Category Archives: Race Relations

Oscars 2018: Why ‘Get Out’ Could Win for Best Picture

After a startling presentation mix-up for the best picture award, Barry Jenkins, at the mic, and the Moonlight cast accept the award at the Oscars on Sunday.
Chris Pizzello/Invision/AP

Not so long ago, the Academy Awards had to contend with the #OscarsSoWhite movement with its goal of greater diversity in movies. And, some may argue, that led to “Moonlight” winning for Best Picture in 2017. Now, we also have the #MeToo and the #TimesUp movements that all add up to the public demand for change from the status quo. In that spirit, to have “Get Out” win for Best Picture this year, would definitely further steer the Oscars on a more enlightened path. The Oscars ceremony this year is on Sunday, March 4, 2018 with predictions on the winners taking in all the factors.

Chris (Daniel Kaluuya) in the throes of an existential crisis.

If all movies are cut from the same cloth and we keep to the old and wrong ways, then serious problem remain. That said, any movie will ultimately need to be judged by the quality of its content. In the new era that is unfolding before us, we really can have it all. A good part of what makes “Get Out” an exceptional movie is how it subverts your expectations no matter your background or race. The viewer can empathize with a person thrust into meeting their lover’s parents. We all have our advantages and disadvantages, whether they are real or only perceived as such.

Daniel Kaluuya and Allison Williams

Now, let’s get to the heart of the matter. There are specifics to this story. Chris (Daniel Kaluuya) is African American and his girlfriend, Rose (Allison Williams), is Caucasian. From the moment Chris and Rose arrive at her parent’s home, it is emphasized in the extreme how race doesn’t matter but, in truth, it matters all too much–even to a life-threatening level. Everyone Chis comes into contact at this family gathering makes it painfully clear something is very wrong. This pushes Chris into an intense existential crisis.

Sidney Poitier and Katharine Houghton

For a new generation that believes it has seen it all, writer/director Jordan Peele brings something new. And this is not to say that we make a wholesale dismal of generations of moviemaking. No, what people are clamoring for now is a collective correction. When “Guess Who’s Coming to Dinner?” came out in 1967, and presented viewers with a mixed race couple, it helped to stir a much needed discussion on race. Peele is able tap into that same energy. People are asking to tear down the old gods and build on all the good we have achieved. “Guess Who’s Coming to Dinner?” and “Get Out” are part of a continuum of moviemaking at its best.

“Get Out”

At least both of these movies were nominated. It’s interesting to note that Sidney Poitier was not nominated for Best Actor for his pivotal role. However, Daniel Kaluuya is up for Best Actor this year. Step by step, we continue to make progress. We are just asking to pick up the pace. This is certainly not lost on Jordan Peele. “Get Out” came out in 2017, on the 50th anniversary of “Guess Who’s Coming to Dinner?” a big studio movie of its time, a little more polite and a lot more circumspect than we will tolerate today.

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Filed under Academy Awards, Movie Reviews, movies, Oscars, Race, Race Relations

Movie Review: ‘Get Out’

When I first saw the trailer for “Get Out,” I was hooked on the idea of a racially explicit horror movie. I had already written a script in my head of what I had expected to see. I took for granted that this would be a wry and revealing look at how African Americans can still be seen as the Other. And that is definitely there. We also have the opposite where it is those who are subjugating who are seen in the same way, as some menacing Other. And I expected some dark comedy mixed in. With all that in mind, I wondered, not if, but how far this movie would cross the line.

What “Get Out” does best is keeping to a true horror movie pace, gradually building up. Instead of a frog that is in a pot of water gradually set to boil, we’re all expecting a black man to be boiled alive, so to speak. No, there are no black men being boiled–just a metaphor. In fact, there are far more gruesome things up ahead. The remarkable thing is that there is a certain level of restraint that allows writer/director Jordan Peele to navigate deeper into our collective racial history than some of us out there are ready to go.

The opening scene alone is loaded with plenty of food for thought. An African American young man is walking through an upscale, and presumably white, neighborhood. He is talking on the phone and joking with his friend that he’s lost in what he calls with a whiny accent, “the suburbs.” As he proceeds down streets with tony- sounding names like “Peacock Street,” a white sports car pulls up blaring an old 1930’s song, “Run, Rabbit, Run,” a sly reference to the classic WASP novel, “Rabbit, Run,” by John Updike. The young man attempts to avoid the car by walking in the other direction. Ultimately, he can’t help walking towards the car whereupon he’s knocked out and thrown in the car’s trunk.

