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'Money & Violence' (webisode)....Brooklyn's version of 'The Wire' (Updated with SEASON FINALE)
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hoodsavior
New member
Nah I'm not saying rafe is fake.. I'm just saying the difference between him and miz I see different now.. Rafe is just like miz.. The jewels he drops to Kane are just warnings on some "you don't want to get in as deep as me" shit.. Rafe didn't seem lost until the convo wit Ebro.. Almost like rafe is too far gone to go back or fall back..
Rafe aint dead.. he's the main character
Mister tho... whether he's dead or not its kinda wack he got shot cuz things can never be the same..
if he's dead he's gone, no more hilarious bullying.. and if he's alive he cant just go back to the same hilarious bullying that got him shot
Mister tho... whether he's dead or not its kinda wack he got shot cuz things can never be the same..
if he's dead he's gone, no more hilarious bullying.. and if he's alive he cant just go back to the same hilarious bullying that got him shot
Stiff;7817577 said:What I wonder is why gunner would ride for leon in the first place..I don't think they're blood related and leon seem like a snake so i wonder how they're connected.
lol @ gunner and leons...they the odd couple
they conversations remind me of pinky and the brain
StillFaggyAF
New member
http://bossip.com/1107513/on-money-violence-and-the-importance-of-the-black-narrative/
Money & Violence is a low-budget Youtube drama about stick-up kids and drug dealers in New York City. And it’s the most talked-about non-Empire show in the mystical world of Black Twitter. Every episode since its August debut has amassed at least half a million views and it’s as addicting as the white stuff the corner boys are pushing. On its surface, M&V is a typical movie about drugs and guns in the Black community. At first glance, the show is something the Black intellectual community would scoff at as detrimental for us to consume. But Money & Violence is much more. The YouTube hit is a story about trust, friendship and moral ambiguity. It only takes an episode to get drawn into the moral dilemmas of the main characters. They murder and steal but they live by codes. And they honor them with their lives.
What also makes the show unique is that it’s a show devoid of White people. Anywhere. While The Wire is arguably the most realistic visual of an urban mostly-Black drug trade, it’s a story that’s still told under the narrative of a White power structure. The Wire explained all of the political and socio-economic functions that created the Baltimore projects – and it did so brilliantly. M&V functions on a micro level. Yes, we know or at least have a vague understanding of the political decisions that led Miz and his crew to rob and sell drugs for a living, but this isn’t about that. It’s about how the characters navigate their terrain, surviving by any means. M&V is insulated Blackness. It’s a Black experience independent of White characters, White saviors and White power. There’s nothing like it on television. For as great as Black-ish is, it’s a show about maintaining Blackness in a wholly White world. Empire comes close but it’s so over-the-top that it’s insane to consider it even remotely realistic. These shows are important, but M&V is something else entirely.
By the end of M&V’s first season, I’m emotionally invested in the main characters’ tragedies. The characters are products of their environments, bad decisions and quests for power. M&V’s writer-director, Moetivation, said he plucked stories from his and his friends’ personal experiences and hired acquaintances to act out the scenes. The language is authentic, so much so that it’s actually helped me understand half the things rappers say when they’re talking about street life. Most importantly, the show demonstrates the importance and placement of Black narratives in the American creative process.
The reason Money & Violence is so compelling is that it tells a story that no one has ever broached from such an intimate perspective. There are details about the characters’ lifestyles that can only come from those who lived it. What’s lost is that these stories are all across America. Every corner or public school or business has a story about Blackness that’s ignored because the storytellers aren’t allowed in the discussion about America. Watch Fruitvale Station again; it didn’t take an execution-style murder to make his story worth telling.
Black inclusion in America’s creative consciousness isn’t new. However, Black stories told by Black people, executed by Black people and done in a way that’s unimpeachably true are all too rare. Moe’s story of street corner ethics is just as needed as Whitley’s story of discovering her blackness on a HBCU campus. We need Money & Violence just as much as we need A Different World. These stories make up the oeuvre of the Black experience. And if we don’t tell them, who will?
Contrast M&V to Noisey’s documentary on, well, anything Black. Noisey treats Blackness like a ride at Six Flags, a scary adrenaline rush that they want to enjoy as long as they know they’ll eventually get off and go back to their glorious whiteness. Blackness is treated as a spectacle, with the hipster-y White guy gazing in awe as trap rapper du jour metaphorically tap dances with his favorite gun. Blackness has no redeemable quality for Noisey’s documentaries. And for the longest time, these voyeurs have controlled the Black narrative, essentially creating propaganda films for any neighborhood watch racist who needs a frame of reference when he sees a Black teen in a hood.
