My All Over the Place Rant… Beware, there be Dragons here

It’s 0330 dark of the morning and I’m listening to Disaster-Piece’s IT FOLLOWS film score on CD (not something I would particularly recommend if you are in the house by yourself at this time of night), and I’m thinking…we are all adrift in the fields of the Lord.

That’s what I’m thinking.

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And I’m thinking of Carlos Castaneda and a Yaqui Indian called Don Juan and truths and fictions, and how the one becomes the other and the other the one.

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I’m thinking of the quality of person that would have actually voted for Resident Trump and be not ashamed.

I think the clinical term would be somewhere between fool and sociopath.

I’m thinking of seas relatively unspoiled by man, and islands far from this benighted shore.

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I think…

I think there are other worlds…

but this one is not quite done with me.

I think of duty and honor and truth and justice and loyalty, words co-opted by the venal to keep a nation of young men killing and dying and being mutilated and maimed for the 1%ers’ Dubai pleasure nations.

I’m listening to track 9 of IT FOLLOWS, the stereo panning in my Avanti Headphones, is working for me. Left, right… left, right. My brain relaxes, and formulates something beyond questions and answers.

It is a truly brilliant album, to accompany one of the standout horror films so far this 21st century.

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I’m thinking I can’t get down with media lynchings, especially by a notoriously untrustworthy and historically lynching obsessed nation as America. So the more they tell me to demonize anyone, whether a Cosby or Simpson or insert famous Black male target of the day, the more I have to question it. In a world full of evils to fight, it’s funny to me how the press never tackles the evil that really controls and infects their viewers lives.

Like the evil of Pharmaceutical companies that are getting rich selling you not ready for human use drugs that have more dangerous side-effects than the conditions they are created to combat. “Oh you have acne, oh use our product, but oh, it might sterilize or kill you. Heehee… but we told you up front so we’re not liable.”

No you pieces of offal, that’s not how it works, if someone buys a hamburger from me and it is laced with arsenic, that may make them very sick or kill them, that’s called attempted murder. Even if the burger was a good tasting burger, did its advertised job, side effects of food poisoning and possible death are not acceptable or allowable risks to eating a hamburger.

So that burger is not ready for human sale or consumption and is recalled, pulled from the market.

The pharmaceutical companies instead market you these not ready for human usage products, and lawyer up against their products being filled with arsenic.

The actions that would get an individual arrested for attempted murder, these companies are using to get rich on the sick and desperate . Now that is something the press should for 3 decades be raging against. Not a suspect celebrity murder case, and not an even more vacuous charge of sexual assault.

So when the press avoid the crimes of their rich corporate sponsors and overlords instead to pile on with, ‘what Black celebrity can we pull down today’, well that’s a train I’m not going to board, and that is a Dachau I’m not going to populate.

There are lots of racist cops walking around free that have committed worse crimes than either Simpson or Cosby have been accused of. There are lots of you judging them, Cosby, Simpson,… that should be wary of casting that first stone.

Simpson I don’t care about, except that the fact of a white owned media embroiled in demonizing him over 2 decades after his acquittal shows clearly the new face of lynch mobs. We have young men and women coming back from parts of the world we didn’t even know we were still fighting in… damaged, and having damaged, for reasons that stink of lies, and true evil, and rather than the press demonize the real monsters that fill our nightly news with blood, they want to waste energy on cases that in the scheme of things while significant to the families of the victim and the families of the accused, to the larger body of society, are not of import.

As far as Cosby, Cosby I was raised on, and in a world that would have you be less, he was one of the ones breaking barriers and opening doors so that a whole generation of young Black men and women could be more. There are very few people drawing breath on this planet that can claim to have done the good that Bill Cosby has done, and if you can not equal a man’s good, you are unfit to judge his evil.

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If he committed a crime, that is to be determined in a court of law.

But a man’s falling down does not erase his standing up, including the many times he stood up for a castigated people. So to take arms against him now is beyond ungrateful, it is cowardice of the highest order.

To let yourself be so crudely used, in this war of Black and White.

Now transitioning to another rant…

Why is local autonomy in nearly every walk of life being replaced by autonomy of these very few companies and oligarchies and families.

Once a blockbuster movie meant not only the studios did well but the regional independent local theater did well. These days theaters are mostly studio owned, so we have this incestuous chain of the studios getting paid in every part of the process, and local economies are obliterated by it. Reduced to only the most minuscule piece of the proverbial pie.

