#moya bailey

[blackgirlslivingwell]

Overcoming Misogynoir's Lies: Reclaiming Your Worth. Today we're going to get real and talk about something so many of us have dealt with - the toxic effects of misogynoir and how to heal by putting yourself first.

[spinningerster]

ah yes the four lead characters in newsies

[screen1ne]

Watch Newsies Interview With Moya Angela and Sam Bailey

Watch the Screen One Interview with Disney's Newsies cast members Moya Angela And Samuel Bailey. #Newsies #Disney #Musical #Theatre #MoyaAngela #SamBailey @MoyaAngela @SamuelJB26 @newsies_uk

Screen One Interview – Disney’s Newsies cast members Moya Angela & Sam Bailey In this edition of the Screen One Interview we chat with Moya Angela and Sam Bailey two of the cast of the hit Disney Musical Newsies, now playing at Wembley Troubadour Theatre. We talk about the show itself, the music and dancing involved, what it’s like day-to-day and much more. Based on a true story, NEWSIES is set…

[ghelgheli]

Stuff I Read In August 2024

bold indicates favourites

Books

Minima Moralia, Theodor Adorno [link]

Joseph Stalin: A Political Biography, Marx-Engels-Lenin Institute

Exordia, Seth Dickinson

The Racial Contract, Charles W. Mills

Short Fiction

Esse est percipi, Jorge Luis Borges & Adolfo Bioy Casares [link]

The Proper Study, Isaac Asimov

2430 A.D., Isaac Asimov

The Greatest Asset, Isaac Asimov

The Jaunt, Stephen King [link]

There Will Come Soft Ruins, Ray Bradbury [link]

Harrison Bergeron, Kurt Vonnegut [link]

Billenium, J. G. Ballard [link]

The Food of the Gods, Arthur C Clarke

The Star, Arthur C Clarke

Tantie Merle and the Farmhand 4200, R. S. A. Garcia [link]

Queer &c.

Kill the Couple in Your Head, Anonymous [link]

Gender without Gender Identity: The Case of Cognitive Disability, Elizabeth Barnes [link]

The Woman Question, Lori Watson [link]

Being Your Best Self: Authenticity, Morality, and Gender Norms, Rowan Bell

Reimagining Transgender, Robin Dembroff [link]

Yep, I’m Gay: Understanding Agential Identity, Robin Dembroff & Catharine Saint-Croix [link]

Forgotten lives: Trans older adults living with dementia at the intersection of cisgenderism, ableism/cogniticism and ageism, Alexandre Baril & Marjorie Silverman [link]

Dementia and the gender trouble?: Theorising dementia, gendered subjectivity and embodiment, Linn J. Sandberg [link]

Pol

Moving Towards Life, Marina Magloire [link]

Rosa Luxemburg Foundation please note: ‘A time comes when silence is betrayal’, Haifa Zangana [link]

Beyond Orientalism and Islamophobia: 9/11, Anti-Arab Racism, and the Mythos of National Pride, Steven George Salaita

On misogynoir: citation, erasure, and plagiarism, Moya Bailey & Trudy [link]

Other

“Democratizing AI” and the Concern of Algorithmic Injustice, Ting-an Lin [link]

What is a (social) structural explanation? Sally Haslanger [link]

The Importance of `Godzilla' Cannot Be Overstated, Charlie Brigden [link]

The Special Effects in Citizen Kane, Wesley Tilford [link]

For Friendship to be Revolutionary, Sever [link]

[nucrests]

this might be a too much to ask, but can we get the names of the sims you posted? they are all very beautiful and amazing ❤❤❤❤

I can definitely answer that for you! I'll have to answer under read more because it's gonna be a long post. I don't know if others wanna go through that on their dash lkhaldf So click on the read more link below! 😉⤵

1: Don Lothario (he/him) 2: Johnny Zest (he/him) 3: Yesenia Baugh (she/her) 4: Penny Pizzazz (she/her) 5: Dina Caliente (she/her) 6: Nina Caliente (she/her) 7: Paolo Rocca (he/him) 8: Marcus Flex (he/him)

9: Eva Capricciosa (she/her) 10: Jade Rosa (she/her) 11: Dominique Rojas (he/him) 12: Michael Smith (he/him) 13: Salim Benali (he/him) 14: Roman Conner (they/them) 15: Maria Conner (she/her) 16: Estevan Moya (he/him)

17: Jacinta Banks (she/her) 18: Seraphina Carrasco (she/her) 19: DeMario Humphrey (he/him) 20: Iniya Advani (she/her) 21: Jules Dupree (he/him) 22: Tatum Long (he/him) 23: Sabrina Ernst (she/her) 24: Lukas Power (he/him)

25: Thorne Bailey (he/him) 26: Octavia Moon (she/her) 27: Clio Bailey (she/her) 28: Dorian De La Cruz (he/him) 29: Zola Fiorello (she/her) 30: Giovanni Fiorello (he/him) 31: Jared Q Grimes (he/him) 32: Jordan Mayer (she/her)

33: Dante Lothario (he/him) 34: Bruna Lothario (she/her) 35: Johnson Ready (he/him) 36: Martin Wall (he/him) 37: Candy Behr (she/her) 38: Yuki Behr (she/her) 39: Adriana Lothario (she/her) 40: Nicolo Lothario (he/him)

41: Dirk Dreamer (he/him) 42: Aubrey Epperson (he/them) 43: Sean Sullivan (he/him) 44: Holly Vinedal (she/her) 45: Raj Khemlani (he/him) 46: Lacey Stiles (she/her) 47: Kalista Kalid (she/her) 48: Olivia Stewart (they/them)

49: Moose DuBros (he/him) 50: Brock Hackett (he/him) 51: Haven Upton (she/her) 52: Jasna Upton (she/her) 53: Carley Otto (she/her) 54: Moshe Starks (he/him) 55: Cherish Gann (she/her) 56: Willow Crawley (she/her)

57: Dudley Landgraab (he/him) 58: Mimi Landgraab (she/her) 59: Hank Goddard (he/him) 60: Pauline Wan (she/her) 61: Nancy Landgraab (she/her) 62: Geoffrey Landgraab (he/him) 63: Malcolm Landgraab (he/him) 64: Brytani Cho (she/her)

[waterfaery]

Hiya, since y'all since are out there liking and sharing my Newsies Previews audio I would like to share a new one (:

This one is not tracked (yet, i want to track it but I haven't had the time so far).

