deerstalker
https://www.blackenterprise.com/oshun-and-me-braids-afro-latin/
At a time when Black and marginalized groups are under attack, Adiba Nelson drops a children’s book that reinforces Black aesthetics and identity. The Afro-Latina author does this through the eyes of Yadira, a young girl who invites young readers along on a natural hair journey in Oshun and Me: A Story Of Love Snd Braids. It begins with the ritual of having her hair braided and bedazzled on a Sunday. Yadira lays out the process and becomes curious about a cowrie shell her mother uses as adornment. What unfolds is a cultural and historical dialogue between mother and daughter. The conversation beautifully maps the mythology of African traditional religion practiced within Black Latin culture—against the backdrop of equally beautiful illustrations created by Alleanna Harris.
The story continues with Yadira heading to school. The young girl is beautifully braided and beaded but wonders if she’ll fit in and make friends.
The thoughtfulness and inclusivity displayed in this text cannot be ignored.
A muted but visual theme in the book is Yadira’s disability—she sits in a wheelchair as she gets her hair braided and uses a walker when she arrives at school.
According to research by the Cooperative Children’s Book Center, a mere 3.4% of children’s books feature a child with a disability as the primary character. That number sharply contrasts with the 29.2% of children’s books with animals as main characters.
Weaving in this often overlooked reality, in such a way, shows young readers who are navigating disabilities that they are seen, that they matter, they are indeed normal. Oshun and Me is sure to spark conversation among and around children with disabilities and children curious about disabilities.
Yadira goes on to tackle school and make several discoveries. She is filled with the confidence her mom has bestowed on her and armed with the Afro-Latina pride that runs through her heritage.
Oshun And Me ends with a letter from the author and a diagram of braided hairstyles.
This tale is a great read for children three and up. It was released on Jan. 25 and can be found on the shelves of your favorite Black bookstores and online from Black booksellers.
RELATED CONTENT: Captain America Comic Book Writer Explains ‘Resistance’ To The First Black Captain America Onscreen
At a time when Black and marginalized groups are under attack, Adiba Nelson drops a children’s book that reinforces Black aesthetics and identity. The Afro-Latina author does this through the eyes of Yadira, a young girl who invites young readers along on a natural hair journey in Oshun and Me: A Story Of Love Snd Braids. It begins with the ritual of having her hair braided and bedazzled on a Sunday. Yadira lays out the process and becomes curious about a cowrie shell her mother uses as adornment. What unfolds is a cultural and historical dialogue between mother and daughter. The conversation beautifully maps the mythology of African traditional religion practiced within Black Latin culture—against the backdrop of equally beautiful illustrations created by Alleanna Harris.
The story continues with Yadira heading to school. The young girl is beautifully braided and beaded but wonders if she’ll fit in and make friends.
The thoughtfulness and inclusivity displayed in this text cannot be ignored.
A muted but visual theme in the book is Yadira’s disability—she sits in a wheelchair as she gets her hair braided and uses a walker when she arrives at school.
According to research by the Cooperative Children’s Book Center, a mere 3.4% of children’s books feature a child with a disability as the primary character. That number sharply contrasts with the 29.2% of children’s books with animals as main characters.
Weaving in this often overlooked reality, in such a way, shows young readers who are navigating disabilities that they are seen, that they matter, they are indeed normal. Oshun and Me is sure to spark conversation among and around children with disabilities and children curious about disabilities.
Yadira goes on to tackle school and make several discoveries. She is filled with the confidence her mom has bestowed on her and armed with the Afro-Latina pride that runs through her heritage.
Oshun And Me ends with a letter from the author and a diagram of braided hairstyles.
This tale is a great read for children three and up. It was released on Jan. 25 and can be found on the shelves of your favorite Black bookstores and online from Black booksellers.
RELATED CONTENT: Captain America Comic Book Writer Explains ‘Resistance’ To The First Black Captain America Onscreen
Even casual Marvel fans know that Magneto is X-Men’s primary villain, as he’s often portrayed as their most formidable adversary. However, his storylines in the comics actually reveal a far more nuanced character who’s more morally complex rather than outright evil. While his methods clash with the ideals of Professor X and his X-Men, his commitment to protecting mutant-kind highlights his moral complexity.
In fact, we’d go as far as to call him Marvel’s most layered supervillain, if not the most complex out of the entire superhero comics category. The movies really do the character justice; Ian McKellen’s iteration highlighted a character driven by a tragic past and grim worldview, while Michael Fassbender’s version dives even deeper into his moral ambiguity, exploring his transformation from a victim of persecution to a militant extremist trying to end mutant subjugation by any means necessary.
