Tuesday, January 17, 2017

GOOD KARMA: The Ghostlight Project

#bealight #ghostlightproject #allarewelcome

Photo courtesy of Mixed Blood Theater.
Ahead of the looming inauguration festivities (or, some might say, dirges) this coming weekend, theaters around the country are hosting a Ghostlight ceremony this Thursday, January 19 at 5:30 p.m. to help shine a light of solidarity with marginalized groups and fellow theater patrons who are concerned about current political events. The Ghostlight Project is creating safe spaces and commitments from the public to help defend such spaces across America; they define safe spaces as those where:

  • It is safe to be who you are, regardless of race, class, religion, country of origin, immigration status, (dis)ability, gender identity, or sexual orientation. 
  • Diverse opinions, dissent, and argument are not only tolerated, but invited.
  • Active listening and courageous exchange are fundamental values.
  • Collective action, activism, and community engagement, both within and outside the walls of the theatre, are cultivated, encouraged, and supported."
The event is meant to be a national event of solidarity and inclusion, and participants are coming from all 50 states and more than 30 local theaters and learning institutions. Twin Cities theater groups are certainly involved; just check out this list of attendees:

  • 7th House Theater
  • *Augsburg College
  • Girl Friday Productions
  • Hero Now Theatre
  • Impossible Salt
  • In The Heart of the Beast
  • * Intermedia Arts
  • *Lyric Arts
  • *Mixed Blood Theater
  • MN Theater Alliance
  • Moving Company
  • Mu Performing Arts
  • *The Ordway
  • Pangea World Theater
  • *Park Square Theatre
  • Patrick's Cabaret
  • *Penumbra Theatre
  • *Pillsbury House Theater
  • Prime Productions
  • Sandbox Theatre
  • *St. Olaf College
  • *Stages Theatre Company
  • Theatre Latte Da
  • Theatre Novi Most
  • *University of MN Theatre Arts & Dance
  • *Winona Senior High School Drama program
  • Young Dance

There's a wonderful piece up on CityPages about the local groups involved, much participation of which has been helmed by Mu Performing Arts' own Randy Reyes; check it out here.
Photo courtesy of Park Square Theater.
If you want to attend (and if you're free, you should; the event is only 30 minutes, beginning at 5:30 p.m. at the respective locations), you have two main options:

In Minneapolis, Mixed Blood is hosting a coalition of theater companies and is participating with local businesses to provide specials. 15% of all proceeds from sales at the 7 Corners location of The Republic will go back to Mixed Blood that day, so make sure you stop by if you attend the ceremony. Their full schedule says: "Join us, along with representatives of 7th House Theater and Theater Latté Da at the firehouse beginning at 5:00pm. A brief presentation will occur at 5:25pm with our lights shining together at 5:30pm. Bring your own light source to share in this moment. All those who participate are welcome to then bring their light to the Republic at 7 Corners to further this important conversation."

In St. Paul, the largest gathering will be at Park Square; their schedule includes:

  • Gather under the 7th Place Marquee at 5:30 p.m. on January 19
  • “Light up” – use your cell phone flashlights or come wrapped in fairy light – to join our ghost light of people
  • Turn on the ghostlights in Park Square’s outer vestibule and in the Boss Lobby that will remain on as a symbol of welcome. Park Square will put its DEI pledge next to these lights
  • Group sing “We are a Gentle Angry People" by Holly Near.
  • Adjourn to Park Square’s Proscenium Lobby for coffee and hot cocoa
  • Make the “I am____ I fight for_______” pledge. Notes along with a board for display will be provided

More information on nation-wide plans at theghostlightproject.com.

Monday, January 16, 2017

Big Stakes for Sandbox in "Big Money"

Could you game a system if it meant big money?

Photo by Matthew Glover.
If you're a person of a certain age (aka you were raised prior to the predominance of satellite or cable TV), at some point you had a gameshow day. You were 8, you had the chicken pox, and mom or dad took a much needed day to nap while you sat on the couch eating over-salted, canned Campbell's chicken noodle soup watching bad talk shows and even worse TV game shows*. Despite their utter mediocrity, however, there was something about the democratic idea that anyone with half a brain could earn some much needed money that was compelling, riveting in the right circumstances, and a welcome distraction from the real-time realities of managing money in America.

