Monday, December 19, 2011
Tuesday, November 22, 2011
Wednesday, November 16, 2011
Monday, October 17, 2011
Tuesday, September 27, 2011
Monday, September 26, 2011
Wednesday, August 31, 2011
Monday, August 22, 2011
The bigger story is that my edited collection, The Politics of Post-9/11 Music: Sound, Trauma, and the Music Industry in the Time of Terror, dismantles these connections via a conversation with Chris Hrasky, Explosions' drummer. The book will be out soon, I can assure you.
Friday, August 5, 2011
Then, mere meters from the front of my condo building, I was shoved off of the sidewalk into a lane of moving traffic. The pedestrian who shoved me did so accidentally. He was standing in the middle of the sidewalk with a group of his friends, facing the opposite direction. He was chatting with them about something--plans for dinner, plans for the weekend, whatever--when he suddenly turned around and quite forcefully stepped right into me. He didn't have time to see me coming, nor did he, for whatever reason, anticipate that by clogging up the middle of the sidewalk, he would force other pedestrians to walk around him and his friends. Even though I was dutifully passing on the left, he still wound up walking into me, and the result was that he propelled me out into the street.
(On a sidenote, this kind of thing is precisely why I loathe people who walk with their cell phones, iPhones, iPods, etc. pressed firmly and, it seems, permanently against their heads. This is also the reason that I particularly loathe shopping at this place. On any given day, a solid 85% of the store's patrons are walking about sealed off from the outside would via some form of auditory stimulation. In more simple terms, no one pays attention to where the eff they are or what the eff they are doing. And the store just isn't big enough for that kind of aloofness. The same goes, obviously, for most city sidewalks. Folks, it's dangerous to other pedestrians when you, as a pedestrian, are not paying attention. Get it? It's sort of like driving. But then, why do I suspect that you drive just like you walk?)
In any case, the gentleman who knocked me into the street was apologetic. At the time, I was a bit stunned, and a bit annoyed. I was also concerned because I was a sweaty mess, and I knew that I smeared myself all over what appeared to be his relatively nice outfit. So much for those dinner plans. In any case, I didn't respond to the man in any meaningful way. I merely got up, brushed myself off, and finished my jog. Sir, if you are reading this post, no worries. It was an accident.
It wasn't until later in the evening--perhaps not coincidentally, as I was walking home from a typically far-too-long shopping experience at my favorite supermarket--that I realized I could have been seriously, seriously hurt had there been a car or bus in that particular lane of traffic. As I thought back to my actions, I was pretty sure that I would not have attempted to pass that gentleman had there been cars in the street; in fact, I knew that the lane was empty when I made my move to the left side of the sidewalk. Nevertheless, the thought that, in an instant, I could have ended up in the hospital with at least several broken bones (at best) left me quite cold--and I haven't been able to shake the feeling that I was really lucky yesterday afternoon. Honestly, I don't like being lucky. I like being safe.
Perhaps what is more troubling to me is the thought that I would have been deeply upset had my running career been compromised. In all likelihood, given the speed at which cars and buses and trucks can travel on that particular street, my running career would have been permanently compromised, because a direct hit by any of those automobiles would have likely left me paralyzed to some degree. The man literally knocked me into the middle of the street, so any kind of hit would have been a direct one, right against my back.
Now, I suppose that it's completely natural for me to feel this way--for me to be simultaneously shaken by that experience while also feeling like I'd be really, really pissed if I couldn't run anymore. Not to mention, no one likes being hit by a car. Still, it's hard for me to reconcile my professional interest in, and passion for, disability studies with my longer, more ingrained (and frankly, more successful) stint as a competitive runner.
See, I've been running competitively since I was in the sixth grade. I was born to do it. It's the only activity for which I have any glimmer natural talent. Also, I love it. I love the aches in my legs the day after a brutal speed workout. I love blasting around a track, my lungs sucking in oxygen like some enormous carburetor. I love wandering around the city on elongated leisurely distance runs, finding my way home, stumbling on forgotten trails and tiny, hidden parks. Moreover, I love the competition--the pure unadulterated competition--of the sport.
Yes, I know I sound like an evil capitalist here. Honestly, that doesn't bother me too much. Heck, running, for most of us anyway, pits people against a clock of all things. The whole sport is about efficiency, productivity, and the like. It's also a sport that emphasizes rugged individualism. There aren't many people who want to run 13+ miles at a given time, which means that many of us--not all, mind you--end up running on our own. "What do you do when you're out there for all that time?", I am often asked. Typically, I respond snarkily, "I don't like people very much. Long distance running allows me to leave them all behind--literally." I'm not entirely joking when I say those kinds of things.
