Category Archives: Movies

ICE is America’s Gestapo, the White House the Waffen SS

18 Monday Jun 2018

Posted by in 1, Boy @ The Window, Christianity, culture, Eclectic, Mount Vernon High School, Movies, Patriotism, Politics, Pop Culture, race, Religion, Youth

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Two pictures: ICE raid to arrest foreign nationals. February 6, 2017, (Charles Reed/ICE; http://amsterdamnews.com); Gestapo in midst of a raid, circa 1939-40. (http://www.encyclopediaofukraine.com). Both in public domain.

I may have developed my sense of thinking on the issue of inclusion and migration from the ostracism I experienced via the cool class of Black classmates from Mount Vernon High School. Maybe. Maybe not. But, it was on this date 31 years ago that the Class of 1987 graduated. And, within minutes of us tossing our mortar-board caps in the air, people who were the “cool ones” in the graduating class began ignoring my greetings and staring through me like I was invisible whenever and wherever I saw them. A silent treatment that I went through for two summers with this group.

This is not unlike the way the media and this 45 presidency deals with most marginalized Americans and the daily indignities and atrocities from which they suffer. Especially those who migrate without papers and those would-be-migrants and asylum-seekers. The amping up of a policy that separates parents from children at the US-Mexico border is nothing short of kidnapping and taking hostages. However, the policy isn’t entirely new, and the media coverage of it until a week and a half ago was scant. President 45 and his minions had truly believed that they could keep something like this under wraps, because undocumented migrants and asylum-seekers have no representatives, no voice, and no support among many Americans.

The cries of outrage across this country have proven them partly wrong. Still, the “cooler” — really, crueler — class of Americans, White, White privilege, White patriarchy, Whiteness-is-always-right-thinking Americans (which unfortunately also includes Americans of color) remain all for body snatching. They have either been silent or have made some lame-ass excuses for fuckery worthy only of superficially-cool high school graduates.

I’m reminded of the first time I saw America’s cruelty in kidnapping kids and tearing apart families. For me, it started with Roots in 1977. I watched through Kunta Kinte’s  capture and Middle Passage across the Atlantic, his arrival in colonial Virginia, and later, the selling off of his daughter Kizzy to a slave owner who raped and impregnated her with Chicken George. Kizzy (played by Leslie Uggams) never saw her father alive again (she’s somehow able to visit her father’s grave, though), and her mother Bell is sold off to some Deep South plantation.

Leslie Uggams as Kizzy Kente in Roots (screen shot), 1977. (http://roots.wikia.com).

At seven, I cried at least three times watching this. At ten, when I saw all of this a second time, I cried and got angry. Especially at Sandy Duncan’s character, Missy Anne. Because Kizzy had the audacity to have a boyfriend and attempted to help him escape, Missy Anne shunned Kizzy and put up no protest as her father sold off her childhood playmate. And I learned that this is how nice people do people like me, especially the times when we need their help the most.

Later, I learned about the Fugitive Slave Laws. I learned how Congress, starting in 1793, passed a series of laws making it possible for every White American to act as a secret police. Whites were on the lookout for runaway African slaves in places as far-flung as Charleston, South Carolina, Bangor, Maine, Buffalo, New York, and, by the 1850s, Arizona Territory and California. The assumption of African enslavement was so pervasive that thousands of free and freed Blacks could end up being sold and re-sold into slavery, merely because some random White person wanted to make an extra $10 in the 1830s (12 Years a Slave comes to mind here).

Later, I’d learn about the Trail of Tears, Indian Removal, and the long, bitter march of indigenous peoples onto reservations between the late-1820s and 1890. A population of perhaps three million Native Americans reduced to 250,000 by the time of the 1900 Census. All federal policies as the US Army executed them. All so that mining interests could get to gold and coal, all so that railroads could be built. In the process of assimilating “the savages,” the federal government also snatched thousands of Native American children from their tribes and families and put them in boarding schools. With White families all too willing to teach them to forget about their long and proud histories, languages, and peoples.

