HISTORY + VIDEO: Before They Die—Tulsa Race Riot of 1921

BEFORE THEY DIE

Tulsa Race Riot of 1921

Before They Die: This is the story of the Tulsa Race Riot of 1921, the worse case of domestic terrorism in American history. It is about the few (80) remaining living survivors and their fight for justice and compensation; their demand for the dignity and recognition of those who died that day and who have been denied a decent burial for 87 years; the pursuit of the justice that they have been denied in the Courts and now in the Congress of the United States. It captures their journey for justice as these 3 surviving victims (90, 92 & 104) travel the country telling their stories and being embraced by the real America everywhere they go. They are lovable, loved and determined to share their unique stories, that were hidden for 80 years by a conspiracy of silence. Despite the efforts of the guilty and shamed who would prefer to Delay, Deny and Hope They Die, these Warriors for Right refuse to be silenced... even after the Creator calls them home.

VIDEO: Watch full Unsung Episode: Sly & the Family Stone > SoulTracks

 

Watch full Unsung Episode:

Sly & the Family Stone

 

Sly and the Family Stone was one of the most influential acts of the last half century. The Cali-based band, led by enigmatic singer/songwriter Sly Stone, created one of the important bridges between soul, rock and funk, and paved the way for literally hundreds of self-contained bands that took over the R&B airwaves in the 70s.

Here's the FULL EPISODE of TV One's great Unsung on the group.

Watch it below and tell us what you think!

.

 

VIDEO + AUDIO: Deep Into Lupe Fiasco

DEEP INTO

LUPE FIASCO

__________________________ 

Lupe Fiasco Mansplains

Misogyny on

Counterproductive

'Bitch Bad'

Lupe Fiasco Lupe Fiasco
June 26 2012, 2:07 PM ET
by Marc Hogan

"Who you callin' a bitch?" rages Queen Latifah, on her jazz-sampling single "U.N.I.T.Y.," originally released on the 1993 album Black Reign. "I'm a bad bitch / I'm a, I'm a bad bitch," repeats Nicki Minaj on her fire-breathing 2009 mixtape cut "Itty Bitty Piggy"; "I'm a bad bitch / I'm a cunt," she adds on 2011 debut LP Pink Friday's "Roman's Revenge," and that last word is one that newer New York rapper Azealia Banks has since all but made her trademark. Clearly, something has changed in hip-hop's relationship with anti-woman slurs over the past two decades, and that's ostensibly what Lupe Fiasco tries to address on "Bitch Bad," the second track to emerge from his long-delayed Food & Liquor 2: The Great American Rap Album (due out September 25 on Atlantic).

Give Lupe the benefit of the doubt, and his point, while arguable, makes a certain amount of sense: Even as young women reclaim the idea of a "bad bitch" to describe their own power and sexuality, young men might continue to see them as a different kind of "bitch," thus perpetuating the cycle of misogyny rather than ending it. All right, then. Unfortunately, "Bitch Bad" fails to offer listeners many reasons to hear him out, what with its stilted flow (or lack thereof) and painfully sanctimonious tone. After introducing his two-dimensional characters with all the grace of a lecture, Lupe concludes his argument with this impossible tangle: "Bad mean good to her, she really nice and smart / But bad mean bad to him, bitch don't play your part / But bitch still bad to her if you say it the wrong way / But she think she a bitch, what a double entendre." At least the snare-heavy production by past collaborators the Audibles probably won't piss off Pete Rock.

The worst part is that Lupe's clumsily didactic attempt to restore hip-hop consciousness comes at a time when other rappers have shown you don't have to be a scold to have a moral center. From Das Racist and BBU to Killer Mike and Big K.R.I.T., more and more MCs are remembering how to make rap that has a political charge without sounding like Tipper Gore. Sure, Lupe's heart sounds like it's probably in the right place. But as the latest star-studded remix of M.I.A.'s excellent "Bad Girls" make clear, bad girls do it well — and if boys can't do it better, they have only themselves to blame.

__________________________

Lupe Fiasco – Bitch Bad

Bitch Bad Lupe Fiasco

In typical Lupe Fiasco fashion, this song breaks down the phrase “bad bitch” and flips it around, telling a story about “bitch bad.” Lupe has been supporting this “movement” for quite some time — there is a line in his 2006 song “Hurt Me Soul” (Omitting the word “bitch,” cursing – I wouldn’t say it).