Money & Violence is so much more. The show isn’t afraid to admit that, yes, there are Black men in this world who will rob you or carry guns wherever they go. They’re alive. But they are more nuanced, more human with real stresses, cares and regrets that Noisey doesn’t care to explore.
Money & Violence shows how we can control our own narratives. How, regardless what a television network, Oscar Academy or blogger says, our voices and, by default, lives matter.
Money & Violence is a low-budget Youtube drama about stick-up kids and drug dealers in New York City. And it’s the most talked-about non-Empire show in the mystical world of Black Twitter. Every episode since its August debut has amassed at least half a million views and it’s as addicting as the white stuff the corner boys are pushing. On its surface, M&V is a typical movie about drugs and guns in the Black community. At first glance, the show is something the Black intellectual community would scoff at as detrimental for us to consume. But Money & Violence is much more. The YouTube hit is a story about trust, friendship and moral ambiguity. It only takes an episode to get drawn into the moral dilemmas of the main characters. They murder and steal but they live by codes. And they honor them with their lives.
What also makes the show unique is that it’s a show devoid of White people. Anywhere. While The Wire is arguably the most realistic visual of an urban mostly-Black drug trade, it’s a story that’s still told under the narrative of a White power structure. The Wire explained all of the political and socio-economic functions that created the Baltimore projects – and it did so brilliantly. M&V functions on a micro level. Yes, we know or at least have a vague understanding of the political decisions that led Miz and his crew to rob and sell drugs for a living, but this isn’t about that. It’s about how the characters navigate their terrain, surviving by any means. M&V is insulated Blackness. It’s a Black experience independent of White characters, White saviors and White power. There’s nothing like it on television. For as great as Black-ish is, it’s a show about maintaining Blackness in a wholly White world. Empire comes close but it’s so over-the-top that it’s insane to consider it even remotely realistic. These shows are important, but M&V is something else entirely.
By the end of M&V’s first season, I’m emotionally invested in the main characters’ tragedies. The characters are products of their environments, bad decisions and quests for power. M&V’s writer-director, Moetivation, said he plucked stories from his and his friends’ personal experiences and hired acquaintances to act out the scenes. The language is authentic, so much so that it’s actually helped me understand half the things rappers say when they’re talking about street life. Most importantly, the show demonstrates the importance and placement of Black narratives in the American creative process.
The reason Money & Violence is so compelling is that it tells a story that no one has ever broached from such an intimate perspective. There are details about the characters’ lifestyles that can only come from those who lived it. What’s lost is that these stories are all across America. Every corner or public school or business has a story about Blackness that’s ignored because the storytellers aren’t allowed in the discussion about America. Watch Fruitvale Station again; it didn’t take an execution-style murder to make his story worth telling.
Black inclusion in America’s creative consciousness isn’t new. However, Black stories told by Black people, executed by Black people and done in a way that’s unimpeachably true are all too rare. Moe’s story of street corner ethics is just as needed as Whitley’s story of discovering her blackness on a HBCU campus. We need Money & Violence just as much as we need A Different World. These stories make up the oeuvre of the Black experience. And if we don’t tell them, who will?
Contrast M&V to Noisey’s documentary on, well, anything Black. Noisey treats Blackness like a ride at Six Flags, a scary adrenaline rush that they want to enjoy as long as they know they’ll eventually get off and go back to their glorious whiteness. Blackness is treated as a spectacle, with the hipster-y White guy gazing in awe as trap rapper du jour metaphorically tap dances with his favorite gun. Blackness has no redeemable quality for Noisey’s documentaries. And for the longest time, these voyeurs have controlled the Black narrative, essentially creating propaganda films for any neighborhood watch racist who needs a frame of reference when he sees a Black teen in a hood.
Money & Violence is so much more. The show isn’t afraid to admit that, yes, there are Black men in this world who will rob you or carry guns wherever they go. They’re alive. But they are more nuanced, more human with real stresses, cares and regrets that Noisey doesn’t care to explore.
Money & Violence shows how we can control our own narratives. How, regardless what a television network, Oscar Academy or blogger says, our voices and, by default, lives matter.
scrapper1;7817497 said:Rafe drops a lot of Jewels... but sometimes, shit be cubic zirconia
(ob)Scene;7810635 said:Trillfate;7810133 said:Rafe dropped a JEWEL about cops, doctors and the man that works the electric chair not being looked at as murderers..
