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Ta-Nehisi Coates

Ta-Nehisi Coates is a senior editor at The Atlantic, where he writes about culture, politics, and social issues for TheAtlantic.com and the magazine. He is the author of the memoir The Beautiful Struggle. More

Born in 1975, the product of two beautiful parents. Raised in West Baltimore --not quite The Wire, but sometimes ill all the same. Studied at the Mecca for some years in the mid-'90s. Emerged with a purpose, if not a degree. Slowly migrated up the East Coast with a baby and my beloved, until I reached the shores of Harlem. Wrote some stuff along the way.

Lena Dunham and Democratic Nudity

I finished watching and live tweeting Girls last night. I thought the first season was very good. I didn't much like the dark turn in the last two episodes--we somehow got more of Adam, and not enough of Adam--but overall I really enjoyed the show and look forward to watching Season Two a year from now.

It's worth comparing the first season of Girls with the first seasons of other HBO comedies like Entourage and Sex and the City. I would go so far as to say Girls was better than both of those first seasons, better than anything I ever saw on Entourage in any season, and perhaps better than anything I saw on SATC at any point too. Girls has no real need to sugar-coat Hannah's self-esteem issues or make us think that she actually, deep down, loves Adam. Hannah is a predator--as we all are predators--and she isn't asking us to admire her. I always felt SATC (and certainly Entourage, which was a much worse show) was trying to convince me of their awesomeness or the awesomeness of New York or L.A. Girls just wanted to tell me a story. I love the modesty of the task.

I didn't really understand how often Lena Dunham was nude on screen, or how often she did sex-scenes. If you take that in with the sex scene between her parents, what you have is one of the most democratic--and everyhuman--depictions of sex to ever exist in pop culture. The more I thought about this, the more important it became to me.

We should not deceive ourselves: We enjoy sex scenes because we enjoy seeing people whom some critical mass would like to fuck, fucking each other. And this is not an egalitarian phenomenon--Billy Bob Thornton and Halle Berry are much more common than the opposite. (Talking gender here, not race, which is another convo.) Occasionally a sex scene advances narrative, but mostly it's there for us--and mainly us dudes.

What Girls says is "Fuck the gaze." Lena Dunham ain't really performing for you. She's saying people like me--which is most of you--like to fuck. And in a real narrative of real life, the people who do most of the fucking don't actually look like Victoria Secret models. Your expectations for what fucking should look like are irrelevant. Here is how it looks like to the narrator. I kind of love that. In this (perhaps limited) sense, I can understand the "For Us, By Us" acclaim. The show's disregard for male notions of sex is pretty profound. And it achieves this while still giving us a fairly interesting cast of male characters.

The show ain't perfect. I found the occasional elements of black culture more jarring and unfortunate ("Hey, we're white. Look how lame we are. And look how lame we are when we act black.") than any lack thereof. But in general I came away genuinely impressed with the artistry.

Fear of Flying

During my spring break, I'm going to Switzerland for a week. I'll be staying with a host family and doing a fairly intense week of French stufy. I'm hoping to build in a couple of days to get into France also and see some things. This summer I hope to go back and take my son (who just started back studying French) for a few weeks and some of the same.

But something occurred to me the other day when I put down my deposit -- I am afraid. Like really afraid. I've never been in a country where English wasn't the dominant language. I've never been anywhere -- save a few neighborhoods in New York -- where English wasn't all around me. I've been studying French for about a year and a half now, and the experience has been so much more than conjugations and vocabulary. All around me I now hear people speaking the language which I recognize, but do not understand. I was sitting in a cafe in Cambridge last semester and the couple next to me were arguing in French. It was terrifying.

Studying a second language is like very slowly absorbing the notion that intelligent life exists on other worlds. And that scares me because I don't know who these people are. I don't know if they're going to laugh at me. I don't know if I'm going to offend them. I don't know if the Swiss like black people. (I have homeboy who went to Barçelona and his tales still scare me.) I don't really know anything beyond, "Je suis Américain."

I think about this and begin to understand the ethic of staying in the hood -- wherever your hood may be. I understand people who want English to be our official language. They are afraid. They don't know what might happen. And neither do I.  Please don't try to reassure me. I suspect that being afraid is part of it. And I know that the fear isn't very rational. Let me be scared. It's not like I can turn back. I'm out on the ledge now. Time to jump.

