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"When fascism comes to America, it will be wrapped in the flag and carrying the cross."
-- Sinclair Lewis
Dissatisfied with the Boy Scouts of America's new policy permitting openly gay boy scouts, a new Christian alternative, called Trail Life, emerged in 2013 and began a public relations blitzkrieg this past week. The group, which already has more than 100 chartered troops, has materials and rules but no uniforms as of yet. The press offensive played up the group's values and growth and garnered write-ups in the San Jose Mercury News, Seattle Post-Intelligencer and MSNBC, among others. The mainstream press was happy to print photos of young “trailblazers” giving what appears to be a Nazi-style salute without criticism, but did not seem eager to research the background of the group's leaders and their connections.
We’ve had months to see most of the Academy Award nominees, but a couple of stragglers are arriving in town just under the wire.
Last week, the Palestinian film Omar began telling its nail-biting tale at the Gateway Film Center. If you have hope that Israel and the Palestinians will eventually work out their differences, this may not be the flick for you. Writer-director Hany Abu-Assad (Paradise Now) has crafted a thriller that is as short on optimism as it is long on intrigue.
It’s the tense story of a West Bank baker whose life becomes a risky chess match after he’s implicated in the murder of an Israeli soldier. Actor Adam Bakri, leading the uniformly strong cast, succeeds in making us care about the baker even if we disagree with some of his actions. As a near-masterpiece by a rising star of international cinema, Omar is a must-see for serious film buffs.
The Wind Rises, which opens Friday at the Drexel Theatre, is also a must-see, but for the opposite reason: It’s billed as the final full-length work by Japanese animation master Hayao Miyazaki.
As you may have heard, Shadowbox Live canceled its production of Into the Woods last week after only one performance.
The problem: The licensing agency learned the troupe had cut music from the show without prior permission. Shadowbox was given the option of restoring the missing music, but it decided the resulting show would have been too long for its purposes. So, bye-bye, Cinderella, Jack, Little Red Riding Hood and all the other familiar characters who were Sondheimized for the offbeat fairy tale.
Are restrictive licensing agreements a bad thing? The theater community could get into a heated debate on that question. On the one hand, they curtail artists’ freedom; on the other, they protect the integrity of the original work. In this case, the licensing dispute closed a show that not only cut music but reimagined many of the characters and plot elements. It clearly was not what creators Stephen Sondheim and James Lapine had in mind.
It is said that politics is a full contact sport and that Ohio is a battleground state. With Ohio politicians seemingly incapable of legitimizing medicinal cannabis while their power to do so is being usurped by “we the people,” it seems logical that this topic would ignite a heated debate. Such was the case at the ABC 6 Town Hall Meeting on Medicinal Marijuana held at the Columbus Museum of Art in the evening of Wednesday, February 19th. Perverbial fists and fingers flew.
Sparring partners included those representing the prohibitionist status quo who sat on the left side of a long table – Dr. Steve Matson, President of the Ohio Society of Addiction Medicine, and Marcie Seidel, the Executive Director of the Drug Free Action Alliance. And on right side, the voices for reason and reform belonged to Michael Revercomb, Vice President of Ohio NORML and John Pardee, President of the Ohio Rights Group. The ORG sponsors the Ohio Cannabis Rights Amendment, one subject of the debate.
When I started to pay attention to the movies on the black and white television in our family room, I loved to watch the “silly” negro actors who occasionally showed up in the old black and white movies from the 1930s and 40s. At the time, as a young child, I liked them just as much as the “silly” white actors in the movies. The only difference that I saw in the acting of the comedians was that most of them were white, with the exception of the few black actors.
It wasn’t until I was older and my father began to teach me my Black and Cherokee history on his family side and my mother taught me my Black and “possibly” white history on her side that I realized that the negro actors that I had been watching, and laughing at, when I was a youth were wearing “blackface.”
That’s right! The black people who already had “brown skin” were forced to wear “blackface” in order to get a “part” in a movie or in the theatre. Let’s look at a few of the Black actors who had to play the “role” to get a part in the 1930s and 40s: