Tag: Race

Let Freedom Ring

On Monday, the world paid tribute to the memory of the Reverend Dr. Martin Luther King Jr., a man whose legacy will forever be linked to his tireless pursuit of equal rights for not only African Americans — but for anyone who suffered injustice and discrimination based on race, gender or social standing.

As a child, I recalled every year in my elementary school being encouraged to read and recite his iconic “I Have a Dream” speech, and obsessing more on my classmate Yvonne — who, along with her sisters, would always nail the recitation in the grade level school-wide contests — than on the speech’s contents. The rest of us in the class didn’t even try to beat her; we just basked in the bragging rights of having her in our class.

It would take years for me to fully understand and appreciate the sacrifice and struggle of Dr. King and his fellow “freedom fighters”. In retrospect, the work of these incredible men and women didn’t resonate as strongly as the holiday from school. To this day, I’m not certain if it’s a testament to my refusal to digest the horror of history, or if the school system failed to emphasize the importance of the movement that, at the time, was still freshly woven into the fabric of this country.

To be fair, the subject matter calls for complicated — and sometimes uncomfortable — conversation that is tough to grasp at an age where you can barely put sentences together.

In any case, recalling this bit of information helps me understand why the youth of today aren’t fully informed or sympathetic to Dr. King’s fight.

But what I don’t understand, is how in this era — where most kids who don’t have jobs somehow possess expensive smartphones that easily access information, and two year-olds can navigate applications on iPads — is it possible that people choose to not research the story of King and all freedom fighters, and instead use his image to promote “twerking” parties?

This thought came to me while attending Monday’s annual tribute to Dr. King at the Brooklyn Academy of Music, which this year included tributes to Nelson Mandela and Amiri Baraka . While standing on line early that morning waiting to be seated, the presence of parents with young children en mass was a welcome and heartwarming sight to my sleepy eyes.

During the tribute, we heard the voices and messages of borough presidents, senators, congressmen, various elected officials and the new mayor and first lady of New York. We also heard the old/new police commissioner — a man clearly out of his comfort zone — who kept gratingly referring to Dr. King as “Mr. King”.

Once the political agendas and awkward moments commenced, we listened to the melodic voices of the Christian Cultural Center Chorus (who unfortunately included an R. Kelly song in their set list) and the jazzy brilliance of José James.

But the high note was the event’s keynote speaker… Angela Davis.

The indomitable fist-hoisting poster child for “Black Power” in the ’60’s and 70’s. She of the famous gap-toothed smile that beams through a face shrouded by a mushroom cloud of an afro (now graying and only slightly tamed), with a razor sharp mind and an undeniable ability to capture a room or gathering crowd with her eloquence.

Decades after being acquitted of murder, kidnapping and conspiracy charges, and semi-quietly resigned to a life of minimal fanfare, the woman still electrifies an audience. In a packed to capacity venue, the former FBI fugitive stood onstage for several minutes basking humbly in the applause and cheers of an emotional crowd that continued to stand even after she told us her time to speak was limited.

She was the most natural choice to pay tribute to the men who collectively created profound ripples in the seas of change. Having spent years being vilified, persecuted, threatened and incarcerated for her outspoken support of human rights, Davis has emerged as one of the rare survivors and success stories of that era. Following her powerful  — and, not surprisingly, controversial — speech, the crowd made their way to the cinema to view the documentary “Free Angela and All Political Prisoners“. Generations young and old were introduced to Angela the fighter, the woman, the scapegoat and finally the vanquished. Even though we knew how the story ended, there still wasn’t a dry eye or an un-clapped hand in the audience at the film’s conclusion.

With last month’s passing of Mandela (along with the perfectly/eerily timed release of the “Long Walk to Freedom” film depicting his life), and the recent PBS documentary by Henry Louis Gates Jr., “The African Americans: Many Rivers to Cross“, there’s a resurgence of interest surrounding those who risked their lives and their livelihood in order for future generations to enjoy the freedom and luxury of choice.

Personally, I believe this recognition couldn’t have come at a more crucial time.

Speaking for myself, it is often easy to take for granted the physical and psychological warfare that was endured for centuries prior to this day and age where it has now become okay to publicly demean each other on television, in music and via social media, but cry racism when someone from another ethnicity says or utters anything even in ignorance.

Sometimes a wound needs to be reopened in order to heal properly. The recent spate of racially themed movies in the past year, while garnering some vitriol from African Americans tiring of seeing “another film about slavery, etc.”, are necessary reminders of the struggles of ancestors past. If nothing else, they should embolden generations that now have more opportunities and resources than ever to make even greater strides and more groundbreaking accomplishments that unite and rebuild broken communities.

Because what’s the point of people fighting and dying for freedom, if we end up allowing anger, resentment and fear to imprison our thoughts and actions and keep us from ultimately living Dr. King’s dream? Or for that matter… simply living our own dreams?