The Small, Petty, Fraudulent Vendettas of Lance Armstrong

Dan Wetzel has a (partial) list of people Lance Armstrong tried to ruin after they accused him of doping. For those living under a rock, Armstrong has now confessed that the accusations were true. Here are two examples:

Let's talk Betsy Andreu, the wife of one your former teammates, Frankie. Both Andreus testified under oath that they were in a hospital room in 1996 when you admitted to a doctor to using EPO, HGH and steroids. You responded by calling them "vindictive, bitter, vengeful and jealous." And that's the stuff we can say on TV.

Would you now label them as "honest?"

And what would you say directly to Betsy, who dealt with a voicemail from one of your henchmen that included, she's testified, this:

"I hope somebody breaks a baseball bat over your head. I also hope that one day you have adversity in your life and you have some type of tragedy that will ... definitely make an impact on you.."

What do you say to Emma O'Reilly, who was a young Dublin native when she was first hired by the U.S. Postal team to give massages to the riders after races?

In the early 2000s, she told stories of rampant doping and how she was used to transport the drugs across international borders. In the USADA report, she testified that you tried to "make my life hell."

Her story was true, Lance, wasn't it? And you knew it was true. Yet despite knowing it was true, you, a famous multimillionaire superstar, used high-priced lawyers to sue this simple woman for more money than she was worth in England, where slander laws favor the famous. She had no chance to fight it.

She testified that you tried to ruin her by spreading word that she was a prostitute with a heavy drinking problem.

"The traumatizing part," she once told the New York Times, "was dealing with telling the truth."

I'm not sure what I think about drugging when everyone else around you is drugging. I don't think lying is a very good idea. I think trying to destroy people for telling the truth is a good deal worse. It's that all-out war that really sets Armstrong apart. This isn't just a "doping scandal." It's something much creepier.

A Word on Our Bad Reputation

Yesterday The Atlantic ran an advertorial on Scientology. It caused a small scrum (as it should have) on Twitter. Last night the advertorial was taken down. Here is the company's statement on the matter:

We screwed up. It shouldn't have taken a wave of constructive criticism -- but it has -- to alert us that we've made a mistake, possibly several mistakes. We now realize that as we explored new forms of digital advertising, we failed to update the policies that must govern the decisions we make along the way. It's safe to say that we are thinking a lot more about these policies after running this ad than we did beforehand. In the meantime, we have decided to withdraw the ad until we figure all of this out. We remain committed to and enthusiastic about innovation in digital advertising, but acknowledge--sheepishly--that we got ahead of ourselves. We are sorry, and we're working very hard to put things right.

I think what made this episode particularly ill-considered was the fact that Lawrence Wright's reporting (some of it done for the New Yorker) on Scientology was about to be released in book form. With that said, I fully agree with this statement. I think the fact this troubled so many people is actually evidence of The Atlantic's brand strength. And I think the swift and candid response is evidence of how much we treasure the name.

People screw up. I think that's fairly natural. But I also think it's important to respond honestly and directly when you are confronted with your screw-up.

On the Radicalism of Leaving

Tubman2.png

Early in her epic tale of the great migration, The Warmth Of Other Suns, Isabel Wilkerson quotes the social scientist John Dollard:

Oftentimes to just go away is one of the most aggressive things that another person can do, and if the means of expressing discontent are limited, as in this case, it is one of the few ways in which pressure can put.
I'm relatively early in Wilkerson's book. Already it strikes me as a marvelously written, deeply engrossing, thick depiction of pre-Civil Rights, post-Civil War black America. It's the kind of book which those of us who are always saying "Why isn't their movie about..." should immediately purchase. Several times over. Give a copy to your uncle, your kid, your mother.

At any rate, what impresses me about this quote is Wilkerson's attempt to argue that the Great Migration was not just thing that happens, but was a kind of resistance -- a "folk movement," she calls it -- with no need for figureheads and leaders. Booker T. Washington opposed it. As did Frederick Douglass, who died a few decades before the deluge but was familiar with talk of abandoning the South.

I don't know how well Wilkerson ultimately argues this point. But I look forward to finding out. As it stands, I'm tearing my way through the book. This is what I mean about a book where the work is done in the thinking, not the reading.