I like the message in the song, but it doesn’t seem like Lupe spent much time creating this song. The rhyme scheme is a bit weak compared to some of Lupe’s other songs. What do you guys think? Is the message strong enough to make the song good?

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Lupe Fiasco

– Around My Way (Freedom Ain’t Free)

Screen Shot 2012-05-21 at 7.33.13 PM

Wasalu and I are on a first name basis, so if you see me say Wasalu instead of Lupe Fiasco, that’s why. He’s the best lyricist.

Wasalu drops his first single off of Food & Liquor 2. THANK GOD.

I’ve been missing this guy and this sounds more like his music rather than Atlantic’s bull shit. Song is available on iTunes at midnight.

The first sense I get from Around My Way (Freedom Ain’t Free) is that he’s retracing his steps back to his “The Cool” & “Food & Liquor” days, and putting Lasers in the past. Thank. Fucking. God. This is an excellent start and I’m eager to see what else he has in store for us after watching this, specifically, Form Follows Function (refer to video).

There’s two artist I’ll always be with through thick and thin (pause). Wasalu and Scott Mescudi. All hail Wasalu!

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[Videos] Lupe Fiasco

– I Don’t Wanna Care Right Now

+ Double Burger WIth Cheese

lupefiasco

Two brand new videos from Lupe Fiasco. I will talk about them separately.

Up first, the single from Lupe Fiasco’s “forced” sell out CD, Lasers (I hate Atlantic), I Don’t Wanna Care Right Now. This video disgusts me. Outside of KiD CuDi, Lupe Fiasco is my favorite artist. To watch something like this, and listen to his simplistic lyrics, all because of Atlantic Records forcing him to “sell out” makes me sick to my stomach. I wan’t “Food & Liquor” and “The Cool” Lupe back. Not this Lasers bullshit. I will still support him till the day I die, so check out the video anyways.

Second, his video for Double Burger With Cheese. Now this is the awesome Lupe. And he’s not even in it. It has actual meaning. Not about having a tour bus with a lot of women (refer to the above video).This comes from his latest mixtape, Friend of The People. What is it? Two more albums until his deal is up with Atlantic? Can’t. Fuckin. Wait.

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Lupe Fiasco – American Terrorist III

lusyd

Let loose via his twitterLupe Fiasco gives us a brand new song that sounds like classic Lupe and not that Atlantic bullshit/controlled Lupe. Check errrr out!

Hulkshare: Lupe Fiasco – American Terrorist III

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Lupe Fiasco

– Friend of the People (ft. Dosage)

lupe-fiasco

This past Turkey Day, Lupe Fiasco thanked us all by dropping Friend of the People, a mixtape busting at its seams with some of the hottest electro artists today. After giving it some spins, I wanted to share one of my favorite cuts from the album, which also happens to be the title track. Lu and his homie Dosage trade bars over SebastiAn’s “Jack Wire,” a two-step filled with rugged synths and roaring snares. #OccupyFiasco.

Lupe Fiasco – Friend of the People (ft. Dosage)

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[Mixtape] Lupe Fiasco

– Friend of the People

Friend of the People

Jesus. Thanksgiving just got a little better. Lu’s long awaited mixtape, Friend of the People, has finally dropped via Twitter. I imagine this is what it felt like when the Indians and Pilgrims first got together–only with way more dope rhymes. Stuff your face and your ears on this joyous occasion. FNF UP!

DOWNLOAD: Lupe Fiasco – “Friend of the People”

Lupe Fiasco – “The End of the World”

 

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Lupe Fiasco

ft. Ellie Goulding & Bassnectar

– LightWork

Lupe-Fiasco

I have two favorites in the music industry. My favorite artist: KiD CuDi. My favorite rapper: Wasalu(or better known as Lupe Fiasco). Correct me if I’m wrong, but I am pretty sure this is Lu’s first attempt at doing a type of song like this? Whatever, I like it. Then again, I’d like anything this dude puts out. This is the first single for a new mixtape dropping on Thanksgiving called Friend Of The People. Listen up to one of the best lyricists out there!

