Friday, December 25, 2009
Hole in the Soul--The Tragic Lives of African American Actors in A Christmas Story Part 1: Percy Jones' Story
In keeping with our interviews with such notables as Jesse Jackson, Pat Buchanan, and the irrepressible Brother X-Squared, the We Are Respectable Negroes News Network (WARNNN) is proud to bring you the newest installment in our hard hitting special investigative series.
The movie A Christmas Story has become a new classic. Based upon a collection of short stories by Jean Shephard, what was once a niche movie has become a staple of the holiday season. A Christmas Story is genius in its simplicity: a young boy who only wants a Red Ryder BB gun, the machinations necessary to make this dream come true, and the adventures of an "all American" family as a date with Santa Claus approaches. It is of no small coincidence that A Christmas Story saw a rise in popularity during the Culture Wars of the 1980s--a moment of increasingly toxic and fractured politics. In many ways A Christmas Story is a salve for those heated debates about what America is--and what America is to become in the future. No doubt encouraged by this appeal to a simpler age of Norman Rockwellesque 1940s America (the film itself is set in nondescript Hammond, Indiana)--as well as 24 hour marathons on TNT and TBS--A Christmas Story has generated a huge following that has given birth to conventions, tours of the home featured in the film, and a cottage industry based upon A Christmas Story related memorabilia.
Every holiday season A Christmas Story brings so much joy to so many. What became of its actors? We know that some have been able to parlay their childhood success into some amount of fame as adults. We must ask: What happened to A Christmas Story's African-American actors and actresses? Seemingly lost to history, WARNNN has conducted an expansive search to bring the struggles of these actors to light. While these brave actors and actresses of color are forever linked to what is now an indispensable fixture in American popular culture, as is so often the case they have been denied the success, fame, and wealth earned by their white peers.
WARNNN brings you their story.
Almost invisible, the black characters in A Christmas Story are conspicuous by their absence as central characters. Present on the margins, muted both literally and figuratively, the African-American characters carry a heavy weight on their shoulders as embodiments of the role played by people of color in the American imagination: black Americans are rendered forever present through the fact of their exclusion from the master narrative.
A Christmas Story is set in pre-World War 2, 1940s Indiana, a time when legal segregation and white supremacy were still very much the rule of the land. Thus, A Christmas Story's exclusion of people of color in its vision of American suburban life is to be expected. Not to be denied, several black Americans responded to the casting call for A Christmas Story. They were determined that the presence of black Americans in this nostalgic vision of America's past be acknowledged. These pioneers would not be white washed out of history! However, what these actors would find would be no small amount of struggle...and experiences that would forever impact their lives in the decades to follow.
WARNNN had an extremely difficult time locating the black actors of A Christmas Story. They have seemingly been erased from any record of the film's production and distribution. It was only through a series of interviews with the film's cast, and a poignant confessional by Director Bob Clark (during which he expressed great sorrow at the treatment of African Americans in the film) that WARNNN was able to rediscover these heretofore lost tales of personal tragedy and triumph. There were four black actors in A Christmas Story. What follows is the first of 3 installments on their post A Christmas Story lives.
Percy Jones was the first actor that we were able to locate. Sadly, our ability to find Mr. Jones was made easier by his new identity--inmate number 203157 in Attica State Correctional Facility. While A Christmas Story is Americana come to life, Percy's life story is that of urban America gone wrong. Like so many young men of color caught up in the system, Mr. Jones (the oldest black actor in A Christmas Story) could not escape the sad mix of Hollywood fame, drugs, and the trauma he suffered while filming A Christmas Story.
We scheduled a meeting with Percy during a lazy after Sunday afternoon in November of 2009. Mr. Jones awaited us in the visitor's center. Since his arrest in 1989, he has been a model prisoner. Because of his exemplary status, the guards afforded him some degree of privacy as we were seated in a semi-private area in the corner of the main visitor's room. A tall man, now in his 50s, Percy has a hard earned dignity to his features. Sharply intelligent, yet understated and modest, Percy greets us warmly and with an exhalation of relief, "You came to talk about A Christmas Story? Do I have a story to tell you..."
We began by asking a simple question: How did you end up in Attica?
Percy looked down, "It was a random series of events that were simultaneously unavoidable. A Christmas Story gave me so much, but it also took much more than it gave. I simply couldn't avoid its clutches." He began to spin a story that was at one time utterly predictable, yet imminently fascinating. Percy continued, "I was a hustler, always was. I grew up in Cleveland in the late 1960s, I came of age in the 1970s after the riots. I was running with different gangs, you know all the Black Power groups that fell out with each other and lost the politics and picked up the guns. I got arrested a few times and had an epiphany. I had to get off the streets. I hooked up with my first high school girlfriend and started taking acting classes at the local community college."
At this point, Percy looked nervous and a bit saddened. He looked down to the shoulder of his orange jumpsuit and wiped a tear away from his eye. Percy continued, "the directors of the film were scouting local schools and colleges. They found me. It was immediate. They said they were making this Christmas movie and that I was perfect for a pivotal role. I immediately said yes. I didn't have a SAG card so I had to get one...the film subsidized it. I also got an advance. 1,000 dollars for my appearance. Man, I was so happy. I took my girl out, lord it was nice, we conceived Nichelle that night...she is my daughter. I got my mom a new tv. I brought my lady a necklace and I got a record player cassette player combo for my car. We were living large."
I asked the obvious question, one that often hints at the trouble awaiting Hollywood's newest stars, "did you sign a contract? What about residuals? What about back end money?" Percy looked up at me with heavy eyes, "come on brother, of course not! I didn't know about any of that stuff. So, I got to the set. It was supposed to be 3 days of filming. I thought this was my chance to break out, you know? To bring some dignity to the role I was playing. The wardrobe people walked up to me and sat me down for a fitting. Something wasn't right. I looked at the costumes and they had a black mask, and a striped shirt and some tight pants. I was like come on now, who the hell dresses like this!"
As viewers of A Christmas Story know, Percy is one of the members of the Black Bart gang that attacks Ralphie's home during the pivotal Red Rider BB gun fantasy. This is a key scene in the film that helps to set the stage for the near fetishistic power that Ralphie's Red Ryder BB gun holds over him that holiday season.
"I accepted the role as criminal as par for the course. You see I had a plan, I wasn't some lame who would get played. I was gonna make the role something special. I was gonna be James Cagney in Scarface. The world is mine! The director approached me and said that he wanted me to method act, to go to that dark place I lived in when I was on the streets. To really impute the role is what he called it. That was the beginning, that energy was always there, but I had suppressed it."