Despite how horrible all of that might sound to some, I'll defend it rigorously until arthritis sets in. And even then, I'll still probably defend it. That kind of thinking is hardwired into my consciousness, and I doubt that much of it will change as I continue aging. Granted, I know that not every long distance runner thinks this way. But I do, and that's fine with me. (Also, for those of you who loathe capitalism, you might ponder the significance of countries like Ethiopia and Kenya--places well outside of the "first world"--absolutely dominating this sport.)
The point is that had something disabling happened to me, I would have been angry--for a long, long time. I just started racing ten milers a few years ago--graduate school held up my racing career for a bit--and after just a handful of them, I've whittled my time down to 1:00:26. The goal is to get under that hour. I think I can do that in the fall. I've been working hard to do that since last fall, and if my training were permanently altered because of a car accident, I don't know what I would do with myself.
It's for this very reason that running is a perfect case study for disability theory. Runners of virtually any distance are terrorized by the thought of injury--let alone actual injuries. We spend a good portion of our athletic lives worrying about injuries, performing all manner of preventative exercises--from regular icing to stretching and core strengthening--to prevent injuries, and, usually, treating injuries. The great thing about running is that it is a sport in which people can engage well into their adult lives because it only requires a pair of shoes. One of the downsides to that longevity is that the further runners get away from formal institutionalized performance spaces--organized official teams, training facilities, etc.--the less access we have to the kinds of resources, like trainers and physical therapists, we need to maintain the kind of consistent running that is required of any training program. And believe me, paying for those services out of pocket, or even convincing your primary care physician to write a referral for physical therapy, is just about as painful as being injured.
The point is that running and injury are largely intermingled. They are not, as it would seem, mutually exclusive. Though, disability writers like Alex Lubet have started to look at the ways in which professional musicians are similarly terrorized by the threat of injury (and the difficulty of receiving dependable, affordable treatment for those injuries), from what I have seen--and, of course, I haven't seen it all--disability studies has not looked extensively at athletics in this way. The bulk of disability scholarship that I've read tends to pathologize athletes, contending that athletics prioritize able-bodiedness, while marginalizing the disabled to the denigrating realm of "special" competitions. These claims certainly have sizable teeth. However, I think a more nuanced approach, one that looks at how most (able-bodied) athletes already understand themselves as disabled, is necessary.
Moreover, I've always felt that disability studies moves too quickly to a what-are-you-going-to-do-about-it-? position. Since the field was born out of absolutely necessary social activism that needed to contend for access and civil liberties of virtually all kinds, I absolutely get that position. 1990 was far too late in America's history for these matters to come to the forefront. In that light, it's absolutely necessary to force the powers that be to answer the question: what are you going to do about it? Nevertheless, I've consistently maintained that disability studies needs to leave room for mourning--that it needs to leave room for disabled people, particularly those who become disabled at some point in their lives (which is, of course, one of the central claims of disability studies--we'll all be disabled if we live long enough), to mourn the loss of their bodies. It doesn't particularly matter how illusionary the wholeness of any "able body" might be. The point is that the loss of a particular kind of embodiment, and the daily activities that go along with that kind of embodiment, can be painful, perhaps even more so than the event that caused the disability. In my case, for instance, I know that the elongated trauma of having to let go of my ability to run would far outlast the physical pain of the potential car accident I almost suffered. There has to be some way for disability studies to validate that position.
As I was pondering all of these imagined scenarios, and certainly as I've been typing this post, I knew that one obvious response would be the following: "Well, you said you always wanted to race ten miles in under an hour. Even if you were paralyzed, you could still reach your goal." Believe me, I know that. Yet, I still can't seem to blend comfortably the thing that I was born to do (run) with the thing that I learned how to do (deconstruct). (Also, as I've already mentioned, I'm better at running than I am at deconstructing.) All of which is why there is a handy comments section below. That's the place where all of you can run your mouths on this matter.
Wednesday, July 27, 2011
I really can't believe that no one has made any jokes about these indie dudes recoding "dreamy" "ethereal" lo-fi music "awash" in synth sounds alone in their bedrooms, only to adorn their record covers with photos of people getting it on. Wet dreams? Musical masturbation? Anyone? Can anyone fashion something funny out of that? Bueller?
Or has this whole trend just gotten creepy?
I'm going with irritating.
And maybe with creepy, too.