AVENGERS makes a billion Dollars, I don’t really care.

I care that it is or isn’t a good movie, but do I care if a Billion dollar studio make more millions and billions? Not in the least.

As it stands now these studios such as Disney and Fox and Warner Brothers (pieces of larger snakes) should have been broken up years ago and their anti-competitive and local economy suppressing monopolies ended decades ago.

The best thing that could happen to America is a nation where all the Disney Properties, most of which are over 50 years old went into the public domain where they belong so everyone can legally make money off of them and be enriched by them.

An America without the endless shadow of Disney and its lie of family values would suit me fine.

The album is over, the clock has moved on, and my rant…

My all over the place rant… ended.

For now.

“Come back and throw stones later, Mother will be more receptive”

—LION IN WINTER

Netflix/Marvel Studios 2017 IRON FIST Episode #1 Review!






Iron Fist Movie Poster

The last of the long awaited DEFENDERS heroes, IRON FiST breaks on the Netflix shores this Weekend, and my opinion? Well After Loving the first season of DAREDEVIL with some minor hiccups in the later episodes, Really enjoying JESSICA JONES, being Lukewarm on the 2nd season of DAREDEVIL, and LOVING Hodari Coker’s LUKE CAGE: POWERMAN, I find the first episode of IRON FIST… underwhelming.

 

The trailers were the first hiccup as I found them tedious rather than exciting, and tedium is not what you expect from what should be a Martial Arts rich show. The action looked unimpressive, and the casting, especially of the protagonist gave me cause for concern. He looked unimpressive rather than what he should be… a living weapon.

But trailers can steer you wrong, and hoping to be proven wrong I watch the first episode of IRON FIST. What hits you is the opening sequence, one thing all the Marvel/Netflix collaborations have gotten right is an absolutely great opening/credit sequence. The IRON FIST opening sequence by comparison looks like an unfinished product, a bad joke. An unfocused concept that they simply ran out of time and ended up just throwing something together.

 

 

Getting beyond the disappointment of the Credit Sequence, I like the opening shot of the barefoot hero in New York, a shout out to the Master of Kung Fu Comic’s of the 70s.

 

Quirky but in reality do you know how impossibly disgusting it would be to walk around the streets of New York or any major city in your bare feet?! There are things I fear to step on, even with shoes on. But again it’s a harmless if ludicrous call back to the comics of yesteryear.

 

What immediately impresses me is how much better Finn Jones is as Danny Rand, than the trailers hinted at. He has a likable and commanding presence, that is at the heart of the character, and he is choreographed to move with an effortless balletic grace that speaks volumes of his character and journey.

 

Iron Fist Movie Poster

 

Indeed, Jones as Danny Rand is pretty much, contrary to my thoughts on the trailer, rather than being the weakest thing about the show, in this episode he is the strongest thing. He is very affable, which above all is the saving grace of his character, and in many ways distances him from the other more brooding members of the Defenders.

With the exception of Luke Cage, who beneath his bullet proof skin has, like Danny Rand, the heart of an optimist and a poet. Unlike the bone breaking Daredevil or the oft alcoholic and fatalist Jessica Jones, Power Man and Iron Fist don’t want to hurt their fellow man, they want to help them, make them better; Even, if possible, their villains. It’s why those two work so well as a duo in the comics. Particularly the wonderful David Walker and Sanford Green POWERMAN AND IRONFIST comics that started in 2016.

 

Finn Jones gets the character of Danny Rand, The Iron Fist. Underneath the affable nature of Jones portrayal, there is something you see in his first closeup (when he is trying to get in to be seen) a core of steel, something unyielding that completely sells him in a way the trailer did not.

So the Danny Rand portion of the first episode works well, it is a lot of setup, and I don’t mind setup, if it is done well, and written well, and brought across well, I thought the first two epiosdes of LUKE CAGE, which some considered talky, I felt were two of the finest written hours of television of 2016.