Chris (Daniel Kaluuya)

We next see an interracial couple preparing for a trip. Chris (Daniel Kaluuya) and his girlfriend, Rose (Allison Williams), are about to meet Rose’s parents. Chris is hesitant and Rose asks him what’s the matter. Chris asks Rose if she mentioned to her parents that he’s black. Rose laughs it off and reassures him that’s it’s not an issue at all. It’s a tender moment. It shows that Chris is vulnerable while Rose is far more in control of the situation. The acting is quite believable. Rose seems clearly in love with Chris. But the focus leans towards Chris as we see events through his eyes. He’s convinced he’s entering the lion’s den and we easily sympathize.

The focus never leaves Chris and, once they arrive at the family estate nestled in the woods, the attention heaped upon Chris grows. It begins with the first meet-the-parents round. Bradley Whitford and Catherine Keener make for deliciously out-of-touch parents attempting to be hip. If only that was all that lay in store for our hero. Red flags go up one by one. There’s a quick aside by the dad, “Oh, that room leads to the basement. We closed it up due to a buildup of black mold.” Yikes, in the context of a horror movie, that says it all.

Things are gonna keep steadily getting freaky from here on out. And so they do, some artful and some more in line with standard-issue tropes. One horror chestnut, the comedy relief sidekick buddy, is given new life and put to fine use here. Lil Rel Howery as Rod Williams, one of TSA’s finest, adds another dimension to the narrative. While he may rob the movie of some of its more provocative and scary potential, that seems to be the right approach for a project that is unleashing so many racial issues. Overall, we end up with a number of compelling scenes and images without resorting to a heavy hand.

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Filed under Horror, Horror Movies, Movie Reviews, movies, Race, Race Relations, Racism, Satire

Book Review: ‘The Blood of Emmett Till’ by Timothy Tyson

"The Blood of Emmett Till" by Timothy Tyson

“The Blood of Emmett Till” by Timothy Tyson

April 28, 1955
Emmett Till was tortured and murdered by white men in Money, Mississippi for allegedly flirting with a white woman. The men were tried for murder, but an all-white, male jury acquitted them.

Facts are very stubborn things. You can try to avoid them or even provide alternates but they will come back, and with a vengeance. That is certainly the case with historian Timothy Tyson’s new book, “The Blood of Emmett Till,” published by Simon & Schuster.

In 2007, Tyson interviewed Carolyn Bryant, who was at the center of a tragedy that helped to propel the American Civil Rights Movement. It was on a hot summer night in 1955 that 14-year-old Emmett Till was kidnapped, bludgeoned, and lynched. All this fury came down upon this young African American for supposedly having flirted with a white woman. That woman was Carolyn Bryant. The interview, where Bryant recanted most of her testimony at the murder trial, was the first step towards the creation of this book, a book that helps us get a fuller picture as to what led to this pivotal moment in history.

Emmett Till

Emmett Till

We may think we know what happened but Tyson brings in a rich tapestry that pieces together a more detailed story. The combination of his firsthand interview with Carolyn Bryant and his measured presentation guide the reader through the dynamics running throughout. With a level of sensitivity, Tyson gives us a balanced depiction as we see events from various perspectives. What comes through are real people and real facts. We get to know the young Emmett Till, a loyal baseball fan, partial to the Brooklyn Dodgers. And we get to know his killers, J.W. Milam and his half-brother Roy Bryant, men full of pride and used to getting their way. We see what kind of world, with its limitations and dangers, that each existed in.

The quick takeaway fact in this book is that Carolyn Bryant confesses to historian Timothy Tyson that she made up the story of being manhandled and threatened by Emmett Till. That never happened. And that is the hook upon which to proceed. A history unfolds: we discover Emmett Till, a child full of life but who also suffered from a lisp and was gentle and vulnerable; and we discover the many layers of Southern culture to unravel. Tyson guides you along, provides side trips as needed, and has the real life goblins show themselves: the Citizens’ Councils, formed in response to school integration and the NAACP, responsible for keeping African Americans away from the polls at any cost; Sherriff H.C. Strider, who was responsible for suppressing evidence in the Till murder trial by hiding key witnesses.

