As Spike Lee serves as the director for the Cannes Film Festival, he also has something else major his fans can look forward to…his new book, SPIKE. The hardcover book covers Lee’s 30-year film career and includes never seen before photos from the set of his films. Some photos will come from the archives of Lee’s brother, David Lee, and will also feature photos from onset photographers from his films over the years.
The book is also designed by creative and founder of Vocal Type, Tré Seals. Seals created the custom typography for the book based on Radio Raheem’s iconic LOVE/HATE brass knuckles from Do the Right Thing. The same brass knuckles Lee wore during his win at the Academy Awards for BlacKkKlansman.
What I Look Forward To?
I look forward to seeing extra photos from some of the sets of my favorite films like Jungle Fever, Do the Right Thing, Malcolm X, Mo’ Better Blues, and School Daze. These are the films I grew up appreciating because the characters look like me and some of the soundtracks were dope! Seriously, Mo’ Better Blues soundtrack was my gateway into my love for jazz and the He Got Game soundtrack re-introduced me to legendary hip hop group Public Enemy.
I hope to see more information about films like She Hate Me and Bamboozled because these films were released during a time when I started to pay more attention to social commentary in art and understanding how art imitates life. Lee’s films always prompt audiences to think but never forces the message intended for the viewers.
The book will also feature some stills and quotes from Spike Lee’s “Is it the shoes?” Nike campaign with Michael Jordan. I really want to see his commentary on that experience, especially when Jordan used to put on a show against his beloved Knicks. I mean Jordan used to embarrass everybody, but he used to obliterate the Knicks!
“As I Head Full Steam Ahead Into My 5th Decade As A Filmmaker I Was Elated When Steve Crist And Chronicle Chroma Approached Me About Doing A Visual Book Of All My Joints. We Would Revisit All Da Werk I’ve Put In To Build My Body Of Work. Film Is A Visual Art Form And That Sense Of My Storytelling Has Been Somewhat Overlooked. Why Now, After All These Years? FOLKS BE FORGETTING.” – Spike Lee
For the last few years, Spike Lee has received his long-awaited and deserved roses. Of course, many of us have supported and shown appreciation for the quality entertainment he has created but I feel now he is getting worldwide acknowledgment. So if you are a Spike Lee fan like I am, you will enjoy this book published by Chronicle Chroma and can embrace the nostalgia. The book will be released on November 10th and can pre-ordered here.
Spike Lee has been a celebrated filmmaker, a cultural icon, and one of America’s most prominent voices on race and racism for more than three decades. His dynamic storytelling and unique visual style have made an indelible mark on filmmaking and television. This comprehensive monograph will be a sumptuous visual showcase of Spike Lee’s life and work, a must‐have for cinephiles and fans of one of the most influential filmmakers in history. His career spans over 30 years and includes: She’s Gotta Have It, School Daze, Do the Right Thing, Mo’ Better Blues, Jungle Fever, Malcolm X, Crooklyn, Clockers, Get on the Bus, He Got Game, Summer of Sam, Bamboozled 25th Hour, Inside Man, and more. Lee’s outstanding feature documentary work includes the double Emmy® Award-winning If God Is Willing and Da Creek Don’t Rise, a follow-up to his HBO documentary film When the Levees Broke: A Requiem in Four Acts, and the Peabody Award-winning A Huey P. Newton Story. In the television arena, he launched his Netflix original series She’s Gotta Have It, which ran two seasons on the platform. The series is a contemporary update of his classic film.
SYNOPSIS: From Academy Award® Winner Spike Lee comes a New Joint: the story of four African-American Vets — Paul (Delroy Lindo), Otis (Clarke Peters), Eddie (Norm Lewis), and Melvin (Isiah Whitlock, Jr.) — who return to Vietnam. Searching for the remains of their fallen Squad Leader (Chadwick Boseman) and the promise of buried treasure, our heroes, joined by Paul’s concerned son (Jonathan Majors), battle forces of Man and Nature — while confronted by the lasting ravages of The Immorality of The Vietnam War.
From the very start of the film Da 5 Bloods, the tone is set with a clip of Muhammad Ali’s disagreement with the Vietnam war. Issues of racism, selective patriotism, poverty, discrimination, greed, and mental health awareness were covered throughout this film – and are pretty much a sign of the times. The film even had its moments making fun of Donald Trump and how the world mocks his leadership. There were times I felt reflective, upset, and disappointed, but overall the film was one of the better high profile films I’ve seen.
