Photos C/O USC Hugh M. Hefner Moving Image Archive

If you’re an avid reader of the Silhouette, then you’d know our annual rendition of Sex and the Steel City, much like the paper itself, has evolved quite a bit over the past couple of years.

Putting together this year’s sex-positive publication meant embracing the diverse ideas around sexuality, love and health. It’s about creating a non-judgemental space where experiences can be shared, identities are expressed and art can be enjoyed.

Through Sex and the Steel City we were also able to explore Hamilton’s history, challenge the issues our communities’ face and open eyes to future possibilities with passion and dedication.  

Every word and visual in this issue is also a reflection of the privileged position we, as a publication, are in to unapologetically express ourselves. A position that has been continuously denied to people historically and as of late.

For this reason our cover includes re-creations of stills from the recently discovered film Something Good - Negro Kiss. Directed by William Selig in 1898, the film depicts the earliest on-screen kiss between two Black stage entertainers and challenges the racist caricature prevalent in popular culture. In the 29-second silent film, Saint Suttle and Gertie Brown convey undeniable expression of love, pleasure and happiness.

[Best_Wordpress_Gallery id="218" gal_title="Something Good - Nego Kiss"]

Stills from Something Good - Negro Kiss, a silent short film directed by William Selig in 1898 and starring Saint Suttle and Gertie Brown. The film was discovered and restored by University of Southern California archivist Dino Everett and identified by University of Chicago scholar Allyson Field.


We hope to continue the conversation around barriers that continue to marginalize identities today while also celebrating everything good they have to share.

Sex and the Steel City is a hopeful expression that love will prevail.


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“It’s the story of America then,” said Lin-Manuel Miranda about his newest Broadway brainchild, Hamilton in an interview with The Atlantic, “Told by America now.”

Broadway does not have much of a history of diversity, but this time, there’s change in the air. With five-time Tony Award winner Fun Home being the first musical to feature a lesbian central character, NBC’s The Wiz Live! dominating the viewership with its all black cast, and with Miranda’s incredibly diverse Hamilton leading the cavalcade, it’s definitely taking steps to change that, stat.

Hamilton is a story centred around American history. It is the tale of Alexander Hamilton, one of America’s very distinguished and very white founding fathers — who happens to be, in this stage adaptation, played by a Puerto Rican. The musical chronicles his rise and fall from power, a modern tragedy Aristotle would have approved of, with significant historical figures making up the rest of the cast. The narration begins with a rap by Aaron Burr (played by African-American Leslie Odom, Jr.) and ends with an epilogue sung by Alexander’s wife, Eliza (played by Chinese-American Phillipa Soo). Between the beginning and the end is a story that does not disappoint and a soundtrack that never bores, all while trying its best to simultaneously stay true to history and load up on even the most obscure of references.

Still not clear on what the hype is about, exactly? I can take several guesses. One, it’s a Broadway show, yes, and while I do love myself an impressive show tune a la Book of Mormon’s “I Believe,” most of the songs in Hamilton sit right at home in the hip-hop genre. Boasting raps that are as eloquent as they are catchy, and as fast as they are poignant, the show distinguishes itself from the well-known belting of Phantom of the Opera’s Christine and the distinctive melodies of Les Miserables. Two, save for a single character, the whole cast is in fact also comprised of people of colour. In addition to Odom and Soo, former American President Thomas Jefferson is played by Daveed Diggs, who’s also praised for one of the fastest rap solos in Broadway history in his other Hamilton role as the Frenchman Marquis de Lafayette. Alongside Diggs is Christopher Jackson as George Washington, and Okierete Onaodowan is America’s fourth President, James Madison. Three, the musical is very careful in its references to historical facts, but at various points also pays homage to current events, even if that calls for several significant cameo roles or subtly satirical lyrics. Why is everyone so interested in Hamilton? Historically semi-accurate raps, America’s first ever presidents played by people of colour, or current events called out in the form of raps — take your pick.

In light of the recent release of Oscar nominations and the backlash that followed against the lack of diversity (yet again), Hamilton serves as an example of just how misled all the excuses and justifications Hollywood has attempted to scavenge in response are. Hollywood is particularly fond of the “no one will watch it” excuse, the notion that somehow a diverse cast won’t attract as broad an audience as a white cast would. Though musicals are in many ways different from the film industry, Hamilton nonetheless begs to differ. It reached record-breaking sales before its Broadway premiere, and tickets remain sold out until the very end of 2016. The diverse representation has been widely acclaimed, and save for the inevitable outspokenness of those that are personally offended by seeing George Washington played by a biracial man, the cast has received nothing but praise for their spectacular performances of equally spectacular songs. If a show like Hamilton, despite being so strictly about well-known white historical figures, can afford a little wiggle room and repurpose a story with an angle that majority of filmmakers are hesitant to touch, Oscar-worthy or not, then why can’t others do the same?

While I do love myself an impressive show tune a la Book of Mormon’s “I Believe,” most of the songs in Hamilton sit right at home in the hip-hop genre.

Broadway still has a long way to go, but what shows like Hamilton, Fun Home and The Wiz Live! prove in receiving reception better than what anyone expected is that the business excuse is starting to get a little old. It’s about time Hollywood stopped operating under the notion that whiteness is a human default and therefore a storyline must, and instead realize that there is as much potential in the three-way link between cultural excellence, diverse representation, and whatever profitability the cinematic industry seeks.

Better find a new excuse soon, Hollywood.

Photo Credit: Joan Marcus

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