shadowkat: (work/reading)
Americanah the book by the Nigerian woman whose name I can't spell or pronounce, which actually is true of a lot of people's names...but that's another discussion, interestingly enough details the tribal aspects of nationalism. A topic that has been bugging me lately. That people identify strongly with "their nation" or "their countrymen", and will often upon re-settling in a new country or culture, be resistent to adapting to that country's culture, insisting on keeping their own. And often will fight to put their nation first, their nation or country or homeland is better, and defend it. The other -- are those in other nations.

She doesn't say any of that of course. It's more...how I interpreted it. There's other ways of interpreting it of course.

Passages from the book that stuck out to me last night...

1. "School in America was easy, assignments sent in by email, classrooms air-conditioned, professors willing to give make up tests. But she was uncomfortable with what the professors called "participation" and did not see why it should be part of the final grade; it merely made students talk and talk, class time wasted on obvious words, hollow words sometimes meaningless words. It had to be that Americans were taught, from elementary school, to always say something in class no matter what. And so she sat stiff-tongued, surrounded by students who were all folded easily on their seats all flush with knowledge, not of the subject of the classes but of how to be in the classes.

Interesting take on education. For me, discussion is the best part. School in the US is very different than abroad. In another place in the novel, Ifemelu decides to teach her nephew math. She calls it maths, he sees that as improper term and they compromise and call it mathematics. She's horrified that at the age of 7, he has not learned long division yet.

2.) Iflemeu's class - is discussing the American mini-series Roots, which Iflemeu saw in Nigeria. This starts out as a discussion about the word "nigger" and becomes slowly about what lies behind it, ie the main difference between African-American, people who were the descendants of slaves, and African (people from Africa) or American-Africans, people who immigrated to the US by choice.



"Let's talk about historical representation in film," Professor Moore said.

A firm, female voice from the back of the class, with a non-American accent, asked, "Why was 'nigger'
bleeped out?"

And a collective sigh, like a small wind, swept through the class.

"Well, this was a recording from network television and one of the things I wanted us to talk about is how we represent history in popular culture and the use of the N-word is certainly an important part of that," Professor Moore said.

"It makes no sense to me," the firm voice said. Ifemelu turned. The speakers natural hair was cut as low as a boy's and her pretty face, wide-foreheaded and fleshless, reminded Ifemelu of the East Africans who always won long-distance races on television.

"I mean, 'nigger' is a word that exists. People use it. It is part of America. It has caused a lot of pain to people and I think it is insulting to bleep it out."

"Well," Professor Moore said, looking around, as though for help.

I came from a gravelly voice in the middle of the class. "Well it's because of the pain that word has caused that you shouldn't use it!" Shouldn't sailed astringently into the air, the speaker an African-American girl wearing bamboo hoop earrings.

"Thing is, each time you say it, the word hurts African-Americans," a pale, shaggy-haired boy in front said.

Ifemelu raised her hand; Faulkner's Light in August, which she had just read, was on her mind. "I don't think it's always hurtful. I think it depends on the intent and also on who is using it."

A girl next to her, face flushing bright red, burst out, "No! The word is the same for whomever says it."

"That's nonsense." The firm voice again. A voice unafraid. "If my mother hits me with a stick and a stranger hits me with a stick, it's not the same thing."

Ifemelu looked at Professor Moore to see how the word 'nonsense' had been received. She did not seem to have noticed; instead, a vague terror was freezing her features into a smirk-smile.

"I agree it's different when African Americans say it, but I don't think it should be used in films because that way people who shouldn't use it can use it and hurt other people's feelings," a light-skinned African-American girl said, the last of the four black people in class, her sweater an unsettling shade of fuchsia.

"But it's like being in denial. If it was used like that, then it should be represented like that. Hiding it doesn't make it go away." The firm voice.

"Well, if you hadn't sold us, we wouldn't be talking about any of this," the gravelly-voiced African-American girl said, in a lowered tone that was, nonetheless, audible.

The classroom was wrapped in silence. Then rose that voice again. "Sorry, but even if no Africans had been sold by other Africans, the transatlantic slave trade would still have happened. It was a European entertprise. It was about Europeans looking for labor for their plantations."