I always love when Spike Lee puts history into his films, some things I have to google to make sure there is accuracy, and sometimes it’s just comforting knowing he gives a damn about our history and Black culture. I was highly impressed with the story of Milton J. Olive III, the young soldier who was awarded the medal of honor after sacrificing himself covering a bomb to save his fellow soldiers. Spike will later pay homage to this in the film. He also mentions the story of Crispus Attacks and his sacrifice for injustice, which also serves as motivation for them to get gold years later.
“My conscience won’t let me go shoot my brother, or some darker people, or some poor hungry people in the mud for big powerful America. And shoot them for what? They never called me nigger, they never lynched me, they didn’t put no dogs on me, they didn’t rob me of my nationality, rape and kill my mother and father. … Shoot them for what? How can I shoot them poor people?” – Muhammad Al
The appearance Hanoi Hannah, a Vietnamese radio personality who was most known for her broadcasting during the Vietnam war, was an interesting segment. The five soldiers listened to her speak via radio about the assassination of Martin Luther King and racially driven crimes that really had me connect with the characters. It was as if she was saying while you are over here killing people of color, the rights you claim to fight for are being stripped and Black people are being killed in the very same country you are fighting for.
I was intrigued by the French character’s interaction with the lead characters and the discussion of the French involvement with America during the war. It just made me think of how Americans perceive war and our reasons for war.
Da Cause*Spoiler Alert*
The MacGuffin of the film, the gold, was definitely a reward the soldiers deserved. Just like many Black people feel today after the blood spilled, lives lost, ideas stolen, land stolen, etc. They don’t get to enjoy the riches of a thriving economy? Damn right they made a smart call to return for that fortune. To me, it was a way they were fighting to receive their overdue reparations.
By the end of the film, it was compelling to see how it compares to what we are all experiencing right now – the importance of family and other people. I am not going to lie, during the parts where Chadwick Boseman’s character was talking about giving the money back to the people I thought, “Look at Black Panther over here taking some of the Killmonger beliefs!”
It was even cool seeing how the #BlackLivesMatter organization received some the money to help their cause…much like they are doing now after the lost lives of innocent Black people.
The relationship between Paul (Delroy Lino) and David (Jonathan Majors) I found intriguing because of the exploration of mental health and display of masculinity. Although I did want a slightly better ending to the characters, it was still good. Paul suffered severely from mental issues and internal struggles, which is later discovered. I still think it’s funny they had him supporting Trump.
Eddie (Clark Peters) and Tien was another interesting relationship, having an interracial relationship and child during the 1960s in Vietnam. Talk about a challenging time and tough situation? It was a twist I did not expect.
Spike Lee always represents Blackness in his films, it’s the little things that other executives, writers, and directors don’t show. Take for instance the Moorehouse paraphernalia the character David wears or the mention of Black Lives Matter, these are things Black people need to see. How things are organic, not token, not stereotypical but the effortless display of Black culture. Hollywood should do a better job with all representations, otherwise, it diminishes the integrity of the film.
I found the use of video clips from historical events and people to be satisfying. It really gave me a reason to have a connection to the characters and to feel their pain.
Da 5 Bloods will be released June 12th on Netflix and is definitely worth watching. It does have a lot of gore during the gunfights but that is all overshadowed by the storytelling, character relationships, and conflicts within the film. Spike Lee has definitely provided the viewers with a film we will be talking about for the upcoming months.
The Photograph was a phenomenal film, no doubt. Much is to be said about the collaboration of artists on the project as one of the most impressive elements of this film is the music composition. The film composer is none other than Robert Glasper. Knowing he was responsible for the soundtrack immediately gave me confirmation that The Photograph would be an overall great production. Right after watching, I immediately sought out an interview with the man behind the music, Robert Glasper. I had the chance to ask the multi Grammy Award-winning and Emmy winning artist about his work on the film.
Dapper Dr Feel (DDF): What brought you work on this film?
Robert Glasper (RG): Luckily, Stella being a fan is what really brought us together. She liked my trio albums so a lot of the music in the film was based on that earlier work.
DDF: What was your creative process for the film?
RG:I liked making things up in front of the director. We’d put up a cue and they’d tell me what they wanted to accomplish emotionally and I liked writing there right on the spot. Sometimes it takes ten different tries or sometimes it’s magic on the first try, but that’s just the process that works for me. If the director is there, I can include them in the process and get the best result.
DDF: The music definitely matched the tones and colors of the film. How did these aspects of the film influence your work?
