#especially when that movie is based on a book a 40 year old woman wrote about a 19 year old pop star | Explore Tumblr Posts and Blogs

letterboxd · 4 years

Photo

Life in Film: Kris Rey.

As her new comedy I Used to Go Here opens, Chicago-based writer and director Kris Rey talks to Letterboxd editor-in-chief Gemma Gracewood about turning 40, divorce, female friendships, why nobody but Jemaine Clement could pull off a scene making tea, and what we can all learn from Generation Z.

If Kris Rey’s new comedy I Used to Go Here were a typical Hollywood rom-com, it would finish just before Rey’s film starts: with Kate Conklin (Gillian Jacobs) as a newly published author, engaged to be married to a handsome guy. Instead, we meet Kate in a Bushwick apartment she can no longer afford, as her publishing company breaks the news that her debut novel (Seasons Passed; terrible cover art, purple prose) is a failure and the publicity tour is off. That’s on top of the insult that her fiancé has recently ended their engagement.

Kate is given a faint ray of optimism when her creative writing professor (Jemaine Clement) invites her back to the liberal arts college she graduated from a decade earlier, to give a talk to his Gen Z students. Leaving Brooklyn and her pregnant bestie behind, Kate dives into the nostalgia of her old Illinois stomping ground, and I Used to Go Here turns into a low-key, pot-fuelled, intergenerational romp through ideas of success, friendship, creativity, authenticity and idolization.

The film’s fans on Letterboxd include Matt Neglia, who writes: “Gillian Jacobs brings charismatic charm and restraint to her role as a writer longing for a time when we were filled with endless potential without the fear of failure.” Matt DeTurck identifies with this theme: “Relatable for anyone wrestling with fitting the pieces of their life together in ways that feel truthful.”

On the contemporary representation of university life, Alex Billington remarks that “it’s got all the college movie tropes… but it repackages all of these in a smart adult-looking-back indie film package”. Max notes that “the college kids are an invaluable addition and feel like people rather than college or Gen Z stereotypes”.

Kate (Gillian Jacobs) and David (Jemaine Clement) in a scene from ‘I Used to Go Here’.

Your film starts just after the point at which a mainstream comedy about a single white woman in her thirties would end: with Kate’s book being published to no acclaim, her engagement being broken off, everybody else pregnant except her. It runs in opposition to the happy endings Hollywood has made us expect. Kris Rey: Oh god, [that’s] so astute. No-one has said that before and I have never thought of it before, but that’s so true! I think what’s so interesting about the whole journey that she goes on, and all of our own personal journeys, is that you’re used to, like, at the end of the movie, they get married! She gets her book published! And then everything is perfect! And then you realize: ‘Oh. Oh god, okay. How do I move on from this?’ So, you’re right, that is what’s so different about this.

The other thing—and I’m sure this can be said about most films this year—is how the set-up feels weirdly right for these times, which is to say: the widespread derailment of plans that the pandemic has wrought. It’s like we’re in a strange global coming-of-age. Several Letterboxd reviews observe how, for women in their late twenties to early thirties, there’s a second coming-of-age where everything suddenly feels extremely nostalgic. The film dives into that longing feeling by literally returning Kate to her old college. It’s funny, you know, a lot of people have pointed out how this doesn’t quite fit into a category. It’s not a rom-com, it’s not a true coming-of-age film in a sense of what we know that to be. I think that part of it is exactly what you’ve just pointed out, which is that it’s about a unique period of time for women, where you do reach this precipice. Mostly, it comes out of this big ever-pressing question which is “Am I going to have a family or not?”. Not every woman, but most women, have that question in their head until they either have a baby or they reach the age where they can’t have a baby anymore. “Am I going to have this? Am I going to follow this path of domesticity? Am I going to find a relationship that works long enough to have a family with them? Am I going to have to make sacrifices in my career to make room to have a family? Am I going to find them all at once?” Men just don’t have that point, to no fault of their own, but the fault of the patriarchy in general, which is that it has to be a conscious decision for women in a way that everything revolves around that, as we go about our lives at that age.

And you’ve explored that idea in more than just this film. I loved the awkward-yet-sincere moment at the baby shower, when the friends make her hold her book alongside their third-trimester bumps for a group photo. A book is a baby, and its publication should also be celebrated! Scenes like that emphasize how well Gillian Jacobs embraced the role of Kate. What did she bring to it that wasn’t on the page? There’s such a special thing that happens when you cast anyone for anything. It certainly happened with Gillian, but also with everyone. Definitely Jemaine was a big one, which is that I don’t typically write for specific actors. I write a character, I write the dialog, and then when I cast them I think ‘oh, Jemaine Clement is going to be in this role’, so then I go back through and read the whole thing in his voice and think ‘maybe he’d say it like this instead’ and maybe after [a scene we don’t wish to spoil], he would make tea for everyone. Very few, if any, American actors would be able to pull that moment off. That is kind of what I’m looking for: who are they? Are they able to feel like real people? Because so often they feel performative.

Like versions of a person. Right. Like they’re acting like a person! Gillian is very authentic. If you were to talk to her, she would just seem like her real self, and that was what was so appealing about her for me. Gillian just really brought herself, and I learned about her as a person.

As well as great comics like Kate Micucci and Jorma Taccone, there’s a lovely assortment of inclusive young characters who live in Kate’s old student house. Where did you find them? I just flushed them out and gathered them and held them close! There’s a couple of them that I didn’t know but I had seen in other stuff. Josh Wiggins, who plays Hugo, I’d seen him act in a movie called Hellion. Forrest Goodluck I saw in The Miseducation of Cameron Post. He’s incredible in that and I knew I wanted him to play Animal. Hannah Marks was someone that was sent to me, and we talked on the phone and I just knew she would be perfect. She’s such a brilliant go-getter and filmmaker and so ambitious in her own life. Khloe Janel, who plays Emma, auditioned for me here in Chicago and she’s so good. I adore her. I was taking a walk yesterday through the neighborhood and I saw her name on a little sign—she was making these poetry zines! I bought one.

Hugo (Josh Wiggins), Animal (Forrest Goodluck) and Tall Brandon (Brandon Daley) in ‘I Used to Go Here’.

The person we need to know about is whoever the guy is who plays Tall Brandon! Brandon Daley, who plays tall Brandon, is a person that I just knew. He is on the periphery of my social circle and he had come to a few parties at my house. His buddies called him ‘Tall Brandon’, in this very demeaning way! They were of course all good friends. I thought he was such a funny character that I wrote the character based on him. But I didn’t know him. Then he heard that I had written a part called Tall Brandon and he asked if he could play the part. I was like, “I don’t think so, Brandon!”

Was he an actor? Kind of. He’s a filmmaker but he’s much younger than me and he hadn’t done anything besides his own work. But I made him audition for the role based on him! [Laughs] I don’t know, I was just like, it’s a huge role, you know? The last thing you want is someone who can’t act like themselves, which everyone struggles to do. Anyway, he was so good in the audition, so funny, and he just nailed it. He steals the whole movie! He’s just so good.

I Used to Go Here is a long way from problematic college fare like Revenge of the Nerds or the angst of St Elmo’s Fire. It feels thoroughly 21st-century, especially in how the Gen Z housemates take an inclusive, ‘sure, why not’ approach to having Kate tag along with them. What inspired the way you wrote the intergenerational aspects of the film? There weren’t necessarily college films that I was using for inspiration. I wanted the place to feel the same that she left, but I wanted the people to feel different. This is what I’m finding in my life. I’m gonna turn 40 this year, and when I interact with people in their twenties, I’m blown away by the way that they view the world and the way that they view themselves and each other. I’m so impressed by it. And I am on board with a lot of these cultural changes that we’re seeing happen before our eyes, like, the idea of gender identity has changed so much, and so quickly. I’ve never seen anything change like that in my life. The idea of consent. When I first heard it I was like, “What? You have to ask if you wanna touch someone or kiss someone? It seems so lame!” Now, I can’t believe that we ever did that! I’m learning so much. They seem so clear-headed about it all. I just think that we have a lot to learn from that generation.

The movie’s not about that, necessarily, but it’s infused into it and I wanted that to influence Kate, in her life. Some of it is specific to this generation, but some of it is also just specific to being in your twenties. The character April, the way that she thinks about the [publishing] industry and her art, and the way that Kate, who is jaded, is like, “Okay, whatever, you’re naïve, make your little magazine, but you’ll have to follow the rules.” We’ve all been faced with that before.

Kris Rey with her son Jude Swanberg on the set of ‘I Used to Go Here’. / Photo by Blair Todd

So it’s a watershed year for you, turning 40. What would you define success and happiness as now, compared to when you were in your twenties and the ideas you had about the industry then? Oh, god. Okay so I’ve also had a lot of personal growth because I got divorced this last year, which was crazy. I’ve got two kids, a four year old and a nine year old. So I’ve been through so much; it’s been such a huge change for me. I have learned a lot, but one of the things that I have learned so much is that the relationships that matter the most in my life are my female friendships. I’ve always known that, but I’ve never seen it so much as I have in the last two years, both personally throughout my divorce, and professionally through making a film without a romantic partner to lean on. Of course I have male friends that are wonderful and supportive, but my female friends, those relationships are where I’m realizing I wanna put my effort into more than any other part of my life.

Okay, it’s time for a few questions about movies that are important to you. Thinking back, what is the film that made you want to be a filmmaker? Boogie Nights was the first film that I watched when I was in high school that I thought ‘oh, this is a job, and I’m seeing someone make stylistic choices that are interesting and unique’. You can see the behind the scenes in that movie a little bit. I remember watching it and thinking ‘that would be a cool job’. I also really loved the movie Bottle Rocket in high school. I began my filmmaking career thinking that I wanted to make documentaries, and so there’s also a lot of docs that I loved. But those were the early films that made me realize that it was even a job. Unfortunately not any female filmmakers, because I think that was just so rare [then].

What is your all-time comfort favorite film? Sleepless in Seattle, no question.

There’s your female filmmaker! Yes, but with a movie like Sleepless in Seattle, it’s such a mainstream movie that I never thought of it as ‘a job’. It wasn’t until I was in high school that I saw more independent and auteurish works. But Nora Ephron is a genius. That movie is perfect in my opinion.

What’s a film that, as a teenager, felt like a mirror into your soul? That movie with Chris O’Donnell, an Irish film, Circle of Friends. With Minnie Driver! Who is also in Good Will Hunting, another film I saw in high school. I haven’t seen Circle of Friends since it came out, but it felt very real to me, that movie. I don’t think I’ve ever mentioned that movie to anyone!

Gwyneth Paltrow and Joseph Fiennes in ‘Shakespeare in Love’ (1998).

What is the sexiest film you’ve ever seen? Shakespeare in Love! [Laughs.] There’s two movies. One was Legends of the Fall. It was literally the sexiest movie I’d ever seen up till that point. I was very young when it came out and there was this lovemaking scene by candlelight and I was like, ‘oh, that’s what sex is!’. And then Shakespeare in Love. That scene where he’s unwrapping her? So hot.

Who is another director you’d die for? I’m such a huge fan of Nicole Holofcener. I love her films so much. I have never met her. I do know some people that know her and I am honestly so scared to meet her because I like her work so much. She’s probably my favorite filmmaker. I just vibe with everything she makes. I love the tone. I just love all of her movies.

What’s a film that we should watch after we watch yours? You should watch She Dies Tomorrow. It’s so good, and Amy Seimetz is my very, very close and dear friend. We started making movies at the same time. Our movies were supposed to premiere at SXSW on the same day, and now they are being released on the same day, and we’re just in love with each other. Amy and I are— the movies are so wildly different from each other, but her movie is so good. It is really funny, it’s really weird and it’s really appropriate for the times right now.

I feel like some reviews are missing the comedy in it. I laughed so much throughout that film. I agree: people don’t get it! Can I shout out another movie that I watched recently? Crossing Delancey. I had never seen it before and my sister-in-law texted me and she was like, “you should watch this film like right now—this seems like something you would love”. I couldn’t believe how good it was. It’s so great. It feels like it could be shot right now in Brooklyn. All the cool kids in Brooklyn are dressing exactly the same way that all the cool kids in Brooklyn dressed in 1988, or whenever it came out. She’s having a dialog with a friend and the friend is like openly breastfeeding. And the way that they’re talking about romance and all this stuff is so on point. That movie’s great.

And another female director! Joan Micklin Silver. Yeah!

Related content

Dana Danger’s chronological list of films directed by women

Appropriate Behavior: the Letterboxd Showdown of indie, slacker and mumblecore films

Quarter Life Crisis: a list by Mary, and another by Michelle

Follow Gemma on Letterboxd

‘I Used to Go Here’ is now in select theaters and on demand. All press images are courtesy of Gravitas Ventures.

#kris rey #i used to go here #college film #college comedy #comedy #jemaine clement #gillian jacobs #female director #directed by women #52 films by women #kate micucci #jorma taccone #letterboxd

3 notes · View notes

weekendwarriorblog · 4 years

Text

The Weekend Warrior February 21, 2020 – CALL OF THE WILD, BRAHMS: THE BOY II, THE IMPRACTICAL JOKERS MOVIE, EMMA and more!

After overestimating Birds of Prey… I mean, Harley Quinn: Birds of Prey… it looks like I underestimated Paramount’s Sonic the Hedgehog… I mean Jim Carrey’s Dr. Robotnik… with Sonic. It truly spanked my lowball prediction in the mid-$40 millions, but I wasn’t alone there at least. Hey, it’s a fun movie and my positive review wasn’t off-base with the critical world at large, so there’s that, too. (Apparently, I liked both Downhill and Fantasy Island more than most people, including CinemaScore voters who gave the movies a “D” and “C-“ respectively… ouch!)

This is likely to be another down week as neither of the two new movies are particularly strong, which gives me a chance to focus instead on this week’s FEATURED MOVIES! And we have four of ‘em this week, no less!

That’s right. I think it’s time I go back to my previous desire to use this column to focus on smaller movies that you may have missed since very few of the bigger outlets bother to cover them, and there’s a few worth pointing out this week. I’m gonna start with the two foreign films, because hopefully, you’ve listened to Bong Joon-ho and his translator and are not as fearful of subtitles…

First up, opening on Wednesday at New York’s Film Forumis Jan Komasa’s CORPUS CHRISTI (Film Movement), Poland’s selection for the Oscar International Feature category, which was actually nominated for an Oscar in the category in which everyone already knew Parasite was always gonna win! It’s a shame, cause this is a really amazing film with Bartosz Bielenia playing Daniel, a troubled youth just out of juvenile hall who steals the trappings and identity of the youth prison’s pastor and is therefore mistaken as an actual priest when he arrives at a small community village that has suffered a tragic loss. It’s an amazing film about faith and forgiveness and redemption, and how the script came to Komasa from screenwriter Mateusz Pacewic is an equally amazing story. Seriously, if you get a chance, definitely check this powerful drama out, since it’s another fantastic film from a country that has continually been delivering the goods in terms of original storytelling.