This is the moment where Percy's troubles began and A Christmas Story would exact a heavy toll on his well-being and life. Like a junkie remembering his first hit and retelling how he would relapse over and over again...from sobriety to and fro addiction...Percy's relationship with A Christmas Story was that of an unhealthy relationship, toxic, painful, and with an unavoidable ending.
"You see, the role didn't involve any speaking. Nothing at all. I was supposed to jump over this fence and get shot. Man it hurt so bad. They were slave drivers on the set. 3 days became 10 days became 15 days, on and on and on. I didn't know that the contract said they could do this. Of course, they threw me a little more money. But, I was internalizing the pain, you know what I mean? That little white kid kept shooting me with that BB gun. I kept dying over and over again. To add to the humiliation I was the first member of the gang shot. How humiliating. It hurt my soul."
I leaned forward and comforted Percy. His pain was so evident. I was curious, how did his costars feel about this treatment? Did he suffer alone? I carefully extended my hand to his shoulder and asked. "Chauncey, me and the other members of the gang...that is what we were called...were kept separated from the child actors on set. The directors wanted to create a sense of tension and menace about us. We were almost like real criminals. So, we would drink, use drugs...you had to use painkillers to keep doing those damned stunts, and would sleep with the prostitutes and groupies on the set."
Inevitably, the movie shoot would end and Percy Jones returned to the "real world." He would go from job to job. Percy even cut a rap album, "Rapping with A Christmas Story." Sadly, it never sold more than 1,000 units. He was unable to get consistent work in Hollywood on his own. Percy secured an agent but the relationship was not fruitful. Mr. Jones had long spent the 1,000 dollars he earned from his role in A Christmas Story. Nevertheless, A Christmas Story still beckoned to him.
"I would watch the movie every year as it became more and more popular. Each year, I would become more and more enraged. So full of anger. I hoped a check would come, something. Never. I did a little research. Did you know that I was never even in the Screen Actor's Guild? Nope. Those crooks gave me a fake id card so they could exploit me! All that I had was the costume from the movie. I tried to sell it at a pawn shop, but got no takers. This was before Ebay and the Internets. It started to beckon to me, almost talking to me at night. I would lay there in bed next to the wife and that costume would call me. Quite literally it would whisper to me, telling me to man up and get mine."
I knew the ending of the story, but had to ask the inevitable question.
"Brother Chauncey, I did it! They wanted me to be a thug, a criminal again. And I couldn't resist. I put on that damn outfit and mask and got me a gun. Sure as hell did. I went on a rampage. I robbed everybody I could find. I became like a real life version of Omar on the show The Wire. Hell, in Cleveland I was The Ghost of Christmas Past. I was the king and I was putting some coal in your damn stocking!"
In a sad end, Percy Jones explained how he was arrested on Christmas Day, some six months after his crime spree began. High on crack, exhausted, and sleeping on a dirty mattress in a cheap motel, Percy (still in costume) was taken down by the Cleveland police department's SWAT team. Percy Jones, the Black Bart stickup man, became an urban legend. I heard the rumors, the poetic irony of his story had long been on the tongues of folks in Cleveland, so I had to know if the details were true.
"Yup, the rumors were true. I never had a real gun. I used a Red Ryder BB gun--I sawed off the barrel--and robbed folks. They were so scared...my victims had no idea I was playing them. I got 50 years, can you imagine that? I would have actually been better off if I had been using a real burner, at least I could have fought off the cops."
Our time together had come to an end. The prison guard politely motioned towards us that we should end the interview. Percy leaned in, happy to have made a new friend. Yet, his countenance was heavy with thought and reflection..."Tell the people that I am not the only one. Go out and find the other brothers and sisters from A Christmas Story. Trust, I had it comparatively easy. Find the others, what they have gone through will blow your mind! We were struggling, trying to do the right thing for all of the black folk out there. But that damn movie just got us caught in its clutches! Maybe, just maybe, justice will be done if the truth is known."
In our next installment we bring you the story of Little Red Ryder, once an innocent young school child, now a fallen woman...
Happy holidays all. I am most certainly happier this year than I was one year past (fingers crossed...don't want to jinx it). I got something I will post later today after my video game playing, new computer assembling, movie going day.
Today, please do something nice for someone dear to you. Also, please do something nice for a stranger (my rule is 20 bucks to a random homeless person).
Peace and good will...
Wednesday, December 23, 2009
***I am very fortunate to have really smart friends. After seeing Avatar, I called my fellow sci-fi geek, expert in all things Star Wars to complain about the travesty that is Avatar. Bill the Lizard disagreed and offered what is a compelling take on Avatar--one that I had not considered, and that goes well beyond more narrow analyses that undercut Avatar as either an ode to white guilt or a cgi version of Dances with Wolves. For your consideration.***
To that end, James Cameron’s new movie Avatar is sparking a diverse debate across the internet. It is a testament to his abilities as a filmmaker that so many people can look at one work and bring to the table totally different ideas.
One such discussion is how Avatar handles race, or more specifically, how Avatar handles the racial “other.”
Annalee Newitz, editor of io9, states the following about the film: “Avatar is a fantasy about ceasing to be white, giving up the old human meatsack to join the blue people, but never losing white privilege.” She goes on to state: “Whites still get to be leaders of the natives - just in a kinder, gentler way than they would have in an old Flash Gordon flick or in Edgar Rice Burroughs' Mars novels.”
In a broad sense, I agree that Avatar touches on the subject of race in a very tangible way, and that at face value, it’s often hard to see Avatar as being anything more than just a retelling of Kevin Costner’s Dances With Wolves or John Boorman’s The Emerald Forest.
However, I disagree with Ms. Newitz’s assertion that this movie is just a classic white guilt fantasy. Avatar is not racist, nor is it a calculated example of a kinder gentler form of social imperialism.
What many people seem to forget is that Jake Sully, the main character, is established early on in the story as being both an ostracized and emasculated character. Thus, he does not fall into the classic white privilege archetype that you see in white guilt fantasy.
Jake Sully is emasculated in a literal sense because of a combination of physical injury, financial inadequacy and family tragedy. Not only is Jake Sully a Marine who cannot walk or fight, but more tragically he knows that there is a cure for his injury, but cannot afford it. Further, Jake’s closest relative, his twin brother, has been killed in a meaningless act of violence that Jake could not prevent, and now Jake is now forced to step forward into a position that he does not feel he is smart enough to handle.
Because of this, the Jake Sully we first meet is evocative of the character Jake Barnes from Hemingway’s The Sun Also Rises. Like Barnes, I would not be surprised if Jake Sully is also suffering from some form of physical, as well as emotional emasculation. Impotence and incontinence are very common side effects with paraplegia, and since The Sun Also Rises deals specifically with the loss of optimism and innocence after a bloody war, I would suggest that there are a great many similar themes at play.
