In probably the worst PR flop a pop singer could make this day in age, Azealia Banks took to twitter the other day to say she felt the LGBT community is “like the gay white KKK”.
Let’s say you’re a woman. A bisexual woman. And let’s say you’re also African American and a musician. You probably have a lot of pent up rage that could send you into a rapping frenzy at any moment. When those lyrics are spit, you probably use poetic license to back up your right to free speech, and you probably get away with it most of the time because music is an art form and art has a long history of being radical and challenging the system we live in.
But when you say something on Twitter, you aren’t appropriated a poetic license. Twitter is a communications tool and, unless you’re known for shocking performance art involving social media, you should probably watch what you say. After all, it wasn’t too long ago that Anthony Cumia of the Opie and Anthony Show got fired from Sirius XM for his racist twitter tirade regarding a black female who assaulted him in the middle of the night in Times Square after he took pictures of her butt. If entertainers should have learned anything from that event, it’s that the things you say online under your own name will be held against you in the court of public opinion. Why, then, would Azealia Banks say such a thing without thinking?
Probably because she’s an idiot.
She removed the original tweet, but here’s a screenshot:
Afterwards, she received some backlash to which she responded the following typical backpedaling we always see from pop stars with below average intelligence:
There is so much wrong with these tweets, I’m not sure where to start so let’s just take it from the top..
“All I had to do is say one word and I moved a whole community. What weaklings!!!”
So, you moved a community and you think that makes them weak? Last I checked, weakness is when people do nothing in the face of bigotry…
“You boys gotta toughen up!!! Don’t be so weak !!! If one word can put your entire community in distress you’re DOOMED”
The thing is, not all people are the same. Some people are sensitive. That’s part of being alive in a society where divergent lifestyles, cultures, races, religions and personalities exist. Being insensitive to words that hurt people with access to the internet (such as gay fans, perhaps?) means you don’t give a hoot about anyone but yourself. It’s called “tolerance”, Azealia, learn it.
“You all CHOSE to get upset. Remember… Offense is only TAKEN, it is never given.”
This is some immature thinking. I used to think like that, too. I also used to think it was OK to hit someone when they wouldn’t stop taunting me. See, I was in middle school. I’m 36 years old now and made enough mistakes to know that violence doesn’t solve anything and only makes things worse. The same goes for saying shitty things on a loud speaker in front of THE ENTIRE WORLD. How old are you, Ms. Banks? 24? Maybe I’ll give you a pass….for now….
None of this is shocking at this point, as Banks has been on somewhat of a rampage with her gay bashing and proclamations that she should be able to say whatever she wants. After an altercation with a flight attendant caught on video where Banks called the attendant a “F*cking F*ggot”, she tweeted that she was bisexual, that her brother was transsexual and that her employees were all gay men:
This type of behavior is residual from decades of gay bashing that made the word “F*ggot” a pejorative for not just gay people but anyone you don’t like, a topic that became a bit in comedian Louis CK’s arsenal from his Chewed Up stand-up special in 2008. While it works as a comedy routine in his special way of getting around actually offending people, he also brings the word to reality in the second episode of his hit TV show Louie on FX when a group of comics are sitting around playing cards and the topic comes up when one of them, Nick DiPaolo, asks a gay comic at the table, Rick Crom, what it feels like to *ahem* receive anal sex. Crom goes on to explain the emotional pain that the f-word brings back up. See, in the Middle Ages, a “faggot” meant “a bundle of sticks to build a fire” and, since society felt gay people were so sub-human that they equated to fire kindle, they would throw gay people on the fire instead of strapping them to a stake with the witches. Yea. It’s that horrible of a slur. In fact, it’s as bad as saying the n-word to a black person.
Unfortunately, Azealia Banks doesn’t think so. She thinks it’s totally OK to say whatever you want, which is great, but she should also, maybe, perhaps censor herself a LITTLE bit… at least when using twitter.
Some new characters cast to save a show from certain death do the opposite of said desired result, and Josh Meyers on That 70s Show is a perfect example.
I sometimes look for an old sitcom to put on in the background while I work and recently found myself in a That 70s Show binge. It was fun at first because the laughter sounded like it was a real studio audience. Then the second season hit and it started feeling like a fake audience mixed in with the real one, but at least the show still had decent writing, clever jokes and running gags galore, and the casting and acting worked. It wasn’t until I finally hit the 8th season that I realized why the show was cut short.
That might sound weird because the show wasn’t officially cancelled but concluded in 2006 at the end of the 8th season, but it was pretty obvious why. Sure, season 7 had a big drop in ratings which could have possibly meant that the Wednesday night audience just wasn’t interested anymore, and it could have really meant that the show had already run its course since both Topher Grace (Eric) and Ashton Kutcher (Kelso) had already decided to pursue film careers exclusively. But you know what REALLY killed the show for me? The new characters, specifically Josh Meyers.