ASIDE ON  LUKE CAGE SERIES AND COLOR CODED TELEVISION

(I’m about to get deep into media bias, particularly as it relates to ethnicity, so feel free to skip the following aside, the ending of it is marked, and continue on with the Iron Fist review)

 

Coker’s LUKE CAGE said wonderful truths that you usually don’t get with ethnic characters, because mostly ethnic characters on television are nothing more than Black faces spouting and reaffirming White messages . Messages which whether BUFFY or SUPERGIRL Season 2 or DOCTOR WHO or NEXT GENERATION all tend to be some variation on the wish fulfillment of its writers or worse the unconscious coded messages that they unknowing have accepted as truths, namely White female initially falls for Ethnic Character than comes to her senses and dumps him for a White character.
If that plotline plays out in one show, that’s fine, that’s life, stuff happens. However, if that plot-line plays out in every single show where a white female is romantically tied to a man of color, then that is no longer sharp, inventive writing, or originality, it is programming, played over and over again until we stop seeing it, but keep believing it.
In Hodari Coker’s LUKE CAGE you got writing that was shorn of that very racist programming that makes up 90% of the shows we see on TV, and the output of even our best writers. By no measure do I think Joss Whedon is racist, however he reuses the above pattern of racial politics when it comes to the romantic lives of the men of color he scripts from FIREFLY to BUFFY to AGENTS OF SHIELD to AGENT CARTER. At some point any romantic light he casts the men of color he scripts, any momentum to a healthy heterosexual relationship, particularly with a female of another ethnicity has to be derailed. Their identification as a sexual alpha, derailed. Mac on AGENTS OF SHIELD becomes comedy relief, rather than what he should be on that show… the Mac.
And like I said you would be hard pressed to not see this very strange repetition of sexual marginalization and symbolic castration (fit to be comedy relief or the non-threatening buddy or father figure but not the romantic interest) occur over and over to men of color in just about every dramatic show you can name, particularly the action oriented ones. Whether BUFFY, AGENT CARTER, AGENTS OF SHIELD, NEXT GENERATION, ER, ROSEWOOD, SUPERGIRL, FIREFLY.  Such bias extends even to our news and ‘reality programming’, the fact that over 20 years later the media is still lynching OJ Simpson (A famous Black man accused of murdering a white woman) while in the intervening years there has been no shortage of murdered spouses. However this particular case accomplishes familiar goals of America, the tearing down of idols, the vilification of the other, and a platform to use an individual act, to try to send a message to a whole mass of people. It’s a lynching, writ large, 20th and 21st century style.
And by contrasts it has been envogue for the last 20 years to pair White Males successfully with women of color, pair being perhaps too equal a term, more like have the woman of color fling herself at the White Male, whether that’s FLASH, JAMES BOND, WALKING DEAD, TAKEN, EMERALD CITY, and again a couple of times it is just original storytelling, but for this pattern to be a constant over the last 20 years, then that is something else, that is programming.

 

So I’m always drawn to the shows that eschew these programming ploys, these repeated coded messages. So that is why I hold shows like LUKE CAGE in such high regard. A show where a man of color, a Black man, can be a hero and get the girl, full stop. It’s a rare concept in a mass media that is so racist it is not aware of how rare they have by design, made that concept.
Name me ten Dramatic shows (not comedies) on TV right now where a lead character of color, is in a successful healthy relationship with a female, particularly of another ethnic group. You’d be hard pressed to name 2. But you can name dozens upon dozens of shows that are cast and written the other way. Even though statistics tell us there are far more Black Male/White female relationships than White Male/Black Female relationships.
So why would the fiction of mass media be so contrary and completely out of sync with the realities of the populations watching those fictions? Because invariably the writers, who mostly are white males, propagate their limited definitions of diversity while also crafting their wish fulfillment, which usually breaks down to our White Hero is ‘so enlightened’ because he deigns to have a Black girlfriend, and the Black Girlfriend who has to throw herself at him.
Like I said, once or twice, it is original, however all the time, the same way, it is programming and it is insulting.

 

END OF ASIDE

Hodari Coker’s LUKE CAGE : POWER MAN brilliantly gave us something more than the programming we have been used to, showed us Netflix as a channel where more original and more truly DIVERSE stories could be told.

It left big foot prints for the next show, IRON FIST, to follow in.

And without expecting IRON FIST to be ground breaking, or anti- stereotype and ANTI programming, I did expect it to be good.

Unfortunately the first episode of IRON FIST suffers because its lack of action is not compensated for by rich and compelling characters, or evocative acting. Case in point… Ward and his father.