Big Money, the new production from Sandbox Theater (showing at Park Square), re-imagines the real-life story of Michael Larson, a Class A swindler who won $110,000 playing Press Your Luck in what was (at the time in 1984) the largest amount of money ever won on a game show. Big Money begins with the story behind the Press Your Luck win, showing Larson's obsession with non-working** and the effects it has on his family. Although the Press Your Luck win brings a much needed financial balm to the troubled family's woes, it's not enough to save it; between Michael's poor financial and filial management and the end of his wife's patience, Michael ends up on the run from the Feds, fatally ill and completely alone. It's a cautionary tale that quick money is never really "yours," family and relationships are far more important than cash, and the most important things in life can't be bought.
Photo by Matthew Glover.
The Sandbox Theatre cast approaches Big Money with wink and a smile, with each actor finding the humor in their parts. Peter Heeringa does a good job playing Michael Larson, finding the humanity even in Larson's most crazed moments. You can't help but kind of like the guy, and to empathize with his feelings; who among us would work every day if we didn't really need to? Michael isn't necessarily "right," but he really demonstrates the truth behind human nature and the fluidity of morality. Much of this is contrasted well by Sarah Parker as Michael's Wife Teresa. Parker has a stern demeanor that grounds her passionate feelings about Michael's lack of ambition and brings a level-headed opposition to his harebrained schemes.

The rest of the cast (Eric Weiman, Emma Larson, Cameron Mielicke and Cortez Owens) cycle through various supporting parts as bank tellers, audience members, fellow game show contestants and employees, network executives and family members. They each find ways to make the most of their time on stage and provide a lot of humor in between the seriousness of Michael's gaming obsessions.

The production design is relatively sparse, most notable for some floating, lighted panels at the back of the stage meant to mimic the Press Your Luck gameboard. They provide a jeweled contrast to the darkness of the theater, and are used with pointed lighting to illuminate various clues to Big Money's plotline. Piles of cash, simple costuming and basic tables and stools make up the rest of of the spare set, and it's all the show really needs; the focus here is on Michael and his scheming, and that's more than enough to keep you occupied.
Photo by Matthew Glover. 
Big Money is one of those stories that digs in after it's done. Much like other famous swindling stories (The Wolf of Wall Street, Catch Me If You Can, etc.), there is something delicious about Michael Larson's refusal to play by the rules. In the age of the 99% versus the 1%, Occupy Wall Street, Bank Bailouts and the financial disaster that is anything labeled Trump, why shouldn't an ordinary citizen be able to play the system? Is Michael Larson's refusal to "work" really that much worse than the runner of a Ponzi scheme or a derivatives-based stock sale? It's certain by the end of Big Money that Michael's life is in shambles, but it's easy to see why he did what he did. Big Money is an entertaining look at the ethics of gameshows and gambling with your life; it runs at Park Square Theater through January 28. For more information or to buy tickets, click on this link.

*I know some of you have much love for the Pat Sajaks and Bob Barkers and Alex Trebeks of the world but sorry guys, bad TV is bad TV - even if you love it. Just embrace it.

**Which, ironically, was far more work than just working itself would have been.

Thursday, January 12, 2017

Whitney Lives On in The Bodyguard

I have always felt that playing roles of real-life people are the hardest of all. 

Photo by Joan Marcus.
This is especially true of iconic celebrities; get it right, and you are a superstar. Fail, and it could end your career.

We've been gifted with marvelous performances of Ray Charles, Malcom X, Mahatma Gandhi, Nelson Mandela, Johnny Cash and more. We can now add Deborah Cox's starring turn in The Bodyguard to that list.

Now I realize that The Bodyguard is a fictional story and of a very different kind of content than the biopics listed above, but let's be frank: nothing embodies the heights of the peerless late-Whitney Houston's career than her dazzling songs in The Bodyguard movie. The pop hits that emerged from that movie live on in dance halls to this day 25 years later, and many have tried (and failed) to recreate the gorgeous, dizziness inducing performances that Whitney blessed us all with.

So even though The Bodyguard is a popular movie adaptation and not a true story, I couldn't help but view this production as the vanguard of Whitney's legacy, somehow. And I'll admit, I had low expectations; I didn't really love the film, and I didn't see how it would work well on stage. So I was pleasantly surprised with how delightful this staging was. It's campy, it's Hollywood, and I know some people don't consider that to be true "theater." But for me, live performances become magical when they contain a certain spark and fire and passion regardless of their context; even the most avant garde pieces can fall flat for lack of feeling, and this was a beautiful demonstration of what could have been a cheap knockoff turning into a wonderful live theater experience thanks to performers who give it 100,000%.

