Video yükleniyor...

Video Yüklenemedi

Bu video yüklenirken bir sorun oluştu. Bu geçici bir ağ sorunundan kaynaklanıyor olabilir veya video kullanılamıyor olabilir.

Ana Sayfaya Dön

📺 That same year, SABC also introduced us to After 9 (2007) After 9 was an attempt at cultural intervention a deliberate effort to make visible the realities of queer life in spaces where silence and stigma often prevailed. In many ways, the show was one of the first... televised explorations of DL culture in a South African context. It forced audiences to confront the uneasy realities of sexuality, secrecy, and respectability politics in black communities. “After 9,” took on a life of its own. It slipped into South African slang as a derogatory label, shorthand for “down-low” (DL) men who lived double lives. We call this semantic shift: when a piece of media introduces a term or phrase that evolves into wider cultural usage, sometimes as stigma, sometimes as identity.show more

Ms.

7,200 subscribers

17,605 görüntüleme • 1 yıl önce •via X (Twitter)

Anya Rossi• Live Now

Private livecam show

0 Yorum

Yorum bulunmuyor

Orijinal gönderinin yorumları burada görünecek

Benzer Videolar

📺 Isidingo: Nandipha Sithole (2000-2011) Part of a deliberate SABC public health strategy, South African television audiences were introduced to one of the most quietly revolutionary characters on our screens: Nandipha Sithole. Portrayed by the talented Hlubi Arnold, she became one of the few characters in mainstream South African TV who openly lived with HIV at a time when stigma was not just social, but deeply political. This was a critical cultural moment. South Africa was in the throes of the HIV/AIDS crisis statistics were staggering, myths and misinformation rampant. For black women, Nandipha’s story broke stereotypes. She wasn’t reduced to her diagnosis. She was smart, ambitious, flawed, loving, and resilient proof that life with HIV could be full and dignified.

📺 Isidingo: Nandipha Sithole (2000-2011) Part of a deliberate SABC public health strategy, South African television audiences were introduced to one of the most quietly revolutionary characters on our screens: Nandipha Sithole. Portrayed by the talented Hlubi Arnold, she became one of the few characters in mainstream South African TV who openly lived with HIV at a time when stigma was not just social, but deeply political. This was a critical cultural moment. South Africa was in the throes of the HIV/AIDS crisis statistics were staggering, myths and misinformation rampant. For black women, Nandipha’s story broke stereotypes. She wasn’t reduced to her diagnosis. She was smart, ambitious, flawed, loving, and resilient proof that life with HIV could be full and dignified.

Ms.

123,203 görüntüleme • 1 yıl önce

🏳️‍🌈Pride Month 📺SABC 1: After 9 (2007-2013) After 9 arrived at a fascinating moment in South Africa. On paper, the country had some of the world's most progressive protections for LGBTQIA+ people. But as we know, what is written in the Constitution and what happens around the dinner table are often two very different things. The show understood that gap. Its characters weren't just struggling with their sexuality; they were navigating family expectations, cultural pressures, career ambitions and the performance of being the "right kind" of man. SABC+ SABC 1

🏳️‍🌈Pride Month 📺SABC 1: After 9 (2007-2013) After 9 arrived at a fascinating moment in South Africa. On paper, the country had some of the world's most progressive protections for LGBTQIA+ people. But as we know, what is written in the Constitution and what happens around the dinner table are often two very different things. The show understood that gap. Its characters weren't just struggling with their sexuality; they were navigating family expectations, cultural pressures, career ambitions and the performance of being the "right kind" of man. SABC+ SABC 1

Ms.

574,476 görüntüleme • 2 ay önce

📺 AP Archive: Ja Rule Presser (2003) Ja Rule’s South African tour and the politics of global hip-hop recognition, local artists were denied backstage access, hustled into a shared dressing room, and swiftly removed after performing. This wasn’t just poor event management it was a cultural moment that revealed how “global” music economies often work. The incident captures a larger cultural anxiety of the early 2000s what it meant to be “local” in a world where globalisation was sold as the ultimate validation. In that moment, South African hip-hop learned something about the global stage that inclusion is not the same as equality. Cultural capital does not automatically translate into cultural power. In the years that followed, South African hip-hop redefined its terms of engagement aus' PennyLebyane💚RasediLebyane did he end up going to SOWETO for the performance? BTW yall aus' Penny is a walking cultural dictionary! Her work at Metro FM🫰(literally pioneered cultural commentary on broadcast, early examples of convergence media)