Here you go!

This was taken on the evening show of sunday 12-03-2023. It was Jamie Duncan-Campbell's Last show and Bobbie was on for Katherine! I'll share the full cast list under the cut!

This was front row Bronx seats, so got some nice improv/ad-lib lines again, I could talk about hours about those alone haha

Disclaimer: you can download, share link, everything just please don’t re-upload since it’s my own master thank u!

Ps: I also have a 03-12-2022 (previews) audio, if anyone is interested! and a bunch of notes i wrote during the show, so let me know!

Jack Kelly - Michael Ahomka-Lindsay

Davey Jacobs- Ryan Kopel

Katherine Plumber - Bobbie Chambers

Les Jacobs - Oliver Gordon

Crutchie - Matthew Duckett

Joseph Pulitzer - Cameron Blakely

Medda Larkin - Moya Angela

Race Higgins - Josh Barnett

Specs - Samuel Bailey

Tommy Boy - Jack Bromage

Buttons- Alex Christian

Mike - Mark Samaras

Ike - Zack Guest

Mush - Jamie Duncan-Campbell

Splasher - Ross Dorrington

Albert - Jacob Fisher

Finch - Damon Gould

Romeo - George Michaelides

Jo Jo - Mukeni Nel

Elmer - Rory Shafford

Henry - Matt Trevorrow

Morris Delancey / Darcy - George Crawford

Oscar Delancey / Bill - Alex James-Hatton

Spot Conlon / Nun / Bowery Beauty - Lillie-Pearl Wildman

Hannah / Brooklyn Newsie / Nun / Bowery Beauty - Lindsay Atherton

Brooklyn Newsie / Nun / Bowery Beauty - Kamilla Fernandes

Brooklyn Newsie / On-stage Swing - Imogen Bailey

Bunsen - Siôn Lloyd

Snyder - Ross Dawes

Wiesel / Stage Manager / Jacobi / Mayor - Jamie Golding

Nunzio/ Guard / Policeman / Roosevelt - Barry Keenan

[cyhsal]

Colour wheel art challenge, C20 architects edition! 👔🎨

Had a lot of fun with this — list of people under cut.

Instagram // Twitter // VK // ArtStation // Mastodon

❤️ Berthold Lubetkin (Tecton; Skinner Bailey and Lubetkin)

🧡 Andy MacMillan and Isi Metzstein (Gillespie Kidd and Coia)

💛 [left to right] Stan Amis, John Partridge, Bill Howell and John Killick (Howell Killick Partridge and Amis)

💚 Hugh Casson and Neville Conder (Casson Conder Partnership)

🩵 Hidalgo Moya and Philip Powell (Powell and Moya)

💙 Geoffry Powell (Chamberlin Powell and Bon)

💜 Gordon Benson and Alan Forsyth (Benson and Forsyth)

🩷 Peter Womersley

[ihavenothingtosayandimsayingit]

Discography Deep Dive: GY!BE

Part 3

Slow Riot for New Zero Kanada (1999)

Label: Constellation, Kranky

Producers: Dale Morningstar

Scores

Ranking: 7

Overall Average Score: 2.9

Mixing: 2.5

Pacing: 2.5

Track Ordering: 3

Orchestral/Textural variety: 1.5

Melodic  Ingenuity: 3

Aesthetic Consistency: 5

Stand-out track: Moya

Slow Riot for New Zero Kanada is a huge moment in the early discog of Godspeed. Its long two track arc ebbs and flows gorgeously as a sonic journey checking all the boxes of true Godspeed style: the long minimalistic crescendo built upon evolving and unfurling textures of strings, drums and guitars, with interspersions of "vox pop" field recordings (the extensive interview of Blaise Bailey Finnegan III being the central character). 

Throughout "Moya" (one of the stand-out tracks in Godspeed's canon) we hear gorgeous melodic fragments germinate from the seeds of a twelve-note passacaglia. As this movement builds and transforms, the textures remain rather homogenous. While the pings of the glockenspiel are initially welcomed as a bright touch to the introduction of the twelve-note ostinato they become more awkward and out of place when the texture thickens, especially when they become tremolos. Despite this attempt of textural variety, what remains consistent is exemplary melodic ingenuity and symmetry that is consistent with Godspeed's minimalistic approach to building textures. The twelve-note ostinato doesn't show up in its complete form until 3'45" into the movement. Preceding this is a haunting seven-note motive introduced by the strings. As the twelve-note passacaglia proceeds several countermelodies spin out in a neo-baroque style finally give way to a five-note descent into the requisite field recording moment of "BBFIII". Thus, a twelve-note passacaglia is symmetrically bookended by patterns of seven (at the beginning) and five (at the end): 7+5=12.

Although less poetic than other field recordings, "BBFIII" stands out as a dramatic documentarian style, undergirded by the deft touches of guitar harmonics with a melodramatic string tremolos and drum fills. The inevitable forces of the instruments take over to create a compelling climax of riff-like power chords and four-on-the-floor drumming. This would be a fantastic ending, yet the strings enter again in a coda-like fashion with washed-out reverb more in a neo-baroque style . This seems to be a blurred and all-too-short hazy memory of the opening moments of "Moya." Although aesthetically consistent, this use of coda seems almost perfunctory when heard within the context of Godspeed's innovative endings where entire movements act as dedicated codas. To round off the structure of this diptych, Slow Riot really needs to be a triptych. This would be consistent with the baroque style alluded to throughout (which are often in three parts) and proportional to what is asked of the listener in this sonic journey. The aesthetic and imaginative demands upon the listener in this EP is one of the main reasons why it is included in this discography deep dive. It is simply unfair to attach a diminutive EP label upon this transcendent record. 

