TV Show Search Airs Sunday on Netflix TV-MA Creators Jenji Kohan Writer Piper Kerman, Jenji Kohan Star Star Star Star Star Add a rating User Rating 0/5 from 0 users N/A User Ranking TV Shows Convicted of a decade old crime of transporting drug money to an ex-girlfriend, normally law-abiding Piper Chapman is sentenced to a year and a half behind bars to face the reality of how life-changing prison can really be. QuickRate Rate trending movies in seconds and rise to Ultimate Status Launch QuickRate Latest Updates Lauren Lapkus Talks Returning for Possible 'Orange Is the New Black' Reunion Exclusive Brian Jones 04/04/2022 Lauren Lapkus Teases What to Expect From Her New Netflix Series 'Bad Crimes' Exclusive Brian Jones 04/04/2022 'American Idol' Alum Lands Lead Role in 'The Color Purple' Musical Adaptation Alyssa Fikse 02/04/2022 'Orange Is the New Black' Alum Laura Prepon Reveals She Left Scientology Michael Hein 08/18/2021 Ruby Rose Hospitalized for Surgery Complications Anna Rumer 07/28/2021 More stories about Orange Is The New Black
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Tomorrow, Netflix will release fourteen new episodes of the hit series Orange Is the New Black, inevitably renewing discussions of a host of prison issues. From the start of the series, the incarcerated women of Litchfield Penitentiary warn protagonist Piper Chapman about the horrors of “the SHU,” the federal prison’s Segregated Housing Unit. Chapman’s character, loosely based on writer-come-advocate Piper Kerman’s experiences with prison, has spent thirty days in solitary in the course of the first three seasons. Although Kerman never spent any time in solitary while incarcerated, her fictional counterpart emerges from SHU visibly troubled in the second season premiere. On the third and most recent season, two characters effectively disappear. Both are sent to solitary confinement, and both are not heard from for the rest of the season, mirroring the silence that characterizes the practice. Natasha Lyonne’s character, Nicole Nichols, is sentenced to time in administrative segregation following a drug charge. Transgender woman Sophia Burset, portrayed by Laverne Cox, is shanked by a group of women in a hate crime and is sent to protective custody after the incident. For Orange is the New Black, a show whose plot hinges upon the relationships between women on the inside, solitary confinement holds little entertainment value. Rather than focusing on the experiences of women in solitary, the show naturally follows those able to communicate with the outside world, a telling omission that illustrates how those in the box are erased from the narrative. Regardless, OITNB has managed to spark conversation both in public discourse and in more official settings. In 2014, Kerman testified before the Senate Judiciary Subcommittee on the Constitution, Civil Rights and Human Rights. The hearing, “Reassessing Solitary Confinement,” gave Kerman a platform to express the specific traumas facing women who enter solitary in our prisons. Regarding sexual assault, she said, “Solitary is…misused as a threat to intimidate and silence women who are being sexually abused by staff…The terrible threat of isolation makes women afraid to report abuse and serves as a powerful disincentive to ask for help or justice.” [transcript] Despite the recent growth in news and social media, solitary confinement as a plot-point in television remains sparse, at best. Its first small-screen appearance 1995’s “F. Emasculata” episode of The X-Files is among a small handful of times TV viewers have been asked to incorporate solitary confinement into their entertainment. After a few appearances exclusively in passing and often in sitcoms [My Name Is Earl – “Didn’t Pay Taxes”, 2006], the effects of prolonged isolation were explored for the first time in primetime. Law and Order Special Victims Unit aired “Solitary” on October 7, 1999, highlighting the lasting psychological effects and potential dire consequences of solitary confinement. Detective Elliot Stabler voluntarily spends a three days in solitary after being attacked by Callum Donovan, a man he had helped put away years earlier. After learning about Donovan’s 15-year stay in solitary to avoid recruitment to the Aryan Brotherhood, Stabler elects to try it out for himself. Shortly into his stay, he becomes agitated and even slightly delusional. Before, he had wanted Donovan back behind bars; he changes his perspective following his own time and thinks Donovan should walk. On the non-fiction front, MSNBC’s Lockup and National Geographic Channel’s Lockdown both present a documentary-style look into what National Geographic calls “America’s hardest prisons.” This sensationalized, dramatized version of what goes on inside