However, the movies can’t really capture the entirety of Magneto, so here are 5 times Magneto’s morality in comics was more complex than evil.
Headmaster of the New Mutants
In the opening episode of the first season of X-Men ’97, we see Magneto assuming leadership of the X-Men and Xavier’s School for Gifted Youngsters — much to the surprise of both the X-Men and the audience. However, the story draws its roots from Uncanny X-Men #200 and New Mutants #35-75, in which he not only reconciles with the dying Charles Xavier but also becomes the school’s headmaster at Charles’ request.
He genuinely tries to guide and protect young mutants while seeking redemption and aligning himself with Xavier’s dreams of coexistence. He also questions his own worthiness for the role he’s been asked to assume. This highlights his struggles between his ideals and his violent history.
He Helped Stop Apocalypse
In the “Age of Apocalypse“ storyline, David Haller goes back in time to kill Magneto but accidentally kills Professor Charles Xavier instead, which leads to Apocalypse attacking the Earth a whole decade sooner compared to the original timeline. Following his conquest of Earth, Apocalypse is then opposed by several mutant resistance factions, including a group of mutants led by Magneto.
Grieved by Charles’s death, Magneto vows to continue his friend’s life work in bringing humanity and mutants together despite the horrible experiences of his youth. In this timeline, he even founded the X-Men, naming them in memory of Charles.
Defending Genosha from the Sentinels
While his reign on Genosha was controversial even in the eyes of mutants, Magneto only ever wanted to safeguard mutants from persecution and extinction. He officially took Genosha from its human oppressors and turned it into a mutant haven. But, in the “E is for Extinction” storyline, Genosha was attacked by Wild Sentinels in what’s described as one of the worst acts of genocide in history.
Magneto took a valiant stand to protect the mutant population of Genosha and fought to save his people, underscoring his commitment to mutant survival, even at great personal cost. Sadly, nearly 95% of the mutant population on Earth was killed in the Genosha genocide.
His Role in House of X/Powers of X
While he fosters great animosity towards humans, Magneto’s primary goal is the well-being of his fellow mutants. In the “House of X/Powers of X” storyline, Magneto works together with Xavier and Moira MacTaggert to create a new mutant nation on Krakoa, where he acts as an ambassador. While his rhetoric remains militant, his commitment to ensuring mutant safety transcends the villainy he’s often associated with.
In these issues, Magneto becomes a statesman and a political protector, proving that his actions aren’t driven by the dreams of power, conquest, or the destruction of humanity but rather by the desire for mutant survival.
God Loves, Man Kills
In this story, Magneto comes across the aftermath of a hate crime during which two mutant children are killed and their bodies are strung on a swing set as an example. The sheer sincerity of his sorrow can be discerned from the pages alone, and after mourning the children, he went to the X-Men, this time as an ally.
He helped them rescue Professor X from a militant religious extremist organization led by William Stryker, the Purifiers, who are also responsible for the deaths of mutant children at the beginning of the story. However, his ideological differences with X-Men meant that the alliance was over once the Purifiers had been dealt with.
Final Thoughts
These instances show that Magneto, though often portrayed as a villain, isn’t truly an evil character. In fact, despite his animosity towards humans, he had gone out of his way to save even innocent human lives. However, it’s the brutish nature of humanity and its persecution of those deemed “other” that constantly forces Magneto to assume a villainous role; a moral standpoint where his ruthlessness replaces his compassion. He will do anything to protect mutants from other humans — including going against those mutants who oppose him.
The post 5 Times Magneto’s Morality in X-Men Comics Was More Complex Than Pure Evil appeared first on Black Girl Nerds.
A lot of classic movie memorabilia goes up for auction these days. Yet few ever get as much attention as props originating from the Star Wars films. Especially if we’re talking about screen-used pieces from the original trilogy. Now, via Gizmodo, we’ve learned that a very significant piece from A New Hope is up for sale, as Luke Skywalker’s medal, awarded to him on Yavin IV by Princess Leia, is going up for auction via the Propstore this March. It’s expected to sell for $300,000-$600,000. You can check out an image of this iconic piece of Star Wars history down below:
Here’s the official description of Luke Skywalker’s Star Wars: A New Hope medal from the Propstore:
This medal originates from the collection of prop man Gerard Bourke. This and Harrison Ford’s medal, held in a private collection, are the only two examples of this prop known to exist and presumably the only two made for the film. This is the first and only medal to be offered for public sale.