Additional Listening

Symphony No. 3, Op.36: A Symphony of Sorrowful Songs, String Quartet no.2 "Quasi una fantasia" Henryk Górecki

Passacaglia in C minor (BWV 582) Johann Sebastian Bach

"Passacaglia" from Peter Grimes Benjamin Britten

[sab-cat]

Last week, rapper Tory Lanez was convicted of three felonies for shooting rap star Megan Thee Stallion in the foot in 2020. Much of the trial played out online where commentary on the case sparked a larger conversation about the way Black women survivors of abuse and violence are treated in society. “Misogynoir Transformed" author Moya Bailey joined Laura Barrón-López to discuss.

[wolf-twenty-one]

okay I really do not want this to be seen as me saying we need to throw the baby out with the bathwater here, I think there is *so much* of value in James Baldwin's writings, so much to learn from! but and however, the biggest critique of his work is his inability to address misogynoir. so while its awesome to see quotes from him frequently floating around that do address important issues of race and queerness, it does feel a little weird that there isn't more going around from other people who fill out the gaps he left? and it could just be my feed and who I follow! but for every james baldwin quote that goes around it would be nice to see a little more bell hooks, or Moya Bailey, or Kimberlé Crenshaw, etc.

[spinningerster]

fellow fansies - I have complied a (hopefully) comprehensive list of cast members for anyone new to the fandom or for those who may like a refresher on the casts. I've not included every single character, just the main ones, so if you'd like a character adding just ask; also if you notice any cast members are missing or have been labelled incorrectly in any way, please let me know, I want this list to be as accurate as possible. characters with a dash (-) for any of the categories I wasn't sure if they were included in that production or not. if you're able to fill in any of the blanks that would be much appreciated. any questions, please let me know <3

Jack

1992; Christian Bale

Workshop; Jay Armstrong Johnson

Paper Mill; Jeremy Jordan

Broadway; Jeremy Jordan, Corey Cott, Mike Faist (u/s)

Tour; Dan DeLuca, Joey Barreiro

Proshot; Jeremy Jordan

UK; Michael Ahomka-Lindsay, George Crawford (u/s), Matt Trevorrow (u/s)

Pulitzer

1992; Robert Duvall

Workshop; Shuler Hensley

Paper Mill; John Dossett

Broadway; John Dossett, Rob Raines, John E. Brady (u/s)

Tour; Steve Blanchard

Proshot; Steve Blanchard

UK; Cameron Blakely, Ross Dawes (u/s), George Crawford (u/s)

Katherine

1992; N/A

Workshop; Meghann Fahy

Paper Mill; Kara Lindsay

Broadway; Kara Lindsay

Tour; Stephanie Styles, Morgan Keene

Proshot; Kara Lindsay

UK; Bronté Barbé, Bobbie Chambers (u/s)

Davey

1992; David Moscow

Workshop; Jason Michael Snow

Paper Mill; Ben Fankhauser

Broadway; Ben Fankhauser, Ryan Breslin (u/s), Garrett Hawe (u/s)

Tour; Jacob Kemp, Stephen Michael Langton

Proshot; Ben Fankhauser

UK; Ryan Kopel, Alex James-Hatton (u/s)

Medda

1992; Ann-Margret

Workshop; Liz Larsen

Paper Mill; Helen Anker

Broadway; Capathia Jenkins, Caitlyn Caughell (u/s), Julie Foldesi (u/s)

Tour; Angela Grovey

Proshot; Aisha de Haas

UK; Moya Angela, Kamilla Fernandes (u/s)

Crutchie

1992; Marty Belafsky

Workshop; Andrew Keenan-Bolger

Paper Mill; Andrew Keenan-Bolger

Broadway; Andrew Keenan-Bolger, Andy Richardson, Garrett Hawe (u/s)

Tour; Zachary Sayle

Proshot; Andrew Keenan-Bolger

UK; Matthew Duckett, Alex James-Hatton (u/s)

Les

1992; Luke Edwards

Workshop; Matthew Gumley

Paper Mill; R.J Fattori, Vincent Agnello

Broadway; Lewis Grosso, Matthew Schechter

Tour; Vincent Crocilla, Anthony Rosenthal, Ethan Steiner (alternate), Jonathan Fenton (alternate)

Proshot; Ethan Steiner

UK; Nesim Annan, Haydn Court, Oliver Gordon, Ethan Sokontwe

Race

1992; Max Casella

Workshop; Robert Hager

Paper Mill; Ryan Breslin

Broadway; Ryan Breslin

Tour; Ben Cook

Proshot; Ben Cook

UK; Josh Barnett

Albert

1992; N/A

Workshop; Jordan Nichols

Paper Mill; Garrett Hawe

Broadway; Garrett Hawe

Tour; Sky Flaherty

Proshot; Sky Flaherty

UK; Jacob Fisher

Specs

1992; Mark David

Workshop; Jordan Samuels

Paper Mill; Ryan Steele

Broadway; Ryan Steele

Tour; Jordan Samuels

Proshot; Jordan Samuels

UK; Samuel Bailey

Henry

1992; N/A

Workshop; N/A

Paper Mill; Kyle Coffman

Broadway; Kyle Coffman

Tour; DeMarius Copes

Proshot; Michael Rios

UK; Matt Trevorrow

Finch

1992; N/A

Workshop; Bobby List

Paper Mill; Aaron J. Albano

Broadway; Julian DeGuzman

Tour; Julian DeGuzman

Proshot; Iain Young

UK; Damon Gould, Zack Guest (swing)