It’s clearly mentioned in the beginning of the movie that Jake Sully saw “some serious shit” in Venezuela, and James Cameron is an adept enough writer and director to pay attention to the details. Just because James Cameron doesn’t hit you over the head with hyper-melodramatic moments in regards to Jake Sully’s disabilities, it does not mean that these elements are not present in Avatar.
As a result, Jake Sully cannot be strictly viewed as the white man who never gave up “white privilege.” To say that Jake never gave up “white privilege” somehow infers that Jake had the privilege of racial entitlement and immunity before he joined the Avatar program. But, as already established in his back-story, if he ever had political, social, monetary or intellectual power, it is definitely not present at the beginning of the film.
This is not to say that Jake Sully, the character, is disillusioned or helpless – he’s not. In point of fact, Jake is determined to apply his knowledge and skills towards his own self-care and development. However, despite his desires to better himself and initially work within the confines of his own culture, he is still an “other” who at first is forced to operate outside of the two dominant spheres of influence at the Hell’s Gate facility on Pandora: the soldiers and the scientists.
As the story develops, we soon find Jake embracing his role within the Avatar program. While the scientists are slowly accepting him, it’s very apparent that Sully would rather immerse himself within the Na’vi culture through his interactions with Neytiri. The reasons for this are easily apparent: not only does the avatar body give Jake all of the things that he had physically lost, but also being with the Na’vi (and specifically Neytiri) emotionally completes him.
This notion of self-completion (in both a physical and an emotional sense) is very important to recognize in the narrative. For example, we begin to see evidence of Jake’s willingness to leave his old life behind by the fact that he stops eating, bathing or taking care of his human body. His old life, the life of a paraplegic and a type of now immediate a literal “other,” is rapidly becoming the unwelcome dream--and Sully’s ties to the Na’vi his new reality.
Furthermore, by deciding to become fully Na’vi at the end of the film, Jake makes a decision that is very similar to someone who may elect to have sex reassignment surgery. He is changing his outside in order to better fit what he knows is correct for him as an individual. Many people who have gender identity issues refuse to accept what is increasingly a dated notion of “medical normality,” that those in the “trans” community have a disorder. Here, gender is a social construct that is completely unrelated to biology. Similarly, while Jake Sully may be biologically human, it does not change the fact that he knows that he belongs with Neytiri, his life-mate.
In the end, it’s all about bringing your body into harmony with your perceptions of your own identity. I don’t think that it’s by accident that the Na’vi say “I love you” by saying “I see you.” Neytiri “sees” Jake, regardless of what form he’s in. When she saves Jake’s life at the end of the film, it’s easy to see the love in her eyes - despite the fact that she’s holding a small broken human who is all but helpless in her arms. Similarly, Jake “sees” her and loves her regardless of the fact that she’s not human. This is the dominant theme and meaning of Avatar.
As an important historical aside, I would also strongly suggest that Jake Sully is a Hugh Thompson, Jr.-like character. Hugh Thompson, Jr. was the US Army helicopter pilot who, along with his gunners, attempted to stop the My Lai Massacre in the village of Sơn Mỹ in 1968.
During the My Lai Massacre some 450 unarmed civilians were ruthlessly killed by about a dozen US soldiers, and Thompson, in an effort to stop what he saw as “pure premeditated murder,” threatened to shoot the US soldiers if they did not stop. In short, Thompson followed his moral center and fought against the atrocities that were being committed by his own countrymen. He did this regardless of the cost to himself.
Thompson received numerous death threats for his actions in Vietnam. He was also labeled as a “race traitor;” much like Jake Sully is in the film.
Thompson was then betrayed by his own government, by his commanders attempting to cover up the massacre, and 30 years later, while Thompson finally did receive recognition for his selfless act, he is quoted as saying in a 60 Minutes interview: “I mean, I wish I was a big enough man to say I forgive them, but I swear to God, I can't.”
Sometimes following your own moral center (like Thompson), while at the same time realizing who you are as an individual, is not “going native” as Annalee Newitz and others infer:
“Going native” is a racist and derogatory term from the 19th century imperial imagination. It is the idea that the indigenous population can corrupt a white person where they somehow ”lose themselves” to a “barbaric,” seductive, exotic culture. The indigenous population never corrupts Jake – in contrast Jake Sully is “completed” by the indigenous population and truly becomes a whole person by the end of the film.
Yes, Colonel Quaritch accuses Jake of “going native,” but that is because Quaritch is the racist (or more correctly the speciesist). It’s Quaritch who doesn’t care about the Na’vi, and it’s his employer, the RDA (Resources Development Administration) who feels that these people are merely implements, tools to be used for human expansion and progress.
Jake Sully understands that the Na’vi live according to their own traditional and tribal belief systems. All that Jake asks of the Na’vi is for them to judge him in the light of those beliefs. The fact that the Na’vi accept Jake so completely, enough to even follow him into battle, shows that the Na’vi view Sully based on his actions and merit. Ironically, the Na’vi “see Jake,” in a way that his own people are completely unable to.
Ultimately, while Annalee Newitz and others may see Jake Sully as that “white guy [who] manages to get himself accepted into a closed society of people of color and eventually becomes its most awesome member,” I would argue that she is missing the mark. Jake Sully already feels that the Na’vi are his family. Given his background prior to the climax of the movie, is it all that surprising that he would fight to protect them?
Tuesday, December 22, 2009
The 12 Days of Christmas: Barack Obama Shot Glasses, Action Figures, Cocoa Butter, and Bikini Line Bump Remover
The holiday season is upon us. I have some fun X-Mas related pieces forthcoming (volume 2 of my gift giving guide for ign't boys and girls should help with your last minute shopping). In the meantime, I am still out there hustling for the people. Following Obama's election, I asked you to send in your best/worst examples of the commodification of Barack Obama. Given that this is Obama's first Christmas in office, one would think that there would be many Obama bargains to be had. It seems that our local merchants in Chicago have certainly not disappointed. To that point, a recent trip to Walgreens revealed the following reviling O-man goodness (come on, talk about a sentence that is as smooth as wiping one's behind with silk!):
This is really poetic. Given that Obama's numbers are going into the tank, perhaps we/him/us need a drink to celebrate the end of the year. Alternatively, we can take a drink to celebrate the fact that the brother is still breathing, safe, and making history in a world where there are all too many nut jobs that would do him harm.
Kablamm! Boom! Pow! Sorry, just making my customary action figure noises. What adventures would you have with these fully articulated Obama action figures? Would Obama be a 24esque Shaft meets Matt Damon meets 007 superspy who comes to save Michelle Obama from the foul, lustful, frothing mouthed clutches of Rush Limbaugh and Glenn Beck? Will you make a Christmas themed diorama that is a hyper accurate 1/16th scale version of the White House where the Obama action figures host an elaborate gala ball while some Motown Christmas music plays in the background?