There is nothing more derailing to a narrative, than a weak antagonist, and unfortunately in Ward and his Father you have two very boring and uninteresting and cookie cutter antagonists. Ward came off as just a petulant child, a whiner, and whiners do not make for great TV.

The scene with Ward and his Dad discussing Danny Rand, rather than riveting is the definition of tedious. I had to look at the clock, to see how much time was left before I could watch something else.

That is never what you want to be doing when watching a show, looking at your clock.

So,  between the pacing issues, and the casting issues, and the uninteresting bad guys, I’m solidly unexcited to move on to the next episode. And that’s not an issue I have had with the previous shows.

I hope to work my way through the series and all the way to the end, and I hope I can report it gets great, but for the first episode all I can give it is a …

Grade: C-

 

Iron Fist Movie Poster

Currently Listening to : Nate Parker’s THE BIRTH OF A NATION (2016) The Inspired by Album

This is a really odd post, it starts as a nice, fluffy love letter to an album I’m completely loving, and at the end goes completely off the rails and becomes a tirade.

I would say, read the warm, fluffy part, and leave the tirade alone. Especially if you know nothing about the Nate Parker controversy, or better yet care nothing for it.

I’ll give you ample warning when to stop reading.

Not sure where it came from, but it came.

My ire, and disgust with the media.

But it came.

And I thought it was honest, not necessarily right, but it was honest and deserved its say. So I left it.

You have been warned.

birth_of_a_nation_xlg

I think what Nate Parker is doing with BIRTH OF A NATION, a hundred years after DW Griffith’s love song to racism by the same title, is nothing short of inspired. The audacity of it, the brilliance, the balls of it, Something Percival Everett does wonderfully in literature, overturning assumptions, and re-appropriating those parts of our shared consciousness, our story, that we have relegated too long… to the worst angels of our nature.

I can’t wait to see the movie when it breaks on wide release. It sounds completely on my page. However I haven’t seen the movie so the jury’s out, but I have listened to the soundtrack, and… I LOVE IT!!!!

LOVE IT!!!

To listen to this one album was reason enough to sign up for Spotify.

And speaking of Spotify, how did I get involved with it?

Well I’m not at all a social media type. But I like things that enrich us and after a month of using Spotify I have to say… I’m feeling enriched.

This is going to sound hyperbolic. And maybe it is. I’m too close, I can’t say. I can only say I’m listening to THE BIRTH OF A NATION as I write this and I’m feeling… thankful.

I think as we get older, and side-tracked by adult concerns, one thing that falls by the wayside, is our time to enjoy and follow and discover music. And I think that moving away from that discovery of new sounds, new voices, new visions, new wonders to buoy our souls, is when we begin to die,

I know, extreme.

But bear with me.

What if the world began with a song, and will end with one.

What if all we are is notes, in some unfathomable composition.

That would mean that what we feed on more than food is music. And it would mean what we starve for lack of, more than food, is music.

The lack of it, the relinquishing of it, perhaps just a little death.

A little death we let wedge its tip into our hearts.

And widen, till everything we are… escapes.

So I’m finding SPOTIFY, with its easy ability to allow me to find and listen to this music I would otherwise not find or find time for…I’m finding it, in my emotional state of listening to THE BIRTH OF A NATION, I’m finding it… of great value.

That said MP3 is great for sampling music, and SPOTIFY is great for introducing me to music, but great music deserves to be listened to on the highest quality CD you can find. I’ve spent a month on SPOTIFY and I have bought easily a couple hundred dollars in CDs.

I’d like to buy BIRTH OF A NATION but unfortunately it is not yet available on CD. But when it is, it’s going on constant rotation in my portable cd player.

It is that good.

 

 

“When they say make America great again, they mean make us all slaves again.”— WAR Nas

“No matter if you’re red, white, black, if you want freedom, then we’re all like Nat!”— WAR Nas

birth-of-a-nation_2

 

OKAY STOP READING HERE!!!! Beyond this place, like the old maps once said… “There be Dragons!” I’m bat guano ranting in the next section, and it goes strange quickly, so if strange is not your friend, stop reading NOW!!!!!!!!!!!!!!!!!!!!!!!

 

birthposter

Oh and if you have a problem with Nate Parker, and are part of this new spate of using the media to lynch Black Men before trial, be it Bill Cosby or Nate Parker, or really going back 20 years to OJ Simpson, eff you and the horse you rode in on.

