“SELMA” the Film and Actualities. by David Henderson 20feb15
Dr. Martin Luther King, Jr., the man who followed in the footsteps of Gandhi in bringing civil rights to a people, and in some ways went even further than Gandhi, is a towering figure in the recent history of the United States. For that matter, he ranks highly throughout the entire Western world, and perhaps everywhere on planet earth. His public denunciation of the Vietnam War contributed to the war’s end, but—coupled with his support for the striking sanitation workers of Memphis and his protestations of the larger issue of widespread poverty—it also resulted in a diminution of his popularity and a certain disfavor promoted by the corporate-controlled press, and it may have contributed to his untimely and mysterious assassination.
His widow, Coretta Scott King, his children, and the famous entertainer Stevie Wonder combined forces with a broad swath of an approving public and fostered a public holiday in his name that became a reality in the late twentieth century. Now, in 2015, a new film, Selma, is based on one of his most important achievements: his leadership role in attaining the Voting Rights Act. He coordinated a protest that would bring together various civil rights organizations, church and religious groups, entertainers, and professional organizations, along with a public from all over the United States and countries across the world to march in Selma with the ordinary citizens of that small Southern town. These people endured great brutality in the hands of local Alabama police and state troopers in order to complete their march to the state capital in Montgomery to protest before the State House their inability to vote.
On March 7, 1965, with a few hundred locals, Dr. King formulated a strategy that resulted in thousands of supporters joining the locals and, despite the murder of some, would result in a successful march to Montgomery over a two-week period. The number of marchers swelled from 5,000 to 25,000, and they arrived in triumph to hear the speech by Dr. King that announced the Voting Rights Act that would become law in a few weeks—a verification of democracy that inspired the world. Continue reading →
Orange is the New Black: Season 2
Now Streaming On Netflix
Jenji Kohan framework tends to be one in which an upper middle class attractive white woman who has been living a fairly sheltered life must contend with her world falling apart. In ‘Weeds” it’s the untimely death of Nancy Botwin’s husband leaving Nancy to figure out how to maintain her suburban lifestyle and raise her two kids. In OITHB, Piper Chapman, is engaged to be married and the expensive soap and her best friend Polly make is about hit Barney’s when her past rears it’s ugly head in the shape of a post-college lesbian relationship with an international drug trafficker. Just as Piper is about to marry a man and secure a conventional life, her ex-lover Alex gives her up and she is sentenced to a year in a minimum security prison.
After these inciting incident these women found themselves in the underbelly of society (for Nancy Botwin it’s the world of drug dealing; for Piper Chapman it’s prison.) The white washed polite world they grew up in still shows its mark as when Nancy Botwin bundles her weed in cutesy little packaging. Similarly, Chapman instead of throwing down with the prison chef, who she unwittingly insulted, she makes her a special lotion out of hot peppers to soothe her back pains. After being pushed out from the white upper crust and having to hustle to survive both Kohan’s main characters find strength they never knew they had, forming real connections with people who have never lived in their economic bracket, and like Walter White find a thrill in their new identities. They find the little badass inside their white girl body, and not only do these women survive, but most of the time thrive. Continue reading →
Miranda July is the master of quirky.. Quirky is a tightrope act, you risk being cheesy or falling into the surreal. Quirky is funny but not ha-ha funny.. Quirky gussies up reality with whimsy. Quirky is nothing but original. It’s the end of a fish tail sink stopper in the kitchen sink reality of literature. Quirky narratives feature main characters that are generally solitary figure. They are earnest to a fault and their clothes are a custome of the absurd. Bow-ties are quirky. Drug use isn’t. Being awkward is quirky. Being mean isn’t. Quirky is endearing. There is nothing quirky about the Holocaust, cancer, or porn. Being quirky is to be so uncool that you are pretty cool. To be quirky is to hold a child-like wonder in the face of a cynical mean world. The world of the quirky is wholly populated by the haves and the have more’s with a soundtrack of people who were indoor children, whose quiet weird music came out college dorms, never roughed in the streets. Being quirky is a narrative device that is the creation solely of the 1st world.
“Who is this middle-aged woman in the blue Honda?” July begins her novel, introducing her narrator Cheryl, as an everywoman but when July begins giving us a tour into the interior space of our narrator we find she lives in a bubble, her attempts to navigate the social world gives us more than a few cringe-worthy moments as when dealing with her bully of a roommate Clee and her crazy obsession with a man 22 years her senior, Phillip.
Cheryl’s insights into the world at times feel alien, as she looks wide-eyed at the banal everyday and deconstructs to show us how exactly abused the world around is. Calling Beckett. As when Cheryl observes a soap dispenser, “Someone took a large bottle of soap and poured into this serious looking machine.” or when July keenly observes the weird ways in which women observe their bodies, as when her boss Suzanne explains to her that she is pear shaped, “This is how your body is shaped. See? Teeny tiny on top and not so tiny on the bottom’ then she explained the illusion created by wearing dark colors on the bottom and bright colors on top. when I see other women with this color combination I check to see if they’re a pear too and they always are–two pears can’t fool each other” (5)
We all know the music that’s supposed to accompany Hollywood depictions of history, let alone the real-life, freedom-fighting icons whose charisma transcends any imagined depiction of them. For whether they’re Michael Collins leading Irish guerillas, William Wallace swinging a sword for Scotland or Mahatma Gandhi traversing India with a walking stick, audiences know they’ll hear the lofty noble strains of a symphonic orchestra – as mixed in with melodic ethnicity if the subject allows. Indeed, there’s nothing like a symphony to stoke the fires of justice, whether lit with cries of violence, or asking for the complete restraint of it in the face of those who’d do grievous harm to the righteous.
In the civilly disobedient musical case of Martin Luther King Jr. the impact of “Selma’s” score comes from its subtlety of meeting racist fury with soft dignity, as the jazz, soul and spiritual rhythms of an oppressed black nation join hands with a measured symphonic approach, especially when detailing the movement’s effect on a troubled marriage through soft strings and piano. Yet this is also a soundtrack that truly knows when to raise its emotional fist to shattering orchestral effect – both in getting across King’s still unmet call for racial equality, as well as announcing an impressive new voice on the major scoring scene.