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How to Preserve Minority Communities in Metro Areas

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Vibrant community centers. Row houses. Local eateries. Taquerias. Streets lined with residents of different nationalities, different races and different mindsets. These are the things that make up the social and cultural fabric of many lower-income, inner-city neighborhoods, and they are the things most at risk of being eliminated by gentrification — the process of investing in and “renewing” a historically disinvested neighborhood.

Demand for centrally-located housing by higher-income earners has grown significantly over the past decade, and the low-income minority residents who have historically occupied these neighborhoods are paying the price. Real estate developers are snatching up properties in low-income, inner-city areas across the globe to make way for expensive new condos, high-dollar high-rises and trendy art or social hubs. These shiny new buildings price out many of the longtime, low-income minority residents, who are forced to flee the neighborhoods they once called home.

Gentrification has already displaced a countless number of minority residents from their neighborhoods, and as the demand for centrally-located housing grows, even more people are at risk of being forced out of the places they call home. But what can be done to help resolve the issue and preserve inner-city spaces for lower-income and minority residents? Let’s take a look.

How gentrification damages minority populations

The majority of high-income white earners in metro areas have historically opted to live in the suburbs and other outer-lying areas around major cities, while a large percentage of inner-city, lower-income neighborhoods were made up of minority residents. That has changed over the last decade, mainly due to high-earning residents opting for centrally-located real estate instead. To accommodate the demand, large portions of many inner-city neighborhoods are being sold off to developers by landlords or homeowners at a premium, and the developers — who want to maximize land use and profits — often raze the structures and build high-dollar condos or townhomes on the land instead.

Read full article @ Interest.com

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Anacostia

#SAVEDC! Help M.I. to Raise the Awareness – Saturday, August 15th @ 6:45 PM

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#SAVEDC!

Help M.I. to Raise the Awareness!

A gun violence discussion with the community & families of Davon McNeal & Carlos General

Saturday, August 15th

Saturday’s virtual zoom which will begin at 7p.m. Please find the enclosed link for tuning in below. The event will be live streamed on YouTube as well as Facebook in addition to Zoom.

Please share with as many in your base as possible!

We have to do something about the continuous loss of life and the disconnection of our youth!

There are many philosophies surrounding the nature of this senseless gun-violence and the cycles of despair that many of our youth are caught up in.

Please plan to participate as we feel that it takes a village to not only come to the table but to remain at the table, as we peel back the layers and address this matter and all of the supporting circumstances that have us as a culture losing our young men and youth daily.

M.I. wishes to extend a very special “thank-you” to the family members who are courageously willing to come forward for the benefit of saving our youth despite the loss and unfortunate situations currently facing their families. The show of humility and understanding is not taken lightly and we are forever indebted to your sacrifice and for you heeding the call.

Login to Zoom link to participate @

https://us02web.zoom.us/j/9244574084?pwd=ZmpsZjdOK3VqSVJaOVpJQnF1bHRMdz09

Topic: Help M.I. to Raise the Awareness! #SAVEDC
Time: Aug 15, 2020 06:45 PM Eastern Time

 

Details about the shooting @ https://www.washingtonpost.com/local/public-safety/davon-mcneal-shot/2020/07/05/16390c1a-bec6-11ea-b178-bb7b05b94af1_story.html

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Entertainment

Black Is King Does Everything It Needs To

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Photo: Parkwood Entertainment
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Beyoncé’s nearly 20-year journey in film is as much a testimony to her tenacity as her formidable catalogue in music. Her work in the two fields grows a little more challenging at each turn. While she blossomed as a songwriter during her stint as leader of Destiny’s Child and came out of it as the premier contemporary R&B artist of the 2000s, she took quirky film roles starring alongside comedy icons Steve Martin and Mike Myers in The Pink Panther and Austin Powers: Goldmember. In the mid-aughts, Cadillac RecordsThe Fighting Temptations, and Dreamgirls posited Bey as a multi-hyphenate actor-slash-performer in the style of Whitney Houston, but, lacking a blockbuster like 1992’s Oscar- and Grammy-winning The Bodyguard (critically reviled though that movie might have been in its time), Beyoncé’s early films seemed like obligatory star-making gestures, less like parallels to the movies of multimedia double threats like Madonna and Dolly Parton and more like peers to the works of Jennifer Lopez and Justin Timberlake, musicians whose early film endeavors were hit or miss, relaying an eagerness to branch out of music sometimes lacking in good taste. For every memorable turn in Selena or The Social Network, there was Gigli or The Love Guru or Jersey Girl or Yogi Bear. Beyoncé’s role in the 2009 stalker drama Obsessed, in which she kills Ali Larter’s character in a fight sequence frankly funnier than any of her official comedic performances, did not help matters.

In the past decade, experiments Beyoncé did with the music-video format — alongside Kanye West, whose My Beautiful Dark Twisted Fantasy album was heralded by the fantastical short film Runaway — have shifted the standard for pop-star video excursions, looking to monocultural audio- visual events like the Beatles’ Hard Day’s Night, Prince’s Purple Rain, and Michael Jackson’s Moonwalker for tips in spinning storytelling and performance into a unified narrative thread. Her surprise 2013 self-titled visual album laid important groundwork that she would build upon in 2016’s HBO film Lemonade, which recounts the story of an apparent near miss with divorce but works on secondary levels as a celebration of Black womanhood and a dive into the knotty history and iconography of the South. (Props to Life Is But a Dream, a chronicle of her album and tour and her difficult first pregnancy, and Homecoming, which details the making and execution of Bey’s 2018 headlining Coachella performance, but those are documentaries and more of a testament to Beyoncé the archivist rather than the ambitious storyteller we’re lauding today.) This year’s Black Is King, a full-length film that uses last year’s The Lion King: The Gift as its soundtrack and source text, is the culmination of everything Beyoncé has learned in film since breaking out in Carmen: A Hip Hopera.

Read more at Vulture

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