RG: Each scene had a purpose and some kind of emotion behind it that Stella wanted to portray, whether it’s anger, confusion, sadness, happiness, sexiness… Whatever it is, it’s my job to try to match the emotion with music, or musically support the emotion. The great thing about it was that she was very free with letting me be who I am musically to try to get these points across.
DDF: How does music composition for film differ from composition for albums?
RG: For albums, there’s nothing you have to match it with. When you’re composing music for a film, you’re trying to help tell a story that people are already seeing visually. There’s something already there and you’re trying to attach something to it that emotionally reflects and assists the storyline.
When you do an album, there’s no visual, so you’re creating whatever you want. The visual is in each person’s head. There’s no director steering you towards what to see or feel, but that happens when you’re watching a film. The director is steering you towards a particular emotion.
DDF: What movie music composers are you inspired by and why?
RG: I’m not really inspired by movie composers, I’m more inspired by artists and musicians who do music. If it just so happens that they do a movie great, but there are no film composers I pattern myself after or study, per se.
DDF: What are some of your favorite film scores and why?
RG: I like Love Jones film score. This score kind of reminds me of Love Jones because it’s the story of two young black adults that are really artsy. Both films kind of parallel each other and both use music of their generation to tell their story. The Love Jones soundtrack was full of people of the generation and it was really cool. The Photograph is also full of music of the generation. At the same time, it had some throwback stuff that inspired this generation and used jazz as well. The difference is that Love Jones used Charlie Parker and John Coltrane — jazz from the 40s, 50s, and 60s. This one was more modern. It has music from me and Christian Scott; it used jazz of today.
Mo’Better Blues is one of my favorite Spike Lee films and one of my favorite soundtracks. It featured not only Terrence Blanchard but also Branford Marsalis.
Actor Denzel Washington and director Spike Lee.
DDF: I actually thought of Mo’ Better Blues while I watched the film. Was it your inspiration?
RG: Mo’ Better Blues is definitely one of my favorite soundtracks like I said earlier. When most films use jazz, they use jazz from the 20s-60s; they rarely use jazz of this time period. Mo’ Better Blues was made in the 90s and used music and musicians of that era, and that’s what made it really dope to me, so this feels like the same thing for sure.
DDF:What would it mean for you to win an Oscar? Is that the goal?
Robert Glasper and actor/rap artist Common celebrate their win at the 2017 Creative Arts Emmy Awards
RG: I’ve already won an Emmy for my work on Ava Duvernay’s documentary The 13th on Netflix. I wrote the ending song featuring Common and Bilal. So it would be amazing to win an Oscar. Most musicians aim for a Grammy. I’ve been blessed to have a few Grammy’s and an Emmy so to get an Oscar would really be icing on the cake.
DDF: If you can choose one song from your catalog to describe The Photograph, what would it be?
RG: I’d probably say a song I did on my Black Radio album called “It’s Gonna be Alright” featuring Ledisi. It’s saying no matter what the ups and downs of life or a relationship, there’s always sunshine, there’s always a bright side. These particular movie characters had their ups and downs in their relationships and they found a way to make it work, so I’d probably say that song.
DDF: How have you grown as a score composer since your first movie project?
RG: I’ve grown a lot. I’ve just learned how to read and understand directors better. My musical palette is bigger. Understanding how to bring in different vibes from all across the global palette of the world. I’ve had to mix all kinds of styles of music, some I’ve never had to tackle before to bring across one scene. It helps you grow, the more knowledge you have, the better. For instance, in this film, I had to compose some New Orleans music and I’ve never had to do that before. Having to compose styles outside of what you’d be personally oriented to create has just made me a better musician.
Robert Glasper was a perfect choice for the Photograph soundtrack. His musical talents paired with Issa Rae’s and LaKeith Stanfield’s acting skills plus Stella Meghie at the helm, audiences everywhere are in for a treat. It’s artistic range, both directorial and musical, feels similar to the Spike Lee classic Mo’Better Blues. Anyone familiar with the 90s classic would find this a testament to The Photograph’s contribution to cinema today.
The soundtrack by Robert Glasper also features music by artists Lucky Daye and H.E.R and can be found on platforms like Google Play, Apple, Spotify, etc. Watch The Photograph in theaters now then run and buy the soundtrack. You’ll be thankful you did.
If you didn’t attend the DC Black Film Festival this past weekend then you missed out on some really great films from some talented creatives. Hollywood still struggles to represent diversity in the industry but, with events like the DC Black Film Festival, people can enjoy quality films about people of color and not the rhetoric that Hollywood loves to repeat.