How products are placed on the shelves at retail is neither coincidental nor accidental. Consultants, leveraging decades of data about shopping and consumption patterns, place products in such a way (at eye level for example, or on endcaps) as to promote impulse purchasing (ooh look I just have to have a Snuggy!), complementary purchases (peanut butter and jelly), and a sense of fun and pleasure (don't I feel better from spending the day out and about in the mall. I feel so alive!) from the shopping experience. Ultimately, in the eyes of the Mad Men of the world, we are nothing more than self-perpetuating happiness machines.
What does the placement of Obama related merchandise near the cocoa butter section of aisle 1 suggest? Do black folks love cocoa butter, where while grabbing a bottle of Palmer's said coloured person will also feel the impulse to share in Obama's victory?Is it more about race pride, linked fate, and feeling good about one's blackness? You know that sense of positive energy and connectedness that comes with getting a new haircut, putting on some cocoa butter, and then buying some commemorative Obama merchandise?
I am at a loss for this one. Is this some signal to our most prurient desires where tidying up one's girl parts (or boy parts) leads one to buy an Obama sweater, shot glass, or action figure? Is this part of a love ritual? Given that the Obamas are Black Camelot embodied, are regular black and brown folk roleplaying as Michelle and Obama? Is there some romance afoot? And what does the order of one's purchase of these Obama related goods tell us about the sexual magic to follow?
For example: if one buys the bikini zone bump stopper first, then the cocoa butter, then the shot glass and finally the action figures what freakiness is going down that night? I would suggest that said purchases suggest fixing up one's kitty, then lotioning up, putting on the lingerie (most likely from Cacique) filling up the shot glasses with some cognac as a lubricant for the evening's events, and placing the action figures on the end table as totems/fetishes to enhance sexual potency (you know dude is going hard that night and needs some superman strength).
What am I missing? In what order would you suggest these items be used? Do you have any photos to share of local Obama X-Mas madness from you 'hood?
Saturday, December 19, 2009
Avatar is An Ode to White Guilt or Avatar is Like a Beautiful Woman Who You Lose Interest in the Minute After You Sleep with Her
Avatar is a beautiful movie that is best suited as a premier display piece for home theater systems on the floor of Best Buy. It is an amazing technical accomplishment. Avatar's 3d effects are the stuff of imagination--truly redefining for the genre of action and sci-fi film. But as often is the failing of beautiful things, Avatar has nothing new to offer. In its synthetic story we have seen elements recycled--elements done far better elsewhere. Likewise, in reading the overly enthusiastic praise offered by professional critics, and observing how some in the audience cheered and looked wide eyed at Cameron's display of technical brilliance as though it were a thing never seen before, I smiled.
It was not a smile of condescension, what I like to call "geek contrariness" where folks just want to be "haters" as to appear smart and witty. No, I was thinking of Lloyd Bentsen, the 1992 Vice Presidential Democratic Candidate and his ownage of Dan Quayle in their debate. There Quayle alluded to JFK. Bentsen looked at the baby faced, dim witted candidate (a male Sara Palin before her reign of terror over the know-nothings and willfully ignorant Right-wing Populists) and smiled. He replied: Senator, I served with Jack Kennedy, I knew Jack Kennedy, Jack Kennedy was a friend of mine. Senator, you're no Jack Kennedy.
In that spirit, I must proclaim the following: Avatar, I know Star Wars. I love Star Wars. Avatar, you are no Star Wars.
I will dispense with a more detailed review of the movie except to offer the following--read any review of the film Dances with Wolves and substitute Avatar for the latter. While Costner's epic is far more enjoyable (Wolves is an "A" film, Avatar is "C+" at best), the general review will read the same. As to avoid redundancy, I offer the following questions and observations:
1. How much white guilt and colonial fantasy is present in Avatar? White human guy can go and become an alien, return to his human body, expose the wickedness of his human brethren toward the noble savages, and then lead a revolt against the evil human corporate henchmen. Second thought: did anyone else catch the phrase "race traitor" flippantly thrown about in the film? Third thought: while I am ashamed to admit it, I love Colonel Quaritch's proclamation that, "We will blast a crater in their racial memory so deep they won't come within a thousand clicks of here ever again!" If I ever get into fisticuffs with an ign't again in my life, I am going to scream that phrase as I beat them into submission.
How many articles, critical essays, and reviews are going to be written just on that one element of the film--the colonial imagination--ten, twenty, thirty? How many are going to be worth reading? I am getting my outline ready as we speak.
2. Are the Na'Vi supposed to be Masai warriors? Tell me the resemblance is not uncanny. Easter egg: "Na'Vi" is "Native" minus "E.T." Cool move.
3. On the white guilt point, so the Na'Vi take into their community a representative of their enemies, who learns their culture in three months, mates with an heiress to the tribe's leadership, rises to lead all the Na'Vi peoples against the human invaders, and gives poor said aliens agency enough to fight back. Come on! Talk about the white man's burden redux.
4. I will concede that the Na'Vi got some soul with their fiber optic lovemaking and magic swaying to and fro under the mystical tree. In fact, the Na'Vi's music sounded like something off of a world music soundtrack one could buy at Starbucks. But for my dollar, I prefer the Ewok celebration at the end of Jedi:
5. Final music point: when will John Horner stop recycling music from Glory and Willow?
6. For a spot on deconstruction of white guilt in Avatar (she beat me to it) see Annalee Newitz's piece on the great site Io9.
7. How fitting is the following? The Marines have the following saying of which they are quite proud: "Join the Marines, Travel to Exotic Distant Lands, Meet Exotic People and Kill Them." Mate some Greenpeace ethos with the spirit of the above slogan and you have Avatar summed up quite nicely.
8. How many movies and classic sci-fi novels does Avatar unsuccessfully borrow from? I count the following: Forever War; Old Man War; Dune; District 9; Aliens; Dances with Wolves; A Man Called Horse; Final Fantasy; Last Samurai; Pocahontas; New World; Zulu; Tarzan; Ferngully; the Star Wars Trilogy. What did I miss, Captain Planet?
9. I am not hating on synthetic films--I love Tarantino for example. What is so troubling to me is how Cameron has such an eye for detail in this film and has created such a wondrous planet (the world of the Na'vi is so beautiful and well thought out, the lack of innovation in terms of narrative is made painfully obvious by comparison). Furthermore, the glowing errors of reasoning and exposition in other aspects of Avatar is a glaring oversight as well. This leads us to...