Romeo

1992; N/A

Workshop; N/A

Paper Mill; Andy Richardson

Broadway; Andy Richardson

Tour; Nico DeJesus

Proshot; Nico DeJesus

UK; George Michaelides, Jordan Isaac (swing)

Spot

1992; Gabriel Damon

Workshop; John Arthur Greene

Paper Mill; Tommy Bracco

Broadway; Tommy Bracco

Tour; Jeff Heimbrock, Anthony Zas

Proshot; Tommy Bracco

UK; Clarice Julianda

JoJo

1992; N/A

Workshop; -

Paper Mill; -

Broadway; Thayne Jasperson

Tour; Josh Burrage

Proshot; Josh Burrage

UK; Mukeni Nel

Tommy Boy

1992; N/A

Workshop; -

Paper Mill; -

Broadway; -

Tour; -

Proshot; Michael Dameski

UK; Jack Bromage

Mike

1992; N/A

Workshop; N/A

Paper Mill; -

Broadway; -

Tour; -

Proshot; Jacob Guzman

UK; Mark Samaras

Ike

1992; N/A

Workshop; N/A

Paper Mill; -

Broadway; -

Tour; -

Proshot; David Guzman

UK; Arcangelo Ciulla

Mush

1992; Aaron Lohr

Workshop; -

Paper Mill; -

Broadway; Ephraim Sykes

Tour; Jack Sippel

Proshot; Nick Masson

UK; Joshua Denyer

Elmer

1992; N/A

Workshop; -

Paper Mill; -

Broadway; Evan Kazprak

Tour; Anthony Zas

Proshot; Anthony Zas

UK; Joshua Nkemdilim, Bradley Trevethan (swing), Rory Shafford (swing)

Wiesel/Jacobi/Mayor

1992; Michael Lerner (Weisel)

Workshop; Robert Creighton (Weisel), Tom Alan Robbins (Jacobi)

Paper Mill; John E. Brady

Broadway; Michael Gorman

Tour; Michael Gorman

Proshot; John E. Brady (Wiesel & Jacobi), Michael Gorman (Mayor)

UK; Jamie Golding (Wiesel), Alex James-Hatton (Wiesel u/s)

Morris

1992; David Sheinkopf

Workshop; Corey March

Paper Mill; Mike Faist

Broadway; Mike Faist

Tour; Michael Ryan

Proshot; Devin Lewis

UK; George Crawford, Zack Guest (swing), Jordan Isaac (swing), Bradley Trevethan (swing)

Oscar

1992; Shon Greenblatt

Workshop; Ben Thompson

Paper Mill; Brendon Stimson

Broadway; Brendon Stimson

Tour; Jon Hacker

Proshot; Anthony Norman

UK; Alex James-Hatton, Zack Guest (swing), Jordan Isaac (swing), Bradley Trevethan (swing)

Seitz

1992; Charles Cioffi

Workshop; Bill Nolte

Paper Mill; Mark Aldrich

Broadway; Mark Aldrich

Tour; Mark Aldrich

Proshot; Mark Aldrich

UK; N/A

Bunsen

1992; N/A

Workshop; Mark Price

Paper Mill; Nick Sullivan

Broadway; Nick Sullivan

Tour; Bill Bateman

Proshot; Bill Bateman

UK; Siõn Lloyd, George Crawford (u/s)

Hannah

1992; N/A

Workshop; N/A

Paper Mill; Laurie Veldheer

Broadway; Laurie Veldheer

Tour; Meredith Inglesby

Proshot; Meredith Ingleby

UK; Bobbie Chambers, Lindsay Atherton (u/s)

Snyder

1992; Kevin Tighe

Workshop; Marcus Neville

Paper Mill; Stuart Marland

Broadway; Stuart Marland

Tour; James Judy

Proshot; James Judy

UK; Ross Dawes, Alex James-Hatton (u/s), George Crawford (u/s)

Nunzio/Teddy Roosevelt

1992; N/A

Workshop; Tom Alan Robbins

Paper Mill; Kevin Carolan

Broadway; Kevin Carolan

Tour; Kevin Carolan

Proshot; Kevin Carolan

UK; Barry Keenan, George Crawford (u/s)

[drzito]

Las 242 peliculas que he visto en 2023 (parte 2)

122. Martyrs (Pascal Laugier, 2008)

123. Of time and the city (Terence Davies, 2008)

124. Pandorum (Christian Alvart, 2009)

125. La casa del diablo (Ti West, 2009)

126. Catfish (Ariel Schulman y Henry Joost, 2010)

127. Rare exports: Un cuento gamberro de navidad (Jalmari Helander, 2010)

128. Final Destination 5 (Steven Quale, 2011)

129. Infierno blanco (Joe Carnahan, 2011)

130. La maldicion de Rookford (Nick Murphy, 2011)

131. Berberian sound studio (Peter Strickland, 2012)

132. Turistas (Ben Wheatley, 2012)

133. Across the river (Lorenzo Bianchini, 2013)

134. Colonia V (Jeff Renfroe, 2013)

135. Como todas las mañanas (Toni Nievas, 2013)

136. El Congreso (Ari Folman, 2013)

137. The Sacrament (Ti West, 2013)

138. Vivir en peligro (Paul Wright, 2013)

139. El sopar (Pere Portabella, 2014)

140. Lucy (Luc Besson, 2014)

141. Sueñan los androides (Ion de Sosa, 2014)

142. Uno tras otro (Hans Petter Moland, 2014)

143. Equals (Drake Doremus, 2015)

144. Dope (Rick Famuyiwa, 2015)

145. 13 horas: Los soldados secretos de Bengasi (Michael Bay, 2016)

