Students at Nettleton Middle School must be doing great on their American History exams, because their school is almost literally living in the past!
Segregation is still alive and well in parts of America. At Nettleton Middle School in Nettleton, MS, students are forbidden from running for certain student government positions if their skin is the wrong color. Each year, three of the the four executive positions are set aside for white students; one of the four is set aside for a black student. The highest rank a black student can hold? Vice-President, in 8th grade.
Even worse is the situation for students who are neither black nor white, who cannot apparently run for any office.
The policy was busted by the mother of a mixed-race student who had wanted to be class reporter, a position reserved for black students. As the mother, Brandy Springer, wrote to the blog Mixed and Happy, her daughter was denied on the basis of her matrilineal whiteness. When Springer complained to the school board, she says:
“They told me that they ‘Go by the mother’s race [because] with minorities the father isn’t generally in the home.’ They also told me that ‘a city court order is the reason why it is this way.'”
But don’t think the school is racist! The district has posted a statement on the policy, saying it is “under review.” Well, glad that’s solved
If we still have segregated proms in the American South, including in Mississippi, why not segregated middle school elections? Welcome to Nettleton Middle School, where not only are class elections segregated, but the president slots are designated for white students.
But even segregated proms have an apparent black equivalent. In this middle school class officers election, there’s no pretense of separate but equal: The highest a black student can aspire to is vice president of just one of the classes. Because it’s not like a black person can be president or anything!
This is what I mean when I say that we’re only 40 years removed from the civil-rights movement. These attitudes took generations to materialize, and while we’ve come a long way, it’s unreasonable to expect that they’ll disappear in a few decades. On the 47th anniversary of Martin Luther King Jr.’s historic march on Washington, racism isn’t as bad as it was, but it’s not an abstraction, and it’s not a thing of the past.
The school, which has a black principal, is 74 percent white and 26 percent black. I suspect the policy was written to ensure that blacks would win a share of class offices. And it will be dropped like a rock very quickly.
Once the policy went public, the superintendent put up a statement saying “the processes and procedures for student elections are under review.”
As bizarre as it seems, the intent was doubtless benign. As Joanne Jacobs points out, the school’s principle is black and the school “is 74 percent white and 26 percent black.” The intent, rather clearly, was to ensure that at least one black officer was elected per class.
I’m not sure what’s more interesting: That this has been going on for “more than 30 years” and people are just now complaining or that it was started 30-odd years ago. Presuming “more than 30″ doesn’t mean “almost 40,” that means this policy started in the late 1970s — years after official segregation ended.
Then again, I was slightly befuddled that the Alabama high school from which I graduated in 1984 and to which I transferred in 1980 had a “minority” spot in the Homecoming Court. A black girl could theoretically have been elected Homecoming Queen, since there was no rule that she be white (Yes: In those days, it was presumed she’d be a she and have always been one) there was a guarantee that at least one would be represented. Since we never had more than one or two black girls in our class, it was rather surreal.
MSNBC reports that the school board for Nettleton Middle school met in an emergency session today and voted to reverse its policy of apportioning student council positions by race:
“It is the belief of the current administration that these procedures were implemented to help ensure minority representation and involvement in the student body,” Superintendent Russell Taylor said in a statement.
“Therefore, beginning immediately, student elections at Nettleton School District will no longer have a classification of ethnicity. It is our intent that each student has equal opportunity to seek election for any student office.”
Our cover image this week is powerful, shocking and disturbing. It is a portrait of Aisha, a shy 18-year-old Afghan woman who was sentenced by a Taliban commander to have her nose and ears cut off for fleeing her abusive in-laws. Aisha posed for the picture and says she wants the world to see the effect a Taliban resurgence would have on the women of Afghanistan, many of whom have flourished in the past few years. Her picture is accompanied by a powerful story by our own Aryn Baker on how Afghan women have embraced the freedoms that have come from the defeat of the Taliban — and how they fear a Taliban revival. (See pictures of Afghan women and the return of the Taliban.)
I thought long and hard about whether to put this image on the cover of TIME. First, I wanted to make sure of Aisha’s safety and that she understood what it would mean to be on the cover. She knows that she will become a symbol of the price Afghan women have had to pay for the repressive ideology of the Taliban. We also confirmed that she is in a secret location protected by armed guards and sponsored by the NGO Women for Afghan Women. Aisha will head to the U.S. for reconstructive surgery sponsored by the Grossman Burn Foundation, a humanitarian organization in California. We are supporting that effort. (Watch TIME’s video on photographing Aisha for the cover.)