I was just going to do three featured movies this week, but a really good German thriller is finally hitting the States, opening at the Quad in New York Friday then in L.A. on March 13 before a nationwide rollout. Michael Bully Herbig’s incredibly suspenseful German thriller BALLOON (Distrib Films USA) is about two families from the GDR (aka East Germany) who try to cross over into West Germany in 1979 using a hot air balloon, over a decade before the fall of the Berlin Wall. Based on the actual events, their story previously was adapted into the Disney movie Night Crossing (which oddly, isn’t on Disney+ yet-- I checked, but it’s on Amazon Prime if you wanna compare the two movies). The movie doesn’t spend nearly as much time in the balloon as something like The Aeronauts, as the family’s first attempt fails miserably, so much of the film involves them working towards a second attempt, while trying not to be caught.

Balloon is a pretty heavy film (irony?), sometimes a little overwrought with drama but it keeps you on the edge of your seat as it cuts between the families trying to figure out their escape plan and the authorities trying to put together the clues to find these defectors. There’s a particularly amusing man in charge of the investigation, played by the always-amazing Thomas Kretschmann (The Pianist), who is constantly berating his men, something that helps lighten the otherwise heavy tone that permeates the film. This is another fairly low-key foreign film that’s worth seeking out.

Another movie people should make an effort to seek out is Rashaad Ernesto Green’s PREMATURE (IFC Films), an amazing film that follows the relationship between two young people in Harlem over the course of a summer. We first meet Zora Howard’s Ayanna as she’s hanging with her friends kibitzing about boys, as they begin their last summer before Ayanna heads to college. Shortly after, she meets Josh Boone’s Isaiah, and the two hit it off. The rest of the film follows the ups and downs of their relationship including incredibly intimate moments that lead up to Ayanna getting pregnant.

I won’t go through the plot play-by-play style, because it’s interesting to discover the twist and turns in their relationship in a similar way as we do our own relationships. Needless to say Green has a pretty amazing partner and lead in Howard, who co-wrote the screenplay, which is probably why it feels so authentic and real. Sure, there are a few scenes between Howard and Boone, both fantastic actors, that feel a bit too showy dramatically but otherwise, it’s a fantastic second feature from Green who has mainly been directing TV since his earlier film Gun Hill Road. I’ll definitely be very curious to see what Green and Howard get up to next either alone or working together.

Opening in New York and L.A. this Friday but in theaters nationwide on March 6 is the latest incarnation of Jane Austen’s novel EMMA. (Focus Features), this time starring the wonderful Anya Taylor-Joy (from The VVitchand Split/Glass) as the title character, Emma Woodhouse, a 28-year-old matchmaker who prides herself on the relationships she’s put together even while unable to find her own mate. The film follows as the latter starts coming in the way of the former as she infiltrates herself into things as an “expert on love” who can’t find it herself.

Maybe it’s not surprising that I haven’t read much of Austen’s work and have missed this one altogether, never having seen any of the other iterations, but it’s a fairly wild and witty ride. Much of that is due to the amazing and wonderful cast around the young actor, the most surprising behind Mia Goth, who is in fact three years older than Taylor-Joy, but plays the younger wide-eyed Harriet who looks up to Emma and elicits her advice. Emma basically steers Harriet from the farmer she likes to Josh O’Connor’s Mr. Elton, the wealthy local vicar who is more than a little bit of a dark. This leads to a bit of a revolving door of who is interested in whom, etc especially when Emma’s nemesis Jane Fairfax (Amber Anderson) returns to Hartfield.

Some of the other men in the mix are Johnny Flynn’s dashing George Knightley – the brother-in-law to Emma’s sister – and Callum Turner’s wealthy Frank Churchill, whose attentions lead to more misunderstandings. Both were great but I was more impressed with O’Connor who transforms into a completely other person when Emma spurns his affections and seems like a different person from the way first-time features director (and photographer) Autumn de Wilde shoots him. Of course, Bill Nighy is as great as always as Emma’s father, always feeling a slight draft, but even more impressive is the wonderfully hilarious Miranda Hart (from Spy) as Miss Bates, a woman who gabs at length about how wonderful Jane Fairfax is, much to Emma’s annoyance. As much as Emma. is Anya Taylor-Joy’s show, it’s the ensemble cast around her that makes the movie so infinitely enjoyable, getting better as it goes along.

This is a very good first feature from de Wilde, who has directed quite a number of music videos for Beck, and Emma. seems very different from the movies we normally get from video directors, much of that to do with Austen’s source material and the cast. Either way, how things develop over the course of the film makes it more enjoyable as it goes along. (Although I have never read the book, the film seems fairly faithful to the book’s Wikipedia page, so Austen fans should enjoy it, too.)

I guess we can now get to the wide and semi-wide releases and the rest of the movies – merging my two columns into one means you get more 5,000-word columns, you lucky ducks!

The higher-profile of the two new wide releases is probably CALL OF THE WILD (20thCentury Studios), a PG adaptation of Jack London’s classic novel starring Harrison Ford and the most adorable CG dog (i.e. not real, so back off PETA!) you’ve ever met named Buck! Sure, dog lovers might say, “Why would we want to watch a movie with a CG dog when clearly, a movie with actors in green suits turned into dogs using CG would suffice?” But no, it’s actually a very heavily CG movie directed by Chris Sanders, who directed Lilo & Sitch, the first How to Train Your Dragon and The Croods before giving a go at live action. (Sanders also provided quite a few voices in earlier animated films like Disney’s Mulan and Tarzan.)

A film that already was well into production when Disney bought Fox (now 20thCentury Studios), Call of the Wild also stars Omar Sy (returning for next year’s “Jurassic World” finale), Karen Gillan, Dan Stevens, Bradley Whitford but the real star of the movie is the dog Buck, which is performed by the immensely talented Terry Notary, who you’ll know for his work on the “Apes” movies with Andy Serkis, Kong: Skull Island and some of the characters in the last couple “Avengers” movies.

Of course, opening the weekend after Paramount’s Sonic the Hedgehog, which has turned out to be a bigger hit than anyone imagined, certainly won’t help The Call of the Wild.

In many ways, this reminds me of the 2002 Disney movie Snow Dogs, which opened with $17.8 million over the 4-day MLK weekend. The combination of Ford (who appears in very few movies) and the adorable dog antics might be enough for the movie to make $15 to 17 million this weekend, maybe a little more, although it only has two weeks to do business before Disney’s next Pixar movie, Onward, takes over, not giving it much time to make bank.

Mini-Review: It’s pretty evident that this exceedingly faithful take on Jack London’s book will not be for everyone. While I personally was mixed, I expect this to be one of the rare positive reviews just ‘cause. Surprisingly, it’s also the most “Disneyfied” movie that could possibly come from the newly-renamed 21stCentury Studios as it’s a movie clearly made for kids and animal lovers even if never the ‘twain shall meet, in some cases.

The story follows a large St. Bernard named Buck (portrayed by Terry Notary – but we’ll get back to that), who begins his life as the spoiled and pampered pet of a wealthy judge in California but is sold to a man who trains Buck with his club sending the dog on a wild journey across the Yukon as part of a dog sled for a pair of Canadian postal workers (played by Omar Sy and Cara Gee from “The Expanse”). Eventually, he’s paired with an alcoholic frontiersman (Harrison Ford) and he finds true love, as the two of them go off looking (and finding) gold.

Some might be surprised that director Chris Sanders (who has an extensive animation background) decided to go for straight-up CG when depicting the animals and some of the environments in Call of the Wild. In fact, it feels almost necessary to make Buck as expressive as he needs to be to carry this film, and that’s where Terry Notary (Andy Serkis’ partner-in-performance-capture from the “Apes” movies) and the CG team comes in handy. Buck is already lovable but being able to make him so expressive doesn’t hurt, and the scenes where he’s interacting with other animals are pretty amazing.

We do have to discuss the negatives, and one of them is the episodic nature of Buck’s story that means that Harrison Ford, other than the narration and a brief appearance, doesn’t play a large part in Buck’s story until about the 45-minute mark. I didn’t think much of the performances by Sy and Gee or Dan Steven and Karen Gillan as the spoiled rich people who buy Buck to drive their dog sled off to find gold. Buck’s experiences as part of the first dog sled is far more positive even though it’s rigorous and it puts him at odd with the dog pack leader. The problem is that most of the human actors don’t come close to delivering what Notary does as Buck, the exception being Ford, but it’s still one of those odd CG-live action amalgations that doesn’t always work.

If you’re fond of Jack London’s Arctic adventures (as I generally am), Call of the Wild offers as much good as it does bad, but it’s worthwhile more for the amazing vistas and terrific use of CG (and Terry Notary’s performance as Buck) than anything else.

Rating: 6.5/10

I won’t have a chance to see the horror sequel BRAHMS: THE BOY II (STXfilms), but I never got around to seeing the first movie either, although this one, starring Katie Holmes, does look kind of fun. 2020 has not been a great year for horror so far with almost a new horror every weekend and few doing particularly well – The Grudge tops the heap with just $21 million and that opened almost two months ago!

I really don’t have a lot to say about this other than the fact that the original The Boy(not to be confused with The Boy, The Boy or The Boy, which are also movies about a different “Boy”), also directed by William Brent Bell, opened in January 2016 to $10.8 million on its way to $35.8 million domestic but it also opened at a time when there were no strong horror films in theaters. Some could argue that there are still no strong horror films in theaters, especially since so many of them quickly lost theaters after bombing. Still, there have been a lot this year already and the most recent one, Blumhouse’s Fantasy Island underperformed this past weekend, so why would anyone want more?

STXfilms’ marketing has been solid even as this moved from its December release to now, but I still think it will be tough for this to make more than $10 million this weekend and probably will end up closer to $8 million or less.

Opening in limited release but also sure to be exciting to the fans of the TruTV hidden camera prank show is IMPRACTICAL JOKERS: THE MOVIE, which brings the hilarious Tenderloins comedy troop – Q, Murr, Sal and Joe -- to the big screen as they go off on a cross-country adventure to attend a party in Florida, playing their usual prank-filled games to see which three get to attend. At this writing, I have no idea how many theaters it’s opening – I’m assuming 150 to 200 maybe? – so no idea how it might do although there are already some sold out showings in my general area (NYC) where the guys are from.

Mini-Review: It feels like there need to be two reviews for this movie – one for those who already know and love the show and find the Tenderloins hysterical (this includes me) —and then one for everyone else. The former can probably skip the next paragraph.

The Tenderloins are a group of four Staten Island friends (names above) whose antics led to a successful TruTV hidden camera show where they pull pranks and challenge each other to say and do whatever they’re told. The show has run eight seasons, and it’s made the Tenderloins such big stars they regularly sell out enormous venues (like Radio City Music Hall) to perform live for their fans. Considering the success Johnny Knoxville’s “Jackass” show has had in movie theaters where it can take advantage of an R-rating, there’s little reason why the “Impractical Jokers” shouldn’t be able to do the same. (For some context, I watched this movie with a theater full of the group’s friends, crew as well as Q’s firehouse buddies, in other words, 75% of Staten Island.)

The movie, directed by Chris Henchy, long time McKay and Ferrell collaborator – the film is presented by their “Funny or Die” brand –opens with one of a number of scripted/staged scenes to frame the road trip the Tenderloins to attend a party in Miami being held by Paula Abdul. Since they only have three passes, they need to compete in their usual challenges to determine who misses out.

If you are a fan of the show, I’m not going to spoil any of the challenges or pranks they plan on each other, but they generally get better and funnier as the movie goes along, to the point that when it returns to the “story” and the scripted stuff, the movie does falter a little. Although the Tenderloins aren’t the greatest actors, they are great improvisers and you can tell when they’re coming up with lines by the seat of their pants.

The majority of the movie is basically what we see on the show without all of the commercial breaks cutting in just as things start to get outrageous, and as someone who watches more of the show than I probably should admit, I find it hard to believe no one watching the movie will at least get one good snicker out of the movie. There are a few recurring gags throughout the movie as well as a follow-up to a memorable punishment from an earlier season. (Like with the show, you’re likely to feel bad for Murr and Sal, the nicer half of the group who always get the most abuse because of it.)

If you’re already a fan of the Impractical Jokers, you’ll probably like the movie, but if not, you might not get it and there’s just no real use trying. In other words, not a great intro to the “Impractical Jokers” but a fine bit of fun for the already-converted.

Rating: 6.5/10

This week’s Top 10 should look something like this…

1. Sonic the Hedgehog (Paramount) - $29 million -50% (up $1.5 million)**

2. Call of the Wild (20th Century) - $17 million N/A (up .3 million)** 3. Harley Quinn: Birds of Prey (Warner Bros) - $9 million -48%

4. Brahms: The Boy II (STXfilms) - $7 million N/A (down .6 million)**

5. Bad Boys for Life (Sony) - $6 million -48% (down .1 million)**

6. The Photograph (Universal) – $5.5 million -55% (down .6 million)**

7. Blumhouse’s Fantasy Island (Sony) - $5.3 million -57%

8. 1917 (Universal) - $5 million -38%

9. Parasite (NEON) - $3.6 million -35%

10. Jumanji: The Next Level (Sony) - $3.3 million -42%

-- The Impractical Jokers Movie (TruTV) - $1.8 million*

-- Las Pildoras de mi Novio (Pantelion/Lionsgate) - $1.3 million*

* These last two projections are made without much info on either movie, including theater counts for the former.

**A few minor tweaks as we go into weekends with actual theater counts, although this weekend will still mostly be about Sonic the Hedgehog. I still don’t have any theater counts for Impractical Jokers on Thursday night so I guess we’ll just have to see if the theaters playing it report to Rentrak and it gets some sort of placement, presumably outside the top 10, on Sunday.

LIMITED RELEASES

There are lots of other new limited releases this weekend beyond the ones I mentioned above.

On Wednesday night, Fathom Events is releasing Masaaki Yuasa’s new movie RIDE YOUR WAVE (GKIDS) across the nation for one night only in some places, although it will get a limited release on Friday at New York’s Village East and maybe other places, as well. If you’ve seen any of Yuasa’s other films like 2017’s The Night is Short, Walk on Girl or Lu Over the Wall or Mind Game, then you can probably expect this to be another wild ride, except this time it’s on a surfboard. It follows the story of a surfer and a firefighter who fall in love. You can learn more about how to get tickets here.

