Anne Hathaway Gorgeous Red Looks

Anne Hathaway Profile

Name: Anne Hathaway

Height: 5' 8"

Sex: F

Nationality: American

Birth Date: November 12, 1982

Birth Place: Brooklyn, New York, USA

Profession: Actress

Education: Millburn Highschool
Vassar College, Poughkeepsie, N.Y. (major in English)

Relationship: Raffaello Follieri (property developer)

Father: Gerald Hathaway (attorney)

Mother: Kate McCauley (actress)

Brother: Tom Hathaway

Claim to fame: feature debut as the awkward teenager, Mia Thermopolis, in Disney's The Princess Diaries (2001)

Evan Rachel Wood Photo Shoot Pics

Evan Rachel Wood Profile

Name: Evan Rachel Wood

Birth Name: Evan Rachael Wood

Height: 5' 7"

Sex: F

Nationality: American

Birth Date: September 7, 1987

Birth Place: Raleigh, North Carolina, USA

Profession: actress

Education: San Fernando Valley Junior High School

Relationship: Marilyn Manson (actor, musician; born on January 5, 1969; met after
Manson asked Rachel to appear in Phantasmagoria: The Visions of Lewis Carroll)

Father: Ira David Wood III (actor; born on November 19, 1947; divored in
1996)

Mother: Sara Lynn Moore (actress; born on March 6, 1958)

Brother: Ira David Wood IV (actor; born on November 20,1984), Dana Wood
(musician; older)

Aunt: Carol Winstead Wood (production designer)

Claim to fame: as Tracy Louise Freeland in Catherine Hardwicke' Thirteen (2003)

Evan Rachel Wood Biography

Evan Rachel Wood (born September 7, 1987)[1] is an American actress and singer.

Wood began her acting career in the late 1990s, appearing in several television series, including American Gothic and Once and Again. She made her debut as a leading film actress in 2002's Little Secrets and became well-known after her transition to a more adult-oriented Golden Globe-nominated role in the critically acclaimed film Thirteen, (2003) co-written by Wood's co-star, Nikki Reed.

Wood continued acting mostly in independent films, including Pretty Persuasion (2005), Down in the Valley (2006), Running with Scissors (2006), and in the big studio production Across the Universe (2007). Wood's acting has drawn critical praise, and she has been described by The Guardian newspaper as being "wise beyond her years" and as "one of the best actresses of her generation." In their Spring 2009 issue, Venus Zine awarded Wood the top spot in their 25 Under 25 rankings. Her relationship with singer Marilyn Manson, whom she dated from December 2006 through October 2008, received considerable news coverage.

Wood was born in Raleigh, North Carolina, the daughter of Sara Lynn Moore, an actress, director and acting coach, and Ira David Wood III, an actor, singer, theater director and playwright. Wood's brother, Ira David Wood IV, is also an actor. Wood has another brother, Dana. Her paternal aunt, Carol Winstead Wood, is a Hollywood production designer.

Wood is Jewish. She has described the music of The Beatles as being a major part of her life since her first family Christmas. Wood and her brothers were actively involved in Theatre in the Park, a community theater directed by her father, while growing up; she played the Ghost of Christmas Past in several productions of A Christmas Carol at the theater, and later starred as Helen Keller alongside her mother in a production of The Miracle Worker, under her father's direction.

Should We Save Black Radio?

Should We Save Black Radio?
byPaul Scott

Funerals are funny things, sometimes. Never mind that the dearly departed cheated on his wife, borrowed a small fortune of unpaid loans from friends and habitually kicked his neighbor's dog, according to the pastor during the eulogy, the man was a saint.

I thought about that scenario when I heard folks mourning over the impending doom of black radio.

Radio One's owner Cathy Hughes was on the Tom Joyner Show this morning begging for a black community bailout of black radio because of a proposed bill by Rep. John Conyers that would make radio stations have to shell out some major dollars to stay on the air. The best part is when she mentioned that Conyers turned on his boom box during a meeting with radio execs, drowning out their whining.