But before learning all this, I also learned through my mom’s years on welfare just how easy it could be for a government and willing neighbors to have children and parents separated. More than once, a social worker swung by in the years between 1983 and 1990 to inspect my younger siblings, to make sure there wasn’t a man in the house, to ensure that my family’s deep poverty was real. More than once, a neighbor would threaten to call Social Services on my mom (and at least once, on me when I was a teenager) because my four younger sibling kept up too much noise. The policies that now comprise what some experts call “Jane Crow,” of separating allegedly neglectful and abusing parents (mostly Black women) in the name of protecting children, were very much alive and well during my teenage and early adulthood years. Because of course, poverty in America to the point of needing a few dollars and some Food Stamps is illegal.

Signs and protesters at “Families Belong Together March,” Los Angeles, June 14, 2018. (Robyn Beck/AFP/Getty Images).

With all this history of breaking up families to control African slaves, free Blacks, Native Americans, and poor people, why would the sudden ramping up of separating children from their parents at the US-Mexico border surprise anyone? It doesn’t surprise me. ICE has been brazen in their modern-day execution of its Fugitive-Slave-Act-esque charge to “round up all the illegals.” The White House has 45 and an army of minions who spend every waking moment of every day figuring out ways to quash dissent and foment support for policies that would make the US a Whites-only country.

But for all this to work, there have to be millions of Americans willing to help them. And there are. Some out of pure ignorance, some out of willful ignorance and denial, and some because they are racist sociopaths. All, though, are fully steeped in the idea that America would be better off if Whites remain the majority, if White men and White women sire most of America’s kids, and if all the Black and Brown people submit to their rule and oppression with bright smiles.

People, America isn’t becoming a fascist state. For so many of us, America has always hung in the balance between freedom and fascism. Fascism for Americans of color, and freedom for good, Christian-as-racism White folks. This. Is. America.

The Politics of the Apolitical

09 Wednesday Aug 2017

Posted by in 1, Academia, Boy @ The Window, Carnegie Mellon University, culture, Eclectic, eclectic music, Mount Vernon High School, Movies, Patriotism, Politics, Pop Culture, race, Religion, Sports, Youth

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Mimi and Eunice comic strip, July 27, 2012. (Nina Paley via http://mimiandeunice.com/category/politics/).

In late-October 1994, I had a wonderful steak dinner with my friend and former high school classmate Laurell in DC. It was during my first ABD (all-but-dissertation) visit to the area to conduct some official initial research on my multiculturalism-in-Black-Washington, DC-doctoral thesis. It was also a couple of weeks before the midterm elections, the cycle that would sweep in Newt Gingrich as Speaker of the House and the rest of his cronies as part of the Contract With (really, on) America, the gift that has kept on giving for the past twenty-three years.

As part of our three-and-a-half hour dinner and dessert, we talked about the Clintons, their failed attempt at universal healthcare, the Contract With America, and the ongoing politics of racial resentment. Laurell said, not for the first or last time, that she was “apolitical,” that she didn’t “adhere” to “either party’s platform.” This was because she was “fiscally conservative” and “socially liberal.”

Even in ’94, I could’ve picked apart Laurell’s hair-splitting with a hot hair comb. But here’s the part that got me then and really irks me now. Being apolitical is a political stance and perspective. Being apolitical is like being agnostic. You may not believe in someone or something exactly the way most people in the crowd do. You may have some serious doubts. But you are still a human being. And since you are human, and have beliefs, you also have a political point of view. Otherwise, your apolitical stance is the equivalent of selling bullshit to others and lying to yourself.

The politics of steak, August 8, 2017. (http://zeenews.india.com).

A few weeks ago, I watched BBC World News and saw a young White actress on the telly promoting her new summer film, declaring it “apolitical” as it delved into serious issues around feminism and potentially other -isms. Here’s a news flash, folks. Every movie, piece of art, song, poem, every article, book, or TV show, contains a hidden agenda, a specific set of beliefs, an ideology. By definition, every piece of entertainment or art has a political message, no matter how gentle or subtle. Even if a movie like, say, Rough Night is just about women “laughing at themselves” and “having a good time,” the idea that White women have the right to both feminism and femininity is embedded in these otherwise rather banal phrases. And that’s a political statement, whether people are willing to see it or not.