Josh Meyers is the brother of Late Night star Seth Meyers, whom I don’t particularly like either. The two of them have a shit-eating grin forever plastered to their face that brings my hatred of humanity to new heights every time I see them. It wasn’t just that Seth would laugh at his own jokes on SNL which pushed me over the edge, it was that his jokes just weren’t that funny yet his facial expression told a whole other story. He’s marketable, and that’s about it. There’s no artistry, only junior high level humor and the crux of his theatrical presence levitates right on the line of mediocrity. He’s a personality and it’ll probably work for Late Night for years to come, but I hope I never see him in an actual acting role.
Josh, on the other hand, has had a few and I’m still trying to figure out why. In season 8 of That 70s Show he’s the worst addition to a cast I’ve ever seen. While all the other main characters have strong, distrinctive personalities, Meyers’ is virtually non-existent. He looks perfect and only serves as a tool to push the story along. The other more perfect-looking people, Kelso and Jackie, ran archetypes that offset the more normal, geeky characters I grew to love by season 2. These new characters, though? The producers should be ashamed of themselves; Josh Meyers should have been strapped to a chair and beaten for a while before being allowed on set. It would have given him character. He was a terrible replacement for Eric Foreman, but more importantly he was a poor excuse for an actor.
I realized I hated Seth Meyers around the time that he had his brother Josh on Late Night to talk about their family. Guess what? I don’t care about your family. I want to hear about the entertainment industry, that’s why I tune into talk shows like that. It turns out, Seth worked a similar thing into his Weekend Update on SNL a few years ago as well. I looked it up to see if it was funny. It wasn’t. Again, I don’t care about your family, the jokes are only funny to you and your friends, not to me as a viewer. It’s a bigger waste of time than watching a sitcom in the first place. I mean, I’ve already chosen to waste my time and laugh at dumb jokes, but now you’re going to make jokes that only you think are funny and the audience is laughing nervously to? Argh, someone kill their careers please.
So, That 70s Show finally fell apart for me. Only 9 years late, I guess. To be honest, I don’t think I missed anything. Aside from the cultural relevance of helping to push pot smoking into the mainstream throughout the early 2000s, the show’s only real relevance is being the start of four actors’ careers.
Jonathan Ames, the novelist who created the short-lived but critically acclaimed HBO comedy Bored to Death, is trying his might on a new network with the help of Family Guy‘s Seth MacFarlane in the producer chair. Blunt Talk stars Patrick Stewart of Star Trek: The Next Generation and X-Men fame as Walter Blunt, a British newscaster whose recent migration to Los Angeles in the hops of climbing the American nightly cable news ladder leads to misguided decisions on and off the air, resulting in calamities and chaos that he must navigate through in order to save his career.
If it sounds cliche, think again.
The same story has been running for a little while under the moniker Episodes, but has failed to live up to the edgy potential that both the millennial and gen-X audience are looking for. Episodes stars a husband and wife team of writers from England who get a shot at writing an adaptation of a show for a U.S. television network only to find themselves drowning in the woes of TV executive back-office antics and the allure of the Hollywood lifestyle. By contrast, Blunt Talk is more about the self-destruction of a talking head hell-bent on becoming America’s biggest news anchor. By teaming MacFarlane and Stewart you have some wackiness that might just spell “entertainment” with a capital E. And let’s not forget the creativity of a writer like Ames. While Episodes proves its on-air right with its dry wit and quirky, saucy story-line, Blunt Talk goes beyond the pale, which can be seen in just the trailer alone.
In a sort of unforeseen twist of events, Marc Maron breaks his edge and destroys his chance at a successful TV career on Thursday’s season finale of IFC’s Maron. The episode ends abruptly with the notion that he may have just beheaded his integrity in one fell swoop by taking advantage of the fact that he was prescribed oxycontin for his back pain during the production of a fictional TV talk show he was to host. Are we going to see him come back to IFC next summer? We’ll have to wait and see!
News arrived today that the classic 90s sitcom The Fresh Prince of Bel-Air would be getting a reboot with Will Smith producing. Smith’s production company, Overbrook Entertainment is leading the project with Smith’s long-time collaborator James Lassiter, along with Caleeb Pinkett and Smith’s wife Jada Pinkett-Smith all on board for the debut (or re-debut? what do you call that?).
Obviously it’ll be a more modern-day version of the show but retain much of the original spirit from the 90s prime-time comedy. While NBC was the original broadcaster of the series, Overbrook is rumored to be in the finalization process of its series pitch at the moment which means it’ll be making rounds in hollywood over the next few weeks.
NBC chairman Robert Greenblatt, currently on a TCA press tour, said he’d love to talk to Smith about rebooting the show. This is perhaps the best news for the actor/rapper/producer as, after all, it was NBC that helped kickstart his Hollywood career in the first place. Perhaps Smith hopes to use this reboot to give a boost to his wife’s career as well?
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Country singers Blake Shelton and Miranda Lambert announced their divorce Monday after four years of marriage, setting rumor mills abuzz with infidelity speculation. The couple’s fans on Twitter suspected Shelton of cheating on Lambert. But, according to a report on Tuesday, it was the “Little Red Wagon” singer who cheated on her 39-year-old husband. Shelton suspected… Continue reading →