July 24th 1980 - Rolling Stone Cover

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‘Hamilton’ Mania! Backstage at the Cultural Event of Our Time (Rolling Stone):

Bay Area rapper Daveed Diggs had never seen a Broadway show before he was cast as Hamilton nemesis Thomas Jefferson. “I knew Fiddler on the Roof, because my mom really liked that and we always had the album around the house growing up, and that was about it,” Diggs says. “But I was totally intrigued the second I heard the demos of the songs in Hamilton and read through the music. The rapping is good – that’s what really got me.”


“When you’re developing your voice as a rapper, you figure out your cadence – your swag – and that’s how you write,” Diggs says. “Lin managed to figure that out for all of these different characters – everyone has their own swag, and it feels germane to them. And that’s really impressive. Hercules Mulligan [a Hamilton pal who spied on the loyalists during the American Revolution] raps exactly like a dude named Hercules Mulligan!”

Even more radical than the catholic musical approach is Hamilton’s reckoning with our country’s creation myth. There’s an almost indescribable power in seeing the Founders, in an otherwise historically rigorous production, portrayed by a young, multiracial cast. “It is quite literally taking the history that someone has tried to exclude us from and reclaiming it,” says Leslie Odom Jr., who comes close to stealing the show with his turn as Hamilton killer Aaron Burr. “We are saying we have the right to tell it too.” If every presidential administration gets at least one mass-cultural moment it deserves, then Hamilton has become the Obama era’s Wall Street, its 24, its Spice World – even more so, perhaps, because the show has actually managed to fulfill candidate Obama’s promise to bridge the divide between Red and Blue America. Fans of Hamilton include Mitt Romney, Hillary Clinton, Bernie Sanders, Dick Cheney and the president himself.

Christopher Jackson, Hamilton’s towering George Washington, has known Miranda the longest of any of the major cast members, having previously starred in In the Heights. “Lin told me about his idea for Hamilton a few days after that fateful vacation,” Jackson recalls. “We were actually onstage doing Heights. He said, 'I’ve got the next thing. It’s about the Treasury secretary!’ And then he paused, and before I could say, 'What?!’ the music started and we had to do '96,000.’ When Ron Chernow came to see Heights, I had never seen Lin that nervous. He said, 'Ron Chernow’s here!’ I said, 'What does that mean?’ And he said, 'The show needs to go well today.’”

Odom first saw a workshop version of Hamilton at Vassar and found himself responding, almost viscerally, to “The Story of Tonight,” an early number in which Hamilton and three friends (Mulligan, the Marquis de Lafayette and John Laurens) boisterously drink together in a tavern on the eve of the Revolution. “That’s the one that made me a puddle, because it was four men of color onstage singing a song about friendship and brotherhood and love, and I had never seen that in a musical,” Odom says. “I had seen white guys do it, in Jersey Boys, in Les Miz. Never seen a black guy. So I was a mess, and from that point, I was along for the ride.”

Phillipa Soo, who makes her Broadway debut as Hamilton’s wife, Eliza, says that she had to figure out her relationship to her stage husband, to answer questions like, “Who is this man to me, and why do I love him?” In the end, she realized her “research was already here for me. It became less about finding facts about Eliza and Alexander Hamilton and more about just watching Lin. I remember him coming into the rehearsal room in his slippers, because he’d been across the street writing. And I was like, 'Oh, my God, this guy is nonstop!’ Kind of like Hamilton.”

