Black Folks Live with a Deadly Virus Everyday

Meet Guest Writer Angela Carr Patterson, Screen Shot 2020-05-26 at 10.20.40 PMentertainment executive, entrepreneur, Innovator, CEO, Film Producer, Author, Speaker and Spiritual Thought Leader.  Angela also is the Founder of The Fatherless Daughters Network and The Awakened Beauty Experience, the creator of The Journey to Being Process™ and The Divine Ache™ Life Cycles.

Read Angela’s provocative essay on the death of George Floyd, an African American man who died on Monday, May 25 in Minneapolis, Minnesota.

Screen Shot 2019-11-12 at 3.51.09 PMDisclaimer: Let me start by saying that this article is not intended to offend or hurt anyone. But my intentions are to shake some things up…to step on some toes…to punch you in your gut…in your consciousness and to shift and wake up some folks. Most of you see me as gentle, loving and kind. I still am…but at times…I will become a force and voice for change. This writing is one of those times. I will be blunt, direct and perhaps a little harsh. But brutally honest. I truly believe these things need to be said. They have been said by others in other ways…and they will continue to be said until things change.

we believe you reap what you sow.

I grew up in a southern city, Columbia, SC. I remember as a little girl hearing my mom have the talk with my brothers. She would say things like, never run from the police, keep your hand out of your pockets, keep your ID on you. I also remember, my mom telling me as I started to drive to stay away from Forest Acres and West Columbia after dark. She said it was the clan territory.

As I became a mother of two sons, I remember having the same talk with them. I also told them to make sure when they went in a store to hurry and purchase what they went in the store to get. Because browsing simply was not a luxury for them.

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Now that my children are adults, they are now having the same talks with their children. Except now, they have to warn them about walking or jogging through a neighborhood, or be aware when you are having a cook out in the park, or sitting in Star Bucks, or yes…simply sitting in your house watching TV.

Every last one of us black folks have to take a deep breath when we are driving. Because we know that one simple innocent traffic stop of DWB (driving while black) could literally end in our death.

Now those of you who don’t share my same skin color, there’s a little voice in your head that will try to tell you that I am exaggerating. But deep within you…you know that I am not.

I … remember, my mom telling me as I started to drive to stay away from Forest Acres and West Columbia after dark. She said it was the clan territory.

Everyday we leave home could be our last day just because of our skin color. And we can’t wear a mask to protect us. I remember hearing stories from my grandmother about how black folks couldn’t walk down the street without being stopped. Or they couldn’t gather in groups of 2 or more because they could get locked up for loitering.

Black and Brown folks live through our own epidemic and pandemic every single day of our lives. Except our deadly virus is RACISM! It spreads so quickly and if it doesn’t physically kill us, it slowly kills us emotionally. And for some reason we haven’t found a vaccine.

 

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And to add insult to our wounds, we are accused of playing the “Race Card” when tragedy hits us and our communities for simply walking, jogging or driving. What the hell do you call it then if it isn’t RACISM?

Do you have any idea what it feels like to walk in a store with more money in your bank account than the store manager and get followed around like you’re about to rob the joint? Do you know what it feels like to be in a line and not recognized and watch someone else get pulled to the front? And you have to struggle whether or not to say anything because if you do, it could cost you your very life?

Do you know what it feels like walk around daily and be told by groups of people to go back to Africa…when we didn’t ask to come here in the first place?

We’ve learned how to live in a pandemic…called RACISM…a deadly disease that spread quickly…kills and destroys our communities daily.

Do you know what it feels like when even your best intentions are considered suspicious because you are not seen human…or equal…you are seen as subhuman.

Now, we here in the America have to sit and listen to a President who we KNOW hates us. How do we know? He demonstrates it to us daily.