For a brief summary if you haven't seen the film: Rachel Marron is a world famous pop star (in today's parlance, think Beyonce level) trying to have a normal family life amidst her interstellar fame. Unfortunately she is being threatened by a highly skilled stalker who holds delusional fantasies about having a relationship with her. After his threats become more frequent and more dangerous, Rachel's security hires a new bodyguard named Frank Farmer. Frank thinks outside the box and is a vast improvement in keeping Rachel safe, in more ways than one. The show follows their tumultuous relationship as they find the balance between security and normal life, and their love story in between. The Bodyguard has a bittersweet ending despite catching the bad guy that lends it an air of authenticity that helps sell the zealous plot.
Photo by Joan Marcus.
One big thing to note: the show opens with a huge, unforeseen gunshot. Anyone who goes needs to be prepared for the TRIGGER WARNING at the beginning of the show - it was extremely unsettling in our times of mass public shootings, and I wish for everyone's mental health that they flagged it ahead of time.

The number one selling point of this show is the music, featuring many of Whitney Houston's biggest hits such as "I Wanna Dance with Somebody," "All At Once," "I Have Nothing," "Greatest Love of All," "One Moment in Time," "Run to You," "Where Do Broken Hearts Go" and the coup de grace, "I Will Always Love You." This playlist is no slouch; many of these songs are incredibly fast paced and require a certain vocal gymnastics to really sell them.


Thankfully, Deborah Cox (playing Rachel Merron and performing all of these songs live; see clips in the video above) is up to the task, and how. She sells the *shit* out of this show. Rachel Merron's story could be relatively uninteresting, especially in our times of celebrity overexposure (helloooo Kardashians), but Cox infuses Rachel with a deep sense of relatability and a passionate heart. And her singing is virtuosic, particularly in her (literally) showstopping rendition of "I Will Always Love You." Cox nails every note of that gorgeous ballad, and literally left the audience leaping to their feat. If for no other reason, see the show for that one song. You owe it to yourself (and the memory of Ms. Whitney) to do so.

The rest of the cast is equally talented. Jasmin Richardson is incredible as Rachel's sister Nicki, demonstrating another unbelievably beautiful musical talent. Jasmin has some dazzling duet moments, both with Deborah and with Kevelin B. Jones III, who plays Rachel Merron's son Fletcher. Kevelin also has a wonderful voice, and together the Merron trio of Jasmin, Deborah and Kevelin put out a heart stopping rendition of "Jesus Loves Me," which I can only describe as the world's plainest song that gets the world's best musicality treatment. Normally I'd be bored, here I was enthralled; they are that good.

Judson Mills is square jawed, strong yet sympathetic as the stoic Frank Farmer. Judson is perfectly cast in this role and brings the Kevin Costner charm to his fearsome duty as the bodyguard. It's a good thing too, because Jorge Paniagua is absolutely terrifying as Rachel's Stalker. If we didn't have Judson calming us down and making us laugh, it would be tough to get past the chills that went down our spines as Jorge paraded around with his bowie knife. It's a testament to Jorge's effective creepiness that he was actually booed during the curtain call - a first in my years of theater-going.

It should be noted for eye candy fans that this show truly defines abtastic. Seriously, I saw more shred in the first five minutes than I think I have in the last five years combined - this is Magic Mike level. Is it a standalone reason to see the show? Nope. Is it still awesome (and campy and fun)? Absolutely. There are other campy moments in staging choices - I know the bad guy is a stalker, I get it, but does he *really* need an unzipped hoodie with nothing on underneath that is constantly lined in shadows, or the unbearably blunt phallic symbolism of stroking a truly enormous bowie knife right at pants zipper level? NOPE - but it didn't bother me. This show is a Hollywood movie, after all, and the campiness lent a little charm that I found quite endearing.

Photo by Joan Marcus.
This national tour of The Bodyguard is premiering here in Minneapolis, and I urge you to see it. This is a pure treacle and candy show, and we all deserve something a little sweet after the bitterness of 2016's disappointments. It was far, far better than I expected it to be, and any Whitney Houston fans can walk away proud of what they saw. My guy enjoyed the show even more than I did, so I can confirm that it's a great date night experience and will leave you both in smiles. Make sure to stay throughout the final credits, as the post-show performances are as good as the show itself. The Bodyguard only runs through January 15 so run to go get your tickets; you can do so by clicking on this link.