“Oh, but they are guilty, they did this, they did that.”

Then let a court prove it. Not the news, not talk shows, not soap boxes.

I don’t stand with lynch mobs, whether you wear a white hood and a shotgun, or a TV camera and a microphone.

Because for a lynch mob it’s never about innocence or guilt, it’s about creating an atmosphere of fear and horror and distrust, so they can sell a message, usually to keep a certain demographic in line.

Me, I’m not the message buying type. In a Nation where less than a hundred years ago, thousands of Black men (many of them war heroes) were lynched by ‘god fearing’ ‘people’ I’ll side with Black ‘villains’ before I side with a biased lynch mob media, everyday of the week, and twice on Sunday.

If they are guilty try them in the courts. Do not effing try them on your TV program, or radio show, or ‘news’ show, or at the water cooler, or on your lynching scaffold.

Until you’ve done the good of a Bill Cosby, or a Nate Parker, or even an OJ Simpson; don’t presume to judge their evil. That’s for a court room… your soul is not sinless enough for the task.

I say again…

Your soul… Christian, or Muslim, or Jew, or Hindu… is not sinless enough for the task.

I think any Presidential candidate you can name has done more evil than all three of those men combined. The pursuit of power is a bloody road, and the achieving of it even more so.

You kill one person (allegedly) they call you what, OJ? 🙂 You kill thousands of people, they call you Reagan or Bush.

Save your hate for mass murderers, but for other flawed men, and for yourself, pray to be better.

That is the justice of honest men, who are wise enough to know, there… but for the grace of God… go I.

 

Woah… that came out of nowhere.

But hey, that’s what you can expect in a nation that is honestly considering Trump for the highest office in the land. Derision. :).

God keep you all from rage, and keep you all from harm, and most of all god keep you from the folly of thinking you are bloody better than the poor slobs the media chooses to lynch today.

Amen.

If you like this crazy post, or just like the blog, support by checking out and purchasing the following cool and recommended items!

Sylvania SDVD7029 7″ Portable DVD Player-Swivel Screen (Certified Refurbished)
Kids these days, in this age of MP3s and Itunes and Spotify have no idea what CDs are, or how good they can sound. For $40 you can give them the gift of not only a portable CD player, but a portable DVD player.

But it’s as the former, a portable CD player, that currently interests us. In addition to the portable player you want to get them a couple CDs to play on it, and I recommend the following two:

It Follows (Original Motion Picture Soundtrack) I really enjoyed IT FOLLOWS and the soundtrack on CD is equally brilliant, and stands on its own as just engaging and creepy and addictive listening experience.At once an influenced work, yet highly original in its own right, and sure to be influential. Disasterpeace hits a homerun with this score. Nice use of stereo imaging. Highly Recommended.

Sinister (Original Motion Picture Soundtrack) – I’m not a wimp, and am a huge fan of a variety of scores, especially the dark, strange ones, but I have to say this Christopher Young score is on a level all its own. I find it truly disturbing, and yes… scary. A huge achievement, and essential listening!

Azend Group Corp BDP-M1061 Maxmade Portable 10-Inch Blu-Ray DISC/DVD Player (Black)

Sony S1500RF Multi System Region Free Blu-Ray Disc DVD Player

Black Faces, White Messages : Doctor Who

With Season 9 of BBC slated to start in a month, season 8 of DOCTOR WHO finally makes its way onto Netflix. I’ve watched more DOCTOR WHO than the vast majority of you reading this. My compulsive personality at work, I’ve seen all of the current reboot, and all of the classic existing series.

And I’ve seen the series go from great to mediocre and back again. One thing the series has suffered from, at times, in both its classic and modern incarnations is its depictions of people not WASPish.

Russell T. Davies was the visionary largely responsible for the rebirth of Dr. Who after an absence of over a decade; bringing a 20th century creation successfully into the 21st century. In terms of effects, and scope of story-lines Davies reboot was a massive win both artistically and commercially. That said one of the few failings of Russell T. Davies tenure, especially early on, was his use of characters of Color.

His Mickey character, played by the Shakespearean trained Noel Clarke (And I hold both creator and actor complicit for such a portrayal) from the first was a neutered, constantly emasculated character of color much in the vein of Step and Fetchit Hollywood, not just an offensive character, but worse a detriment to otherwise watchable story-lines, of which the Russell T. Davies run, had many.