Hulkshare: Lupe Fiasco ft. Ellie Goulding & Bassnectar – LightWork

__________________________

Lupe Fiasco Logs Off

On His Twitter Account


Recently during a Twitter conversation to his fans, rapper Lupe Fiasco revealed that he will no longer be posting messages (tweets). Instead of deleting the profile, he is allowing up-and-coming singer Nikki Jean, take over the tweets. In his farewell to Twitter, Lupe announced: “I’m quitting twitter. It was fun while it lasted… thanks for the support on (his album) #lasers and i will see you all on the road soon…u know what??? i’m gonna let @Nikkijean takeover my twitter… u might remember we did a little track called ‘hip hop saved my life’ together…”

 

PUB: Bloodroot Literary Magazine publishing poetry, short fiction and creative nonfiction

POETRY CONTEST

Three prizes of $200, $100, $50, three honorable mentions and publication in 2012 Bloodroot Literary Magazine edition. Reading period runs April 1 through September 15.

All entries are considered for publication.

Bloodroot endorses and abides by the Ethical Guidelines of the Council of Literary Magazines and Presses (CLMP).

CONTEST GUIDELINES - Printable Version:

  1. The competition is open to any poet who writes in English.

  2. Manuscripts should be typewritten or computer-printed on white 8-1/2" X 11" paper.

  3. We can only accept hard copies.

  4. Electronic submissions will not be accepted.

  5. Submit original, unpublished, free verse, 10 lines to 2 pages.

  6. Entry fee: $15 for three poems, $5 each additional poem.

  7. Final judge: Juan Velasco

  8. Your name must not appear on the manuscript.

  9. Please provide name, address, email address, titles of poems in a cover letter.

  10. You may include SASE for results and SAS postcard for confirmation.

  11. Entries must be postmarked no later than September 15, 2012.

  12. Manuscripts cannot be returned.

  13. Please no simultaneous submission to other publications.

  14. Mail manuscript and entry fee to:

    The Editors
    Bloodroot Literary Magazine
    PO Box 322
    Thetford Center, VT 05075

 


2012 CONTEST WINNERS

 

PUB: tellingourstoriespress.com - TOSP Innovative Short Memoir Book Award

Enter the Telling Our Stories Press

INNOVATIVE SHORT MEMOIR BOOK AWARD

Memoir Shaping   -   Memoir as Art   -   Dynamic Memoir


TELL YOUR STORY -- UNIQUELY

Enter the TOSP INNOVATIVE SHORT MEMOIR BOOK AWARD: 

Submit your book length short memoir submission of up to 75 pages. This project seeks meaningful short memoir that tells stories of your life that includes several creative forms within the book. The more variety the better -- words, images, sketches, photos, paintings, etc., as long as it can be captured in electronic format on pages for book production.


As with all TOSP submissions, authors retain the rights to their creative work, and grant TOSP permission for publication and distribution.

Winners receive a free eBook and paperback copy of the publication, along with 30-40% discounts on unlimited quantities of print editions of the publication

 

Enter the TOSP Innovative Short Memoir Book Award to:

  • Unearth themes and patterns of your life as they present themselves in your writing, and your story 

  • Employ various literary devices to tell your story true and bold and with originality

  • AND MOST IMPORTANTLY -- Shape your story into narratives using different creative storytelling techniques (prose, lists, images, poems, interviews, dialogues, plays, narrative photography, letters (found letters, open letters, letters to self, etc.), essays, micro-essays, UltraShort Memoir [100 words, any form], sketches, images of paintings, momentos, scanned scrapbook pages, journal entries, etc.).

Follow these steps to enter the TOSP Innovative Short Memoir Book Award:
  1. Submit up to 75 pages of a well-edited, book length memoir which includes a variety of storytelling devices as indicated in the list above

  2. Snail mail 2 hard copies of your memoir to: TOSP 185 AJK Blvd #246, Lewisburg, PA 17837

  3. Provide an electronic version of your memoir either via email attachment or CD. Send emails to: Submissions@TellingOurStoriesPress.com

  4. Provide the Submission Fee of $49 via check made out to: Telling Our Stories Press ; or use PayPal (below)

  5. Your Submission Fee includes a copy of a TOSP Publication, indicate your choice on the Submission Form, and it will be mailed to you
  6. Use the Book Award Submission Form below to provide your Entry Data (You may print the form out and snail mail it, or submit the form electronically here).