That's a powerful passage. I agree with the firm voice. I've heard, and often, various African-Americans and blacks who aren't African-Americans use the word nigga. They pronounce it differently than whites do. It's niggah or nigga. Not nig-ger. Lighter on the vowel. And in various ways. Sometimes as an endearment, sometimes as a gay man might use the word bitch, or a white woman would use the word bitch. Words change their meaning depending on who uses them and how. Usage is an important in the English language. Also pronunciation.

The tendency to want to outlaw certain words or remove them...because they hurt you or people you love, or you can't use them why should anyone else? Is a bit silly. Because at the end of the day, it is just a word. And we can choose whether to personalize the word or give it meaning.

I think it helps to mix with other cultures, because it keeps people honest.

Regarding slavery and race...I don't think white Europeans or White Americans will ever live down the crime of slavery. My mother was reporting on Colin Whitehead's Underground Railroad which describes what happened in graphic detail. It's horrific. It was worse than the Holocaust. Far worse. In part because it lasted longer.

3.) The head of the African Students Union gives a spiel or welcome talk to new members:


"Please do not go into KMart and buy twenty pairs of jeans because each costs five dollars. The jeans are not running away. They will be there tomorrow at an even more reduced price. You are now in America: do not expect to have hot food for lunch. That African taste must be abolished. When you visit the home of an American with some money, they will offer to show you their house. Forget that in your house back home, your father would throw a fit if anyone came close to his bedroom. We all know that the living room was where it stopped and, if absolutely necessary, then the toilet. But please smile and follow the American and see the house and make sure you say you like everything. And do not be shocked by the indiscriminate touching of American couples. Standing in line at the cafeteria, the girl will touch the boy's arm and the boy will put his arm around her shoulder and they will rub shoulders and back and rub rub rub, but please do not imitate this behavior."

They were all laughing. Wambui shouted something in Swahili.

"Very soon you will start to adopt an American accent because you don't want customer service people on the phone to keep asking you, 'What? What?' You will start to admire Africans who have perfect American accents, like our brother here, Kofi. Kofi's parents came from Ghana when he was two-years old, but do not be fooled by the way he sounds. If you go to their house, they eat kenkey every day. His father slapped him when he got a C in a class. There's no American nonsense in that house. He goes back to Ghana every year. We call people like Kofi American-African, African-American which what we call our brothers and sisters whose ancestors were slaves."

"Try and make friends with our African-American brothers and sisters in a spirit of true pan-Africanism. But make sure you remain friends with fellow Africans, as this will help you keep your perspective. Always attend African Students Association meetings, but if you must, you can also try the Black Student Union. Please note that in general, African Americans go to the Black Student Union and Africans go to the African Students Association. Sometimes it overlaps but not a lot. The Africans who to BSU are those with no confidence who are quick to tell you 'I am originally from Kenya (with the dash on the a) even though Kenya just pops out the minute they open their mouths. The African-Americans who come to our meetings are the ones who write poems about Mother Africa and think every African is a Nubian Queen. If an African-American calls you a Mandingo or a booty scratcher, he is insulting you for being African. Some will ask you annoying questions about Africa, but others will connect with you. You will also find that you make friends more easily with other internationals, Koreans, Indians, Brazilians, whatever, than with Americans both black and white. Many of the internationals understand the trauma of trying to get an American visa and that is a good place to start a friendship."



I may be wrong, but I think tribalism is what is destroying our world. I recently read a post by a friend about how it was impossible to definitively determine your racial ancestory or ethnicity via DNA. The best you could get was guess-work. Because there just isn't that much difference between chromosomes in humans across the globe.

This comment echoed something a biologist told me a few years back, which was that race was a construct, something people came up with and there was no scientific basis for it. Outside of physical attributes here and there, humans were more or less one race or species. I questioned this, because some races were more prone to certain ailments than others. But that may not be due to race or ethnicity. I'm not a biologist.

But it doesn't really matter, what matters is the evolved human tendency to seek out people who are like them, is I think limiting. It's safer and easier...because you question yourself less, when surrounded by those who reflect your own perceptions. But limiting. Sort of like putting braces on your soul and brain and spirit, as opposed to just teeth or back.

Reading helps pull us out of that. I try to read a wide variety of books, to question and challenge myself.

