b2k

(related: b2k rape, marques houston, chris stokes, chris stokes gay, b2k, )

In the final sequence videohotmy.easyjournal.com â€SFeel the Noise,” Omarion embraces his biological father on stage at a Puerto Rican day parade event in New York City. This narrative of father-son bonding and reunion  making a social critique of black masculine and patriarchal responsibility and accountability  takes b2k a diasporic, intercultural twist as Omarion’s father is infact a legendary non-white Puerto Rican musician who returns to Puerto Rico after abandoning Omarion and the baby’s mother. The final shot pictures Omarion and his biological father sharing a stage together with Voltio, a reggaeton artist, and Omarion’s half-brother, who is also musically inclined being cut from the same genealogical cloth, performing together  blending hip-hop and reggaeton. From the final scene of syncretic Caribbean and Afro-diasporic cultures b2k harmony, you would think that J.Lo might have struck on some genius tip in this post-colonial, nationalist, and intercultural, intertwined history of black and brown urban life.

Hardly. The hilarity that is â€SFeel the Noise” means that it can’t even hold the torch to Jessica Alba’s â€SHoney” or even on-screen black-fetishist Julia Styles’ â€SSave the Last Dance.” J.Lo and co-producer and star Omarion Grandberry fail miserably in producing this year’s teen choreo-drama, using familiar convention of this genre that is, having some horrendous acting. Besides bad acting, the film looks like it’s a collection of old b2k music videos where its just one club scene after another. The film â€Sintroduces” to mainstream America, some two-three years too b2k reggaeton, with dialogue that reads as if it was b2k entry on Puerto Rico. The cultural clash, usually between elite white culture and â€Slow” black culture, is refigured in a horizontal comparison with evenly marginalized groups  in this case, manifested in Afro-diasporic music cultures of hip-hop and reggaeton. Of course, like any other dance film, there needs to be some reconciliation between these cultural tensions and there is.

The movie starts off almost as if it’s a parody of black urban male teenage bildungsroman on film  where the young man endures a conflict, in which the single mother, unable to raise her son into a man, sends him off to live with his father. The Wayans Brother’s â€Sdon’t be a menace while drinkin’ your juice…” parody of this narrative resonates within the first few minutes of the film where Omarion’s near fatal experience at a rap show, where someone was hired to put a hit on him and nearly does, demands, the next day, that he leave the country to be with his father, someone he has never met.

So when Vivica A. Fox says â€Syou know there can’t be no strong black females in these movies,” that really ring true. So, this universal narrative of â€Sfollowing your dreams” is reserved specifically for men. Or perhaps this genre is based on black male redemption? At any rate, Omarion and his father, the â€Sfallen” characters in the film who’s b2k have been compromised by bad personal moves targetblurusa.blogspot.com like when Omarion was a duffle bag boy in â€SYou Got Served”), are built back tagnewsorg.blogspot.com in the end as Omarion gets his break and a father, and his father finally serves his patriarchal duties, in which the stage is able to reinstill that. Further, in the context of the Puerto Rican day parade, the stage further serves to align specific gender roles with the imagination of the nation as an ideological category than as actual land. Oddly, the female protagonist who is Omarion’s Latina love interest (â€SShe Got Dat Spice, Son!”) who is also following her dreams to be a professional dancer, is not redeemed at all besides being the girlfriend to the rising star, Omarion. The feminine is complicated by her character who â€Ssells-out” Omarion and his half-brother to the white â€Smainstream” industries who are attempting to tinker with their sound for a wider audience. In the end, she almost seems as if she’s being punished for what she had did in relegating her to this role as girlfriend and girlfriend only.

I guess its not odd to see black male boosterism in an age where black masculinity has been stigmatized in policy, mass media, federal programming, so on and so forth … as single-handedly bringing down not only black communities but the nation as a whole. If the Michael Vick dog fighting case, Isiah Thomas’ sexual harassment suit, and the ongoing America v. hip-hop discourse is any indication, there is something at stake in cultural representations. This particular genre, however, seems reactive to these b2k discourse of black male disfunction, by seemingly redeeming black culture and less black people. 1) Characters serve as the social sherpa, who seems unburdened b2k having to teach white people how to not be racist (how far from the truth is this!) Or, 2) it’s sometimes imagined as proving that black culture serves some larger purpose of building community amongst African Americans, simultaneously aligning black culture with national cultural codes pollsfavordirect.blogspot.com family. Or 3) it even mildly gives white people the middle finger (â€Syou got served).

Feel the Noise seems to operate along 2) and less so 3), wrapped within an awkward feel good story that has little to no provocative story lines. You’re sort of wondering what sort of major catastrophic issue is central to the operation of the film (like white people stealing black people’s dance moves or the incessant need of white people to make it to Juilliard on a full scholarship…you know some major everyday anxieties). Specifically, what is the drama b2k between Omarion and his dad? But you end up finding out b2k they got into a car accident when Omarion was just born and his dad just couldn’t deal with himself and the situation, thus fleeing the U.S. The random and not to mention totally uninteresting story lines like that link up with unexpected and pointless scenes like New York Undercover star Malik Yoba’s 2 minute scene where he runs from the cops and through Omarion’s house. In returning the favor for hiding him from the cops, Malik Yoba, the local well respected thug, avenges Omarion’s stepmom’s beat down at the hands of jealous ex-boyfriend of Omarion’s love interest, by getting his henchmen to beat the shit out of him; this all basically safely secures Omarion and the Latina’s union.

So basically, the movie doesn’t really make any sense and the things that happen, loosely tie together haphazardly to explain how Omarion and his half brother blow up transnationally in the hip-hop, reggaeton industries. Omarion and putamericafall.blogspot.com first ever film production makes Master P.’s film production in the late nineties early millennium seem like Oscar-award winning worthy. But perhaps I’m drinkin’ all this haterade just cuz I never liked B2k, which by extension means I don’t like Omarion. Perhaps the movie might have been better if it was Usher? Or perhaps even Bow Wow? At any rate, this makes you wonder what will be up next year: perhaps a film about hyphy culture?