But the realm of politics goes well beyond the world of entertainment and leisure. Politics is everywhere, in everything, and with everyone, all the time. Calling yourself “apolitical” doesn’t change this truth. If you eat steak and potatoes, you obviously aren’t a vegan, and that reflects your personal politics around food. When you buy clothes, wear perfume or cologne, take a vacation overseas, call a young person in your neighborhood an “all-American boy” or “all-American girl,” you are unwittingly expressing your politics. Even in declaring yourself a Christian, atheist, Muslim, Buddhist, or Jew, this isn’t just an admission of your love for God, Yahweh, Allah, or a lack of belief in a higher power at all. It is a worldview with political implications, one that colors how you see the world, humanity, and governance. We are all political animals, no matter how little some of us pay attention to the machinations of the Democrats and Republicans.

Time Magazine cover (cropped) Colin Kaepernick, October 3, 2016. (http://facebook.com). Qualifies as fair use due to cropped nature and subject matter.

This is also why the common refrain among racist sports junkies about not combining sports and politics is also total bullshit. Of course the political implications of sport are intertwined with the actual sport in question! How else can you explain the blackballing of former 49er quarterback Colin Kaepernick for his Black Lives Matter kneel-downs during the National Anthem at NFL games in 2016? It’s certainly not based on Kaep’s performance or merely about a kneel-down. The politics of American racism, of faux-hyper-patriotism, of money and fandom, were and remain in play here. That some continue to doubt this is yet another example of the penchant of millions to crave willful ignorance of anything that would make them think beyond their own perceived superiority and simplistic views of an always political world.

So no, you can’t away from politics in this world. One would have to take a time machine back to before the Agricultural Revolution to find humans in a world without politics. But even then, there would be domestic politics, gender politics, tribal politics, and food/water politics. Not to mention, religion and the politics thereof. But, keep believing that you’re apolitical, and see how that works out as your worldview comes crashing down.

The Yoke of Student Loans

18 Tuesday Jul 2017

Posted by in 1, Academia, Boy @ The Window, Carnegie Mellon University, culture, Eclectic, Mount Vernon High School, Mount Vernon New York, Movies, Pittsburgh, Politics, Pop Culture, race, University of Pittsburgh, Work, Youth

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Time, money, debt, yoke = same difference, from screen short from movie In Time (2011), October 27, 2011. (http://collider.com/in-time-review/).

This week in July thirty years ago, I took out the first of what would be a series of student loans. Loans that would help cover eight of my ten years of undergraduate and graduate studies at the University of Pittsburgh and Carnegie Mellon University. In three-and-a-half-months, I will be ending my twentieth year paying off those loans. If I had to do it all over again, I may have stayed in New York State to take advantage of the TAP award (need-based financial aid). That way, I wouldn’t have needed to borrow for my undergrad. But given my near desperation for wanting to escape grinding poverty, 616 and my family, Mount Vernon, New York, and the stigma that was my life living there among hostile and indifferent classmates, teachers, and neighbors, borrowing $2,625 on July 16 of ’87 didn’t seem so bad.

Yep, my first subsidized/unsubsidized Stafford student loan was a modest one. It was a set maximum based on the old laws limiting student borrowing (especially for college freshmen) three decades ago. I remember thinking to myself, “How the heck am I gonna pay this back?,” as I went through an hour of phone calls between Pitt’s financial aid office and Marine Midland Bank (now part of HSBC). The latter was where I had my first bank account, where I had deposited $500 of scholarship money from Mount Vernon’s Afro-Caribbean Club. That’s how little I knew about the process – I went with a bank that didn’t exist outside of New York State to work with a school in Western Pennsylvania!

Pact with the Devil, July 18, 2017. (http://evil.wikia.com/wiki/Pact_with_the_Devil)

Because I wasn’t yet eighteen, I needed my Mom to co-sign my loan. Because my Mom didn’t have collateral, she needed to add two relatives who did have assets to my first loan. In the end, Mom chose my maternal grandmother Beulah and my great-great-aunt in Seattle Inez (who just happened to be Johnny Gill’s great or great-great grandmother — didn’t know it at the time) as relatives with collateral who could be on the hook if I or she ever defaulted on our future payments. Of course, Mom didn’t actually seek permission from my then sixty-year-old grandma in rural Arkansas or my better-off, octogenarian, great-great aunt for this sign-off. Apparently, Marine Midland didn’t care, either. And that’s how it was for the next four years, having relatives whom I had never met (and in the case of great-great aunt Inez, who died at 101 years old in the early ’00s, would never meet) as collateral for my loans.