What is surprising me about this book, is how much of it truly resonates for me, far more so than a lot of novels written by women who are white, middle class, middle aged, and from the same tribe as me. It shouldn't surprise me. I've often found that I have more in common with those who are on the surface appear not to have anything in common. It's one of the reasons I prefer to live in NYC, it's diverse, and I can find people who are not white, straight, middle class, middle aged, or from my alleged physical tribe, but from outside of it. In the suburbs of Kansas City, I felt...alone and disenfranchised, yet was seemingly surrounded by people who looked like me.

Here, in NYC, and well in college as well, I somehow gravitated to people who didn't look anything like me. This was true in elementary, high school, and junior high for the most part. Although hard to do in those places, if not impossible, since everyone looked like me, and so I had almost no friends...because for some reason we didn't get each other.

For some reason or other...I find myself identifying more with Ifemelu than the protagonists in over half the books I've read. And on the surface, Ifemelu and I couldn't be any more different.

[I'm hoping to be able to discuss this book with my church in the fall. Because it is a book that desires to be discussed in detail. Some books are. Some aren't.]
shadowkat: (Default)
1. Just finished watching the highly praised film Manchester by the Sea by Kenneth Lonergan, which had been nominated for multiple awards, but I knew little about outside of the fact that it concerned profound grief and took place after the death of the protagonist's brother. The plot I was told -- follows a man who looks after his teenage nephew after his brother dies. So, of course, I was convinced that the story revolves around the loss of the brother, and their grief over that loss.

Not quite. Or rather, it does and it doesn't. The protagonist isn't really mourning that loss, or rather he is, but that's not the grief that the film is really about.

This is what Wiki had to say about it:


The film is a treatment of profound grief from which it is difficult or impossible to recover. In an essay by Colin Fleming for Cineaste magazine, he says that "the question Lonergan invites us to ask ourselves is how on earth would we be able to carry on after an event so tragically full of loss and guilt."[5] Speaking to the persistence of grief, Film Comment magazine says that "Lonergan is telling us that Lee's grief cannot be contained or subdued because his past lives on wherever he goes."[6] Remarking on the way flashbacks appear suddenly in the movie, critic Anthony Lane says that Lonergan "proceeds on the assumption that things are hard, some irreparably so, and that it's the job of a film not to smooth them over."However, one critic noted that juxtaposed to the tragedy is "the harsh comedy that colors much of the dialogue, and the near-farcical frequency with which things go wrong."Along those same lines, critic Steven Mears called the film "a study of grief and reticence that finds droll humor in those very sources," and Richard Alleva says the loving but tense relationship between Lee and Patrick "keeps the story nicely balanced between rough hewn comedy and delicate pathos." Explaining his objective, Lonergan said, "I don't like the fact that, nowadays, it feels like it's not permissible to leave something unresolved... Some people live with their trauma for years. I'm not interested in rubbing people's faces in suffering... But I don't like this lie that everybody gets over things that easily. Some people can't get over something major that's happened to them at all; why can’t they have a movie too?"

The film's events takes place through the cultural filter of a blue-collar, New England community. John Krasinski and Matt Damon initially approached Lonergan about developing the story in New England.[12] As Lonergan researched the areas surrounding Manchester-by-the-Sea, he sought to include details specific to the area, for example its distance from Quincy, the delayed burial because of the frozen ground in a historical cemetery, and the realities of fishing life.[12] Critic Sam Lansky remarked that his New England roots make the lead character "disinclined to emote,"[13] and Tom Shone said that Lonergan's dialog forces "the story’s heartbreak to peep from behind these tough, flinty New England exteriors."


I'd agree with that assessment. It's a compelling film, and weirdly reassuring in a way...because it shows that grief affects people in separate ways and for separate reasons. It's also quite funny in places, I laughed more than I cried, which surprised me.

My only quibble is how they did the sound editing...the director seems to have a fondness for violin music. Very loud violin music. During a flashback sequence that depicts the tragedy that destroyed the protagonist...the dialogue, all sound, is blocked out by very loud violin music. It's an interesting choice on the part of the film makers...where we are shown the images in a memory reel of sorts, with scant dialogue and increasingly loud violin concerto playing over it. But the violin music gave me a headache and took me out of the story. I would have preferred it taken down a notch and just put everything on mute.

As an aside, you wouldn't think sound editing is a big deal, until you see someone do it the wrong way -- then well, you have a whole new appreciation for the process. Grey's Anatomy has the worst sound editors on the planet, for example. They overlay voice over narration, music, and dialogue. (Ugh). This wasn't quite as bad as that...but, I'd have dialed it back a notch.