10. I am a gearhead, ghetto geek. In layman's terms this means I pay attention to military hardware, strategy, and tactics in my films. To point: did the mercs in Avatar graduate from a correspondence course? Why wouldn't they simply destroy the Na'Vi from orbit? Why would they bring in their capital ships within close range of their enemies? Thus, sacrificing all their advantages of firepower and technology? Some other thoughts. Why can't the military simply turn off what is basically an elaborate wi-fi connection between the operators and the avatars? Who would invest money in such a technology without including a kill switch?
Yes, it is a film. But, Cameron could give us a wink in the narrative to explain this error in reasoning. Was there something about the planet that demanded they come in close to fight it out with some dirty boxing?
11. Second gearhead point: so the humans can travel between stars, cover light years of distance, and master transferring human consciousness into a host body, but we can't make a type of transparent steel that can stop arrows and spears? Just thinking aloud...
12. I am not a hater. Colonel Quaritch is a badass. As proof of my allegiance to the Clan Quaritch, I will most certainly dress as our leader next Halloween.
13. Does Avatar take place in the same universe as Cameron's Aliens films?
14. On Quaritch again, the knife his mech pulled out was 10 kinds of awesome! Did anyone else notice the engraving on the blade? Was it a prize taken from a fallen Na'Vi warrior?
15. How great will Robotech be if shot using Cameron's 3d technology?
16. What did you love about the movie? What did you hate? Were you as disappointed as I was? Or have I lost the eyes and heart of my 12 year old self as demonstrated by my inability to appreciate the wondrous genius that is Avatar?
Thursday, December 17, 2009
Barack Obama's Post-Racial America: "The Heckler," Georgetown University's Newspaper Jokes About Lynchings and KKK Violence Against Black People
Enter the joyous rites of passage for college students everywhere: the annual ritual where undergraduates hold "ghetto" parties in blackface/dress up like "Mexicans" for "crossing the border parties"/or more generally act like racially myopic asses. Of course, no "offense" is ever intended. And of course, any folk who complain are being "overly sensitive." Over the years, I have witnessed events such as these as a college student (and activist), administrator, and instructor. Interestingly, the repeated note in the controversy surrounding these tasteless episodes is denial--"we didn't know any better! we didn't know that dressing up in blackface was offensive. I/We/Me/Us have black/brown/yellow/red friends. We can't possibly be racists."
Because intention is THE qualifier for racism, none of these good wholesome American "kids" ever mean any harm. My thought: how did the bar get set so low? When should intentionality enter into the equation for personal responsibility and culpability in these cases? My second thought: how can other people's kids get this most generous benefit of the doubt? Where the best of their intentions is always the default rule for assigning responsibility for any error or shortcoming in behavior or decision-making?
Ultimately, episodes where racial terrorism becomes somehow made into harmless humor and satire speaks to a deep myopia and willful ignorance about this country's history. Ironically, the purveyors of this tasteless claptrap are reconfigured as the real "victims," victims of "political correctness," "overly sensitive minorities and liberals," and reverse racism.
And of course these good white college kids wouldn't dare make allusions such as the following:
"In addition to the cross lighting, The Hoya drove the idea home by hanging dark, human-shaped piñatas from Dahlgren’s trees, representing the demons of the past. Georgetown President John J. DeGioia was on hand to witness the ceremony, and his young son was allowed to take a bat to the piñatas, which eventually gave way to a stream of crimson confetti and candy."
Nah. Good, white, college kids would never joke about the murder, debasement, and evisceration of many thousands of black people (and sometimes Jews, as well as Catholics) as they hung like strange fruit from many a tree, in the center of fairgrounds, or off of public monuments. Good white college kids would never print a newspaper article where domestic terrorism was made light of as the stuff of good fun and sport. Moreover, these same good, white, college kids would have the good sense to not make light of the whiteness of terror evoked by the robes of the KKK as the harmless "ghosts of Christmas past."
It would never happen, especially in the Age of Obama. Most importantly, the KKK and Jim Crow was sooooo long ago they doesn't really matter anymore--except to those crazy liberals and racial ambulance chasers who care about such things.
Critiquing the sense of entitlement necessary to find joy in another group's suffering (and to ask these students to reflect upon how racial violence against people of color has also damaged the White Soul) is simply to high a standard to hold. Thus, to call the editors and staff of The Georgetown Heckler to the carpet is both self-righteous and unfair to these good white kids who really meant not harm. Right?
DAHLGREN QUAD—After a challenging year during which Georgetown’s main newspaper saw a last-minute revocation of its independence from the University and extended fallout over its annual April Fool’s issue, The Hoya came together this Friday for its annual cross lighting.
Since the 1930s, the Christmas cross has stood next to Georgetown’s official Christmas tree and is meant to be a reminder of the religious importance of the holiday that the newspaper felt was already slipping from the cultural consciousness during the Roosevelt administration. The Hoya still uses the original green and red light-bulb-studded metal frame of the cross from the first cross lighting, but its wood body has had to be replaced every year since 1941 because faulty electrical wiring causes the wood to catch fire.
“I think we needed this tradition more than ever,” said Campus News Editor Marshall McKinley (SFS ’11). “Seeing our crappy little cross struggle to light up and then spark and catch on fire was the first time in a while we’ve been able to laugh.”
The event began Friday with the staff’s traditional procession under the dark of night from the Leavey Center, with everyone wearing the traditional costume of a flowing white robe, white hood, and white mask, portraying the “ghosts of Christmas past.”
“It’s a time to remember our great tradition, but it’s also a time to remember some of the darkness that hangs over our past,” Hoya Features Editor Emma Richards (COL ’12) said. “It feels cathartic to put on this white hood. It’s about us coming together as one and exterminating these dark figures of the past that seem to loom over us.”
Added Richards,” We’ve been slaving over this ceremony for weeks and it’s great to see it running so smoothly.”
In addition to the cross lighting, The Hoya drove the idea home by hanging dark, human-shaped piñatas from Dahlgren’s trees, representing the demons of the past.
Georgetown President John J. DeGioia was on hand to witness the ceremony, and his young son was allowed to take a bat to the piñatas, which eventually gave way to a stream of crimson confetti and candy.
One of the hooded figures, apparently new Editor-in-Chief Paul Buckley (COL ’11), gave a short speech to the crowd. “From now on we go forward free of the black marks on our past,” he said. “We stand here united in these pure white robes and realize we are now pure and whi—upright, standing on our feet as a newspaper once again.”
In one final act of symbolic ceremony, Buckley took off his robe and rubbed his face and arms in shoe polish. “I is the stupid dark demon that be hauntin’ you!” he yelled in a strange voice. “Be smart and independent and pure, young Hoya staffers!” He was clubbed to the ground with plastic bats.