Then to have so called “good white folks” tell us that he’s not racist. Like my mom used to say, “Don’t piss in my face and tell me it’s raining.” Because that’s exactly what it feels like when you defend this man to us. You need to know that’s how we feel EVERY time you defend him to us. It becomes difficult to hear you say you love us and you be okay with how this man treats us.

Now I want to say this. We black and brown folks are some of most brilliant people in the world. In spite of all the odds against us…we still find ways to succeed, to laugh, to win, to live, and to love. We walk tall with our shoulders squared, even when we’ve been beat down on every corner.

 

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We have learned how to code switch and to pivot when we are in your presence because we recognize that our brilliance would BLIND you if we really showed you who we are.

You see, we’ve learned how to live in a pandemic…called RACISM…a deadly disease that spread quickly…kills and destroys our communities daily.

But here’s the secret that you don’t know. The tides will eventually turn. We will rise to the top. And that disease…that Pandemic will eat at the host like a virus that destroys the body.

When you are a racist… or you condone it…you don’t get away with it. You will come face to face with what you have done and you will feel the pain of what you have caused others. It’s call Karma.

It never fails…I’ve seen it happen over and over again. Because we believe you reap what you sow.

So the next time you raise your confederate flag, your MAGA hats and your 2nd Amendment signs…I want you to remember this…

“We hold these truths to be self-evident, that all men are created equal, that they are endowed by their creator with certain unalienable rights, that among these are life, liberty and the pursuit of happiness.”

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We don’t want your pity…because we are proud people. We don’t want your money because we know how to make our own money…and stretch it to feed our entire community.

We don’t want your respect…because we don’t need it. What we want…what we really want is for YOU to recognize that you are living among some of the most powerful, amazing, strong, courageous, resilient and brilliant people in the land.

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Oops…but you already know this…this is the truth you know and the truth you fear.

 

 

Intimacies of Beauty ~ The Skinny

Screen Shot 2019-12-30 at 6.21.16 PMMeet Guest Christy Hyman, historian, 19th Century Studies at the University of Nebraska. Read her skinny on beauty and the practices we endure to maintain them.

℘So as my two wonderful braiders pulled at my hair in varying directions, one of whom was very pregnant and I was face-to-belly with her yet to be born baby more times than I would have liked, I thought about how much of a high-functioning introvert I am; how I have to mentally prepare for being around groups of people; and, how I don’t handle impromptu gatherings very well (I often get out of invitations at the last minute because I have not had time to do my mental preparation for crowds).

But then I think of how intimate our beauty practices are. Two braiders completely in my personal space as I sat poised, ramrod straight with a slight smile as if paparazzi might bust in at any moment; as if my steadied composure would make the photo look any better, knowing my hair half braided would look a total mess.

Then I thought about when I get Brazilians. You know, the wax? A total stranger seeing my privates. The full procedure means getting on all fours at the end as the esthetician rips the hair from behind. How awful? But it gets done because I, and a host of other individuals, embrace certain aesthetic standards we place on ourselves.

I am not shy, no, but I have to prepare for social gatherings. I am not shy, no, but I avoid impromptu gatherings.

I am an introvert but I will reveal my privates to my esthetician so that it is Brazilian appropriate. Ironic.℘

 

 

Knives Out ~ The Review

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Knives Out

starring Don Johnson, Jamie Lee Curtis, LaKeith Stanfield, and Daniel Craig

written and directed by Rian Johnson (Star Wars: The Last Jedi). 

(spoiler alert)

Knives Out is a cautionary tale for two groups of people: first,  multimillionaires who, on a whim, play a cat and mouse game I will call “Disinheritance”; and, second, the offspring of multimillionaires who stand to inherit the fortune of their multimillionaire relative.  Crime novelist and collector of automata (or moving dolls), Harlan Thrombey, multimillionaire played by Christopher Plummer, has been “murdered”.  Detective Benoit Blanc (played by Daniel Craig who tries his best to out southern a southern drawl) appears on the scene with his team, Lieutenant Elliott (LaKeith Stanfield) and Trooper Wagner (Noah Segan) to investigate matters.