Monday, June 27, 2011
Monday, June 13, 2011
Also, the assorted logistical tasks that I've been completing per the request of Ashgate Publishing have paid some pretty substantial dividends, as the anthology that I have been co-editing, The Politics of Post 9/11 Music: Sound, Trauma, and the Music Industry in the Time of Terror, now has a publication date and an official web presence! Exciting times indeed.
I have also created a Twitter account to publicize my various publication work. A link to that account will be available shortly for anyone who is interested. In the meantime, savor the joy of the Heat's loss.
Wednesday, May 11, 2011
What makes this year's summer send off a bit more somber is that it is, quite likely, the end of my time teaching for my esteemed university's English department. In just a few short months, I will be moving over to GWU's College of Professional Studies, which will be exciting! However, I will miss my office on the sixth floor of the towering Rome Hall. Such is life.
So in the spirit of summer, I'm posting what is essentially my entire summer reading list in hope that posting this list will force me to read all of the books on it. I'm also open to dialogue about this list in the comments section below.
- Susan M. Schweik's The Ugly Laws
- Sherwood Anderson's Winesburg, Ohio
- Marvin Lin's Kid A
- Christopher Weingarten's It Take a Nation of Millions
- Merri Lisa Johnson's Girl in Need of a Tourniquet
- Alex Lubet's Music, Disability, and Society
- Terry Galloway's Mean Little deaf Queer
- Alex Haley's Roots
- Michael Davidson's Concerto for the Left Hand
And speaking of winning, please Celtics, for the love of all that is holy and good and pure in this world, do not lose tonight.
Wednesday, April 27, 2011
Monday, April 25, 2011
Wednesday, April 20, 2011
Tuesday, April 19, 2011
Friday, April 15, 2011
Wednesday, April 13, 2011
There is no Frigate like a Book
To take us Lands away,
Nor any Coursers like a Page
Of prancing Poetry –
This Traverse may the poorest take
Without oppress of Toll –
How frugal is the Chariot
That bears a Human soul.
All together now:
Tuesday, April 12, 2011
Monday, April 11, 2011
Below is a clip of a high school production of The Night Thoreau Spent in Jail. I'm not so sure that those chairs are authentically nineteenth-century handiwork, though.
Friday, April 8, 2011
In 19th century, Walt Whitman and Emily Dickinson are pioneers of the development of American poetry. They have such a great influence that any current poet in American has somehow “raised up” by both of them, which is the same as the influence that Li Bai and Du Fu have on the Chinese poetry world.
Li Bai (ca 705 - 762), also called Li Po, is one of the China's most famous poets. A commentary that focuses on his connection to the Qing has been written. Ronald Egan writes in this literal work (Controversy, p.53), "In the first centuries of the Tang dynasty, the poets Meng Haoran and Li Po further promoted the cultivation of a special literati affiliation with this instrument." “BRINGING IN THE WINE”, one of his greatest artworks, belongs to the old genre of folk-song-styled-verses，with its content focus on the drinking party and amusement. We talked about Whitman’s “Song of myself” as his autobiography. This piece by Li Bai also on some extend reflected his personal journey over the years. The poem expresses his exclamation with the emotion of having genius but unrecognized, as well as the pessimistic idea that people should enjoy pleasure of their short life in good time. However, he also expresses his self-affirmation, the positive and unrestrained attitude to pursue freedom, which is derived and converted from the extreme pressure of the society and contradiction between reality and ideal. Below is the translation of this great artwork in Chinese history.
See how the Yellow River's waters move out of heaven.
Entering the ocean, never to return.
See how lovely locks in bright mirrors in high chambers,
Though silken-black at morning, have changed by night to snow.
...Oh, let a man of spirit venture where he pleases
And never tip his golden cup empty toward the moon!
Since heaven gave the talent, let it be employed!
Spin a thousand pieces of silver, all of them come back!
Cook a sheep, kill a cow, whet the appetite,
And make me, of three hundred bowls, one long drink!
...To the old master, Cen,
And the young scholar, Danqiu,
Bring in the wine!
Let your cups never rest!
Let me sing you a song!
Let your ears attend!
What are bell and drum, rare dishes and treasure?
Let me be forever drunk and never come to reason!
Sober men of olden days and sages are forgotten,
And only the great drinkers are famous for all time.
...Prince Chen paid at a banquet in the Palace of Perfection
Ten thousand coins for a cask of wine, with many a laugh and quip.
Why say, my host, that your money is gone?
Go and buy wine and we'll drink it together!