I’m acutely aware that this image will be seen by children, who will undoubtedly find it distressing. We have consulted with a number of child psychologists about its potential impact. Some think children are so used to seeing violence in the media that the image will have little effect, but others believe that children will find it very scary and distressing — that they will see it, as Dr. Michael Rich, director of the Center on Media and Child Health at Children’s Hospital Boston, said, as “a symbol of bad things that can happen to people.” I showed it to my two young sons, 9 and 12, who both immediately felt sorry for Aisha and asked why anyone would have done such harm to her. I apologize to readers who find the image too strong, and I invite you to comment on the image’s impact. (Comment on this cover.)
But bad things do happen to people, and it is part of our job to confront and explain them. In the end, I felt that the image is a window into the reality of what is happening — and what can happen — in a war that affects and involves all of us. I would rather confront readers with the Taliban’s treatment of women than ignore it. I would rather people know that reality as they make up their minds about what the U.S. and its allies should do in Afghanistan.
This reasoning follows what many might agree is the definition and purpose of good journalism. The things that are hard to look at are often the things that are most necessary to look at. Whether readers think the cover is bold or too graphic, the shock value cannot be denied. Without diminishing the value of telling a difficult story about a seemingly endless war, it’s hard not to wonder how the shock value will translate in terms of newsstand sales.
The risk that Afghanistan might once again become a staging ground for al Qaeda attacks on the US? Meh.
The danger of cross-border raids from Afghanistan into Pakistan that could lead to nuclear weapons falling into the hands of terrorists? Yawn.
But a US withdrawal from Afghanistan that would lead to a setback for women’s liberation there? Now you’ve got the liberal media concerned! Rick Stengel of Time gave a perfect illustration of the phenomenon on today’s Morning Joe. As is his Friday wont, he unveiled the new Time cover, which portrays the heart-rending image of a young Afghani woman who had her nose and ears cut off for fleeing an abusive family and husband.
The story contains this: “As the war in Afghanistan enters its ninth year, the need for an exit strategy weighs on the minds of U.S. policymakers. Such an outcome, it is assumed, would involve reconciliation with the Taliban. But Afghan women fear that in the quest for a quick peace, their progress may be sidelined…. For Afghanistan’s women, an early withdrawal of international forces could be disastrous.” So… which is it? That sure sounds like an argument—and, you know, a very moving and affecting one!—for something like a permanent or at least extended occupation. Making things a little more complicated? The new issue also has an article by expert-without-portfolio Joe Klein, which goes: “Afghanistan is really a sideshow here. Pakistan is the primary U.S. national-security concern in the region.” So now what am I supposed to think while I’m not going on summer vacation because it makes our children stupider?
Such stories are obscene, not at all uncommon, and need to be told. But there is an elision here between these women’s oppression and what the U.S. military presence can and should do about it, which in turn simplifies the complexities of the debate and turns it into, “Well, do you want to help Aisha or not?”
While Aryn Baker’s story features the voices of many Afghan women who worry that the likely compromise with the Taliban vis a vis a possible U.S. exit will curtail their new freedoms, it doesn’t actually forcefully make the case that American military presence is the only solution to their problems. (That’s probably because Baker is a reporter, not a commentator, and it’s the job of headline writers to grab readers at almost any cost.)
There are, however, conflicting signals about how seriously committed U.S. officials are, in the context of an exist plan, to pushing back at the resurgence of the Taliban as it affects women in the country. One anonymous diplomat tells Baker, “You have to be realistic. We are not going to be sending troops and spending money forever. There will have to be a compromise, and sacrifices will have to be made.” On the other hand, Secretary of State Hillary Clinton recently told reporters that women’s rights are a “red line” that won’t be crossed: “I don’t think there is such a political solution, one that would be a lasting, sustainable one, that would turn the clock back on women,” she said, after relative quiet on the issue last year.
