I missed the livestream of the 2016 Rod Serling Award for Advancing Social Justice Through Popular Media honoring BLACK-ISH creator Kenya Barris a couple of weeks ago. The presentation included remarks by writer, producer, and director Bill Froehlich, Diane Gayeski, the Dean of Ithaca College’s Roy H. Park School of Communication (where Serling taught), and actor Marcus Scribner who plays Andre, Jr. on BLACK-ISH.
I miss the old Rod Serling Conferences they used to hold. Full disclosure: I presented at two of them, and was looking forward to more. I’ve no clue why TPTB decided to make the transition, but it’s understandable. Mining the past has its benefits but so does looking forward, which is what this award does.
I will say this year’s award seems an improvement over last year’s with respect to diversity and representation. I didn’t read about (or, look for to be honest) any criticism about the award then, but I have to give it props that it turned things around 180 degrees in a year. Barris was definitely an inspired pick, with his work on BLACK-ISH being the most recent best example of fulfilling what Rod Serling thought as the writer’s role…
The writer’s role is to menace the public’s conscience. He must have a position, a point of view. He must see the arts as a vehicle of social criticism. And he must focus on the issues of his time.
It was long enough since I’ve been to my local indie theater that my membership lapsed, so the ticket for this film essentially cost me $83. No complaints at all.
I haven’t read Fredrik Backman’s EN MAN SOM HETER OVE on which the film’s based. A lot of my film-going acquaintances have been saying lately of film adaptations, “I don’t know if I should read the book first.” I’ll usually see an adaptation but rarely go back and read the book. I probably will in this case. I’m very curious to see how many of the film’s themes came from the source material, because I don’t think I see too many films that feature an older character growing, at least in a direction other than “feeling young again.”
It’d be easy to watch the trailer and be tempted to dismiss the film as being about a grumpy old bastard who rediscovers life and joy by the end of it.
What I saw in this film, though, was a character transforming into the role of elder. Ove is someone who moves past simply enforcing the rules as a way of adhering to some idealized past. He comes to accept an expanding world, which doesn’t mean he has to give up on core values. Instead, the elements of the expanding world bring some of Ove’s values into focus, moving him forward which enables him to help others do the same. The best part is how, in the end, he does rediscover life and joy in spite of — and due to — being the grumpy old bastard that he is.
I’m at the cafe I usually sit in on Sundays, gearing up for today’s writing with coffee and baked goods. I decided to dive into my social media networks (and, tweak the new site here a little bit). I spent what I felt to have been a productive hour interacting a bit. As soon as I post this, I’m going to turn all of that off but then I realized something — sure, the next time I tune in again, I might’ve missed something. But because of how big the big things tend to stick on social media, it’ll be back around again like a TV rerun.
Which then made me think that just because social media is designed to be a stream and is meant to be consumed as such (since it’s on 24/7, nonstop because of its ubiquitous presence on all of our devices), it doesn’t mean I have to treat it that way. Just what is the actual difference between the social media stream, and any other media stream I had coming up in the 80s and 90s (TV, radio, recorded media, etc.) with respect to its demands on my attention and how I choose to respond to that demand?
I finally bit the bullet and got my own hosting. Not everything survived the Blogger-to-WordPress transition, but I’m working on it. Yeah, yeah, I know. Say what you will about Blogger but the fact is, most of my life is in teh Googles and rolling a Blogger blog (tackiness and all) was more efficient. Still, this move had to happen sooner or later. As they say, “Dress for the job you want.” and the people with the jobs I want roll their own sites.
I still have a punch list of issues to work through. So far, the only two “cons” of this whole process are: (a) The random few pictures that didn’t import from my old site. I went back and manually updated the last few posts, but not any further. (b) The fact that my research led me to believe I could write posts in Markdown (my style of choice for drafting every text-related thing in life), and I can’t seem to enable the feature. Yes, the WP editor is so much better. Still, it annoys me that I can’t just bracket words and just copy/paste a link without having to use the link UI like a peasant. Oh well.
I guess now would be a good time to actually do some writing. Have an essay and an overdue (by my personal calendar) story to edit.
And I don’t mind saying that I still love it all
I wallowed in the springtime
Now I’m welcoming the fall
For every moment of joy
Every hour of fear
For every winding road that brought me here
For every breath, for every day of living
This is my Thanksgiving
I’ll forever know 2016 as The Year of Silenced Voices. The year we lost Bowie, Prince, Leonard Cohen, not to mention all manner of actors, writers, is broadcasters, will be the year we lost Miss Sharon Jones.
I know the whole Daptone Records thing is sometimes seen as retro at best and white hipster appropriation at worst. I heard the some of the same criticisms of the so-called “Young Lions” of jazz back in the ’80s, who made music that Miles called “warmed-over turkey.” But I always appreciated the Daptone vibe and the aesthetic, and Sharon Jones will always be at the forefront of that in my mind.