📺 AP Archive: Ja Rule Presser (2003) Ja Rule’s South African tour and the politics of global hip-hop recognition, local artists were denied backstage access, hustled into a shared dressing room, and swiftly removed after performing. This wasn’t just poor event management it was a cultural moment that revealed how “global” music economies often work. The incident captures a larger cultural anxiety of the early 2000s what it meant to be “local” in a world where globalisation was sold as the ultimate validation. In that moment, South African hip-hop learned something about the global stage that inclusion is not the same as equality. Cultural capital does not automatically translate into cultural power. In the years that followed, South African hip-hop redefined its terms of engagement aus' PennyLebyane💚RasediLebyane did he end up going to SOWETO for the performance? BTW yall aus' Penny is a walking cultural dictionary! Her work at Metro FM🫰(literally pioneered cultural commentary on broadcast, early examples of convergence media)

Ms.

38,695 görüntüleme • 10 ay önce

📺 Vuzu: Forever Young (2012-2016) Reality TV often gets boxed as a genre tailored to women’s lifestyles and audiences. But when the format began taking off in South Africa, Vuzu disrupted the script with Forever Young. imo the significance of Forever Young lies in how it reimagined Black masculinity for television, balancing ambition with playfulness, success with vulnerability. it expanded the visual grammar of South African television and reminded us that representation is not trivial. It is a cultural resource that can either reproduce stereotype or open new imaginaries. The show was also an important archive of Black youth culture at the time. Shot across Johannesburg and even in Brazil, it reflected a generation’s mobility, global aspiration, and cultural experimentation. It placed young South African men within a cosmopolitan frame, positioning them as active participants in shaping entertainment and style both locally and abroad.

📺 Vuzu: Forever Young (2012-2016) Reality TV often gets boxed as a genre tailored to women’s lifestyles and audiences. But when the format began taking off in South Africa, Vuzu disrupted the script with Forever Young. imo the significance of Forever Young lies in how it reimagined Black masculinity for television, balancing ambition with playfulness, success with vulnerability. it expanded the visual grammar of South African television and reminded us that representation is not trivial. It is a cultural resource that can either reproduce stereotype or open new imaginaries. The show was also an important archive of Black youth culture at the time. Shot across Johannesburg and even in Brazil, it reflected a generation’s mobility, global aspiration, and cultural experimentation. It placed young South African men within a cosmopolitan frame, positioning them as active participants in shaping entertainment and style both locally and abroad.

Ms.

89,694 görüntüleme • 11 ay önce

As we step into the New Year, we carry forward the spirit of “We Are Proud and African” a powerful spoken-word poem brought to life by two of Africa’s finest voices, Adelle Onyango 🇰🇪, award-winning media personality and activist, and Chief Moomen 🇬🇭, acclaimed poet, playwright, and cultural trailblazer. #Agenda2063. This poem reminds us of who we are a continent that is bold in vision, rich in culture, and unstoppable in ambition. First performed at Expo 2020 Dubai during the African Union’s cultural showcase, the poem continues to resonate as a timeless celebration of Africa’s pride, power, and shared purpose. Best wishes for peace, prosperity, and success in the year ahead.

As we step into the New Year, we carry forward the spirit of “We Are Proud and African” a powerful spoken-word poem brought to life by two of Africa’s finest voices, Adelle Onyango 🇰🇪, award-winning media personality and activist, and Chief Moomen 🇬🇭, acclaimed poet, playwright, and cultural trailblazer. #Agenda2063. This poem reminds us of who we are a continent that is bold in vision, rich in culture, and unstoppable in ambition. First performed at Expo 2020 Dubai during the African Union’s cultural showcase, the poem continues to resonate as a timeless celebration of Africa’s pride, power, and shared purpose. Best wishes for peace, prosperity, and success in the year ahead.

African Union

27,065 görüntüleme • 8 ay önce

Douglas Murray In South Africa Exposes Jane Dutton of Eyewitness News on the Smear of Genocide in Gaza. Please note, this interview was taken down by Eyewitness News after it aired. [WATCH]‼️ The Hypocrisy of the South African ANC Government is exposed by Murray as He states that "Taking Israel to the ICJ On A False Premise of So-Called 'Genocide' Is a Distraction to Many South Africans Across the Country and the Wider World." Douglas Murray

Douglas Murray In South Africa Exposes Jane Dutton of Eyewitness News on the Smear of Genocide in Gaza. Please note, this interview was taken down by Eyewitness News after it aired. [WATCH]‼️ The Hypocrisy of the South African ANC Government is exposed by Murray as He states that "Taking Israel to the ICJ On A False Premise of So-Called 'Genocide' Is a Distraction to Many South Africans Across the Country and the Wider World." Douglas Murray

Sowell Economics

81,448 görüntüleme • 1 yıl önce

THE REVOLUTIONARY HISTORY OF DREADLOCKS On this day, the British colonial state executed one of Kenya's greatest freedom fighters, but his revolutionary spirit lived on - even in his hair. Dedan Kimathi's dreadlocks were more than a hairstyle, they were a statement of defiance, a rejection of colonial domination and a symbol of African identity. Today, dreadlocks are a common sight - in our homes, schools and places of work and worship. It wasn't always this way, and it took persistence and patience to mainstream an authentic African hairstyle. Stigma around dreadlocks was informed by colonialism, and its effects were felt decades after independence. It took commitment to African identity to reclaim what was once demonised.

THE REVOLUTIONARY HISTORY OF DREADLOCKS On this day, the British colonial state executed one of Kenya's greatest freedom fighters, but his revolutionary spirit lived on - even in his hair. Dedan Kimathi's dreadlocks were more than a hairstyle, they were a statement of defiance, a rejection of colonial domination and a symbol of African identity. Today, dreadlocks are a common sight - in our homes, schools and places of work and worship. It wasn't always this way, and it took persistence and patience to mainstream an authentic African hairstyle. Stigma around dreadlocks was informed by colonialism, and its effects were felt decades after independence. It took commitment to African identity to reclaim what was once demonised.

African Stream

14,546 görüntüleme • 1 yıl önce

The momentum behind South Africa’s biggest cultural revolution is in full swing! After the resounding success of our first roadshow at the University of Cape Town, the celebration continues—this time at #Group1 #MahindraKuilsriver, Cape Town. Get ready for a vibrant fusion of joy, music, fashion, art, and youthful energy as we bring the spirit of a VIBGYOR nation to life. What began as a bold idea is now becoming a cultural movement—a celebration of youth, diversity, and creative expression across South Africa. Kudos to the incredible team at Mahindra Kuilsriver for keeping the flame alive and turning moments into memories. The revolution rolls on! Mahindra South Africa

The momentum behind South Africa’s biggest cultural revolution is in full swing! After the resounding success of our first roadshow at the University of Cape Town, the celebration continues—this time at #Group1 #MahindraKuilsriver, Cape Town. Get ready for a vibrant fusion of joy, music, fashion, art, and youthful energy as we bring the spirit of a VIBGYOR nation to life. What began as a bold idea is now becoming a cultural movement—a celebration of youth, diversity, and creative expression across South Africa. Kudos to the incredible team at Mahindra Kuilsriver for keeping the flame alive and turning moments into memories. The revolution rolls on! Mahindra South Africa

Rajesh Gupta

30,503 görüntüleme • 9 ay önce

Durban Indian lingo is a language all on its own. Its identity, its culture, its South African. It also filters through to other race groups which does make for great entertainment such conversations. The Village Indian my latest book is a celebration of Chatsworth all the chaos and colour to the drama & gossip of village life while delving into race relations. In a time of 49 and “white genocide” The Village Indian becomes relevant - it encapsulates the South African super power of humour and humanity! It’s a reminder we got 99 problems but patriotism for the most isn’t one of them! #TheVillageIndian #VillageVibes #Chatsworth #Durban #ProudlySouthAfrican

Durban Indian lingo is a language all on its own. Its identity, its culture, its South African. It also filters through to other race groups which does make for great entertainment such conversations. The Village Indian my latest book is a celebration of Chatsworth all the chaos and colour to the drama & gossip of village life while delving into race relations. In a time of 49 and “white genocide” The Village Indian becomes relevant - it encapsulates the South African super power of humour and humanity! It’s a reminder we got 99 problems but patriotism for the most isn’t one of them! #TheVillageIndian #VillageVibes #Chatsworth #Durban #ProudlySouthAfrican

Vanessa Govender

28,204 görüntüleme • 1 yıl önce

📺When We Were Black (2006) A seminal moment in South African television. Emerging in the early years of post-apartheid broadcasting, the series reopened the psychic and political wounds of black life under apartheid, using the intimacy of television to re-stage a national trauma. This scene captures the essence of what the show set out to do to make visible the quiet violences of apartheid that lived in the body, the home, the street. It’s not an act of physical brutality that shocks us here, but the psychic one the destruction of dignity, the forced performance of inferiority, the way the state choreographed humiliation as a means of control. To me the humiliation of Fisto’s father becomes a meditation on Black masculinity. Under apartheid, manhood was systematically stripped of authority and autonomy. In this scene, the father’s forced “dance” becomes a metaphor for survival under surveillance how Black men had to contort themselves to stay alive, even as they lost face in front of their children. Yet in showing that collapse, the series dignifies it naming the pain that shaped generations of fathers and sons. Nearly twenty years later, the scene still lands like a gut punch.