Some slight wear in the upper corner confirms this medal is Luke’s, and not Han’s. Quite famously, only Mark Hamill as Luke and Harrison Ford as Han received medals after the Death Star’s destruction. Chewbacca honored Princess Leia in the throne room, but his noble acts did not earn him a medal. (Who did they think convinced Han to go back and help Luke?) Sure, he finally got a medal in The Rise of Skywalker, but that was Han’s old one. It’s just not the same. Speaking of Chewie, the iconic Wookiee’s bowcaster from the original trilogy is also going up for sale during this auction, for a hefty $250,000-$300,000.
To see these and other iconic movie props that are a part of this auction, head over to the Propstore official site for details.
The post Luke Skywalker’s Medal from A NEW HOPE Will Soon Go Up for Auction appeared first on Nerdist.
It’s Black History Month, y’all, and I’d like to thank our BAPS ancestors for Black cinema on this day. One of Them Days is the Black Women’s Friday we know we needed for a long time, and it could not have come at a greater moment than this. When the word DEI is being said with a hard R across the country, this film gives the illest side eye and a righteous suck of the teeth. If you haven’t seen the film yet – get to the theaters and pay Black filmmakers their money.
Just a month ago, the film One of Them Days hit the box offices and has been a slow and steady burn on the charts ever since. Grossing over $44mil around the world and continuing to attract audiences. Not only is there a continued interest in the film, but critics and fans are simply in love with the story and the stars. So how does a movie with a BIPOC narrative, a majority (basically all but one) Black and Brown cast thrive in an America trying to be “great again?” Because F-that WE already great, always have been.
No worries, no real spoilers will happen in this article. I genuinely want you to experience the magic for yourself.
Just One of Them Days
The movie follows Dreux (pronounced Drew), played by the charismatic Keke Palmer, and Alyssa played by singer/songwriter SZA. I’ll be honest – I was skeptical about SZA’s acting ability at first. The switch between singer and actor is a 50/50 hit or miss (cough, Alicia Keys cough). I am so glad I was proven wrong. SZA effortlessly brought Alyssa the bohemian, witchy, good-natured vibe that was everything to Keke’s go-getter, goal-driven, upbeat, worry-wart character Dreux. SZA’s character is a visual artist and painter with a more free-flowing, free-loving attitude that attracts moohcers along the way. Keke’s character is the community cultivator with high hopes of owning her own business and rising up as one would say.
These two are best friends living together, making ends meet in a next level of paycheck-to-paycheck way. When SZA’s freeloading boyfriend swindles their rent money, they now have twelve hours to make rent before they are kicked to the curb (literally.) They then embark on a Friday-esq adventure with the clock ticking down to their demise. All of these shenanigans are complete, with Deebo-like characters threatening their lives. Enticing beautiful Black men who we are trying to trust at every turn. A landlord who welcomes gentrification with open arms and renovations abound. Even a wise black man named Lucky, played by Katt Williams, who’s truly looking out for these girls’ well-being.
Let’s Take It Personal
Now, I’m gonna get personal y’all, because I feel like the charge against the well-being of marginalized people hits a little close to home. Real talk. I’ve been unemployed now for eighteen straight months. Laid off due to company downsizing, which led to my entire department being shut down. Now, as a Black woman in corporate media, I felt a different sting of fear than my former co-workers. While they also struggled to find work – I don’t pretend this market isn’t hurting everyone. I felt a particularly overpowering sense of dread. While they slowly got consulting gigs and full-time work, I was still searching, getting rejection emails or no responses at all, even when knowing the hiring manager, the CEOs, or having official recommendations.
I began to feel a bit paranoid that maybe it’s me. Maybe I’m being blackballed (pun intended.) When I really sat down to think about it, I began compiling all the micro and macro aggressions I received at any given job in my twenty-plus years in the workforce. In this age where people just don’t want to deal with it, when they’re rolling back their efforts to work on themselves, I am a serious liability. To hire a Black woman means, ‘ugh,’ ‘I need to be aware of what I say,’ and ‘I have to consider things that take work to think about.’ ‘What if I say the wrong thing? I’ll have to get tied up in HR.’ For a time, hiring someone like me was non-threatening. I am an unassuming Black girl who grew up in suburbia. It was convenient. As times have changed, the threshold of convenience has dwindled. People want to be just a little bit racist in peace. Or just a lotta bit racist out loud. There is no more room for convenience.