Like Portrait of a Lady on Fire last week, Una director Benedict Andrews’ SEBERG (Amazon) received a one-week release in 2019 but it’s getting a legit limited release this Friday. It stars Kristen Stewart as French New Wave icon Jean Seberg who came to the States in the late ‘60s and began a relationship with civil rights leader Hakim Jamal (Anthony Mackie), putting her in the sights of the FBI who were hoping to use her to bust the Black Panthers. The film also stars Jack O’Connell, Margaret Qualley, Vince Vaughn, and Stephen Root, and it’s a pretty solid historical drama, although I haven’t seen it so long I’m not sure I can say much more about that.

I was never a huge fan of Bob Dylan or the Band but I found Daniel Roher’s doc ONCE WERE BROTHERS: ROBBIE ROBERTSON AND THE BAND (Magnolia) (about the latter) to be quite compelling as the story is told by various people who were there, including the film’s exec. producer Martin Scorsese who directed the band’s legendary concert film The Last Waltz. This is also produced by Ron Howard and Brian SGrazer of Imagine, so you know it’s gonna be a quality music doc, and it certainly is, although I’m not sure it will be of that much interest to people who aren’t already fans of The Band.

Opening in roughly 350 theaters this weekend is LAS PILDORAS DE MI NOVIO (Pantelion), translated as “My Boyfriend’s Meds,” a comedy about a woman (Sandra Echeverria) who falls for a mattress store owner who suffers from multiple personality disorder and when they go on vacation… he forgets to bring along his meds! Humor abounds. As usual, this won’t screen in advance for critics.

Tye Sheridan stars with Knives Out’s Ana De Armas in Michael Cristofer’s thriller The Night Clerk (Saban Films), Sheridan plays a hotel clerk with Asperger’s Syndrome who witnesses a murder in one of the rooms but ends up as the main suspect by the lead detective, played by John Leguizamo. The film also stars Helen Hunt and it will be released in select theaters (including New York’s Cinema Village), on demand and digitally this Friday. Just couldn’t into this one, having at least one good friend with Asperger’s, due to the way Sheridan played this often-debilitating disease. (Think Rain Man without the talent of Dustin Hoffman.)

Opening exclusively at theMetrographFriday with an expansion on March 3 is Portugese filmmaker Bruno de Almeida’s Cabaret Maxime (Giant Pictures), starring Michael Imperioli as Bennie Gaza, the owner and manager of the title nightclub specializing in a mix of burlesque, striptease, music and comedy. Bennie is fairly old-fashioned so when a modern day (translation: trashy and demeaning to women) strip club opens across the way, Bennie finds himself pressure to make changes to stay in line as he starts getting pressure from his mobster financer to change. I was kinda mixed on this movie, which delivers another typically great performance from Imperioli but the way it cuts between various acts and disparate scenes that do very little to move the story forward (including the far-more-interesting subplot about Bennie’s wife Stella, a performer suffering from depression, as played by the amazing Ana Padrão). I think one of the reasons I just couldn’t get into the movie is cause a friend of mine attempted a similar film based out of a nightclub and the film never got much traction. De Almeida should have paid more attention developing the storytelling than showing off his talented musical singing/dancing friends.

A second Portugese filmmaker, Pedro Costa, also releases a new film this week. Vitalina Varela (Grasshopper Film) will open at New York’s Film at Lincoln Center on Friday. The title of the film is also the name of the non-actor who returns from Costa’s Horse Moneyto play a woman from Cape Verdean who comes to Fontainhas for her estranged husband’s funeral and sets up a new life there.

Also opening at the Quad Friday is the latest from the Dardenne Brothers, Young Ahmed (Kino Lorber) about a 13-year-old (Idir ben Addi) who has come under the grips of radical jihadism in his Belgian town, putting him at odds with various factions. When he carries out an act of violence, he ends up in a juvenile detention facility. The Dardennes won the Best Director award at last year’s Cannes Film Festival, where their films have been honored with the Palme d’Or twice. I’ve never been much of a fan but what do I know?

Opening at the IFC Center Wednesday is Nicolas Champeaux, Gilles Porte’s documentary The State Against Mandela and the Others, which is built around recently recovered audio recordings of the 1963-4 Rivona trial in which Nelson Mandela and eight others faced death sentences for challenging Apartheid. The film mixes animation showing the trails with contemporary interviews with the survivors including Winnie Mandela, about their fight against the country’s corrupt system.

Another doc I know little about is Andrew Goldberg’s Viral: Antisemitism in Four Mutations, which will open at the Village East Friday but it includes the likes of Julianna Margulies, Tony Blair and Bill Clinton as anti-semitism rears its ugly head over 70 years after the end of World War II and the Holocaust.

Also opening at Cinema Village is Matt Ratner’s Standing Up, Falling Down (Shout! Studios) starring Billy Crystal and Ben Schwartz (the voice of Sonic the Hedgehog!), the latter playing a stand-up comic whose L.A. dreams have crashed and burned leaving him with little money, forcing him to return to Long Island. Once there, he pines over his ex (Eloise Mumford) and becomes friends with an eccentric dermatologist (Crystal) as they help each other deal with their respective failures.

Playing at the Roxy for a one-week run starting Friday is Sam De Jong’s Goldie (Film Movement), starring actress/model Slick Woods as the title character, a teenager in a family shelter pursuing her dreams of being a dancer while trying to keep her sisters together. This premiered at the Tribeca Film Festivallast year.

Oscilloscope (the distributor that brought you the cat doc Kedi) is doing something called “Cat Video Fest 2020,” which will take place at the Alamo in Brooklyn (although the Saturday screening is sold out there) and the Village East Cinema. This screening of pre-selected cat videos is also taking place at other cities throughout the country, and you can find out where right here.

REPERTORY

METROGRAPH (NYC):

This Friday, the Metrograph will debut its newest series “Climate Crisis Parabels,” a series of varied future shock films, this weekend with Robert Bresson’s The Devil, Probably (1977), Steven Spielberg’s 2001 film A.I.: Artificial Intelligence, Miyazaki’s Princess Mononoke (1999) (hosted by Naomi Klein Sunday afternoon, but also playing as part of the Playtime Family Matinees”) and Ridley Scott’s Blade Runner: The Final Cu ton Sunday night. “To Hong Kong with Love” also continues with screenings of Stanley Kwan’s Rouge (1987) and the 2016 film Raise the Umbrellas. The ongoing Welcome To Metrograph: Redux also continues with HarunFarocki’sdocumentary Before Your Eyes: Vietnam (1981). This week’s Late Nites at Metrograph is another Japanese thriller, Hiroshi Teshigahara’s 1966 thriller The Face of Another, and the Metrograph’s Japanese love continues as Playtime: Family Matinees will also show Miyazaki’s Princess Mononoke from 1999.

ALAMO DRAFTHOUSE BROOKLYN (NYC)

Tonight’s “Weird Wednesday” is Ken Russell’s 1987 film Gothic, and this week’s “Kids Camp” offering is the 2006 animated Curious George with a special “pick your own price.” In preparation for the release of Emma. On Friday, the Alamo is doing a “Champagne Cinema” screening of the 2005 Pride and Prejudice, starring Keira Knightley, which unfortunately, is sold out already. (Waugh Waugh) Monday’s “Out of Tune” is the Prince film Under the Cherry Moon from 1986, which is also sold out. (Hey, Jeremy Wein, why don’t you tell me these things are going on sale so I can go!?!) Next week’s “Terror Tuesday” is the horror classic Candyman (1992), which is ALSO almost sold out and then we’re back to “Weird Wednesday” with next week’s offering, 1985’s soft-core actioneer Gwendoline.

If you’re one of those poor souls living in L.A., you can also go to see Don Coscarelli’s 2002 film Bubba Ho-Tep, starring Bruce Campbell, on Wednesday night or the 1986 Little Shop of Horrors on Thursday at the grand, new(ish) Alamo Drafthouse Cinema Downtown Los Angeles. Saturday afternoon is a matinee of Steven Soderbergh’s Out of Sight (1998), starring George Clooney and J-Lo and Saturday night, you can see Cassavetes’ Minnie and Moskowitz (1971), starring Seymour Cassel and Gena Rowlands. Monday night is Juliet Bashore’s 1986 Kamikaze Hearts, which looked into the X-rated SF underground of the ‘80s. The West Coast “Terror Tuesday” is Francis Ford Coppola’s 1992 film Bram Stoker’s Dracula, starring Keanu Reeves, Gary Oldman and Winona Rider!

THE NEW BEVERLY (L.A.):

Wednesday’s afternoon matinee is the classical musical The Sound of Music (1965) and then Weds and Thurs night’s double feature is Robert Redford’sThe Hot Rock (1972) and Cops and Robber (1973). Friday’s matinee is the late Tony Scott’s The Hunger (1983) and then the Tarantino-pennedTrue Romance (1993, also directed by Scott), will play Friday midnight and Saturday’s midnight movie is the 1967 film Carmen, Baby. This weekend’s Kiddee Mattine is Harry Potter and the Goblet of Fire (2005). Monday’s matinee is Terrence Malick’s Badlands (1973) and the Monday night double feature is A Man for All Seasons(1966) and The Mission (1986). Tuesday’s Grindhouse double feature is 1980’s Super Fuzz and 1977’s Death Promise, both in 35mm, of course.

EGYPTIAN THEATRE (LA):

Weds’ “Black Voices” movie is William Greaves’ 1968 film Symbiopsychotaxiplasm, and then on Friday night in the Spielberg Theater, you can see the 1913 film Traffic in Souls with live music as well as a couple shorts. The Japanese horror film Kwaidan(1965) will play in the normal theater. On Saturday, the Egyptian is presenting “Leigh Whannell’s Thrill-A-thon” a series of four films that helped to inspire Leigh Whannell’s The Invisible Man, which comes out next week with some great options worth seeing, including 1987’s Fatal Attraction, David Fincher’s 2014 film Gone Girl, Rob Reiner’s Stephen King adaptation Misery(1990) and the classic Aussie thriller Dead Calm(1989) starring Nicole Kidman … all for just 15 bucks!

AERO (LA):

The AERO’s “Black Voices” film for Weds. is the great Stir Crazy, starring Gene Wilder and Richard Pryor, and then on Thursday afternoon, you can see Stanley Kubrick’s 1964 classicDr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb for $8 (free to Cinemateque members!) New restoration of the Russian film Come and See (also opening at the Film Forum in New York) will play on Saturday evening as part of the “Antiwar Cinema” series. Sunday’s double feature in that series is Kubrick’s Paths of Glory (1957) and the Russian film The Ascent (1977). Tuesday’s “Black Voices” matinee is Julie Dash’s Daughters of the Dust (1991) and then Greg Proops will screen the 1996 film Ridicule as part of his Film Club podcast which precedes the film.

MOMA (NYC):

Modern Matinees: Jack Lemmon continues through the end of the month with Mister Roberts (1955) on Weds., Billly Wilder’s Avanti (1972) and the classic (and one of my all-time faves) Some Like it Hot (1959) on Friday. This weekend also sees movies in the continuing “Theater of Operations” series, which will include Kathryn Bigelow’s Oscar-winning The Hurt Locker (2009) on Saturday afternoon and a bunch of docs including Werner Herzog’s 1992 film Lessons of Darkness on Sunday. Weds also kicks off “Television Movies: Big Pictures on the Small Screen” – pretty self-explanatory, I think – with 1953’s The Trip to Bountiful and 1955’s Tosca on Weds. and Sunday, 1967’s Present Laughter Thursday and Tuesday and more. (Click on the link for full schedule!) Following Film Forum’s focus on black actresses (for February, Black History Month, get it?) MOMA begins a “It’s All in Me: Black Heroines” series with All By Myself: The Eartha Kitt Story and Julie Dash’s Illusions, both from 1982, on Thursday and many more running through March 5.

ANTHOLOGY FILM ARCHIVES (NYC):

The Anthology still has a few more films in its “Devil Probably: A Century of Satanic Panic” including Eric Weston’s Evilspeak (1981) tonight in 35mm, but also David Van Taylor will be at tonight’s screening of his 1991 film Dream Deceivers. I’ve never seen either of these, by the way. Robert Eggers’ The VVitch and Alan Parker’s Angel Heart screen one more time on Thursday night, as well. This weekend also begins a new series, “Dream Dance: The Films of Ed Emshwiller” but since I have no idea who that is, I have nothing further to add. (Sorry!)

NITEHAWK CINEMA (NYC):

Williamsburgis showing David Lynch’s 1990 film Wild at Heart as part of its “Uncaged” series on Friday just after midnight and John Singleton’s Poetic Justice on Saturday morning as part of “California Love.” They’re also showing Rob Reiner’s The Princess Bride on Saturday morning for an “All-Ages Brunch Movie.”

FILM FORUM (NYC):

Elem Klimov’s 1985 Russian drama Come and See (Janus) will have a DCP restoration premiere at the Forum and Sunday afternoon will be a screening of the 1953 Mexican film El Corazon y La Espada in 3D. This weekend’s “Film Forum Jr.” is the 1953 pseudo-doc Little Fugitive. Monday night is a screening of David Rich’s Madame X (1966) introduced by actor/playwright Charles Busch.

IFC CENTER (NYC)

This weekend’s Weekend Classics: Luis Buñuel is the Mexican film The Exterminating Angel (1962), while Waverly Midnights: Hindsight is 2020s will screen Keanu Reeves’ Johnny Mnemonic and Late Night Favorites: Winter 2020is taking a surprising weekend off.

QUAD CINEMA (NYC):

Still waiting to see if Pandora and the Flying Dutchman continues through the weekend, as at this time (Monday), there is nothing repertory listed.

BAM CINEMATEK(NYC):

Horace Jenkins’ Cane River continues through Friday. Saturday night’s “Beyond the Canon” is a double feature of Ida Lupino’s The Hitch-Hiker(1953) and Malick’s Badlands (1973).

MUSEUM OF THE MOVING IMAGE (NYC):

This weekend’s “See It Big! Outer Space” offerings include1974’s Space is the Placeon Friday and 1924’s Aelita, Queen of Mars and the 1980 Flash Gordonscreening on Saturday and Sunday. As usual, 2001: A Space Odysseywill screen on Saturday afternoon as part of the ongoing exhibition.

ROXY CINEMA(NYC)

Weds’ Nicolas Cage movie is Martin Scorsese’s Bringing Out the Dead (1999) and then Thursday is a 35mm screening of Ghost Rider: Spirit of Vengeance (2012)!

LANDMARK THEATRES NUART (LA):

Friday’s midnight movie is Who Killed Roger Rabbit (1988).

STREAMING AND CABLE

Let’s see what’s going on in the world of streaming this week, shall we?

Netflix is debuting Dee (Mudbound) Rees’ new movie THE LAST THING HE WANTED on the streaming service Friday, even though apparently, it opened in select cities last week, including New York’s Paris Theater, although it got such terrible reviewsout of Sundance, maybe Netflix didn’t want any more bad reviews before it begins streaming. Regardless, it stars Anne Hathaway, Willem Dafoe, Ben Affleck and Rosie Perez, and it’s based on Joan Didion’s novel about a D.C. journalist named Elena (Hathaway) who abandons her work on the 1984 campaign trail to run an errand for her father (Dafoe). I guess I’ll watch it when it’s on Netflix just like everyone else but my expectations have been suitably lowered.

