Obama-ology, written by Aurin Squire, takes place in 2008 and revolves around a youthful volunteer for the Obama campaign and the life education he receives from his senior colleagues and the folks in the community where he’s working.
Some reviewers have criticized the movie as another in a long line of “White Savior” films that feature a white protagonist who “leads” African Americans to freedom, or otherwise provides the wherewithal for them to fight their oppressors.
Capital & Main won top prize in one of the lead categories and finished second or third in five others Sunday evening at the 58th Annual Southern California Journalism Awards.
Human frailty and societal faults are being vividly probed on Broadway as the season draws to a close.
It’s often apparent at countless restaurants around the country that the hardest working employees are the bussers, with the “back of the house” providing the foundation for the entire culinary enterprise.
In some ways, Prince was the most successful pop recording artist who wrote frankly and pointedly about sexuality in nearly every one of his songs.
Deanna Dunagan and Seamus Mulcahy (Photo: Kevin Parry/Wallis Annenberg Center)
Jesse Eisenberg has carved a film career playing irritating nebbish-antiheroes in a host of roles. He even earned an Oscar nomination for best actor in the most memorable of these, as Facebook founder Mark Zuckerberg in The Social Network. But his artistic ambitions also encompass writing for the stage, and his second play, The Revisionist, opens with an engaging premise, albeit an unfulfilled one.
David (Seamus Mulcahy), a young American writer wrestling with a book revision, comes to Poland to visit a distant, aged cousin, Maria (Deanna Dunagan), a Holocaust survivor. Unfortunately, the two have very different notions of how David will spend his journey. Maria, a crimped pensioner who fills her lonely days watching CNN (to help with her English), envisions a chance to connect with a far-flung relative,
Immigration has never been more in the national spotlight, with Republican presidential candidates histrionically claiming most of those who cross the Mexican border are rapists and murderers, while calling for everything from mass deportations to the building of a massive wall with Mexico. Politicians and citizens are also debating how best to deal with Syrian refugees fleeing their war-torn country.
But there’s a border story the majority of Americans are not hearing about.
Over the last two years, more than 100,000 unaccompanied minors — from those under 18 years old to as young as 6 — have crossed the border trying to escape the violence that plagues their home countries of El Salvador, Honduras and Guatemala. You won’t find this mass exodus mentioned in stump speeches or discussed by pundits on the 24/7 news channels.
Herself the daughter of Cuban refugees, CalArts teacher/playwright Marissa Chibas is trying to do something about that.
In books, blogs and newspaper pages, Los Angeles journalist and social critic Erin Aubry Kaplan has offered astute and unforgiving opinions about America’s race and class divides. (In 2005 she became the Los Angeles Times‘ first weekly black op-ed columnist.) In Black Talk, Blue Thoughts, and Walking the Color Line, the KCET website contributor gave this cool appraisal of the Rodney King beating trial’s fateful aftermath: “The riots had broken black issues out of a glass case where they had been visible, but coiled and silent.”
Her latest book, I Heart Obama, examines what America’s first black president has meant to African Americans, and to her personally. As Obama’s final term in office winds down, she looks back on the promise and shortfalls of his watershed administration:
“Jackie Robinson had it bad for sure.
Hollywood insiders scanning the #Oscarsowhite lists of this year’s Academy Award nominees have not failed to notice that the five candidates for Best Cinematography are all male and all white—and to no one’s surprise. While the Academy of Motion Picture Arts and Sciences has announced changes in membership rules to make its voters more inclusive in years to come, not a single woman or person of color in the “lenser” category, as the trades call directors of photography, has ever been tapped to receive the coveted gold statuette to be handed out this year at the Academy’s 88th ceremonials on February 28 at the Dolby Theater.
“It’s a shame,” says Rebecca Rhine, national executive director of the International Cinematographers Guild Local 600, which is part of the International Alliance of Theatrical Stage Employees (IATSE). Noting that “access and opportunity” to employment determine who gets to win awards,
No one’s ever claimed that Hollywood movies reflect the breadth of society, but this year’s Oscar nominees look more like attendees of a Trump rally in South Carolina than the face of the modern American populace.
Without a single person of color nominated in any of the acting categories for the second year in a row, a firestorm of protest and counter-protest has swept across social media. Some have called for a boycott of the ceremony, while others claim that to demand recognition solely on the basis of color is reverse racism. Nevertheless, the fact remains that there were some fantastic performances by people of color that were inexplicably overlooked. The Academy Awards have never been a paradigm of diversity, it’s just that in 2016 people feel that the climate of the times should result in rainbows rather than snowstorms.
#belowthelinesowhite? Hollywood’s Rank &
For most people, the end of last year signaled a time for goodwill, reflection and family. But for many, the holiday season was marked by murder and mayhem, forensics and frustration. Released stealthily by Netflix, as if the doc series itself was a smoking gun planted for viewers to stumble across, Making a Murderer is a gift which when unwrapped is all at once fascinating, frightful and infuriating.
Making a Murderer follows in the vein of such true-crime masterworks as Joe Berlinger and Bruce Bruce Sinofsky’s groundbreaking 1996 doc, Paradise Lost, and 2004’s lesser known Death on the Staircase, as well as last year’s killer Serial podcast and the lauded HBO series The Jinx. Moira Demos and Laura Ricciardi’s 10-hour opus retraces the twists and turns of a horrific series of events, while at the same time illuminating many of the dark flaws lurking in our justice system.
Fred Hiatt, the Washington Post’s editorial page editor, has fired columnist Harold Meyerson, one of the nation’s finest journalists and perhaps the only self-proclaimed socialist to write a weekly column for a major American newspaper during the past decade or two.