Mamie Till

Mamie Elizabeth Till-Mobley (Nov 23, 1921 – Jan 6, 2003) was the mother of Emmett Till, whose murder mobilized the African-American Civil Rights Movement. Emmett Till was murdered in Mississippi on August 28, 1955, at the age of 14, after being accused of acting inappropriately with a white woman. Photo: Mamie Till-Mobley (L) speaking to anti-lynching rally after acquittal of men accused of killing her son, Emmett Till. Photographer: Grey Villet for LIFE magazine.

It was the reputation that Timothy Tyson had built with 2005’s “Blood Done Sign My Name,” his own recollections of a murder similar to the Till case that inspired Carolyn Bryant to come forward. Tyson’s goal is to document and ferret out the truth as best as possible. That means bringing out the whole picture. Part of that picture is that Carolyn Bryant tells Tyson that she had a close African American friend when she was a child and her heart went out to Till’s mother.

It was the decision by Till’s mother, Mamie Till-Mobley, to bring her son’s body in Mississippi back to Chicago for an open-casket funeral that set in motion a global outcry. This was not lost on Carolyn Bryant. However, with the fear of having her husband go to prison for murdering Emmett Till and leaving her with two boys to raise alone, she took the stand and lied. Mamie did what she had to do. Carolyn did what she had to do.

Tyson presents the facts and continues along his way to provide context and insight. One key distinction he makes is that Emmett Till was not only murdered, he was lynched. With the 20th century charging its way through, some things from the past had to change, like large crowds gathered for a public hanging of an African American. By the 1950s, the process had been updated. The threat of killing an African American was still very much alive and, from time to time, a person could suddenly go missing and later on his body could turn up dumped in a river just like Emmett Till. The community would know who the killers were; that did not need to be a secret since there were no consequences for lynching someone. The deed was done and the message delivered.

White supremacy was not to be undermined.

That we still have a long journey ahead is clear. Tyson does not mince words about that. He offers hope too. As long as we have an understanding of the causes of racism, there is hope. As long as we remember Emmett Till, there is hope. Tyson would be the first person to encourage you to not only read his book but also read other books on Emmett Till and the Civil Rights Movement: “Death of Innocence: The Story of the Hate Crime That Changed America,” by Mamie Till-Mobley and Christopher Benson; “Emmett Till: The Murder That Shocked the World and Propelled the Civil Rights Movement,” by Devery S. Anderson; and “Writing to Save a Life: The Louis Till File,” by John Edgar Wideman, named a finalist for a 2016 National Book Critics Circle Award. It is Tyson’s book that belongs among these notable titles.

“The Blood of Emmett Till” is a 304-page hardcover, published by Simon & Schuster. For more information, and how to purchase, visit Simon & Schuster right here.

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Filed under American History, Book Reviews, Books, Emmett Till, Race, Race Relations, Racism

Review: SCOTLAND YARDIE by Bobby Joseph and Joseph Samuels

SCOTLAND YARDIE by Bobby Joseph and Joseph Samuels

SCOTLAND YARDIE by Bobby Joseph and Joseph Samuels

As we here in the States, along with the rest of the world, continue to deal with the orange menace, it’s good to gain strength from our friends across the pond. One thing that the creators of the graphic novel, SCOTLAND YARDIE, want you to know is that things are bad all over. Bobby Joseph and Joseph Samuels provide some dark humor for these hard times. This is a provocative work, set in south London, with a smart and gritty vibe.

Darkness fell...

Darkness fell…

No doubt, Bobby Joseph (script) and Joseph Samuels (art) make no bones about their dismay with the current (and ongoing) state of affairs. With such clownish characters in the media, and in government (gasp), stoking the fires of hatred, racism, and xenophobia with such intensity as we have not seen before in recent memory, any form of satire can be cathartic. In this case, we have a plot involving the Brixton Metropolitan Police in need of some diversity. Enter Scotland Yardie, a ganja smoking, no-nonsense “bad bwoy” cop who breaks all the rules to enforce his own harsh sense of justice. This is, by turns, a very silly comic (think Monty Python, for starters) and, ultimately, an eye-opening and worthwhile read.