I’d also take out the smaller Perkins Loan for my undergraduate time at Pitt, an additional $2,000 per year, for three of my four years there. In all, I’d borrow more than $16,000 in four years, with a high of $4,000 in Stafford Loans in my junior year, 1989-90.

It bothered me every time I had to re-up for student loans. Not just because of the false notion of American individualism, the idea that I shouldn’t need anyone’s help to go earn a degree. It bothered me because I feared, sometimes to the point of nightmares, that I’d never be able to pay this money back.

Graduate school at Carnegie Mellon and the loosening of the student loan rules and amounts under President Clinton in 1994 made things better and worse. I barely borrowed my first two and a half years of grad school at both Pitt and CMU, to the tune of $1,800 in all. CMU paid me so little as a grad student that I had little choice if I ever planned on eating more than one meal a day but to borrow. And that’s how most of my borrowing occurred between January 1994 and January 1997, to either have to supplement my meager stipend (before the year of my Spencer Dissertation fellowship). Or, to use the funds to help support my dissertation research, the travel to/from and living arrangements while in DC in 1994 and 1995. Unlike many of my graduate school colleagues (especially the ones working on professional master’s degrees or a law degree), I didn’t use my loans to go on extended weekends to Bermuda or to take summer vacations in the Grand Caymans.

Of course, I graduated in May ’97, and lo and behold, I couldn’t find full-time work. And with the exception of the months of July, August, and September 1998, I wouldn’t have full-time or full-time equivalent work until I left Pittsburgh for work in the DC area in the summer of 1999. But, my consolidated student loans through the dispensations of Sallie Mae never took that into account when my first payment became due Thanksgiving Week 1997. I was able to get a reduced payment of $20 per month for the first two years. I didn’t default, but it made paying off my student loans that much harder. It didn’t help that Sallie Mae had locked in my interest rate at eight percent, retroactive to July 1987, and unchangeable under any circumstances. Even with consumer interest rates the way they have been for the past decade.

Relationship between lenders and payees, July 27, 2015. (http://forbes.com).

Flush or not, full-time or underemployed or somewhere in between, the student loan payments, deferments, and forebearances have been non-stop for two decades. Even credit card companies will leave folks alone if they make regular minimum payments. Not so with student loans or with Sallie Mae (now Navient, which must mean assholes in financial aid-speak). Despite everything I’ve been through financially over the years, I finally paid off the original principal of my consolidated student loans about two years ago. Great. It still means that I have left another decade of payments on accumulated interest before I can be forever free of this nearly endless cycle.

Here’s the real thing that I think I’d do over again, that should be done about this corrupt and serfdom-like process. Sixteen, seventeen, or eighteen years old is way too young to be making financial decisions that I or anyone else will have to live with for four decades or more. Even deciding to serve in the military isn’t a decades’ long commitment (unless one chooses to re-up or goes to officer’s school). At the very least, no one under twenty-one should have to commit themselves to debt peonage, including student loans. As for me, working thirty hours a week on or off campus between 1987 and 1997 to cover costs and necessities would’ve been preferable to this iron collar.

The real problem, of course, is that adult learners are taking out many of these loans these days. Even though they may be old enough to know better, they aren’t experienced enough. Lumina Foundation and other organizations have concentrated on “financial literacy” as the way out. This is wrong-headed, as it does nothing to change this financially enslaving system. Really, it would take free and significantly-reduced undergraduate tuition to do the trick. But where’s the fun, profit, and human misery in that?

On the Levi Brothers and Trump-esque People

08 Thursday Jun 2017

Posted by in 1, Boy @ The Window, Cleaning, culture, Eclectic, High Rise Buildings, Jimme, Movies, My Father, New York City, Politics, Pop Culture, race, Upper West Side, Work, Youth

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Darth Sidious, Star Wars VI (The Return of the Jedi) screen shot, 1983/1997. (LusoEditor via Wikipedia). Qualifies as fair use due to lower resolution and subject matter.

