*For whatever reason the White House has yet to release official photos of Mrs. Michelle Obama‘s 50th birthday bash.
*During the “Django Unchained” press junket, FOX Houston entertainment reporter Jake Hamilton sat down for 1:on:1s with the cast.
Everything was going OK until he decided to ask Samuel L. Jackson about the controversy surrounding the use of the n-word
“There’s been a lot of controversy surrounding the usage of the N-word in this movie,” Hamilton began before Jackson cut him off. “No? Nobody? None? The word would be…?” the actor inquired facetiously.
Hamilton responded with a shy, “I don’t wanna say it” and an uncomfortable smile and thus began the 40-second-long, “say-the-word, no-I-won’t-say-it” portion of the interview in which Hamilton refuses to say the n-word and Jackson refuses to answer the question unless he says it.
(A transcript of their conversation is below.)
Hmm, interesting. And in the interest of keeping things moving, they did just and moved on to the next subject.
To check out the exchange in the video below, between the two, scroll to the 13:55 mark of the interview.
Here’s the transcript of the back & forth:
HAMILTON: “I don’t want to say it.”
JACKSON: “Why not?”
HAMILTON: “I don’t like to say it.”
JACKSON: “Have you ever said it?’
HAMILTON: “No sir.”
JACKSON: “Try it.”
HAMILTON: “I don’t like to say it.”
JACKSON: “TRY IT!”
HAMILTON: “Really, seriously…”
JACKSON: “We’re not going to have this conversation unless you say it.”
JACKSON: “You want to move on to another question?”
HAMILTON: “OK, awesome!”
HAMILTON: “I don’t like… I don’t want to say it.”
JACKSON: “Oh, come on!”
HAMILTON: “Will you say it?”
JACKSON: “No, f*ck no. That’s not the same thing.”
HAMILTON: “Why do you want me to say it?”
JACKSON: “They’re gonna bleep it when you say it on your show, so SAY IT!”
HAMILTON: ” I cant’t say it. If I say it this question wont make air”
JACKSON: “OK, forget it”
HAMILTON: “OK, I’ll skip it sorry guys. I was a good question”
JACKSON: “No it wasn’t. It wasn’t a great questions if you can say a word”
Interestingly, the interview has been live on Hamilton’s YouTube account since December 15, but it recently went viral after it inspired a Reddit discussion on racism, the FCC and Jackson’s ways, reports UPI.
*Oh that Sam Jackson. He’s such a provocateur.
In his latest adventure of pissing on, er, off Republicans, the actor took to Twitter to tell the world how disappointed he is that Tropical Storm Issac has shifted it’s trajectory from Tampa and the Republican National Convention to New Orleans, which is still recovering from the knock out punch of Hurricane Katrina in 2005, reports Entertainment Weekly:
“Unfair Sh–: GOP spared by Issac [sic]! NOLA prolly F–ed Again! Not understanding God’s plan!” Jackson wrote Monday afternoon, without obscuring the expletives. The reaction was swift and hyperbole filled:
“I’ve had it with these motherf–ing racist Democrats on this motherf–ing Twitter,” user @LastBrainLeft wrote, adding, “#killyourself.”
Others echoed his sentiments, or were angry that Jackson would wish ill on an entire city simply because of a political event held there.
Then again, hundreds of Twitter users also seemed to agree with the Oscar nominee’s message — the “unfair” tweet has been retweeted 983 times and marked as a favorite 236 times as of this morning.
It seems Jackson realized he may have gone a little to far and did some mea culpa tweets … kinda.
Find out what he said and more at EW.
Jamal and Sam kicked it as to how Nick was able to manipulate all the super heroes with super egos to cooperate and take out the bad guys.
Jamal also got Sam to discuss his recent foray on Broadway as Martin Luther King which, surprisingly, was Jackson’s debut on the Great White Way.
The Avengers” starring Jackson, Robert Downey Jr., Chris Evans, Chris Hemsworth, Scarlett Johansson, Mark Ruffalo and Jeremy Renner opens May 4 in theaters throughout North America.
Samuel L. Jackson, LaTanya Richardson, Robert De Niro & Grace Hightower honored at event
*The Board of Trustees and the Multicultural Audience Development Advisory Committee of The Metropolitan Museum of Art welcomed a beautiful gathering of patrons to the Multicultural Gala: An Evening of Many Cultures on Monday, September 26, 2011 honoring Samuel L. Jackson and LaTanya Richardson Jackson; and Robert De Niro & Grace Hightower De Niro. The husband and wife couples were honored for their important philanthropic work on behalf of the underserved.
Resplendent dinner guests arrived at the Metropolitan Museum at 6:30 p.m. for cocktails in the Great Hall and dinner at The Temple of Dendur in The Sackler Wing, followed by a dance party in the Great Hall with admission beginning at 8:30 p.m. Proceeds from the event will benefit the Multicultural Audience Development Initiative’s programming at The Metropolitan Museum of Art.