*Painting by Jacob Lawrence from his series on Harriet Tubman

Kendrick Lamar's Forever War

Last week Alyssa made a point I've been thinking a lot about, in relation to some of the art that really has affected me over the past few months:

If there's one thing that marks our current era of popular culture, it's an obsession with cool of the kind exemplified by Quentin Tarantino's movies, or with transgressive badassery, of the sort that's characterized so many anti-hero dramas. And the way most people achieve that cool or badassness? The deployment of violence.
For me this goes back to Wolverine (who I loved as a kid) and mohawked Storm knocking Scrambler's teeth out during the Mutant Massacre, or Colossus snapping Riptide's neck. For those of who came up in the relentless violence of the Crack Age, there was the sense that all the nonviolent pieties of Martin Luther King, Jr. were totally irrelevant. (Bizzy Bone had it about right "Beg your pardon to Martin / But we ain't marching we shooting.") The point was that we lived in a time of great violence and what was needed was more violence wielded by a noble hand. What I didn't realize then was this idea--a Champion of Noble Violence--is probably as old as humanity. 

Hip-hop, if not always premised on nobility, is certainly premised on transgressive violence. I loved the music, but (with some exceptions) that basic premise is why the music always felt a little off to me. I mean this about even my own favorites. I eventually wrote this need to always be badass Superman as simply what the music was, as something that could never really be any other way. As I got older the Champion pose became harder for me to take--not just in my music, but in movies, in comic books, and maybe (not sure) even in video games. Consequently, I moved away from a lot of things I loved as a kid.

A few weeks back, I went on at some length about Joe Haldeman's Forever War, and I think it was largely because I was happy to read a fantastic adventure story where the protagonist survives not because of great brawn, superpower, or even superior intellect. Mandella is smart, but far and away his greatest attribute is his sheer, dumb-ass luck. In that way, There was something refreshing about a hero greatest power amounts to not getting shot in the head. As virtually all of Mandella's comrades are killed off he seems to saying "I am glad it was not me." But behind that is something else--"that very easily could have been me."

That same kind of everyman vibe runs through Kendrick Lamar's Good Kid, M.A.A.D. City. "The Art of Peer Pressure" has a series of great lines ("I hope the universe love you today.") but my favorite is one of the simplest, "Look at me," raps Lamar before pausing and continuing. "I got the blunt in my mouth."  

It's such a simple line but there's something about his phrasing that abandons the superhero pose, that takes off the mask and reveals that dumb, ordinary black boy that so many of us have been. Good Kid is the first album I've heard that drops the Batman pose, and yet remains trapped in Gotham.  Much like how Mandella is not some ace star-fighter pilot, Lamar is not Compton's Most Wanted, he is "Compton's Human Sacrifice." And he carries that vulnerability throughout the album. The fact is that most black boy's in Lamar's world are more human sacrifices than badasses.  And even if some are truly the latter, all contain a portion of the former. 

Perhaps this aesthetic is a bit conservative, but this is the art I love. I understand that there are drug-lords who double as soccer moms. I get that there are serial killers who kill serial killers, and worlds premised on big men with big swords and other worlds where being good at your job but horrible to your wife makes you noble. But then there are the normal people. And they have stories too.

More Guns, Less Crime: The Switzerland Example

In this rant last week, Alex Jones cited Switzerland as one of the last remaining redoubts of gun culture. This post by Ezra Klein, in which he talks to Janet Rosenbaum about her research, does a good job examining that claim, but the Wikipedia article is also pretty informative:

The Swiss army has long been a militia trained and structured to rapidly respond against foreign aggression. Swiss males grow up expecting to undergo basic military training, usually at age 20 in the Rekrutenschule (German for "recruit school"), the initial boot camp, after which Swiss men remain part of the "militia" in reserve capacity until age 30 (age 34 for officers). 

Each such individual is required to keep his army-issued personal weapon (the 5.56x45mm Sig 550 rifle for enlisted personnel and/or the 9mm SIG-Sauer P220 semi-automatic pistol for officers, military police, medical and postal personnel) at home. Up until October 2007, a specified personal retention quantity of government-issued personal ammunition (50 rounds 5.56 mm / 48 rounds 9mm) was issued as well, which was sealed and inspected regularly to ensure that no unauthorized use had taken place. 

The ammunition was intended for use while traveling to the army barracks in case of invasion. In October 2007, the Swiss Federal Council decided that the distribution of ammunition to soldiers shall stop and that all previously issued ammo shall be returned. By March 2011, more than 99% of the ammo has been received. Only special rapid deployment units and the military police still have ammunition stored at home today.

When their period of service has ended, militiamen have the choice of keeping their personal weapon and other selected items of their equipment.[citation needed] In this case of retention, the rifle is sent to the weapons factory where the fully automatic function is removed; the rifle is then returned to the discharged owner.[citation needed] The rifle is then a semi-automatic or self-loading rifle.

