@usa
This Is Not The End Spotify
MILCK
release date 2018-01-19 publisher: © 2018 Atlantic Recording Corporation for the United States and WEA International Inc. for the world outside of the United States. / ℗ 2018 Atlantic Recording Corporation for the United States and WEA International Inc. for the world outside of the United States.
Julia (2021) IMDb WikiData Douban TMDB
My Name Is Pauli Murray
8.4 (7 ratings) director: Julie Cohen / Betsy West actor: Patricia Bell-Scott / Dolores Chandler
other title: 我叫保利·默里 / My Name Is Pauli Murray
Overlooked by history, Pauli Murray was a legal trailblazer whose ideas influenced RBG's fight for gender equality and Thurgood Marshall's landmark civil rights arguments. Featuring never-before-seen footage and audio recordings, a portrait of Murray's impact as a non-binary Black luminary: lawyer, activist, poet, and priest who transformed our world.
Sept. 20, 2021 watched
作為小白就是看了一個高級熱鬧。還是要看書之後,領會才會更深。買書!買書!
@usa #racism #woman #sexism #black
Fight For You (From the Original Motion Picture "Judas and the Black Messiah") Douban
H.E.R. / Judas and the Black Messiah genre: 放克/灵歌/R&B
release date 2021-02-04 publisher: Six Course Music Group/RCA Records
The once-elusive superstar H.E.R. is everywhere these days. This time, she’s lending her superb abilities to a new track titled “Fight For You.”
The ‘60s R&B-inspired jam, composed by H.E.R. and D’Mile, is lifted from the soundtrack of the upcoming motion picture Judas and The Black Messiah. On the soul-stirred single, H.E.R. advocates for the freedom and justice of Black people by any means necessary.
“I’m gon’ see it through / There’s no one, there’s no one like you / Long as I’m standing, we can never losе (Uh) / I’ma always, always fight for you,” she belts on the electrifying chorus.
Upon the debut of “Fight For You,” the talented musician performed the song live for the first time on The Late Show with Stephen Colbert.
Both the film Judas and The Black Messiah and its accompanying soundtrack will be released on February 12.
H.E.R. recently spoke with Zane Lowe of Apple Music to share the story behind recording “Fight For You,” which is nominated for Best Original Song at the 78th Golden Globe Awards.
“It was pretty fast. After we watched the movie in the studio together, then we just started to talk. And that’s honestly why I love working with D’Mile and Tiara [Thomas] because I can talk to them,” H.E.R. said.
She continued, “We have these conversations and there’s a comfortability. And I think the biggest thing was listening to some of our favorite, some of my favorites; Marvin Gaye, Curtis Mayfield, and people like that, Sly and the Family Stone. I was like, ‘I really want to capture the right percussion sounds and get the bass line.’ We started with the bass line. I picked up the bass and I was fiddling a little bit. And then I had walked away. D’Mile came, picked up the bass, and then we landed on something. And it was really about the message, you know.”
H.E.R. is also set to perform “America the Beautiful” at the 2021 Super Bowl this Sunday at 6:30 p.m. ET on CBS.
Being Muslim Douban
author: Sylvia Chan-Malik publishing house: New York University Press 2018 - 6
An exploration of twentieth and twenty-first century U.S. Muslim womanhood that centers the lived experience of women of color
For Sylvia Chan-Malik, Muslim womanhood is constructed through everyday and embodied acts of resistance, what she calls affective insurgency. In negotiating the histories of anti-Blackness, U.S. imperialism, and women’s rights of the twentieth and twenty-first centuries, Being Muslim explores how U.S. Muslim women’s identities are expressions of Islam as both Black protest religion and universal faith tradition. Through archival images, cultural texts, popular media, and interviews, the author maps how communities of American Islam became sites of safety, support, spirituality, and social activism, and how women of color were central to their formation. By accounting for American Islam’s rich histories of mobilization and community, Being Muslim brings insight to the resistance that all Muslim women must engage in the post-9/11 United States.
From the stories that she gathers, Chan-Malik demonstrates the diversity and similarities of Black, Arab, South Asian, Latina, and multiracial Muslim women, and how American understandings of Islam have shifted against the evolution of U.S. white nationalism over the past century. In borrowing from the lineages of Black and women-of-color feminism, Chan-Malik offers us a new vocabulary for U.S. Muslim feminism, one that is as conscious of race, gender, sexuality, and nation, as it is region and religion.