There's also a lot of talking over each other. But ...I think dialogue is used in the film to get across the pain of the protagonist and the fact that just carrying on a conversation with another person is painful. We are in two points of view throughout, Lee Chandler and his nephew, Patrick. When Patrick's pov is front and center, there's a bit more humor, the lighting is less glum, and sound isn't dulled. People can talk. When Lee's pov is front and center, everything is either really loud or dulled down. We don't hear conversations, just violins or music, when he speaks it's in mono-syllables or strained.

The film is a compelling character study and portrait of profound and all-consuming grief. major spoiler )

In some respects the handling of grief in this film reminded me of Joss Whedon's "The Body", an episode of Buffy the Vampire Slayer, premiering in Season 5 of the series, in which Buffy's mother dies. It did the opposite regarding sound...and in some respects I preferred how Whedon handled sound editing to Lonergan...where he mutes the sound. There is no music. And Whedon highlights the sense of negative space. Also like Lonergan, Whedon highlights how one doesn't just get over losing someone who filled their lives in this manner. Whether that person be a parent, sibling, children, or spouse.

I've seen a couple of films handle profound grief in various ways..."Ghost" with Demi Moore and Patrick Swayze...showed it as a haunting. Nashville which also depicts the hole that one character left behind them.

Anyhow, the film is worth watching but I'm not sure it's worth the hype. I find it irritating in places and jarring in others. In some respects I prefer how Whedon handled grief on Buffy. Odd, I know, but there it is.

2. Americanah -- this novel delves into the cultural differences from a black perspective on Nigeria or Africa and America. In particular being black or dark skinned in both countries, among fellow persons of color and white people.

It also depicts the collateral damage or consequences of the white European imperialism in Africa in regards to race, immigration, and how people interact with each other.

But mainly it is a fish out of water tale or what it is like to belong and the struggle to do so.

The cultural differences between the two countries that have been cited include:

Hot dogs. The protagonist, Ifelmeu, thinks they are the same as sausages and attempts to fry them with oil.

Dressing down...in Nigeria, people are more formal, they dress up for parties, which have dancing. But in America, which is what she calls the US, they do not have dancing and wear whatever to hang around and drink.

When she goes to register for classes. The registrar acts as if she isn't speaking English, because her accent is thick and British. So shamed by the registrar, she attempts to adopt an American accent.

She's told that they do not use the words black or white to describe people here, and avoid it, since it is considered offensive. Also the word half-caste is offensive, you use bi-racial. The racism seems somehow more pronounced yet also repressed. It is present also in Nigeria, where lighter colored skin is valued over darker. The protagonist has darker skin. (Honestly this perplexes me, I think people with darker skin are more attractive. It perplexes the protagonist as well.)

America she notes beats people down. And the news is constant crime...to the extent she gets worried about things.

Also there seems to be hidden code language or lingo that is easier to adopt when young and less when older.

What I found interesting was the differences in language and cultural miscommunications depicted throughout the novel. Early on they show the differences between American English and British or Nigerian English. The Nigerians, having been colonized or invaded at some point by the Brits, have been educated to speak British English. But they have received American media imports, such as the Cosby Show, Tom and Jerry, Fresh Prince of Belaire, A Different World...and their view of the US is through that lense. They somewhat romanticize it. They are less deluded about Britain. Possibly because it is closer and people have been there and back more frequently. Anyhow, one of the big differences mentioned is trunk vs. boot. (A trunk is a tree not a car trunk, one of the characters states.)

Another bit is hair, and how in America one relaxes their hair for job interviews and doesn't braid it. (Not at my work place, women have it braided as do men all the time. Some just shave close to their heads, like my friend MD does. I remember my freshman roommate, Jameel, would oil her hair at night and put it under a hair net. She was constantly adding oil to it. She didn't braid it and never relaxed it. She cut it close, but not too close to her head and wore it as an afro. While Casey would
relax hers, and have it in a bob, nice and neat. Tanya at work, braids hers in long beautiful multicolored braids, while my stylist Rachel, just grows hers down to her waist, where is is long and silken and black. But Daphne keeps hers close shaven to her head. And Lodze lets it be an afro. Their hair in a way, for more than mine ever has, expresses their personality and preferences. It's hard to manage, I know, because I have wandered around more than one store with Marquetta hunting hair products...she makes her own shampoo or hunts for one that doesn't have certain things in it.)
shadowkat: (my ship)
Interesting article forwarded to me by African American work colleague:

http://newyork.construction.com/yb/ny/article.aspx?story_id=134519320

W/MBE = Women Owned Business Enterprise or Minority Owned Business Enterprise

Here's the blurb:

Stimulus Projects Hit a Pothole: Some Work Delayed Due to Race, Gender Preference Rules
08/25/2009
Times Union Text size: AABy Rick Karlin, Albany Times Union, N.Y.