There were over 50 films shown that had me laughing, crying (I call it eye sweat, lol), and, most of all, sympathizing with some of the characters on screen that look that like me.
“People of color have a constant frustration of not being represented, or being misrepresented, and these images go around the world.” – Spike Lee
Below are some films that I loved.
We Want to Make It A film that explores the journey of young musicians (Jourdan, 14yrs old, and Tarron) as they strive to make their way from performing on the DC metro to stardom. It’s a very well done piece that shines light on Black youth doing something positive with their talents instead of becoming a statistic out on the streets.
Me Time A hilarious short, done by Iyabo Boyd, that had me laughing the whole time. This film goes into the thoughts of a young Black woman (portrayed by Adnike Thomas) who just wants to find her own peace of mind while reaching her happy place and maybe an orgasm along the way. This film has a Nutty Professor feel as the very talented actress takes on all the various roles in the film. I went from chuckling in my seat to choking on my water with laughter.
Slave Cry A film, by Jai Johnson, speaks volumes on the issue of token characters that Black people are offered in hollywood. With films like Black Panther having much success and displaying diversity in the Black community, hollywood still has a long way to go. Slave Cry was a well written film that made me feel so bad for the lead character, played by Courtney Jamison, as she learns that no matter the level of talent, the entertainment business still needs to work on diversifying characters in their projects. Thank God we have a well selected Ariel for the Little Mermaid and thank God Jai Jackson made this film artist can relate to.
Roasted A hilarious short film that has a Ferris Bueller’s Day Off feel which follows a coffee shop employee who talks about his work day dealing with customers, making coffee, putting up with his boss, working solo and enjoying time listening to music while writing. His expression and body language change from animated to annoyance as he switches his focus from the audience to the characters in the film.
Emmett One of the standout features about a boy genius (Miles Brown from Grown-ish) that deals with social issues, being a championed student of color, and adapting to change and maturity. This great film was both relatable and touching as it took me back to my days in my youth and adapting to life as an over achiever in academics. This film sets the tone as it really touches on some of the issues we’ve all dealt with.
LiME A story of a young man’s hardwork and success of achieving his goals threatened by bullies who attack him based on his lifestyle. Truly a touching story of how cruel people can be and how beautiful the human spirit can manifest surrounded by the right crowd. Creator/director, Donta Story, put together a great short.
East of the River East of the River, by Hannah Peterson, is a compelling story of how a young girl, her highschool mate, and former schoolmate now sex worker connect through exploring the streets of DC. I think this film had great chemistry amongst the actors. Their relationship was very ambivalent, because it felt a little romantic. Nonetheless, the young DC natives did an amazing job!
Una Great Movie Explores the world of a Black female screenwriter and her hopes of getting her film picked up. The film also follows the lead character in her film as the two worlds reflect the difficulties of having creative and unconventional Black love stories, as the character portrayed in the screenwriter’s film looks to rekindle an old love that is of Mexican descent. The creator and director, Jennifer Sharp, explained the difficulty in getting new and fresh content
The Call Angel Weaver’s work is a film that captures the moment when a girl receives the phone call from her brother locked up in the prison system. The film showcased the unsettling experience of receiving the call, with a hilarious beginning that shows that the call can come at any moment.
Corey Creator/director/actor, Steven St. Pierre, put together a touching film about a Black man that has a difficult relationship with his wife, who has a drug addiction, and is raising his daughter while shielding her from the ugly truth about her mom. By the end of the film, the audience discovers why Corey works hard to keep his emotions together and his daughter safe emotionally.
The Right Swipe A show about two female friends that start a business helping men find matches on a dating app by curating their profiles. Although I have had little experience on dating apps, I found the pilot interesting and humorous. When I asked co-creator and Maryland native, Kyra Jones, about the show, she explained, “Through our research, we found that Black women and Asian men are less likely to get different matches. Even the cast is diverse, we wanted to make sure that we brought Black love to the forefront of the show. The show discusses how complex and how difficult it is to find romantic partners.” Watch the pilot here!
Together This film was one of the moving films of the festival. The story of Black love between an older married couple as they hold true to their vows through sickness and health. The film left me and those in attendance in tears as we saw the astonishing acting of EFE (2019 DC Black Films Best Actress) and her co-star show love at its best. There is talks of this being developed into a full feature film and I can’t wait to see it.
Having the Peele Appeal Night at the table and Dog Person are films from the film festival that had a Jordan Peele feel to them. It’s no surprise that the creatives of the films are inspired by Jordan Peele.