146. El Caso Sloane (John Madden, 2016)

147. El Contable (Gavin O'Connor, 2016)

148. El Vacio (Jeremy Gillespie y Steven Kostanski, 2016)

149. Holy Hell (Will Allen, 2016)

150. La autopsia de Jane Doe (André Øvredal, 2016)

151. Maria (y los demas) (Nely Reguera, 2016)

152. Swiss Army Man (Dan Kwan y Daniel Scheinert, 2016)

153. Without Name (Lorcan Finnegan, 2016)

154. Brawl in Cell Block 99 (S Craig Zahler, 2017)

155. Caras y Lugares (Agnes Varda y JR, 2017)

156. Good Time: Viviendo al limite (Benny y Josh Safdie, 2017)

157. Hagazussa (Lukas Feigelfeld, 2017)

158. Secretos Oscuros (Michael Pearce, 2017)

159. Ghost in the shell. El alma de la maquina (Rupert Sanders, 2017)

160. The Cloverfield paradox (Julius Onah, 2018)

161. Illang: La brigada del lobo (Kim Ji-Woon, 2018).

162. Normandia al desnudo (Philippe Le Guay, 2018)

163. Al otro lado de la ley (S Craig Zahler, 2018)

164. Apuntes para una pelicula de atracos (Leon Siminiani, 2018)

165. El odio que das (George Tillman Jr, 2018)

166. 303 (Hans Weingartner, 2018)

167. El Convento (Payl Hyett, 2018)

168. La primera purga: La noche de las bestias (Gerard McMurray, 2018)

169. Mudo (Duncan Jones, 2018)

170. Noche de lobos (Jeremy Saulnier, 2018)

171. 6 en la sombra (Michael Bay, 2019)

172. Bait (Mark Jenkin, 2019)

173. Escape room: Sin salida (Adam Robitel, 2019)

174. Fyre (Chris Smith, 2019)

175. Sator (Jordan Graham, 2019)

176. Swallow (Carlo Mirabella-Davis, 2019)

177. Us (Jordan Peele, 2019)

178. Ventajas de viajar en tren (Aritz Moreno, 2019)

179. Bad Boys for Life (Adil El Arbi y Bilall Fallah, 2020)

180. El año del descubrimiento (Luis Lopez Carrasco, 2020)

181. Last and First Men (Johann Johannsonn, 2020)

182. Socias y Enemigas (Miguel Arteta, 2020)

183. Undergods (Chino Moya, 2020).

184. A tiempo completo (Eric Gravel, 2021)

185. Belle (Mamoru Hosoda, 2021)18

186. Black Phone (Scott Derrickson, 2021)

187. Candyman (Nia DaCosta, 2021)

188. Censor (Prano Bailey-Bond, 2021)

189. Destello Bravio (Ainhoa Rodriguez, 2021)

190. El Escuadron Suicida (James Gunn, 2021)

191. Eles transportan a morte (Samuel M. Delgado y Helena Girón, 2021)

192. Escape Room: La Pel·lícula (Hèctor Claramunt, 2021)

193. Espiritu Sagrado (Chema Garcia Ibarra, 2021)

194. Hellbender (John Adams, Zelda Adams y Toby Poser, 2021)

195. King Car (Renata Pinheiro, 2021).

196. La casa de las profundidades (Julien Maury y Alexandre Bustillo, 2021)

197. La Hija (Manuel Martin Cuenca, 2021)

198. Lamb (Valdimar Jóhannsson, 2021)

199. Licorice Pizza (Paul Thomas Anderson, 2021)

200. Malignant (James Wan, 2021)

201. The ice road (Jonathan Hensleigh, 2021)

202. The Medium (Banjong Pisanthanakun, 2021)

203. Tiempo (M night Shyamalan, 2021)

204. Tros (Pau Calpe, 2021)

205. You are not my mother (Kate Dolan, 2021)

206. Aftersun (Charlotte Wells, 2022)

207. Almas en pena de Inisherin (Martin McDonagh, 2022)

208. Ambulance. Plan de huida (Michael Bay, 2022).

209. Argentina 1985 (Santiago Mitre, 2022)

210. As Bestas (Rodrigo Sorogoyen, 2022)

211. Black Panther: Wakanda Forever (Ryan Coogler, 2022)

212. Cangrejo Negro (Adam Berg, 2022)

213. Crimenes del futuro (David Cronenberg, 2022)

214. El agua (Elena López Riera, 2022)

215. El triangulo de la tristeza (Ruben Ostlund, 2022)

216. Emily, la estafadora (John Patton Ford, 2022)

217. En los margenes (Juan Diego Botto, 2022)

218. Enys Men (Mark Jenkin, 2022)

219. Eo (Jerzy Skolimowski, 2022)

220. Flux Gourmet (Peter Strickland, 2022)

221. La hija eterna (Joanna Hogg, 2022)

222. La paradoja de Antares (Luis Tinoco, 2022)

223. Men (Alex Garland, 2022)

224. Modelo 77 (Alberto Rodriguez, 2022)

225. Muertos muertos muertos (Halina Reijn, 2022)

226. O corpo aberto (Angeles Huerta, 2022)

227. Predator. La Presa (Dan Trachtenberg, 2022) 

228. Puñales por la espalda: El misterio de Glass Onion (Rian Johnson, 2022)

229. RRR (SS Rajamouli, 2022)

230. Suro (Mikel Gurrea, 2022)

231. Vesper (Kristina Buozyte y Bruno Samper, 2022)

232. You won’t be alone (Goran Stolevski, 2022)

233. X (Ti West, 2022)

234. Asteroid City (Wes Anderson, 2023)

235. Barbie (Greta Gerwig, 2023)

236. El banco de Dave (Chris Foggin, 2023)

237. Elemental (Peter Sohn, 2023)

238. Indiana Jones y el dial del destino (James Mangold, 2023)

239. Llaman a la puerta (M Night Shyamalan, 2023)

240. Mision Imposible: Sentencia Mortal - Parte 1 (Christopher McQuarrie, 2023)

241. Nadie te salvara (Brian Duffield, 2023)

242. The Creator (Gareth Edwards, 2023)

[notchainedtotrauma]

Black feminism, as well, as womanism, cannot stand without accurate citations. I'm not being argumentative, a lot of it has to do with the sources you used. But as Patricia Hill Collins wrote: "

"I also know that, lacking a collective voice, individual voices like mine will become fainter until, one day, many may forget that we ever spoke at all."

from Fighting Words by Patricia Hill Collins

Misogynoir was created by a queer scholar Moya Bailey circa 2012, who developed its scope and use alongside Trudy. Misogynoir was coined as term that was to merge and read antiblackness and misogyny, but that was also a way to read the experiences of Black women in digital spaces. Below is Moya Bailey's first book.