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Harlan Thrombey, Patriarch

Knives Out is a captivating whodunnit filled with the usual twists and turns, and hidden secrets lurking about the nooks and crannies of the isolated Thrombey mansion (filmed at the Ames Mansion, a 20-room historic site located at Massachusetts’ Borderland State Park). If you are a fan of Agatha Christie, then Knives Out is your movie.

As with most dead who have taken care of their business here on earth, from the grave, Thrombey wields that four-corner document to upend the economic status of his relatives. At the reading of the Will by the family’s attorney Alan Stevens (Frank Oz), the inheritance of each relative is cut to pieces and thrown to Marta Cabrera (Ana de Armas), the young, unsuspecting Latinx home care nurse to patriarch Thrombey. Yes, the entire fortune: money, mansion, and publishing business.

Even though they have been subsisting on the kindness of Patriarch Thrombey while he was alive, the characters are worth caring about. Each actor interprets the patriarch’s betrayal with seething disbelief. All eyes turn to Marta, and you might feel a bit of a nick and cut from the “knife” of Thrombey’s Last Will and Testament but coupled with anger as the family, desperate to reclaim(?) the estate, threaten Marta with the deportation of her mother, who is in the United States illegally.

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On one hand, I refuse to praise Thrombey’s change of heart. Thrombey allowed his relatives and their offspring to live with him and nourish family ties on average of fifty years. Along the way, he provided them a lavish lifestyle of privilege and pleasure on average for fifty years, and on a whim he imagines them jumping to it and earning a living? Confess to indiscretions? Please! Yes, they are dysfunctional but he shares the greater responsibility of every dysfunctional dynamic formed within the confines of that mansion. As the powerful patriarch, he determined to play with people’s lives.

Even more egregious, his Last Will and Testament endangered the lives of Marta, her mother, and her sister. What he ultimately commits in front of Marta in his study causes her extreme trauma and that she question her nursing skills.

On the other hand, there seems to be an overarching aspect of the story. Perhaps when it all comes down to it, Johnson suggests it is the blood, sweat, and toil of the immigrant population that made possible for the Harlan Thrombeys of the world to garner the wealth and privilege they enjoy. Let that marinate.

 

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Linda Drysdale (Jamie Lee Curtis)

On another, I would surmise that Knives Out is a filmic lesson in expectations held by those who have trust funds pending or a rich relative who has been maintaining familial lifestyles with an allowance, or those who are in line to inherit anything. As I viewed Knives Out, the first stanza of Alice Walker’s poem “Expect Nothing” came to mind:

Expect nothing. Live frugally
On surprise.
become a stranger
To need of pity
Or, if compassion be freely
Given out
Take only enough
Stop short of urge to plead
Then purge away the need.

… because at any moment, your kinsman/woman could pull knives out and slash your every assumption, laughing all the way to the grave.℘

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Maleficent ~ The Skinny

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Meet Guest Reviewer Lena Sledge, filmmaker at Sonny Brook Productions. Read her skinny on Maleficent, starring Angelina Jolie, Elle Fanning, and Michelle Pfeiffer.

℘It’s a white savior film that relegates people of color to the margins and makes them supplementary to their white counterparts. Even in battle, the black warriors are not given the ability to soar with their white counterparts, additionally characterizing them as underlings in their own culture.

Connal (Chiwetal Ejiofor) — the supposed most powerful of the Dark Fey — has his eyes on what is happening to his people. His keen senses account for his forethought to rescue Maleficent from the deep. He is killed, however, while protecting her. That is a disappointment.

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Chiwetal Ejiofor as Connal, the Dark Fey

The aggressive white male, Borra (Ed Skrein), however, causes disruption and chaos; he calls for war. He even excels in battle. Borra’s character arc allows him to evolve, while Connal, the leader and wisest of their people, dies with no fan fair or transformation. The film, in addition, wrestles from the black female elders their powers no matter that they band together to save Connal.