There's a lot more in the article, but what became clear to me is that Switzerland does have a gun culture -- one that is heavily regulated by the government, right down to counting your bullets. Leaving aside that Switzerland has a fraction of America's population, leaving aside that gun ownership in Switzerland is still much lower than here in America (29 percent of households to 43 percent, respectively), this Swiss model strikes me as the kind of governmental intrusion that someone like Alex Jones is in no hurry to invite.

In our gun culture, as in so much else, we are unique. There's just no comparison.

Tips for Autodidacts and Gamers With Jobs

I don't know if there's anyone else out there whose on the same path as me in terms of learning a language. But if you are on that path, and if you enjoy video games, I'd encourage you to try playing them in a different language. Against my better judgement, I use Steam to purchase most of my games these days. One feature I love is how you can change languages for Steam, and thus all the games that support your language.

Alors maintenant je joue mes jeux videos en français, toujours. 

Last night I booted up Mass Effect, and I only have sliver of an idea of what's going on. Enough to know that Nihlus is awesome--"Je travaille seul." I feel like if I can't get to France just yet, I'll lifehack my way as far into the Atlantic as possible. The effect of changing languages differs with each genre and each game. The language barrier doesn't mean much in strategy. But it means a lot in RPGs.

For me, the feeling of being lost is one of the best things about learning a new language. As someone told me on twitter this weekend--you are left with toddler ears. And that's just it. This is really the only time you get to be a kid again. 

On Being Your Authentic Self

I watched the first half of Season One of Lena Dunham's much discussed series Girls last night and generally found it to be a riot. I think the best thing you can say about a comedy is that it's really, really funny. I'm a little sad that Girls never was allowed to be just that. When the PR people roll out a show they're generally trying to get as much bang as they can, and being dubbed the "voice of your generation" is quite a bang. But as an artist, I doubt that this the sort of weight you want.

Subjectively speaking, it seems like Girls got way more shine than say, Louie, Mad Men, The Wire, or even Sex and the City. The result was that all of those shows were allowed to blossom in the first few episodes away from the critical din, a benefit Girls never enjoyed. I don't know how much should be made of that--again, this sort of impact is exactly what PR people at HBO want.

But it's been good to watch the show away from controversy, and away from the discussion. This clip is the funniest scene I've seen on television in a long, long time. ("I'm going to have the last word in this situation." "It was nice to see you. Your Dad is gay.") Just judge Girls as a show--which is the way it should be judged, PR aside--it is really, really good. 

Circling back to that the most cringe-worthy moments actually come when there are people of color on screen. I won't be watching Season Two for another year or so, and I am hoping that the Donald Glover thing works out. I have never met a black Republican in all my time in New York. And I'm black. So I have trouble believing that Hannah is found that one black dude in Brooklyn who is anti-marriage equality, anti-abortion, pro-guns, and anti-health care. 

It feels like both an answer and a middle-finger to Dunham's critics. I would just prefer she plug her ears and keep moving. We must tell our stories. And others must tell their's.  It may well all be great, but it takes me back to my initial thought that white people who know few, if any, black people should write that way. The first rule is to write what you know. More next year--along with that review of Django.

Growing Up in the Caves of Chaos

I think I was seven when I started playing Dungeons & Dragons, though that feels like too young. I think I started reading Choose Your Own Adventure at six, and D&D was like right behind. It was a natural transition. I learned the game from my brother Malik. Malik works at Dreamworks. (I'm very proud. Can you tell? If you look at this post, Malik is second row, far right.) I work as a writer.  I like to think it helped introduce us both to the powers of imagination. 

At any rate, Malik was always the DM when we played. The video below is from the upcoming Dungeons & Dragons: A Documentary. I had the luxury of being interviewed for this. In fact, the guys invited me to a game, which I hope I can still take them up on once I know out this book.

Anyway, in the video I talk about the first time Malik led me into the Caves of Chaos, a scenario from the awesome Keep on the Borderlands module. Actually, I think I'm talking about the second time. The first time I rolled a magic-user who had one hit point. He was punched to death by the Mad Hermit. Fun times.


Martin Luther King Makes Everything Better

Even Gun Appreciation Day:

"I think Martin Luther King, Jr. would agree with me if he were alive today that if African Americans had been given the right to keep and bear arms from day one of the country's founding, perhaps slavery might not have been a chapter in our history," Ward said.
Of course the denial of that right was actually part of what it meant to be slave. The right of gun ownership is wholly connected to the notion of "free men." A slave, by the very American definition of the word, wouldn't generally have the right to bear firearms. 

So I guess it's true that blacks wouldn't have been slaves if they had guns, much like it's true that blacks wouldn't have been slaves if there was no such thing as American slavery.