My flower-dappled horse,
My furs worth a thousand,
Hand them to the boy to exchange for good wine,
And we'll drown away the woes of ten thousand generations
During this week we’ve been talking about Whitman’s “Song of Myself” and the musical elements in it. Well, creating poems in the form of songs is actually another characteristics of ancient Chinese poem. Before printing technology was invented, people often times pass those poems generation by generation through singing. Now there are collections of these poems recorded after characters were created. In Chinese history throughout different dynasties, poetry is often expressed with musical or incantatory effects by means such as assonance, rhythm, onomatopoeia, etc.
The lyric of the Song Dynasty is one of the representative examples, which could be considered as written songs. Most of the poems do not even have their own title, but they are named after an original tune pattern. Composers and writers used this melody to write a new poem, which is the reason why we often see the same title for two different poems, like "Butterflies love blossoms", Man ting fang "Scent fills the hall", or "Lady Yu". There are more than 800 tune patterns.
During Song Dynasty, two different styles of poetry were developed, the "heroic abandon" and the "delicate restraint". Song Ci lyric became very popular even during the Qing Dynasty. There are some famous Song poets, like Wang Yucheng (954-1101), Liu Yong (980-1053), Yan Shu (991-1055), Wang Anshi (1021-1086), Huang Tingjian (1045-1105), Qin Guan (1049-1100), Li Qingzhao (1084-1155), Jiang Kui (1155-1221), etc.
The video clip presents an early form of Lyric in ancient China around 500 BC that is sung by a court dancer. It tells a story of a Chinese Cinderella that falls in love with a prince. Her performance expresses her affection and passion, in an emotional and elegant way.
Wednesday, April 6, 2011
Tuesday, April 5, 2011
There are differences and similarities between Western and Eastern culture. One thing I really enjoy of this class is it helps me explore American culture through literature. Literature as a form of art expresses culture. Since I am in charge of blogging this week, I decide to use this platform to introduce some Chinese culture that could be related to what we have been discussing. Few weeks ago, we talked about “Thanatopsis” by Bryant. In this poem, Bryant mentions returning to nature after death. Also, Easter is approaching along with the nice weather outside. In China, we also have a traditional holiday has a relation to that- the Tomb- Sweeping Day aka Qing Ming festival.
Tomb Sweeping Day, as one of the few traditional Chinese holidays that is celebrated two weeks after the vernal equinox, typically falling on April 4, 5, or 6. It is a festival for holding memorial ceremony for people’s lost relatives and ancestors. It is a time to express one's grief and sorrow for their loss, a time to celebrate the rebirth of nature, while marking the beginning of the planting season and other outdoor activities. At this time, spring returns and dominates the earth again. The feel of growing life is in the air, with sap ascending in trees and buds bursting. And the willow branches inserted on each gate add vigor and vitality to the surroundings.
In ancient times, people celebrated Tomb Sweeping Day with dancing, singing, picnics, and kite flying. Kites can come in all kinds of shapes, sizes, and colors. People plant willows in front of their door to celebrate the renewing nature of spring. With the passing of time, this celebration of life became a day to the honor past ancestors. Following folk religion, Chinese people believe that the spirits of deceased ancestors bless their family. Sacrificial offerings make them happy, and the family would prosper through good harvests and more children from such bless.
Today, Chinese visit their family graves at Qing Ming to weed out rank grass that has grown and swept away dust, and then place bland food by the tombs. One of the most traditional customs is that people kowtow in front of the graves to express respect and cherished memory of their ancestors. After that, people regularly provide sacrificial offerings, censers and burning incense at tables in their homes so as to expedite the transfer of nutritious elements to the ancestors and bring good luck.
Along with these traditions, there are also many poems about this special festival. One of them is called Qing Ming by Du Mu, a famous poet in China.
Du Mu (Tang Dynasty: 803-852 AD)
It drizzles thick and fast on the Mourning Day,
The mourner travels with his heart lost in dismay.
When asked for a wineshop to kill his gloomy time,
A cowboy points at Almond Hamlet far away.
Translated by: Weixiong Wu
Monday, April 4, 2011
Today in class when talking about Whitman and comparing it to that modern day punk band, I couldn't help but think of a book I read last year. It's called "Please Kill Me...The Uncensored Oral History of Punk" by Legs McNeil and Gillian McCain. It's a history of punk from the people who lived it, so the entire book is basically years of interviews. People like Iggy Pop, David Bowie, Richard Hell and a lot of other musicians at the time are featured.
It's a really great read. Easily one of the best books about music that I've ever read. I think it's poignant for our class when talking about romanticism, because this book romanticizes this harsh punk world making it almost seem normal, then everything just falls apart and the ugliness of the world is apparent. Thinking about it, it kind of reminds me of the transition from Romanticism to Realism. But maybe I'm just thinking way too much about this!