I watched – more importantly, heard – that vibe in action in 2011, when Sharon Jones & The Dap-Kings came to my neck of the woods. And after the show, I got to exchange words with Sharon and some of the other members of the band. I got to see firsthand what a true artistic collective looks like; how a group can make a single member’s voice shine and how that single member highlights the rest of the group. Sharon herself, of course, is one of the best examples I’ll ever encounter of someone who succeeds by fighting to do what she does, whether it’s ANR people’s perceptions or cancer. That, to me, was her magnetic je ne sais quoi.
Today’s playlist: the whole SJDK catalog. Probably for the rest of the week too, I think.
I’m a regular PBS Newshour viewer, going back to when Jim Lehrer was still running the show. I remember noticing near the end of his tenure, the growing prominence of Ifill, Judy Woodruff, and a few others. From my perspective, it was done quietly, almost subversively. I remember thinking for sure it’d be Margaret Warner at the desk after Lehrer left, but seeing Ifill and Woodruff center stage gave me real hope for the future of good reporting. Reporting that really sought to deliver us the news from as many different perspectives as possible.
People point to institutions (every institution, really) all the time with justified criticism, but most folks can point to individuals in those institutions who represent the ideal. The ones about whom even reasonable detractors can say, “If everyone in that instituion had the professional skills and personal integrity as X, I’d have no problem.”
Gwen Ifill was one of those folks. I’ll miss her presence and her voice, especially during these trying times.
I’m sure some of you tuned in today expecting a Spider Jerusalem-scale political rant. Some of you may even have been wincing in expectation of it. But I’m not Spider Jerusalem. He was my Id from twenty years ago. Going off here would be empty virtue-signalling from someone with no serious skin in this particular game. Whatever I say next, it’ll be through the work.
And so it immediately brings to mind how I resolve that conflict as I write. How do I make whatever I say come through the work? As always, I’ve had the answer all along…
What are you dealing with now in terms of plot points, themes, concerns now? The world and everything in it: Hunger, poverty, the anguish of the human race, the desperate sense of self destruction that we entertain all the time, the deep pervading gloom that comes with our inability to cope. Of course, you’re going to over-concern yourself with issues. It’s right that you should do so, and it’s expected… this year. Next year. But not three years from now.
Leave that soapbox behind. Carry with you, at all times, your sense of caring and your concern. But put it into the mouths of flesh and blood people. If not, write tracts.
Now, not to be critical, but I think it’s fair to say there’s a certain privilege in being allowed three years before transforming your soapbox feelings to good fiction writing. But that part of the prescription isn’t important, really. And I don’t want to dismiss tract and pamphlet writing, either; lots of folks do both. But the principle is sound.
As for me and my writing though, I have the motive, and now I have the means. And now I have some writing to get back to.
I’m still in shock over the election to come up with my own words. My Twitter feed has been mostly retweets. I don’t feel too, too bad because signal boosting serves a purpose. But all my personal fears and hopes (in that order) are bubbling to the surface — for my friends, my loved ones, all the friends of friends who are, even as of yesterday, are being directly intimidated, immediately faced with losing livelihoods. And for all those who are, just days after, dying as a result.
The words are almost here. I hope. They have to come. Don’t they? Because I can’t keep living the way I have been living anymore…
We hide behind the veil of our own success
While we’re following the rules
Our eyes refuse to see past our little hands
To the never changing truth
Freedom needs to speak a little louder
Justice needs to try her other arm
Some of us could push a little harder
To sound the alarm
It’s a shame there couldn’t be another World Fantasy Conventionwithoutyet anothercontroversy. Because of it, people either resold their memberships or failing that (or to even give them away), simply didn’t go. I had my doubts about going until the 11th hour, given the time, money, blood, sweat, and tears I’d put into Viable Paradise the week before. I wasn’t even that jazzed about continuing my streak of being a panelist at every WFC I’d attended.
Nonetheless, I made the trip to Columbus, OH, my second adopted hometown. It’s a bittersweet place of personal demons I managed by and large to put to rest. I relived some good memories, like sitting for lunch at the North Market once a week eating stromboli from Serafino’s. I even sat in the same section; it really was like traveling back in time. I saw old hangouts, walked old downtown walks, and visited places I didn’t get to 15 years ago. And to add to the surrealism of it all, I sat at the hotel bar watching Cleveland in the World Series.
But in-between my trips on and off the carousel, I was there for a purpose: to fulfill the commitment I’d made to be on the new and improved “Spicy Oriental Zeppelin Stories” panel, d.b.a. “A Golden Age of Contemporary Fantasy.” The panel – the revision for which I strongly suspect was influenced by Guerilla WFC – lived up to its new and improved name, in my opinion. I admit though, I’m still chewing over the audience reaction. (Rightly or wrongly, it bothered me a bit; haven’t completely processed it yet, though.) And while I was still a zombie from the previous week and didn’t connect with as many people who were there as I’d wanted, I did manage to say hey to a couple old friends and maybe make a couple more. I even got to a some of the other panels. So between all of that, and helping to brighten up (at least, I hope I did) a corner of my field that needed it, it wasn’t a bad way to spend a weekend.