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The Latinx population first emerges in the chaos of the grocery store. With the first frames of Drake’s music video, it is clear that the music video’s focus is primarily Black and white. Drake’s video plays into this same psychosocial drama that lasts even today. Newsmakers knew that “the lack civil rights movement would make for captivating because the story they were telling could be sutured into the nation’s psychosocial drama of lack versus white, freedom versus slavery” (2).
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This choice could reflect how, just like in the 1960s and 1970s, news network’s footage focused on the African American civil rights movement because of “narrow institutional considerations” (2). The final two images are a closeup of an elderly, toothless man smiling, and then a middle aged man flexing to the camera, saying “yeah, yeah”. The video then pans to a middle-aged woman in jeans and a long sleeved shirt who stands in front of what appears to be a garage door. Then, a group of men lounge together at the outside of an apartment, snacking and looking down at the camera. Next, an old man with a cane rests on a shopping cart outside of a graffitied supermarket. First a child sits on the steps of an apartment. The first six frames of the music video involving people are African American people. The video itself involves Drake handing out money (like paying for everything at a grocery store for a group of people and handing out a mountain of wrapped Christmas gifts) in Florida. It also aligns to the reductive treatment of issues of poverty and recognition, issues that the Chicano movement sought to address. While “African Americans through their persistent exclusion central to the founding mythologies of the United States”, Mexican Americans and the Chicano movement remained “detained at the border of the nation’s racial imaginary, sometimes included but more often excluded from the stories and images that make up the dominant history of the United States” (2).ĭrake’s God’s Plan music video conveys a story that contributes to the dominant history of the United States. The context of the Chicano movement did not play into the dramatic Black/white binary, so news networks did not see the movement as important. This “very narrow filter” framed “Chicanos and Chicanas…as threats to the integrity of the nation”, and ignored the history of discrimination, illegal takeover of land, and pain that the United States subjected the Latinx community to (2). When the news networks covered the Chicano movement, they chose to frame the Chicano movement as a violent, divisive movement. Mexican Americans were visible “only as an undifferentiated mass” (2). While the three major news networks gave this event only “passing coverage”, they “oriented viewers toward the police point of view” (2). This planned peaceful assembly ended up as a clash against the police. For example, “on August 29, 1970, an estimated 25,000 mostly Mexican Americans assembled together in East Los Angeles to protest the Vietnam War” (2). “Limited coverage of Chicano/a activism was bent both aurally and visually toward the police interpretation of events over and against the perspectives of Mexican Americans” (2). Ontiveros demonstrates how the media framed the Chicano movement as a menace. The media reduced Mexican Americans in the Chicano movement to both threats and victims. This simplification occured in the 1960s as well because news networks simplified and even ignored the complexity and rich history of the Chicano movement.
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In this paper, I will analyze the footage Drake pairs with the lyrics to his song God’s Plan to illustrate how modern media, here a music video, oversimplifies issues of poverty, resistance, and Drake himself into a one dimensional savior figure. Drake’s God’s Plan complements many of the claims made in Ontiveros’ piece about the Chicano movement: how the media sensationalizes issues and disregards context, how the media stresses that “the market rather than collective action is the best remedy for social and political injustice”, and how the media perpetuates figureheads of movements (2). “What matters most in politics” has historically “ unrecorded”, and we see this through footage in Drake’s God’s Plan music video and analysis of the footage of the Chicano movement found in Randy Ontiveros’ No Golden Age: Television News and the Chicano Civil Rights Movement (2010) (2).