Asian director “Juelz” over lack of Afro-Latinos featured in “In The Heights” movie.

[IllmaticDelta]

Washington heights only 8% black anyway
Washington Heights, Manhattan - Wikipedia

no, way more than 8%....that figure means non-spanish speaking "blacks."

 

[IllmaticDelta]

Even saying the term '"black dominican" is fukking weird to me. We all call each other dominican AND THATS IT. only on this site and black Twitter do people have to say white or black dominicans. We don't separate ourselves like that.

My theory has always been that's why we get so much hate from black americans. They see us on a island not giving a fukk about color, just drinking, vibing, partying and all happy to be dominican with our unique culture. Happy to be around each other. White or black skinned we legit do not give a fukk, but all these coli posters want to tell me otherwise

 

[IllmaticDelta]

I clearly live in a different reality because I don’t know what none of this Japanese stealing jazz and lofi and kpop stuff is. My kids aren’t listening to it as far as I can tell and I damn sure aren’t. I saw the trailer for this movie and I wasn’t going to see it anyway but it looks corny as all hell. I don’t think the ricans are messing with it either.

it's definitely a thing for people who don't have grasp of the musical origin/history of modern j or kpop or anime jazz





japan city pop (straight up black american american jazz-funk, boogie ans fusion from the 70s and 80s but made by japanese acts)

Boosted by the YouTube recommendations algorithm, and now TikTok memes, an American-influenced strain of vintage Japanese music has become a perennial cult hit online. The trend says more about Western perceptions of the East than the other way around.
By Cat Zhang

February 24, 2021
Graphic by Drew Litowitz

In the waning weeks of 2020, a Japanese pop tune from 1979 shot to No. 1 on Spotify’s viral charts. Titled “Mayonaka no Door / Stay With Me” and performed by a then-19-year-old Miki Matsubara, the song is as breezy as a convertible ride at twilight, with Matsubara’s wistful vocals floating over a funky bassline, jaunty horns, and twinkling production touches. Switching between Japanese and English, she pleads for a lover-turned-cold to stay in the relationship, haunted by the memory of him from the night before. The song first appeared in anime and Japanese culture TikToks last October, but the official peak of “Mayonaka no Door / Stay With Me” on the app came six weeks later, in early December. TikTok creators of Japanese descent filmed themselves playing it for their mothers, who’d light up upon recognizing the hit from their youth. It is almost too cute to bear. The moms close their eyes in bliss, belting and dancing like they’re at karaoke.



The viral success of “Mayonaka no Door / Stay With Me” has brought yet another surge of international interest to city pop, a loosely defined Japanese genre with R&B and jazz influences, dating to the late 1970s and 1980s. At the time, Japan was the world’s second-largest economy, threatening to overtake the West with its corporate dominance and cutting-edge machines. Upwardly-mobile Japanese citizens indulged in luxury clothes, imported wine, and international travel, enjoying unprecedented freedoms. The advent of the Sony Walkman and more sophisticated car stereos allowed them to customize their on-the-go listening; suddenly, casual strolls through the city and weekend joy rides assumed a romantic, movie-like sheen. City pop emerged as the soundtrack to this cosmopolitan lifestyle. The music is often exuberant and glitzy, drawing inspiration from American styles like funk, yacht rock, boogie, and lounge music. Emulating the easy vibes of California, the music’s sense of escapism is often embodied by the sun-soaked cover art of Hiroshi Nagai, one of city pop’s iconic designers: Sparkling blue water, slick cars, and pastel buildings evoke fantasies of a weekend vacation at sea. But the splendor and ease embodied by city pop soon fell out of fashion: in the 1990s, Japan’s economic bubble burst, plunging the country into its “lost decade.”

The Endless Life Cycle of Japanese City Pop

 

[SomeoneFromThePast]

Ugh.

Didn’t even watch the video. As soon as I heard her voice I could hear the feminist/Twitter SJW in her.

“as a black woman of Cuban descent…”

That’s as far as I got.


I’m not watching this movie anyway but if you got a problem with the casting, just ignore it. How hard is that?

People these days NEED a reason to feel oppressed, traumatized and outraged, because thats whats in these days.

If you're not oppressed one way or another, you're not hip.

Us black people, both latin and ados have way more serious things to worry about in our respective communities than to be represented in a disney style musical.

 

[QU Hectic]

Of course, John Chu is a piece of shyt. He shyted on Indian people in Crazy Rich Asians. Dude is a white worshipping Chan

 

[QU Hectic]

I’ll put it this way: Vampires vs The Bronx did a way better job of casting for the setting they had than this movie did. I’m not gonna take away from the actors who did their thing, but there’s three groups of people who really live in Washington Heights:


Dominicans
African-Americans
Rich white people who live near Laurence Fishburne


Lin-Manuel was out here shoehorning Puerto Ricans and Cubans and Mexicans into the movie as if he was making the movie about Jackson Heights. You know why someone like Miranda could botch the casting? Because he casted the play like this too.

Breh, I don’t have Netflix but will find a way to check out Vampires vs The Bronx. Premise seem dope

 

[IllmaticDelta]

 

[rico_ens]

My dawg heating up. Heights shyt dime klok

 

[Json]

I think a lot of South American Latinos don’t really want to see Americanized Latino representation.

All my first generation friends still watch Latino soaps and kind of look down on J.Lo in favor of Marc Anthony, Shakira, or Bad Bunny.

So when Hollywood attempts to reach out with One Day at a Time, In the Heights, or Vida in Spanglish it’s a no.


Plus everything is so Mexican, Cuban, or PR heavy.

Maybe do a authentic Colombian or Argentinian character and Hollywood might get their attention

 

[NoirDynosaur]

Amara Le Negra was right, Afro Latinos ARE heavily underrepresented in the media. They are important to the world just like AA's and the rest of the diaspora.

 

[SNYC]

Your racial resentment is not welcome here!! You have your own battles over there in america, but we are doing just fine and our dark skin population is gaining more social status everyday without having to burn down cities, looting stores, crying out "BLM" or saying stuff like "is it because im black??" over the smallest offense.

Same thing he would say. Go back to Boxden

 

[SomeoneFromThePast]

I think a lot of South American Latinos don’t really want to see Americanized Latino representation.

All my first generation friends still watch Latino soaps and kind of look down on J.Lo in favor of Marc Anthony, Shakira, or Bad Bunny.

So when Hollywood attempts to reach out with One Day at a Time, In the Heights, or Vida in Spanglish it’s a no.


Plus everything is so Mexican, Cuban, or PR heavy.

Maybe do a authentic Colombian or Argentinian character and Hollywood might get their attention

Agreed, Hollywood portrayals of latin culture tend to be hella cringy.

"One Day at a Time" is all kinds of

"In the Heights" is more of a kid friendly Disney type representation of latin culture and a latin neighborhood, so i'll let it slide. I wouldn't expect no Anthony Santos or Luis Vargas on a HBO Max musical intended for white kids.

 

[SomeoneFromThePast]

Same thing he would say. Go back to Boxden

Nah, that dude is a clown!!

 

[ORDER_66]

 

[saturn7]

speaking of the Dark Devil