In essence, Maleficent’s  narrative is subservient in its message: Black people, their sacrifices, contributions, and abilities, are a means to an end that serve to propel white voices and accomplishments to the center while marginalizing those who are making the greatest sacrifices.℘

Lena Sledge is the director of Sense of Self, her new film about finding inner happiness. For more information on Lena Sledge and her project, ‘Like’ Sonny Brook Productions on Facebook and SenseofSelfMovie on Instagram.

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Harriet ~ A Review

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John (Zackary Momoh) and Minty (Cynthia Erivo)

The jewel in Harriet is black love. The film opens with it. As I watched John and Minty/Harriet Tubman love up on each other in the establishing shot, I did not care what happened next. I just didn’t. They hugged–tightly. They kissed–passionately. They hugged again–tightly. He, a free man, married an enslaved woman. She, after taking her freedom, came back for him. Yes, he did what he did later but only on news of her “death”.  Then, to see her father — to see the love in his eyes for his girl and the trust he had in her decision to run — I thought of my own father.
Harriet Tubman was loved. She was respected. She was believed in and on. She was trusted. Her mother loved her and said it. Her father loved her and said it. All of her brothers and sisters loved her and said it. Her husband loved her; believed in her. He would have died for her, if she had let him. The pastor loved and believed in her. It is he who entrusts her with the routes and names of people who will facilitate her journey. Those enslaved believed in her. All hugged her neck on every visit. Be not mistaken: Harriet Tubman loved them back. Harriet is love.
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Minty/Harriet w/ her pastor Rev. Green (Vondie Curtis-Hall)

What struck me was how the men–black and white–protected her. Oh. How they protected her. A white farmer knows Harriet is hiding in the back of his wagon but, to paraphrase Zora Neale Hurston, he ‘takes her a piece of the way with him’ then moves aside for her to continue on her mission. After witnessing the beauty of Harriet’s crossing of the river, another young black man joins her venture. Later, he provides safe passage for her family. There’s more. White men in Philadelphia draw their rifles on her enslaver when he tries to kill her on the wharf.  In tandem, the young black men on the docks in that same city secure her safety. That’s love.
The director, Kasi Lemmons, has prepared for us a most refreshing dramatization of the community of enslaved people that thrived during a time when white plantation owners considered people of African descent nothing but property. She also takes us on the inside of the free black community in Philadelphia and portrays their support of the enslaved who dared to take their freedom. Marie Buchanan, a free-born black woman in Philadelphia, embraces Harriet in her home as she would a sister. In addition, Lemmons makes known the white Americans, across social class, who, in their own way, resisted the institution of slavery; that there were black men–young men–who, in this story, made possible Harriet’s successful enterprise.
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Marie (Janelle Monae) teaches Harriet

On the whole, Harriet tells us that when you are loved up on and validated in your own church, community, and family, you can cross the river to the other side and with others in tow. You can return again and again. You can live to tell it. That’s love.
Glory.
Let us pray.

Toni Morrison: The Pieces I Am @ The Ross

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It is obvious that Toni Morrison was the main arbiter of the documentary Toni Morrison: The Pieces I Am. Directed by Timothy Greenfield-Sanders, The Pieces I Am is more a review of the First Lady of Letters; more at a filmic admiration of her and less, much less, a discovery of anything new about this linguistic engineer of the English language.

I anticipated a documentary with an overview of her usual literary accomplishments, especially her novels, yes, of course, The Bluest Eye, Sula, Song of Solomon, and her Beloved, the latter for which she won the Nobel Prize for Literature in 1993. Oh, yes, much on Beloved, accompanied by a film clip from Jonathan Demme’s film of the same name and the story of Margaret Garner, on whom the main character Sethe, played by Oprah Winfrey is based.