There are a plethora of people to pick from in making comparisons between President 45 and examples of narcissistic evil operating in positions of leadership. Andrew Jackson, Adolf Hitler, Benito Mussolini, 45’s hero Vladimir Putin, Jacob Zuma, and Recep Erdoğan all have served as examples in op-eds and other articles over the past couple of years. And these are all potentially good picks. Mercurial, vengeful, and even erratic actions, combined with dehumanizing speeches and screeds, all characterize this cabal of soft despots and fascist dictators, and match 45 well.

But the level of ostentatious stupidity that 45 has exhibited as President and a presidential candidate has made think of people closer to home. After all, 45 has always been a New Yorker, a crass rich White guy who has spent his entire adult life attempting to make himself look even more wealthy and powerful than his relative position in elite circles would’ve otherwise justified. He’s also always seen himself as the most important person in the room, maybe in the world. So much so that he has also seen himself as the smartest person in any context, even as everything 45 has touched has been tarnished or turned to shit by his callous, narcissistic stupidity.

In totality, this could describe any upper-crust New Yorker I encountered growing up looking to own more, buy more, be more than they already were. But in light of all things 45, I am thinking of two folks from my teenage years, the Levi brothers. They owned cleaners in Midtown Manhattan and ran a building-cleaning company, and my father worked for them all through the 1980s. The Levi brothers were two of a kind, some of the most flashy people with wealth that I would ever meet.

As I described them in Boy @ The Window

I can confirm with absolute certainty that the Levi brothers wore not-so-thin gold chains. I can also remember how uneasy my encounters with them made me feel. It wasn’t just the fact that they often questioned my intelligence. For nearly all of the years my father worked for the Levi brothers, they paid him under the table. They enabled his alcoholism, in exchange for $500 a week, for eighteen years. No retirement plan, no raises, no sick or annual leave, no unemployment insurance, in exchange for no child support payments and no tax payments. A Faustian deal if there ever was one.

King of New York (1990) with Christopher Walken screen shot. (http://www.electricsheepmagazine.co.uk/).

That my father knew who Paul Milstein was — the late real estate mogul for whom a program within the Columbia Business School is named — is amazing to consider in hindsight. It meant that he was privy to many conversations between the Levi brothers about their master plan for generational wealth. It meant that the Levi brothers believed themselves to be kings, or at least princes, of New York. But only because they cut corners in their shops and business, and looked for ways to literally get rid of their competition. Things that would later lead to alleged criminal activities and the loss of their businesses.

If I could interview them in their mid-1980s milieu now, I would’ve ask them, “Who were you trying to emulate, John Gotti?” But given those Lifestyles of the Rich and Famous times, I suspect the person the Levi brothers were most trying to ape was Donald Trump. Only, 45 came from more money, and wanted to do more than corner the market on cleaners and cleaning contracts for Manhattan high-rises. Beyond the differences in a couple of zeros, the braggadocio, the seeing of people not like them as “others” or “not human,” the need to show the world their wealth, their stunning stupidity in their attempts to monopolize their market. It’s as typical a New York story as I ever got the chance to see. And with 45, I get to see it again, this time on a massive scale, a crash-and-burn that the universe of intelligent beings won’t be able to ignore.

Lit on Moonlight

16 Monday Jan 2017

Posted by in 1, Boy @ The Window, culture, Eclectic, Hebrew-Israelite, Jimme, Marriage, Mount Vernon High School, Mount Vernon New York, Movies, My Father, New York City, Politics, Pop Culture, race, Religion, Sports, Youth

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Moonlight (2016) poster, October 2016. (Film Fan via Wikipedia; orig. A24). Qualifies as fair use under US copyright law as illustration of subject/review of film.

Moonlight (2016) poster, October 2016. (Film Fan via Wikipedia; orig. A24). Qualifies as fair use under US copyright law as illustration of subject/review of film.