  7. Provide all of the above materials by September 15, 2012. The Innovative Book Award Winner will be announced October 30, 2012, on this web site. Winner will be notified in writing. 

 

PUB: Femme Erotique | Femficātiō (fem-fa-ka-ti-o)

Femme Erotique

Femme Erotique Poetry Contests


“The erotic is a resource within each of us that lies in a deeply female and spiritual plane, firmly rooted in the power of our unexpressed or unrecognized feeling.” Audre Lorde, Uses of the Erotic: The Erotic as Power.

Anyone can submit! (There are no gender or racial restrictions!)

Submit 3 poems or 3 letters of a sexual, erotic nature. Poetry will be featured in the Coal Publishing “Femme Erotique: The Erotic Poetry of Feminists”

1st Place: £100 ($165USD) + Durex Safe Sex Goody Basket (toys, chocolates, condoms, bath salts, candles)

2nd Place: Champagne + Durex Safe Sex Goody Basket
3rd Place: Honourable mention + Durex Safe Sex Goody Basket

3rd Place: Honourable mention + Durex Safe Sex Goody Basket

Up to 40 poets will be shortlisted, and all winners plus shortlisted poets will be included in the anthology “Femme Erotique: The Erotic Poetry of Feminists”.

EXTENDED Deadline:. 1st August 2012

REDUCED ENTRY FEE
£3 entry fee for UK/Europe
$4 for US/Canada/Africa

Submit poetry to: queries@coalfeministreview.com.
Please include a short bio with contact details. Please copy and paste your submission into your email.

Poetry must be unpublished (blogs and youtube is acceptable) and each poem must begin on a separate page. Please include a separate page and attachment to the email with your name, age, nationality, bio, email address and contact telephone/mailing address.

Submit payments to: PayPal
queries@coalfeministreview.com

Or mail cheques and money orders with submissions to:

Coal Publishing
115 Gonville Crescent
Northolt
Middlesex
UB5 4SJ
United Kingdom

*Your entry will not be read unless accompanied by payment. Please email paypal confirmation with email submissions, and cheques or bankers drafts with mailed submissions.

 

INFO: BOL - Charles Mingus, Ahmed Sirour, and four Erykah Badu remix mixtapes

Mr. Charles Mingus gives us two ears full of heavy music strong enough to last a long, long time. Young brother acoustic piano phenom Ahmed Sirour seranades us with serious remixes and soothing instrumentals. We close with 18 (you know she can go on and on) remixes of Erykah Badu. Enjoy your summer.

http://www.kalamu.com/bol/

 

 

 

 

Erykah’s sound is distinctive not just in tone and timbre but also because of the drum in her throat. Her cadence and approach to phrasing is instantly identifiable, which means regardless of the surrounding sound-bed her vocals generate an emotional momentum of their own. It’s not just clever hooks or easy to hum melodies. Erykah’s music is a force field that encourages dreaming and experimentation. While listening to her one hears all kinds of possibilities far beyond the specifics of the original recording.

The force is so strong with Badu that the attraction is as definite and unavoidable as the earth’s gravity. Rappers fiend to spit over her beats, to have her voice wash over their flow. And don’t even talk about music producers with their favorite software and sound equipment—those cats drool for the opportunity to tweak a Badu cut. If you need evidence, simply go to the Soundcloud or Bandcamp web sites and search for Erykah, you’ll get pages and pages, and pages of Badu re-do’s.

Over the last year or so there have been literally hundreds of versions of “On & On” and maybe because I’m not an aspirant rapper I have not been bitten by the bug that causes someone to think they can come up with a killer verse to use on “Window Seat.”

That’s it. Listen to the Badu Re-do Mixtape. I rest my case.

P.S. we also have hotlinks for three other Badu remix mixtapes. Get 'em while the getting is good.

—kalamu ya salaam

 

REVIEW: Movie—'Soul Food Junkies' Is An Amusing, Enlightening, Important Doc > Shadow and Act

2012 ABFF Review:

Must-See 'Soul Food Junkies'

Is An Amusing, Enlightening,

Important Doc

Reviews  by Vanessa Martinez | June 24, 2012

Definitely a highlight at the American Black Film Festival, where it premiered and picked up the Best Documentary award, Byron Hurt's Soul Food Junkies is also a film we highlighted two months ago as a new project we’re excited about.

And deservedly so.. it’s a must see and you should definitely be anticipating it.