The Jordan Peele-produced series “Hunters,” starring Al Pacino, which is about a group of Nazi hunters will hit Amazon Prime this Friday as well, and a new season of the popular series“Star Wars: The Clone Wars” will debut on Friday on Disney+, adding to the amazing amount of content already available on that network.

Next week, Saw and Insidious co-creator Leigh Whannell revamps The Invisible Man for Universal with Elisabeth Moss, and there’s also (supposedly) a movie call The Ride, which I know nothing about. You can guess which movie I’ll be focusing on.

By the way, if you read this week’s column and have read this far down, feel free to drop me some thoughts at Edward dot Douglas at Gmail dot Com or send me a note on Twitter. I love hearing from readers!

#TheCallOfTheWIld BrahmsTheBoy Premature Emma Balloon CorpusChristi Movies Reviews Repertory Streaming TheWeekendWarrior

2 notes · View notes

yasbxxgie · 4 years

Photo

Surviving ‘stressful process’ of being black male African-American men quietly combat negative stereotypes about them

Keith Borders tries hard not to scare people. He’s 6-foot-7, a garrulous lawyer who talks with his hands. And he’s black.

Many people find him threatening. He works hard to prove otherwise.

“I have a very keen sense of my size and how I communicate,” says Borders of Mason, Ohio. “I end up putting my hands in my pockets or behind me. I stand with my feet closer together. With my feet spread out, it looks like I’m taking a stance. And I use a softer voice.”

Every day, African-American men consciously work to offset stereotypes about them — that they are dangerous, aggressive, angry. Some smile a lot, dress conservatively and speak with deference: “Yes, sir,” or “No, ma’am.” They are mindful of their bodies, careful not to dart into closing elevators or stand too close in grocery stores.

It’s all about surviving, and trying to thrive, in a nation where biased views of black men stubbornly hang on decades after segregation and where statistics show a yawning gap between the lives of white men and black men. Black men’s median wages are barely three-fourths those of whites; nearly 1 in 3 black men will spend time behind bars during his life; and, on average, black men die six years earlier than whites.

Sure, everyone has ways of coping with other people’s perceptions: Who acts the same at work as they do with their kids, or their high school friends?

But for black men, there’s more at stake. If they don’t carefully calculate how to handle everyday situations — in ways that usually go unnoticed — they can end up out of a job, in jail or dead.

“It’s a stressful process,” Borders says.

Melissa Harris Lacewell, a political scientist at the University of Chicago, says it's at the heart of being a black American male.

“Black mothers and fathers socialize their sons to not make waves, to not come up against the authorities, to speak even more politely not only when there are whites present but particularly if there are whites who have power,” she said.

Chess in the real world

“Most black men are able shift from a sort of relaxed, authentically black pose into a respectable black man pose. Either they develop the dexterity to move back and forth, or ultimately they flounder.”

It’s a lot like a game of chess, says 43-year-old Chester Williams, who owns Chester Electric in New Orleans. He has taught his three sons, ages 16, 14 and 11, to play.

“The rules of the game are universal: White moves first, then black moves,” he said. “Black has to respond to the moves that the whites make. You take the advantage when it’s available.”

Twenty-year-old Chauncy Medder of Brooklyn says his baggy jeans and oversized T-shirts make him seem like “another one of those thuggish black kids.” He offsets that with “Southern charm” he learned attending high school in Virginia — “a lot of ’Yes, ma’ams,’ and as little slang as possible. When I speak to them (whites), they’re like, ’Hey, you’re different.”’

Such skillful little changes in style aren’t talked about much, especially not outside of black households — there’s no reason to tip your hand. As Walter White, a black sales executive from Cincinnati puts it: “Not talking is a way to get what you want.”

Coping strategies

He recalled that, “as a child, we all sat down with my mother and father and watched the movie ’Roots,”’ the groundbreaking 1970s television miniseries tracing a black family from Africa through slavery and into modern times.

The slaves were quietly obedient around whites. “But as soon as the master was gone,” he said, “they did what they really wanted to do. That’s what we were taught.”

Historians agree that black stereotypes and coping strategies are rooted America’s history of slavery and segregation.

Jay Carrington Chunn’s mother taught him “how to read ’Whites Only’ and ’Negro Only’ before she taught me anything else,” said the 63-year-old, who grew up in Atlanta. “Black parents taught you how to react when police stopped you, how to respond to certain problems, how to act in school to get the best grade.”

School is still a challenge, even from an early age.

Last year, Yale University research on public school pre-kindergarten programs in 40 states found that blacks were expelled twice as often as whites — and nine out of 10 blacks expelled were boys. The report did not analyze the patterns, but some trace it to negative views about black boys.

Perception: Young males = public enemies

Black male children are often “labeled in public schools as being out of control,” said Lacewell, who studies black political culture and wrote “Barbershops, Bibles, and BET: Everyday Talk and Black Political Thought.”

“If you’re a black boy who is smart and energetic and always has the answer and throws his hand up in the air,” she said, “you might as a parent say, ’Even if you know the answer you might not want to make a spectacle of yourself. You don’t want to call attention to yourself.”’

Bill Fletcher still has nightmares about his third-grade teacher, a white woman who “treated me and other black students as if we were idiots,” he said. “She destroyed my confidence.”

But his parents were strong advocates, and taught him to cope by having little contact with teachers who didn’t take an interest in him, said Fletcher, former president of TransAfrica Forum, a group that builds ties between African-Americans and Africa.

As black boys become adolescents, the dangers escalate. Like most teenagers, they battle raging hormones and identity crises. Many rebel, trying to fit in by mimicking — and sometimes becoming — criminals.

“They are basically seen as public menaces,” Lacewell said.

Counting the casualties

Rasheed Smith, 22, a soft-spoken, aspiring hip-hop lyricist from the Bedford Stuyvesant section of Brooklyn, recently tapped his long fingers, morosely counting his friends killed in neighborhood violence in the last five years — 11 in all. Few spent much time beyond their blocks, let alone their neighborhood. Some sold drugs or got in other trouble and had near-constant contact with police.

Smith has survived by staying close to his family. He advised: “With police, you talk to them the way they talk to you. You get treated how you act.”

Twenty years ago, Carol Taylor’s teenage son — now a lawyer — was mugged twice near their Brooklyn home, but police officers “treated him like he had done the mugging,” she said. She wrote and self-published “The Little Black Book: Survival Commandments for Black Men” filled with tips on how to deal with police: keep your hands visible, carry a camera, don’t say much but be polite.

“Don’t take this as a time to prove your manhood,” wrote Taylor, a retired nurse and community activist who said she’s sold thousands of the pocket-sized, $2 books.

And more general advice: “Learn to read, write and type, and to speak English correctly. This is survival, not wishful thinking. If you are going to survive in America, go to college!”

One selective business program at historically black Hampton University in Virginia directs black men to wear dark, conservative suits to class. Earrings and dreadlocked hairstyles are forbidden. Their appearance is “communicating a signal that says you can go into more places,” said business school dean Sid Credle. “There’s more universal acceptance if you’re conservative in your image and dress style.”

Corporate communications

One graphic artist says he wears a suit when traveling, “even if it’s on a weekend. I think it helps. It requests respect.”

But in the corporate world, clothing can only help so much, said Janet B. Reid of Global Lead Management Consulting, who advises companies on managing ethnic diversity.

Black men, especially those who look physically imposing, often have a tough time.

“Someone who is tall and muscular will learn to come into a meeting and sit down quickly,” she said. “They’re trying to lower the big barrier of resistance, one that’s fear-based and born of stereotypes.”

Having darker brown skin can erect another barrier. Mark Ferguson has worked on Wall Street for 20 years. He has an easy smile and firm, confident handshake.

“I think I clean up pretty well — I dress well, I speak well — but all that goes out the window when I show up at a meeting full of white men,” says Ferguson of New Jersey, who is 6-foot-4 and dark-skinned. “It’s because they’re afraid of me.”

“Race always matters,” said Ferguson, whose Day in the Life Foundation connects minority teenagers with professionals. “It’s always in play.”

The smile factor

Fletcher knows his light brown skin gives him an advantage — except that he’s “unsmiling.”

“If you’re a black man who doesn’t smile a lot, they (whites) get really nervous,” he said. “There are black people I run across all the time and they’re always smiling particularly when they’re around white people. A lot of white people find that very comforting.”

All this takes a toll.

Many black men say the daily maneuvering leaves them enraged and exhausted. For decades, they continuously self-analyze and shift, subtly dampening their personalities. In the end, even the best strategies don’t always work.

“I’ve seen it play out many times” in corporations, said Reid of Global Lead. “They go from depression to corporate suicide. Marital problems can come up. He loses all self-confidence and the ability to feel manly and in control of his own fate.”

Sherman James, a social psychologist at Duke University, studies how the stress of coping for black men can damage the circulatory system and lead to chronic poor health. Black men are 20 percent more likely to die of heart disease than whites, and they have the highest rates of hypertension in the world, according to the National Medical Association.

What doesn't kill makes you stronger

The flip side, black men say, is that many learn to be resilient. Ferguson recalls when a new Wall Street colleague, minutes after meeting him and hearing he grew up in a housing project in Newark, N.J., asked if he had been involved in “any illicit activities” there. He shrugged it off.

Over the years, as he has earned promotions and built client relationships over the phone, he has learned to steel himself for face-to-face meetings — for clients’ raised eyebrows and stuttered greetings when they see he is black.

“It just rolls off our backs — we grin and bear it. You can’t quit,” he said, sighing heavily. He vents his frustrations to mentors and relaxes with his wife and young children.

“Then you go back,” he said, “and fight the good fight.”

Photographs

Rasheed Smith, 22, pauses in a talk about his life during a visit to a cafe in the Bedford Stuyvesant section of Brooklyn, N.Y. Smith, the son of immigrants from the Caribbean island of Barbados, has survived life in the tough neighborhood by staying close to his family

Karrym Ferguson, a 10th grader at Central High School in Newark, N.J., listens to Mark Ferguson during his June 13 visit to the school. Ferguson, a Wall Street financier who grew up in Newark and attended the same school, established the Day in the Life Foundation to help students succeed

#code switching #amerikkka #racism #white supremacy #black men #carol taylor #the little black book: survival commandments for black men

2 notes · View notes

phroyd · 5 years

Link

Doris Day, the freckle-faced movie actress whose irrepressible personality and golden voice made her America’s top box-office star in the early 1960s, died on Monday at her home in Carmel Valley, Calif. She was 97.

The Doris Day Animal Foundation announced her death.

Ms. Day began her career as a big-band vocalist, and she was successful almost from the start: One of her first records, “Sentimental Journey,” released in 1945, sold more than a million copies, and she went on to have numerous other hits. The bandleader Les Brown, with whom she sang for several years, once said, “As a singer Doris belongs in the company of Bing Crosby and Frank Sinatra.”

But it was the movies that made her a star.

Between “Romance on the High Seas” in 1948 and “With Six You Get Eggroll” in 1968, she starred in nearly 40 movies. On the screen she turned from the perky girl next door in the 1950s to the woman next door in a series of 1960s sex comedies that brought her four first-place rankings in the yearly popularity poll of theater owners, an accomplishment equaled by no other actress except Shirley Temple.

In the 1950s she starred, and most often sang, in comedies (“Teacher’s Pet,” “The Tunnel of Love”), musicals (“Calamity Jane,” “April in Paris,” “The Pajama Game”) and melodramas (“Young Man With a Horn,” the Alfred Hitchcock thriller “The Man Who Knew Too Much,” “Love Me or Leave Me”).

James Cagney, her co-star in “Love Me or Leave Me,” said Ms. Day had “the ability to project the simple, direct statement of a simple, direct idea without cluttering it.” He compared her performance to Laurette Taylor’s in “The Glass Menagerie” on Broadway in 1945, widely hailed as one of the greatest performances ever given by an American actor.

She went on to appear in “Pillow Talk” (1959), “Lover Come Back” (1961) and “That Touch of Mink” (1962), fast-paced comedies in which she fended off the advances of Rock Hudson (in the first two films) and Cary Grant (in the third). Those movies, often derided today as examples of the repressed sexuality of the ’50s, were considered daring at the time.

“I suppose she was so clean-cut, with perfect uncapped teeth, freckles and turned-up nose, that people just thought she fitted the concept of a virgin,” Mr. Hudson once said of Ms. Day. “But when we began ‘Pillow Talk’ we thought we’d ruin our careers because the script was pretty daring stuff.” The movie’s plot, he said, “involved nothing more than me trying to seduce Doris for eight reels.”

Following “Pillow Talk,” which won Ms. Day her sole Academy Award nomination, she was called on to defend her virtue for the rest of her career in similar but lesser movies, while Hollywood turned to more honest and graphic screen sex to keep up with the revolution sweeping the world after the introduction of the birth control pill.

Ms. Day turned down the part of Mrs. Robinson, the middle-aged temptress who seduces Dustin Hoffman, in the groundbreaking 1967 film “The Graduate,” because, she said, the notion of an older woman seducing a young man “offended my sense of values.” The part went to Anne Bancroft, who was nominated for an Academy Award.

By the time she retired in 1973, after starring for five years on the hit CBS comedy “The Doris Day Show,” Ms. Day had been dismissed as a goody-two-shoes, the leader of Hollywood’s chastity brigade, and, in the words of the film critic Pauline Kael, ”the all-American middle-aged girl.” The critic Dwight Macdonald wrote of “the Doris Day Syndrome” and defined her as “wholesome as a bowl of cornflakes and at least as sexy.”

But the passing decades have brought a reappraisal, especially by some feminists, of Ms. Day’s screen personality and her achievements. In her book “Holding My Own in No Man’s Land” (1997), the critic Molly Haskell described Ms. Day as “challenging, in her working-woman roles, the limited destiny of women to marry, live happily ever after and never be heard from again.”

Ms. Day in fact was one of the few actresses of the 1950s and ’60s to play women who had a real profession, and her characters were often more passionate about their career than about their co-stars.

“My public image is unshakably that of America’s wholesome virgin, the girl next door, carefree and brimming with happiness,” she said in “Doris Day: Her Own Story,” a 1976 book by A. E. Hotchner based on a series of interviews he conducted with Ms. Day. “An image, I can assure you, more make-believe than any film part I ever played. But I am Miss Chastity Belt, and that’s all there is to it.”