📺When We Were Black (2006) A seminal moment in South African television. Emerging in the early years of post-apartheid broadcasting, the series reopened the psychic and political wounds of black life under apartheid, using the intimacy of television to re-stage a national trauma. This scene captures the essence of what the show set out to do to make visible the quiet violences of apartheid that lived in the body, the home, the street. It’s not an act of physical brutality that shocks us here, but the psychic one the destruction of dignity, the forced performance of inferiority, the way the state choreographed humiliation as a means of control. To me the humiliation of Fisto’s father becomes a meditation on Black masculinity. Under apartheid, manhood was systematically stripped of authority and autonomy. In this scene, the father’s forced “dance” becomes a metaphor for survival under surveillance how Black men had to contort themselves to stay alive, even as they lost face in front of their children. Yet in showing that collapse, the series dignifies it naming the pain that shaped generations of fathers and sons. Nearly twenty years later, the scene still lands like a gut punch.

Ms.

84,950 görüntüleme • 9 ay önce

Kira Noir revealed that a Black Panther Corn Parody was canceled because all the black men in the industry came together and signed a letter saying they would never do a parody of Black Panther to protect the "sanctity" of it and not to make fun of it as it is a part of their cultural Heritage.

Kira Noir revealed that a Black Panther Corn Parody was canceled because all the black men in the industry came together and signed a letter saying they would never do a parody of Black Panther to protect the "sanctity" of it and not to make fun of it as it is a part of their cultural Heritage.

𝙔𝙖gi

7,814,022 görüntüleme • 9 gün önce

When The US Dropped Bombs On Its Own Citizens As the US continues to pretend to care about the wellbeing of Africans, it is important that we, as Africans, remember the history of this malevolent t*rror state, and recognize where we really stand in its political calculus. In this report for The Spearhead, U.O takes a trip down memory lane, to 1985 and 1921, when the US dropped bombs on US citizens, who just happened to also all be of African descent.

When The US Dropped Bombs On Its Own Citizens As the US continues to pretend to care about the wellbeing of Africans, it is important that we, as Africans, remember the history of this malevolent t*rror state, and recognize where we really stand in its political calculus. In this report for The Spearhead, U.O takes a trip down memory lane, to 1985 and 1921, when the US dropped bombs on US citizens, who just happened to also all be of African descent.

The Spearhead

80,746 görüntüleme • 18 gün önce

Mahatma Gandhi was an anti-Black racist, who advocated a three-tiered apartheid in South Africa. While living in South Africa, Mahatma Gandhi described black Africans as “savage,” “raw” and living a life of indolence and nakedness. He routinely expressed "disdain for Africans," and he also campaigned relentlessly to prove to the British rulers that the Indian community in South Africa was superior to native black Africans. One of the first battles Gandhi fought after coming to South Africa was over the separate entrances for whites and blacks at the Durban post office. Gandhi obiected that Indians were "classed with the natives of South Africa," who he called the kaffirs, and demanded a separate entrance for Indians. In a petition letter in 1895, Gandhi also expressed concern that a lower legal standing for Indians would result in degenerating "so much so that from their civilised habits, they would be degraded to the habits of the aboriginal Natives, and a generation hence, between the progeny of the Indians and the Natives, there will be very little difference in habits, and customs and thought."

Mahatma Gandhi was an anti-Black racist, who advocated a three-tiered apartheid in South Africa. While living in South Africa, Mahatma Gandhi described black Africans as “savage,” “raw” and living a life of indolence and nakedness. He routinely expressed "disdain for Africans," and he also campaigned relentlessly to prove to the British rulers that the Indian community in South Africa was superior to native black Africans. One of the first battles Gandhi fought after coming to South Africa was over the separate entrances for whites and blacks at the Durban post office. Gandhi obiected that Indians were "classed with the natives of South Africa," who he called the kaffirs, and demanded a separate entrance for Indians. In a petition letter in 1895, Gandhi also expressed concern that a lower legal standing for Indians would result in degenerating "so much so that from their civilised habits, they would be degraded to the habits of the aboriginal Natives, and a generation hence, between the progeny of the Indians and the Natives, there will be very little difference in habits, and customs and thought."

