The Legacy of White Supremacy

NOT a contradiction

is his lifeI came across an article in Foreign Affairs magazine from January/February 2018 called America’s Original Sin. It is subtitled Slavery and the Legacy of White Supremacy.

It’s a useful article, written by Harvard professor Annette Gordon-Reed, describing historical inequities. It’s all knowable stuff but given the misinformation and disinformation out there, it was clarifying.

It starts off with the discussion about the taint of our founding documents, the Declaration of Independence, composed by slave-owner Thomas Jefferson and “released into 13 colonies that all, to one degree or another, allowed slavery.” The Constitution, in addition to the 3/5 compromise, “prohibited the abolition of the slave trade before 1808.”

“The most significant fact about American slavery, one it did not share with other prominent ancient slave systems, was its basis in race. Slavery in the United States created a defined, recognizable group of people and placed them outside society. And unlike the indentured servitude of European immigrants to North America, slavery was an inherited condition.

“As a result, American slavery was tied inexorably to white dominance. Even people of African descent who were freed for one reason or another suffered under the weight of the white supremacy that racially based slavery entrenched in American society… ” White supremacy was codified in both slave and so-called free states.

NOT a contradiction

I think this observation is most significant: “The historian Edmund Morgan… argued that racially based slavery, rather than being a contradiction in a country that prided itself on freedom, made the freedom of white people possible. The system that put black people at the bottom of the social heap tamped down class divisions among whites.

“Without a large group of people who would always rank below the level of even the poorest, most disaffected white person, white unity could not have persisted. Grappling with the legacy of slavery, therefore, requires grappling with the white supremacy that preceded the founding of the United States and persisted after the end of legalized slavery.”

Why we STILL talk about race in America

“The ability to append enslaved status to a set of generally identifiable physical characteristics — skin color, hair, facial features — made it easy to tell who was eligible for slavery and to maintain a system of social control over the enslaved. It also made it easy to continue organized oppression” – in both the North AND the South – “after the 13th Amendment ended legal slavery in 1865.”

Annette Gordon-Reed notes that Reconstruction “was seen as a nightmare by many white Southerners… Rather than bring free blacks into society, with the hope of moving the entire region forward, they chose to move backward, to a situation as close to slavery as legally possible…

“In a reversal of the maxim that history is written by the victors, the losing side in the Civil War got to tell the story of their slave society in ways favorable to them, through books, movies, and other popular entertainment. American culture accepted the story that apologists for the Confederacy told about Southern whites and Southern blacks.”

You should read the whole article if you can. It addresses Irish immigration, Confederate statues, and Dylann Roof, among other topics. I’ve become convinced that America needs to look more at that century AFTER the Civil War, when many of the most egregious acts of bigotry occurred.

Once On This Island- tour and Jr.

Jr. edition March 8 at First Pres

Once On This IslandMy church is performing Once Upon This Island Jr. It is a simplified version of the musical set on an island in the French Antilles at night during a storm.

Once On This Island ran from October 1990 to December 1991 (19 previews, 469 performances). It was Tony nominated for Best Musical; Book of a Musical; Original Score (Lyrics by Lynn Ahrens, Music by Stephen Flaherty); Featured Actress in a Musical (LaChanze); Costume Design; Lighting Design; Choreography and Direction in a Musical, the latter two by Graciela Daniele.

Revived for one day, May 12, 2002, it was as a Benefit for Broadway Cares / Equity Fights AIDS. In December 2017 to January 2019, it returned again for 29 previews and 457 shows. This time it was nominated for eight Tonys, winning as Best Revival of a Musical.

It toured nine months in 1992. The current tour started in October 2019 and runs through July 2020. It’ll be all over the country. The show we saw at Proctors in mid-January was very good. It featured Tamyra Gray, from the first season of American Idol, as Papa Ge, the demon of death.

Why not?

The weather forecast was rather dodgy. My wife recommended that we take the bus to Schenectady and back. This notion did not appeal to either our daughter or myself. It would mean taking a bus home at 10:30 p.m. If we missed the last connecting bus, we’d be stuck downtown Albany in the cold. I suppose we could have taken an Uber or something that point, but would one come in such nasty weather?

The solution was absurdly extravagant. We left c 2:30 p.m., just as the snow began. We checked into a hotel in downtown Schenectady, only a few doors from Proctors, and hung out in the room for a couple of hours. Then we went out to dinner with one of our Jr. cast members and his parents at a newish restaurant called Grano. It was nice, and more importantly, it was within walking distance.