I expected her to talk about the emotional swerve she experienced when learning about winning the Nobel Prize. She does. Her tenure as a copy editor and her fight for economic parity working as an African American woman in the white male dominated world of publishing. She does. How she raised her sons Slade and Ford as a divorcee—she does. And the power of language and writing—she does.

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As the film progressed, however, I began to realize that what Greenfield-Sanders presented onscreen was all I was going to get. Any discussion of her novels Tar Baby, Jazz, Paradise, A Mercy, Home, God Help the Child, Love, and most disappointing, some conversation on her children’s books on which she collaborated with her son, Slade and her volumes of essays on topics such as writing, morality and goodness, school integration, race and the imagination … did not make the cut.

The documentary felt muted. I left in a silent anger, a silent anger I am monitoring even as I am recording this review. The Pieces I Am is but a regurgitation, then a distillation of interviews and commentaries past. It has a very present firewall that kept at bay my longing to learn more about our beloved Toni Morrison. You see, I had studied Toni Morrison in college; she was the Major Author I chose for my doctoral comprehensive exam. Even before college, I studied every single note—every jot and tittle about my beloved Toni Morrison.

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All of this I write to make known this: The Pieces I Am is for you, the audience who has a modicum of information about Toni Morrison. It is for you, the audience who has no other knowledge of her other than that she won the Nobel Prize for Literature in 1993 and the swirl of controversy surrounding the Nobel from fellow writers.

It is for you, the audience, who curries an interest in literature, writers, black women writers, and Toni Morrison. It is for you and me, the teacher, who needs a teaching tool to situate any of her works for the students. No longer will you need to cherry pick interviews on youtube or print literature—they’re right there for you, for me, for us in Toni Morrison: The Pieces I am

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With these notes, I strongly encourage you to see Toni Morrison: The Pieces I Am. It is an intellectual, fun overview of our First Lady of Letters. Her friends and colleagues defer reverence for all of her literary achievement and social currency. Friends and colleagues such as Angela Davis, Oprah Winfrey, Fran Lebowitz, poet Sonia Sanchez and Robert Gottlieb—the latter who was her colleague and editor. But the greatest gift in Toni Morrison: The Pieces I am is Toni Morrison … Her presence … She is there in all of her joy.

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Tireni Oyenusi ~ The Interview

Tireni_4W4A3821Tireni Oyenusi is a gifted actor who is laying the groundwork to live up to his name, and what a name. Tireni is short for Tirenioluwa, which means “he is yours, God”; his surname, Oyenusi means “the crown of full worth”. The origin of his name is Yoruba, an ethnic group from the country of Nigeria, Africa.  

His heartbreaking portrayal of Donte, a young male forced to confess to a crime he did not commit in the short film A True Crime (dir. Marques Green), Tireni proves his skill in moving into the heart or the “full worth” of a character. He is intuitive. He is smart. He is focused. Want to know more about Tireni Oyenusi? Read The Interview.

What prompted you to decide on acting as a profession?

I started acting because I love the feeling of taking the audience on an emotional roller coaster. I already enjoyed playing pretend at home like any kid does. So to do that as a profession, where people can enjoy and be inspired by my work, I couldn’t resist.

When did you start?

At 5 years old. I was cast in church plays. It was just honestly complete fun for me.

What do you like about the process of acting? 

I love how I can completely, like, put aside my persona and take on the identity of a totally different person in each character I play. There is something freeing about that. It can almost be therapeutic at times.

I want to entertain people, make them laugh, make them think, make them just become more sound minded people in general.

~ Tireni

It can get personal, close to you, yes?

Yes. I put a little bit of myself into each character, and, each time I prepare for a role, I discover more and more of myself. It is like a whole big serious game of make believe. I get to act out a person’s fears, ambitions, hopes, dreams, downfalls, and insecurities.

You’re in a business wherein every actor has to navigate rejection. What keeps you motivated when that happens?