I would rather creators avoid using characters of color, than use them offensively or ignorantly, as nothing more than tokens or stereotypes or outlets for their biases, which I think unfortunately is how Russell t. Davies approached such characters, particularly early in his run.

However by the Tenant years, Davies had a far better grasp on utilizing characters of color, as his Martha Jones character, brilliantly played by Freema Agyeman and her extended family were from the most part brilliantly written.

The post Tenant years, starring the youngest Doctor Matt Smith, and helmed by new Show Runner Steven Moffatt, I felt were pretty uneven, as the character was saddled with companions for most of his run that I found almost as annoying as the Mickey character.

That brings us finally to the new incarnation of the Doctor played by Peter Capaldi in Season 8, which definitely had me intrigued.

However, initially, the introduction of a Black character (love interest for the companion Clara), named Mr. Pink had me groaning audibly. I saw another Mickey in the making. A Black character called Mr, Pink? Really? Why not just call him snowball. But thankfully, the series, six episodes in is smarter, better written, and the character of Mr. Pink, stronger and more compelling and likably written and performed, than initial episodes and the unfortunate name… would imply. As well as other characters of color in far more humanistic and enjoyable and non-stereotypical roles than most stateside shows.

Add to that Peter Capaldi as the new Doctor and Jenna Coleman as Clara are fantastic. Capaldi brings a less manic, measured performance and is a welcome touchstone to the Doctor as teacher and mentor and father. And Jenna Coleman’s Clara an excellent companion.

Episode 6 CARETAKER is my favorite of the season so far and season 8 as a whole my favorite season since the Tenant/Agyeman series. Let’s hope the writing continues to transcend the easy crutches of stereotype that sometime marred earlier seasons, and continues to broaden and enrich the history and mythology of Dr. Who.

Final Word:

On the accusation of Black Faces/White Message we find Season 8 of Doctor Who… NOT GUILTY. It is TV done right, as Showrunner, Stars, and stories combine to make addictive, fun, ethnically diverse, and smart television.

The Answer to FERGUSON

The answer to Feguson’s latest headline making descent into a Jim Crow south is the same as it was to that first headline. The answer is not simply protesting or marching or, worse, just taking to the streets as a mob.

No, the answer has to be something… better.

The answer is economics married to a good memory of the people in positions of authority in Ferguson, who have abused that authority. Ferguson is an overwhelmingly Black township. So this population speaking with their wallets and purses, boycotting any business that does not sign a petition calling for an immediate censure and removal of those involved (from officer, commanding officer, prosecuting attorney, presiding judge, mayor, and up) will elicit change that no amount of lipservice or tirades will.

And it’s about that population stepping up and once they have defined an economic base, forging a political base. The young people have to be the law enforcement, and the fire fighters, and the lawyers, and the politicians, because someone must hold the line, and if you would not have it be your enemy then you must fill those positions with yourself and your peers.

If you want to change the person always on one end of the gun, you must change the person… on the other.

Reprisals of a financial and political order.

Where Ferguson does your local Walmart, or McDonalds, or KFC, or mass transit or auto-shop or grocery… stand on this latest injustice? Find out, and boycott the ones not with you, and let the rest of America know and boycott with you.

Let them know… this far, no further.

Here beginneth the lesson.

Exclusionary TV: Whites Only Television? MADMEN, PAN-AM and REVENGE

Provocative title huh?

Well, it’s not quite as provocative as it seems. The premise of this article isn’t that shows such as MADMEN, PAN-AM, and REVENGE are in and of themselves bad or bigoted shows.

They may in and of themselves be good shows. But shows, dramas or scifi or action, that are predominantly White, when not off-set by any shows that are predominantly Black or colored, true to the definition of predominant… create an environment, a medium, that is about the ascendancy, importance, influence, authority of force of one group.

In such an environment it is impossible for me to buy into, relate, follow, view, or otherwise enjoy such shows. Now in an environment where a show such as PAN-AM is counter-pointed with a show on The forming of AIR JAMAICA or the Black Stuntmen’s Union or the Black Coyboys’ Union or any adventure or thrilling show with a predominant cast of color; then PAN-AM rather than being indicative of a color and ethnic bias in every show in tv, can be seen as one voice in a chorus, rather than the same voice, everywhere.