Is that Brexit heartthrob Boris Johnson?

Is that Brexit heartthrob Boris Johnson?

This comic’s writer, Bobby Joseph, is considered to be the voice of urban UK comic books. He is credited as the creator of the cult comic classics Skank Magazine and Black Eye. He has written satirical pieces for Vice.com, Loaded Magazine, The Voice newspaper, BBC1’s Lenny in Pieces and Radio 4. He is credited on the BBC website as instrumental in featuring some of the “first comics by black creators featuring black characters.”

Some light emerges...

Some light emerges…

This comic’s artist, Joseph Samuels, is credited as one of the most popular comic artists to grace the pages of Skank Magazine and Black Eye. He is the co-creator of the popular Afro Kid comic strip on Vice.com.

SCOTLAND YARDIE is a 100-page, full color, graphic novel, published by Knockabout. For more information, and how to purchase, visit Knockabout right here.

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Filed under Bobby Joseph, Brexit, Cannabis, Comics, Donald Trump, Graphic Novel Reviews, graphic novels, Joseph Samuels, Race, Race Relations, Racism, VICE

Review: ‘Kindred: A Graphic Novel Adaptation’

"Kindred: A Graphic Novel Adaptation"

“Kindred: A Graphic Novel Adaptation”

There’s a ragged and raw quality to Octavia Butler’s novel, “Kindred,” first published in 1979, about a young African American woman who time travels to America during slavery. It’s odd. It’s compelling. And it demands to be read all the way to the end. As I say, it’s ragged and raw, and by that I mean it’s a rough journey in what transpires and in the telling. As a time travel tale alone, it’s bumpy at best. The time travel element abruptly kicks in and, just as abruptly, the characters involved accept the situation. The narrative itself is episodic and there is little in the form of subtlety. What can be said of the novel transfers over to the just released graphic novel adaptation published by Abrams ComicArts: this is raw, sometimes ugly, but always compelling and a must-read.

panel excerpt

panel excerpt: a time traveller’s satchel

Octavia Butler rips the scab off a nightmarish era in America, a wound so deep that it remains healing to this day. You could say that what Butler aspires to do is give a full sense of what it means when we talk about slavey in America. There are a number of approaches you can take. If you go down the ragged and raw path, you may end up with something that is deemed bold by some and deemed heavy-handed by others. The end result could be somewhere in between. Butler chose to damn the torpedoes, full speed ahead, with this novel that finds Dana, an African American woman from 1976 Los Angeles, repeatedly and relentlessly subjected to various torture and humiliation as she finds herself regularly being transported back to America during slavery. The story begins in Maryland in 1815 and subsequently follows the progress of slaver-holder Rufus Weylin, from boy to manhood.

page excerpt: dark journey

page excerpt: dark journey

First and foremost, this is a book to be celebrated. While it is a tough story to tell, it is brimming with truths to be told. Sure, no need to sugarcoat anything. There are no sensibilities here to protect. That said, while a graphic novel, this is a book with a decidedly mature theme running throughout with disturbing content. What it requires is a adult to check it out first and then decide how to proceed. Without a doubt, this is an important teaching tool but best left to high school and above.

page excerpt: slave/master

page excerpt: slave/master

As for the overall presentation of this graphic novel, it has taken an audacious approach of its own. Whether intentionally or not, it carries its own distinctive ragged and raw vibe. The drawing throughout is far from elegant, quite the opposite. In fact, it often has a rushed quality about it and I’m not saying that’s necessarily a bad thing. I sense that it’s something of a style choice. This is a harsh and dark story and so it is depicted as such. In the end, this is a truly unusual and intriguing work.

“Kindred: A Graphic Novel Adaptation” is a 240-page, full-color, hardcover available as of January 10th. It is based upon the novel by Octavia Estelle Butler, adapted by Damian Duffy, artwork by John Jennings. For more information and how to purchase, visit Abrams ComicArts.