The next morning, we went down to breakfast. My wife was talking to a woman who had a young girl. It turns out the girl was Mari, who played the young Ti Moune in the production we saw the night before. Her mom left briefly and brought back a We Dance knit hat and gave it to our daughter. Then we drove directly to church, the nasty weather having passed.

The Once On This Island Jr. edition that our church is performing March 8 contains some alterations. It cuts some verses in songs and eliminates a couple of tunes altogether, notably The Sad Tale of the Beauxhommes.

The production also alters dialogue to accommodate multi-ethnic productions. “The original cast was chosen along racial lines with darker-skinned actors portraying the peasants and lighter-skinned actors portraying the upper-class landowners.” The altered script preserves the differences about class distinctions.

Bubbling Under #3: #101 or less

Goin’ Down

George Martin
George Martin
Here’s a third list from the book Bubbling Under the Billboard Hot 100, 1959-2004. These are more songs that I own that didn’t get above #101 on the primary US singles charts.

My Male Curiosity – Kid Creole & the Coconuts, #110 in 1984, from the movie Against All Odds, starring Rachel Ward and Jeff Bridges
20th Century Man – the Kinks, #106 in 1972
A Whiter Shade of Pale – Annie Lennox, #101 in 1995
Straight Shooter – the Mamas and the Papas, #130 in 1967, B-side of Twelve-Thirty (#20)
Hey Girl – the Mamas and the Papas, #134 in 1967, B-side of Glad to Be Unhappy (#26)

George Martin and His Orchestra

All are from The Beatles’ A Hard Days Night soundtrack on United Artists
And I Love Her, #105 in 1964, B-side of Ringo’s Theme (This Boy) (pop #53)
I Should Have Known Better, #111 in 1964/
A Hard Day’s Night, #122 in 1964

Waterfalls– Paul McCartney, #106 in 1980

Roger Miller

Roger is such a GOOD name
It Happened Just That Way, #105 in 1965, AC 26; B-side of One Dyin’ And a Buryin’ (#34)
I’ve Been A Long Time Leavin’ (But I’ll Be a Long Time Gone), #103 in 1966, CW #13; B-side of Husbands and Wives (pop #26)
Me and Bobby McGee, #122 in 1969, CW #12

Why Do Fools Fall in Love – Joni Mitchell with the Persuasions (live), #102 in 1980
Goin’ Down – the Monkees, #104 in 1967; B-side of Daydream Believer (pop #1)
Nights in White Satin, #103 in 1968; longer edit made #2 in 1972
Gypsy – Van Morrison, #101 for two weeks in 1973
Bright Side of the Road – Van Morrison, #110 in 1979

I Used to Be A King – Graham Nash, #111 in 1971
Open My Eyes – Nazz, #112 in 1968, featuring Todd Rundgren!
Over You – Aaron Neville, #111 in 1960, RB #21 (spelled as Arron Neville, co-written by Allen Toussaint )
I Love L.A. – Randy Newman, #110 in 1983, an MTV staple in the day

You Can’t Do That – Nilsson, #122 in 1967
Everybody’s Talkin’ – Nilsson, #113 in 1968; rerelease reached #6 in 1969 thanks to its use in the movie Midnight Cowboy
Wedding Bell Blues – Laura Nyro, #103 in 1967
It’s Gonna Take a Miracle – Laura Nyro with LaBelle, #103 in 1972

Outside of a Small Circle of Friends – Phil Ochs, #118 in 1968
Looking for Clues – Robert Palmer, #105 in 1980
Alive – Pearl Jam, #120 in 1996, #107 in 1998
American Girl – Tom Petty and the Heartbreakers, #109 in 1994; first released in 1977, when it did not chart

See Emily Play – the Pink Floyd, #134 in 1967
29 Palms – Robert Plant, #111 in 1993
Steam Heat – Pointer Pointers, #108 in 1974
Suspicion – Elvis Presley, #103 in 1964
(Let Me Be Your) Teddy Bear – Elvis Presley, #105 in 1978, originally #1 pop in 1957

Louie Louie – The Pretenders, #110 in 1981
Uptown – Prince, #101 in 1980
Peach – Prince, #107 in 1993
Me and the Boys – Bonnie Raitt, #109 in 1982
Right On – Rascals, #119 in 1971

We’ll finish next time.