While sitting wide-eyed in the Alamo Drafthouse theater drinking my watermelon mezcal margarita (a regular drink on the menu, don’t make it racial wink), I felt all of these things. As I watched these two queens run around LA trying to find any way to make rent while a series of unfortunate events stacked up against them, I all of a sudden was like – am I from LA? Did this happen to me? Is this my story? Yes, yes, it is, and it’s told with laughter, wit, drama, and all the things we need to see.
That a Girl Goes Through
Every element that a Black woman feels inside oozes from this film. The want to be professional. As Keke races to make quick cash, she is also up for an interview to be a franchise manager of the restaurant she works for. The need to fuel our creativity and invest in ourselves. As SZA diminishes her light, never selling a piece nor holding a gallery showing despite the multiple beautiful works lying around the apartment. Believing dumb guys and then being skeptical of the great ones because of our past. All the jokes hit. It was the warm hug I was needing.
One of Them Days is expertly written by Syreeta Singelton (no relation to John Singelton, although her writing makes you feel otherwise). Singleton is known notably for her work on Insecure and the buddy comedy (or dramedy) show Rap Shit.
Along with Singelton’s genius writing, the film is heralded by a band of Black and Brown creators. Issa Rae being the producer of Singelton’s other works. One of Them Days, directed by Lawrence Lamont, also directed on Rap Shit. Producers also include Denise Davis, known for Black Lady Sketch Show. One of Them Days is also Executive Produced by someone who seems to be the Black entertainment godfather, Charles D. King. King is responsible for Judas and the Black Messiah, Sorry to Bother You, Mudbound, Fences, and the list goes on. The crew consists of women-identified cinematographer Ava Berkofsky, known for Rogue One and Captain Marvel, and editors Tia Nolan and Kim Boritz-Brehm who worked on Dr. Strange and Rogue One. Latiné woman Production Designer Monique Dias, Black Woman Composer Chanda Dancy. Black Woman Costume Designer Kairo Courts, known for her work on Atlanta, had these characters in the culture forward fits with nods to BAPS, in my opinion.
When I’m Angry Inside
This is not the diversity hire you wall were looking for. They came to play! Now, I am not marveling at the idea of a Black and Brown and women-led production. I do this on my indie sets and strive for it in every project I take on. We’ve seen it in Insecure, Black Panther, and so many more. It is, although, something to keep shouting into the cosmos as much as possible.
A 2021 study by research firm McKinsey & Company found that only 6% of films in the US have Black writers, actors, or producers. It also found that when a project does not have a Black and Brown producer involved, it is drastically less likely to hire any other off-screen Black and Brown people. The odds, as we all know, have always been stacked against us. The idea of tipping the scales by having people understand they need to do better is just the bare minimum. What happens when people see my name, Aisha, on my resume? When there are 700 applicants and my qualifications are just as good as the next? My mind goes to what is stacked against me. Then I see films like One of Them Days. Black Women leads, clearly a Black and Brown story with all the nuance. Excellent writing, direction, editing, and acting. I know I’ve been knocking at the wrong doors. No, we can’t do it on our own all by ourselves because forces will still work against us, but the possibility for change has to be strong-willed, and we are the strongest.
I don’t want to say One of Them Days is our salvation. It’s just been a long time since we’ve seen a film such as this gel so well and makes us feel as capable as Dreux and Alyssa.
Don’t Take It Out On Us
The truth about DEI is it isn’t about us, the Black and Brown, the BIPOC, the veterans, women, and differently abled-bodied people – it’s about them. The elite’s inability to see just how versatile, multi-talented, and essential we are in every frickin’ field that exists. DEI is for them. Because of the closed-off world that’s been created, the privileged need a program to see what is right in front of them. That was their choice, not ours. So people like Charles D King, Syreeta Singleton, Issa Rae, Larry Wilmore, Quinta Brunson, Ava DuVernay, said (puts Thanos infinity gauntlet on) I’ll do it myself. Now this is not a march to let’s ignore the reality we live in and that doing everything ourselves is so easy. No, none of that. I’m on the Miles Morales, and I can do both. The world that colonizers created has FK’d us all, and we’re gonna need all the grey areas explored and all the efforts to get the FK out of this. Dreux and Alyssa ran the gamut to get just a piece of what they deserved: an apartment with a ceiling that looks like the pictures. That’s all y’all. I commend this production for showing us how forgotten they want us to feel and how powerful we still and will always be.
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The post ‘One Of Them Days’ Takes It Personal appeared first on Black Nerd Problems.