Byron Hurt, the helmer of the very well received 2006 documentary, Hip-Hop: Beyond Beats & Rhymes, has created a vastly entertaining, hilarious, passionate, revelatory and thoroughly researched documentary which examines Soul Food’s significance in Black American culture.

Hurt narrates the project, edited by Sonia Gonzalez-Martinez, via his personal journey. His family has been avid Soul Food lovers; his mother’s soul food had been the family’s bonding and social tradition.  However, as long as he remembers, Hurt’s father had been overweight. Hurt grew concerned of his father’s health as he got older; his father’s weight had since doubled.

While attending college in Boston, Hurt began to change his relationship with food and altered his eating habits to his father’s chagrin, who took offense to Byron’s rejection of sausage and bacon served with the breakfast.

His desire for explore Black America’s attachment to Soul Food, its joys and its ills, was further precipitated by his late father’s diagnosis of pancreatic cancer at the age of 63. Hurt doesn’t place all the blame in soul food. In fact, the doc makes it clear that the modern health problems among Black Americans are most likely caused by America’s economic food class war; organic and healthy foods are not available in many, if not most towns with predominantly African Americans, where organic markets are scarce and fast food joints abound. It’s also an issue of lack of proper education.

And, it’s not just a Black American problem. The doc makes a connection with African American’s soul food influence in mainstream society, originating in slavery. It’s also interesting to note that when learning about the history of soul food, some will argue that soul food’s roots in slavery – creating and surviving on left-overs, “bottom-feeders” are nothing to be celebrated.

Yet, another observation is that yes, slaves, the originators of soul food by creatively cooking meals with little resources, ate fattening foods, but they also raised natural, unprocessed crops and animal meat.

Byron Hurt

 

The doc has all the elements of a compelling documentary: emotionally-engaging personal story, jaw-dropping statistics on African Americans and health issues, fascinating history of soul food, humorous, candid interviews, but most of all it’s a very relevant and important subject of undeniable cultural significance. Hurt manages to balance all of these elements superbly, and offers solutions to the issue in order to still enjoy the tradition without compromising your health.

And although the message is clear, it’s not heavy-handed; it allows you to come to your own conclusions. What’s also great about it is that is not about “dissing” or demonizing soul food.

I can only hope Hurt’s Soul Food Junkies isn’t overlooked by distributors and audiences; It is easily one of the year’s best.

It’s actually baffling that this topic hasn’t been tackled with such detail and intelligence before.

By the way, if you haven’t had lunch you will suffer through this. After the screening, I hoped to get some fried chicken, mac and cheese, candy yams, pig feet, collard greens and corn bread. Too bad soul food is hard to come by in Miami Beach. I wanted to treat myself, if only in moderation of course.

 

INCARCERATION: Free Child Sex Trafficking Victim Sara Kruzan

Free Sara Kruzan

We need your help

 

Sixteen-year-old human trafficking victim Sara Kruzan was sentenced to life in prison without parole when, after years of sexual, physical and mental abuse, she shot her pimp. When Sara met G.G., the 31-year-old man who would become her pimp, she was only 11. G.G. groomed Sara two years before he raped her. By then, his control was complete and he forced her into prostitution. Sara and the other girls who G.G. exploited were out on the streets from 6pm to 6am, every night. Twelve hours a night, seven days a week, for three years, Sara was raped by strangers so G.G. could profit. After three years, she snapped, and she killed him.

 

Now 33, Sara has spent half her life in prison as a model prisoner, and has asked Gov. Schwarzenegger for clemency. Sara was arrested and tried in 1994, before anyone was using the term "human trafficking" and when the country was still struggling to understand issues like domestic violence and pimp control that give one person coercive control over another. So there was no expert witness at Sara's trial to explain how her years of repeated rape, trauma, and abuse had affected her actions. There was no expert to tell the jury that with counseling, support, and care, Sara could heal from her traumatic past and grow to be a strong and moral woman.

 

Last year Sara's clemency plea was submitted to Gov. Schwarzenegger, in which he granted clemency by commuting Sara's sentence to Life with parole. Although, reducing Sara's sentence provided her with hope that she would eventually be freed, many petitioners along with myself feel that Sara has served more than enough time and that Time Served should be granted.