our prisons reflects a narrative driven by the desire to create a divide between criminals and citizens. Viewers may become convinced that, as terrible as these places are, they are necessary to house our worst, most violent offenders. Violent treatment toward those with a history of violence, however, does not prevent future dangerous behavior. Furthermore, men and women serving sentences in solitary often get released back into their communities directly from solitary, which boosts recidivism rates and can increase the risk of violent reoffending. There are also thousands of non-violent people in solitary confinement, which undermines the narrative of “Lockup” and “Lockdown.” This “worst of the worst” theme allows viewers to dodge accountability and excuse the practice. In the world of “reality” television, Fox Reality Channel aired a game show entitled Solitary from 2006 to 2010. At the start of the season, we enter a complex in which contestants are imprisoned for a number of weeks. The last one standing wins $50,000, and each contestant seems fully prepared to test his or her limits in order to win the money. The Survivor-style show creates an atmosphere in which the contestants’ actions are dictated by a computerized voice named Val. Val refers to her prisoners as Number One, Number Two, and so on, and she is their only source of contact throughout the show. There are various elements in the show that distract from the fact that contestants are participating in a practice that has been condemned in the human rights field and by the UN Special Rapporteur on Torture. The upbeat background music, brightly colored units, and omnipresent robot voice replace the extreme silence, drab and muted colors, corrections officers, and abuse occurring in real solitary confinement units. In this context, the fascination with testing human limits extends as far as simulating torture. The nature of the show trivializes true experiences in solitary, making it out to be a test of various strengths rather than a forceful denial of basic human rights and human contact. Contestants do not have to live with the stigma of being incarcerated, and they are able to leave whenever they want, returning to their lives, jobs, and families seamlessly. Men and women being held in solitary in real prisons may lose months or even years of their lives, and remain permanently scarred. The increase of televised attention to solitary confinement in recent years begs the question Is flawed media better than no media at all? Many viewers may have forgotten about OITNB’s Nichols and Burset when they left the general population. Is their absence enough to increase awareness about the depths of the system they were entering further into? When Burset is sent to protective custody, Michael Bryan French’s character, a higher-up prison official, has no awareness that it is a form of solitary confinement. Is getting this message across to the viewer enough to change attitudes regarding the practice? Whatever its flaws, Orange Is the New Black’s presentation of solitary confinement to its enormous and critical audience is a step forward. Although viewers should not assume that the show imparts an accurate education on the prison system, presence may lead to pertinence, which allowed Kerman to deliver her testimony. Making the issue present in popular culture and in news media serves to reach people who would not normally be interested. As for reality-style series, Lockup and Lockdown could offer a more critical look into the prison system, rather than capitalizing on the split between criminals and society. For a country that prides itself for its human rights record, it would be interesting for the shows to take a look at how and why the conditions of “America’s hardest prisons” were created and how and why they are being sustained, even after being deemed torture. And taking institutionalized violence as a premise for a game show – like Solitary – simply serves to capitalize on, if not further normalize, torture. In the past year alone, solitary confinement has made great strides in penetrating mainstream political culture, with everyone from the Pope to Supreme Court Justice Anthony Kennedy to President Obama denouncing its devastating effects. Yet so far, reforms have brought practical change to a small percentage of the nearly 100,000 people currently in solitary. More progress is not inevitable, and popular culture can have a true impact by making bold choices that promote justice over complacency.