Helium Vader also gets a shout-out in the article



I don’t fucking care about 5sos having sex or partying, its their lives and they can do whatever they want with it but it. What I found extremely disrespectful about this article is how low they talk about their fans, the people who made them who they are today and the way they talked about girls when mentioning the sex things. Girls are not objects and shouldn’t be treated as such things, for starters. Also, the way they mention the fans to be young deluded psychotic girls is seriously ridiculous! Just because girls are a majority of your audience doesn’t mean you’re less of a credible artist and doesn’t invalidate their opinion as people. Breaking news to 5sos: all the shit you own now is because of fans who decided to spend their money on you, money they could’ve spent on anything else but they thought you’d be the best way to do it and most of them feel dumb as shit right now. I thought they’d be smart enough to keep this article about the music and their future as band since it reaches for the audience they’re trying to break into but they literally set their careers on fire. Michael’s tweet doesn’t even deny anything they said on this article, he just pointed out they used everything they said EXCEPT the fans part. Another thing that bothered me is the fact that didn’t give a shit a journalist who writes for one of the biggest magazines in the world saw how unprofessional they were (starting for not replying to their crew). I’m not saying they have to be 100% clean and organized and having their shit together all the time but the fact they gave an interview in their underwear with wine stains and beer bottles all around them in concerning, to say the least. We would expect that for people who spend 75% of their time trying to prove they’re a real band they’d do a better job at this but they literally blew the chance they had to break through the older audience (people who they think would make them “credible artists”). Then Calum saying that his nudes were “good publicity” after all, as it is a good thing to have your privacy exposed, and he’d be willing to do a sex tape if they needed more promo like (pardon my french) what the fuck are you on dude? Glad he took it well but it’s not okay, a lot of people had their lives ruined because of this. To sum up this whole thing, I think we can all agree 5sos showed us their true colors. If this was their way of getting rid of the innocent teenage kids image, they fucked up real bad. All I’ve seen after this interview was people talking about how they don’t make it about the music anymore and none of what was published is anyone’s business. 5SOS is always complaining about fans not giving them space and respecting their privacy, how we as fans don’t ask about the music anymore then proceed to let this article be published. And whether or not all fans respect them, they should respect us, the fans who are here for the music and spend time, effort and money on them, who put them where they’re now. They need to take a step back and realize that they gotta think before saying shit like this because it’ll affect their fan base (the people they depend on). Fame has clearly got to their heads and they need to take a step back and realize if they keep doing/saying stuff like this, it’ll come to a point they won’t be a band anymore so they can either start to save money to live in the future or work to keep making money. 

@5sos-official it’s up to you, dudes.

  • Rolling Stone cover:sign me the FUCK up 👌👀👌👀👌👀👌👀👌👀 good shit go౦ԁ sHit👌 thats ✔ some good👌👌shit right👌👌th 👌 ere👌👌👌 right✔there ✔✔if i do ƽaү so my self 💯 i say so 💯 thats what im talking about right there right there (chorus: ʳᶦᵍʰᵗ ᵗʰᵉʳᵉ) mMMMMᎷМ💯 👌👌 👌НO0ОଠOOOOOОଠଠOoooᵒᵒᵒᵒᵒᵒᵒᵒᵒ👌 👌👌 👌 💯 👌 👀 👀 👀 👌👌Good shit
  • Rolling Stone article:do NOT sign me the FUCK up 👎👀👎👀👎👀👎👀👎👀  bad shit ba̷̶ ԁ sHit 👎 thats ❌ some bad 👎👎shit right 👎👎 th   👎 ere 👎👎👎 right ❌ there ❌ ❌ if i do ƽaү so my self🚫 i say so 🚫 thats not what im talking about right there right there (chorus: ʳᶦᵍʰᵗ ᵗʰᵉʳᵉ) mMMMMᎷМ 🚫 👎 👎👎НO0ОଠOOOOOОଠଠOoooᵒᵒᵒᵒᵒᵒᵒᵒᵒ 👎 👎👎 👎 🚫 👎 👀 👀 👀 👎👎Bad shit
How Aziah Wells Is Being Erased From The Zola Story

I was so excited about the Zola Story. So excited. It entertainingly exhibited a Black woman’s agency, innovation, heroism and creativity. To me, and quite a few others on the internet, it was desperately captivating and entertaining as hell.