Monday, January 9, 2017

Out There 2017: Andrew Schneider's YOUARENOWHERE

Are you nowhere? Or now here? 

Photo by Maria Baranova.
Ah, January. Whoever decided to schedule the change to a new year here really knew what they were doing. When you're overloaded with holiday foods, tired due to Vitamin D deficiency, and waiting for the snow to melt so you can leave your house (aka thoroughly sedentary), you need quite a bit of motivation to stay active. New Year's resolutions definitely make instigating that level of activity so much easier.

I'm still mulling through my resolutions (can't I make resolutions all year long?), but one of them as always is to keep working to refresh the blog. For my perspective on theater, there is no better palate cleanser every year than the Out There series at the Walker Art Center. Challenging everything you think is possible (or impossible) to put on a stage, the Out There series always features innovative, thought provoking work that rewires my brain and pushes me to get out of my deep-rooted expectations for art and performances.
Photo by Maria Baranova.
The first of the Out There series shows premiered on Thursday with Andrew Schneider's YOUARENOWHERE, a true exercise in learning to bend your perspective. The show starts off ordinarily enough with the audience watching a one man show in front of a plain white screen. The monologue traverses multiple areas - philosophy, pop art and music, religion, beliefs, past experiences and mistakes, memoir and autobiography - while being interspersed with thoroughly schizophrenic lighting. About half way through the show the curtain (or the literal fourth wall) drops, and our perspective on what we just witnessed is completely changed. I don't want to give away what happens lest I ruin the surprise for future viewers, but suffice it to say: it involved a bravado dual performance that is perfectly synced and gives new definition to the term "mirror effect."
Photo by Maria Baranova.
Unexpected plot line aside, the lighting is the real conversation starter here. If you're not really sure why lighting or sound tech is important or it feels often invisible to you, this show is a striking, slap-in-the-face demonstration of the effects it can have. Much of the beginning of the show is interspersed with quick turns of the lights on and off, strobe lights, fast paced color changes and loud, dispersed sound effects. It can be quite jarring and takes a while to get used to, but once you get over the hump it's an interesting live version of often-irritating technological snafus (think: the moments back when you still watched VHS and the tape was fuzzy or the screen started to skip because the tape was damaged - it's like that, but real life). The special effects are essential for helping the audience follow the jarring script and truly sense the emotional extremes of the narrator; they'll definitely get you thinking.
Photo by Maria Baranova.
If you missed YOUARENOWHERE, no worries! There are three more shows coming up in the Out There series, and all of them are worth visiting. One of the best things about Out There is that it features avant garde performers from around the world who are otherwise difficult to see - don't miss this chance to do so. Tickets are super affordable and shows almost always run short at two hours or much less, so it's easy to squeeze performances into your work week. Keep up on your New Year's resolution to learn more about art (I know there are some of you out there!) and check this series out; it's a wasabi-fresh way to wipe out your preconceived notions of performance art and start the New Year with a New Perspective. For more information on the Out There series or to buy tickets, click on this link.

Wednesday, January 4, 2017

Best of 2016: This Year's Best Theater Performances

The 2nd Annual Twin Cities Theater Blogger Awards are coming! 

Photo courtesy of Park Square Theater.
And I cannot wait to see how they turn out. We have had such an incredible year of theater here in the Twin Cities and let me tell you: trying to narrow down the nominees (let alone vote for only one of each category!) has been so. difficult. 

