non black instances the way they rant at black instances. The problem is , they want zero percent black people on welfare or zero percent black people as a single parent. Many a non black is a single parent in NYC today, many. But you never hear in the news from white asians, white latinos, white muslims avbout their own people still on welfare being lazy, or their own women need to close their legs. And not because it isn't happening, it is because they give their own the freedom to be that way without condemnation. Even though more white people are on welfare in the usa than black people, some black people want black people to have no one on welfare, while white people say that is the governments role to help their own. Even though more single mothers are non black in the usa than black single mothers, some black people want no black woman to be a single parent, while non blacks go on begging sprees for their own single mothers who are doing the same job like Claudine. I will end this part with a little truth that sometimes black people don't include in comprehending how we got here. In the late 1900s a number of movements, like the club women in the usa, supported the idea of black improvement regardless, meaning even though the scenario is unfair or unjust or negative to black people or a black person they are obliged to overcome all of that, regardless. And that culture back then has become today a heritage many black people adhere to. A false one. A government is meant to govern. But a government should not be treated as something to be proud of or a member of absent an ability to be in your favor, and sadly, that concept is what many black leaders accepted in the past. The idea isn't born from stupidity, it is born from a question black people were forced to ask themselves when the war between the states ended. If I am supposed to love this place, the USA, instead of leave it, and how can I love it, when my people or community or self is mistreated yearly, monthly, daily. The answer is simple. You have to love and not leave it, regardless. That is the source of the absolutism in the black community in the usa. Now a heritage that many black people adhere to in the usa, in my view, a dysfunctional heritage but nothing is completely bad. I will speak of its merits another time:) I want to end with one of the most important points in the film. Fiscally poor people don't have easy relationships because they are fiscally poor. And yes, Claudine has six kids, begs for welfare even though she works for a living, Roop is a garbage man who has to pay for kids not Claudine's he isn't as socially connected to and barely has any money to help Claudine with her kids. Yes, and you know what, they do love each other and they can smile and walk down that street in northern Harlem:) with all those kids, still broke but loving. As a note, Claudine was a rare film in the 1970s organized by a black production company. Third world cinema of Ozzie Davis. And that is the point.
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