Global
Black! - written and performed by Michael Washington Brown - is not a solo show solely about the African American experience per se. Instead, it is a broader look at people of African origin in England, Jamaica, the U.S.A. and sub-Saharan Africa. In this one-man show Brown incarnates men from these various locations (in fact, in the post-colonial segment of this 90-minute one-acter, he portrays both an interviewer and his interviewee), exploring what the playwright/actor calls in the L.A. premiere’s program the “distinct differences, yet, a very definite similarity between Black people from all walks of life” in disparate parts of our globalized planet.
In doing so Brown confronts stereotypes and varies his accent and demeanor as still and moving images (including of iconic Blacks like boxer/draft resister Muhammad Ali) projected on a screen behind Brown (technical design by Caitlin Rucker) punctuate his extended monologues. The gifted Brown seems to be a likely candidate for this dramatic exercise that’s often lightened by levity. Of Jamaican and Barbadian ancestry, Brown grew up in London, but since 1992 he has lived in California and New York.
Last weekend I was on Iranian TV being asked about the meeting in Tehran at which the presidents of Iran and Russia had refused to agree with the President of Turkey to stop bombing people in Syria. I said Iran and Russia were wrong.
I also said that nobody involved, least of all the United States, was right.
Not only would the United States and the world be infinitely better off if in response to 9/11 the U.S. government had done nothing at all, as Jon Schwartz tweets each year, but Syria would be dramatically better off if just about any outside force had never gotten in or now got out.
Here’s my 5-step plan for Syria:
If you’re an aficionado of musicals who hasn’t made a voyage yet to the Odyssey Theatre to experience the siren songs of Side By Side By Sondheim - which has been extended - you still have a couple of weekends left to sail on over to Sepulveda Blvd. Sure to delight fans of plays featuring songs, this revue’s “gimmick” (as Gypsy’s strippers would put it) is that three singers and a narrator (Mark D. Kaufmann, who occasionally croons tunes, too) accompanied by pianists Cheryl Gaul and Richard Berent (also Side’s musical director, he tickles the ivories on a separate keyboard), perform numbers with music and/or lyrics written by Stephen Sondheim.
So first of all, let me get this out of the way: I really enjoyed the annual experience of watching an ancient Grecian play performed under the stars at the Getty Villa, seeing and hearing it in an amphitheater the way Greek audiences did when Euripides’ Bacchae opened in 405 BC. The drama pits Dionysus (a whimsical Ellen Lauren) - who, according to press notes, is “the god of divine ecstasy, fertility, wine and harvest… [and] theater” - against Pentheus (Eric Berryman), king of Thebes (the dramatist’s birthplace).
I’m certainly no expert on Greek drama but it seems to me that what Euripides, the playwright of antiquity, was getting at is what Sigmund Freud, the 19th century founder of psychoanalysis, would much later describe in works such as 1930’s Civilization and Its Discontents. That is, the struggle between the id - the unrestrained, instinctual, inner self - and the superego, from whence rules and regulations emanate. Out of this epic clash and collision Classical tragedy is born - and borne.
“This isn’t rocket science,” Jackie Ingram said, humorously downplaying her involvement in the Restorative Justice Community Court, a pilot project of the Cook County Circuit Court, which has brought a new, healing-focused system of justice to her community this past year.
My thought in that moment was: She’s right. Saving kids and reclaiming a troubled, broken community may be more complex than rocket science.
And more crucial.
“This is basic,” she went on. “Give them hope that they have a future.”
Jackie, who lives in the Chicago neighborhood of North Lawndale, is one of the community members involved in the experimental court, which addresses some of the worst failings of the country’s criminal justice system.
The University of Virginia’s Miller Center caught flak for appointing Trumpian Marc Short, but has now announced the appointment of John Negroponte, presumably hoping for little resistance since Negroponte’s not a Trumpman.
But shouldn’t morality still matter? Shouldn’t a center that has yet to ever feature an opponent of war but keeps inviting mercenaries and soldiers and warmongers to speak have to have some limits?
The United States spends about five times what China does on its military. And it spends more just on its military bases in other people’s countries than any country other than itself or China spends on its entire military. The United States keeps troops in almost every country on earth, including in 800 to 1,000 major military bases outside the United States. The rest of the world’s nations combined (most of them U.S. allies and weapons customers) keep a couple of dozen foreign bases total. Imperialism is a uniquely U.S. illness, although everybody suffers the damage.
The following article comes, slightly edited and re-formatted, from a 2015 Frontiers in Neurology Review Article. It was authored byRomain Kroum Gherardi, Housam Eidi, Guillemette Crépeaux, François Jerome Authier and Josette Cadusseau (of the Faculté de Médecine and Faculté des Sciences et Technologie, INSERM U955 Team 10, Université Paris Est-Créteil, Créteil, France)
(The original English journal article is available online at https://www.frontiersin.org/articles/10.3389/fneur.2015.00004/full)
Following are two important passages from the article plus a note from the Duty to Warn editor prefacing the article: