The first shot of What Happened, Miss Simone? shows a crowd applauding the appearance of a singer. After years of a self-imposed hiatus, Nina Simone walks onstage, and with one hand on a piano, bows. For a full 10 seconds. She then looks up and out at the rapturous audience. But she is not smiling. Her stare is intense. Some will see fear in her eyes. Others will see indifference. Others might even see loathing. Or all of it.
Once Simone sits at the piano and the applause ends, she does nothing for half a minute. The uncomfortable silence is finally broken by her softy saying “Hello” into the mic, only to be greeted by a fan shouting, “Hi. We are ready!” But is Simone? After seeing Liz Garbus’ documentary, an even better question is, “Was she ever?”
Clocking In is a new online tool from Race Forward, a New York-based group whose self-described goal “is to build awareness, solutions and leadership for racial justice.” Its analysis finds disturbing trends for people of color and women employed in the U.S. service industry. This virtual resource allows service employees to share their real-life job experiences with other workers, consumers, employers and policymakers 24/7.
Clocking In sends participants on a virtual journey while offering activist information on a range of workplace issues. Visitors choose one of three employment portals representing the restaurant, retail or domestic industries.
Clicking the restaurant option, for example, brings up a screen that says: “Workers in the restaurant industry face race and gender discrimination daily! Click ‘Start’ to learn from Race Forward and Restaurant Opportunities Centers United (ROC) about how it happens and what YOU can do about it!”
Next is a choice to click a male or female character.
A recent L.A. Times story profiled a fast-food worker who, according to reporter Don Lee, would lose eligibility for Medicaid if his wages were raised to $15. His wage gains could be “wiped out” by the higher health care costs he’d end up paying. Lee’s portrayal was inaccurate and misleading.
The story centers on 53-year-old Douglas Hunter, a Chicago McDonald’s cook and a leader in the Fight for $15, a national movement of fast-food workers who are pushing for $15 in hourly wages and the right to form a union without employer retaliation.
Hunter is currently enrolled in CountyCare, a Medicaid-managed care plan that pays for his health care, including more than $700 per month in medications and supplies he needs to manage his diabetes, cholesterol and blood pressure. Contrary to Lee’s assertion, Hunter would still qualify for Medicaid based on his income if his wage were raised to $15.
Some 70 years ago, the song “Rosie the Riveter” crackled over the wireless while a Norman Rockwell illustration of Rosie flexing her bicep popped from the cover of The Saturday Evening Post. By depicting the rivet gun-toting icon on her lunch break, Rockwell hopped aboard the government-fueled propaganda bandwagon that had only one aim: to recruit and train a female workforce capable of churning out munitions, aircraft, tanks and destroyers for a costly, brutal war that spanned two oceans and three continents. Rosie the Riveter did the job, and an estimated 18 million women left the house for the factory (or shipyard) — giving many the freedom to work outside the home for the very first time.
Last week California began accepting applications for the first round of the new film and TV tax credit, which policy makers in Sacramento had beefed up to try and lure film production back to the state. The legislature passed a five-year, $1.65 billion film tax incentive program last year, and with the revamped tax credit program up and running, many entertainment workers throughout California are feeling something not felt in a long time: Hope. For the first time in 15 years, the program feels better equipped to keep our suffering entertainment industry from flatlining and to revive the iconic “Hollywood brand” to its former greatness.
However, not everyone has cause to celebrate. Thousands of California’s post-production workers, including recording musicians, are still shortchanged by the tax credit program,
Move lips, move minds and make new meanings flare.
— Seamus Heaney, “Beacons at Bealtaine”
During a time of political optimism in Northern Ireland when the peace process was beginning to take hold, Irish poet and Nobel laureate Seamus Heaney gave a talk at Queens University in Belfast about the potential power of poetic language. In a place where the “idioms of suspicion and accusation” were insidious and entrenched, Heaney hoped that a fluid approach to identity and language might provide an escape route from binary thinking and the “weary twisted emotions” of Northern Ireland’s “troubles.”
Heaney suggested that it was poets and other writers who could provide a “re-angling of perception” that might loosen the stranglehold the sectarian psyche had imposed upon the linguistic and political landscape. Given some room to move, a more unruly vocabulary could surface where Catholics might regard themselves as “Catestants,” and Protestants could see themselves as “Protholics” —
The power of art to effect fundamental social change will be on display in Los Angeles this week as a major 10-day “pop-up” exhibit of visual art and accompanying performances, and workshops opens Friday at a former movie theater in the city’s Baldwin Hills neighborhood.
Called Manifest: Justice, the event will showcase over 250 works from more than 150 artists, along with 30 community events that focus on race and criminal justice reform, inequality, healthy communities and immigration reform. It is being produced with support from the California Endowment and Amnesty International.
Drawn from across the country, the list of participants includes such marquee artist-activists as the godfather of guerilla poster caricaturists, Robbie Conal, and Obama ‘HOPE’ agit-provocateur Shepard Fairey, as well as a host of up-and-coming street muralists and wheatpaste artists, inducling the likes of Tatyana Fazlalizadeh, Favianna Rodriguez and Jesse Hazelip. Also on hand will be big-league gallerists such as collagist-photographer Lyle Ashton Harris and painter-sculptor Eric Fischl.
She was the perfect patriotic icon: Sassy yet dignified, brawny yet feminine – a massive rivet gun cradled on her lap, feet resting on a copy of Mein Kampf. And all the while she holds a sandwich as Old Glory ripples in the background. Mary Doyle Keefe, a Vermont telephone operator who posed for Norman Rockwell’s immortal Rosie the Riveter painting, first publicly seen on a 1943 Saturday Evening Post cover, died Tuesday at the age of 92. At the time of her brush with fame, Keefe was Rockwell’s neighbor and a little embarrassed that the artist had pumped iron into the painted arms of the petite 19-year-old.
Rosie the Riveter had too much whimsy and restraint for it to fade into kitsch or agitprop oblivion. Like J. Howard Miller’s equally famous “We Can Do It!” poster, with which it is sometimes confused,
Fourteen months ago, media giant Comcast announced its plan to buy Time Warner Cable, a merger that would give one company control of 30 percent of television distribution and at least half of high-speed Internet distribution nationally. Here in L.A. County, Comcast would serve 96 percent of residents and, for 72 percent of those residents, it would be the only choice for broadband at speeds of 25 Mbps or faster. This level of national and local consolidation has brought together a broad range of consumer organizations, content creators, programmers and organizations representing diverse communities to oppose this merger. On April 14, these organizations came before the California Public Utilities Commission (CPUC) at a hearing in downtown Los Angeles to urge state regulators to say no to this deal.
Why is there such opposition? For starters, if the merger is approved Los Angeles residents are almost certain to face higher prices and anti-consumer policies that limit their access to content.
Sometimes the conventional narrative the media tell about a news story feels so wrong I can’t stand it — but I don’t know why until the story’s over. The recent coverage of the labor dispute at the West Coast ports — including Los Angeles and Long Beach — is a case in point. News reports focused on the long, drawn-out negotiation process as an economic disaster waiting to happen, and blamed the entire situation on those dastardly workers and their unions.
The narrative included several key arguments: A union slowdown at the ports was causing a backlog of shipping containers carrying everything America buys, putting all importers at risk and causing a plague on American shoppers. There would be long-term economic damage to our region as a consequence. With the eventual opening of the widened Panama Canal, shippers would skip the West Coast and head to other ports.
“He’s had some statements that to me sound kind of liberal, has taken me aback, has kind of surprised me,” (Sarah Palin on Pope Francis)
“He acts so holy. He made love to every girl in every city in America and he had AIDS. And when he had those AIDS, I went to my synagogue and I prayed for him. I hoped he could live and be well. I didn’t criticize him. I could have.” (Donald Sterling on Magic Johnson)
“Everybody who wants to steal your guns is funded by the unions. Everybody who wants to raise your taxes is funded by the unions. Everybody who wants to borrow too much money is funded by the unions. Whatever center-right issue you care about, the unions are on the other team.” (Grover Norquist)
“The guy who wins the Oscar for Best Actor has a much higher bar to clear than the woman who wins best actress.” (Writer-producer Aaron Sorkin)
“They abort their young children,
Last week Chicago Bulls basketball star Derrick Rose wore a T-shirt in warm-ups that read “I Can’t Breathe,” protesting the non-indictment of a New York police officer whose chokehold killed Eric Garner. Cleveland Cavaliers superstar LeBron James wore a similar shirt the next night, telling a reporter who asked him after the game if his action was a “Cavaliers thing,” that no, it was a “worldly thing.”
A few days before these pro basketball players’ protests, five members of the St. Louis Rams football team ran out of the team dressing room before kick-off with their hands raised above their heads, a reference to the “don’t shoot” gesture that protesters have been using after the shooting of teenager Michael Brown in Ferguson, Missouri.
Predictable outrage ensued. The St. Louis Police Officers Association issued a statement saying the organization was “…profoundly disappointed” with the five players,
If you’re bummed by the recent election and feel like the clock’s been turned back for women’s rights, take yourself to a screening of She’s Beautiful When She’s Angry, the new documentary on the 1970s women’s liberation movement, and get some righteous feminist energy going.
Opening in Los Angeles December 12 at the Nuart Theater, the 90-minute film is jam-packed with footage of energized women challenging the powers that be — from Congressional committees to the medical establishment, from news media to men on the street — demanding basic rights and respect for themselves as citizens, workers, wives and girlfriends.
