Insight News

Thursday
Oct 02nd

The Devil Didn’t Raise You

The Devil Didn’t Raise You The feminine touch has finally come to a Minneapolis stage, and we have playwright Pamela Rollins to thank for meeting this need. For two nights only, her play aptly titled, “The Devil Didn’t Raise You” made its Twin Cities debut at the Capri Theater.

The play illustrates the struggle three sisters have to overcome a past filled with uncertainty after their mother dies from a drug related death. One sister finds herself mirroring her mother’s addiction by falling to drug abuse, another gets swept away in a dangerous relationship, while the last mimics their Christian aunt who takes them all in, and does her best to hold this family together. Tana Matthews plays Aunt Kay, a God fearing woman who works to remind these women that no matter what they’ve been through, they’re children of God, first.
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Grammy nominated soul singer Eric Roberson at the Dakota Oct. 1

Grammy nominated soul singer Eric Roberson at the Dakota Oct. 1Grammy nominated singer, songwriter and producer, Eric Roberson will make his Twin Cities debut Sat., Oct. 1 at the Dakota Jazz Club.

Roberson, one of the most sought-after songwriters in the music industry, has penned several top soul hits including Vivian Green’s Emotional Rollercoaster and Previous Cats recorded by Musiq Soulchild.

In recent years, Eric has been recording for his own imprint, Blue Erro Soul. His four most recent recordings have sold more than 100,000 copies each – an almost unheard of feat for an independent artist. His 2009 Music Fan First earned two Grammy nominations.
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Book review: Sister Citizen

Book review: Sister Citizen“This book is concerned with understanding the emotional realities of Black women’s lives in order to answer a political, not a personal, question: What does it mean to be a Black woman and an American citizen?
…The particular histories of slavery, Jim Crow, urban segregation, racism, and patriarchy that are woven into the fabric of American politics have created a specific citizenship imperative for African-American women—a role and image to which they are expected to conform.
We can call this image the strong Black woman… The strong Black woman myth is a misrecognition of African-American women. But it creates specific expectations for their behavior.” -- Excerpted from the Introduction (pgs. 20-21)
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Who's Afraid of Post-Blackness?

Who's Afraid of Post-Blackness?“We’re in a post-Black era when our identity options are limitless. And there’s no going back... Post-Black means we are like Obama: rooted in but not restricted by Blackness... Our community is too diverse, complex, imaginative, dynamic, fluid, creative, and beautiful to impose restraints on Blackness...In this book, I seek to legitimize and validate… that the definitions and boundaries of Blackness are expanding… into infinity.”  -Excerpted from Chapter 1 (pg 12)
 
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Contagion: A-list cast executes Soderberg’s apocalyptic adventure

Contagion: A-list cast executes Soderberg’s apocalyptic adventureA decade ago, Steven Soderbergh won an Academy Award for Traffic, a multi-layered potboiler highlighting the hypocrisy and corruption permeating political bureaucracies entrusted with waging the war on drugs. With Contagion, the iconoclastic director has fashioned another international mindbender, although the focus this go-round is on the medical community’s attempt to allay the public’s fears about a fictional outbreak of a deadly virus bubbling into a global pandemic.
   
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Headline: Black revolution of the sixties revisited via Swedish cinematic collage

Headline: Black revolution of the sixties revisited via Swedish cinematic collageThe Black Power Mixtape 1967-1975

During the Black Power Movement back in the Sixties and Seventies, most folks only got to know its leaders mostly by way of sound bites disseminated by the mass media. Whether it was Stokely Carmichael’s demand “We want Black power!” or H. Rap Brown’s appeal for riots via “Burn baby burn!” or Eldridge Cleaver’s assertion that “You’re either part of the problem or part of the solution,” the icons were mostly reduced to incendiary slogans for the purposes of entertainment masquerading as news.
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The Help surpasses $100M at domestic box office

 The Help surpasses $100M at domestic box office

 

The inspiring film The Help has surpassed the $100 million mark at the domestic box office, announced DreamWorks Pictures. The Help stars Emma Stone (Easy A) as Skeeter, Academy Award®–nominated Viola Davis (Doubt) as Aibileen and Octavia Spencer as Minny—three very different, extraordinary women in Mississippi during the 1960s, who build an unlikely friendship around a secret writing project that breaks societal rules and puts them all at risk.
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