As David Petraeus put it in his remarks upon assuming command in Afghanistan: “We must demonstrate to the Afghan people, and to the world, that Al Qaeda and its network of extremist allies will not be allowed to once again establish sanctuaries in Afghanistan from which they can launch attacks on the Afghan people and on freedom-loving nations around the world.” That doesn’t say anything about what happens to young girls who flee from their in-laws. Protecting them was not among the things he exhorted his troops to do. And when he addressed himself to the people of Afghanistan he didn’t mention anything along these lines either:
Finally, to the people of Afghanistan: it is a great honor to be in your country and to lead ISAF. I want to emphasize what a number of our country’s leaders recently affirmed – that our commitment to Afghanistan is an enduring one and that we are committed to a sustained effort to help the people of this country over the long-term. Neither you nor the insurgents nor our partners in the region should doubt that. Certainly the character of our commitment will change over time. Indeed, Afghans and the citizens of ISAF countries look forward to the day when conditions will permit the transition of further tasks to Afghan forces. In the meantime, all of us at ISAF pledge our full commitment to help you protect your nation from militants who allowed Al Qaeda sanctuary when they ruled the country. Moreover, we see it as our solemn duty to protect the innocent people of Afghanistan from all violence, whether intended by the enemy or unintended by those of us pursuing that enemy. And we stand with you as we all work to defeat the enemies of the new Afghanistan and to help create a better future for you and your families.
Defend Afghan allies from being targeted by the Taliban. Check. Avoid accidental killing of Afghans by NATO forces. Check. Women’s rights? Not so much.
And you can see this time and again if you look at statements about US policy in Afghanistan from George W Bush, Dick Cheney, Barack Obama, Joe Biden, Donald Rumsfeld, Robert Gates, Stanley McChrystal, David Petraeus, etc. We are fighting the Taliban in Afghanistan. Thus, emphasizing that the Taliban is a group of bad people is often a rhetorical point of emphasis. The Taliban’s poor treatment of women often comes up as a sub-point here to illustrate the theme that the Taliban are bad. But actually altering social conditions in southern and eastern Afghanistan isn’t on the list of war aims.
I have to ask: In Time‘s mission to really “illuminate what is actually happening on the ground” has it ever put on its cover close-up images of 1) a badly wounded or dead U.S. soldier 2) an Afghan killed in a NATO missile strike 3) an Afghan official, police officer or military commander accepting a bribe from a Taliban war lord. Alison Kilkenny has her own examples here.
No one makes light of the plight of women and children in Afghanistan under the Taliban–and, contrary to Stengel’s claim, many Americans do know about it. Indeed, liberal women’s groups in the U.S. have raised the issue often and expressed mixed feelings about staying (or even escalating) in Afghanistan because of it. It’s a serious issue. And please see the response to Time by the Feminist Peace Network. Jezebel with another good take here.
But I’d propose here a few alternative, or at least additional, cover images, all showing Americans here at home, that Time might go with an upcoming cover on “What Happens If We LEAVE Afghanistan.” Please supply your own ideas in the Comments section below.
— A student in a high-tech classroom.
— Workers streaming into a newly re-opened factory.
— A poor black or Hispanic woman examined by a doctor in a first-class facility.
— A returning soldier embraced by his wife and two kids.
— Solar panels being erected on a huge office building.
Well, you get the idea. Contribute or take issue below.
Lisa Cholodenko’s The Kids Are All Right (Focus Features) is the movie we’ve been waiting for all year: a comedy that doesn’t take cheap shots, a drama that doesn’t manipulate, a movie of ideas that doesn’t preach. It’s a rich, layered, juicy film, with quiet revelations punctuated by big laughs. And it leaves you feeling wistful for at least three reasons: because of what happens in the story, because the movie’s over, and because there aren’t more of them this good.
Jules (Julianne Moore) and Nic (Annette Bening) are a middle-aged lesbian couple in Los Angeles with two teenage children, Joni (Mia Wasikowska) and Laser (Josh Hutcherson). Nic, a physician, is the breadwinner of this stable, well-off family, while the unfocused Jules has vague plans to start a landscaping business on her partner’s dime. Near the start of the movie, Joni, at her younger brother’s urging, calls up the sperm bank that provided their mothers with genetic material 18 years ago. Behind their mothers’ backs, the siblings make contact with their hitherto anonymous biological father, Paul (Mark Ruffalo), a hedonistic restaurateur who’s flattered by the attention but unsure how to proceed. Gradually, Paul is incorporated into the fringes of the family: The children bring him home for an excruciatingly awkward lunch, and against Nic’s wishes, Jules takes on the job of landscaping his yard.
It’s fitting that gardening—Jules’ landscaping project, Paul’s achingly trendy farm-to-table restaurant—plays such a large role in The Kids Are All Right, because the movie is at heart about the ecosystem of a family, and the way that system changes when an exotic species is introduced. The presence of Paul changes everything, exposing fault lines in Nic and Jules’ relationship and forcing the children to defy their mothers and reassess their peer friendships. (A subplot in which the introverted Laser finally stands up to his jerky best friend is particularly well-handled.)