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Sam Brooks reviews the final season of Orange is the New Black and finds a fitting end to the series’ tremendous legacy. Light spoilers for the final season of Orange is the New Black. “It was maybe four percent of my life, but it was enough to change absolutely everything, and I have no idea who I am now.” Piper Chapman utters this about halfway through the last season of Orange is the New Black, and it’s a line that distills everything about the show in a few quiet, sad moments. Even Piper, one of the most privileged characters on the show, is irreversibly changed by her 18 months in prison. Even though the show fell out of critical favour in the latter half of its run, a result of some daring formal choices and cultural fatigue, Orange is the New Black has never stopped committing to what it set out to do. It showed us how systems constantly victimise people to maintain themselves, and the ways that the system transforms those victims into tools, into weapons, into resources to be drained. Even better, and more importantly, it gave us one of the most diverse and frankly tremendous casts on television. In its final season, Orange is the New Black doubles down on everything that made people love it in the first place, and even some of the things that made people turn off. Firstly, the tone is a masterclass in balance – this is probably the heaviest season of the show since the second season but there’s enough humour and warmth spread throughout that it never becomes unbearable. Considering that it tackles both ICE America’s much-reviled Immigration and Customs Enforcement service and MeToo – the latter with just the right amount of humour and the closest thing to an acceptable redemptive ending – that’s an achievement. Morello Yael Stone, Red Kate Mulgrew and Nicky Natasha Lyonne are part of the tremendous cast of Orange is the New Black. Secondly, OITNB knows how to use the massive cast it’s accumulated over seven seasons. Characters like Maritza step in and out of the spotlight as needed, and it’s wonderful to see that character develop from a comic relief role – the ditzy image-obsessed Latinx girl – at the start of the show’s run to delivering one of this season’s gut-punches. It’s taken seven seasons for OITNB to realise the kind of gift they were given when they cast Natasha Lyonne, basically whiskey-and-coke in human form, in a relatively small role in season one. Lyonne’s Nicky gets the chance to figure into several plotlines this time around, and the show’s all the better for it – she enlivens whatever scene she’s in without ever stealing focus. On the other hand, the show has never figured out what to do with Alex Vause. Laura Prepon, who plays her, is one of television’s most uniquely inexpressive performers, and the season’s only dud moments are when she unnecessarily takes the spotlight. We’re lucky that most of her scenes are with Taylor Schilling, delivering an underrated, high-wire performance as Piper Chapman, but at times the gulf of humanity between the actors makes it difficult to appreciate the romance. Which brings us to the elephant, or the Trojan horse in the room Piper. One of the hardest things that OITNB has had to do in the course of its seven seasons is figure out how to use its central character. On one hand, she could be one of the most irritating people on the show a white woman from an upper-middle-class family who is only nominally aware of her privilege. On the other hand, she’s a necessary gateway into the show. Piper Chapman, the Trojan horse of Orange is the New Black. When Orange is the New Black began in 2013, it was at the forefront of many conversations about race, gender, sexuality, privilege and how all those things come together at an intersection with no traffic lights. Piper was, for the majority of the audience, the gateway into these conversations. The fact is, if you’re watching this show, and you have a Netflix subscription and 13 spare hours a year to spend watching it, you and your privilege are probably closer to Piper than you’d like to admit. The past two seasons have done an incredible job of de-centring and re-centring Piper as the narrative requires. These final episodes see Piper learning how to live her life after prison, the constant battles against a system whose aggressions leave scars well after her sentence. The show’s already shown us what happens to people less privileged than Piper after they leave prison Taystee doesn’t know how to live outside the system so intentionally reoffends, Aleida ends up dealing drugs out of desperation. By showing us Piper’s struggles to keep a part-time job and attend constant parole meetings, while trying to keep up a relationship with her still-incarcerated wife, it’s the final twist of the knife. The system’s damage is like an oil spill it doesn’t care about your privilege, it’ll contaminate you anyway. After 91 episodes, it’s inarguable that Orange is the New Black is one of the most significant shows of