I finally, finally saw Moonlight with the wife and son at AFI Silver Spring yesterday, months after the in-crowd had already seen it and attempted to spoil it for the rest of us. It was excellent. The cinematography, the loud and incredible silences, the small moments, when actors just being in the moment with their facial expressions did more than any dialogue could to move me and anyone else watching. Mahershala Ali was only in five scenes. But his first scene set the tone for the whole movie. As Juan, Ali channeled both the need for hard hypermasculinity and the vulnerable fragility of such in just one scene. His time with the youngest version of Chiron made me laugh, cry, sad, and angry, and left me wondering if I’ve seen this much intimacy between Black man and Black boy on screen before. I know I have (Antwone Fisher, The Wire, even Roots comes to mind), but on-screen doesn’t reflect this anti-stereotypical slice of truth nearly as often as it should.

Moonlight snap shot (cropped), Mahershala Ali and Alex Hibbert, October 23, 2015. (http://variety.com).

Moonlight snap shot (cropped), Mahershala Ali and Alex Hibbert, October 23, 2015. (http://variety.com).

Yet I was also not as impressed as I expected to be. Not because I didn’t like the performances — I loved them. I thought every actor in the film was legit, every scene was moving in some way. Naomie Harris I’ve been fond of for years, André Holland and Janelle Monáe’s work I already knew, and Trevante Rhodes and Barry Jenkins, well, the two need bigger platforms for doing more great work. Moonlight wasn’t a film. It was a collage, a kaleidoscope of precious moments, blood-churning episodes, and tender images. Jenkins’ treatment of coming-of-age, Black boyhood into manhood, and Black masculinity, hypermasculinity, and vulnerability was avant-garde.

Still, I felt like I’d seen Moonlight before. Or, really, lived parts of Moonlight in my own past. No, I did not befriend an older, Afro-Cuban crack dealer in 1990s Miami, have a drug-addicted, abusive mother, or have a group of kids chase me around and beat me up off and on for ten years. But I didn’t look at the world the same way as my peers. I didn’t sound like a Noo Yawker, walk and talk and code switch like Denzel Washington, or try to fit in like so many of my 616 neighbors and my Mount Vernon school mates during my growing up years. And I paid for it, dearly, with few friends before I turned eleven, and no friends in the six years before I went off to the University of Pittsburgh.

But on Chiron and that most pernicious issue of hypermasculinity, the need to be hard all the time, I’ve been there too. I’d been called “faggot” (or in my father’s case, “faggat”) enough times to occasionally question my own sexual orientation growing up. My senior year at MVHS one day, I hit a three-run homer during a softball game in gym class. It wasn’t the first time I’d done that. But for one Jamaican dude, me drilling a ball 350 feet off his slow fastball was an affront. He called me a “faggot” after the game, and threatened to wait for me after school with a machete to chop me, adding “bumbaclot mon” at the end of his threat. I left school as normal and waited for him. He was lucky he didn’t show up that day.

Me at 16, Mount Vernon High School ID, Mount Vernon, New York, November 1985, March 21, 2012. (Donald Earl Collins).

Me at 16, Mount Vernon High School ID, Mount Vernon, New York, November 1985, March 21, 2012. (Donald Earl Collins).

You see, my rage didn’t need years to build up. All before I’d finally lose it one day, and take out a bully with a wooden chair and break it across his back, like the way Chiron did at the end of II of Moonlight. I didn’t have bullies at school per se. There were a couple I dealt with at 616, but they weren’t regular. Many folks would make a crack, but generally left me along. Any bullying I faced in high school was completely random and momentary, because I stood up for myself. Because if I could face down a six-foot-one, Isshin-ryn black belt of an abuser in my idiot stepfather Maurice, a stupid football player was gonna get hurt trying to hurt me.

No, the bullying I faced was in middle school, from a bunch of overwhelmed and racist Italian classmates in Humanities. I’ve named them in Boy @ The Window and here in this blog before. Alex, Anthony N., Andrew, Anthony Z., etc, the Italian Club. That things were much, much worse at home meant that I saw them as background noise. There was always a part of me, though, that had enough rage, even in seventh grade, to take a desk and smash Anthony N.’s head in with it until his fuckin’ Italian brains spread out all over the floor and walls!