I have experienced a lot of rejection. I’m not gonna lie. There are times I wonder if I should really be pursuing acting especially when I see many other kids being cast left and right. Then, I draw on a very personal reason why I decided to act in the first place. It wasn’t for jobs or fame. It was to glorify God, to have fun, and to put on a great show.

How do you approach an audition?

I think of auditions as mini shows I get to put on for like 2 or 3 people. If they’re the only 2 or 3 people who see my performance, well, I just pray and hope they got something good out of it.

In Tireni’s quest to tell stories through acting, I want him to be successful in keeping and growing in his faith. I encourage him to remain authentic and not compromise his beliefs as he works to make a positive impact through entertainment.

~ Adetola Oyenusi, mother

 

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as Donte in A True Crime

In what ways do you navigate working in a highly competitive business?

I just try to focus on myself and my craft. I constantly remind myself why I got into this business in the first place. Everybody is on a different path, and I think it is my job to do the best I can on mine. Of course, I always try to learn from my colleagues and teachers cuz they are crazy talented!

How do you self-care?

Hmmmm. Well … I definitely pray a lot. Prayer is essential, and honestly? It calms me down. I try to read at least a chapter of the Bible every day. I haven’t been faithful all the time so I definitely need to get better at it. I love a good movie, and watching one is always a nice break. I like to eat too.

What are your ultimate goals?

My ultimate goals are to book a lot more roles because acting is the way I have chosen to make a positive impact on the audience. I want to entertain people, make them laugh, make them think, make them just become more sound minded people in general. In all, though, I want to glorify God through the talent I have been given and allow his grace to move through me and inspire people.

Tirenioluwa Oyenusi

He Is yours, God

The Crown of Full Worth

Nigeria Yoruba …

Tireni

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Raise Hell: The Life and times of Molly Ivins @ The Ross

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I’m a Texan. I drive a pick-up truck. I drink beer. I hunt. I’m a liberal. So What?

Let’s have fun, do good, raise some hell! Dance with them what brung you! That’s what Molly Ivins demanded.

Directed by Janice Engle, Raise Hell: The Life and Times of Molly Ivins, documents the life of the late outspoken journalist, activist, and columnist, and author of her New York Times best selling collection of essays Molly Ivins Can’t Say That, Can She?; and, Shrub: The Short but Happy Political Life of George W. Bush, Bushwhacked: Life in George W. Bush’s America; and, You Got to Dance with Them What Brung You, another collection of essays.

There is no narrator to guide our thoughts in Raise Hell. We feast on her interviews and speeches and the voices of her friends, family, and colleagues. She is a fellow southerner with a booming southern accent; a maverick and outsider as she describes herself. Engles makes known that this 6 foot Texan carried the heart and soul of journalism into political moments what with her witty and raucous insights, especially on the former President George W. Bush whom she affectionately named Shrub.

I accidentally became an authority on George W. Bush. Like the guy who climbed Everest, it was there.

Over the course of her career Molly Ivins, navigated the waters of journalism during the time when men dominated the papers. A fast paced documentary, Engles backs up and allows Ivins to delve onto the landscape of Texas Politics

Texas has always been the national laboratory for bad government.

and, later, into the terrain of national politics

We keep pretending that the political spectrum runs from right to left; it doesn’t. It runs from top to bottom. It’s not those people in Washington; It’s not those people in your state capital. This country is run by us.

Political digs and insults aside, Raise Hell showcases a woman—a privileged southern white woman–born into a staunch Republican family. Her political views tantalized her father, General Jim Ivins the authoritative gas and oil executive because, as one friend revealed, General Jim could control his family and those who worked for him but he could not control his liberal-minded daughter. To add such insult to his psyche, Molly dared to bring an African American man to the Ivins home and, get this, General Jim arrived to find him swimming in the pool! – this in the heat of America’s civil unrest. Oh yes she did, too. Even The New York Times could not control her.