our time. It changed the way we watched television more than any other show of the streaming era, and in an era where streaming giants seem to be cutting off series at the two-or-three season mark in order to achieve maximum profits, that we got seven seasons of a show like it seems a miracle. It was never a subtle show, but subtlety is overrated – when you’re hitting marks as deeply necessary as OITNB is, you better make sure you’re leaving a bruise. Laura Gomez as Blanca Flores in Orange is the New Black. And while, yes, Piper was our entry into this world, it’s not her who leaves the biggest impact. When I look back on seven seasons and its most stirring moments, Piper barely figures into it. The show was, at its best, about hitting you with human moments that make its themes resonate. Suzanne asking, quietly, “How come everybody calls me Crazy Eyes?”. Nicky’s tragic, heavy-eyed relapse. Blanca standing on the table, pissing herself in peaceful protest. The joyous swim in the lake – a literal oasis of happiness in a desert of shit. Poussey whispering, pleadingly, “I can’t breathe.” This season has those aplenty, some happy, some heart wrenching, many bittersweet. But the moment that sticks with me? Taystee, played so tremendously by Danielle Brooks all these years, simply looking at a list of the mission statements of the prison she’s been doomed to spend her life in. And silently ticking off all the ways that the prison has failed them, and even worse, failed her. You can watch all seven seasons of Orange is the New Black on Netflix.
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Attendue le 9 juin, la cinquième saison d’Orange Is The New Black a été piratée et diffusée sur Internet avant l’heure. La raison ? Un maître-chanteur qui a réussi à pirater la série a tenté de monnayer son silence. D’autres séries TV sont menacées. Si vous êtes du genre à vous approvisionner en films et séries télévisées en passant par des canaux de distribution alternatifs, en faisant fi du droit d’auteur et de la loi, peut-être avez-vous remarqué avec surprise la disponibilité de la saison 5 d’Orange Is The New Black sur les réseaux d’échange en pair à pair P2P comme BitTorrent, ainsi que sur des sites illicites de téléchargement direct ou de streaming. Ceux et celles qui suivent avec assiduité la série TV produite et diffusée par Netflix depuis 2013 savent pourtant très bien que la cinquième saison de l’œuvre imaginée par Jenji Kohan n’est pas encore officiellement disponible. En effet, elle ne doit être mise en ligne sur la plateforme de vidéo à la demande par abonnement qu’à partir du 9 juin, selon un planning révélé en début d’année. La saison 5 Orange is the New Black est déjà référencée sur les sites pirates. Alors comment se fait-il que les dix épisodes — c’est-à -dire toute la saison ! — racontant la suite des aventures carcérales de Piper Chapman, incarnée par Taylor Schilling, et de ses codétenues aient été piratés et mis en ligne avant l’heure, plus d’un mois avant leur diffusion ? La responsabilité semble revenir à un mystérieux individu ou collectif se faisant appeler TheDarkOverlord. Son but ? Visiblement, il ne s’agissait pas de faire plaisir aux internautes n’ayant pas envie de verser les 8 euros mensuels que Netflix demande pour donner accès à son catalogue, mais bien de faire pression sur l’industrie audiovisuelle pour qu’elle paie une rançon afin que la saison piratée ne se retrouve par mise à disposition de tous sur Internet. Vous l’avez compris en constatant la disponibilité de la cinquième saison d’Orange is the New Black sur les canaux permettant de récupérer des œuvres piratées, personne n’a cédé. Mais ce refus de céder aux menaces sera-t-il tenu alors que les contenus de nombreuses autres chaînes de télévision américaines, qu’il s’agisse de ABC, CBS, E!, Fox, IFC ou NBC, sont aussi menacés ? Car TheDarkOverlord n’a pas qu’une saison dans sa manche. Selon le site DataBreaches, le maître-chanteur a en stock des tas de films et de séries TV qu’il est prêt à répandre sur Internet si les chaînes de télévision ne satisfont pas ses exigences. On dénombre six films, vingt-huit séries télévisées il n’est pas clair s’il s’agit à chaque fois de quelques épisodes ou de saisons entières, un court-métrage et un programme pour YouTube Red. Afin de montrer qu’il n’est pas un charlatan, TheDarkOverlord a fourni quelques éléments de preuve à DataBreaches concernant la saison cinq d’Orange is the New Black qui a donc fuité depuis, la toute première saison d’une série inédite, Bill Nye saves the World, et le film XXX Reactivated, qui est sorti en début d’année au cinéma et mettant en scène des acteurs comme Vin Diesel, Samuel L. Jackson, Donnie Yen et Ice Cube Pour mener à bien son opération, TheDarkOverlord n’a a