This is the best of first world problems though, is it not? I am so grateful to live in a place where the arts are not only totally accessible to the everyday citizen but also truly excellent across the board. I wanted to post a quick roundup of some of my favorite shows from the past year as well as some observations that I'm looking forward to in the coming year. Let me know your favorites and if there's anything I simply must put on my calendar (I'm starting to do programming for the year now, so please let me know! I welcome suggestions). 
Photo courtesy of Park Square Theater.
A standout for 2016 was set very early on with the production of Nina Simone: Four Women at Park Square Theater. This exceptional, profound show was locally written, featuring women (and women of color!) in not only starring but production roles, and gave an honest, unflinching depiction of one of my favorite musical artists of all time: what was not to love? Zoe Saldana can go suck it; Regina Marie Williams was far and away the better Nina Simone. Her co-stars (Traci Allen Shannon, Aimee K. Bryant, and Thomasina Petrus) are no slouches either. Every second of this play gave me chills (read my full review here) and I am THRILLED that Park Square is bringing the show back this year with even more awesome music. Run, don't walk, to get your tickets - this cast is once-in-a-lifetime good and they'll be even better this time around, I'd bet money on it.
Photo courtesy of Dan Norman.
There were several repeat offenders on my list of favorites this year. From the above list: Traci Allen Shannon as Cinderella in a totally charming performance opposite David Murray (both also stood out in Theatre Latte Da's truly exceptional production of Ragtime; I didn't write a review but wow, did it blow me away). These two have wonderful chemistry, gorgeous voices, and can anchor a show whether the subject matter is serious or comedic. I hope they stick around and keep working together! Cinderella was a truly diverse, whirlwind of a production (that is showing for four more days, do NOT miss it!). The Children's Theatre had another favorite with The Last Firefly, a totally imaginative, beautiful production that won me over with it's beautiful set and story.
Photo courtesy of Park Square Theater.
Aimee K. Bryant also had a great year, serving in multiple shows including the brilliant A Raisin in the Sun at Park Square Theater. Lorraine Hansbury's classic play was giving a sterling performance from another loaded cast (including Darius Dotch, who was great with Ansa Akyea in Bars and Measures at the Jungle Theatre; and Greta Oglesby) and the Twin Cities Theater Bloggers held a thought-provoking talk back after the show.
Photo courtesy of the Guthrie Theater.
I have finally (after many years of ho-hum feelings) fallen hard for the Guthrie Theater, which is thriving under Joseph Haj's excellent tutelage. Among my favorite developments? The new program which is providing free or subsidized ticket prices; flexible programming (including the powerful one-man shows Acting Black and Hold These Truths); and some of the most uncomfortable (yet powerful) performances of the year. My favorite of the Guthrie's edgy, contemporary productions was the full home-run that was Disgraced, but there were more awesome pieces too: The Parchman Hour gave me shivers with its potent musicality and disturbing visuals; Trouble in Mind held a quiet, powerful sway over our perceptions of race in the media; and The Lion in Winter took the bawdiness of the presidential election and boiled it down into a sinister, Game of Thrones-style dessert.
Photo courtesy of Dan Norman.
Sarah Rasmussen is another repeat offender, but this time in the director's chair. I have adored her fresh, lively programming at the Jungle Theater as Artistic Director as well as some excellent turns she's taken guest-directing at other theaters (Sense and Sensibility at the Guthrie being a prime example). I was super impressed with her all-female rendition of Two Gentlemen of Verona, as well as the stunning The Oldest Boy, the last show of 2016 at the Jungle (and what a production!). Rasmussen is one to watch, and I cannot wait to see what she brings to the table in her second year at the helm. The How and The Why also featured some amazing feminist work, and Calendar Girls made it fashionable to feature women of any age; I'm predicting shows about/by/for women will continue to be trends next year, and here's hoping I'm right!
Photo courtesy of Hennepin Theatre Trust.
Musicals and comedies had an excellent year as well. Sasha Andreev breathed new life into Barbra Streisand in the hilarious Buyer and Cellar; Peter Rothstein helmed two refreshed musicals (aforementioned Ragtime and a winning Gypsy); Passing Through Pig's Eye gave us spectacular tap dancing and a bold look at St. Paul's history; and perennial favorite Chanhassen Dinner Theater gave us all the gift of the year's best production design and ever-delightful Beauty and the Beast as well as a surprisingly deft production of Camelot. On the traveling Broadway circuit I really enjoyed a play (a play!) version of A Curious Incident of the Dog in the Nighttime, as well as an ethereal production of Lion King and darkly hilarious, heartwarming Fun Home, which I loved for its literary references as much as for its wonderful performances.
Photo courtesy of Mu Performing Arts.
It was a good year for smaller companies too. I love everything Mu Performing Arts does, and I thought all of their shows this year were spectacular (including the lyrical and haunting You for Me for You; the spectacular Spectacular Story of a Filipino Hulk Hogan; and the year's best rom-com, The Two Kids That Blow Shit Up). Orange was also a surprise hit for me at Mixed Blood, the most accessible theater in town, and introduced me to a host of young actors I'm hoping stick around for future shows. And the Penumbra produced some heavy hitters too, including a striking performance of Jitney (just in time for HBO's upcoming August Wilson renaissance courtesy of Denzel Washington).