That jewel is cubic zirconia.
Damn, nigga didn't even wait 5 pages.
SheerExcellence
New member
SheerExcellence;7665470 said:Shit ty is my favorite character
Mizz is my second favorite
Shane third
Rafe down there with kane and leon
I know rafe supposed to be the main character, but he try to hard to always drop jewels
Furthermore someone who drops as many jewels as him should know he should NOT be trying to get kane into the game nor should he risk his freedom/safety on a man who gives anther grown man piggy back rides to the bodega
You can't drop no jewels to me if your homie giving out money and piggyback rides to niggas. Nah, b. Keep those five dollar qvc diamonique joints for yourself.
Fuck BOTH yall niggas
DOPEdweebz
New member
Haitian Excellence.
jazzybella
New member
AggyAF;7822155 said:http://bossip.com/1107513/on-money-violence-and-the-importance-of-the-black-narrative/
Money & Violence is a low-budget Youtube drama about stick-up kids and drug dealers in New York City. And it’s the most talked-about non-Empire show in the mystical world of Black Twitter. Every episode since its August debut has amassed at least half a million views and it’s as addicting as the white stuff the corner boys are pushing. On its surface, M&V is a typical movie about drugs and guns in the Black community. At first glance, the show is something the Black intellectual community would scoff at as detrimental for us to consume. But Money & Violence is much more. The YouTube hit is a story about trust, friendship and moral ambiguity. It only takes an episode to get drawn into the moral dilemmas of the main characters. They murder and steal but they live by codes. And they honor them with their lives.
What also makes the show unique is that it’s a show devoid of White people. Anywhere. While The Wire is arguably the most realistic visual of an urban mostly-Black drug trade, it’s a story that’s still told under the narrative of a White power structure. The Wire explained all of the political and socio-economic functions that created the Baltimore projects – and it did so brilliantly. M&V functions on a micro level. Yes, we know or at least have a vague understanding of the political decisions that led Miz and his crew to rob and sell drugs for a living, but this isn’t about that. It’s about how the characters navigate their terrain, surviving by any means. M&V is insulated Blackness. It’s a Black experience independent of White characters, White saviors and White power. There’s nothing like it on television. For as great as Black-ish is, it’s a show about maintaining Blackness in a wholly White world. Empire comes close but it’s so over-the-top that it’s insane to consider it even remotely realistic. These shows are important, but M&V is something else entirely.
By the end of M&V’s first season, I’m emotionally invested in the main characters’ tragedies. The characters are products of their environments, bad decisions and quests for power. M&V’s writer-director, Moetivation, said he plucked stories from his and his friends’ personal experiences and hired acquaintances to act out the scenes. The language is authentic, so much so that it’s actually helped me understand half the things rappers say when they’re talking about street life. Most importantly, the show demonstrates the importance and placement of Black narratives in the American creative process.
The reason Money & Violence is so compelling is that it tells a story that no one has ever broached from such an intimate perspective. There are details about the characters’ lifestyles that can only come from those who lived it. What’s lost is that these stories are all across America. Every corner or public school or business has a story about Blackness that’s ignored because the storytellers aren’t allowed in the discussion about America. Watch Fruitvale Station again; it didn’t take an execution-style murder to make his story worth telling.
Black inclusion in America’s creative consciousness isn’t new. However, Black stories told by Black people, executed by Black people and done in a way that’s unimpeachably true are all too rare. Moe’s story of street corner ethics is just as needed as Whitley’s story of discovering her blackness on a HBCU campus. We need Money & Violence just as much as we need A Different World. These stories make up the oeuvre of the Black experience. And if we don’t tell them, who will?
Contrast M&V to Noisey’s documentary on, well, anything Black. Noisey treats Blackness like a ride at Six Flags, a scary adrenaline rush that they want to enjoy as long as they know they’ll eventually get off and go back to their glorious whiteness. Blackness is treated as a spectacle, with the hipster-y White guy gazing in awe as trap rapper du jour metaphorically tap dances with his favorite gun. Blackness has no redeemable quality for Noisey’s documentaries. And for the longest time, these voyeurs have controlled the Black narrative, essentially creating propaganda films for any neighborhood watch racist who needs a frame of reference when he sees a Black teen in a hood.