priori pas bénéficié de complicités internes. Il a en revanche profité d’une vulnérabilité pour récupérer des tas de contenus audiovisuels qu’il utilise aujourd’hui pour faire pression sur les sociétés de production et les chaînes de télévision. C’est Larson Studios, Inc, une entreprise utilisée par plusieurs studios de télévision, qui a été piratée. Une rançon de 50 bitcoins Toujours selon TheDarkOverlord, les studios Larson était disposés à payer la rançon 50 bitcoins, soit près de 62 000 euros au cours actuel. Mais les contacts informels ont fini par cesser. Un contrat » aurait même été signé entre les deux parties, mais les allégations de TheDarkOverlord données à DataBreaches, outre qu’elles sont ici peu crédibles, sont de toute façon invérifiables. Quoiqu’il en soit, l’affaire est en train de prendre un tournant judiciaire. Un communiqué obtenu par DataBreaches indique que Netflix est au courant de la situation ». Outre qu’il confirme le fait qu’une faille de sécurité a été exploitée pour pirater les studios Larson, le service de SVOD annonce que les autorités compétentes sont impliquées » dans ce dossier.
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"Stupeur", "choc", "gueule de bois"... Les réactions sont unanimes dans les médias et à la une des journaux après la victoire de Donald Trump face à Hillary Clinton, dans la nuit du mardi 8 au mercredi 9 novembre, lors de la présidentielle américaine. Une soirée qui a vu le camp démocrate... Si vous êtes fatigué des tergiversations dans Game of Thrones, Pop Up' vous suggère d'aller faire un tour du côté de ces six nouvelles séries qui vous feront patienter en attendant que l'été arrive mais oui, il va finir par arriver. Outcast le 3 juin sur Cinemax et le 4 juin... Imaginez un monde gouverné par les hommes. Un monde dans lequel les femmes sont stigmatisées, lorsqu’elles sont trop grosses, trop noires, trop exubérantes ou pas assez hétérosexuelles. Bref, lorsqu’elles ne sont pas conformes à l’image que l’on attend d’elles. Oh, wait… Le moins que l’on puisse dire, c’est que les... Vous n'avez pas encore eu le temps de regarder la dernière saison d'Orange is the New Black, diffusée depuis le 12 juin sur Netflix ? Pop Up' l'a binge-watchée pour vous. Voilà ce que l'on a aimé, et détesté, dans cette saison 3, qui a su épicer le quotidien des détenues... Attendue comme un parloir, la suite des aventures de Piper Chapman arrive le 12 juin sur Netflix France. Pour nous faire patienter, la chaîne de streaming vidéo vient de diffuser, jeudi 9 avril, le trailer officiel de la troisième saison Orange is the New Black. Pop Up' vous la résume en trois gifs...
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Orange Is the New Black SummaryWhen Piper Kerman is twenty-four in 1993 she hooks up with a chic lesbian drug dealer named Nora Jansen and helps her smuggle money across borders in Europe. If she tried that today, she'd have to pay almost as much in checked-bag fees as the amount she was smuggling. Piper leaves this life behind and eventually meets a man named Larry, whom she moves to New York with. But her money-laundering past catches up with her, and she's indicted on drug charges, pleads guilty to avoid a maximum sentence, and is sentenced to eighteen months in Danbury Federal Prison. She's worried, but glad that she's blond and wonderful and surrounded by hundreds of family members and friends offering her unconditional love and February 4, 2004, Piper goes to jail. She has to go through a strip search, put on an unflattering khaki jumpsuit, and only has trashy romance novels to read. Can it get any worse? Over the next few months, Piper goes through prison orientation, makes some friends, and gets tons of mail and visitors. If there were a prison popularity contest, Piper would win. Nothing bad really happens to her. Once, she gets into an argument with a woman about iceberg lettuce we wouldn't want to eat it, either, and another time she accidentally takes a screwdriver from a worksite, so she throws it in the dumpster so she won't get caught in possession of a deadly weapon. But that's about also makes friends, like Little Janet; Pop, the prison cook; and Vanessa, a transgender woman. Piper celebrates her birthday in prison, and she's showered with cards, letters, and chocolate. Unfortunately, Piper's grandmother dies, and she can't get furlough to see her before she passes. As Piper's release date approaches, her friends start to go home. Both Little Janet and Pop prepare to leave, but Piper is called as a witness in Chicago. She has to fly Con-Air which is still an upgrade from Spirit airlines to testify against Jonathan Bibby, one of Nora's drug one of those stranger-than-fiction moments, Piper finds herself in the very same cell as Nora Jansen