I could go on and on, but this list has gotten exhaustive and I've only scratched the surface! Suffice it to say it was an incredible year for the arts, and I cannot wait to see what 2017 has in store. Please leave me your favorites and suggestions on Twitter and in the comments; I can't wait to hear what you have to say. And don't miss the live announcement of our Twin Cities Theater Blogger award winners on Monday, January 9 on Twitter - it's a must-attend event.

Tuesday, December 27, 2016

What's in Your Resolution?: 2017

Resolutions are a tricky thing...

Cooking more is definitely on the 2017 agenda. 

Sometimes they can be really helpful. For example, last year I made a resolution to be more consistent about working on the blog. Not only has that proved to be far more fulfilling than expected, but it has taught me so much about persistence, growth and self-teaching, and introduced me to some amazing new friends.

Resolutions can also be depressing, however: they don't always account for life's unexpected changes; you shouldn't only adjust your life or do positive things one time a year; and sometimes the goals you set for yourself can be a little overambitious.

So as I look forward to the coming year, I'd like to know: what do you want to see more of here? More books, more food, more shows? More museums or volunteering opportunities? I'd like to make this a two way project and post more of what you want to see.

Please let me know your thoughts! You can always comment here, or find me at my Twitter handle or Instagram. Until the next post, sending you all best wishes; I'm having a great holiday break, and I hope you all are enjoying a blessed end to the year.

Monday, December 19, 2016

Best of 2016: GUEST POST (Are We Now or Have We Ever Been?)

For my first ever guest post, I'd like to introduce you to my wise friend Genesia. 

At Beyonce...who doesn't love Beyonce?
This amazing lady just turned 30, and let me tell you - she has some things to share. I've been trying to get her to do a guest post for me for a while, and when I read this it really resonated as a look back on the year and a good way to think moving forward. I hope you all enjoy it as much as I did! 

I’m turning 30. Which I’m told comes with an existential crisis. Either I’ve been managing it’s flair ups deftly, or I’m in denial about how deep the rabbit hole of uncertainty actually is *shrug.* Either way, its abundantly clear to me that I’m smack in the middle of a transitional phase. It was not brought to me by Xerox in 4 parts without commercial interruption, it’s live.

The complicated-feels-turn-up is extra real.

Mostly, I’m comfortable with this change, and am excited to see what’s beyond the horizon of this milestone. Sure, I have angst aplenty, but not necessarily about this. I mean it’s weird don’t get me wrong, but also, turning 30 is kind of cool. One of the main gains with this shift into a new section of adulthood, is learning to be more unapologetic about the things that are (currently) important to me.
For example:
  • I make no apologies for being child free and not wanting to have children.
  • I make no apologies for going from attending church multiple times a week to joining Pillow Baptist AME Church for Happy Brunchers and Hustlers.
  • I have always been proudly black, so no issues there (even though, I did go natural a few years ago which is a change or whatever).
  • I make no apologies for being plus-sized.
  • I make no apologies for not wanting to get married anytime soon, if at all.
  • I make no apologies for choosing to eat out-in-the-street rather than make daily lunches.
  • In all these areas there is room for adjustment, but, I make no apologies for being where I am (currently) on this journey, for who I am or who I am becoming. Some things will change, some, will not.
I feel now, as I never have, like moons and like suns, with the certainty of tides that I am a force in this world. But even with the growing surety of my womanness there is something trailing, biting, that I have not been able to shake loose from my soul. Alas, try though I might, I cannot evade the reality of a world where open and deeply entrenched racism has intensified so much. To say nothing (right now) of patriarchy, rape culture, queerphobia, fatphobia, xenophobia, misogynoir.
Like teak credenzas, vintage white supremacy has returned.

And it’s nasty.
Biting. 
Vicious. 
Unyielding. 
Loud. 
Defiant. 
Demanding.

Children of the 90's were afforded a certain amount of space to grow. Even with disgusting displays of systemic injustice still seething through all sections of society and media (Rodney King being a poignant early childhood reminder that we were not, and had never been safe); Racism, though systemically ferocious in it’s destruction of our communities as it had been for our grandparents, felt (on occasion) hypothetical, diasporic, distant, coded. As (technical) 80's babies born a tad too late for big hair and shoulder pads, but just in time for the Tootsie Roll, just in time to be Naughty By Nature while hip-rolling to Aaliyah in our Jodeci Boots, we were in the lull between two battles.
Crack and the subsequent war on drugs, de-industrialization and the loss of access to normal economic means of survival, mass incarceration increases, furthering of historical housing and lending discrimination practices and the depression caused by the aforementioned had already destroyed the infrastructure around us. The rising action in the story arc of “Gentrification: The Musical” obliterated much of the world our parents grew up in. Where I grew up, vacant lots were the norm.