Aug. 25--ALBANY -- Federal stimulus dollars have been pouring into New York for road and bridge repairs, but a growing chorus of contractors say some of the work has hit roadblocks in the form of racial preference rules.

In particular, they say they can't find enough minority and women-owned subcontractors to meet state demands, and jobs are being delayed as a result.

Big road builders upstate and in rural regions say they've always struggled to find enough so-called MWBE (minority and women-owned business enterprises) but the recent flood of federal dollars, along with what they charge is the state's unwillingness to give waivers, means some jobs won't get done until next spring, when the new road-paving season begins.

"We're not social engineers," said Jim McGee, of A.L. Blades & Sons, a Hornell, Steuben County, road construction firm that is waiting for the final go-ahead on a $2.7 million road repair project.

The delay may mean laying off 26 of 250 employees, said McGee.

He estimated that delays in finding MBWE's has led to a $228 million road and bridge backlog as of last week. New York is slated for more than $1.1 billion in road and bridge stimulus spending.
shadowkat: (Default)
[I'm lazy so doing two posts in one.]

Saw both the film Milk and rewatched Tabula Rasa to cheer self up after Milk.

Speaking of Milk, just read that openly gay African American male writer E. Lynn Harris died of heart disease at the age of 54. In case you have no idea who this guy is - he was a literary pioneer in the mid-90s thanks to a 11 influential novels that opened a dialogue about sexual taboos within the African-American community. One of his novels - Basketball Jones hit the NY Times best-seller list, a rarity. It was a book about an African-American Man struggling with his sexuality. "Years ago, it would have caused me great pain to even write the word "gay" on paper to describe myself," Harris wrote in his memoir What Becomes of the Brokenhearted. "Writing has allowed me to change my self-hatred and doubt into true self-esteem and self-love." Sad to hear he died. Wasn't that impressed by Milk. Overrated movie that meanders all over the place like most of Gus Van Sant's films. I left it feeling like I knew very little about the characters. I did however understand why Dan White shot Milk and the Mayor - it wasn't really about gay rights so much as about power and White's increasing insecurities and the fact that he felt completely suffocated and trapped - he felt that Milk and the Mayor were responsible - because both were in his face. Of course they weren't. And it's not at all surprising to me that White took his own life a couple of years later. Scean Penn was amazing in the role, of course. But James Franco and the other actors, with the possible exception of James Brolin, barely registered. I found myself wandering about doing chores during it. I'm just not a huge fan of bio-pics, I'm afraid. Oh one thing that I found very interesting in the film - Harvey Milk tells one politician who calls him "queer" that this is an insulting term and derogatory, that he prefers "Gay" and fought for "gay". I find this interesting because I've noticed that several people online are using the word "queer".

Then I watched Tabula Rasa, after watching OMWF the day before - from Buffy. These two really need to be watched close together. One is the reveal and one the aftermath. And together they pretty much set up the arcs for each character. They also show how each character is handling real world challenges and struggling with them. I identify with this season a great deal. In some ways more so than any of the other seasons.

Meta on All the Way, OMWF and Tabula Rasa )
shadowkat: (Default)
Currently being bombarded with a rash of freakish pop-up thumderstorms reminiscent of the tropics. Wales and I left the Adam Sandler flick You Don't Mess With the Zohan to be greeted by a downpour, we dashed into Barnes & Noble, went to the bathroom, dashed to Rite Aid, bought umbrellas then walked in soggy sandals to a Mexican Restaurant for nachos and magritas. I won't bore you with a long review of Zohan. Except for the following - it's too long, in desperate need of an editor, and filled with lame sex jokes that appeal to the puerile and/or adolescent male. Is it just me or are men in film comedies overly obsessed with their dicks? That said it does have flashes of political satire that are quite hilarious and almost worth the price of admission. It also does a great job of satirizing NYC developers and Donald Trump. But it is trying to be all things for all people - and succeeds in none of the above. The offensive sex/ethnic jokes are there and a bit over the top, the parody of action/superhero flicks is there, and so is the subtle political wit/satire. As a result it is a bit of a mess.