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Filed under Abrams ComicArts, African American, American History, Comics, Graphic Novel Reviews, graphic novels, History, Race, Race Relations, Racism, Sci-Fi, science fiction, Time Travel

Chris Rock Leaves Big Shoes to Fill

Once upon a time, you could rely on one host for the Oscars, Bob Hope, who hosted for 19 years, a record that is never to be broken. No, not when we look upon Ellen DeGeneres, Jon Stewart, and Chris Rock as old-timers with each of them having hosted twice. No doubt, each would make a great host again, maybe as early as next year. Speculation is already brewing on who the next host will be for 2017. As for this year, the Oscars will be remembered for one thing: what Chris Rock had to say.

We once had the Bob Hope gold standard full of wry humor and brash for its time. Bob Hope told it like it was. And Chris Rock tells it like it is today. After all the mounting pressure from #OscarsSoWhite, Rock masterfully defused, and refocused, the situation with some passionate humor and honesty. He began by asking, “Why this year? Why now?” and then went for the kill, “In all those other years, we had more important things to protest about, like getting lynched!” His monologue was the highlight of the show, a message for today and beyond. As I had stated earlier, I was in a perfect vantage, the 25 Degrees bar in the Hollywood Roosevelt Hotel, site of the first Academy Awards ceremony in 1929. What I observed was a very attentive audience for Mr. Rock.

Making a political statement at the Oscars is far more challenging than it may appear. Chris Rock did it with skill and heart. He had been honing new material in the days leading up to his monologue and it resulted in something that ranks up with the best. The Oscars have that tradition of protest. It rarely works. However there are exceptions. The best, perhaps the first, is Sacheen Littlefeather refusing to accept the Best Actor Oscar on behalf on Marlon Brando for “The Godfather” in 1973. This was a protest over the treatment and depiction of Native Americans in the media as well as reaction to Wounded Knee. Talk about arguing for diversity! It is a graceful, articulate, and authentic moment, a far cry from the blather of today.

Chris Rock interviews Compton moviegoer

Chris Rock interviews Compton moviegoer

The 88th Academy Awards ceremony had a number of responses to the current outcry. One of the funniest had notable African-American stars Leslie Jones, Whoopi Goldberg, Tracy Morgan, and Chris Rock green-screened into nominated films. Leslie Jones steals the show as the bear from “The Revenant.” And Tracy Morgan follows with his line, “I’m a Danish Girl!” as he bites into a pastry. More to the point, a segment with Chris Rock interviewing moviegoers in Compton helped to demonstrate that the typical outcrop of Oscar nominated films like “The Big Short” and “Spotlight” did not resonate with a black audience.

In the end, Chris Rock rose to the occasion. He was presented with a significant moment in time, recognized it, and ran with it. On that night, he filled the big shoes of the likes of Bob Hope and left a pair of big shoes of his own.

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The Power of Cinema: A Movie Review of GIANT

AN AMERICAN DIVIDE.

AN AMERICAN DIVIDE.

“Giant” is not quite as spectacular as “Gone with the Wind,” but it certainly holds its own. Both are colossal movies in star power, production, and size. “Giant,” however, is in a class all its own as it addresses head-on the curious relationship between the United States and Mexico and beyond. It is a powerful indictment on intolerance, expressed boldly and with audacity. And in 1956!

YOU DO NOT BELONG HERE.

YOU DO NOT BELONG HERE.

The whole movie can be boiled down to one scene. In fact, the movie could very well have been made simply for the sake of this one scene. You may know it, or know of it. It’s easy to do a quick search and watch the clip on YouTube. But, like most things in life, we gain from digging deeper. You simply must see the whole movie to appreciate its significance. Like I say, this movie came out in 1956. We Americans still have much to learn, as a whole country, don’t we? Some people think all we need to do is build a wall.

HOLD ON THERE!

HOLD ON THERE!

By the time we get to that momentous confrontation in a modest roadside diner, the main character of Jordan “Bick” Benedict (played by Rock Hudson) has grown by leaps and bounds as a human being. The suggestion is that so could America, as a whole, and anywhere else there is ignorance and hatred. It was there then. It is here now. We just pretend it doesn’t exist, at least too many of us do. That’s what Bick did. He never acknowledged, let alone cared about, all the Mexican people around him. He was the patriarch of a cattle empire in Texas. That’s all that mattered. Even if Mexicans worked on his ranch and cared for his children, as far as he was concerned, they didn’t really exist. So, if any harm came to them, that wasn’t his problem.