and her sister. They manage to form a temporary truce, at least until the trial. Then, after Piper testifies, she's released… from Chicago, which is hundreds of miles away from Danbury. But Larry is there waiting for her, and she runs toward him, happy to be we mean...awww. Popin Orange is the New Black, a Russian-American inmate who sat high atop the prison social pyramid (and who also ran the kitchen whose Around 6 weeks ago I posted this picture on my Facebook with the caption “My Halloween Costume This Year, Please Don’t Steal it!” Actress Uzo Aduba playing her character Suzanne aka Crazy Eyes’ I was met with overwhelming laughter and encouragement from all of my friends. “OMG Crazy Eyes, That’s so Funny!” said one. “I Can’t Wait to see your Pictures. Please Post them on Halloween!” wrote another. *** About ten posts into the thread, a relative by marriage living in the States wrote “isn’t this offensive?” To which I quipped back; not entirely devoid of feeling huffy that I was being called out on my OWN FB board… “Offensive? To whom? This is a great character on TV from a show I adore. I’m not reading into it more than that I assure you?” *** And then last weekend…this happened. Dancer/Actress Julianne Hough Dressed up as Crazy Eyes’ for Halloween Immediately like wild-fire, there were allegations that Ms. Hough was racist, that her outfit was offensive and that she was misguided in thinking it could ever be appropriate. This jarred me to my marrow, as, this was my idea only 6 weeks prior? In the end, Ms. Hough put out an apology tweet, that in my opinion was vetted by her PR team who implored that she do so. I believe that she felt bad that she was offensive in any capacity as well, but had she truly understood the implications and backlash, I don’t think she would have ever done it in the first place? She truly had no idea! The apology in full read like this “I am a huge fan of the show Orange is the New black, actress Uzo Aduba, and the character she has created. It certainly was never my intention to be disrespectful or demeaning to anyone in any way. I realize my costume hurt and offended people and I truly apologize“ *** Ok, so back to topic. Disclaimer My intention here is not to offend ANYONE, but rather curry a dialogue about how people can see things so differently, especially people of different races, cultures, and even ages. I have to be honest and this is truly with zero intended malice or disrespect, but I didn’t think there was anything wrong with Julianne Hough’s costume? Not to get into a debate about color or hues…but I see her as orange-faced’ at best, and didn’t even think that something like this would offend? Honest! Is it possible that it’s because the character is based on someone who is both mentally ill and incarcerated? The latter being an overused stereotype in the black community or inversely as negative ammunition towards the black community? What if Julianne had dressed up with her ex-boyfriend Ryan Seacrest as Mr. & Mrs. Obama; The President & First Lady of the United States? Would the maelstrom reaction have existed as badly? Or how about someone like the beloved and gorgeous Beyoncé–successful & strong people of color? I’m not the one who is offended here, so I’m truly asking? Is this more about negative stereotypes, than a case of Blackface? I pride myself as someone who is moderately educated and informed on historical matters and even *I* thought that there was a very different interpretation of Blackface. I’m not even *certain* I’m spelling Blackface properly, and even that gives me anxiety that I’m offending someone! Inset1Ted Dansen shocks the world as he wears Blackface in a 1993 Friars Club Roast to then girlfriend Whoopi Goldberg, 21900 Minstrel show poster, 3Entertainer Al Jolson in Blackface. I HONESTLY thought that the Vaudeville era of white entertainers who wore Blackface’, were what was offensive to the African American community et al. The notion that a white entertainer would dress up in such a lampooned manner, depicting a black clown face and emphasizing the larger lips, as if to denote that for them to entertain’ they felt the need to project the black face clown image’ ie; that white people don’t have to cower to entertain the masses, that the clown entertainer’ should be a black person long sentence, mea culpa. It’s not perfectly articulated, but this is what I thought’ was the offensive Blackface in question. I know there are many other offensive depictions of black culture such as the Mammy/Aunt Jemima house servant’ or other overt Blaxploitation characters that exist that I haven’t touched on, but my intention here is NOT to write-up a laundry list, so bear with me. My intention here is to express my own confusion and naiveté about what is acceptable