Let freedom ring… indeed.

All The Rage

Like almost every African American in my social network timeline, I went to see “The Best Man Holiday” on its opening weekend.

While my reaction wasn’t as effusive as my peers, I did enjoyed it for what it was: an entertaining film that brought back the days when movies that featured a predominantly black cast didn’t play up to any stereotypes. The days when movies like “Boomerang”, “Love Jones”, “Soul Food”, “Brown Sugar”, “Love & Basketball” and the first “Best Man” gave us a view of educated professionals, creative people following their passions, and families that were achieving middle and upper middle class success.

That was an era when great and sometimes compelling storytelling and positive and realistic imagery — ushered in by “The Cosby Show” — promoted the renaissance of black entertainment… a time when neo-soul music was coming up, hip hop was socially conscious and infusing jazz in their sound, and both were being incorporated into legendary soundtracks.

For whatever reason, it appeared this era was too brief for that genre. The films that brought career success to Taye Diggs, Nia Long, Sanaa Lathan, and Morris Chestnut –to name a few — faded into obscurity, and made way for a new brand of movies that often went straight to video or played for a certain type of audience who were content with watered down characters who were more caricatures than three dimensional.

Today, nearly fifteen years later, what should be a simple celebration of an entertaining movie and a revival of that craft, has now escalated into heated debates and unnecessary comparisons.

From a poorly worded USA Today article — where the author was dumfounded by the film’s ability to nearly keep pace with “Thor” despite being in a thousand fewer theaters and called it “race themed” — to a cavalcade of online militants who’ve grown tired of the crop of “slave genre” movies, Malcom D. Lee’s movie found itself with the unwanted and unwarranted baggage of other people’s expectations.

Although the film’s second half took an emotional turn, the overall romantic comedy was suddenly pitted against a juggernaut of a comic franchise that is Marvel (one that, it should be noted, had two black lead actors in the cast), and unfairly dubbed the antidote to more somber flicks such as “Fruitvale Station”, “The Butler”, and “12 Years a Slave”. Message boards still reeling from “Django Unchained” urged people to support the movie for reasons beyond its feel-good nature. Deep sighs of relief from people suffering “Tyler Perry backlash” could be heard across the nation. The shade being thrown was enough to blind you from the beautiful and seemingly ageless cast that just set out to make a warmhearted Christmas-themed sequel with friendship, love and forgiveness at its core.

I suppose these days, when movie-going has become a fairly expensive pastime, one tends to be a bit more selective and discerning when it comes to how and what your hard earned money is spent on. And when the caliber of entertainment being ladled down your throat on a regular basis comprises mostly of train-wreck reality programs where positive messages are severely lacking, then it’s no wonder when smartly written shows like “Scandal”, and anything where the lead characters are prominent African Americans in non-submissive roles conjure up the kind of emotion mostly felt on graduation day.

But the rage is just overwhelming. My fear is that our propensity to get fired up about everything is just going to end up burning bridges of opportunity time and again.

Granted, the onslaught of material tackling the disturbing subjects of slavery and racial discrimination appear excessive when you’ve been inundated by it in the past couple of years. It would also seem that the timing couldn’t be more unfortunate, as ignorant actions and statements appears to be on the rise. But where “Django” was a cartoonish revenge fantasy (much like “Inglorious Basterds”, which ironically didn’t fire up as much outrage in the Jewish community), this year’s crop of stories were either based on factual events and people, or derived from a true story. It’s an interesting commentary, given that decades ago Alex Haley was once heralded for sharing the story of his ancestors in his epic novel, which became the historic TV movie, “Roots”.

One would think at a time when Henry Louis Gates Jr. and his team of historians launched the spectacular documentary series “The African Americans: Many Rivers to Cross” on PBS, the time would be ripe for embracing and appreciating true stories that shine light and perspective on the hardships and triumphs faced by black people in general, and open up dialogue in communities starving for respect and recognition while struggling with identity and self-esteem in a continually shifting social and economic climate.

Which is probably why “TBMH” was such a breath of fresh air. Like its predecessors, it allowed the audience to view a world where the black people had success in their careers and relationships (or saw any challenges with them neatly resolved by the time the credits rolled), and were treated equally — and even adoringly in one case — by the white cast members.

Most importantly, race never had a starring role in this movie… Love did.

Perhaps the painful reminders of a flawed and tragic history and reality is still too much of a jagged pill to swallow, and we prefer our entertainment more diluted and, yes, a bit melodramatic as a means of escape.

It is, after all, entertainment. Maybe we do need to see a crying (and shirtless!) Morris Chestnut, a snarky Terrence Howard, and a New Edition tribute to make it all better… at least for two solid hours.

Given the sheer joy it’s brought millions of people thus far… I’m gonna go with a resounding “Yes.”