She considered it an an insult. I call it karma.

For years, members of the African American community have begged "urban" radio stations to be more responsive to the needs of the community, especially highly impressionable black youth. Unfortunately, our cries have largely fallen on deaf ears. Seems that profit before people has been the order of the day.

The politicians are selling the proposed legislation, HR Bill 848, (the Performance Tax) as a way to put more money in the pockets of musicians who were forced to work at Mickey Dee's after their short careers were over but the radio folks are saying that it is a conspiracy to not only silence black voices but to prevent us from ever hearing good black music ever again.

Let's be honest. For many of us, black radio died a long time ago. We aren't producing any more Marvin Gayes and Stevie Wonders. What passes today as classic Soul music is Jamie Fox's "Blame it on the Alcohol." It's not that the black community is not full of talented, would be musicians singing and rapping on street corners in every hood but black radio is too busy playing Soulja Boy every five minutes to give aspiring artists a fighting chance.

Don't get me wrong, I appreciate the strong legacy of black radio stations, as the companies were instrumental in not only giving us the latest hits but giving the community critical, need to know info during the 60's and 70's. Ms. Hughes should be especially honored for her innovative approach to black talk radio with WOL in Washington DC.

But this ain't the early 80's and the days of radio hosts like Petey Green have long been replaced by the Lil Waynes of the world.

I find it very disappointing that while the Right wing media moguls are up in arms over the FCC's new diversity committee that could possibly break their vice grip on the air waves, black folks are concerned about whether or not they can get their hourly Beyonce fix.

As my grim faced college professor once told me when I ecstatically told him that I had scored an internship at the local station that would allow me to gangsta-rize the airwaves back in the late 80's.

"What our people need is information."

In all fairness. There are a few black radio talk shows in major cities and the syndicated guys do devote ten minutes or so every day with serious dialogue but these efforts are quickly negated by mind dulling music and slap stick comedy.

I must admit that when I heard Ms. Hughes' impassioned call to arms, this morning I was caught up in the moment as she, convincingly, warned that the end of black radio would totally devastate the African American community . I was just getting ready to grab my protest sign and bullhorn before reality set in.

If Fox News' top dog, Rupert Murdoch decided to start a new network of stations to target the urban consumer, would our children know the difference? Or would they even care as long as they could still hear T-Payne?

I didn't see too many of our people boycotting BET when it was bought up by Viacom. As long as they played the same gangsta videos and kept Comic View, life went on.

See, the execs are expecting the black community to exhibit a degree of cultural consciousness that has not been cultivated by black radio. You can't just push a button and expect the people who you have dumbed down for the last decade to automatically become Afro-centric scholars.

Just doesn't work that way.

What the radio folks have never realized is that we are all in this together and an enlightened community benefits all its members. If black radio had been fulfilling its duty of raising the consciouness of the African American community no one would have dared to even suggest a bill that would cut off their flow of information or good music.

So, do we fight against HR 848?

Read the Full Article @ No Warning Shots Fired or Industry Ears

Teena Marie w Faith Evans Talk Rick James and Christopher Wallace

Forget Hallmark: Why Mother's Day is a Queer Black Left Feminist Thing

Special to NewBlackMan



Forget Hallmark: Why Mother's Day is a Queer Black Left Feminist Thing

by Alexis Pauline Gumbs



The Anti-Social Family by Michele Barrett and Mary McIntosh (1982)

Fear of a Queer Planet ed. Micheal Warner (1999)

Aberrations in Black: Towards a Queer of Color Critique by Roderick Ferguson (2004)

"Of Our Normative Strivings: African American Studies and the Histories of Sexuality" by Roderick Ferguson (2005)

"Queerness as Horizon: Utopian Hermeneutics in the Face of Gay Pragmatism" by Jose E. Munoz (2007)