Finally the huge burning cross was extinguished with a fire hose, but first the hose somehow malfunctioned and shot water at members of the Black Student Alliance who were walking back from a meeting, knocking them over and causing injuries.
Saturday, December 12, 2009
We are truly a society too sick to survive.
I may have desires to be an Internet celebrity. But to my credit, I have never cut a promo or commentary while in the bathtub. Why? Primarily, baths are disgusting and foul ventures. One sits in their own filth and is expected to somehow emerge cleansed. Yuck! the time for denial is over, baths are just nasty. As a corollary, I would rank the "romantic" bath with one's lover as only slightly more objectionable and disappointing than the hot lovemaking in the shower fantasy that so many of my lady friends have harbored--someone always ends up cold and I will be damned if it is going to be me. Given my hedonistic ways, if I would/have/will continue to reject sexing it up in the shower or bathtub--even with Sarita Choudhury, Bai Ling, Rihanna, or Rosario Dawson (although I would certainly watch these water nymphs bathe while reading poetry to them while perched on the commode as a precursor to an epic lovemaking session)--imagine how I feel about issuing edicts on the public happenings of the day while in the bathroom. Such deeds are simply uncivilized.
1. Is dude serious? Or is he an exhibitionist?
2. What's next? Blogging and podcasting while dropping a deuce?
3. Why is he from my adopted hometown of Chicago? Why?
4. Where is the shame Lord? Has shame simply left our society as a positive and moderating influence on human behavior?
5. Random geeky question: How would Jurgen Habermas or Walter Lippman analyze the above exercise in expanding the public sphere and communicative democracy?
Friday, December 11, 2009
Been absent the last few days on these planes, trains, and automobiles. The Woods debacle continues. And I have something special in store for Monday. For now:
From Adam in the bible to Tiger Woods--destroyed by feminist lies!
Sounds like a hook from R Kelly's new album.
Okay, the Mayor of Blacktown is preaching again. I am usually an unapologetic supporter of the Mayor. But, on this one I am having a hard time connecting the dots. Nevertheless, it does make me smile. Like flies to doo doo, Woods is bait for all Internet celebrities. Whose next? I wonder what Pastor Manning will have to say about Woods' use of his wood as he beats around the bushes. How can you not love Oscar Wilde world play such as that?
Monday, December 7, 2009
Tiger Woods is Addicted to White Women or People's Exhibit Number One in the 21st Century Post-Racial Museum of Racial Absurdities
“Out of the blackest part of my soul, across the zebra striping of my mind, surges this desire to be suddenly white. I wish to be acknowledged not as black but as white...who but a white woman can do this for me? By loving me she proves that I am worthy of white love. I am loved like a white man...I marry white culture, white beauty, white whiteness. When my restless hands caress those white breasts, they grasp white civilization and dignity and make them mine.”
I had no comment to offer on Tiger Woods' indiscretions until I rediscovered the above quote. Fanon so perfectly describes Woods' sickness that it demanded I proceed. So Tiger, I guess you ain't had it right 'till you had it white, no?
I am a huge fan of the "swirl"--the intermingling of bodies differently hued in the midst of hot, sweaty, lovemaking. Moreover, I have never understood so much energy expended over one's choice of who to bed and for what reasons. That qualifier being known, Tiger Woods is a special case.
If Tiger were worthy of blackness I would label him a "tragic negro." But, for all of his gifts, he walked away from his ancestry and history. To boot, Woods is self-hating (see this article in Esquire magazine where he revels in telling white folks racist jokes about black people). Predictably, Woods does not have the blues sensibility that comes from a sense of belonging to the Black Atlantic. Tiger does not hear the drum--nor does he ever want to.
I am accommodating. If Woods had said "hey, my mom is Asian, my dad is Black, and I honor both," I could respect him, rather, against the force of history and commonsense, Tiger in the height of arrogance, invents his own race. Now a "Cablinasian," Woods is his own man, not standing on the shoulders of those athletes of color who struggled to open doors that he now freely walks through. Tiger is now/was an island onto himself.
During his ascension, I was tempted to let Woods stay in self-imposed racial exile as the multicultural marketing machine that is 21st century corporate America, of which he was one of its greatest examples, used him--and he used it. Like OJ Simpson before him (Hertz jumping, airport running, Nicole Simpson white prize possessing negro that he is) Woods was given a pass into nominal whiteness. Just like soccer legend Pele in the "racial democracy" that is Brazil--who ironically was the butt of the joke that only in Brazil could Pele (a dark skinned black man) be "white"--Woods has so much money that some would allow him this latitude of racial self-invention.
But like so many of wealth and prestige, Tiger Woods could not resist drinking deeply from the fountain of self-indulgence. Whiteness, or to be more specific, White women, were his ambrosia. Like a mere mortal at a feast of Dionysus hosted by Pan, Woods drank too deeply to only awaken drunken on a neighbor's lawn in the midst of a maelstrom of his own making.
Who knows what will come of Tiger. Financially, he will be fine. Rich before. Rich now. Rich later. To his credit, Woods is consistent. If one looks at the rogues gallery that are his mistresses and dalliances he does have a particular taste: white of any hue, station, habitus, beauty, or way. Pity then, that this appetite would be his destruction (Even more sad given Tiger's resources. I must ask the obvious: Could he not have found women that were on average more attractive? At least possessing the class and beauty of his wife as opposed to some Jersey shore castoffs or a woman picked up at Dave and Busters or Hooters?).
The DSM-IV, the bible for psychotherapists, has a pithy diagnosis for Woods' behavior: he is addicted to white women.
Please do not misunderstand me. It is not the fact that Woods likes white women that is so troubling. I could care less. What is troubling, is that Tiger so needs a certain type of woman as a means of immunizing himself--or so he thought--from his own blackness. This is a mode of racial fetishizing and obsession that is dishonorable to Woods' family. It is also, at least in my opinion, doubly insulting to the women that Woods bedded for he did not want them because they happened to be White. No, he wanted these women precisely because they were White. This is a subtle but very important distinction.
Pray tell, who better than Tiger Woods exemplifies the following description of the sickness that is "addiction?"
From Inside Higher Ed, Scott McLemee's What Are the Drums Sayer Booker Part 2? or How Cornel West Spits Game at the Ladies
Brother Cornel is one of my favorite people.
Cornel West is a true renaissance man. If he succeeds or fails, West is always daring to reach--to attempt the act of (re)invention. A laudable trait in my humble opinion. I also admire Dr. West's ability to parlay his not insignificant abilities as a public intellectual for a quite comfortable living. How can one hate on a Rolls-Royce socialist? Tell me. How?