Movie review: Just Mercy (2019)

tangle of conspiracy and political machination

Just Mercy
Michael B. Jordan, Bryan Stevenson, Jamie Foxx
Before Just Mercy was a major motion picture, it was a book by Bryan Stevenson. The young Harvard-trained lawyer from Delaware “founded the Equal Justice Initiative, a legal practice dedicated to defending those most desperate and in need: the poor, the wrongly condemned, and women and children trapped in the farthest reaches of our criminal justice system.”

I have not yet read the book. But my wife has, and she feels that the movie treatment is a fair representation of the narrative. “One of his first cases was that of Walter McMillian (Jaime Foxx in the movie), a young man who was sentenced to die for a notorious murder” of an 18-year-old white female “he insisted he didn’t commit.”

“The case drew Bryan into a tangle of conspiracy, political machination, and legal brinksmanship—and transformed his understanding of mercy and justice forever.” There was a great deal of evidence proving McMillian’s innocence. “The only testimony against him came from a criminal with a motive to lie.”

That story was the basis of the movie. Stevenson (Michael B. Jordan) meets with Eva Ansley (Brie Larson), a local white activist, and he starts the EJI. Seemingly simple acts such as getting office space, is a challenge.

Anger?

I found Just Mercy to be a compelling story about fighting injustice in a dangerous situation. It’s interesting that 99% of the Rotten Tomatoes audience found it compelling but only 84% of the critics. Most of the latter use terms such as: “There’s too little anger and dirt and fear in this story.” Another: “calibrated… with an eye to not offending White viewers with anything remotely resembling Black anger.”

These people have totally missed the point. The black folks are angry, but generally resigned to an unjust system that requires an unnecessary strip search. Or the fear of death when Driving While Black. A courtroom protest, shown in the trailer, will land you in jail. When the deck is so stacked against you, anger tends to be modulated.

A.O. Scott writes in the New York Times: “Just Mercy is saved from being an earnest, inert courtroom drama when it spends time on death row, where it is opened up and given depth by two strong, subtle performances, from Foxx and Rob Morgan.”

I was moved by Just Mercy. It wasn’t a showy cinematic experience. But it told an important story well.

Frozen; The Band’s Visit- Proctors

Frozen: technically brilliant

Band's Visit.playbillOne of the perks of retirement is that I’ve gotten season’s ticket to see musical matinees at Proctors Theatre in Schenectady. Oh, I’ve had them before, but it’s been a few years that I went to the THURSDAY matinees. Those particular matinees mean three things: cheaper tickets, a lot of older patrons, and best of all, a discussion with the cast after the shows.

In some ways, the after-show talk is the best part. For instance, there were three cast members fielding questions from the audience at the mid-November 2019 performance of Frozen. I had seen the movie when it came out and thought it was though it was fine.

The cast let us know that they were up in Schenectady running technical rehearsals. Probably for geographic reasons, Proctors is often the first show on national tours. This involves making sure the show is set not just for that venue but all of the subsequent ones.

The three performers were a guy who was in the ensemble, a woman with a small role who was otherwise in the ensemble, and the guy who voiced the Olaf the snowman puppet-like creature. The first two had to make costume changes after almost every scene. The controller of Olaf had less changing, but had to make sure it was the snowman, not the person operating him, who was the focus.

Technically, Frozen was brilliant. Thanks to lighting, smoke and other effects, one believed the country was getting colder. There were audible gasps and even applause with the transition. The show was well-performed, but the extra songs did not enhance the narrative. I thought the second act in particular dragged. But I blame the script/songs, not the performers.

2018 Best Musical

Here’s the plot of The Band’s Visit. “When an Egyptian police band gets stranded in a tiny Israeli town, the musicians wait in a cafe — and get to talking with the locals.”

It is “one of four musicals in Broadway history to win the unofficial “Big Six” Tony Awards, which include Best Musical, Best Book, Best Score, Best Actor in a Musical, Best Actress in a Musical, and Best Direction of a Musical. It won the 2019 Grammy Award for Best Musical Theater Album.”

My wife and I enjoyed a performance in late December. The woman behind me clearly did not. “Thank God it’s over!” We surmise it’s because there’s no big numbers in The Band’s Visit to let one know It’s A Broadway Show. It’s more subtle than that.

The four cast members we saw afterwards, all men, were particularly engaging. A couple of them were from the Middle East. One said he loved the show because it’s an antidote from being told he could only play a doctor or a terrorist.

Not incidentally, two of the leads in the show were played by understudies. Was that to allow them a chance to play a show or two each week? NO, the usual leads were not available.

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