So imagine my excitement when I learned that Ava DuVernay also thought the story was brilliant. This is a woman who has the track record, the power and the clout to get this story on the big screen. The two tweeted each other. So I just knew they, two Black women, could make it happen.

That’s just not how the cookie crumbled.

As is the case with quite a bit of Black art, it’s been co-opted. It started when Rolling Stone reached out to interview “Zola,” whose real name is Aziah Wells, her family members, her fiancé, and two of her “very real” characters, Jessica and her helpless boyfriend Jarrett.

The Rolling Stone piece,which got down to the fact and fiction of Wells’ twitter story (hint, it was mostly true), was written by David Kushner and, according to Variety,  it is Kushner’s story, not Wells’, that is serving as the base for the script and eventually the film.

In case you couldn’t tell by the name David, Kushner is a man. After looking at his picture and doing some Googling, his race and ethnicity are still unclear. He may very well be a man of color. But we’ll get back to that later.

The script will be written by two more White men, Andrew Neel and Mike Roberts.

And at the helm, directing  is White actor and director James Franco.

James Franco is talented. But he’s also the same man who felt it was appropriate to star in The Interview, a movie that made light of assassinating North Korean dictator Kim Jong-un. It represented just a general lack of respect for a world leader. And I’d argue if that world leader were White (or American…that couldn’t happen with President Obama either), the film would have never been green lit by a predominately White Sony Pictures in the first place. I bring that up to suggest that perhaps, as a White man, Franco is not so in touch with people of color. Or not well enough to tell their stories.

I believe if he and his partners were indeed in touch, someone behind the scenes, either the writers or director would have been, in this particular case, Black. After all, they all swooped in to capitalize off the story of a Black woman, a White woman, White man and a Black (Nigerian to be exact) pimp. If you look at that cast of characters, White men are clearly in the minority. Yet, they represent all of the people chosen as leadership for this project.

Why wasn’t it Wells’ tweets that were used as the basis for the story instead of Kushner’s article, which though well-written and fact-checked, is basically just a rehashing of the twitter story.

In the Variety piece not only is Wells’ name completely absent from the discussion about the film, her image has even been erased from the article itself as if James Franco created a story that had the internet going crazy.

This is what we mean by cultural appropriation. This is what Azealia Banks, in a moment of lucidity, meant when she talked about the smudging or erasure of Black culture. This story, experienced and retold by a Black woman, has the potential to make millions of dollars; and, as far as I can tell, her name is not even mentioned in the discussion. But CAA, the company that represents Franco, Neel, Killer Films, and Kushner, will represent the film’s domestic distribution rights.

It’s just another glaring example of the ways White people, swoop in and commercialize our greatness for their gain.

And that’s not the only issue with what’s happening here. Not only are the director and writers White, they’re men.

I don’t have to tell you that men don’t and can never fully understand the plight of women. They don’t know what it’s like to be harassed on the street. They can’t relate to earning less money for the same amount of work, based solely on your gender. They likely don’t fear for their safety when they go out alone at night. The government isn’t trying to dismantle or completely destroy their reproductive rights. The police don’t have a history of systematically dismissing their rapes or incidents of domestic violence.

If men, in their positions of privilege in our society, fail to understand the experiences of everyday women, how much more out of touch would they be identifying with those women who work in strip clubs or in the sex trade. They simply can’t. Hopefully, these guys will do their research but this all is just very indicative of the lack of diversity in Hollywood. It’s not just about a lack of racial diversity. For far too long, there’s been a lack of stories about women as well. Think of how many stories we think are about women. But all the women do is complain or gush about a man. It’s played.

I don’t know why having a Black woman tell a Black woman’s story is such a novel idea. But unless some new information comes out about this project and the people behind it, I have absolutely no desire to pay to see a Black woman be co-opted out of her own life.

And as a bit of fun fact, Wells could certainly use this extra money as she and her fiancé are expecting a child, a little girl.

If you’re late to the party, you can read the full, authentic Zola story here.