Reading Reviews

I gave a LIFETalk at my school’s convocation about our responsibility to undo oppressive narratives about our kids. This is part 1 of 3 of the speech, edited and expanded to better fit a written format.

LIFETalkI love to see movies. Every week, I try to make it out to the movies at least once. People with children tell me this is a great source of jealousy for them, as the movie-going days end when the little ones take center stage. I will probably forgo having children for a long time.

Being a known moviegoer makes me the go-to guy amongst my friends for recommendations. I often attempt to convince people to see movies that are not in the never-ending Marvel universe. If I have negative feelings toward something, I will ask people general questions about their preferences before saying anything too specific. “Do you enjoy cliché romantic endings? Oh, you do? Then yeah, you’ll love it.” I’m very helpful and nonjudgmental in this way.

On one hand, I enjoy being a trusted source of movie recommendations for people. It’s a source of pride for me. It is also a source of tension, because I hate when people try to form my opinions for me, so I worry that I do the same to others when I talk a movie up or down.

Everyone wants to know what to see and what to avoid so they save themselves time, hassle, money, boredom. Put simply, we want somebody else to tell us what to love and what to hate. It is amazing when someone who has not seen a movie rattles off everything that is wrong with it because so-and-so who writes for so-and-so told him so. We let somebody else form our opinions about things we will never experience for ourselves.

And there is more hate in movie reviews than anything else. A recent review of Adam Sandler’s new movie Pixels said that a justifiable reason to see the movie would be “having a loved one held for ransom” or suffering “a serious blow to the head.”

A review of Paul Blart: Mall Cop 2 said it offers “possible evidence of a civilization in decline.” Look, I’m not thrilled about Kevin James’s career choices either, but the most harm he is doing to anyone on that Segway is himself.

It’s easy to be negative; it can even be fun.

It’s also poisonous.

Our problem in education (and the world at large) is that we read the reviews about our children before we give them a chance. Inevitably, the beginning of the school year brings a lot of jitters and chatter about which unlucky teacher got ‘That Child’. We look over each other’s shoulders and groan in sympathy when a teacher has one of our former troublemakers on their roster. We begin to recount stories of disaster and mayhem that we ideally think will prepare that teacher for what misfortunes are about to befall them.

What we really do, however, is write that child off before that child gets to write themselves a new chapter. We deny that child’s right to be better than before. We silence the possibility that people can change. We oppress our students before they even enter the classroom.

When people hear that I teach in Oak Cliff, their eyes all but pop out of their heads. They make some comment along the lines of, “Wow, those kids must be so rough.”

Nine times out of ten these people have never been to Oak Cliff.

Ten times out of ten these people have never met the wonderful children I am lucky to have known for two years.

They have read the negative reviews and spat them back out as facts. They know all about a movie they haven’t seen.

Make no mistake: this review-reading and regurgitating is nothing short of oppression. When we make assumptions about people who are young, or black, or brown, or live in a certain neighborhood, or look a certain way, we willfully and actively push down a group of people we have not begun to try to understand. With the multitude of obstacles that children face in the 21st century, our ill-informed assumptions are just one more roadblock they will have to overcome on their journey in becoming. Turn the news on: some aren’t even getting the chance to prove they are more than these categorical reductions.

So what do we do—as educators, as adults, as advocates for our kids—in order to unravel these oppressive threads and allow our children to write their own narratives?

The actress, writer, and producer Mindy Kaling tells a story in her book about Steve Carell, whom she worked with on The Office. It’s rumored that Steve Carell is the nicest guy in Hollywood, and Mindy’s evidence of this is that anytime the cast of The Office gossiped about someone, and asked Steve to weigh in, he would (at most) say, “Wow. If all they say about him is true, that is nuts.” He would then “politely excuse himself to go to his trailer.” She said it was infuriating. But you know what? The world needs more Steve Carells and less TMZs. The world needs more moviegoers and less movie reviewers.

We need to take it even farther than Steve Carell. There are so many negative narratives about our kids that it is becoming more and more urgent for us to push back on these narratives with better, truer stories.

When people make ignorant comments about my kids, I feel angry, awkward, and ill-equipped to respond. But I have slowly grown to counter these microaggressions with stories that I believe diffuse the moment’s tension without making a scene. One person went so far as to say that teaching in Oak Cliff must be “scary.” I lowered my voice as if I was about to share a spooky story by the campfire and replied, “Yeah, on my last birthday, my children threw me a surprise party. They planned it for weeks and had snacks, gifts, and hugs all around. Very scary.”

Let’s make a promise to each other: Let’s not read the reviews before we meet our children. Let’s not hear the story from someone else. Let’s not return to our classrooms and start gossiping about kids we haven’t met, or about kids who haven’t finished growing yet—which is all of them.

If you aren’t an educator, be careful how you speak about children you don’t know.

If you are an educator, be careful how you speak about children you do know.

Let’s recast ourselves not as critics ready to write scathing reviews of our kids, but as active participants in the movie of these children’s lives. Imagine that our names will appear in each child’s credits, and realize how important it is that every child gets to tell the story they set out to tell.

There is an incredibly inspiring, daring, challenging story inside each of us—we all deserve to tell it our way.

Chang, Justin. (2015, April 17). ‘Paul Blart: Mall Cop 2’ Review: Kevin James Heads to Vegas. Variety. Retrieved from http://variety.com/2015/film/reviews/paul-blart-mall-cop-2-review-kevin-james-1201474644/ 

Kaling, M. (2011). Is Everyone Hanging Out Without Me? And Other Concerns. New York, NY: Crown Archetype.

Mohan, Mark. (2015, July 22). ‘Pixels’ review: Adam Sandler battles video-game space invaders; why won’t someone say ‘Game Over’ to his career? The Oregonian/OregonLive. Retrieved from http://www.oregonlive.com/movies/2015/07/pixels_review_adam_sandler_bat.html

The Grammys, Kanye, Racism, and Us

On Sunday I gathered with a small number of friends to watch my second favorite awards show of the year (the Oscars take first prize). As one of said friends described, the Grammys are the equivalent—in fact, superior—to most national holidays for me.

Although ratings dropped significantly and a lot of viewers felt little more than boredom, I thought this year’s show was actually indicative of the state of more than music in America—an important step for a show that is typically just another way for celebrities to celebrate themselves.

Despite groaning that Pharrell was going to perform “Happy” two years too late, I was taken aback by his approach to the song. His dancers donned hoodies and—during a piano interlude in the middle of the song—raised their hands to indicate the now-iconic “hands up, don’t shoot” protest signal. Drawing to mind both Trayvon Martin and Michael Brown, Pharrell used his platform to nod to the African-Americans that never get the chance to succeed like him.

President Barack Obama made a surprise video appearance to speak out against domestic violence, along with a spoken word performance from activist Brooke Axtell and Katy Perry’s moving rendition of “By the Grace of God”. In the week leading up to the film release of the disgusting glorification of domestic violence (otherwise known as Fifty Shades of Gray), the three messages were bold, timely, and necessary.

Throughout the three-hour show, social messages like these were more than sprinkled throughout the broadcast. Country artist Eric Church sang “Give Me Back My Hometown” with news footage ranging from #BlackLivesMatter protests to the Je Suis Charlie demonstrations. Beyoncé’s choir also made use of the “hands up, don’t shoot” signal, Prince made reference to the #BlackLivesMatter movement, and John Legend and Common performed their beautiful Selma-inspired “Glory” to close out the show.

Art has always been meant for addressing societal ills in attempts to move people to action. In fact, part of Obama’s speech noted artists’ “unique power to change minds and attitudes and get us thinking and talking about what matters.”

This year’s Grammys seemed to center on that notion, as artists who were being recognized for their work were pointing to what really matters right now.

I couldn’t wait to discuss this with people the following day.

After logging onto Facebook, however, I found that the entire conversation around the Grammys had turned to Kanye’s speech about Beyoncé deserving the Album of the Year win over Beck. “Go away, Kanye. Just go away,” one post read. “Kanye proves to be an idiot again,” another said. Shirley Manson, lead singer of Garbage, wrote an open letter to Kanye, telling him to stop throwing his toys. These and other vulgar words and phrases were used to chastise the artist.

Let me begin by saying that Kanye’s comment about respecting “true artistry” was insulting—intentionally or not—to Beck. It was inexcusable to even accidentally imply that Beck is not a real artist (even though he later clarified that he loves Beck, the initial wording had already done its damage).