An Open Thread



Toward a Moral Professional Football League

Horde legionnaire David White has offered up some interesting suggestions about how to reform the game. I don't know if any of this is possible. But I think that's also beside the point. Brainstorming is a particular challenge. Making it happen is another. On that note, in addition to critiquing it'd be nice if you guys throw out ideas on your own:

I don't intend to stop watching. I could go into a lot about my thinking, but it essentially comes down to the my belief that these players are making the same Achilles bargin that young men have been making for eons, and I'm comfortable accepting that.

The game will never be "safe," but that doesn't mean that changes can't be made to make the game safer. Some changes I would like to see (some of which may have already been started):

1) Off field changes

-- Move to fully guaranteed contracts and expand rosters. Players would be more willing to sit if they know they won't be cut off/replaced after being injured. And a larger roster would make it easier for a team to keep an injured players on the payroll.

-- Full health coverage for players who played more than 3 years or suffered a career-ending injury.

-- Robust mental therapy program for players transitioning into retirement (possibly make it a requirement for retired players seeking health care coverage).

-- Doctors work for the league, not for the teams. And each doctor has a clear checklist on the sideline that a player must pass if they're suspected of being concussed.

-- Brain function tests at the start and end of every season, which are shared with the players at the start of training camp every year. Make sure their choice is as well-informed as possible.

-- If a player suffers a concussion, they're not allowed to play in the following week. If they suffer a second concussion, they have to skip two games. Any more, they're forced to sit out the rest of the season.

-- Add another bye week to the season, and either end Thursday night games, or schedule them in such a way that teams only play them when coming off of a bye week.

2) On field changes

-- Make every offensive player an eligible receiver. Over the long term, I think this would reduce the size of linemen to TE sized players, and it'd eliminate a lot of the "in the trenches" hit a player takes over his career. It would also make the game more strategically complex, as defenses would have to guess who's going out to receive and who's staying to block. It's a big break from tradition, but ironically, it'd make the sport much more similar to the way that it's played by ordinary people in backyards around the country.

-- Ban the 3-pt and 4-pt stance. Instead of firing into each other in a way where it's impossible to avoid head-to-head contact, make offensive lineman line up in the way they often do already for pass plays, and make defensive linemen line up more like linebackers. There'd still be head to head contact, but it wouldn't be as natural and inevitable.

-- Experiment with different helmet materials. The history of the sport proves that helmets are needed (players regularly died on the field back before helmets were used), but they should experiment with materials that make leading with the head less likely. Maybe something closer to the leather helmets of old, or like the headgear boxers use when sparring.

(To fantasize for a moment about helmet technology: I don't think they'll ever be able to create a helmet to stop concussions, despite what NFL PR tries to tell us. But I'd like to see something that registers the amount of force taken by a player over the course of a game. And once it reaches a certain threshold, a player has to leave the game. Like it slowly turns red the more hits it takes, and once it's glowing red, the player has to leave the game.)

What do you guys think of these ideas? What ideas do you suggest?

The Ethics of Letting RGIII Play

Somewhat related, Bill Barnwell has a good piece in Grantland looking at RGII's injury from both an ethical and a practical standpoint. He concludes that it was wrong to let RGIII play in the moment for practical reasons (hampered by injury) and wrong when you look at the entirety of the situation. The most damning piece of evidence isn't what happened in the game, but what happened weeks before:

Sunday broke with the news that Dr. James Andrews hadn't cleared Robert Griffin to come back into the Week 14 game against the Ravens after suffering the initial knee injury, despite Mike Shanahan claiming otherwise as part of the justification for pushing RG3 back in for four plays. Shanahan pretended that there was a conversation with Andrews offering his consent for the move when Andrews noted that he had been shielded from evaluating Griffin by the head coach.  

The medical staff -- including Andrews -- evaluated Griffin on Sunday after his injury and said that he was, according to the untrustworthy Shanahan, "fine to play," suggesting that the team had checked with the doctors to "ask them their opinion if we would be hampering his LCL ... or was he in good enough shape to go into the game and play at the level we need for him to win." It seems like an impossible argument to win. Griffin didn't have an MRI during the game or miss time until suffering his second knee injury of the day. He had a gigantic brace on his knee built specifically to support his LCL, so it's not a surprise that the doctors would suggest that LCL wouldn't be hampered. Even if Griffin was healthy enough to step back onto the field, the dramatic dip in his performance should have been enough to tip off a coach who's been around football for his entire life that something was wrong.