Neighbors were losing grip of neighborhoods that had been in the family for decades. Slow and deliberate, this decay sets the stage for everything we see now. It was here, formed on these previously vibrant slabs, we learned how to play the game. It was here, we were supposed to aspire to more. Which almost makes no sense. But we did hope, we did dream –even if those dreams were sometimes halted in the street, or cut short by circumstances. We believed we could achieve. In essence, as told by oh-so-many assemblies and graduation ceremonies, we believed we could fly.

Our parents, raised with a (relative) sense of security were smacked by the realities of coming of age during Reaganomics and under Bush the Elder. Though their world was crumbling, proving promises of progress to be false, they did their best to equip us with the lessons of their parents. If they had gained nothing from being the fruit of the civil rights movement and the babies of black pride they were conscious of their beauty, and of their rights. They owned that. Even if they couldn’t get loans from the bank to own something substantive to leverage any more than their grandparents could.

They started us young. Many of us cut our teeth on the demand for divestment from South Africa’s system of Apartheid. We had never set foot in, nor laid eyes on Africa, we even believed the lie that scratching your booty and being African was a great insult to be lobbed at kids who was black as us on the playground. Still we began to understand that we were a part of something bigger. We grew strong. We were given a foundation of variety, of options, of representation. We, though this system still hated us, were on TV, in so many shades and types. We were on radio. We were in sports. We were undeniable. Even when there were issues on the home front, we were visible, for one small moment, and if only to each other.
We grew strong.

I was recently asked, if I thought the collective ‘we’ is / if I am better off in America now or in 1960. This question was born of a genuine curiosity from the person who asked me, not, thank goodness, an attempt to throw micro-aggressive shade. I said I didn’t know. I tried in that moment, as I am trying now, to come up with a definitive position on this.

I just don’t know.

Here’s why: When I was 27 or so, Ferguson happened. Among various angering segments of media coverage, I watched, in horror, a clip one morning with an unhooded Grandwizard of the Klan, in plain view on MSNBC. He was discussing their local chapter’s campaign for ‘order’ while the community waited to find out if the officer responsible would be charged for murdering 17 year-old Mike Brown. The Klan had been distributing flyers in St. Louis, threatening lethal force for those who chose not to “behave.” Private citizens, were openly threatening black residents with violence, if these folks dared to have a response to systemic racism that was deemed unacceptable to them.

It was 2014.

51 years after the March On Washington.

58 years after the Montgomery Bus Boycott. 59 years after Mamie Till buried her baby boy. 1 year into the 2nd term of the first black president. We were supposed to be past this. As I typed that last sentence, I know it’s not true. I knew it wasn’t true then. But seeing that man on screen, unhooded and unashamed was a clarion call to what was, what is, and what was to come. I was shaken. And I remember sobbing into the phone on a call to my mother that day (I just needed to hear her voice). She and my dad and my village had built me to weather this. I wasn’t oblivious to the ways of the world. I was equally weary as I was aware. This should have rolled off me. And it just didn’t. I didn’t know why.

The fatigue I felt that day overwhelmed me. In that first conversation, hearing my mother’s words of comfort through her own bewilderment is when I first identified a responsibility that had been weighing on me.

Movements are created by the community. They are manned by all types of folks (though not all of us are regarded equally –especially when counting intersectional gender/social identities -specifically women and queer folks –who have oft been excluded from the historical record, despite mountains we move). Movements are energized by ‘young people.’ At every stretch they/we are the ones who will go out on the front lines, and stand for justice, for equity. It is then, in my opinion, the responsibility of those who came before (even if only just before) to pass on knowledge, to support, to help guide, to listen, and to toil with. As the eldest child, and as the 2nd oldest of my extended/blended siblings, this is work I am well-suited for. I want those who come after to have some measure of sustaining hope in these trying times. Seeing that man naked and unashamed, riding for his most racist of causes, stole my hope.

I feel like I’ve been living a long time. And miles to go before I dream.
I didn’t know until that moment, that this theft was possible. I didn’t know that I could feel as powerless as I did in that moment. His brazenness, or rather, his comfortability with being in the open, proved that things had reverted to something we were supposed to be conquering.