I ended up beating up a wannabe bully in JD that year instead. I won kufi battles in eighth and ninth grade. I wore a blank face that most of my more dumb ass classmates interpreted as a smile. I made plans to get out, because I never wanted to fit in. I was already awake, coping with the day-to-day, but in it for the long-term. I had that President Barack Obama, audacity-of-hope-beyond-failure, beyond reality thing goin’. When I saw Chiron as played by Ashton Sanders, I wanted to hug him, beat up his bullies for him, and tell him that you can love who you want to love, even if they never love you back. And to always, always be your best self, and not some “I don’t want to feel pain again” version.

Splitting The Rail Between Nate Parker and His Work

26 Friday Aug 2016

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Splitting a log into rails, Arkansas, May 1983. (http://www.motherearthnews.com/).

Splitting a log into rails, Arkansas, May 1983. (http://www.motherearthnews.com/).

I wrote about this in the context of rap and popular music three years ago. Yet, most of us have not learned this lesson. That great artists and the works that they produce often do not equate in any way to the person they are outside of their artistry in their daily lives. It is so rare as to be almost a godsend when a wonderful cultural producer can also be a forthright and social justice-oriented person who has few blemishes on their record. It is so rare, in fact, that it is more likely I find a briefcase with a $2 million in $100-bills next to my car this morning than find successful cultural producers with deep waters’ worth of goodness and doing good as their record.

Twitter and Facebook folk have been up in arms about the discovery that actor/director/producer Nate Parker allegedly raped a women in ’99 along with one of his co-producers, was acquitted a year later, and the woman subsequently committed suicide in 2012. Keep in mind, this information has been out here about Parker for a number of years. Keep in mind, this act occurred when Parker was nineteen years old. Keep in mind, this vile act and the acquittal he received for it may well be the reason Parker had the opportunity to become an actor and a movie producer in the first place.

As a survivor of sexual assault myself (it still reads strange for me to write this), it makes me ill right down to my bowels, having read some of the details about what happened. Especially since I also know women to whom this happened and the impact it had on some for years afterward. I almost wish I didn’t know that Nate Parker might have gotten away with rape seventeen years ago.

But, as I also know all too well, if the idea is to not see his, et al’s The Birth of a Nation revamped to be about Nat Turner/Nat Turner’s Rebellion, good luck with that. Ultimately, to see or not to see the film is a choice that any of us can make. One can decide to see it and still feel like vomiting over Parker’s real-life rape case. One can decide not to see the film and claim that Parker is a reformed man. It is not as simple an equation as, “if you see The Birth of a Nation, you are pouring money into a rapist’s pockets.”

From The Birth of a Nation (2016) trailer, August 26, 2016. (http://youtube.com).

From The Birth of a Nation (2016) trailer, August 26, 2016. (http://youtube.com).

My biggest issue, though, is with all the outrage has come the American penchant for hypocritical moralizations, one that is in part based on race. That is, that we only have the choice of supporting Nate Parker and his revolutionary work or not, that the middle ground of seeing cultural production while reviling the man who helped produce it isn’t an available option. Sorry, but we Americans, we obese consumers and appropriators of all things cultural, do this every day. People have not stopped seeing Woody Allen or Roman Polanski films, though one is likely a child molester and the other one committed rape. We haven’t returned or burned Bill Withers’ tapes, albums, and CDs, though he’s had domestic violence issues in his past. Nor do we think about the poetry we read, the paintings and sculptures we peruse, the TV shows we watch, in which an artist of one kind or another has committed a crime, has killed, stolen from, and destroyed people’s lives along the way. The problem is, if one swings a stick at any cultural production, you will hit a thief, a mugger, an abuser, a rapist, a molester, maybe even a Nazi.

As for me, like with most movies, I will not go to see The Birth of a Nation in a movie theater. I will wait the six months or a year it takes for it to come out on premium cable. I wouldn’t have gone to see it before social media caught wind of Parker’s past. I certainly will not get sucked in to see it, to be part some moralistic wave of cultural immediacy, now.

This issue should not be about Nate Parker at all. It should be about the system that allows for rapists to get no jail time or to be acquitted. It should be about universities like Penn State that allow these crimes to go unpunished, places that punish the victims of sexual violence much more often than they do the perpetrators. It should be about a society where both fathers and mothers do nothing to teach their sons to not rape. Instead, we’re focused on one individual, as if the problem of American rape culture will be solved by going after alleged rapists years after their crimes.