From USA Today:

Andrews, however, told USA TODAY Sports on Saturday that he never cleared Griffin to go back into the game, because he never even examined him. 

 "(Griffin) didn't even let us look at him," Andrews said. "He came off the field, walked through the sidelines, circled back through the players and took off back to the field. It wasn't our opinion.

"We didn't even get to touch him or talk to him. Scared the hell out of me." 

Yet when asked by news reporters, Shanahan described a conversation with Andrews this way: 

"He's on the sidelines with Dr. Andrews. He had a chance to look at him and he said he could go back in," Shanahan said Dec. 10. 

"(I said) 'Hey, Dr. Andrews, can Robert go back in?' 

'Yeah, he can go back in.' 

 'Robert, go back in.' 

"That was it," Shanahan said.

I think it's worth recognizing that circumventing medical opinion is an old tradition in football. Barnwell makes the point that Shanahan has been around the game for his entire life. But that is actually the problem. Football is premised on the hazy morality of "playing through pain." And it isn't hazy simply because of what football is, but because of what people are--which is to say very different from each other. 

Even by those standards, it's still dishonorable to conjure medical cover for a questionable decision. In a league where coaches are cycled in and out every two or three years, and players are disposable, the incentive toward conjuring cover is obvious.

Junior Seau Had CTE

Junior Seau's death prompted me to stop watching football. It wasn't clear to me, at the time, that Seau actually had CTE. But thinking about it (the way I now think about Jovan Belcher) made it really hard to be entertained by the sport. With good reason:

"I think it's important for everyone to know that Junior did indeed suffer from CTE," Gina Seau said. "It's important that we take steps to help these players. We certainly don't want to see anything like this happen again to any of our athletes." She said the family was told that Seau's disease resulted from "a lot of head-to-head collisions over the course of 20 years of playing in the NFL. And that it gradually, you know, developed the deterioration of his brain and his ability to think logically." 

CTE is a progressive disease associated with repeated head trauma. Although long known to occur in boxers, it was not discovered in football players until 2005. Researchers at Boston University recently confirmed 50 cases of CTE in former football players, including 33 who played in the NFL. 

Seau shot himself in the heart May 2. His death stunned not only the football world but also his hometown, San Diego, where he played the first 13 years of his 20-year career. Seau led the Chargers to their first and only Super Bowl appearance and became a beloved figure in the community.
I am listening to Herman Edwards talk about how this information can help other players. But the information can only lead to the end of football as we know it. You can't fix this by getting rid of big hits. You can't fix this by focusing on concussions. Junior Seau never had such a diagnosis, and even if he did, it is the repeated "minor" hits that cause CTE. The enemy is the game itself. And it is killing men.

At the time of Seau's death it was said that we should not jump to conclusions. I generally think prudence is a good idea. Except that an astonishing number of football players keep shooting themselves. 

A rather stunned Mike Greenberg just put it well: "You can't live with a business when one of the results can be Chronic Traumatic Encephalopathy. It's a hard word to even pronounce. it's a brain disease." 

Here is Tyler Seau on his father's death:

Tyler said he was holding tightly to his memories of getting up at 5 in the morning to lift weights with his father before heading to the beach for a workout and surfing. And while the diagnosis helps, he said, it can't compensate for his loss. 

"I guess it makes it more real," he said. "It makes me realize that he wasn't invincible, because I always thought of him as being that guy. Like a lot of sons do when they look up to their dad. You know? You try to be like that man in your life. You try to mimic the things that he does. Play the game the way he did. Work the way he did. And, you know, now you look at it in a little bit different view." 

Tyler added: "Is it worth it? I'm not sure. But it's not worth it for me to not have a dad. So to me it's not worth it."

Toward a More Badass History

Django.jpg


We probably should have seen this coming:

Last fall, the National Entertainment Collectibles Association, Inc. (NECA), in tandem with the Weinstein Company, announced a full line of consumer products based on characters from the movie. First up are pose-able eight-inch action figures with tailored clothing, weaponry, and accessories in the likeness of characters played by Foxx, Kerry Washington, Samuel L. Jackson, Leonardo DiCaprio, James Remar and Christoph Waltz. 

The dolls are currently on sale via Amazon.com. A press release announcing the deal stated that the line was similar to the retro toy lines that helped define the licensed action-figure market in the 1970s and that the collection will include a full apparel and accessories line. At the time of the announcement, NECA president Joel Weinshanker said the company was "very excited to bring the stellar cast of Django to life and honored to be working with another Tarantino masterpiece."  