 

The decision of whether or not to release Sara with time served rests solely with Gov. Jerry Brown. Sara Kruzan has spent the past 17 years in prison and deserves freedom. After surviving being raped and sold for three years as a child she deserves a chance to be a free woman, now.

 

Tell Gov. Brown that human trafficking victims deserve support and care, not prison. Ask him to release Sara with time served.  Please sign my petition on Change.org below:

 

Why we should ban life without parole for juveniles

Check out the following link for more information:
http://www.youthlaw.org/press_room/video_sarah_kruzan_sentenced_to_life_witho...

Join the "FREE SARA KRUZAN" Facebook group!
http://www.facebook.com/home.php#/group.php?gid=135555313406&ref=ts

Sign the Petition to Free Sara Kruzan Today:
http://media.causes.com/651929?p_id=76873816

 

 

 

CULTURE: “Girls” and the Black Sexuality Double Standard > Clutch Magazine

“Girls” and the

Black Sexuality

Double Standard

Monday Jun 25, 2012 – by

We’ve talked a lot about the HBO series “Girls” around these parts, so much so that many of you are tired of discussing it. But rock with me for a spell.

After its debut, the web lit up with talk about the lack of diversity on the show, which follows four twenty-something friends as they try to figure out their lives. While many have hailed the show as the best of the year, others have bemoaned the fact that none of the girls are black, brown, or anything other than white.

The show’s creator and star Lena Dunham mentioned that she wrote the series from her experience, which explained the lack of diversity, but Dunham promised to add to the cast during its second season.

As the season progressed, all the “Girls” talk seemed to fade, but a new post by one of my favorite blogs Very Smart Brothas explains why there could never be a black version of the show — and it’s not why you think.

Aside from the fact that black and white women often times have different cultural experiences, Damon Young says there’s one glaring reason why a black “Girls” would not fly: Folks are uncomfortable with black sex.

He explains:

These are just three of the dozens of times sex is shown, discussed, alluded to, made light of, seen, and overheard on “Girls.” Don’t get me wrong. The show isn’t just about sex, but it would be near impossible to have a (somewhat) realistic depiction of contemporary young people — even the ones not having sex — without sex just, well, being there.

None of this could happen with a black show. Sure, young black people find themselves in the same type of situations, but if black people were shown having the same type of sex (and having the same type of sex-related discussions) the characters on “Girls” regularly do, it goes from being thought of as “real” and “gritty” and “truly naked” to “nasty” and “pornographic.” 

We — and “we” in this case is “Americans” — have a strange relationship with black sex and sexuality, too strange for me to even begin to expound on today. Interestingly enough, this is true for both white and black America. As much as we complain about the lack of real black shows on TV, we’d be just as weirded out by real black sex. Can you imagine how many petitions would be made if a popular black show had a black female character asking to put her finger in a black male character’s butt during sex?

Young goes onto to explain that the show’s main character (played by Dunham) could never have a black equivalent because of her unremarkably average looks.

He surmises:

Well, if this black “Girls” is a mirror of the white “Girls,” the main character would be an average looking woman. Not “Hollywood average,” but average average. Aggressively average. “Looks exactly like the woman handing out chicken sausage at Trader Joe’s” average.

Now, there’s absolutely nothing wrong with being average looking. Average has a low standard deviation as most people — myself included — fall somewhere within the mean. But, while there are a ton of average-looking working white actresses, I challenge you to name ONE relevant black actress under 40 who’d be considered average. Not Hollywood average, but “she looks like this chick who works at the DMV” average. 

My point? As talented as (“Girls” creator and star) Lena Dunham is, there’s no way in hell her black equivalent would be able to be the lead character on a show. Not just an HBO show, either. Any show and any movie.

While I’m not particularly interested in discussing “Girls” at length yet again, Young’s idea — that people (including black folks) wouldn’t embrace black sexuality on screen — is an interesting one.

Despite black people engaging in all sorts of sex, our willingness to talk about it, view it, and be open to the idea of black sexuality is still somewhat taboo. While our white counterparts participate in slut walks and embrace their sexual liberty, black women are often held to different standards by our communities (and others who ascribe certain stereotypes to us) that force many of us to keep our sexual histories, activity, and fantasies to ourselves.

But what do you think? Is our aversion to seeing black sexuality onscreen one reason why we’ll never have a black ‘Girls’ or ‘Sex in the City’?