As a founder of the Chicago Women’s Liberation Union in the 1960s, I have a small part in the film, which thankfully shows the movement as it really emerged, not just in New York, but in communities across the U.S.
It’s hard to imagine what life was like for women back then – want ads were segregated by gender,
I recently sat down with actor Ed O’Neill, best known for his role as Al Bundy in the Fox TV Network sitcom, Married With Children, and who is currently starring in ABC’s award-winning comedy, Modern Family, which will be honored next week at the Los Angeles Alliance for a New Economy’s 2014 City of Justice Awards Dinner. Here’s the second in a series of clips from that interview. (Full transcript here.)
Earlier this month I sat down with actor Ed O’Neill, best known for his role as Al Bundy in the Fox TV Network sitcom, Married With Children, and who is currently starring in ABC’s award-winning comedy, Modern Family, which will be honored in December at the Los Angeles Alliance for a New Economy’s 2014 City of Justice Awards Dinner. Here’s the first in a series of clips from that interview. (Full transcript here.)
It’s been more than 50 years since Cesar Chavez and Dolores Huerta founded the United Farm Workers union. In the ensuing decades, broader activism and increased awareness of the importance of those who grow and harvest our food have resulted in better wages and living conditions for some workers in our state and others, in spite of public indifference. The farmworkers’ story of struggle and of battles won (and those yet to be fought) are told in Food Chains, an unsparing documentary that screened Sunday at Laemmle’s Playhouse 7 in Pasadena under the sponsorship of the nonprofit Food Chain Workers Alliance.
The film chronicles the exploitation and brutal poverty — and in some instances, forms of enslavement— that plague American agriculture. Food Chains is directed by Sanjay Rawal, produced by Rawal, Smriti Keshari and Hamilton Fish, narrated by Forest Whitaker, and executive-produced by actress Eva Longoria and activist/filmmaker Eric Schlosser (Fast Food Nation);
When I saw the subject line, “sad, sad news,” this past Monday from fellow mystery writer Reed Farrel Coleman, I figured it was to alert us in the mystery community of the passing of one of our elderly members. It damn near knocked me to the floor when I opened the email to read of the sudden passing of Jeff Fisher, the illustrator Reed first introduced me to several years ago — Jeff who played basketball and was my age.
Jeff had been doing the illustrations for “The Dixon Family Chronicles” webserial here on Capital & Main until his untimely death. He was a tall, gregarious guy and when we met that only time he was out here on the West Coast, we immediately hit it off.
Jeff struck me as a man who loved life and observed it to inform the drawings and illustrations he’d do – capturing those quirks of human expression and body language.
Capital & Main recently sat down with actor Ed O’Neill, best known for his role as Al Bundy in the Fox TV Network sitcom, Married With Children, and currently starring in ABC’s award-winning comedy, Modern Family, which will be honored in December at the Los Angeles Alliance for a New Economy’s 2014 City of Justice Awards Dinner.
What are your thoughts on the direction of the country after this last election?
I voted — I had to vote absentee because I was working. But these midterm elections are always puzzling to me because usually not many people come out for the vote. But obviously the country goes back and forth about so many things. I personally think Obama’s doing a pretty good job. Then again, I don’t follow it every day. For me,
When I was 13 I was, like many kids growing up in L.A., offered a bit part in a movie. But this wasn’t any movie; this was Desire Under the Elms, starring Sophia Loren, Burl Ives and Anthony Perkins. Written as play by Eugene O’Neill, its story was so risqué that my mother wouldn’t let me see the film for years. (Young and beautiful Sophia Loren is married to old man Burl Ives but has a child by his slightly creepy son, Tony Perkins, while they’re all living together on an isolated farm.)
What excited me was getting out of school for two weeks, earning $28 a day and doing something my older sister never got to do. Beyond that, it was boring just sitting around on the set, being tutored in a cramped trailer, as required by state law, costumed in a gingham dress and bonnet with fake pigtails pinned to my head.
And wisdom is a butterfly
And not a gloomy bird of prey.
— W.B. Yeats
Artist Eric Drooker’s drawing of an iron worker sitting astride a steel girder looking solemnly at a butterfly is a cool image. (The drawing appeared as a 2009 New Yorker cover.) Judging from the shadows on the buildings, the sun is low in the sky. There is no sweat dripping from a grimy brow. Unlike the socialist-realist paintings of noble workers striding forward or the purposeful energy depicted in WPA murals of the 1930s, the iron worker here is alone and contemplative – sad, even.
Where are his fellow workers who might provide a release from strenuous labor with a moment of conviviality? The city itself appears quiet. The strutting, tempestuous, scandalous streets of New York do not even attract a glance. This iron worker reminds me of one of Edward Hopper’s lonely figures,