The Kids Are All Right is a bright and beautifully acted look at what it means to be part of a family. The ups, the downs, the relationship with your partner and kids… the specifics of it may seem like ingredients for a niche indie picture or even worse, a “message” movie about tolerance, equal rights, and the evil liberal agenda, but it never even comes close to such things. Instead the movie is simply about the challenges of family life. Nic is a doctor who enjoys both her wine and her control streak a bit too much. Jules is the more relaxed and carefree half of the relationship who floats between “careers” with a mix of indifference and enthusiasm. Together they’ve raised their kids as well as any parent could which means there’s plenty of room for doubts and concerns. Joni has just graduated high school and is mere months away from heading off to college, and as nervous as she may be her parents are even more terrified. And then there’s Laser who seems well adjusted but may be exploring his sexuality in some unexpected ways. And by unexpected ways I mean with a ginger of course.
As wonderfully written and directed as the film may be the picture’s real power is in the acting. All five of the lead performers are giving some of the best work of their careers. Granted, that’s not saying much for Hutcherson, but even with a limited background he’s never seemed as natural as he does here. Wasikowska shines as the child on the cusp of adulthood torn between home and the outside world, and she manages more with a quivering lip then many of her peers do with their entire body. Ruffalo is almost always the most watchable and intriguing actor in any of his films and that trend doesn’t change here. His character is an inexcusable dick at times but you can’t help but want to forgive him. A lesser actor (with harder features and without his sad, puppy eyes) would have a hard time accomplishing the same.
Bening and Moore both give fantastic and believably real performances as a couple who love each other, warts and all, and can convey that long history together with little more than a glance. I joked about Moore above (no I didn’t), but she imbues Jules with such a goofy and effortless charm that you could easily see yourself falling into her smiling embrace. But as good as everyone else is the performance of note here belongs to Mrs Dick Tracy herself, Annette Bening. As the most authoritative adult of the three Nic is tasked as straight-man to the more loose and casual performances of Moore and Ruffalo and the childish behaviors of the kids. She never becomes unlikable though, and as her grip on things begins to crack it’s a slow tremble of emotion that begins to spill out. A certain dinner table scene is a masterclass in itself in the art of acting as Nic navigates some surprising revelations and comes out wounded and scarred on the other side.
By making a movie in which a pair of married lesbians are played by well-known hetero actresses Annette Bening and Julianne Moore, and in which one partner (Jules, played by Moore) has an affair with a straight man, Cholodenko and co-writer Stuart Blumberg capitulate — in some people’s view — to a whole set of “Celluloid Closet”-type homophobic stereotypes, and possibly lend aid and comfort to the right-wing view of homosexuality as a “lifestyle choice.” Furthermore, Cholodenko doesn’t seem terribly concerned about it. Before our Sundance interview, I read her a few examples from the first wave of critical comments and she laughed them off: “Maybe those people need to take their pink megaphone somewhere else.”
Ultimately, this might not even rise to the level of a tempest in a teapot: Lesbian and gay viewers, along with everybody else who actually sees “The Kids Are All Right,” are likely to find it a sympathetic, honest and frequently hilarious film about the challenges of marriage, parenting and contemporary family life, with one highly topical twist. But if some queer-radical types object to the film on political or ideological grounds, there’s a sense in which they’re right to do so. This movie definitely isn’t aimed at them.
In other interviews, Cholodenko has joked that she’s more interested in drawing in straight male viewers than in placating every possible segment of lesbian opinion. That makes the film sound a lot more calculated and Hollywoodish than it is, but the point she’s making is that “The Kids Are All Right” has a dramatic agenda but no political agenda. It’s not attached to a set of talking points about gay marriage and sexual identity, it’s not advocating some revolutionary artistic or social paradigm and it’s not a seminar in LGBT self-esteem.
Jules and Nic (Bening’s workaholic doctor character) and their teenage kids and the Peter Pan man-boy who threatens to come between them (a scene-stealing Mark Ruffalo) are flawed, selfish, fascinating characters you’ll sometimes like and sometimes hate. This is one of the most compelling and rewarding portraits of a middle-class American marriage in cinema history, as well as one of the funniest. The fact that the people in this particular marriage are both women is important to the story, of course. But perhaps, Cholodenko suggests, it isn’t all that important to the universe.
This film is essentially selling a lite version of the leftist utopian political fantasy of not needing men and rejecting male patriarchy.
And what does a hetero guy in Hollywood know about any of that? Please allow a brief digression to establish bona fides.
Del Martin, founder of the modern lesbian, gay, bisexual and transgender–rights movement, was my great aunt. It was she and her life partner, Phyllis Lyon, who received California’s much publicized first same sex marriage license in San Francisco.
That’s what comes through in Moore’s Jules character since she so hungrily embraces heterosexual sex, the thought of which apparently disgusts her parther, Nic. Pure sex aside, lesbian feminists have always told me that the object of women’s politicized sexual links is to overthrow the patriarchal order and replace it with a feminist culture. “Just as sexism is the source of all our other oppressions, maleness is the source of sexism,” according to a statement from the Dyke Collective. Implicit in that rant is a rejection of males as fathers that provide anything positive to the raising of children.
The action happens, so to speak, when the couple’s children track down the sperm donor that is their biological father — and apparently Julianne Moore has an affair with him. (In the trailer, this looks like chaste kissing.) With this twist, writes O’Hehir, “Cholodenko and co-writer Stuart Blumberg capitulate — in some people’s view — to a whole set of ‘Celluloid Closet’-type homophobic stereotypes, and possibly lend aid and comfort to the right-wing view of homosexuality as a ‘lifestyle choice.'” That, at least, appears to have been the complaints of some of Salon’s commenters — not a famously enlightened bunch, alas, but an interesting claim nonetheless.
In other words, does every Hollywood movie involving a lesbian have to suggest she really needs cock?
As a San Francisco Bay Guardian interviewer put it to Cholodenko, “We don’t see a lot of queer characters on screen, and so when we do, many want them to be perfect: the queer voice, the lesbian, the gay man. And when they step outside those boundaries, suddenly it becomes an issue, politically.”
Cholodenko replied that she (also a lesbian mother) identified strongly with the film and felt that it was true to her, and also that she didn’t find the boundaries between straight and gay to be so rigid. She went on,
I feel like, it’s kind of an interesting intermingling of straight and gay. I felt like, if I really want this to be a mainstream film, that’s good. This is really inclusive of gay and straight, and I like that. I like that personally and I like that for this film. I was much more interested in reaching out to the male population than I was concerned about alienating a sector of the lesbian population.
In other words, this was explicitly, at least in part, a capitulation to having more people identify with the story — but in a way that felt narratively true to Cholodenko, at least by her own account. If the film does succeed with “mainstream” (giant scare quotes around that one) audiences, then maybe the next time won’t be such a hard sell. And it won’t have to stand in as the “perfect” representation of a given group, not being the only one.
The greatest strength of co-writer and director Lisa Cholodenko’s (who, it’s worth noting is a lesbian parent) script, as well as Julianne Moore and Annette Bening’s pitch-perfect portrayals of the couple in question, is that it paints its lead characters as very specific, likable but fallible people. Nic (Bening) is a resolutely Type A OB-GYN with strict rules for the kids, a tendency to be called away to work at just the wrong time, and a nasty habit of drinking too much to take the edge off of stressful situations. Jules (Moore) isn’t quite her opposite so much as her counterpart: a sort of free spirit with a lighter touch who’s never exactly managed to launch a successful career. They argue, like all couples do, but the love and deep attachment between them is always palpable. Oh, and they watch guy-on-guy gay porn together while they get it on. In a spectacularly awkward clip that is nonetheless true to the characters, Jules explains to their 15-year-old son that human desire is a strange and unpredictable (not to mention inexplicable) thing.
It’s easy to understand why oppressed groups can be so protective of the way they are portrayed in media. Movies like The Kids Are All Right, which may be rocketed to mainstream success on the strength of its two A-list stars (and equally strong supporting performances by Mark Ruffalo and Mia Wasikowska), might have a chance at getting Middle America to empathize with a lesbian-led family. But that shouldn’t mean Bening and Moore’s two moms should have to be perfect. Any film with flawless main characters is bound to be a forced, boring one more concerned with being politically correct than telling a powerful story.
The Kids Are All Right plants the viewer right in the center of this family in flux’s most difficult summer. By creating characters we feel we know, not in spite but because of their shortcomings, Cholodenko and her stars will undoubtedly win over viewers and rise above stereotypes.
Around The Sphere 