They wanted Molly for the unique voice, for the iconoclast, but they wanted her to fit into the times, but as we say in Texas, that dog don’t bark.

~ Linda Jann Lewis, Oral Historian

Through an objective lens, Engles brings to us a journalist who found her calling, and as did the late Nobel Prize winner Toni Morrison, Ivins realized words have power, and Ivins squeezed from them the juices of their influence.

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Her friends boasted that she could drink any man under the table; and drinking with the good ol’ boys gave her power and access into circles closed off to women. But that power and access had a price, and Ivins paid dearly for it with bouts of alcoholism. Later, she was diagnosed with breast cancer. But she kept on living. She kept on talking until the last edition of her spark and wit. In 2007, Mary Tyler “Molly Ivins” passed away of breast cancer at the age of 62 in her beloved Austin, Texas.

 

 

The Last Black Man in San Francisco @ The Ross

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Jimmie Fails

Danny Glover’s narration sets the tone for The Last Black Man Standing. Directed by Joe Talbot, The Last Black Man Standing is a haunting story about holding on to the past and stories one has been told about the past to manage day-to-day living especially in the wake of loss. Jimmie Fails stars as himself, a young black man who has come of age in the city of San Francisco. His family has lost a magnificent Victorian home in the Fillmore district, and this loss, or shall I write, death, has affected Jimmie to such an extent that he returns from time-to-time to give it a facelift much to the consternation of its newest inhabitants. His only consolation is an anecdote handed down to him by his father, James Sr. Jimmie’s grandfather built the house with his bare hands in the 1940s, and it is this history that endears him to the house. When the new inhabitants vacate, Jimmie considers reclaiming the house.

Screen Shot 2019-07-28 at 1.53.53 AMBut his father, James Sr., lacerates his ideas with a disturbing reality check.  In spite of his father’s warning, Jimmie and his best friend, Montgomery, takeover the house. The interior is fabulous. Adam Newport-Berry, cinematographer, ensures a full sweep of its grandeur accentuated by high ceilings and wood floors, a sauna, staircase, and a hidden room. Once moved in, Jimmie and Montgomery just … Be …

On the whole, The Last Man in San Francisco is a heartwarming film about a Black man’s love for his city and how an iconic architectural structure shaped and molded him. Talbot deftly enfolds within the film issues of housing, gentrification, and displacement in San Francisco that challenge Jimmie’s every emotion. Questions of the African American energies that went into the building of the city, and it is the history of their blood, sweat, and toil that makes it difficult for Jimmie to wrestle his heart away from San Francisco.

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With every stage in life, we must move on or else remain stagnant as has Montgomery, who lives and takes care of his grandfather in a house overlooking a contaminated bay. Ironically, it is Montgomery who challenges his friend to explore the horizon waiting for him after he learns the truth about why Jimmie and his family lost their home.

What Montgomery does with the information sets Jimmie on an entirely different course.

The Last Black Man in San Francisco plays through August 8 at the Ross Media Arts Center in Lincoln.

Also playing through August 8 is Wild Rose, a film by Tom Harper about a rebellious country singer in Glasgow who dreams of stardom in Nashville, Tennessee.

Listen to the Review @29:01

http://netnebraska.org/interactive-multimedia/other/friday-live-bone-creek-chautauqua-norfolk-literature-festival-and-more

 

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In the meantime,

Catch a film … Share the Popcorn … Feed Your Soul!

 

 

 

 

AK-47 – A Comment

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Patrick Crusius

Patrick Crusius. You are only 20 years old, and you choose to come of age with an AK-47 in and death on your hands. Such is the noise of your racism, that even you can’t stand it, thus the earmuffs. Upon being caught, you were arrested, and arrested all too gingerly. Not one policeman drew his gun on you. Not a bullet nor chokehold you endured. You are alive. I hope you enjoy your Burger King Whopper.

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