An Aspiring Dancer

Doris Day was born Doris Mary Anne Kappelhoff in Cincinnati on April 3, 1922. (For years most sources gave her birth year as 1924, and so did she. But shortly before her birthday in 2017, The Associated Press obtained a copy of her birth certificate from the Ohio Office of Vital Statistics and established that she had been born two years earlier. After Ms. Day was shown the evidence, she said in a statement, “I’ve always said that age is just a number and I have never paid much attention to birthdays, but it’s great to finally know how old I really am.”) She was the second child of Frederick William von Kappelhoff, a choral master and piano teacher who later managed restaurants and taverns in Cincinnati, and Alma Sophia (Welz) Kappelhoff. Her parents separated when she was a child.

Ms. Day never wanted to be a movie star. At 15 she was a good enough dancer to win the $500 first prize in an amateur contest. Her mother and the parents of her 12-year-old partner used the money to take them both to Los Angeles for professional dancing lessons. The families intended to move west permanently, but Doris’s right leg was shattered when the automobile in which she was riding was hit by a train.

To distract Doris during the year it took the leg to mend, her mother — who had named her after a movie star, Doris Kenyon — paid for singing lessons. She was a natural.

Ms. Day told Mr. Hotchner that another important thing happened during her year of recuperation: She was given a small dog. “It was the start of what was, for me, a lifelong love affair with the dog,” she said.

That first dog, Tiny, was killed by a car when Ms. Day, still on crutches, took him for a walk without a leash. Nearly 40 years later she spoke of how she had betrayed him. During the last decades of her life, through her foundation, Ms. Day spent much of her time rescuing and finding homes for stray dogs, even personally checking out the backyards and fencing of people who wanted to adopt, and she worked to end the use of animals in cosmetic and household-products research.

After the accident, Ms. Day never went back to school. At 17, having traded her crutches for a cane, she sang in a local club where the owner changed her name because Kappelhoff wouldn’t fit on the marquee. After a few months as a singer with Bob Crosby and His Bobcats in Chicago, she joined Les Brown and His Blue Devils.

Singing was just something to do until she married. ”From the time I was a little girl,” she told Mr. Hotchner, “my only true ambition in life was to get married and tend house and have a family.”

But while Ms. Day was instantly successful as a singer and a movie actress, she was fated always to marry the wrong men. By the time she made her first movie she had been married and divorced twice.

Her first husband, Al Jorden, a trombone player, was violently jealous and had an uncontrollable temper. He hit her on the second day of their marriage and continued to beat her when she became pregnant and refused to have an abortion. She was married at 19, divorced and a mother at 20.

But she was undaunted. “All my life,” she told Mr. Hotchner, “I have known that I could work at whatever I wanted whenever I wanted.”

Her second husband, George Weidler, a saxophonist, was a gentle man. She was happily living with him in a trailer park in Los Angeles when he left, after telling her that he thought she was going to become a big star and that he didn’t want to be Mr. Doris Day.

She was approached at a Hollywood party by the songwriters Sammy Cahn and Jule Styne, who had written the score for “Romance on the High Seas,” a movie planned for Judy Garland. But Garland had turned the role down and Betty Hutton, her replacement, was withdrawing because she was pregnant. Warner Bros. was desperate, and the songwriters insisted that Ms. Day audition for the part.

“Acting in films had never so much as crossed my mind,” she later said.

As candid in real life as her perky screen characters, Ms. Day admitted to the movie’s director, Michael Curtiz, that she had never acted before. But “from the first take onward, I never had any trepidation about what I was called on to do,” she said. “Movie acting came to me with greater ease and naturalness than anything else I had ever done.”

Reviewing “Romance on the High Seas” in The New York Herald Tribune, Howard Barnes wrote, “She has much to learn about acting, but she has personality enough to take her time about it.”

Playing the Wholesome Girl

Under personal contract to Mr. Curtiz, Ms. Day followed “Romance on the High Seas” with a series of musical comedies in which she played the pert and wholesome girl with hair and personality the color of sunlight. But even in the early 1950s she was nobody’s fool, and her characters had an unusual resilience, cockiness and competence.

In “By the Light of the Silvery Moon” (1953), about the trials of a small-town family, Ms. Day is first seen repairing her boyfriend’s car. If her fearless sharpshooting title character in “Calamity Jane” (1953) is finally induced to exchange her buckskins for a dress to wed Howard Keel’s Wild Bill Hickock, she still slips her six-shooter into her pocket to take along on the honeymoon.

And when Ms. Day opened her mouth to sing, the effect was magical. She had a perfectly controlled voice that brimmed with emotion. “It’s Magic,” which she sang in “Romance on the High Seas,” and “I’ll Never Stop Loving You,” which she sang in ”Love Me or Leave Me,” were nominated for Academy Awards for best song. The two with which she is especially identified, “Secret Love,” from “Calamity Jane,” and “Que Sera, Sera,” from “The Man Who Knew Too Much,” won Oscars.

“Doris Day was the most underrated film musical performer of all time,” said Miles Kreuger, president of the Institute of the American Musical. “If only she had been at MGM instead of Warner Bros., they’d have given her challenging roles.”

When Ms. Day did get a chance to stretch as an actress, she could be memorable. In “Love Me or Leave Me” (1955), she gave a stirring performance as the singer Ruth Etting, whose life and career were dominated by a violent manager-husband who had ties to gangsters. She held her own against James Cagney’s powerful performance as the husband and flawlessly sang Etting classics like “Ten Cents a Dance” and “Chasing the Blues Away.”

Ms. Day married for a third time in 1951. Although that marriage, to Martin Melcher, her manager, seemed happy, she discovered after Mr. Melcher’s death in 1968 that he and his lawyer had embezzled or frittered away the $20 million she had earned and had left her $500,000 in debt. She agreed to star in a situation comedy to earn the money to pay off her debts.

That proved to be a wise move financially; “The Doris Day Show” had an extremely successful five-year run. (It underwent a number of changes in that time. Ms. Day’s character, a widow who lived on a ranch with her two children, got a job at a magazine in San Francisco in the show’s second season, and by the fourth season her children had been written out of the show.)

James Garner, who co-starred with Ms. Day in two 1963 films, “The Thrill of It All” and “Move Over, Darling,” told Mr. Hotchner, “Marty was a hustler, a shallow, insecure hustler who always ripped off $50,000 on every one of Doris’s films as the price for making the deal.”

Ms. Day sued the lawyer, Jerome Rosenthal, and eventually won a judgment for more than $22 million in 1974. In a 1986 interview Terry Melcher, her son by Al Jorden, said that she eventually got some of the money from an insurance company but “nothing like that amount.”

In 1976 Ms. Day married Barry Comden, a sometime restaurant manager 11 years her junior. They were divorced in 1981. During her marriage to Mr. Comden, she moved from Los Angeles to Carmel, the picture-postcard town along the California coast where she and her son became part owners of the pet-friendly Cypress Inn. For the rest of her life she lived on a seven-acre estate with many more dogs than the zoning laws allowed. In the 1985-86 television season she was the host of “Doris Day’s Best Friends,” on the Christian Broadcasting Network, which focused on animal welfare.

Terry Melcher, her only child, who became a successful record producer, died in 2004.

In 2011, three years after she received a lifetime achievement Grammy Award, Ms. Day surprised a lot of people by releasing her first album in almost 20 years, “My Heart,” which consisted mostly of songs she had recorded for “Doris Day’s Best Friends” but never released commercially.

Ms. Day, who summed up her fatalistic philosophy in the words of one of her biggest hits, “Que Sera, Sera” (“What will be, will be”), never liked unhappy endings. She told one interviewer: “It upsets me when the hero or heroine dies. I would like them to live happily ever after.”

But, except in movies, nobody lives happily ever after. Ms. Day told Mr. Hotchner: “During the painful and bleak periods I’ve suffered through these past years, my animal family has been a source of joy and strength to me. I have found that when you are deeply troubled, there are things you get from the silent, devoted companionship of your pets that you can get from no other source.”

“I have never found in a human being,” she added, “loyalty comparable to that of any pet.”

Phroyd

#music #film #doris day

32 notes · View notes

sistercelluloid · 7 years

Text

While we were falling in love with Jessica Lange, she was falling in love with Joan Crawford.

“She was such a treasure,” said Lange at a Q&A hosted by the Film Society of Lincoln Center, following a sneak preview of the Feud: Bette and Joan finale. “She was never given the credit she was due. And when I went back and watched her films, she was a lovely actress, very subtle… obviously she had a style, that MGM style, but underneath it all, she was very real.

“People think of the glamour and the Hurrell photographs”, she added, “but there was so much more to her than that and it was thrilling to discover.”

Lange said she felt pressure to do right by Joan, who has been camped up and torn down for decades now. “I don’t think she got a fair shake from her daughter or from the film that was made,” she said, not daring to utter the name of the movie or the daughter, lest Faye or Cristina spring full-blown from the stage. “I do think she was maligned and she never got an opportunity to defend herself, of course. We dealt very fairly with Joan and created a character with all her strengths, vulnerabilities, peevishness, humanness. I hope in some way that brings another dimension to the way she’s seen. I hope we created a different idea about this woman, who was quite extraordinary.”

Focused mainly on the filming of What Ever Happened to Baby Jane, the miniseries captures an especially unhappy, even desperate, time in the careers of Joan, Bette Davis (Susan Sarandon, who was at preview but skipped the Q&A), and director Robert Aldrich (Alfred Molina). As far as the studios were concerned, Aldrich’s sin was that his films, while often critically praised, were commercial flops. Joan and Bette’s sin was that they continued to breathe past 40.

“I’m 52 and I feel like I’m just getting started, but for Bette and Joan, they were done,” said Feud creator Ryan Murphy, who also directed and co-wrote a few episodes. “And I just think about how unfair that is. I think the saddest thing in life is lost potential.”

“They all came together at a time of great need, trying to resuscitate their careers, keep themselves relevant and valid”, said Molina.

Lange agreed: “I think that’s typical of especially what happens to a women’s career at that point. You’re still in there scrapping and fighting and thinking, ‘This next role is going to bring it all back. This next role is going to make a difference.’ You think it’s out there but it isn’t, and yet you address the situation as if you still have some kind of control. This thing of struggling to resurrect something that is long gone is where the real human sadness of it exists, the poignancy… there’s still that thing of trying to hold on.”

The early days on the Baby Jane set held the promise that its long-feuding stars might forge a truce, or even—dare we dream?—some sort of brittle friendship, based on, if nothing else, the acres of common ground they shared: four marriages, difficult daughters, and decades of grappling with shortsighted, abusive studio bosses who built fortunes on their talents, wrung every ounce of work out of them, and threw them away like squeezed lemons at the first sign of age. (When Baby Jane was first pitched to him, Jack Warner—who had 15 years on Bette and 12 on Joan—sneered, “No one will pay to see those two old broads act.”)

But circumstances conspired against them—in the form of powerful gossip columnists like Hedda Hopper (Judy Davis) and even their own director, who feared a Bette-Joan alliance could blunt his power on the set. A feud, on the other hand, could spark their performances and generate buzz for a film he had little confidence in.

“Aldrich was definitely complicit, but he was also a victim of forces as well,” said Molina. “He was reluctantly drawn into stoking the fires of that feud. He was morally a complex man, I think that’s a polite way to put it… but he was also an unloved child in Hollywood. That scene where he asks Jack Warner, ‘Do you think I’m capable of being great?’ and he’s told, very blandly, ‘No’… it’s the question we all want to ask and we all fear the answer. So he was a victim but he was also complicit.”

“They were all pawns in one big confusing rat race,” added Catherine Zeta Jones (Olivia de Havilland). “You have all that fragility put onto the set, like a whole bunch of thoroughbreds, and Jack Warner is the jockey deciding which one to favor.”

Happily, the Feud set was much happier than Baby Jane‘s. “The atmosphere was the antithesis of what the story was about,” Molina laughed. “It was very relaxed. There’s an old saying among athletes—I’m not saying I’m an athlete in any way, but I’ve heard them say it!—that you get better when you work with the best, with people who have something to teach you. When we first started, I was petrified—with me it always starts out 50 percent excitement and 50 percent dread—but there was an effortlessness about this.”

Murphy credits that, in part, to the fact that half the directors and many of the writers and other offscreen talent were women—a much higher quotient than the usual (criminally small) ratio. “Much less ego and drama!” he laughed.

“When I did The People Vs. O.J. Simpson, the woman who was supposed to direct the Marcia Clark episode got sick, and I stepped in for her,” he recalled. “And I wasn’t really happy with the results. And I thought, ‘Why didn’t I have nineteen women in my Rolodex I could have called to direct that? Now I make a point of hiring as many women as possible.”

When work on Feud began, the long slog of election season was nearing an end—and so, many hoped, was the daily bruising of one sleazy Trump outrage after the next. “It looked like Hillary was going to be our next President, and then about halfway through filming, we got what we got,” Murphy said. “And it was such a wake-up call for me. At first, this series felt a little bit like a time capsule to me… like, aren’t we past all this now—the misogyny, the sexism? And then it was like, no, it’s not over. And I could feel the women on the set getting madder and madder at the outcome and at what was already unfolding.”

But if Murphy and company couldn’t give the country a happy ending, they could give Bette and Joan one—sort of. (Warning: The next paragraph is a mild spoiler.)

In the finale, a gravely ill Joan dreams she hears laughter in the living room. She gets out of bed and moves slowly, warily toward the source… and sees Warner and Hopper knocking back a few at the card table. Soon Bette arrives, and after a few moments, it’s just the two of them. And they say what we’ve always wanted them to say. That they wish they’d been kinder. Less self-protective. They wish they’d gotten it right. “But, it’s not too late!” Joan says, reaching across the table. “We can start now!” And Bette, a bit startled, smiles and nods. With that, Mamacita (yes, she’s back!) gently wakes her frail charge, wraps her arms around her and shepherds her back to bed.

“I felt like I wanted to give them, and the fans, that closure,” said Murphy. “That photograph, when they started filming Baby Jane, where they’re sitting and chatting—what if it had stayed like that?”

“When I first came out to Hollywood, I interviewed Bette and she told me, off the record, how she really regretted that she and Joan didn’t somehow work things out,” he added. “People conspired against their becoming friends, and there were also romantic entanglements and rivalries…

“All of the older actors I’ve interviewed, at the end, they were all talking about that kind of regret,” he said. “If you love someone, tell them. If you’ve hurt someone, make it up to them. People you love, people you’ve fought with, if only you could sit with them and say I’m sorry, I screwed up… okay now I’m getting choked up.”

Even more so when he revealed he dedicated this series to his grandmother. “She raised me, and she reminded me so much of Bette Davis, and I would watch her movies and feel her around me,” he remembered. “So in a way I’m reconnecting with her. That’s why I put that line in the last episode, when Pauline is talking about how older people become forgotten, and she tells the young guy who’s interviewing her, ‘Call your grandmother.'”

You do the same, if you’re lucky enough to have one. Or call someone you’ve fallen out with, and make it right. Bette and Joan would be proud of you.

