Millie Jackson

Press play on A GOOD DAY TO BE BLACK AND SEXY. A mixed tape of deftly arranged vignettes on Black Love, Sex, and Reciprocity. What you hear may be unrecognizable at first Neo-realistic intimacy between black people found in rare grooves previously drowned out by the sounds of modern hook-ups and bougie preoccupations, a cacophony of mass-produced beats created with drum machine loops and software. A Good Day to be Black and Sexy is that dusty LP you find in the crates. But as soon as you put the needle to wax, all the forgotten lyrics return to your lips in this dreamy love sonnet to the beautiful and chocolate coated. The intro track is a prelude into the heavily sensual world of expectations - the rhythm that drives the film. Erotic moments are lullabies that turn into syncopated groves without notice. This record skips, and jumps to the hook of a Millie Jackson remix. An anthem belted out by a minx who knows her limits, but can t resist testing the boundaries. It s a song a sistah can roll her neck and snap her fingers to, exuding, at least for the moment, the confidence that every Black woman wished they had underneath the facade. When the bridge is over, a slow jam slides in- the one from prom night when curfews were extended and hotel rooms were reserved. Back when wistful notions of love were only true when written in diaries and carved on school desks. A sticky interlude eases in and out of the song, and you move a little closer and wrap your arms around to dance tighter, until growing up too fast and maturing too late, causes innocence to be lost too soon. Needle getting closer to the middles leaving the last cut a re-imagined version of masculinity, basketball, and the inability to freely love who you want to love, at the ease that non-Negroes take for granted. Time runs out and so does the tape. Eject

Press play on A Good Day To Be Black and Sexy and check out the trailer. A mixed tape of deftly arranged vignettes on Black Love, Sex, and Reciprocity. What you hear may be unrecognizable at first… Neo-realistic intimacy between black people found in rare grooves previously drowned out by the sounds of modern hook-ups and bougie preoccupations, a cacophony of mass-produced beats created with drum machine loops and software. A Good Day To Be Black and Sexy is that dusty LP you find in the crates. But as soon as you put the needle to wax, all the forgotten lyrics return to your lips in this dreamy love sonnet to the beautiful and chocolate coated. The intro track is a prelude into the heavily sensual world of expectations - the rhythm that drives the film. Erotic moments are lullabies that turn into syncopated groves without notice. This record skips, and jumps to the hook of a Millie Jackson remix. An anthem belted out by a minx who knows her limits, but can t resist testing the boundaries. It s a song a sistah can roll her neck and snap her fingers to, exuding, at least for the moment, the confidence that every Black woman wished they had underneath the facade. When the bridge is over, a slow jam slides in- the one from prom night when curfews were extended and hotel rooms were reserved. Back when wistful notions of love were only true when written in diaries and carved on school desks. A sticky interlude eases in and out of the song, and you move a little closer and wrap your arms around to dance tighter, until growing up too fast and maturing too late, causes innocence to be lost too soon. Needle getting closer to the middles leaving the last cut a re-imagined version of masculinity, basketball, and the inability to freely love who you want to love, at the ease that non-Negroes take for granted. Time runs out and so does the tape. Eject

Extended clip for Jumper shows when David (Hayden Christensen) begins to supply the truth to Millie (Rachel Bilson). Problems arise when Cox (Samuel L. Jackson) shows up.

Davey (Hayden Christensen) tries to tell Millie (Rachel Bilson) the truth about who he is. He must hurry, however, with Cox (Samuel L. Jackson) on his way.