At a time when America is experiencing an upsurge of progressive organizing and activism — from Occupy Wall Street, to Black Lives Matter, to the growing movement among low-wage workers demanding higher minimum wages, to Bernie Sanders’ campaign for president — we need a regular columnist who can explain what’s going on, why it’s happening, and what it means.
More than any other columnist for a major U.S. newspaper, Meyerson provided ongoing coverage and incisive analysis of the nation’s labor movement and other progressive causes as well as the changing economy and the increasing aggressiveness of big business in American politics. He was one of the few columnists in the country who knew labor leaders and grassroots activists by name,
The end of the year is traditionally a time for reflection, and in that spirit we bring you “Our Moment,” a short video that reflects on some of the defining moments in the social justice movements of our time.
The video, featuring words and performance by poet Mayda de Valle, first premiered at the Equity Summit 2015 in Los Angeles, and is now being widely shared on social media. It was produced for PolicyLink by Wyatt Close and Big Bowl of Ideas and directed by Jon Sautter.
Info about Equity Summit 2015 can be found here.
Today kicks off the start of VisionLA ’15, a Los Angeles arts festival performed to coincide with the United Nations’ Conference on Climate Change (COP 21) as it unfolds in Paris. Below are program notes from VisionLA ’15 – please refer to the group’s site for a complete schedule and more information.
November 30 @ 6 p.m. – 10 p.m.
2525 Michigan Ave., Building G1
Join us for a celebration of the Power of Art to Make Change at our Gala Opening party for the VisionLA ’15 Climate Action Arts Festival. This opening event will launch L.A.’s first citywide climate action arts festival and is also the opening gala for our wonderful ART MAKES CHANGE fine art exhibition,
Bad enough that the climate is changing and humans are causing it; worse, most of us don’t even want to talk about it.
“Where are the books? The poems? The plays? The goddamn operas?” asked author and climate activist Bill McKibben a decade ago on Grist, comparing the climate crisis to the AIDS epidemic, which, McKibben noted, produced “a staggering outpouring of art that, in turn, has had real political effect.”
To be fair, that has started to change: Authors such as Paolo Bacigalupi (The Water Knife) and filmmaker Larry Fessenden (The Last Winter) have begun to address environmental catastrophe in their works. But it’s likely that other authors, artists and goddamn opera writers have assumed that their climate-focused work would struggle for an audience: A recent Pew Research Center poll found that only 42 percent of U.S. citizens consider rising seas and global temperatures disturbing.
There’s something deceptively familiar about the first scene of Young Jean Lee’s play, Straight White Men, receiving its West Coast premiere at the Kirk Douglas Theater. It opens with an American family gathered together for Christmas. The three adult Norton brothers spend a lot of time horsing around their dad’s living room in flannel jammies, re-enacting childhood pranks, recalling old nicknames and play-fighting with one another as though they’re young boys again. It’s the kind of reunion play whose lines often begin, “Remember the time . . .” So we know, with all this holiday cheer and familial merriment, that things are about to go to hell.
Sure enough, eldest son Matt (Brian Slaten) abruptly begins to cry as the brothers and their father eat a Chinese take-out dinner. Matt’s got a secret but this is 2015, so veteran theatergoers raised on the social-issue dramas of the late 20th century surmise it’s not that Matt is gay or that he has an incurable disease – especially since we also know this 90-minute play was written and directed by a New York playwright who is the reigning queen of experimental theater.
If legendary labor activist Joe Hill were alive today — and some contend that he is — he would have plenty to say about the state of the American worker. And the country, if it listened, would have plenty to learn.
Hill, who was executed in Utah 100 years ago this month, was an unapologetically radical union organizer whose rough-hewn songs and poems matched the brutal working conditions endured by tens of millions of Americans in the early 20th century. While his lyrics might at first sound anachronistic to contemporary audiences, their underlying spirit speaks directly to the experiences of far too many in our often unforgiving 21st century economy.
“Would you have freedom from wage slavery… Would you from mis’ry and hunger be free,” from Hill’s 1913 anthem “There Is Power in a Union,” could easily have been inspired by the thousands of truck drivers who haul goods to and from the nation’s largest port in Los Angeles.
November 19 marks the 100-year anniversary of Joe Hill’s execution by a Utah firing squad for a sensationalized Salt Lake City double homicide. Hill, a 36-year-old Swedish immigrant, was an itinerant laborer and union organizer for the Wobblies – the Industrial Workers of the World (IWW). Today most historians view Hill’s arrest as a police frame-up and consider his trial and execution as, at the least, a politically motivated miscarriage of justice, if not outright judicial murder.
Hill’s mythic stature continues to serve as the soul of the struggle for workers’ rights and economic equality, and interest in his life shows no sign of abating — a phenomenon that is reflected in the ongoing yearlong series of exhibits, book events and concerts commemorating his death.
Joe Hill, of course, was no ordinary organizer but also a poet and balladeer whose knack for taking a well-known hymn or folksong,
Truth might be seen as the third installment of an informal Robert Redford trilogy of films grappling with American electoral politics and its stormy romance with the news media. This triptych began with 1972’s The Candidate, a satire about a telegenic senatorial contender who manipulates his image to win an election. Then came the 1976 historical drama, All the President’s Men, which solemnly celebrated the Fourth Estate in its early efforts to gather news about the Watergate break-in. Truth represents the melancholy trail’s end of this journey, when money and product-branding have trumped principles in both governance and journalism. It’s based on former 60 Minutes II producer Mary Mapes’ memoir that told how she and CBS news icon Dan Rather lost their jobs over a poorly sourced segment about George W. Bush’s alleged attempt to dodge military service in Vietnam through the Texas Air National Guard.