Contraltos are the lowest female singers commonly heard. Unlike their male counterparts (the basses), however, roles for altos are a bit more common, especially in rock musicals. In more traditional pieces, altos are frequently middle-aged leading women, though some of those are mezzos as well. The only role demographic altos have a firm hold over is for women over sixty - which in most shows means grandmothers. In the rare case that there is a female villain in a show, she will probably be an alto.
I made this photo set to showcase the young black actors who do not get as much love and fanaticism as their white counterparts but in making it, it became strikingly apparent to me how the CW minimizes the involvement of young black actors in their story telling. For example, there is no 18-30 female age group representation of black actresses on Arrow or Supergirl. A fact which I became aware of shortly after starting these shows.
As a young black woman, it bothers me that not only that is the case but also that the black men on the CW’s four main superhero shows live in a very white world. What’s more, I believe that that’s done on purpose. It’s rarely shown that the young black male character pursues a black woman as his love interest. James Olsen and Jefferson Jackson being prime examples of that. I negate to mention Wally West with the former two because we’ve only seen him pursue one love interest during the course of the show. The same comparison can be made for the young black women as well. All of Iris’s and Amaya’s love interests are white. Conversely, only one white main character in all of the four shows have actively pursued and stayed with a black love interest—for which the female POC actress receives so much hate from the fandom.
Within all of that lies the issue of colorism. When it comes to casting black actors the casting directors fail to explore the full hues of black skin tones. And because of that fact black representation and acceptability, especially with women, is normalized as biracial. Any skin tone darker than that is viewed as abnormal or undesired.
All this to say, I appreciate the discussions of blackness and black involvement in storytelling, but we have not come even close to representing real diversity. This is not just a CW issue, although I am using them as an example because their programs are geared toward a young audience, it’s a global issue. We as consumers can demand, via social media, op-ed pieces, disposable income expenditure, viewership, etc., that we are represented wholly and truthfully.
Please note that I am speaking as an individual black woman. I choose not to speak on the subject matters concerning ALL POC representation, nor do I choose to speak for ALL black women.
If the writers didn’t fuck up Black Siren’s storyline of her being Cayden’s henchwoman on Arrow (glad to have Katie back, but BS is her own villain who deserves to wreck shit sans being ordered around by the guy who punched the woman who organized his escape) this season, we could’ve had her doing her own version of Flash season 2 where she brings an army of villainous doppelgängers (excluding the dead ones) from all over the multiverse EXCEPT FOR EARTH X to Earth 1 for the crossover.
Whether or not she crashes the WestAllen wedding is unknown bc A) E2!Laurel could be petty and do it bc love means nothing to her or B) crash the rehearsal dinner to take out everyone and make a snarky comment that at least Iris won’t get blood on her pretty white dress.
WE COULD’VE HAD TOMMY COME BACK AS ONE OF THE GOOD DOPPELGÄNGERS AND AFTER E2!OLIVER DIED AND E2!LAUREL WENT ALL BLACK SIREN HE BECAME A VIGILANTE TO STOP HER AND BRING HER BACK TO THE LIGHT. WE COULD HAVE MORE BS BACKSTORY.
EVIL KARA COULD’VE BEEN SUPERWOMAN.
EVIL CURTIS IS MISTER TERRIBLE.
EVIL RENE IS MAD DOG.
EVIL FELICITY COULD BE OVERLORD.
EVIL THEA IS RED ARROW, SHE FINALLY GETS THE CODENAME SHE WANTED.
I DON’T KNOW FUCKING EVIL RIP JUST GOES BY MICHAEL.
SINGH 10/10 BEING FREAKED OUT BY TWO SETS OF WESTALLEN AND THEN MEETING HIS GANGSTER DOPPELGÄNGER.
RETURN OF GEEKY BARRY AND COP IRIS.
MORE GOOD DOPPELGÄNGERS.
I DON’T KNOW WHAT HAPPENS TO BS OR TOMMY BUT WE CAN GO REDEMPTION ROUTE, LAUREL STAYS EVIL, IT’S ALL GOOD, ANY OPTION IS GOOD.
CROSSOVER ENDS WITH E2!WESTALLEN WATCHING E1!WESTALLEN GET MARRIED. CISCO BREACHES THEM ALL TO STAR CITY SO OLIVER CAN PERFORM THE LEGAL WEDDING WITHIN HIS CITY’S LIMITS. E2!WESTALLEN QUIETLY WHISPER THIS WEDDING IS ALMOST AS GOOD AS THEIRS. FELICITY quietly PROPOSES TO OLIVER AFTER THE CEREMONY. I LOVE THAT IMPULSIVE GIRL BUT THIS IS ABOUT WESTALLEN, NO DOUBLE WEDDING WHEN OLIVER IS DOING THE CEREMONY.