Decimation. Bewilderment. Indignation. I felt utterly unprepared to combat this devilment, for a few terrifying moments. How could I protect, or guide anyone, if someone like him shook me so? How can we be tasked with doing the saving of the children in our communal charge, if we are still children ourselves?

Diamond’s little girl was not saved from the carnage. We were forced to watch it happen, but we could do little. The little girl who spoke so bravely at the city council meeting in North Carolina in the wake of yet another murder-by-cop. Nothing could rescue her from having her pain, our pain, mocked. Sandra Bland, who’s mother undoubtedly had access to the same videos we did, is gone. Not protected. Tamir Rice. Within 13 seconds someone’s child was erased, and no one will pay. Alton Sterling’s son was not saved from his sobs, wailing, gnashing. Some of these children are old enough to be mine, are old enough to have come from me. Freddie Gray’s back didn’t break itself –despite what the state says. Rekia Boyd didn’t fire the bullet that killer her. Korryn Gaines’ little boy is the only one who stood witness to his mother’s execution. He is forever changed. He is 5.

How can I tell them they will be okay? This is the responsibility I feel. This is what I heard in my mother’s voice through the receiver (and in my father’s voice when I spoke to him later that same day). This is where I found myself that day. This is where I found myself this summer, x amount of years later, on the eve of teaching/facilitating a social justice summer camp I’d developed, the week after Philando. My staff and I wondered what we would say to the children about their power. We wondered if we would be unwittingly feeding them a lie.

The conflict, though immense, is not all dark. As much as I feel responsible to those walking with me, those who I can help guide and aid as they process this thing we’re fighting, I know those who came before are with us. I hear this when my grandmother is fired up, and is willing to continue the fight despite having endured what she has for decades. For example: I am reminded to call up the words of the negro national anthem — they understood these dark days. They spoke prophecy and a timely word at the time about continued hope.

…Stony the road we trod,
Bitter the chast’ning rod,
Felt in the days when hope unborn had died;
Yet with a steady beat,
Have not our weary feet,
Come to the place for which our fathers sighed?
We have come over a way that with tears has been watered,
We have come, treading our path through the blood of the slaughtered…
I know that I’ll keep going. It’s what we do.

I wrote this in sections. While reflecting on my identity, as I often do (let there be angst), it has become partially clear to me that much of the subject of my reflections is related to the feeling of being alone, or walled off. As an intersectional woman (I’m black, a black woman, just coming out of poverty *fingers crossed*), who spends a great deal of time looking for and observing connections that occur in life, history, business, relationships, faith, etc it can be lonely. As an individual, I’m a loner. Its just the way I’m made. I have wonderful interpersonal relationships and family for days. I am loved. And though I spend copious amounts of time alone, it doesn’t produce any loneliness in me. Realizing however, that the world has never seen me as a full human, does. White supremacy, like other systems makes people feel disconnected from others, and feel that they are alone and/or invisible in their struggle. In their toil. And in the case of privilege that they are alone in their success.

I see me though. And I see us.

I recently told my niece, who is 4 and deeply concerned about monsters, that there were no monsters in my house. In the world there are monsters, of this we can be sure, but I had them cleared out of my home. Express order. We then had a conversation about god, and how god was bigger than any monster. I believe this. Once she’d exhausted her questions (and me) about the nature of god, as if coming to a revelation she pointed out that we can kill the monsters, too. Each of us can kill the monsters. We have that power.

In a year like 2016, I think often of the sweet-by-and-by. Not that I’m in a hurry to get there, but I am reminded of Maya Angelou’s speaking of the inevitable Rise. I am reminded by Nikki Giovanni that we sip nectar from on high. I am reminded that there is a fire in us. That there is strength. That they too felt this thing, this nagging, persistent thing, and they wrote their way through. They sang their way through. They prayed their way through. They fought. They wailed. But they didn’t let this thing stop them. They learned to own their self. To master themselves — even though the world could often claim that right on paper. But never in spirit. They resisted. They resist.

We collectively and individually resist.

We are connected to the things in this world, in this life. But we are not only bound to the things we can see. Or the things that would overtake us. We are infused with power from on high, and/or from within. We are linked with those who came before and with those who are to come after, those who walk alongside. We are in a dance that propels us all forward. I do not always carry hope. But in the end I know that I’ve decided to persist. For as long as I can.

This is where I am right now.

Thank you for allowing to me to make note of this transition.