Mammy derives from the real life figure of the in house servant, oftentimes living with the white family that has become over the years imaged as this generously Black object of abundant flesh, the signifier of her endless nurturing and her willful servitude. Here are quotes that discuss the Mammy:

As domestics in white households, black women were the bodies at the core of the private sphere, both invisible and essential to ideas of proper white womanhood. Assigned to perform the functions of the female body (disavowed by the angels of the home) meant that they carried the sweat and labor of constructing the domestic stage.

from Babylon Girls by Jayna Brown

The usually nameless black mammy figure, in these-black and-white-pairings, served a very specific function: since"small children would not sit still for the long exposures required by early photography", she held the child steady, and therefore, guaranteed the success of the portrait.

from Embodied Avatars by Uri McMilan

Jezebel and the mammy have been theorized, alongside the welfare mother, by Patricia Hill Collins, from her seminal book Black feminist thought, as controlling images, that is as the tropes that crush Black women out of their humanity and work to establish their inferiority. Patricia Hill Collins cites Jezebel as originating during slavery: "The fourth controlling image-the Jezebel, whore, or sexually agressive is central in this nexus of elite white male images of Black womanhood because efforts to control Black women's sexuality lie at the heart of Black women's oppression.

“Why’s she so rude?” (She’s Not)- Stereotypes, pt2

So I'm sure that you all thought I was going to give a blow-by-blow list of "visual stereotypes to avoid". I'm going to be honest here, I thought about it, and figured it would be redundant. My page already includes sensitivity on depicting Black people. So instead, I'm going to focus on stereotypical "character" concepts, so that you can 1) not write it in your stories and/or 2) recognize it in media (fiction and reality!) and in life!

Two major resources: the Jim Crow Museum website is an EXCELLENT resource to understand the imagery of antiblack racism in U.S. history and society. The other, White Tears, Brown Scars by Ruby Hamad. The book focuses on the many racist stereotypes projected onto women of color and how that purposeful, systemic negative perception of us bleeds into every aspect of our lives- specifically by white women/white feminists who believe that they are not contributing to said oppression.

I'll start with Black women, just because I’m passionate about it (obviously) and there are so many things I wish I had and hadn’t seen growing up. We deserve better by the year of our lord 2024.

TRIGGER WARNINGS: mention of sexual assault, assault

Misogynoir

What I want everyone to understand, before I get into this, is the concept of intersectionality, and more specifically, misogynoir. Misogynoir is the specific type of contempt and prejudice that Black women face at the intersection of race and gender. I say this because you might read these things and go “oh, as a woman, I experience these things!” I get it, but I want you to PAUSE, and remember, that right now, we are talking about Black women’s experiences. And those will often be different, due to that intersection of identities. And that understanding will have an effect on how you understand (and thus, write) those experiences.

The Jezebel

The link goes into much deeper detail, but the Jezebel is the idea that a Black woman or girl who is sexual is somehow “fast”, “salacious”, “a hoe”, “driven by desire/doesn’t understand purity”, and at its worst, unable to be r*ped/a victim because she is less valuable yet somehow inherently seductive to men.

This gets thrown around CONSTANTLY in media and life for Black women (my first experience of treated like I was ‘fast’ was when I was like… twelve?) One major, visible example is Megan Thee Stallion. Meg has a college degree, she likes anime, she’s a brilliant rapper, and has an entire personality and struggles she’s shared… But she also likes to dress scantily clad and have sex. By doing those things, she ‘lessened in value’. And because of this, when she was shot at and assaulted, even Black people questioned her character, rather than understanding that she could have been anyone, and she still wouldn’t have deserved to be assaulted. She's not allowed to be multi-faceted; she "brought it on herself".

Black girls and women who happen to take charge of their own sexuality, to the discomfort of society, are treated as Jezebels- as whores. Think about it- if one of Taylor Swift's recent boyfriends shot at her, would the media question her value or her word? Question her equivalently high ‘body count’?

Question how you write your Black woman- she can enjoy sex! She can be sexy! We love to see it! But if you're punishing her specifically, or judging her within the narrative, versus your other characters who are allowed to safely explore and act upon their sexuality… Check your judgment! Why do you feel the way you do about this character? Why do you think that your Black character is the one that should be judged for her actions. Would you feel this way if it were a nonblack character?

The Sapphire/Angry Black Woman

Ohohoho, I have infinite amounts of feelings about this one.

This is the "sassy Black friend", the "aggressive Black boss", “step on me angry mommy”, the one who does the z formation and makes everyone "uncomfortable". She’s not allowed to be confident, assertive, or self-assured- she’s arrogant, rude, and aggressive.

I discussed it in part one, but I'll reemphasize it: your Black woman doesn't have to be an ‘Angry Black Woman’ in order to be angry! Just like any other human being on the planet, we are allowed to be mad. (In my honest opinion, we have a lot to be mad about, but I digress 😅)

If the only character that ever gets angry is your Black character, I want you to consider why. What is she angry at? Was this something you wanted the reader to understand or empathize with? Are we supposed to disagree? How does everyone around her treat her anger? Is her anger righteous? Is she always shut down or dismissed for it? Is it only meant to defend her friends, but never herself? Does the narrative suggest that it’s only good in use of others and not herself? Would this be the same reaction if one of the nonblack characters was angry? Is this something you did on purpose?