"A 'New Freedom Movement of Negro Women': Sojourning for Truth, Justice, and Human Rights during the Early Cold War" by Erik S. McDuffie (2008)

Blood Dazzler by Patricia Smith (2008)

Something Like Beautiful: One Single Mother's Story by Asha Bandele (2009)*



My mother is black. So the means through which I was produced is a matter of national instability. My mother is black. So the trace of slavery waits every moment to ink my body with meaninglessness. My mother is black. So my living is a question of whether or not racism will be reproduced today. My mother is black. This same piece of information threatens my survival. But my mother is black, which is at the same time the only thing that makes my survival possible.



It's early morning. I am a little bit drunk on the sound of rain, but it occurs to me that I should get (you) ready for mother's day. It is very easy to notice that I am obsessed with mothering and mothers. Mother is the single most interesting and confusing word that I know. Next to black.



And here comes mother's day. For me, this year mother's day means a million things. Expectancy, fear, obligation, inspiration, joy, admiration, deep reflection. A few weeks ago my mother told me that she thinks I will be "such a great mother." It struck me that while I have always dreamed of becoming a mother, and intended to become a mother, it still comes as a surprise when anyone affirms that it is something that I can do, SHOULD do even. Because I live in a culture that criminalizes black mothers for creating and loving black children, a culture that criminalizes black kids for being born. And latino kids too. I have been taught that mothering is something that happens to you, and you deal with it, and fight for it, swallowing down shame and living with the threat that the state wants nothing more than to take your kids away from you in every way imaginable.



But it is not my mother who taught me that. My mother repeats again and again that mothering us is her greatest accomplishment, like asha, mothering is her enduring joy and triumph despite everything. And trust, she has other great accomplishments. My mother, not through perfection, not through ease, but through sincere struggle, intense and sometimes even overwhelming love taught us something in her very being. My sister (now an ambitious account exec in New York) once confessed to me that though it might seem unfeminist, the only thing she really cared about, the one thing that she knew she wanted to do for sure in life was to be a good mother. And I told her what I more recently wrote in a poem to one of my feminist theory students, who blessed us by bringing her daughter to class, "mothering is the most feminist act of all." My mother, like every black mother, has been slandered. But we know a lie when we see it. My brother wanted to punch every producer of CNN's disgusting "Black in America" series for daring to suggest that being raised by a black mother was the key liability destroying the life chances of black people. How dare they? How dare they? When our black mother is the only reason we know how to breathe and survive despite the toxic racism filling this world. How dare they?



It is no mystery why it is a cultural truth that talking about a black person's mother is a great way to unleash a universe of anger. Our mothers are slandered every single second of every single day. The media does it like it's its job. And indeed it is.



And here is the risk. All this talk of mothering, all this affirmation and priviliging of mothering puts me at risk, not only in a mainstream narrative working to reproduce a nation built on racial hate and genocide, but also on the academic queer left. It is not very queer of me to keep talking about my mother this way. In fact (as Micheal Warner suggests) the only queer way for a black person to talk about a mother is the "irony" of the house mother in black gay ball culture. CNN is dead to me. The deeper betrayal is that queer studies participates in the slander of the black mother, agreeing with the story that says she should not exist.



Has Warner not considered (as Cathy Cohen makes very clear in Punks, Bulldaggers and Welfare Queens) that black mothering is already a queer thing? Because we were never meant to survive. So the Queen Mother in the house movement is not just throwing shade, the queen is doing the necessary work of mothering. Of saying these bodies black and queer almost to redundancy, these spirits that every facet of our society would seek to destroy, MUST survive and WILL transform the meaning of life whether you like it or not. That is what a black mother does. Sincerely. No irony. It is no joke.