WE HAVE US A FIGHT!

WE HAVE US A FIGHT!

Some people assume all is well with the world as long as they are doing well. They cannot, will not, see beyond what they consider to be important. Maybe it’s a sewing circle, or collecting recipes, or a family pet. In the case of Bick, all that mattered was the family estate of Reata. In Edna Ferber’s novel, faithfully brought to the screen by George Stevens, we find in “Giant” the sweeping epic story of Texas. We follow the Benedict family from about 1930 to 1950 and see how Bick reacts to the great transition from a focus on cattle to a focus on oil. The fate of the Mexican population seems lost in the shuffle but it is always referred to, demanding some kind of answer.

THE FACE OF A NEW AMERICA.

THE FACE OF A NEW AMERICA.

By the time we reach that moment of truth in that diner, Bick must act instead of just react. The precision drumbeat has begun to the rousing tune of “The Yellow Rose of Texas” on the jukebox just as Bick and his family walk in. The signal is clear, we have something big that’s about to happen. Bick’s eyes have been opened to the world. He can empathize. His own son is married to a Mexican. And they have a beautiful child, Bick’s grandson. When the family arrives at the diner, the diner’s owner is prepared to throw them out but hesitates. He barks an insult and cowardly walks away. A few minutes later, a serious confrontation is inevitable.

In just a few moments, Bick witnesses the diner’s owner manhandle a Mexican family that had just arrived. Bick is now in a position, in his mind and heart, to take a stand. As the music on the jukebox swells, Bick and the owner engage in a fight. First words, then fists, and then total mayhem. It’s the most direct and honest thing that Bick has ever done in his whole life and, to think it possible, in the defense of the Mexicans. While in may seem amazingly sophisticated and enlightened for such a major motion picture to have been made at that time, it really is not too much to ask. The tide was slowly turning towards social change. The general public, whether or not they admit so in public, know right from wrong. In fact, “Giant,” is a widely acknowledged icon. Like its name implies, it is too big to ignore and too big to dismiss.

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Interview: Keith Knight Talks About ‘The K Chronicles’ and the Cartoonist’s Life

Keith_Knight_Cartoonist

Keith Knight is one very funny, and profound, cartoonist. What is the secret to his success? Consider this life lesson: It is all in the doing. It applies in art school, law school, med school, any kind of school. “I’ve been doing this for years,” said Keith to a question I put to him about his success. That comment says it all. It is a part of this interview that stays with me. Knight has created a wonderful life for himself that includes making a living as a cartoonist. He has done it with style and become a significant voice. And he is easy to find and to keep up with, especially with his special subscription service you can check out here.

Keith-Knight-comics-2013

In this interview, we talk about activism in comics as well as the nature of humor. We go over a long and rewarding career. And we look at some exciting things that lie ahead, like Keith’s first full-length graphic novel, “I Was A Teenage Michael Jackson Impersonator.” Keith has also branched out into live action videos which bring his comics to life. And there is a comedy show, based on Keith’s life as a struggling cartoonist, that is being pitched so we’ll see how things go.

Keith-Knight-K-Chronicles-4-Sept-2013

Keith Knight has three comic strips he regularly creates, there are two weekly strips, “The K Chronicles” and “(Th)ink.” And there’s the daily, “The Knight Life.” He also has strips in Mad Magazine: “Father O’Flannity’s Hot Tub Confessions” and “Bully Baby.”

The-Knight-Life-Keith-Knight

Also in this interview, Keith jokes about his focus being, “the fight for a more decent cartoonist’s wage.” Certainly, his concern is over the same stuff most folks worry about: healthcare, education, and “not being condemned if you’re poor or low-income.” When asked about his thoughts over his legacy, Keith’s mind turns to the 500-page collection of “The K Chronicles,” published by Dark Horse Comics and that you can take a look at here.

The-Complete-K-Chronicles-Keith-Knight-Dark-Horse-Comics

Just click below to listen to the interview:

If you’re in the San Francisco area, you can stop by and visit with Keith at the Alternative Press Expo on October 12 and 13.

And you can also listen to Keith on Totally Biased with W. Kamu Bell on FXX, broadcast live on Tuesday, October 22.