I've been entertaining myself by watching The Daily Show - at 8pm on Comedy Central. It used to be on at 11pm, but they changed it - at least in New York.
The show does a great job of satirizing politics and the media. It takes a bit of the sting off. Have realized that my favorite type of comedy is subtle satire and sardonic wit.

Read a really good article in Entertainment Weekly, of all places, about the lack of racial diversity in television, specifically the 2008 TV season. The article is entitled: "TV's Great Black Hope* - Meet Cleveland Brown the only minority character to anchor a new broadcast series in the 2008-2009 TV seasons - unfortunately he's a cartoon. Plus he's voiced by a white guy."

This article goes a step further than most internet blogs on the topic - it gives us statistics!!! Specifically a breakdown of race on network TV and how the numbers match up to the US population.

66.2% of the US population is White.
12.9% is black
15.2% is Hispanic/Latino
4.5% is Asian (odd I thought it was higher than that - maybe because I live in NY and 75% live here??)
1.0% American Indian/Alaska Native
0.2% Hawain/Pacific Islander

Not sure where they are putting Indian, Pakistani, Middle Eastern and Jewish. Actually Jewish is considered "white". Indian is considered Asian (sorry not black, Asian in census studies, although a lot of people put them in both). Middle Eastern? Probably Asian or Black?? Or maybe they don't count these guys at all? Maybe they just live in NYC??

Here's the network breakdown:

ABC
78.2 white
9.4 black
8.3 latino
3.1 asian
1.0 American Indian

CBS
79.3% white
9.0 Black
8.1 Latino
3.6 Asian
0% American Indian

NBC
71% White
11.8 Black
7.5 Latino/Hispanic
9.7% Asian
0% American Indian

Fox
77.7% White
12.5 Black
4.2 Latino/Hispanic
4.2 Asian
1.4 American Indian

The CW
67.4% White
26.9% Black
3.8% Latino
1.9% Asian
0 - American Indian

(By the way "American Indian" is the phrase the magazine uses NOT me!)

Here's a few outtakes from the article that I underlined or thought noteworthy:

1. "According to the NAACP report: "1 out of every 3 persons in the US is a minority."
"One could argue that a third of those working in Hollywood should be a minority. However...their presence is not accurately represented on-air and for the most part, their stories are secondary or non-existent. Behind the camera, the challenges facing minorities have been even greater and traditionally more difficult to overcome...It is unconsiconable and unacceptable that there is no new African-American sitcom or family drama for that matter, currently in the fall lineup on any of the major broadcast networks." Vicangelo Bullock, executive director of the NAACP's Hollywood bureau says plainly. "The trend is definitely going in the wrong direction."

2. The few minority showrunners agree that more work needs to be done, not just in hiring actors of color, but in hiring them for the right roles.

Shonda Rhimes of Grey's Anatomy states:" Do I want to see any more shows where someone has a sassy black friend? No, because I'm nobody's sassy black friend. I just want to see shows in which people get to be people and that look like the world we live in. The world is changing, and television will have to follow." True enough: It feels downright regressive to have to point out that minorities can be stars too, at a time when Will Smith continues to dominate box offices, Oprah is the most powerful woman on television and Barack Obama is running for the ultimate leading role...


3. There was a time when diversity seemed to come naturally to prime time. The social consicousness of the 70's spawned sitcoms like The Jeffersons, Good Times, and Sanford and Son; the 80's brought living-in-harmony comedy Different Strokes and the ultimate breakthrough TV family on The Cosby Show. But a long fallow period (dominated by Cheers, Seinfield, and Friends) followed until 1999, when the networks announced another particularly white fall line-up (The West Wing, Freaks and Geeks, Once and Again)- and minority groups revolted. Prompted by the then NAACP president Kweisi Mfume's remark that TV was a "virtual whitewash in programming", groups representing African-Americans, Latinos, Asian-Americans, and Native Americans banded together to push for a diversity-calling for sweeping boycotts if immediate progress wasn't made. In the end, it was: Minority actors were hastily added to shows (congratulations, Dule Hill, you now work for President Bartlett!), and the networks agreed to measures mean to foster diverse talent behind the scenes as well - most notably by hiring senior executives to monitor the situation.