So this week I have been picking a bone with a queer theory narrative that sees mothering as the least radical thing one can do, in so much that it becomes irrelevant to the majority of the discourse on queerness. Clearly, like Moynihan, they don't know my mother. Asserting that the labor of mothering is always in collaboration with the a reproductive narrative, reproducing heteronormativity ignores the fact there has been a national consensus for centuries that black people should not be able to mother and every force, from coercive sterlization, to the dismantling of welfare has been mobilized to try to keep them from doing it. Where has dominant (read white) queer theory been while politicians have been ranting and raving about how welfare queens, (which despite the actual statistics becomes a code name for poor and racialized mothers) are going to destroy civilization as we know it by not only creating black surplus children, but by influencing these children with their deviant and risky and scary behavior? And isn't this the organizing desire of queer theory....to destroy civilization as we know it?



I just wish everyone would listen to Cathy Cohen (who by the way is a black co-mother to a beautiful fierce black girl-child) so I wouldn't have to stand here screaming (or more accurately sit here taking, deconstructing and rebuilding the premises of queer theory all week long). But here is the quick and dirty of it...mainstream queer theory as inaugurated by Warner's edited volume and influenced by a Marxist feminst tradition of critiquing the heteropatriarchal family as a complicit force in the reproduction of capitalist oppression throw the black babies out with the bathwater of their universalism. The "tyranny of motherhood" as described by Barrett and McIntosh does not leave room for those other deployments of "mother" and "hood" (excuse me "inner-city") in the American vernacular of culture of poverty discourse.



This is why Hortense Spillers should be required and repeated reading for queer theorists. Four words. Mama's Baby Papa's Maybe. Which means there is no reason that the act of mothering would reproduce patriarchy, or even take place within the confines of patriarchy along normative lines because the practice of American slavery has so fundamentally ripped the work of mothering from the bodies of black mothers (forcing them to do the labor of mothering for white and black children while fully denying them any of the authority of motherhood by killing and selling away and raping and mutilating their biological children and their chosen kin. (I have posted here before about my discovery, while reading slave code, that even a free black mother had no legal right to defend an enslaved daughter from abuse by a slave master.)



The complexity of the term mother (next to black) requires a queer theory that deuniversalizes race and highlights the function of racism in reproducing the heteropatriarcal status quo. Cathy Cohen, Roderick Ferguson and Jose Munoz do this work of reminding us that Third World Feminism and the Third World Gay Liberation movement are an alternative starting point (contemporary with the Marxist feminist arguments that Warner's version of queer theory inherits). Their work is crucial because it says something very obvious. We are people of color. The whole system wakes up every day trying to exterminate our bodies and our spirits. Our very survival is queer.



We were never meant to survive, and if mothers are part of why we are here (and they are), then they are the queerest of us all. But this is not even news. If we remember what black women have been up to in the United States we can just go ahead and let go of the assumption that mothering is conservative or that conserving and nurturing the lives of black children has ever had any validated place in the official American political spectrum.



Eslanda Robeson

Charlotta Bass

Shirley Graham Du Bois

Mary Church Terell

Maude White Katz



Take the fierce black women writers, mothers, publishers, actresses, activists who would become the Sojourners for Truth and Justice and their work starting in the 1940's to protest the imprisonment of Rosa Lee Ingram, a black mother who was sentenced to death for standing up for herself, and defending herself against a white man who tried to rape her. It was black women activists who changed her sentence to life in prison and then eventually (after 12 years of incarceration) got her released from prison. And always, always the key word in their organizing strategy was "mother." Their understanding of Ingram who was willing to fight to keep this violent man away from her body and away from her children, epitomized the term "mother" for this set of black woman revolutionaries. They framed the state's violence against Ingram as a violence against black mothering itself. How dare this black woman take a stance against rape. Standing against rape is a mothering act. How dare she threaten the perceived truth about what happens to black people, that black bodies are infinitely rapeable. How dare she stand ferocious, daring and teaching. This is what will happen to you if you come at me. This is the act of mothering that mobilized a national movement, black women gathered twenty-five thousands signatures for a petition in 1949...way before the era of the text message e-blast petition. They made it an international human rights issue, contacting every single member nation of the UN. And I need you to know this, remember this if you remember nothing else:



On Mother's Day, exactly 60 years ago the black left internationalist feminists of the Ingram Committee sent TEN THOUSAND MOTHER'S DAY CARDS to the White House and scared Harry S. Truman so bad that he made up an excuse to miss their scheduled meeting the next day.



Ten thousand mother's day cards from black women to the white house. Stolen holiday. No justice, no peace in the form of ten thousand paper-cuts. A floral dare saying: celebrate this. This is what mothering means: organized support for radical self-defense. A complete refusal of rape by any means necessary. Ten thousand Mother's Day cards. A threat saying we are black mothers. We are survivors. Try us.



Forget hallmark.



Have a revolutionary Mother's Day people.



*(Outside of the above timeline, sit Audre Lorde's "Litany for Survival," Cathy Cohen's "Punks, Bulldaggers and Welfare Queens" and Hortense Spillers's "Mama's Baby Papa's Maybe" which i did not reread this week...but have completely internalized such that I should be understood to be citing them no matter what I am saying about anything.-apg)



***

Alexis Pauline Gumbs is a queer black trouble-maker. She is the founder of BrokenBeautiful Press and a doctoral candidate in English, Africana Studies and Women's Studies at Duke University. Alexis represents SpiritHouse, Southerners on New Ground, Firewalkers, UBUNTU, Critical Resistance, Left Turn, Make/Shift and Durham, North Carolina Massive.

Michelle Obama, Mom-in-Chief

Michelle Obama, Mom-in-Chief by Melissa Harris Lacewell

With Mother's Day approaching I want to think about Michelle Obama's assertion that her primary role as First Lady is "Mom-in-Chief."

Many progressive feminists were distressed with Michelle's assertion of motherhood as her primary role. They hoped she would seek a more aggressive policy agenda. After all Michelle Obama is a graduate of Princeton University and Harvard Law School. She spent her career as an effective advocate for urban communities in their fraught relationship with powerful institutions. She is smart, capable, and independent. She maintained her own career and ambitions throughout Barack's early political career and even during his election to the U.S. Senate.

Truth is, some of us who were in the orbit of the Obamas ten years ago believed Michelle, not Barack, was the real star of the couple. So while I don't think anyone expected her to commute to a 9-to-5 job in D.C; many hoped that she would take on an independent political role in the Obama administration.

Instead, Michelle has crafted a more traditional role for herself. She is highly visible, but she has taken on relatively safe issues like childhood literacy, advocacy for women and girls, and support of military families. Even her White House garden is framed more as an initiative for healthy eating and quality family meals than as a statement of commitment to local foods as an effort against global climate change.

Read Full Essay @ The Nation

Vlogging While Black

Vlogging While Black
by Aymar Jean Christian
(from The Root.com)

For every breakout YouTube star such as Souljah Boy and Susan Boyle, there are thousands of would-be-video diarists, or vloggers, uploading away in obscurity. The lucky vloggers, such as “Fred,” gain more than 1 million followers. Played by 15-year-old Lucas Cruikshank, “Fred” banks six figures from major product placements and revenue from ads on his videos—short zany pieces with Cruikshank acting out his character, an ADD-afflicted 6-year-old too often left to his own devices. Ditto for Michael Buckley, another top user

A few black vloggers are beginning to make a splash on the scene. But it doesn’t mean it’s easy. “YouTube is very, very white,” explained Tonya, the blogger from TonyaTKO, who has 22,000 subscribers. With so many videos being uploaded, vloggers vie for prime placement on YouTube’s home page. “It’s very hard for black people to get seen on YouTube.” Like the many types of media that came before YouTube, the black vloggers who get noticed can often fit a stereotype. From the bizarre to the hilarious to the inspirational, here’s a sampling of some of the up-and-coming black vloggers and their winning formula:

Read the Full Article @