Keep up with Keith Knight at The K Chronicles site here and The Knight Life site here.

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Review: MARCH: BOOK ONE by John Lewis, Andrew Aydin, and Nate Powell

March-Top-Shelf-Productions-2013

The 50th anniversary of the March on Washington is today, August 28, 2013. It is one of the most inspiring moments in American history and all of history. It will only grow in stature and significance as time continues its own march. The United States of America was desperately lagging behind in full self-awareness as a nation when it received an opportunity for collective clarity. It was a beautiful, gentle, and energetic plea for understanding. There were marches before and after this distinguished one. Progress would still take time. His words would still be dismissed by some. But, on that day, Martin Luther King Jr. spoke to a nation. He gave a speech. He spoke of a dream.

MLK-March-on-Washington-28-August-1963

We continue to remember that moment, and that movement, in new ways. One shining example is “March,” the new graphic novel, published by Top Shelf Productions, written by Rep. John Lewis and Andrew Aydin, and drawn by Nate Powell. “March: Book One,” the first part of a trilogy, has already gained critical and popular acclaim. It has made it to the number one spot on The New York Times bestsellers list for Graphic Books. The creation of this book is inspiring in itself. Congressman John Lewis is a perfect guide. He was an active participant in the civil rights movement right from the start. He is the last surviving dignitary who gave a speech during the March on Washington. And he’s a wealth of knowledge and goodwill. The “March” trilogy gives us a front row seat to the civil rights movement in America through the eyes of Mr. Lewis. The story is framed all in one day, January 20, 2009, the day of the inauguration of President Barack Obama. It’s an ambitious project that reads quite smoothly, just as if Mr. Lewis was there to tell you the story in person.

March-Book-One-2013

The script seems to embrace a cinematic pace. The main character is recalling his life all in a short span of time with each recollection triggering an extended flashback. It is left to Nate Powell’s storytelling ability as a cartoonist to bring out aspects that gel with the comics medium. You see this in the various ways that Powell plays with text and composition like when he has a favorite passage from the Bible run across a silhouette of young John Lewis: “Behold the lamb of God which taketh away the sin of the world.” And, of course, the distinctive drawing style of Nate Powell takes over. We easily become immersed in the intelligent and caring ways of this boy who is compelled to preach to the chickens on the family farm. In due time, the young man’s compassion becomes refined and focuses on the social gospel, the idea that church principles can guide social justice.

Martin Luther King and the Montgomery Story, published by F.O.R. in 1955

Martin Luther King and the Montgomery Story, published by F.O.R. in 1956

March-Book-One-Top-Shelf-Productions

March-Book-One-Lewis-Aydin-Powell-2013

It is a dangerous world that young Lewis must navigate. There is constant humiliation and intimidation. You could easily be killed, just like 14-year-old Emmett Till. But a violent reaction would not be the answer. The key was passive resistance and keeping faith. There were various techniques to learn in order to outwit one’s attackers with the prevailing goal being to draw out your enemy’s humanity. We find an actual comic book pamphlet of the time laying out the Montgomery Method that worked so well for Dr. King and his followers. It is a satisfying comics reference within a comic. It was an inspiration for the young John Lewis. And it’s a compelling link to the past to this contemporary look back.

It will be great to see the whole trilogy. It’s so important for new generations to have something contemporary in order to help them hook into history. The civil rights movement is really relatively recent history depending on how you look at it! This book and “Lee Daniel’s The Butler” make a big difference. The United States of America has a lot of wounds that are still healing and we still have a lot to learn and relearn. It’s this book and that movie that provide essential hooks for young people, give them proper context, help them appreciate when they hear on the news that our voting rights as a people are, even today, being compromised. You can’t put enough value on a book like “March” and more power to Top Shelf Productions for publishing it.

“March: Book One” is a beautiful book. It is a new way to honor and understand what has come before us and be inspired for what lies ahead. It is a 128-page trade paperback and is available for $14.95 (US) print and $9.95 (US) digital. Visit our friends at Top Shelf Productions here.

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Filed under American History, Civil Rights, Comics, Graphic Novel Reviews, graphic novels, History, March on Washington, Martin Luther King Jr., Race, Race Relations, Social Justice, Top Shelf Productions