E2!BARRY DEDICATES A SONG TO E1!WESTALLEN AND THE CROSSOVER ENDS WITH EVERYONE JUST LOOKING HAPPY, DANCING, DRINKING, CHARACTERS INTERACTING FOR THE FIRST TIME AND IT’S CUTE AND FUN.
CLARISSA AND LILY BRING RONNIE STEIN TO THE RECEPTION, ALEX GETS TO HOLD THE BABY AND SHE LOVES IT, SHE KNOWS SHE’LL GET HER OWN LITTLE FAMILY. SARA IS AT HER SIDE BEING SUPPORTIVE AS FUCK.
MARTIN STEIN IS ALIVE AND TALKING TO JOE AND WELLS ABOUT HOW DAUGHTERS GROW UP SO FAST.
Amelia Hensley as Elle Woods and Elle McLemore as Voice of Elle
Joshua Castille as Emmett Forrest and Sean Grandillo as Voice of Emmett
Andy Mientus as Warner Huntington III
Renee Elise Goldsberry as Paulette Bonafonte
Patrick Page as Professor Callahan
Hillary Baack as Brooke Wyndham and Krysta Rodriguez as Voice of Brooke
Barrett Wilbert Weed as Vivienne Kensington
Nyle DiMarco as Kyle and Jake Shears as Chad/Dewey/Voice of Kyle
Kathryn Gallagher as Enid Hoopes
Sandra Mae Frank as Serena and Alice Lee as Voice of Serena
Ali Stroker as Margot
Treshelle Edmond as Pilar and Ariana DeBose as Voice of Pilar
Ren as Kate and Kimiko Glenn as Chutney/Voice of Kate
So, in this production, Elle has to face prejudice in law school for being deaf and people don’t believe in her because of that added factor. Emmett wears hearing aids (like Josh does) and he tries to act as “hearing passing” as he can, so that nobody looks down on him in school. That is, until Chip On My Shoulder, where he starts to accept his Deafness (with Elle’s help) and Josh removes his hearing aids (maybe?? I’m not really sure on this part and how feasible it is) and stops doing his own vocals so his Voice (Sean) can take over.
In this production, the Voices don’t play any instruments, mostly because I don’t think the style of the musical really lends itself to that. Instead, they’re just present onstage. Voice of Emmett is present the whole time that Emmett is, but follows him around silently until he accepts it. The Voices of Serena, Pilar, and Kate are members of the Greek Chorus (which, in the production is made up of Sandy, Ali, Treshelle, Alice, Ariana, Kimiko, and 3 others) who provide their voices when needed.
All of the characters have a reason for being hearing vs. d/Deaf/HoH, but I don’t feel like typing them all out (there are a lot of characters in this show) so if anyone has any questions, feel free to ask!
It should be noted that under the influence of the very recent idea of ‘progress’, 'philosophies of becoming’ have, in modern times, taken on a special form that theories of the same type never had among the ancients: this form, although it may have multiple varieties, can be covered in general by the name 'evolutionism’. We need not repeat here what we have already said elsewhere on this subject; we will merely recall the point that any conception allowing for nothing other than 'becoming’ is thereby necessarily a 'naturalistic’ conception, and, as such, implies a formal denial of whatever lies beyond nature, in other words the realm of metaphysics - which is the realm of immutable and eternal principles. We may point out that also, in speaking of these anti-metaphysical theories, that the Bergsonian idea of 'pure duration’ corresponds exactly with that dispersion in instantaneity to which we alluded above; a pretended intuition modeled on the ceaseless flux of the things of the senses, far from being able to serve as an instrument for obtaining true knowledge, represents in reality the dissolution of all possible knowledge.
This leads us to repeat an essential point on which not the slightest ambiguity must be allowed to persist: intellectual intuition, by which alone metaphysical knowledge is to be obtained, has absolutely nothing in common with this other 'intuition’ of which certain contemporary philosophers speak: the latter pertains to the sensible realm and in fact is sub-rational, whereas the former, which is pure intelligence, is on the contrary supra-rational. But the moderns, knowing nothing higher than reason in the order of intelligence, do not even conceive of the possibility of intellectual intuition, whereas the doctrines of the ancient world and of the Middle Ages, even when they were no more than philosophical in character, and therefore incapable of effectively calling this intuition into play, nevertheless explicitly recognized its existence and its supremacy over all the other faculties. This is why there was no rationalism before Descartes, for rationalism is a specifically modern phenomenon, one that is closely connected with individualism, being nothing other than the negation of any faculty of supra-individual order. As long as Westerners persist in ignoring or denying intellectual intuition, they can have no tradition in the true sense of the word, nor can they reach any understanding with the authentic representatives of the Eastern civilizations, in which everything, so to speak, derives from this intuition, which is immutable and infallible in itself, and the only starting-point for any development in conformity with traditional norms.