It's a job that wins them varying receptions..."For me," states Til Death's executive producer, "the goal would be to tell interesting stories, I don't think it's good if you're like, 'Oh, let's just put on a black character so people will be quiet.'"

4. After nearly 10 years of working with diversity reps and outreach programs, the networks still primarily solve the problem by sprinking non-white actors into white-led shows - often as a comedic sidekick or in the guy-who-helps-the-main-guy-solve-a-crime roles.

Instead of pumping up their percentages with supporting characters, shouldn't the networks be presenting more minority "face of the show" leads?

5. Ugly Betty Producer, Silivio Hortas, states: " Would less people watch because we weren't telling the story of a white heroine? It doesn't really make a difference. It just has to be a really great story and a really great actress."

(By the way, Ugly Betty is near the top of the Neilsen ratings.)

Why not? Well for one thing, there have been no smash-hit series starring a predominatly minority cast since The Cosby Show - which pulled 63 million viewers at its peak...left the air in 1992.

6. Minority writers aren't exactly finding their phones ringing off the hook, resulting in a thinning talent pool of showrunners of color. "It was always easy for whites to run black shows or get jobs on black shows, but it was always tough for the reverse," Larry Wilmore (Daily Show correspondent) states. "Very few blacks get jobs on non-black shows. So with a lot of black shows going away, fewer and fewer black writers get opportunities, let alone the chance to be mentored and learn how to run and create shows. So there's fewer opportunities to get to that level where you get the trust of a network to be able to run a show."

Of course, perhaps it would be easier for minority writers and producers to gain the trust of a network if more network executives were minorities themselves.

"The first thing the diversity rep should do is fire the guy who hired him! You see that white guy sitting next to you? Fire him and hire a black guy! You see that white lady down at the end of the hall? Fire her and hire a Latino lady! That's how you do it. And since evering is failing anyway, you mean to tell me that a Latina lady, a Chinese guy or a Black guy can't fail too? If the networks are going down the tubes, why don't they go down the tubes with everybody? Spread the wealth!" states LeRoi, one of the diversity reps.

7. Of course it's about more than simply sprinkling additional minorities throughout shows - its about giving those characters meaningful story lines that blend in seamlessly with their surroundings. "I don't just want to see a black face or a Latino face or whatever," says Wilmore. "People need to have roles on these shows that are dynamic and not just place marks." Adds Brock Akil, "I think that's why Grey's Anatomy has been so successful. It's a very organic atmosphere and the interaction between the characters of different races is very relatable.

[For an example of the sprinkling solution see Joss Whedon's television series notably Buffy and Angel, Bones, the CSI dramas, and the West Wing. Although to give Whedon credit over both Bones and CSI - his black characters actually got backstories and full-fledged characterization and were not entirely there for token casting. Robin Wood actually got an arc, not a great one but it was there. And Zoe a complete role. Not to mention Gunn. Bones? The only black character on the series is the boss, and her role is barely there. Same deal with Dule Hill's aid on The West Wing one of the whitest tv shows on tv. Of the three mentioned Bones is the only one on air right now and it is a prime example of the problem stated above. I often wonder what the shows would be like if the lead had been black, Latino, Asian, or Native American. ]

8. That kind of color-blind casting (Grey's Anatomy NOT Bones) is something teen-focused networks seem to have down pat: Nary a show has passed through ABC Family or The N without an interracial coupling or a naturally integrated cast. Those networks exec's say it's a simple matter of economics, that their Gen-Y viewers accept- nay, expect and deman - such a reflection of their multicultural lives. "They're completely color-blind," ABC Family president Paul Lee says of the younter viewers. "We've done a lot of things wrong as a nation, but we've clearly done something right here. They embrace other cultures." [That statement gives me hope. Apparently my generation is better at parenting than I thought.]

That said, 8 of 10 regulars on 90210 (the new one) are white."

The full article is in June 20th edition of EW. And is worth checking out. A lot of people scoff at affirmative action, but I wonder how you would feel if you couldn't get a job or position because you didn't fit what the guy in power wanted.
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