AFRICAN & BLACK HISTORY

42,570 görüntüleme • 3 ay önce

How Big Tech Frames African Audiences As Intellectually Lazy. African social media audiences are not “dumb” - they are being conditioned. When Africans have to engage with western controlled information ecosystems, the engagement is never a fair one. Not in traditional media, and certainly not in digital media. It always follows the same colonial playbook of extraction and social engineering over any kind of meaningful conversation or useful solution. The exploitative relationship between Western-controlled tech giants and Africa's social media audiences is often overlooked, but it shapes almost everything we see or value - and even how we understand ourselves. The low-effort, oversexualized content that has become recognised as the preferred taste of African audiences is not in fact an organic phenomenon. To put it bluntly, Western colonial tech monopolies are actively engineering African social media spaces into cesspits of anti-intellectual slop. Africa must rise to resist this intellectual suppression by building information and communication ecosystems by Africans and for Africans.

How Big Tech Frames African Audiences As Intellectually Lazy. African social media audiences are not “dumb” - they are being conditioned. When Africans have to engage with western controlled information ecosystems, the engagement is never a fair one. Not in traditional media, and certainly not in digital media. It always follows the same colonial playbook of extraction and social engineering over any kind of meaningful conversation or useful solution. The exploitative relationship between Western-controlled tech giants and Africa's social media audiences is often overlooked, but it shapes almost everything we see or value - and even how we understand ourselves. The low-effort, oversexualized content that has become recognised as the preferred taste of African audiences is not in fact an organic phenomenon. To put it bluntly, Western colonial tech monopolies are actively engineering African social media spaces into cesspits of anti-intellectual slop. Africa must rise to resist this intellectual suppression by building information and communication ecosystems by Africans and for Africans.

The Spearhead

318,205 görüntüleme • 8 ay önce

.Victor Davis Hanson says that Megyn Kelly was very supportive of Israel when he was on her show after October 7th and the first Iran strike. He attributes her flip on Israel not to a material change in the conflict but to a shift in world opinion. “What changed was not the actual realities but world opinion and the propaganda of all the rubble in Gaza…and none of the reasons of the causation for it…” He went on to say that it became “cool” for the left and center to blame Netanyahu & paint Trump as a stooge. Megyn appears to be following the crowd.

.Victor Davis Hanson says that Megyn Kelly was very supportive of Israel when he was on her show after October 7th and the first Iran strike. He attributes her flip on Israel not to a material change in the conflict but to a shift in world opinion. “What changed was not the actual realities but world opinion and the propaganda of all the rubble in Gaza…and none of the reasons of the causation for it…” He went on to say that it became “cool” for the left and center to blame Netanyahu & paint Trump as a stooge. Megyn appears to be following the crowd.

Jackie Chea ⚖️

98,707 görüntüleme • 4 ay önce

My grandfather was born in Tripoli and lived in Sahet al-Nour for the first 30 years of his life, until he decided to leave the city in the 1970s because, as he said, "it no longer looked like him." Unfortunately, transforming a city's identity doesn't require widespread extremism. Sometimes, a radical minority of 5% is enough to distort its face, reshape public life, and silence the rest.

My grandfather was born in Tripoli and lived in Sahet al-Nour for the first 30 years of his life, until he decided to leave the city in the 1970s because, as he said, "it no longer looked like him." Unfortunately, transforming a city's identity doesn't require widespread extremism. Sometimes, a radical minority of 5% is enough to distort its face, reshape public life, and silence the rest.

Mark Elian | مارك اليان

56,718 görüntüleme • 8 ay önce

An American Airlines pilot says he was forced to "slam on the brakes" after spotting a truck that went "right in front of us" as the jet headed toward the taxiway at Charlotte Douglas International Airport on Wednesday morning. The airport said in a statement it was aware of the incident involving one of its ground vehicles. It added that there was no collision and no one was injured.

An American Airlines pilot says he was forced to "slam on the brakes" after spotting a truck that went "right in front of us" as the jet headed toward the taxiway at Charlotte Douglas International Airport on Wednesday morning. The airport said in a statement it was aware of the incident involving one of its ground vehicles. It added that there was no collision and no one was injured.

CBS News

116,669 görüntüleme • 4 ay önce