Thomas P. Campbell (director), Emily K. Rafferty (president) and Harold Holzer (senior vice president for external affairs) welcomed guests to the black-tie event that is the signature soiree of the renowned art Museum’s Multicultural Audience Development Initiative (MADI), founded in 1998. The first annual benefit set the bar for others to follow. The second one raised it!
As Jazzmobile dazzled guests with jazzy selections, guests dined on Chilled Peekytoe Crab Tian; Ruby Grapefruit, Quinoa and Avocado with Sequoia Grove Chardonnay, Carneros 2009; Bourbon Braised Beef Short Ribs, Mélange of Seasonal Baby Vegetables, Goat Cheese Daupinoise Potatoes with Benziger Cabernet Sauvignon, Sonoma 2007; and Dark Chocolate Peanut Butter Crumb Tart and Caramelized Bananas Foster with the finest teas and coffee.
The celebratory Multicultural Benefit also honored the artists Olga de Amaral and Cai Guo-Qiang. Olga de Amaral is a Colombian artist whose masterful tapestries and fiber sculptures are included in the collections of museums around the world, including the Metropolitan. She previously served as co-chair of the Museum’s 2008 benefit.
Chinese-born artist Cai Guo-Qiang is known internationally for his elaborate sculpture installations and gunpowder projects. He created a site-specific exhibition in 2006 for The Iris and B. Gerald Cantor Roof Garden at the Met entitled Cai Guo-Qiang on the Roof: Transparent Monument.
Chair of the gala benefit was platinum realtor Spencer Means. Honorary dance chairs were New York Knicks star Carmelo Anthony and his lovely wife and reality TV star La La Anthony. Co-chairs of the dance were Zoe Jackson and Keija Minor. Essence magazine served as print media sponsor of the Multicultural Gala.
During the festive program guests were delightfully entertained by performances from the New York Chinese Cultural Center; Tango Conspiracy, Marlon Cherry and Sidduki Conde, Tiokasin and Ghosthorse.
“We are delighted to celebrate the initiative with old and new supporters and friends, and to spread the word about our dedication to providing a meeting ground for visitors, who come together from widely different cultures to experience the Metropolitan Museum’s outstanding and diverse collections,” commented Donna Williams, the Metropolitan Museum’s chief audience development officer.
The evening’s festivities also featured a viewing of the exhibition Heroic Africans: Legendary Leaders, Iconic Sculptures. Bringing together more than one hundred masterpieces drawn from collections in Germany, Switzerland, Belgium, the United Kingdom, Portugal, France, and the United States, this major international loan exhibition will consider eight landmark sculptural traditions from West and Central Africa created between the twelfth and early twentieth centuries. The exhibition is made possible in part by The Andrew W. Mellon Foundation, The Ceil & Michael E. Pulitzer Foundation, Inc., and the National Endowment for the Arts.
The Metropolitan Museum of Art’s Multicultural Audience Development Initiative reflects the Museum’s founding mission to educate and inspire by reaching out to all of its constituencies, including the many diverse communities that comprise the tri-state area. Its objectives are to heighten awareness of the Museum’s programs and collections, to increase participation in its activities and to diversity its visitorship and Membership. (Photos by Billy Farrell)
Audrey J. Bernard is an established chronicler of Black society and Urban happenings based in the New York City area.
*The thing about working for EURweb.com that I appreciate the most is getting the chance to write about people who were truly riding the cutting edge of their chosen genre and Bootsy Collins’ certain fits the bill.
We could sit here and run off some of the greats whose sound Bootsy Collins contributed to, like James Brown, Cyndi Lauper, Fat Boy Slim, Ice Cube, the Red Hot Chili Peppers, Phil Ramone, Snoop Dogg and George Clinton of Parliment Funkadelic, but you already know that. You know even if you don’t know.
Collins’ funk has been sampled so much in the past decades that you’re bound to have smelled it, even if you weren’t quite sure who dealt it. After a 5 year hiatus Bootsy is in back with a new album titled “Funk Capital of the World.” Everyone thinks they have some clue as to where that might be.
Some say it’s Chocolate City aka Washington D.C., while others say Harlem, NY has to be the capital and, least we forget, Fort Worth, TX ain’t dubbed Funkytown for nothing. During a recent sitdown with our Lee Bailey the legendary bassist told us where the Funk Capital really is.
“It’s really, to tell he truth, the funk capital is on the inside. It’s where you take it. Where ever you go with it. I did it (gave the CD that name) to have two or three different opinions on what it really is. For me the funk capital is inside. It’s always been inside and having the chance to let it out, where ever I’m at, that’s where the funk capital is at.”
That being said, the perpetrator of the funk tells EURweb.com that, by definition, it is of the Divine.
“It took me a while to tweak it a little bit as to where it really comes from and it comes from the One,” he explained. “The One that created the universe, and all that is inside. I had two or three other names for the album, but every time I threw Funk Capital against the wall it stuck. Everytime I mentioned it to somebody they said ‘Yeah!’ I wanted to make it so it can’t just be a city. I wanted to do my Parliment Funkadelic twist on it.”
The thing about the funk is it appears so complicated in it’s presentation, but it’s actually very simple to produce. But it’s actually deep in it’s simplicity. We think you might need an explanation and here’s Bootsy to give it to you.