So that’s the problem I have with shows such as MADMEN and REVENGE they paint everything with the same trite and pale brush (take the series REVENGE, based on a book by the son of one of the most famous Black men, and the cast is all white. Explain that to me? Along with that it always rings false that we have yet to see a THREE MUSKETEERS that represents the ethnicity of the author Alexandre Dumas, or the ethnicity of the inspiration for all Dumas’ heroes, namely his father, France’s most famous and most feared soldier, the elder Alexandre Dumas, (inexplicably called Thomas-Alexandre in recent writings), the Black giant, the warrior Moor, Napolean’s most feared and brilliant General. The COUNT OF MONTE CRISTO is directly inspired by how his father was betrayed by Napolean, imprisoned, and killed. And rather than anyone ever tell that story, it becomes in REVENGE about a blond woman, mad about something. Forgive me if I have no interest in that retelling.)

So, What’s the solution?

We’ll get to it. First indulge me, with a brief trip to yesteryear.

In the late 50s, into the 60s and 70s television and cinema in the US, and indeed throughout the Western World, made great strides in becoming more representative of the class struggle going on throughout the world.

That’s a fact, it just is. So let’s begin there.

As countries from Congo to Cuba to Korea to the West Indies to Brazil all were dealing, at various stages, with the shattering of traditional Colonial ties. With populations of repressed people, embracing the concept, both with artistry and arms, of “not eating at another man’s table” but creating their own table.

It was a staggering period not just of revolution, but potentially evolution… for the world and the west.

Rather than mass media that explored and showcased only the fantasies and the fears of the white and the male you began getting shows that took place in a world reflective of the movements changing the landscape of our cultures and our time. Civil disobedience, and sit-ins, and Black power, and Native American rights, transcendentalism and free love, sexual and religious experimentation, and of course war and the search for peace and self identification.

And all these growing pains, all of this stew of change, could be seen in the entertainment of the age.

DANGER MAN, MISSION IMPOSSIBLE, PROFESSIONALS, GOOD TIMES, SANFORD AND SON, the rise of Soul Cinema, and the rise of Hong Kong Cinema, and Neo-Realism in Italy, and the New Wave in France, and the didactic films out of Russia, and Brazil, and Cuba, and Senegal, all of this making its way to newly born film studies programs in the states that gave birth to a whole generation of entertainment makers excited and influenced and inspired by this time of change and challenge.

So suddenly you had Patrick McGoohan in the DANGER MAN TV show 50 years ago globe-trotting and going to different countries and different people, and exploring issues of colonialism, and civil war, and terrorism, and governmental oppression, and doing this with a changing ethnically diverse cast. Dealing with issues of Middle East tensions and modern slavery. And this kind of informed and humanistic film-making came from the creators down. And all the shows of that period, while not DANGER MAN ground breaking, to greater or lesser degrees were that informed and representative of a culturally diverse and changing world.

Move the clock forward 50 years, and suddenly you have no community owned or locally owned cinema, much less production companies. That’s not an accident, that’s a very pointed, and very considered monopolization and marginalization.

You have the end of virtually any locally or regionally owned newspaper, radio, or television station. So you get the end of people and community created movements, and art and music, and you get instead corporate construction of reality and ‘art’ in things like AMERICAN IDOL and its ilk.

You have cinema and television that is in retreat from ideas… like diversity and the rights of man, and instead seeks a return to the exclusionary, blinders on, cinema of the 50s. Not just in terms of content and cast in front of the camera, but talent and crew behind the camera.

As, in reality, the mad military war machine of billionaires undoes the local determinism of countries like Haiti and Liberia and Libya, so too is our entertainment,no less the tool of billionaires, undoing the strides made toward multiculturalism. A return to “Whites only” television from MADMEN to PAN-AM to REVENGE.

And those shows while they hold no interest for me, would be fine if they were counterpointed by an equal number of US made shows with a majority of Black or Brown or Asian or a combination thereof, of actors in front the camera, and talent behind the camera.

And the talent is there, as screenwriters such as John Ridley discuss in numerous interviews. Even more talent than was available in the 60s and 70s is available now, the difference is, the cinemas are bought up, the advertising is cost prohibitive, and quite frankly the doors are closed.