As a great example of the hold Brother Cornel has on some of the youngsters, I will never forget standing in line to see him give a talk at a university that will forever remain nameless. In front of me were some snowflakes (the "affectionate" name given by faculty to undergraduates) who exclaimed, "Cornel West is a god! Did you know he was in the Matrix movies! He is so cool!" I simply smiled.
Yes, like many of you, I too am still waiting for Brother Cornel's return to "serious" academic work. Nevertheless, on a pound for pound basis Cornel is a national asset. Predictably, he is also a great magnet for the haters. That having been said, the following ownage/getting sonned by/taken to the woodshed/Ric Flair cutting of promo by Scott McLemee on Cornel West is the most scathing attack on a Black public intellectual since Adolph Reed's classic essay “What Are the Drums Saying, Booker? The Current Crisis of the Black Intellectual" in the Village Voice circa 1995:
While Scott McLemee clearly disagrees, for my dollar, Cornel's explanation of his sexual appetites and the visions of sensual pragmatism that await the ladies who find themselves in the latter's boudoir easily makes his new book a must own.
Personal note: how can you not like that Oscar Wilde-like wordplay?
Second personal note: I am going to use Brother Cornel's explanation of his love philosophy as my new justification for the virtues of a poly-amorous lifestyle.
Question: Is Scott McLemee fighting out of his weight class? Is Scott going to get knocked out if Cornel responds to his being called out? Will this fight be a TKO?
Enjoy the following excerpts courtesy of Inside Higher ed:
The problem, to be clear, is not that this is meant to be is a popular book, or even that West himself could not be bothered to write it. Brother West offers much evidence that amour propre and self-knowledge are not the same thing. One tends to be in conflict with the other. A memoir will often show traces of the struggle between them.
Not so here. That battle is plainly over. Self-knowledge has been taken hostage, and amour propre curdled into self-infatuation.
If sketchy in other regards, Brother West is never anything but expansive on how Cornel West feels about Cornel West. He is deeply committed to his committed-ness, and passionately passionate about being full of passion. Various works of art, literature, music, and philosophy remind West of himself. He finds Augustinian humility to be deeply meaningful. This is mentioned in one sentence. His taste for three-piece suits is full of subtle implications that require a couple of substantial paragraphs to elucidate.
As mentioned, his romantic life sounds complicated. Brother West is a reminder of Samuel Johnson’s description of remarriage as the triumph of hope over experience. One paragraph of musings following his third divorce obliged me to put the book down and think about things for a long while. Here it is:
“The basic problem with my love relationships with women is that my standards are so high -- and they apply equally to both of us. I seek full-blast mutual intensity, fully fledged mutual acceptance, full-blown mutual flourishing, and fully felt peace and joy with each other. This requires a level of physical attraction, personal adoration, and moral admiration that is hard to find. And it shares a depth of trust and openness for a genuine soul-sharing with a mutual respect for a calling to each other and to others. Does such a woman exist for me? Only God knows and I eagerly await this divine unfolding. Like Heathcliff and Catherine’s relationship in Emily Bronte’s remarkable novel Wuthering Heights or Franz Schubert’s tempestuous piano Sonata No. 21 in B flat (D.960) I will not let life or death stand in the way of this sublime and funky love that I crave!”
No doubt this is meant to be inspirational. It is at any rate exemplary. Rendered more or less speechless, I pointed the passage out to my wife.
She looked it over and said, “Any woman who reads this needs to run in the opposite direction when she sees him coming.”
Returning to the book, I found, just a few pages later, that West was getting divorced for a fourth time. Seldom does reader response yield results that prove so empirically verifiable.
Friday, December 4, 2009
What If? Confessions of a Young Conservative: Glenn Beck's High School History Class Exam Revealed for All to Read
During the next few weeks we will be featuring a series of "what if's?" Accordingly, you, our erstwhile friends and allies ask: Brother Chauncey, please clarify what exactly you mean by a "what if" scenario?
Remember when you were a kid and Marvel and DC comics teamed up and told a story where Superman fought the Hulk? Well, this is our version of what smart folks call either "counter-factuals" and/or "exercises in creative decision-making and imagination." You know that our friend Werner Herzog's Bear, resident expert on Glenn Beck and his twisted machinations had to get the first shot. In the following piece, Werner, historian par excellence, puts forth what Glenn Beck (circa frustrated senior year know it all in high school) would have written in response to a prompt in history or civics class. Enjoy!
Question: What factors led to the constitutional convention, what ideas influenced the Constitution’s framers, what principles of government did it express, and how has it changed over time?
Ever since God created human beings, they have wanted freedom. No country truly had freedom until the United States. The Founding Fathers got together in Philadelphia because they wanted more freedom, which they weren’t getting from the Articles of Confederation. The Articles taxed to much. They were like a Communist government. This is why liberals don’t like the Constitution.
The Founding Fathers were obviously following the Ten Commandments with the Constitution, since there are ten amendments. Part of it says that men are “endowed by their Creator” with rights. This means that the Constitution did not believe in separation of church and state. The liberals who want that obviously never read Thomas Jefferson. He wrote the Constitution, not them.
The Founders also hated taxes’, which is why they threw tea into the harbor. The Constitution does not believe in taxes. That’s why progressive fascists added the income tax amendment. Since the Founders’ were inspired by God, the Constitution is a perfect document, and not a living document. You can’t improve on what God inspired.
The Constitution is all about real Americans. That’s why it protects the right to bare arms and have militias. The Founders had some good ideas about this that we should follow. People who aren’t real Americans should only have 3/5’s of a vote. Why is this so controversial? I guess that’s because today’s liberals hate the Constitution.
The most important part of the Constitution is the tenth amendment. That says that the states can’t be forced to do anything they don’t want. The Founders thought the federal government was tyranny. This is why the fourteenth amendment is wrong a change, since it takes away states’ rights. I don’t understand why people have a problem with states’ rights, they have always helped real Americans from tyranny. Only Communists and Nazi’s are people who like centralized government.
Today we have disrespected the Constitution. Schools can’t force students to pray. The goverment taxes all the time. The Commander-in-Chief doesn’t like real Americans, which is very dangerous. Pretty soon the liberals put us all in death camps! They hate America! They want to drive the ship into the iceberg!
Even tho the Constitution was perfect, new issues are here now. So we need new amendments. We have to make sure only real Americans become president. The Nazi liberals want to destroy America! We need to stop the gays from marrying. If we allow that society will die! Maybe we’ll have another revolution by real Americans to get the Constitution back. Like the Founders said, sometimes the tree of liberty needs to get water from patriots blood. I wish I could use the chalkboard in the front to show you this.
(Note to professor: sorry about the tear stains on the test. Sometimes I get so carried away when I talk about our great country.)