“Funk has always been deep,” he explained. “If you check out any of the stuff we did back in the day with George (Clinton) and the Clones of Funkenstein, ‘Paint the White House Black,’ ‘The Mothership Connection,’ it’s always been deep it’s just that the music was fun, groovy, and funky, but what is being said in it and the concepts are deep.”
I remember coming across those truly funky album covers that my mother would have near the record player, pulling them out and just looking at the cover artwork. They were far out, to say the least. As I grew older I realized the lyrics were out of this world as well. Bootsy says that was by design as well.
“If you go back and look at it, all of it’s deep,” Collins continued. “Chocolate City! C’mon man, that’s deep. That’s some deep stuff. George was into all of that stuff and he had books and book and books about the Bermuda Triangle, Easter Island, the Pyramids and all of that stuff and he got me into it. We used to go out into the Bermuda Triangle and fish and this is all we talked about and wrote about. The music being as funky as it was made you party and have a good time, but at the same time the underlying message was always in there. Who would have thought we would have a Black president? Goerge was talking about that.”
Music with meaning? A lost concept to be certain. Who stole the soul and who do we need to punch to get back the funk? The legacy of Black music in America is at stake.
“We’ve become so caught up with this paper god that we’ve forgotten about us,” he explained. “It’s all about faith, it’s all about being out in the cotton fields picking up cotton while singing them songs, bleeding, sweating, but at the same time we’re happy, joyous, having a good time doing what we did. We’re getting back to basics. That’s what the funk capital is about.
“It’s about that paper god man. We’ve forgotten about how our forefathers worked and worked and worked like dogs and now all we’re talking about is getting paid. It’s a deep thing, Funk is simple. It is, but at the same time there’s a deep story behind it.”
Bootsy Collins has been making albums consistently for years, even when more recognized funksters had long since hung up their high-platform glittered boots and spaced out paraphernalia. Here, Collins explains to our Lee Bailey why this album took so long to drop.
“I’ve always recorded songs whether I had a record deal or not,” said Bootsy. “I was always recording for something else. That actually started when I was working with George Clinton. I got used to recording other stuff and I still do that. I happened to fall in with the right company at the right time. This guy happened to believe in what I was doing and wanted me to do it how I wanted to do it. This was important to me because I didn’t want to do another record with the record company that wants me to be like somebody else. This is what I do, like it or not. This is what I do. I’m not commercial, I’m not the today kind of artist. I just do what I do and if that’s alright with you then we can roll. And it was alright with this dude at Mascot (Records). He said do what you feel you can do and I had a chance to do it without anybody breathing down my neck and I got a chance to pull in mugs that I wanted to pull in.”
Did he just use the word mugs in a sentence to describe people? That’s so 70s!
“I got a chance to pull in voices that weren’t really musicians,” he continued. “The Rev. Sharpton, Dr Cornell West, and Samuel L. Jackson. These are very identifiable people that, when you put them over top of a music track, they bring about a whole ‘notha thing.”
Recording a track with people who are not musicians has to be pretty difficult, but Collins says it was all good.
“It worked different ways with different people,” Bootsy explained. “With Rev. Sharpton I just needed him to talk about how he felt about James Brown. He didn’t really need no directing for that because he already knew what he wanted to say. He knew James Brown so he knows. With Dr Cornell West, I just gave him the concept that we got smart phones and we’re still making dumb decisions. When I said that, it opened up a whole ‘nother thing. He didn’t even write anything down. I just turned the music on and the next thing you know he just started rapping. Samuel L Jackson … I gave him the direction of what did he feel music had done for him and he just went into the studio and put it down. Ain’t nobody really need no guidance or nothing.”
The conditions at public schools located in predominately Black and Hispanic neighborhoods seem to be performing at a level that continues to drop after each year. Is it a coincidence that these same schools have eliminated music related activities due to a poor fiscal outlook? Then you add the influence of modern, soulless music and calamity is bound to ensue.
“We really can’t expect too much more because of what the people are getting fed,” Collins theorized. “We kind of have to step up our game in getting some real stuff out and get kids to pick instruments up. The schools nowadays are taking instruments from kids and taking the programs out of the schools and then they expect kids to be normal. ‘Why come they ain’t doing this, and why come they ain’t doing that?’ Well, when you take away ways that they can release that energy and be creative they can only do what comes natural, and that’s to revert back to the animal instinct. We want to try to get this back on the table. I just heard they took ‘Guitar Heroes’ off the market because the killing game was making so much more money. ‘Guitar Heroes’ was bad enough with the fake guitar, but at least it was a step in the right direction. Now they took that off the market. I think our emphasis is on the wrong things. It’s always been about the people, but the system feels like it’s more about the system. We can only do what can do until we get some more good music back out there.”
We’re sure Bootsy and friends will do their very best to get music out there, as for the fiscal part? Unfortunately, kids are going to have to keep waiting on Superman.
Meanwhile, “Funk Capital of the World” is slated to be released on April 25 by Mascot Records. If you want a pre-release whiff of the funk you can log on to www.bootsycollins.com.