Action figures for Tarantino films Kill Bill Vol. 1 and Vol. 2 may have been better suited for such commercial pursuits. But for some projects, anything goes. On Facebook last week, a post from "Black Is magazine" posed the question: "Who's in the market for a Django Unchained action figure? Funny or offensive?"

I don't think it's particularly funny or offensive, so much as it is apropos. I'm not going to see Django. I'm not very interested in watching some black dude slaughter a bunch of white people, so much as I am interested in why that never actually happened, and what that says. I like art that begins in the disturbing truth of things and then proceeds to ask the questions which history can't. 

Among those truths, for me, is the relative lack of appetite for revenge among slaves and freedmen. The great slaughter which white supremacists were always claiming to be around the corner, was never actually in the minds of slaves and freedman. What they wanted most was peace. It's true they had to kill for it. But their general perspective was "Leave me the fuck alone." 

This is disturbing if you come up in a time where slavery is acknowledged by much of society as one of the great tragedies of history. There is a feeling that "They" got away with it, a sense of large injustice that haunts all of us. I am certain that my earliest attractions to the USCT had everything to do with the presence of guns, and the possibility of vengeful badassery. I found very little of that. I did find a lot of courage, a lot of humor, and a lot of pain over family divided by auction blocks. There was some talk of "Remember Ft. Pillow." But there was very little in the way of "Kill them all." 

It was the same with my studies of the Underground Railroad. If you read William Still's compendium of  escapes, you find very few revanchists. Instead you see an incredible number of people who escaped, not because of the labor or torture of slavery, but because a relative was sold or because they, themselves, were about to be sold to family. Slave revenge has the luxury of making slavery primarily about white people. It is a luxury that the black rebels of antebellum America had little use for. Uppermost in their minds was not ensuring that white slavers got what was coming, but the preservation and security of their particular black families. Their husbands and wives were not objects to be avenged, but actual whole people whose welfare was more important than payback I so longed to see.

It was almost as though history was refusing to give me what I wanted. And I have come to believe that right there is the thing--the tension in historical art is so much about what we want from the past and the past actually gives. All the juice lay in abandoning our assumptions, our needs, and donning the mask of a different people with different needs. This is never totally possible--but I have found the effort to be transcendent. It fills you with a feeling that is outside of yourself.

My larger point is that Django "action figures" are an excellent comment on our needs today. In that sense, they are actually like the Confederate Flag and the deification of Robert E. Lee. I don't know if this is a problem, or not. You can't really expect Americans--black or otherwise--to be American in all their other incarnations, and then suddenly change when discussing slavery. I'm pretty sure that Robert E. Lee has an action figure, too. 

So this is progress. And this is democracy. It's just not for me. And I think that's alright.

You Can't Fight Rape Culture With Bad Data

rape_infographic.jpg

I think everyone should read Amanda Marcotte's piece on this graphic put out by the Enliven Project which both understates and overstates the problem. Hopefully they'll redo the graphic. But folks who are sending this around should know what they're dealing with. No point in going to war with water pistols.

Alex Jones Pitches Government by Boxing Match




There's a telling moment in this Piers Morgan interview with Alex Jones, wherein Jones challenges Morgan to a boxing match. Jones is one of the authors of a petition to deport Piers Morgan. He also commands a fairly large talk radio audiences, and began the interview by angrily warning Morgan that any move toward gun control would open the doors to "1776."

Nevertheless, I think the fact that Jones responds to a disagreement over government policy by telling his interlocutor "well how 'bout we take this outside" is illustrative. Jones spends much of the interview ranting about the evils of government use of force, without much attention to the kind of individual violence with which he threatened Morgan. More accurately, Jones believes that the only answer to such violence is more -- presumably defensive -- violence, though his pose makes him a poor advocate for such a position. 

One argument, and perhaps the greatest argument, for civil society is that we do not settle actual policy questions by asking, in Chris Rock mode, "Yes, but can you kick my ass?" That way lies the path to government by ogres, or chaos, or all against all, or all against them, or all against me. There must be a better way.


I Can Feel the Changes

I finally took some time to give a few serious spins to Kendrick Lamar's Good Kid, M.A.A.D. City. Bad on me. Really bad on me. Good Kid is not simply one the best hip-hop albums I've ever heard, but one of the most moving pieces of art I've seen/heard in a long, long, long time. I sort of initially bristled at the notion of comparison to Illmatic--my personal favorite ever--but it is exactly the right comparison. Nas was able to do was conjure the chaos of inner city black America in the late '80s and '90s. Now Kendrick Lamar summons it nearly 20 years later (with more focus, by the way) and virtually nothing has changed.