Very often, we're called 'angry Black women/girls' to invalidate our emotions. My therapist once said anger is a protective emotion. We might be hurt, overstimulated, sad, depressed, frightened, anxious… But we are often not allowed the grace of others digging deeper to see that. Even if the other characters do not understand her anger, even if her motives are not meant to be understood at the moment… you as the writer should be aware. But if every time it’s time to show anger or upset, it’s your Black character… consider why this is the one you thought would best convey that message, and how your Black readers might feel seeing that this character (who may not even be the ‘bad guy’) is the one that is ‘only’ angry. No other development, no other emotions, just… there to be mad.

I take this one to heart, as someone who feels very passionately about things… this is one of those things where I wish, in life and in media, people would have more grace for Black women. We're human, too. We have feelings, too.

The Mammy

This one isn’t as visually blatant anymore in media as it was in the past (like every Mammy doesnt look like Aunt Jemima), but you may have seen this one as "the mommy figure". The "lesbian that parents the silly gay boys". The one that’s always encouraging the ship of the white boys, but never the one allowed to be in the ship (especially when her ship is canon!)

A good example of this was how people expected Jessica Drew from ATSV to be "more loving" to Gwen, rather than the mentor and boss she was (plus, as a Black woman with a Black mother… trust and believe, she was quite direct and gentle). And in comparison to her counterpart, white man Peter B. Parker, was decried far worse for similar detrimental actions.

The Mammy often serves in opposition to the Jezebel and Sapphire/Angry Black Woman. What makes the Mammy particularly annoying is that it implies that the only good Black woman character is a ‘nice’, demure, unthreatening, homely, motherly figure whose job it is to make sure to center the (usually) white ones. The Mammy is expected to coddle everyone, to her own detriment. She's a ‘good Black’ because she causes no issue, raises no fuss, never shows a negative feeling, knows that she has to ‘be strong’ but to always defer because the white characters know best. She’s ‘not a threat’, and that’s why she’s ‘allowed’ to be around. We shouldn’t have to be those things in order for our stories to be heard and understood, in order to be empathized with or treated like someone of value.

The Strong Black Woman

If I never hear this phrase again in my life, if we eradicate it from future generations for Black girls and women, I'll cry of joy lmao. I hate it, and it's not for the reasons most nonblack people would expect. Lord, this one. Anyway. The ‘strong Black woman’ is meant to protect everyone, no help needed! Whenever something is wrong and we all need a pickup, here she comes to ‘let me do it’ and everything is going to be okay! She did all the necessary suffering so that your characters don't have to! She can sweep in and save the day!

Now here's the dissonance kicks in. This one on its surface probably sounds like a good thing. She's a hero! She’s resilient! She's great! Who wouldn't want to be superwoman? Who wouldn't want to reject being a love interest, all women are always love interests! Let us be the badass that kicks ass and shows the men what for! Who wouldn’t want that, 24/7?!

The answer: US. 👍🏾🤣

This is a long, separate conversation on its own, but we have to understand that Black women (women of color, really) and White women do not always share the same end goals and understanding of "strong woman character" or even feminism. We certainly aren't always the love interest. Very usually not, in fact. We are always pushed to the side. We are already the hero in our lives, we're already the "strong woman".

Not everyone yearns to be the Singular Hero who will Fix It All as many of us are already expected to do. It's exhausting having to swallow your own needs for everyone else all the time, especially when it's suggested that you have no value otherwise if you don't. Heroism is Exhausting, and it's something worth looking into when you’re characterizing your Black girls and women. I’m not saying that we can’t be strong! We are, and it’s impressive! But I also want us to add some nuance to that strength, the way we would for any other character. What it means to have community, rather than to do it all alone. How even if she wants to be the hero (and that’s okay! That’s fine!) how it would still wear on her. Surrounding your Black girl character with unconditional support, to have a lover that actually wants to pull some weight- that's something many of us actually would like to see, because we're usually shafted to the side as 'someone who can do it all herself' (in order to hide that no one thinks we need or are deserving of the help).

It's okay to let your Black woman and girls show weakness, to rest, to be taken care of! It's not "less feminist" to accept that we're humans that need help and can't carry it all, too. That it’s okay to want to feel valued and protected. Because god knows, I wish I didn’t grow up strong and resilient, I wish I grew up knowing that the world cared that I was safe.

Standards of Beauty

These standards are not the same! I've mentioned it before in my lesson on skin tones, but very often when we think of "beauty", it’s easy to fall into the idea of whiteness. Pale skin, thin hair textures, etc. If those are our existing standards of beauty, then it doesn’t matter what any of us look like- we’re ugly! When I was in high school, I remember a classmate saying that Swedish people were the most beautiful people because of "white hair and pale skin". Without even meaning to, that guy basically said everyone darker than a stack of loose leaf printer paper was ugly by proxy of not being Nordic White (no matter how pretty they actually might be!!) 🤣

It’s also of note that whiteness/paleness tends to be connected with innocence and cleanliness in western culture, while blackness/darkness tends to be considered dirty, sinful, fearful. Now, while the origin of this idea may not be racist itself, when you spend hundreds of years implying that Blackness is bad- to the point that, in the U.S. they came up with an entire slur one step past “negro” (meaning ‘Black’) to deem you less than- it’s hard to say that the societal connotation didn’t apply.

Now we've already discussed working on describing our Black characters better! I continually remind you all that you should be describing them as wonderfully made as you do your white characters. Keep in mind that we live in a world where from day one when we enter the world, Blackness and Black features are not seen as beautiful nor emphasized. Whiteness is the standard of beauty that we, for a long time and still, are expected to adhere to. If you'd like to do better by your characters, remember that you don't have to give them "white features" or use "white" as an adjective to do that!

Black Women as Women

“There was literally nothing, not a thing, that a white woman could ever have that was worth more than her sexual virtue, and this obligated mandatory chasteness and sexual vulnerability… If the most important thing a woman has is virtue, and only white women can have virtue, then by definition, only white women can be women.” Ruby Hamad, ‘Only White Women Can Be Damsels’, White Tears, Brown Scars

Often, Black women by definition are not included under the societal banner of “women”, from our features, to our personalities, to our 'role' in life. "True Womanhood" is denied us, cis and trans, because of our Blackness. The things that make women ‘women’, we are not included under, because systemically, the only ‘women’ that were meant to mean anything were white.

I bring up Megan Thee Stallion again. Meg is probably one of the most beautiful, feminine women I've ever seen in my life. Men still call her a man, due to her height, due to her confidence, and due to their insecurities. Same with Serena Williams; Serena is damn near built like a god in my eyes. She was told she was manly from the beginning of her career, no matter how beyond skilled she was in women's tennis. Even when she damn near died giving birth- the most basic of 'tasks' women are seen as having in this society, it didn't matter. Black women are 'less womanly', 'less valuable', 'less in need' of that protection and identity that society swears Women™ need (and not in the honest way that we do need protection).

Consider that you're making sure that your Black women have the options of range of gender expression and emotions (and if they aren't allowed to, is that on purpose). If you're only ever creating us and we're in service of some dainty white woman and never the other way around... consider how that may reflect what you think our role is in your story, and in your mind.

Adultification

“Awkward moment when Rue is some black girl and not the innocent blond girl you imagine.” twitter: sw4q

It has been shown that Black girls the same age as their white girl counterparts are deemed older and less in need of protection, and supposed to 'be more mature'. Imagine that. Deemed inherently less innocent, due to your skin color. Having to parent our siblings, get jobs to contribute, do all the cleaning, and more. Yet, when we act with the maturity that we've been forced to grow into, we're "fast". A little 12-year-old girl, now to society, the Jezebel. All because she wanted to try pink lip gloss or wear a skirt; things that little tween girls might try to understand the big world around them and push boundaries. Now she's a woman, now she can never be a victim. Now she can be beat on and hurt and it's her fault.

I explain this for two reasons: One, for you to think about how your write your Black girls, and Two, for you to hold more grace for Black girls- real and fake. Do you hold her to a higher standard than your white characters of similar age? Does she inherently seem less innocent to you for reasons outside the plot? Is she as human to you as your other characters? Is she allowed to be a child? To act like one? To make mistakes? Are you as empathetic or understanding about that childishness as you are towards nonblack characters? Do you make these decisions on purpose?

It's not like Black girls can never be YA protags or anything- ofc we can. But keep in mind that she's not somehow automatically "stronger" by proxy of her Blackness, that she'd "be tougher". She's a kid. Let her be one.

Conclusion

There’s a LOT you have to consider when writing Black girls and women. I’m not going to sit here and say it’s easy, because being Black, and being a Black woman, is not easy. If you’re stressed reading it, imagine being stressed living it lmao. It’s a constant chain of quick-time events every day of your life to prevent nonblack nuclear meltdown in response to your every single action. I’m not going to apologize for it, either.

That being said, I don’t expect you to understand everything, especially not all at once. I just want you all to keep these things in mind, to question yourself when you’re writing your character- are you treating her differently on purpose? Or are you treating her differently because of a bias you might not even notice you have? It might help to go back, to read how you treat all of your characters. Or, if you’ve never written before, to maybe outline the traits of your characters and figure out where things balance out. As always, all you can do is practice at it. Because it's the thought that counts, but the action that delivers.

Whew, I'm actually emotionally strained after this one. My chest is beating fast. Let me go get some groceries now.

[rebeleden]

Watch "Moya Bailey, “Misogynoir Transformed Black Women’s Digital Resistance”" on YouTube

[emergingmediaculture]

Graphic created by Kiersten W. on Canva.

I feel as though we have discussed a good bit about the issues of internet life and some of its negative effects, however, that leaves out the entire story. I find it just as important to highlight the benefits as well. One of the most notable is the communities and cultures that have been given a voice when they otherwise had none.

For centuries, it has been mostly those with some form of influence or power whose voices were the loudest. Those were the only ones that mattered. Even more, those were the only people who could afford to get their voices and opinions out there. Historically, the makeup of those people has been white men.

The digital age we now live in, however, has provided opportunities for marginalized groups of different races, ethnicities, sexualities, and more.

Sarah Jackson, Moya Bailey, and Brooke Foucault Welles discuss in #HashtagActivism the power online platforms like Twitter have given to those who would otherwise be voiceless. These platforms give these groups the power to hold the powerful accountable.

More so, it allows for a collection of people with similar backgrounds, experiences, or concerns to connect with one another or spread awareness through the very powerful tool of the #hashtag. It is the hashtag, as the authors believe, that helps collectives form, make people visible to one another, and cohere and sustain movements against injustice.

Movements such as #MeToo and #BlackLivesMatter are specifically named after their hashtags that spread across social media platforms allowing individuals to share their own experiences, call for justice, offer support, and more. It is the reach that hashtags have across all platforms that helps propel these movements exposing them to wider audiences.

History is always said to repeat itself and, to me, this instance of groups having to utilize the tools they have and put it upon themselves to get their experiences out there because it is common for them to not have the opportunities to share them in many ways mirrors the past, specifically the creation of what was referred to as the "Black Press". As African-American journalism is a topic of this book as well, it is only right to mention it.

For the longest time, it was extremely uncommon to find newspapers reporting on anything about black people or anything happening within the black community outside anything negative. After getting tired of hardly ever seeing their stories or anything regarding their community included in the newspapers, in the early 1800s a group of African-Americans decided they would create their own. This started what came to be known as the Black Press, whose contributors included the likes of Ida B. Wells, Frederick Douglass, and the "First Lady of the Black Press", Ethel Payne.

I see similarities in what the lack of a voice in the flow of society for marginalized groups has birthed across history. In so many instances it has started movements and I feel now the accessibility to do so is so much more apparent. Though everything comes at a cost, so many more people have access, resources, and reach, unlike any time before us.