OJ: Microwaved in America

27 Monday Jun 2016

Posted by in 1, culture, Eclectic, Movies, Politics, Pop Culture, race, Youth

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Ezra Edelman (sports documentarian and son of activist/Children's Defense Fund founder Marian Wright Edelman), 2015, June 26, 2016. (Deqrassi4 via Wikipedia). Released to public domain via CC-SA-4.0.

Ezra Edelman (sports documentarian and son of activist/Children’s Defense Fund founder Marian Wright Edelman), 2015, June 12, 2016. (Deqrassi4 via Wikipedia). Released to public domain via CC-SA-4.0.

Ezra Edelman is a pretty good documentarian. Period. Edelman is no Ken Burns, David Attenborough, or even Spike Lee. Although his O.J.: Made in America has gotten Edelman kudos and other critical accolades, for this viewer, it felt like an unedited draft long on O.J. Simpson’s post-football life and woefully short on the “made in America” theme. Like a McDonald’s or microwave meal, Edelman’s O.J.: Made in America tasted more like fake food than it did a carefully crafted work with a serious balance of protein, starches, fruits, and vegetables.

Mechanically processed chicken, the key ingredient in McDonald's Chicken McNuggets, pouring out into small tubs, October 5, 2010. (http://huffingtonpost.com).

Mechanically processed chicken, the key ingredient in McDonald’s Chicken McNuggets, pouring out into small tubs, October 5, 2010. (http://huffingtonpost.com).

Let’s start with the long. The five-part documentary was nearly eight hours in length, about three hours too long overall. Spending more than twenty minutes of Part 3 on the Bronco chase was an error that most directors would’ve left on the editing floor. Anyone with access to a TV and over the age of thirty has seen this chase at least once, and for people like me, at least one time too many. There were so many other places, though, where Edelman chose not to make editing choices. Thirty minutes of Part 3, all ninety-five minutes of Part 4 and the first fifteen minutes of Part 5 were on the O.J. trial. There wasn’t much “made in America” with this part of the documentary.

And how could there have been, really? Edelman’s idea was to let the audience make up their own minds about O.J. Even so, an occasional narration of events would’ve helped with the timeline of the five parts, especially Parts 2 and 3. When did O.J. break up with his first wife, Marguerite? How did O.J. go from dating to marriage with Nicole Brown? What was O.J.’s relationship with his first children, with the Brown family, prior to the 1994 slaying and subsequent trial? Why wasn’t a timeline consistently added to the documentary? Who refused to do interviews for the documentary? With so much information, Edelman expected viewers to draw inferences for all of the missing pieces. There was too much and not enough information at the same time.

Edelman’s expectations also meant the limited (really none, in this case) use of experts to draw out nuances in the story, to truly make this about O.J. and his relationship with America. Sure, references to the LAPD, Rodney King, and the L.A. Riots of 1992 were fine. What about O.J.’s internalized racism and obvious colorism? What about the toxic nature of O.J.’s -isms mixed with the racist fetishisms not only on the part of Nicole Brown Simpson, but also of nearly everyone in O.J.’s orbit? This would’ve been a great place to have some expert commentary. Instead, Edelman divided Americans into two neat racial camps: most Whites for a colorblind race transcendent in O.J. before falling into hatred, and most Blacks pretty much the opposite.

O.J.: Made in America (2016) poster board, June 26, 2016. (http://variety.com)

O.J.: Made in America (2016) poster board, June 26, 2016. (http://variety.com)

The last part of Edelman’s documentary came down to whether people believed O.J. “did it” or not. That question is no longer relevant. In fact, it may never have been relevant, even on June 12, 1994. Especially if the idea is that O.J. the misogynist, narcissist, and self-hating probable murderer is a representation of the American cultural psyche. This is where skill, expertise, and narration can subtly frame such an overarching theme, instead of taking us to the land of America in racial and gender stereotypes.

For this viewer, if I want a documentary that addresses societal issues like race through the lens of an individual’s experience, I’ve already learned whom not to watch again. At least, not until Edelman learns what I already know. Seasoning is as important in a documentary as cooking with gas. One ensures good flavor and a variety of perspectives. The other blandly reinforces people’s misjudgments and stereotypes.