Money & Violence is so much more. The show isn’t afraid to admit that, yes, there are Black men in this world who will rob you or carry guns wherever they go. They’re alive. But they are more nuanced, more human with real stresses, cares and regrets that Noisey doesn’t care to explore.
Money & Violence shows how we can control our own narratives. How, regardless what a television network, Oscar Academy or blogger says, our voices and, by default, lives matter.
I usually go to Bossip for its outlandish gossip however whomever wrote this piece did a phenomenal job on telling the truth behind this web series that captures the unapologetic complexities of the black psyche. kudos to the writer =D>
Chasin Bundlez
New member
Shout out to everyone that fucked wit the thread and enjoyed the show (even the posters that watched but never made a post in he thread, I see you)....I honestly didn't see this shit blowing up as much as it did (the thread or the show) when I initially made the thread, so to see these dudes getting all these big cosigns and interviews, and allegedly in talks with multi million dollar companies (for season 2) is really inspiring for real yo, proud of them niggas....word.
Special shoutout to Goldie for stickying this shit, and to KingGod for updating all the new episodes weekly.
Special shoutout to Goldie for stickying this shit, and to KingGod for updating all the new episodes weekly.
Trillfate;7820307 said:Rafe aint dead.. he's the main character
Mister tho... whether he's dead or not its kinda wack he got shot cuz things can never be the same..
if he's dead he's gone, no more hilarious bullying.. and if he's alive he cant just go back to the same hilarious bullying that got him shot
@Meta_Conscious niggas wont take mister seriously after getting shot by kane
he gonna be suge knight in the streets
Meta_Conscious
New member
Trillfate;7824105 said:Trillfate;7820307 said:Rafe aint dead.. he's the main character
Mister tho... whether he's dead or not its kinda wack he got shot cuz things can never be the same..
if he's dead he's gone, no more hilarious bullying.. and if he's alive he cant just go back to the same hilarious bullying that got him shot
@Meta_Conscious niggas wont take mister seriously after getting shot by kane
he gonna be suge knight in the streets
That's a story in and of itself...
Also, he wasn't respected anyway if u pay attention...
bkzlostchild
New member
It's great to see these cats putting on for my home Flatbush & the borough in general. Even with the limited budget, they made that shit work & now these cats bout to blow up. Anythings possible.
Chasin Bundlez;7824096 said:Shout out to everyone that fucked wit the thread and enjoyed the show (even the posters that watched but never made a post in he thread, I see you)....I honestly didn't see this shit blowing up as much as it did (the thread or the show) when I initially made the thread, so to see these dudes getting all these big cosigns and interviews, and allegedly in talks with multi million dollar companies (for season 2) is really inspiring for real yo, proud of them niggas....word.
Special shoutout to Goldie for stickying this shit, and to KingGod for updating all the new episodes weekly.
Rafe is that you? Lol
Knock_Twice
New member
Just catching up on some shows..
Man if yall can help me out, what's the situation between the Jamaicans, I know they at 1st were riding for Donavan but now they going at one another (if I'm not mistaken) what's the reason for this war against each other?
What's their story line...it's hard to understand them lol..
Man if yall can help me out, what's the situation between the Jamaicans, I know they at 1st were riding for Donavan but now they going at one another (if I'm not mistaken) what's the reason for this war against each other?
What's their story line...it's hard to understand them lol..
Knock_Twice;7826064 said:Just catching up on some shows..
Man if yall can help me out, what's the situation between the Jamaicans, I know they at 1st were riding for Donavan but now they going at one another (if I'm not mistaken) what's the reason for this war against each other?
What's their story line...it's hard to understand them lol..
The one dread Dr wasn't respecting how The General was moving. He feel like he came from Jamaica to kill and get revenge for his people's but The General orders got him sitting back and he ready to go tear some shit up. Then The General started feeling the disrespect from Dr then they lined him up to kill him but Dr escaped now it's on
Knock_Twice
New member
bherc;7826094 said:Knock_Twice;7826064 said:Just catching up on some shows..
Man if yall can help me out, what's the situation between the Jamaicans, I know they at 1st were riding for Donavan but now they going at one another (if I'm not mistaken) what's the reason for this war against each other?
What's their story line...it's hard to understand them lol..
The one dread Dr wasn't respecting how The General was moving. He feel like he came from Jamaica to kill and get revenge for his people's but The General orders got him sitting back and he ready to go tear some shit up. Then The General started feeling the disrespect from Dr then they lined him up to kill him but Dr escaped now it's on
Oh ok
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