for Halloween, as a white Canadian who considers herself responsible and compassionate OMG, I’m writing in 3rd person…super ick! *** Another set of photo’s surfaced this week. That of a private party that was thrown in Italy called “Hallowood Disco Africa 2013.” It was attended by various taste makers and fashion designers and the pictures that surfaced were shocking to say the least. Below famed fashion designer Allesandro Dell’Acqua is wearing dark face paint and big white-painted lips while posing in a picture with a feather adorned Stefano Gabbana from Dolce & Gabbana pictured on left. In addition, there were various people who were sporting this slave-like costume? I’m unsure if these were actual guests or were male models who were hired as ambient props for the evening. Either way, it was in the utmost of poor taste, and I certainly didn’t need an Internet outcry to make me see that it was offensive and utterly disgusting. The organizers of the “Hallowood Disco Africa” have issued an apology via Instagram in the wake of all the controversy. *** While I didn’t think anything could trump that revolting display, I learned of a photo that was taken by some young white adults ages 22-25 re-enacting the death of Trayvon Martin and his assailant George Zimmerman. While the photo was eventually taken down, it had already gone viral and out of respect for Trayvon Martin’s family I would never repost it here. This particular Blackface of Trayvon was so caricature that I don’t even know what it was made from a mask or paint? but the entire picture, which included a bloodstained gun shot wound on the sweatshirt made me want to projectile vomit all over American stupidity and arrogance as a whole. Again, my reaction was one of disbelief and moral outrage. Apparently the parties involved issued some sort of an apology via I-have-no-idea, and with that image on permanent record I’m certain that this group is having to super-glue their lives back together and rightfully so, as it will probably haunt them for the remainder of their pathetic existence on this planet. It doesn’t end here friends. A couple of days ago, this happened to the daughter of Alec Baldwin & Kim Basinger–Miss Ireland Baldwin. Ireland was on vacay with her mother in Disneyland for Halloween weekend which as you can see was when most people dressed up who were above the ages of twelve. She posted the following picture via Instagram, and almost immediately she was inundated with accusations of RACISM?!?! She was earnest in expressing that as someone who is part Cherokee on her mothers side, was emulating this Disney character…BECAUSE DUH, SHE WAS IN DISNEY LAND; get a GRIP Merica! Being that she is the daughter of the famed Twitter outlaw Alec Baldwin, I’m not surprised she stood up for herself and good for her! She had this to say… And this… And ultimately this… People make mistakes, everyone. I made a mistake and I apologize if it offended. — Ireland IrelandBBaldwin October 30, 2013 *** I can’t say I understand what its like to have lived under a narrative of oppression, and I’m sensitive and have compassion for all forms of suffering, bullying or racism→ but hasn’t this all gotten out of hand? Should all racial parody costumes cease? I don’t know the answer to that, but I felt compelled to immediately take down my original Facebook post about my Halloween plans, of which didn’t actually exist, and was just a fun post about what I would want to be this year if I could. I have a long history of dressing up as various characters from TV’ or ”Media’ some of them from different cultures, but I definitely won’t be doing that in the future any longer. Through all of this, I learned something new, and I’m thankful for a heightened awareness in my sensitivity footprint. I guess it’s back to the Sexy Nurse, Sexy School Girl, Sexy Meteorologist Halloween garb for me! “Its going to be MUCHO Caliente in the Gulf of Mexico today Papi…” …Until the meteorologists get offended that is. I sincerely wish everyone and their families a safe and joyful Halloween eve. One Love, XOXO The Pop Culture Rainman™ *I have used the term black community in the majority of my expression above. Again this is in no way to disrespect anyone. I was brought up in Canada, and in my experience I don’t hear the term African-Canadians used very often, but understand that it is a valid, and often desired expression and way to address the black community. I do use it more when describing an African-American as I feel that this is the general term used. Might I also add candidly, that as a white person, I get frazzled when it comes to the right and wrong way to address people of color, and I believe it’s an anxiety shared by many conscious white people. VjIBG.pop orange is the new black