In the 60s and 70s, Hollywood saw the need for an influx of diversity to save them from the rise of Independent Cinema (an outgrowth of viable and healthy local cinemas, local determinism), and there were a good number of people in the studios who were happy and excited for that diversity. They were part of the changing times, and part of changing it.

Today Independent Cinema has no way into the theaters, because the locally owned theater circuit, and indeed the community controlled mass-media circuit that served America, particularly Black America from the 20s to the 70s, has been bought out, legalized away, and generally dismantled.

For what was gained, more was lost in the compromise of integration.

The problem with the doctrine of separate and equal, was the fact that is was NEVER separate and equal, it was always separate and UNEQUAL. The Black Power movement and Black Panther movement was about making it SEPARATE AND EQUAL. Was to make the lie into the truth. And that is the reason we have integration today. Because the idea of separate and equal, scared the powers to be to their very soul.

They saw in the more moderate integration model of Martin Luther and his ilk, a compromise that could become a massive victory. They retreated from Separate and (Un)equal and embraced Integration of a sort, “you can now use our Bathrooms, you can now to an extent come into our house, but… you have to lose your house. You have to lose your radio stations, your movie theaters, your stores, your farms, your wallstreets, your sports teams, your attempt at self determination”.

Of course it wasn’t presented like that, but a few decades later that’s absolutely what has happened. The thriving economic base of Black America that thrived even under the odiousness of Separate but unequal, wherein they could still provide for themselves and be self sufficient, has been completely gutted under the together but even more UNEQUAL system of integration. And that robbing of local determinism has extended to all America. Has shown itself to be the most significant volley in a class-war that has America trillions of dollars in debt, and slaved, to corporations gross and immoral.

And television and cinema is the clearest example of this wholesale pillaging of a peoples economic potential.

So that’s what I see when I see shows like MADMAN or PANAM or REVENGE or SMALLVILLE (past season 4) I see prejudice and bigotry and class warfare… codified.

So you have a television and a cinema environment that has turned back the clock, and is again solely about showcasing the fantasies and the fears of the white and the rich, to the exclusion of all else.

It bores me to go backwards. To learn from the past is a great thing, to repeat the past is not. And we have a whole generation of studio execs and heads, who think they are doing something new by embracing the old, and all they are doing… is wasting time.

In a multi-cultural society, an increasingly multi-cultural society, these dreams of exclusion cannot stand, they will become unsatisfying, they always do. And in the end we will have to waste years just getting back to the same point of diversity as the 1970s. Getting back to the starting point from which we should be… evolving.

So let’s cut out some of the time wasting. Contact these studios signing off on this exclusionary television, the creators and producers, twitter them, facebook em, call’em, even write em, let them know the show doesn’t represent you, and to create a show that does. And let the advertisers know, say “this show boycotts me and mine. Since you are asking me to support your product, I want you to produce a show that supports me.”

It’s economics people. For all their crushing of competition, ultimately the decision makers and gate-keepers still need to create a product you want to buy. Let them know they are failing at that mandate.

Let them know you want to see more shows, that are both smart and diverse.

Day Break – The Complete Series- Do not buy the 2disk version, get the 4 disk version

55 Degrees North – Series One & Two – 5-DVD Box Set ( Fifty Five Degrees North ) ( 55 Degrees North – Entire Series 1 & 2 ) [ NON-USA FORMAT, PAL, Reg.2.4 Import – United Kingdom ]

Kidnapped – The Complete Series

Secret Agent AKA Danger Man: The Complete Collection (Slimline Packaging)

The Philanthropist: The Complete Series

Kings – The Complete Series

Blood & Bone

I Am Cuba: The Ultimate Edition

Let them know you want to see more DAY BREAK with Taye Diggs and Moon Bloodgood, more 55 DEGREES NORTH with Don Gilet, more KINGS with Eamonn Walker more BLOOD AND BONE with Michael Jai White, more James Purefoy and Jesse L. Martin in THE PHILANTHROPIST (the spiritual descendant of McGoohan’s DANGER MAN); more shows that look forward to solutions, rather than backward to evasions.

Challenge the creators, challenge the studios, challenge the advertisers, challenge the performers, and challenge yourself to go not marching backward, but to go forward… into the mystery. And ultimately we will as cities and a nation, have to eschew outside control, and embrace again local production of items and local determinism.

And it starts as simply as recognizing and calling out the prejudiced the exclusionary and the destructive when we see it.

Here endeth the lesson.