Can’t get enough of Bette and Joan? Read about why they should have been friends (written years before Feud!). And about Bette’s other feud—with dogs; her fabulous fundraiser for homeless pets, which drew half of Hollywood; and her surprisingly honest pitch for war bonds! And read about how Joan stepped in for her fallen friend, Carole Lombard; her hilarious turn in Torch Song; and the advice she doles out lavishly in her book, some of which is oddly practical, and some of which is just odd…

Photo credit for shots from the stage: Alejandro Kiesel.

FEUD: BETTE AND JOAN! The Cast and Creator Open Up at a Sneak Preview of the Finale While we were falling in love with Jessica Lange, she was falling in love with Joan Crawford.

#alfred molina #carole lombard #catherine zeta jones #classic films #feud bette and joan #hedda hopper #jackie hoffman #joan crawford #judy davis #lincoln center #mamacita #robert aldrich #ryan murphy #torch song #victor buono #what ever happened to baby jane

1 note · View note

dcnativegal · 7 years

Text

I miss Black people

A tall Black man came into the office in Christmas Valley last week to introduce himself as a social services worker for parts of Deschutes County and north Lake County, too. My door and my fellow therapist’s door were open, and we introduced ourselves and chatted amicably. When he and I discovered we had both lived in DC, I became Chatty Cathy, waxing poetic about Ethiopian Food. It became clear that he wasn’t that familiar with it, couldn’t remember the word ‘injera’… but that was okay. I was talking to a Black man who knew DC. I’m pretty sure I embarrassed myself. My colleague was friendly and professional. I was irrationally glad to see him out of all proportion to the occasion.

He probably left thinking to himself, white people are weird. Guilty as charged.

I am one of those white people who study Black people. Their experience, history, personalities, and the systemic, systematic way in which they’ve been imprisoned in one big internment camp called the United States of America. Everything about them, with the possible exception of current music beyond a superficial point. My kids listen to nothing but music made by Black people, so we, as a family, have that covered.

Formative books: I Know Why the Caged Bird Sings. The Color Purple. Beloved. Also, Why do all the Black kids sit together in the Cafeteria, and When Race Became Real. Between the World and Me is the most recent.

Formative movies: Sounder (with music by Taj Mahal). Anything by Spike Lee (with the possible exception of Inside Job, which is excellent, but not about Black experience.) Moonlight. Daughters of the Dust. I am Not Your Negro is the most recent. Anything by Ava DuVernay, most recently, 13th. (I dare you, white reader, to watch it, on Netflix, and not have your mind blown.)

Music: Otis Redding. Songs in the Key of Life by Stevie Wonder. Early Michael Jackson and the Jackson Five. Tracy Chapman. India Arie.

I could go on and on… Perhaps I’ll stop with this link to 100 Woke Black women to follow: http://www.essence.com/news/woke-100-women

“Study” does not mean to keep at arms-length. I have been a marshmallow in a sea of cocoa since I can remember being alive. And since, many times, in different schools and neighborhoods, I was one of the few white kids, it behooved me to observe how we are similar and different. When you are the minority, you study the majority.

Little differences, in hygiene practices (Black women are more fastidious), in pronunciation (Andrea is pronounced An DRE uh by Black folks, AN dreeah by white. Darrell is DaRELLE for Black people and DAR rul for white.) In Happy Birthday songs: Black folks sing the Stevie Wonder version. In mythical secret jokes. Some Black people think that white people smell bad when wet. I’m serious. Based on how stinky the white men were when they came across the Atlantic to kidnap Black people. I mentioned this one day to a church friend, a PhD in Math, descended from Jamaicans, and she gasped! How did I know?! (I read it in a book, silly.)

I notice how much African American Vernacular English is used by white people. “You go, girl.” “24/7.” “I’m down.” “Word.” White folks don’t necessarily notice. I do. I try not to use AAVE. For fear of being scolded by my daughter. But also, because it is not appropriate. I struggle with this appropriateness thing. Because it’s the right thing to do. I keep learning how much culture has been stolen from Black Americans. Elvis Presley is just the tip of the iceburg. White people have stolen from Black people for millennia, and not just culturally. I look for examples of this, and find it, daily. I look out of long habit, so that I can give credit where credit is due.

It is absolutely true that Black people have transformed my life again and again. A Black 10th grade English teacher told me I was a good writer and should check out the Urban Journalism Workshop. I did, I applied, I got in, I learned to write, and the article I wrote earned an honorable mention from the Robert Kennedy Journalism awards. It was about the gentrification of Mount Pleasant, a neighborhood in DC. In 1976. I’m pretty sure I got into Oberlin College because of the Urban Journalism Workshop. Because I had zero extracurriculars besides running away from home. Thank you, Mrs. Feely.

I spent 40 years in the grooviest episcopal church on the planet (IMHO) because of a Black seminarian I almost married. He was 9 years my senior, I was 17, when we met. St Stephen & the Incarnation became my spiritual home because he was assigned there. And after I realized I was too young to marry, it stayed my parish home until I moved to the Oregon Outback in August 2016. Thank you, Eddie.

I miss my Black friends. Gay and straight women, with a few gay Black men in there, too. I know a lot of wonderful straight Black men, but I can’t say I’d call any of them in the middle of the night to take me to the emergency room. (One of my criteria for being a real friend. I’m sure they’d take me; I would just be so embarrassed.) Each of my friends is amazing. Of course, that is also true of my white friends. I’ve been mulling over the difference between my white and Black friends.

I’m reminded of something I read years ago about being friends across the racial chasm: the Black woman’s advice to her white friend was, “Forget I am Black. And, never forget that I am Black.” The zen koan of being friends with a Black person.

I feel lucky when a Black person will deign to be my friend. They could so easily reserve their precious energies for other people of color, especially people of the African diaspora. Out of self-care. (deign: verb, do something that one considers to be beneath one's dignity. "she did not deign to answer the maid's question" Archaic condescend to give [something.] "He had deigned an apology.") When I am hanging out with my Black friends who are activists and seemingly tireless in their work for justice in all kinds of situations, I am amazed that they have time for me. I know in fact that they are tired. And I do my best to be someone they can relax with. Even though I am white.

I have a Black friend who grew up in Crown Heights Brooklyn, where my son lives now in an apartment with many roommates. Her parents were from Guyana, an African-Caribbean country. Crown Heights is gentrifying, but it seems to still hold a special mix of Caribbean immigrants and Hasidim. S is a little younger than I am, and also has 2 kids, one in college (same one as my daughter) and the other graduated (as is my son.) My kids’ dad and I met their family when we each had only one baby in diapers and one parent each were home, and craving adult conversation. Play group in Brookland DC used to meet once a week until the community-organizing father of my children got hold of it, and then it met 3 times a week.

Our oldest boys were friends. We had second children. We developed a tradition of going to the Outer Banks in North Carolina for a week every summer and sharing an old beach house that was right on the water, one family per bedroom. We’d have 4 families give or take, and take turns cooking, looking after munchkins, and going on field trips to the Wright Brothers Museum, Walmart, and movies.

When it was time to figure out where to have the oldest boys go to school, our two families combined forces. In DC, finding a decent public school requires a strategy. We got pretty elaborate: what are our criteria for excellence? How much did each value weigh in the decision? We teamed up, with S and I spending the night in her car one icy January to get on the list for a popular bilingual Spanish/English immersion school (Oyster Elementary). My kids’ dad and her husband hit a number of schools that were apparently much less popular but still made our list. My kid got into Oyster, and S, who was right after me, did not. We decided that our boys would go to a DC public Montessori program instead of risking separation.

By the way, S met a nice Jewish young man from Iowa when they both attended Harvard, and married him. After many years, she decided to convert to Judaism, and both boys had bar mitzvahs, which were very cool to attend.

Both families switched to another DC public Montessori program when the original one seemed in steep decline, and enjoyed that community for a while. It became clear that my son wasn’t doing as well in that context, so I got him on a waiting list for a phenomenal charter school that uses the Expeditionary Learning model (affiliated with Outward Bound.)

We remained friends as families, going to the beach, joining the pool just over the DC line that many Brooklanders belonged to. Our boys grew apart, but we still hung out. One amazing bit of fate is that it was S and her son who introduced my boy to film-making at around 6th grade. He now makes his living as a filmmaker and is a Tisch film school graduate.

S is one of those women who is rather butch, and also straight. She is not femme: never wears make up, keeps her hair very short for minimum of fuss, and never wears skirts or dresses (except in her wedding.) I taught her to knit on one of our beach weeks, and she’s gone on to become expert and imaginative. I figured out at one point that I had a crush on her, but I stomped that out, and we have had a great 20+ year friendship.

When my marriage ended, S and her husband extended dinner invitations to both me and my ex, separately, but only I responded. My ex is introverted, and for some reason he let his connection to these folks wither. I was grateful to hold onto the friendship, and enjoyed coming to their house for amazing food prepared by Ed, the son of the Iowan baker. Lots of far ranging conversation. We’d solve the problems of the world, and then I’d go home. We also share a love of movies. I had to call Ed once to get me to an emergency department, and he did with calm kindness.

Neither S nor her husband are on Facebook much, which is where I keep in touch with most of my social connections from DC. I’ll have to actually write them a letter, which I used to do routinely. I miss these people very much. Maybe I should just call them up. How novel.

S was my friend first, and Black incidentally.

B became my friend and her Blackness was way more prominent. Whereas S never uses AAVE, B uses it a lot, and with her I feel like I can say “GIIRRRRRLLLL” in greeting.

B is from a large African-American Catholic family, originally from Florida. Old school Black, which is to say, ancestors enslaved and brought to the mainland United States, then reared here after Emancipation, and always in the minority. Whereas Island folks, from what was formerly known as the West Indies, were also enslaved, they freed themselves from colonial power, and became majority Black countries. B taught me that some Caribbean folks look down on the old school Black folks. I learned a lot about hierarchies within Blackness from Brigette.

We met at a card game for women in our neighborhood. Her son was a year older than mine, and she lived within a block of us. I started to pursue her as a friend; we attended a Black-taught “all sizes welcomed” yoga class in the neighborhood, and would walk there and back every Saturday morning. On those walks we got to know each other.

She is so accomplished; a law degree, an all but dissertation PhD drop out, an author, a management consultant, a philanthropist. I was honored to be the one white person present for a discernment committee she gathered, Quaker style, to help her make a decision. She influenced me a great deal. I hope I was a good friend to her. She was, probably still is, extremely busy, always, involved in one justice-promoting effort after another. I felt like a slacker in her presence. And she was not judging me. She simply lived every waking moment as an opportunity for social change. I also know there is pain underneath that activity, not just ‘post-traumatic slavery syndrome.’ Our sons are out in the world making art. She is making change. I miss her.

There are many others… Imani, D, Isaiah, Fern, Paulette, Liane…and powerful Facebook friends... Claudia, Alan, Reuben, KM

When I see a Black person out here in Oregon, I am riveted and try not to stare. Black people in white places are used to this, it is the ‘white gaze’, just like women are conscious of the ‘male gaze.’ For the observed, this vigilance is automatic and barely conscious until there is a perceived danger. Is that man (of whatever color) following me down this street? Is that white woman following me in this store? I regret that I am adding to this vigilance for people of color in Oregon.

In Eugene Oregon at a huge hippy extravaganza called Country Fair, I took to counting Black people. Less than 20. I follow the SURJ-Eugene Chapter on Facebook. It’s the closest chapter to where I live. (Standing up for Racial Justice is a white person’s organization that hopes to support Black Lives Matter efforts. White folks can ask other white folks to call each other out and help each other grow. This is not the job of Black People.) Oregon is a very white place.

I am an anti-racist organization of one. Which is not to say I am the only one who cares about racism against Black people, systemic and individualized here in Lake County. I have not yet met anyone as steeped as I am, but it’s always possible. (Where are you?) Anybody out here willing to start a book club to read Witnessing Whiteness? It’s for white people who want to reveal and counteract the racism that lives within all of us.

From the context of my upbringing, and my choice, the collective and multi-hued Black American World is my north star. The Black/white conversation, the current animosity, the centuries-long history, is my cosmology: “noun, the science of the origin and development of the universe.” My social universe. The foundation upon which I build my politics, my theology of justice, my self-image. My corrective. Also, my joy.

I am a white person who works on her racism. Even when there are no Black people in my Oregon Outback world, except a phlebotomist, one former client, and the girlfriend of another. My moral universe is constructed around the fact of the injustice of slavery and its current unjust sequelae. (Noun. se·que·la. a condition that is the consequence of a previous disease or injury.) Part of the post-slavery curse is the anti-government bias that is ripping further the tattered safety net. It is hard work to help white folks in mostly white contexts to see how anti-Black racism seeps into every bit of politics and also harms them individually. I’m working on this. I find it exhausting when the occasional conversation starts with “I don’t have a racist bone in my body.” I was so spoiled in D.C.

Yes, I believe in reparations. TaNehisi Coates’ work on this in The Atlantic is a paradigm-shifter. (https://www.theatlantic.com/magazine/archive/2014/06/the-case-for-reparations/361631/)

I only recently read a book on the native American experience, Roxanne Dunbar-Ortiz’s epic, “An Indigenous Peoples' History of the United States.” Now I can include the injustice wrought against native peoples into my cosmology. Except I did not grow up as a white person in a majority First Nation context. A whole new arena to familiarize myself with. First Nations are deeply relevant to life out here due to water rights. (You can watch Roxane Dunbar-Ortiz read from the book here: https://youtu.be/Pn4QTS6S3WU.) And you can read about water rights and the Klamath Nation here: (https://www.rotary.org/en/rotarian-helping-klamath-river-dispute)

I will continue to be a Black-identified white woman living in Whitelandia. I will try not to be obnoxious when I hear something flatly racist, although I will counter it. Someone said something about Black on Black crime early on. I said something, and now she knows I’m a ‘liberal.’ I share about Black experience on Facebook because I rejoice at the artistry and profound accomplishments of people who Overcome, every day. Maybe my new friends in Oregon will have a couple of stereotypes dashed by following my Facebook posts. Maybe not. Some of the clients at our mental health center are white ex-offenders with Aryan nation tattoos. Lord, make me an instrument of thy peace.

My job is to enlighten white people, somehow, with humility, because i know next to nothing. I need to tell the truth, but tell it slant, as Emily Dickinson wrote, so the truth will dazzle gradually. My job is to live with integrity wherever I am, as inclusively as possible, mining my own deep veins of ignorance (see, Native American History, also, the racist history of Oregon vis a vis Sundown laws, et al.) Counteracting the deep ignorance of the public discourse about the roots of our current politics in my own thinking. And praying to know how to be a bridge builder.