Thursday, December 3, 2009
Heavy is the head that wears the crown. As a fan of Robert E. Howard's legendary character Conan the Barbarian, I am sure that President Obama will appreciate the allusion.
President Obama's speech on the war in Afghanistan reveals a man whose presidency is eerily reminiscent of that of the Johnson administration--men of bold vision domestically, yet tarnished by a failed war abroad. I have watched with great concern and relative silence over these last few months as Obama has committed misstep after misstep in the formulation of his Afghanistan policy. As a strong supporter of President Obama, I stood mute. I convinced myself that Obama is playing such a deep game that success awaits us if we only stay the course.
I watched Obama's speech on Tuesday with a raised eyebrow and an attentive ear. Ultimately, there is no way to elegantly parse the conclusion which I reached: We are in one hell of a mess. Sadly, I no longer believe that success, either domestically or internationally, is a Fait accompli under Obama's leadership.
Economically, we are an empire in decline. In many ways, America is the British Empire of the late 19th and early 20th centuries. We believe that we are too big to fail, an indispensable power in the world, while we simultaneously maintain a bloated empire that we cannot extradite ourselves from. Like the Brits in their twilight, we no longer have a manufacturing base as we have chosen to build wealth on the shadows and mirrors of finance, speculation, and credit.
Ironically, the world itself has signaled that they too are unprepared for a world where America does not lead--yet, our peers and friends seem either unwilling or unable to take up the slack. Domestically, Obama has been too much a centrist, too willing to compromise. He needed to put on the brass knuckles many months ago. Instead, Obama chose to proceed with a conciliatory way, extending his hand to his foes while wearing a silk glove. Predictably, the Republicans and right wing populists saw compromise as weakness and chose to play the role of obstructionists.
Perhaps unavoidably, there have been many missteps in the formulation of Obama's Afghanistan policy. He has let himself be bullied by the military. Obama has been contemplative and patient while gathering the necessary information for making what is a life and death decision both for his administration (and its legacy), for this country (and our future), and for the young men and women who are the tip of the sword in Afghanistan (and who will live and die as a function of Obama's continuation of Bush era policies). Not surprisingly, Commander-in-Chief Obama was greeted by a military establishment that publicly lobbied for their own agenda and disagreed with the president's policies. Simply put, if Truman found the courage to fire Douglas MacArthur, the American Caesar, surely, Obama could have dismissed General McChrystal and those others who went public, thus revealing that they did not respect the chain of command.
While America is rightfully focused on terrorism and Al-Qaeda as threats to our safety and security, realpolitik tells us that Bin Laden and his terror franchise are not a threat to the existence of this country. At present, our greatest foe is a radically diminished standard of living caused by capitalism and finance run amok, where a politics of greed that traded long term prosperity for short term gain has been the dagger in our heart.
It is not a suicide bomber operating out of the hinterlands of Pakistan or Afghanistan that will undo us. No, it is the economic terror of the Great Recession. If we do not act rightly, with more expediency and more vigor, it will not be homicide bombers, dirty bombs, shoe bombs, asymmetrical warfare, or a failed counter-insurgency strategy--a new language, a panoply of buzz words and phrases that have recently infiltrated our 21st century lexicon--that will be listed as agent number one on our national epitaph. Rather, it will be the Great Recession that placed the last nail in America's proverbial coffin. As a qualifier, I would reiterate that like most empires, our decline will be be both long and slow. This fall will not be immediately attributable to any one factor. Nevertheless, we stand at a crossroads in our own history. I fear that Obama has taken the wrong fork--one that will lead us to inevitable ruin.
Mr. President, I understand that you are in a lose-lose position. If you choose to withdraw from Afghanistan you will be lambasted from the right and the center. If you escalate, as you have chosen to, you will lose progressives as you pursue a policy that is in many ways juxtaposed to the theme of "change" which you campaigned upon. I do not envy the decisions that have been forced upon you--or more rightfully put--a set of burdens that you chose to hoist upon your own shoulders when you made the decision to run for President.
President Obama, like so many, I have and continue to support you because of your dignity and intelligence. The critical and reflective manner that typifies your decision making process is a breath of fresh air when compared to your predecessor.
For this, you are a credit to us all.
With that having been said, I appeal to your intellect and intelligence. Ask yourself again, as I am sure you have, can America really and truly reconcile the history of Afghanistan--a country affectionately known as the graveyard of empires--with our policy goals? In a time of economic crisis can America afford the 1 million dollars a year per soldier, the expense of keeping one soldier in Afghanistan, when we are bleeding money at home? President Obama, I implore you to review Dwight D. Eisenhower's prescient speech on the military industrial complex. Ask yourself, "how many homes could 1 million dollars save?" "How many children could be fed?" "How many people could be employed?" "How many schools could be built?"
Mr. President, as a student of history you most certainly know that America will be in Afghanistan longer than the time period that you have suggested. This is unavoidable. All that I ask for is honesty, a fair deal, and a transparent conversation with the American people where you ask them the following questions: Are they prepared for the steady stream of coffins that will slowly trickle back to Dover in order to follow through with an unsustainable policy of nation building in Afghanistan? Is it worth it?
President Obama, Afghanistan is your personal tar baby now. How will you free yourself, and this country, from its sticky grasp?
Friday, November 27, 2009
See, there is in fact a career path for aging, aged, and well past their prime "hip hop" artists.
I hope you had a good Thanksgiving Day. My meal was spot on. It was a bit uppity and high class for this working class Negro's pallet, but Lord was it scrumptious.
To point, apparently Coolio will be releasing a cookbook based on his Internet cooking show. Can anyone say welcome to diabetesville?
Second thought, so there is something called "ghettalian" bread? What's next? With incarceration as a new right of passage for the ign't classes, will prison cuisine infiltrate mainstream American fare? Are we going to see cookbooks that merge the best of the food preparation techniques from inside the prison system with the delicate ingredients that are the centerpieces of the slow food movement?
I wonder how Martha Stewart and Alice Waters are positioning themselves to profit off of this potential trend. Who knows, maybe Trader Joe's has a new addition to their line of Two Buck Chuck in the offering. Coming soon to a strip mall or a suburban exurb near you, Pruno. I can just imagine all of the wannabe cosmopolitan types raving about the subtle notes and flavors of prison hooch on NPR's All Things Considered: "Pruno is so aromatic and deceptively sophisticated...the introduction of this wondrous beverage speaks to the zeitgeist of the Great Recession...Prison culture has become American culture, first hip hop, now Pruno." Inevitably, faux wine experts will soon be imploring their friends to drink pruno out of a plastic jug lest the wine not hit the proper part of the tongue, and its flavor be diminished.
Enjoy and bon appetit! Truth be told, count me among the converted as I am going to cook me some of these soul rolls for Christmas dinner.