Good Kid chronicles a 17-year-old's effort to visit a romantic interest, and the kind of violence that haunts such a pedestrian effort. This scenario is right out of my young Baltimore city life. I used to love The Wonder Years. But Kevin Arnold didn't have to roll five deep to go see Winnie Cooper. That was the street law when I young man, and it's depressing to hear that it still is today. But it shows how violence warps the most ordinary routine.

Lamar's album is, in part, about the consequences of forgetting that law. But more than that it's also about the people who enforce it. Everyone should listen to "The Art Of Peer Pressure." It is commentary on everything from Chicago to Steubenville. Everyone should listen to "Black Boy Fly." All I can tell you is the feeling behind "Two niggas making it had never sounded logical" mirrors my own feelings as a child.

A word on "bitch." I initially felt that the album was a beautifully produced work of misogyny.  That mostly came from me giving a quick, inattentive listen. Good Kid deserves a lot better. It is that rare rap record that actually abandons triumphalism, invulnerability, and wears the mask. Rappers like to claim to be broadcasters, not endorsers. Except it's usually clear that they think, say, guns are pretty cool. This was that rare rap record where I thought the reflection to endorsement ratio was roughly 20 to one.

This is a great album--one that I wish had been around when I was 13. Non-rap fans should give this a listen. it is some of the best word-smithing, sentence-crafting, and beat production that hip-hop has to offer. And it is how it feels to be a black boy in the mad city.  Hip-hop is obsessed with soldiers. This may be the first great record I've heard by someone obsessed with speaking as a civilian. And there have always been more of us than them.

MORE: Another quick note. Hip-hop has long been obsessed with "confessionals" and showing that gangstas have sensitive sides too. Usually this just comes off as whining. Puffy's "No Way Out" is a classic of Whine-Rap, as is almost everything Kanye West does. Rappers who whine tend to talk about Jesus a lot. 

Of course not all rappers who talk about Jesus are whining. Kendrick Lamar is the MC that every other whine-rapper thinks he is.  Their idea of making sensitive art is to cut a track say "HEY THIS IS ME BEING SENSITIVE. THUGS CRY TO GIRL. AND IT IS WRONG THAT I AM OBSESSED WITH WHITE WOMAN. BUT BLACK GIRLS BE BITCHEZ (DON'T JUDGE ME. JUST SAYIN.)" 

 Whereas Good Kid doesn't talk. It just kinda is. As great art always is.

Steubenville Justice

Some news from the horrifying Steubenville rape case. Michael Nodianos, who was filmed laughing his head off about a girl who was "so raped right now," has left Ohio State University:

Michael Nodianos hasn't been charged with a crime in connection to the alleged rape of a 16-year-old girl by two members of the Steubenville High School football team in August. The case ignited a firestorm of controversy and national attention after hackers affiliated with the group Anonymous began breaking into the websites and email accounts of several football players and locals. The hackers believed these people had gotten off too lightly.

Nodianos' departure from OSU is the result of Anonymous' hacking campaign. Amanda Marcotte takes on the ethics of all of this:

As some initial gleeful Twitter responses from students to the alleged rape demonstrate, one reason rape continues is that communities not only don't hold perpetrators responsible, but close ranks to defend or even celebrate them. By stepping in and holding people accountable, Anonymous stands a very good chance of taking action that actually does something to stop rape. 

But: This type of online vigilante justice is potentially invading the privacy of or defaming innocent Steubenville residents, and even if everything published is true, there are very serious legal limits to the Anonymous strategy. Not all of the leaked allegations are attached to Twitter or YouTube accounts--many of the most serious cover-up claims, which we won't reprint here, are at this point only rumor. The allegations will infuriate you, but they don't rise to the level of real evidence that can be used to truly hold responsible those who participate in sex crimes.

Nodianos and his family have all faced threats and people attempting to find out his class schedule. I think that's wrong. Nodianos should have the right to go about his life, free of violence -- both threatened and actual -- no matter what he said on any tape. 

At the same time, I also think that violent crime is not just an offense against any victims, but an offense against society. If your response to a brutal crime perpetrated against a defenseless victim is to cut a video in which you laugh your head off, you should expect society to take offense and subject you to some amount of inconvenience.

A the core of all of this is the really poor job we do in terms of prosecuting rape. I have little in the way of ideas as to how to get better. But if there is support for Anonymous's tactics -- which I think are as spectacular as they are dangerous -- it comes out of an utter frustration with how we handle (or don't handle) sexual violence.

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