Written on the immensely tall wall of the Lincoln Memorial are words from the 2nd Innaugural address. To quote Wikipedia, “Lincoln suggests that the death and destruction wrought by the [Civil] war was divine retribution to the U.S. for possessing slavery, saying that God may will that the war continue "until every drop of blood drawn with the lash shall be paid by another drawn with the sword", and that the war was the country's "woe due".’ What I believe is that the great Civil War in the USA right now is the price we are paying for the sin of slavery, the divide of have and have not, early white immigrant/imperialist versus newer immigrant especially from South and Central America, the disconnect of white republican voters-for-trump and the fact of their deep dependence on the government. My cousin, President Lincoln, (4th cousin, 5 times removed) was more right than he knew.

I will be an ally no matter where I am, however (deeply) imperfect. I can’t help it.

1 note · View note

amytanworld · 7 years

Text

Riley Sager: Forget ‘Write What You Know,’ Try ‘Write What You Feel’

Riley Sager is the pseudonym for the author of the essay featured below, whose identity remains secret. We know that the author has been previously published and that he’s a man. What else do we know? Well, Sager‘s Final Girls has become one of the most anticipated thrillers of the summer, a scary mystery with the heart of a slasher movie (the author was inspired to write the book after watching the horror classic Halloween) that Stephen King called “the first great thriller of 2017.” Sager wrote this book in a moment of personal turmoil and learned along the way that sometimes you need to write what you feel:

“Write what you know.”

That advice has been doled out for centuries to anyone attempting to put pen to paper. But what does it even mean? It seems especially unclear for those of us who write fiction. Our job is to make stuff up. If we only wrote what we knew, the majority of novels would be about self-doubt, waiting for royalty checks and ways to get cookie crumbs out of your keyboard. This is especially true of crime fiction. Unless you’re a killer, a cop, a detective, or a girl on a train, it’s often difficult to add your real-life experiences to a fictional world.

As for emotions, well, that’s an entirely different story.

To understand, we need to go back a few years to December 2014. It was the end of a very long, very rough year. In the span of twelve months, I had experienced a series of losses, both personally and professionally. They kept coming, month after month, piling up until, by December, I was jobless, almost broke, and sprawled on the dining room carpet, unwilling and/or unable to get up. Life had literally knocked me to the floor and I had no idea what to do about it.

Despite all that—or maybe because of it—I still wanted to write another book. One book in particular. It was to be called Final Girls, and was about a young woman named Quincy Carpenter who had survived a horror movie-style massacre that claimed the lives of all her friends. I envisioned a psychological thriller about trauma and survival, slasher flicks and film noir, anger, and acceptance. All of it told from Quincy’s point of view.

I almost didn’t write it. I was a 40-year-old man with no idea what it was like to be a twenty-something baking blogger who had fled a knife-wielding maniac. The only thing pushing me forward was the fact that I knew about loss. I knew about sadness and fear and uncertainty. I knew about feeling hollow inside and putting on a brave face and telling everyone in a chipper voice that I was fine when I really, truly wasn’t.

Oh, and I knew about rage. The rage one feels when the universe seems intent on defeating you at every turn, no matter how hard you work, how experienced you are, how well you behave.

Those were the things Quincy and I had in common. So, I used them. I opened my heart and let that loss and fear and anger bleed onto the page. Quincy’s sadness was my sadness. Her loneliness was my loneliness. Her rage was my rage. To blatantly steal a phrase from Gustave Flaubert, “Quincy Carpenter, c’est moi.”

Now here we are. Final Girls is being released around the world and all those problems that bedeviled me two years ago have scurried away to the dark corners of the past, hopefully never to return. Validation has a way of doing that. So does catharsis. The character of Quincy went through hell and came out the other side. I did, too, only under very different circumstances. And now that it’s over, I sometimes wonder if Final Girls would even exist if I hadn’t suffered through that cursed 2014. Maybe. Maybe not. There’s no way of knowing.

The only thing I know with any real certainty is that “Write what you know” is like a balloon. Colorful exterior. Hollow center. Essentially weightless and easily popped. Based on my experience, I recommend that you write what you feel.

Riley Sager‘s Final Girls was picked as one of Goodreads’ Best Books of the Month for July. Add it to your Want to Read shelf here.

Check out more recent blogs:

What Would Jon Snow Read? Book Recs for Your Favorite Game of Thrones Characters

Roxane Gay Answers Readers’ Burning Questions

The Best Young Adult Books of July

posted by Cybil on July, 13

0 notes

timclymer · 5 years

Text

Weight Loss and Beauty Through a Raw Food Diet

Raw diet promotes beauty. To begin with, one reaches his or her ideal weight more readily and maintains it with much less effort than on a cooked diet. Many people lose 15 pounds in a month or two with no feeling of deprivation whatsoever. Obese people lose much more than that while eating raw fats all they want, including raw “ice cream,” avocados, nuts and olives. Raw fats (from avocados, olives, nuts, seeds, coconut butter et al.) are actually needed by the body to maintain youthful skin, hair and glands. They are rich in the essential fatty acids linolenic acid and linoleic acid that are denatured by heat.

Raw food pioneer Dr. Ann Wigmore wrote, “The effectiveness of live foods and fresh juices, especially wheatgrass juice, has bankrupted many complex theories about why we become fat and how to reduce quickly … Among our guests at the [Hippocrates Health] Institute, the average weight loss per week is between four and fifteen pounds” (The Wheatgrass Book, p. 59).

Studies have shown that raw food is less fattening than the same food cooked. According to Dr. Edward Howell, raw fats are not fattening and seem to belong in “a special pigeonhole in nutritional speculations” (Enzyme Nutrition, p.109). While cooked fats accumulate in the body and become very detrimental to our health, raw fats contain lipase (deficient in many obese people), the enzyme involved in metabolizing fat properly.

The word “Eskimo” means “raw eater,” as the Eskimos traditionally ate nothing cooked but subsisted chiefly on raw meat and blubber. Dr. V. E. Levine examined 3,000 primitive Eskimos during three trips to the Arctic and found only one person who was overweight.

Cooked starches are also very fattening. Farmers have even learned that it is necessary to feed their animals cooked food to fatten them up for maximal profit. Hogs do not get fat on raw potatoes, but cooking the potatoes makes them gain weight.

In addition to reaching your body’s ideal weight, many other beauty factors blossom on a raw diet. Cellulite, which is thought to result from eating heated fats, gradually disappears with the consumption of freshly squeezed grapefruit juice. On a raw diet, elimination of cellular waste and increased lymphatic drainage helps remove cellulite.

As the body’s old cells are replaced with new, healthy cells through proper nutrition that only a raw diet provides, your hair grows in thicker and at times wilder. It may even regain color after having been gray, as did Ann Wigmore’s. Your skin may become as soft and smooth as it was in your youth. Your nails will be strong, clear and shiny. Facial lines may fade or disappear; the face’s pasty, white complexion becomes ruddy or rosy. People may remark on how much younger you look. Your eyes will sparkle.

The Hippocrates Health Institute, one of the places where people have gone to learn about the raw food diet, was once described by Cosmopolitan magazine as the “well-kept secret” of beauty and rejuvenation of various famous Hollywood movie stars and celebrities. Now the news media are letting the secret out.

When Demi Moore appeared in a bikini in the Charlie’s Angels movie Full Throttle and looked every bit as great as the women younger than her, the word went out that the secret was her raw food diet. Other celebrities who have caught the wave include Alicia Silverstone and Woody Harrelson.

Model Carol Alt wrote in her book Eating in the Raw that the raw diet helps her stay beautiful, slim and young-looking. She attributes her current youthfulness and stamina to having eaten primarily raw food for eight years. She explains that in her thirties she had to starve herself and exercise a lot to stay trim. But as a raw fooder she is able to eat anything she wants, as long as it’s raw, and she maintains her weight effortlessly, without ever feeling excess hunger. In addition, she claims she has better abdominal definition without exercising than she did as a cooked fooder who exercised regularly. She also has fewer wrinkles.

Health and beauty are intertwined. Dr. Herbert Shelton wrote, “The woman who maintains her health and youthfulness will retain her attractiveness. If she permits her health to slip away from her, if she values indulgences and frivolities more than she does health and impairs her health in the pursuit of false pleasure, she will lose her BEAUTY; and no art of the cosmetician and dressmaker will be able to preserve it for her.”

Researcher Arnold De Vries writes, “In the final analysis, we must regard beauty, health and youth as intimately related. To the extent that you preserve one in your physical being, you also preserve the others. The uncooked fruit and vegetable diet, pure water, sleep and rest, sunshine, strong relationships, exercise, fresh air, fasting if necessary, and abstinence from drugs, vaccines, serums and other toxins are the prime requirements in your attempt to preserve your youth, health and beauty as long as you can” (The Fountain of Youth).

The face becomes more beautiful with a raw diet. “Skin loses its slackness and puffiness and clings to the bones better,” write Susannah and Leslie Kenton (Raw Energy, p. 90). “The true shape of the face emerges where once it was obscured by excess water retention and poor circulation. Lines become softer. Eyes take on the clarity and brightness one usually associates with children or with super-fit athletes.”

Nutritionist Natalia Rose, author of The Raw Food Detox Diet, profoundly praises the raw food diet as being the key to permanent weight loss. It’s a lifestyle in which a woman can even attain her perfect shape without formal exercise or counting calories or grams of fat or carbohydrates and regardless of having had several children. The skin tone improves as cells become healthier and tighter. One dares to go out without make-up.

Tonya Zavasta describes her lifelong obsession with attaining beauty, which she finally discovered in her 40s through a 100% raw food diet. In her book Your Right to Be Beautiful, she explains how each of us can fulfill our full beauty potential, which is robbed by the toxic accumulation of cooked foods, dairy, wheat, salt and drugs. “Beauty lies latent under cushions of retained fluids, deposits of fat and sick tissues. Your beauty is buried alive” (p. 134).

She goes on to explain that on a diet of uncooked foods, “The landscape of the body will change. Fat that has accumulated in pockets under the eyes and at the jaw will melt away. The lumpy potato look of one’s face will give way to sleek and smooth contours. The surface of the skin will become soft and smooth but still firm and supple. Visible pores will diminish. A sallow skin with a yellow pallor will turn into a porcelain-like complexion” (p. 137).

She furthermore describes the radiance and glow produced internally when there is “an abundance of clear, pink, almost transparent cells that light up the face,” which is produced by superior blood circulation. Even the most beautiful supermodel would be enhanced by a raw food diet. She notes that the modern-day version of beauty is more in harmony with health than perhaps ever before, hence “the quest for beauty, instead of a narcissistic preoccupation, becomes a noble pursuit.”

Tonya came across many women who would not eat a raw diet for their health, preferring just to take medications. However, they would go raw for beauty, as there is no pill for beauty. In her book Beautiful on Raw, ten women contributed their own experiences of how raw diets added to their beauty.

Various observations were that hair grew out with color instead of gray, sometimes with natural waves or curls, and fingernails grew strong, long and shapely. Cellulite vanished effortlessly. Puffiness in the body and face disappeared, and the skin cleared up. These women often get complimented on the “glow” of their faces. They feel confident without make-up. Their inner beauty and confidence also radiate. They look younger than ever and have no fear whatsoever of getting old. One of the women is 64 and still gets checked out by “the young whippersnappers” when she is at the gym!

Interestingly, many of them, before eating raw, had never been called “beautiful” by anyone, even when they were much younger. One of the women wrote about suddenly becoming aware of the benefits of being attractive, benefits which one who had always been beautiful would take for granted. People were nicer to her, cops didn’t give her tickets, and salespeople waited on her first.

The authors of Raw Food/Real World explain, “People who eat only raw, plant-based foods have an unmistakable shine, like a pregnant woman in her second trimester or someone newly in love. They have a radiant positive energy.”

You haven’t reached your beauty potential until you’ve tried a raw food diet.

Source by Susan Schenck

from Home Solutions Forev https://homesolutionsforev.com/weight-loss-and-beauty-through-a-raw-food-diet/ via Home Solutions on WordPress from Home Solutions FOREV https://homesolutionsforev.tumblr.com/post/187161955815 via Tim Clymer on Wordpress

#Home Solutions FOREV

0 notes

homesolutionsforev · 5 years

Text

Weight Loss and Beauty Through a Raw Food Diet

You haven’t reached your beauty potential until you’ve tried a raw food diet.

Source by Susan Schenck

from Home Solutions Forev https://homesolutionsforev.com/weight-loss-and-beauty-through-a-raw-food-diet/ via Home Solutions on WordPress

#Home Solutions Forev

0 notes

theconservativebrief · 6 years

Link

Lee Israel had tasted success. Her career as a freelance journalist started in the 1960s, and she’d also published two successful biographies: one of actress Tallulah Bankhead in 1972, and one of journalist and game-show panelist Dorothy Kilgallen in 1979. The latter had even been a New York Times best-seller.

But her third book — a biography of cosmetics mogul Estée Lauder published in 1985 — didn’t do as well, and Israel found herself falling on tough financial times. Those were only complicated by her alcoholism and what her 2015 New York Times obituary described as “a temperament that made conventional employment nearly impossible.” To cope, she turned to a life of crime.

Sort of.

It wasn’t that Israel became a hit man or a bank robber; her misdeeds were smaller and more specialized. Beginning in 1990, she started forging letters from literary figures like Dorothy Parker, Noël Coward, and Lillian Hellman, selling them to rare book dealers — with the help of her friend Jack Hock — for several hundred or even several thousand dollars. She also stole original letters from archives and libraries, forged copies, replaced the originals with the copies, and then sold the originals to dealers.

In 1992, she got caught and later pleaded guilty in federal court. Her days as a forger were through. But in 2008, she published a barely contrite memoir about that period in her life, entitled Can You Ever Forgive Me? It received only middling reviews, but that didn’t stop Fox Searchlight from picking it up for adaptation. The new film that’s based on it did much better with critics during its September festival run in Telluride and Toronto.

Starring Melissa McCarthy as Israel and Richard E. Grant as her partner in crime, Can You Ever Forgive Me? feels like a buddy caper, and it’s often very funny. But it has a dark side, too. Directed by Diary of a Teenage Girl’s Marielle Heller with a screenplay by Nicole Holofcener and Jeff Whitty, it’s about loneliness and anxiety, about having barely two nickels to rub together, about panicking over a situation you feel powerless to fix.

The film often seems almost too strange to be based on a true story, but it’s entertaining and surprising, and it follows the story of the real Lee Israel closely. Here are five interesting tidbits about the real story of Can You Ever Forgive Me? and the woman behind it.

Melissa McCarthy playing Lee Israel in Can You Ever Forgive Me? Twentieth Century Fox

Israel forged and sold over 400 letters throughout her “career,” but as the movie shows, she was especially proud of her Dorothy Parker letters — no wonder, since imitating Parker’s distinctive sparkling wit so well that it fooled Manhattan’s literati was quite an accomplishment.