But why was that the story that media focused on the next day? You currently cannot Google the word “Grammys” by itself without Kanye’s speech popping up at the top of news stories. Is it that Kanye’s speech was the most “exciting” part of the Grammys—even if it came in the E! post-show? Is it that Kanye was dead wrong or right, depending on who you asked?

I think the real answer is that both media and now social media have trained us to care about the wrong things. In a year where we could have opened up some great and needed conversations about racial issues and domestic violence, media outlets have focused our attention to what is being described as another Kanye “rant,” “outburst,” or “tantrum.”

As I write this, I know some of you will read that last paragraph and think, “Way to go, Kanye. You ruined it.” But Kanye, though not totally innocent, was not the one who turned your focus to him. When you watched or read about the Grammys, you chose what to talk about. You chose what to digest. You chose what to post about.

What many of us do not understand about Kanye’s speech is that his opinion—though not totally clear in this speech—was rooted in very real and valid feelings about the troubling history of Grammy awards. “They need to stop playing with us” is another way of saying, “The Grammys need to stop pretending to honor black artists.” (Kanye has spoken about this before, in clearer terms.)

When LL Cool J introduced Kanye for his performance of “Only One,” he mentioned that Kanye has won 21 Grammys. What he didn’t mention was that Kanye has only won these awards in the Rap and R&B categories, which historically mostly feature only black artists. Though a relatively young genre, hip-hop albums by black artists have only been nominated for the coveted Album of the Year category eight times. Only Lauryn Hill and Outkast have gone on to win. Music legends Tupac, Notorious B.I.G., and Jay Z have never been nominated. Compare these numbers (or lack thereof) to Eminem’s four nominations, more than any other rap artist and a third of the total number.

It is easy to dismiss the Grammys as an irrelevant award show. But the reality is that, regardless of how much we vocally dismiss it, we pay attention to it. And when black artists are told they are honored by the show, but see that they are usually only honored when pitted against each other (and not when Eminem is nominated), this promise feels hollow. Yes, Pharrell and Beyoncé won against white artists for “Happy” and “Drunk In Love,” respectively. But the exceptions are never the rules.

A reality of white privilege is that we get to attribute Beck’s win over Beyoncé to musical ability and ignore any potential racial implications. People of color cannot help but be hyper-aware of racial implications, whether real or perceived. This is the reality that Kanye lives in daily, the one where he points out privilege that we are either afraid to admit or unable to even see.

I am speaking from a place of white privilege myself, but I have observed the way my students view different situations in their lives, constantly questioning whether a teacher’s reprimand or a waiter’s rudeness was racially-charged. Before teaching, I never considered that people might be treating me in a certain way based on my race. That is part of what privilege is: being able to exist without awareness of why people treat you in a certain way. The world that people of color exist in does not allow them such a carefree, inattentive attitude.

When my African-American students view the media, I want them to see a narrative that says they are valued, that the outcry of #BlackLivesMatter is not just a dream deferred, something paid homage to only by artists who already look like them. I want them to see African-American success stories without asterisks, without footnotes.

I want them to Google “Grammys” and see celebrations of Beyoncé rather than dismissive reductions of her life’s work. I want them to see people talking about Kanye’s moving tribute to his mother and daughter rather than calling him a baby for expressing real fears of prejudiced voting systems. I want them to see WHITE people fighting for African-Americans, rather than just African-Americans.

If you want to stop being part of the racist media, stop insulting Kanye on your newsfeed. Post something positive about him, or another African-American artist. Question the way media portrays him and other black artists. Start a conversation about whose voices are heard on the Grammys and whose are not. Support the #ItsOnUs campaign to help victims of domestic abuse, an issue affecting all races.

If you feel you cannot do any of these things—or don’t want to—don’t post another word about the Grammys. Don’t call Kanye a child for feeling something you have never had to feel yourself. Don’t reduce people for the sake of it, or at all. The media has already done enough damage without your cutting sword.

Let’s talk about what our world really needs right now. Because black lives really do matter. And domestic abuse is on all of us to stop. And social ills need more than artists paying tribute to them in order to be cured. You are more capable than you realize, and certainly more responsible.