Night at the table A horror film that had definitely gave me a chill, from start to finish, as the film introduces a normal Black family that is more than just that. The director was inspired by the film Hereditary and even coached the lead actress to channel the mother of the film Hereditary. The multi-talented creative describes her films as being consequential pain in two words.
Dog Person If you loved watching the film Us by Peele or Tusk then you have to see this short film by Justin Fairweather. It’s a little disturbing in some parts but entertaining nonetheless. With a good performance by Jordanna Hernandez, Dog Person left me wanting to see what more films from Fairweather and hopefully a feature that have audiences everywhere entertained.
Who is Kevin Sampson?
Kevin Sampson is the BrainChild behind the DC Black Film Festival. He said it all started when Think Like a Man 2 came out and he was a little upset while he watched it because it was less about Black love and more of the Kevin Hart show. He explained that “We (Black people) only get a few movies per year and this is how we wasted it and maybe sometimes we need that.”
He then wrote an open letter to creatives everywhere explaining that black creatives have to do better. Many people including some hollywood actors commented on it. This inspired him to start a kickstarter for a documentary about Black Hollywood. The Kickstarter wasn’t successful but that led Kevin to create the DC Black Film festival. A place where Black people can showcase their talent and love for Black people.
Fast Facts About Kevin Sampson:
Graduated from American University Film school with a MFA in Film & Electronic Media
Created Picture Lock, an entertainment website, radio show/podcast, and hour long film review TV show.
Director of the Rosebud Film Festival since 2013.
Created Picture Lock PR to represent independent films.
The DC Black Film Festival was an amazing event and a success in it’s third year. It is important that we have events like these to not only show people of color on screen or Black culture but the diversity within the Black community. I think the DC Black Film festival will continue to grow to inspire young creatives and encourage people to watch quality films.
Winners From the Festival:
DC Best Film“ We Want to Make It”
Best Student Film “Masks”
Best Web Series“The History of White People in America”
Best Short Film“East of the River”
Best Experimental Film“Here”
Best Documentary Feature“Owned: The Tale of Two Americas”
As I am sitting outside the theater in my car, the images keep flashing. The movie was phenomenal, to say the least. But it was also too much for me.
Is it because I too deal with this double conscious? Struggling between wanting to work within the system to change it and wanting to burn the whole thing down. Worrying nonstop about whether my son will become a hashtag.
If you’re not familiar with W.E.B. duBois’ understanding of double consciousness, it is basically the way Black people have to straddle between being too white and too Black. You know how we switch between our job interview voice and our “get it girl” voice? That is a part of double consciousness. It is the difference between the boardroom and the barbershop. This film explores double consciousness masterfully.
Set to a spectacular score by Black composer Terence Blanchard, Blackkklansman will transport you to an era when #TeamNatural was a movement and not a meme.
Since the 80s, I’ve looked up to Spike Lee’s work for a reflection of the emotions I had trouble expressing when it comes to race. I have been Mookie: frustrated with how messed up the world is while simultaneously trying to navigate it. As much as everyone wants to be Mookie at the end of Do the Right Thing, I am Mookie at the beginning. I have been Betty Shabazz: ready to rise up and sacrifice myself while still wanting to protect the people I love. Now I am Ron Stallworth: trying to defend and protect and uplift and hide my Blackness at the same time.
Weirdly enough–I think I was the only Black person in the theater (I saw it on a Monday). It felt the same as any other day being the only Black person in a room where Black people were the topic of discussion.
And props to Jordan Peele as well. Peele brought me back to that place of fear from Get Out. John David Washington PLAYED HIS ASS OFF. From the beginning, Laura Harrier had my attention every time she was on screen as BSU president and chief agitator Patrice Dumas and Corey Hawkins gave me chills as Kwame Ture.
It was Spike’s signature cinematic touches that resonated most with me though. I felt the intentional uplifting of the faces of Black beauty displayed in the crowd, with their features prominently celebrated in close-up shots. When Kwame Ture is speaking at the Colorado College Black Student Union event, it reawakened something that I have been suppressing–that fight in me from college. The hidden hood rat in my heart who I have actively ignored to make way for a more acceptable negro that can gain access to the master’s tools. I thought hiding under the radar was the move.
But there is no such thing as under the radar for Black people. We are under the gun from birth. I once heard a poet in DC say that doctors wrote Black babies’ birth certificates on the backs of toe tags.
As much as people complain about his, I am grateful for Uncle Spike.