In one of the letters, “Dorothy Parker” writes: “Alan told me to write and apologize. So I am doing that now, while he dresses for our Turkey dinner with the boys across the road. I have a hangover that is a real museum piece; I’m sure then that I must have said something terrible. To save me this kind of exertion in the future, I am thinking of having little letters runoff [sic] saying, ‘Can you ever forgive me? Dorothy.’”

Then “Parker” signs off with that phrase.

The “Alan” in the letter was meant to be Alan Campbell, Parker’s husband and Hollywood screenwriting partner. And later, Israel found the sign-off she’d invented for Parker to be the right title for her own memoir — even though the memoir itself showed she was less repentant and more pleased with her own ingenuity.

You can read the full letter here, on NPR’s website.

Though the cat had been to the vet for tests, Israel couldn’t come up with the $40 she had to pay to get the results back — a dilemma that’s depicted in the film.

But Israel just so happened to be working on an article about comedienne, singer, and actress Fanny Brice for Soap Opera Digest. So she went into Brice’s archives, stole several letters, slipped them into her shoe, and sold them to Argosy, a rare book store.

She made $40 for each letter, which — as she told NPR in 2008 — meant that “for the first time in a long time, I had some jingle in my jeans.”

She got her cat’s tests back, too.

Melissa McCarthy as Lee Israel in Can You Ever Forgive Me? Twentieth Century Fox

In 2007, Alfred A. Knopf published The Letters of Noël Coward, edited by Barry Day and described as the “first and definitive collection of letters to and from Coward.” The book was acclaimed by critics, who praised the collection for how it captured the clever wit of the playwright, director, and actor.

But it contained two letters that were written by Israel, not Coward.

“It was very good Coward; it was better Coward than Coward. Coward didn’t have to be Coward. I had to be Coward and a half,” she told NPR. In one of the fake letters, “Coward” describes Julie Andrews as “quite attractive since she dealt with her monstrous English overbite.”

Perhaps ironically, it was Israel’s epistolary impersonation of Coward that eventually tipped her hand. Israel’s version of Coward often made campy references that alluded to his homosexuality, but as Israel later explained, Coward “came up in a very difficult period to be homosexual. It was a jailing offense. So it would have been very unlikely for Coward to put all these kinds of campy [references] into any kind of correspondence that went out into the world.”

Some dealers smelled a rat, and one in New York — who had previously purchased several of Lee’s Parker forgeries — blackmailed her, demanding $5,000 if she didn’t want him to testify before a grand jury. That’s when she stopped forging letters and instead began stealing originals, making copies to replace them, and then selling the originals.

Not much is known about the friend, Jack Hock, who helped Israel. In her memoir, she describes him only a little.

So to portray the character, who plays a significant supporting role to McCarthy’s, the actor Richard E. Grant read what Israel had written about the real-life Hock to complement the way the screenplay fleshed him out. “Lee Israel’s memoir was astonishingly scant on detail about him, which tells me how eccentric she was — thinking that she was the only person involved in this story,” Grant said when I interviewed him about the film.

McCarthy and Grant as Lee Israel and Jack Hock in Can You Ever Forgive Me? Twentieth Century Fox Film Corporation

There were only a few details to go on, according to Grant:

He was from Portland. He was blonde, was tall, was charming, had died of AIDS at the age of 47 in 1994, used a stubby cigarette holder because he was a chain smoker but thought he wouldn’t get cancer by using that, had been in jail for two years for holding at knifepoint a taxi driver in a dispute about a cab fare, which absolutely fit the bill. That is as much as I knew to go on.

And also the fact that she praised him, because once she had been rumbled by the FBI and couldn’t go out and sell these letters anymore, she got him to do it. Where she thought he might predictably get $500 or $600 for a letter that she conjured up, he came back with $2,000 or more. That was testament to how good he was at scamming or schmoozing people.

By the time Israel was being blackmailed by the dealer in New York, her relationship with Hock had deteriorated. He was in prison for robbing a cab driver at knifepoint. But when she concocted a plan to swap original letters for copies — she needed $5,000 to pay the dealer — he wrote to her that he would probably be on probation soon because he had AIDS.

He did get out, and Israel and Hock struck a deal under which Hock would sell the originals, since Israel was by then a sketchy figure among dealers. He’d get 50 percent of the take, plus expenses. Israel wrote in her memoir that she eventually realized he’d been skimming money off the top of the duo’s sales, too.

“Grifters’ habits die hard,” she wrote.

The FBI did finally catch Israel, stopping her outside a deli one day while she waited for Hock and saying that one of her customers had told them everything. Even then, though, they seemed a bit in awe of her skills as a literary mimic.

The lead investigator on her case, Carl Burrell, had retired from the FBI by the time Israel died in late 2014, of complications from myeloma, at the age of 75. But in her obituary, he called her “brilliant,” saying that his favorite letter of hers was an impersonation of Hemingway: “He was complaining about Spencer Tracy being cast as the main character in The Old Man and the Sea. ”

She pleaded guilty to one count of conspiracy to transport stolen property in interstate commerce in June 1993, and was sentenced to six months’ house arrest and five years’ probation. She was banned from stepping foot in many libraries. Hock received three years’ probation and died in 1994 at the age of 47.

Melissa McCarthy as Lee Israel in Can You Ever Forgive Me? Twentieth Century Fox

According to Israel’s memoir, she did not attend the alcohol treatment program the court ordered her to participate in, and her friends and acquaintances from the later years of her life remember that she drank copiously. Actor Bob Balaban, who executive produced Can You Ever Forgive Me? and became a friend of Israel’s late in her life, recently remarked (during a Q&A following a festival screening of the film) that she would often show up at a lunch meeting early so that she could have a drink before everyone else arrived.

But she did eventually get a job, as a copy editor for Scholastic magazines in lower Manhattan — a position with benefits that included, among other things, veterinary coverage.

Burrell said in Israel’s obituary that even though many of the original letters Israel had stolen were ultimately returned to their rightful places in libraries, some of her forgeries are probably still in circulation.

That thought would have pleased Israel, who was proud of how aptly she’d reproduced the voices of some of the most vibrantly clever writers of the 20th century. In her book, she wrote, “I still consider the letters to be my best work.”

And eventually, even her own name, when attached to the letters she forged, could add value. “It has come to my attention that some of the letters are now on the market as Lee Israel’s forgeries,” she told NPR in 2008. “My work has received some attention and marvelous reviews, and people have liked the letters. And so they’re salable, apparently.”

Can You Ever Forgive Me? opens in theaters on October 19.

Original Source -> 5 fascinating stories about Lee Israel, the real person behind Can You Ever Forgive Me?

via The Conservative Brief

#IFTTT #The Conservative Brief

0 notes

taafka-invisible · 7 years

Photo

THE WHITE WRITTEN HISTORY OF SALLY HEMINGS AND THOMAS JEFFERSON

There are no known images of Sally Hemings This is what someone imagined she looked like Source: pinterest

"Sally Hemings, born in 1773 in Virginia, worked on the Monticello plantation of Thomas Jefferson. She was a nursemaid to his daughter Mary and traveled with the family to Paris. Though it was rumored that she had several children with Jefferson, both the family and [white] historians denied the claim. "

Source: http://www.biography.com/people/sally-hemings-9542356#synopsis

"The claim that Thomas Jefferson fathered children with Sally Hemings, a slave at Monticello, entered the public arena during Jefferson's first term as president, and it has remained a subject of discussion and disagreement for two centuries."

https://www.monticello.org/site/plantation-and-slavery/thomas-jefferson-and-sally-hemings-brief-account

"Recent DNA testing has concluded [for white people] however that Hemings’ children are connected to the Jefferson bloodline."

Source: http://www.biography.com/people/sally-hemings-9542356#synopsis

"Based on documentary, scientific, statistical, and oral history evidence, the Thomas Jefferson Foundation (TJF) Research Committee Report on Thomas Jefferson and Sally Hemings (January 2000) remains the most comprehensive analysis of this historical topic. Ten years later, TJF and most historians believe that, years after his wife’s death, Thomas Jefferson [became] the father of the six children...[Sally Hemings is recorded as having given birth to] including Beverly, Harriet, Madison, and Eston Hemings.

Historical Background

In September 1802, political journalist James T. Callender, a disaffected former ally of Jefferson, wrote in a Richmond newspaper that Jefferson had for many years "kept, as his concubine, one of his own slaves." "Her name is Sally," Callender continued, adding that Jefferson had "several children" by her..."

Source: https://www.monticello.org/site/plantation-and-slavery/thomas-jefferson-and-sally-hemings-brief-account

"Jefferson traveled to Paris in 1784 to serve as the American minister to France. He took his eldest daughter, also named Martha, with him, while his two younger daughters, Mary and Lucy, stayed with their relatives, as did Hemings. After Lucy Jefferson died of whooping cough, Jefferson called Mary to Paris in the summer of 1787. The 14-year-old Hemings came with her. Hemings spent the next two years living with the Jeffersons in Paris, along with her brother, James, who served as Jefferson's personal servant. There is strong evidence to suggest that during this time, Jefferson and Hemings began a sexual relationship..."

Source: http://www.biography.com/people/sally-hemings-9542356

* * * * * LOOK HERE: A 14 year old girl who is owned by a forty-plus old white man cannot "begin a sexual relationship" with someone who owns her. I'd argue that a 40 year old slave cannot "begin a sexual relationship." Both of those relationships are rape because the slave has no choice. And raping a 14 year old makes Jefferson a pedophile or something one half step a way from being a pedophile. Some will argue that "women got married younger back then" The lack of consent aside, I've traced my family's history and the women consistently got married between 19 and 21 years of age. It's amazing how consistent my family's history is on my mother and my father's side. Jefferson raped a child. Period. When white historians lie and shade history in their own favor they make movies where Sally is a curvy woman seducing her master.

This is a still from the movie JEFFERSON IN PARIS.

The black female stereotype in white imaginations everywhere has the black girl as overly overtly and overly sexual from a young age -- as compared to innocent white girls. For centuries this has made it easier for white historians to believe a man can own a woman and still have the relationship be consensual enough to call it "an affair." In 12 YEARS A SLAVE, a black filmmaker makes sure that there are two realistic depictions of black women "voluntarily" having sexual relations with white men in the film.

One of the stories in the movie is about a woman who slept with her white master and kept him happy to save her own life and eventually her children's lives -- which worked until he died. In the movie, we meet her after she's been sold as a result of his death. Her children are taken away and sold elsewhere.

The other black woman, played by Alfre Woodard, smiles at the white owner has pleasant sex with her in exchange for dressing her in fine linens and letting her sit pretty and drink tea on the porch while he works. This black woman tells Lupita N'yongo's character that there's a special place in hell for all the white slave owners -- because the filmmaker has this character recognizing herself as raped.

We'll never know how a 14 year old girl like Hemings responded to being forcibly raped or blackmail raped or seduced-by-owner rape. The thing we do know is that the white washing of history has left Thomas Jefferson as one of those superior caliber white men in the minds of white people. And anything that white historians add to white supremacy is deadly for black and brown people. Donald Trump riding a wave of white supremacy into the White House along with the subsequent rise in hate crimes is proof of this.

Previously unpublished data by the university’s Center for the Study of Hate and Extremism show that hate crimes in at least six major urban centers, including New York City, Chicago and Columbus, Ohio, registered double-digit increases last year.

Among them:

New York City notched an uptick of 24 percent in hate crimes, the highest in over a decade.

New York state had an increase of 20 percent.

Chicago saw a rise of 24 percent, the highest since at least 2010.

Cincinnati, Ohio, saw hate crimes jump by 38 percent.

Columbus, Ohio, reported an increase of nearly 10 percent.

Montgomery County in Maryland, adjacent to the nation’s capital, had an increase of more than 42 percent.

Seattle, Washington, registered an increase of 6 percent in malicious harassment.

http://www.voanews.com/a/us-hate-crimes-rising-particularly-in-big-cities/3756604.html

THE ACCURATE TELLING OF HISTORY MATTERS.

Yeah, history means "his story." The victor (dominate-er) gets to frame the narrative more often than not. But sometimes a lie is a lie is a lie when someone is deliberately white washing history.

Read the fine print.This movie is about Thomas Jefferson and Sally Hemings. And the full title says, "Sally Hemings An American Love Story." And then below the title, "Bound By Slavery Freed By Love"

This DVD/Movie cover doesn't just reflect a lie being told about Sally Hemings. The white history articles and white history books and white history movies mentioned above reflect the widespread lies that white people have been telling themselves about the horrors of slavery for centuries. This movie SALLY HEMINGS AN AMERICAN LOVE STORY has 4.5 stars out of 5 star rating and is being sold on Amazon.com right now. White people are still telling themselves that white supremacy and slavery was not the horror that it was. Make no mistake, the cotton was being picked in the south, being processed into material in the north, and sold to Britain. All of the white people in these areas benefited greatly from slavery. American and British capitalism and wealth was built on slavery. We are all benefiting from it to this day (some more than others) That's why so many white people are STILL very invested in making slavery look less horrible than it was. It's ridiculous that www.biography.com and monticello.org have romance language or white-washy neutral arrangement of language that hides the fact that Jefferson in Paris at 44 years of age while Hemings was 14 when he sent for Hemings (his wife's half sister) the in the very same year his wife died. There's no romance here or anywhere there's ownership of a black girl child --- depicted as grown woman in white movie after white movie and a white history book near you. Bottom Line: Your history source always matters.

Furthermore,

the personal history of your historian matters

which includes that person's

race, ethnicity, and gender.

Some historians try to overcome their personal history and some do not. White people have a crappy record of refusing to overcome their personal histories in an attempt to tell an accurate history. Furthermore, many white historians cannot separate the description "American" from description "white people" when writing about history which is another discussion altogether. Black people, brown people, and especially white people should read about black history written by black people. You should always read a people's history from one of it's own. When that's not possible, make sure to check and double check what's being said by getting multiple sources....and even then find a source of history from the same demographic that's being reported about. When you get down to wanting to know about black women specifically, refine your sources even more. Read about black women's history as written by black women. Because male supremacy is real too, inside and outside the black community. I learned all kinds of things about Martin Luther King, SNCC, and Marcus Garvey's wife Amy Garvey that I'd never heard before thanks to the writings of black women. * * * * * And now, a black view of Thomas JeffersonHeadline

The Real (Despicable) Thomas Jefferson

---> Michael Coard

Apr 9, 2016

READ IT HERE: http://www.phillytrib.com/commentary/the-real-despicable-thomas-jefferson/article_1bbc31a3-74dd-573f-acb0-ad38ab7bc7da.html THANKHERFORSURVIVING.BLOGSPOT.COM

http://thankherforsurviving.blogspot.com/2017/03/the-white-written-history-of-sally.html

#IFTTT #Blogger

0 notes