Two scenes stood out because they directly parallel to my professional life.
The first part is when Stallworth feels there may be a delay in getting the official klan member card. Stallworth called David Duke and talked his way into getting the coronation pushed up. This cognitive dissonance is astoundingly relatable. There was a clear juxtaposition.
The second scene worth mentioning is when he actually receives the card in the mail. That card is a symbol of his acceptance into whiteness. It is a coveted position in our community; it is a survival strategy we have been taught for decades. Generations of sharecroppers prayed that integrated schools, the right to vote, and general respectability politics would save our Black souls. Regardless of how many times that sentiment is proven wrong, we still cling to it like white supremacists cling to the ridiculous notion that they are superior. The genius of this film stems from the fact that it is based on the true story of Detective Ron Stallworth.
In the last ten minutes or so of the film, I saw the flashes of Black death and white hatred I have avoided on social media for so long. I have never watched any of the police killings. I couldn’t bring myself to do it.
Blackkklansman forced me to confront brutality. It was a call to action.
I cried at the end of Blackkklansman because it hurts. I am in pain. We are in a seemingly unending pattern that both cripples and propels us. While I was in that theater, I cried because I am sick of shrinking myself until I am small enough not to bother Becky. I cried because my future husband is more likely to be a felon than a philosophy professor. One weight was lifted and another was placed on my shoulders. I cried because it is hard to believe in God when my people are targeted like we’re demons and people still defend cops.
“Not all cops”
“All lives matter”
I cried because I am tired of this matter-of-fact racism remixed and reborn in 45’s image.
I am so sick of this.
At the same time, I am grateful for Black artistry in the midst of all this ignorance. What I have loved about Uncle Spike since Crooklyn was his ability to take something I thought only I felt and turned it into a universally understood reality. His free-floating dolly shots have long captivated me.
Malcolm X (the scene right before he died)
School Daze (Laurence Fishburne screaming ‘wake up!’)
Crooklyn (Troy floating away in her dream)
…and now in Blackkklansman (the last scene before we fast forward to the Charlottesville attacks). The film is visually stimulating and incredibly insightful.
As if the acting and filmography weren’t enough, the soundtrack is so on point to the double consciousness that runs through the script.
Blackkklansman will have you questioning your contribution to the cause and our collective position in this anti-Black world.
Boycott the Oscars and #OscarsSoWhite have taken over the web with so much drama and controversy that, once again, the points have gotten lost in a sea of bitter pettiness…The question at hand is “Should the Black community boycott the Oscar awards?”, with the follow up question being, “Why are we seeking validation from an organization that cares nothing about us?” Let’s dive into this a bit…
So lately we have heard about Jada Pinkett Smith’s call to boycott the Oscars, followed up by support from Spike Lee, Snoop Dogg, and other celeb friends, as well as Janet Hubert’s response to Jada’s call to boycott. Needless to say, both Jada and Janet have questionable motives behind their posts, but the bright side is some of the conversation that has sparked among the community. Here are our thoughts:
#One: Boycott the Oscars… We should have collectively tuned out the Oscars decades ago…
We could yawn at this topic, and dismiss it as the bottom of the barrel of things we need to focus on in our community, but the fact is a lot of Black people still tune in every year hoping and praying to see their favorites walk away with the Ptah Oscar. When they tune in, they help to boost ratings, thus advertising dollars for the program. Us not watching might not make as much of an impact as us not shopping during Black Friday, but every bit counts.
#Two: Boycotting and seeking validation are not, I repeat NOT, parallel concepts…
I swear fo’ geez, if I hear one more person ask why we’re looking for validation in response to boycotting. Boycotting is merely abstaining from something. Yes, it can be used as an intimidation tactic, but it’s not the case here. Taji Mag abstains from including any news that does not help our community build and grow. We boycott the use of non Black Owned Businesses as much a possible. We do not do this in hopes that non Black Owned businesses start treating our people better. We’re not concerned with how they operate business because WE DON’T SHOP THERE. The same concept applies here. We do not boycott the Oscars in hopes for a seat at the table, we do it because we have our award shows and organizations that provide us with the proper recognition our people deserve, that’s where our focus and loyalty lives.
#Three: Quit wasting time being bitter and quarreling…
Both sides of the “argument” are basically saying the same thing while wasting time on semantics and emotions.
Let’s boycott any and everything not checking for us and give our dollars to our community first. That is how we regain and maintain our communities. Work together instead of apart. Stop picking apart the messenger and absorb the message.