Thursday, March 10, 2011
Wednesday, March 9, 2011
Saturday, March 5, 2011
I couldn't help but thinking about Bret Easton Ellis's postmodern novel American Pyscho, especially when she mentions Wall Street on the first page, page 1081, poverty in Letter XIV, and women's rights in Letter XXXIV. American Psycho is a reaction to the high crime rates in the 1980's in New York City, and the main character, unlike Child, has little sympathy for the poor or for women. This novel has stuck with me, not because I think it is so well-written, but because it is so disturbing. For those of you who have read the novel or have seen the film, what do you make of this more contemporary portrayal of New York City compared to Child's less gruesome, 19th century version? I suggest reading this article on the book, if you're interested in learning more about it and think you can stomach it.
Friday, March 4, 2011
Instead, Apess uses the word "nation" quite a bit, especially in the final paragraph on page 1054. He indirectly says that whites, not Indians, can be charged with "robbing a nation almost of their whole continent, and murder their women and children" and with robbing "another nation to till their grounds and welter out their days under the lash with hunger and fatigue under the scorching rays of a burning sun" (1055). The footnote makes clear that the second quote references "the 'nation' of Africa, many of whose people were brought to the United States as slaves."
Why does Apess refer to Indians and Africans as nations instead of as races? How does this relate back to Benedict Anderson's "Imagined Communities," and the idea that nations are socially constructed? Sociologists also argue that race is a social construct. Do you agree? Also, when I first read this essay, I thought that Apess's main argument is that people of color are equal to whites and should be regarded as such. However, in this paragraph, he says "Assemble all nations together in your imagination ... Now suppose these skins were put together, and each skin had its national crimes written upon it—which skin do you think would have the greatest?" (1054). Here, and in the quotations above, it seems to me that Apess is implying that other races are morally superior to whites. What do you make of this?
Thursday, March 3, 2011
Tuesday, March 1, 2011
To start things off, Apess is far more different direct with the reader "let me ask you" or even better "let me ask you, white man". Apess is more in your face than Winthrop. His questions make you feel uneasy almost shameful feeling: (p. 1054 middle)
"I am not seeking for office, but merely placing before you the black inconsistency that you place before me--which is ten times blacker than any skin you will find in the universe."
- Apess wordplay involving is genius here when i think of inconsistency i think of gray yet he paints it as black...what is he getting at?
Friday, February 25, 2011
Thursday, February 24, 2011
Tuesday, February 22, 2011
How would Washington Irving feel about Tim Burton’s film “adaptation” of his story called Sleepy Hollow?
I recently watched Tim Burton’s Sleepy Hollow and noticed the vast differences between the film and Washington Irving’s short story.
There are many differences between the short story and the recent film adaptation (which came out in 1999). Firstly, in the film Crane is a police officer, not a school teacher. Also, people are actually killed in the film, unlike the short story. Irving may not have liked so many plot changes.
But the biggest thing that probably would have upset Irving was the depiction of the Headless Horseman. In the short story, it implies that the Headless Horseman may have been Brom Bones in disguise. In the film, the Headless Horseman is real and terrorizes the town’s residents. In order to defeat the horseman, Crane reattaches its head and the Horseman is sent to hell. Irving is probably rolling in his grave.
The film completely misses the marks and the themes that Washington Irving conveyed. The book details about how the town believes in the Headless Horseman and carries on the legend by word of mouth, basically throwing out all natural and logical reasons for things in favor of the supernatural. The film shows the townspeople ought to be afraid for a reason. Also, the film shows that the Headless Horseman is real and in the short story it is not true. Irving is trying to show in his short story the power of legend and telling stories has, and proves this by showing in the end that the Headless Horseman is a myth all along.
Do you think that Washington Irving would like that his story has become a classic and has other artists try to convey his work? Or would Irving be upset that the popular film is nothing like his story?
If I think about contemporary Washington DC, I see a relationship between literature and setting in many ways. Dan Brown comes to my mind (ignoring the quality of the writing) because his latest book "The Lost Symbol" dealt with DC's monuments, heroes, and potential dark side. We as residents of the city are given a sense of pride when we read about it while readers who don't live in the city they are reading about feel a sense of wonder. What other values do we see in urban literature?
Wednesday, February 16, 2011
Tuesday, February 15, 2011
Not to stretch too far, but I feel this connects somehow to the events in Egypt and other countries involved in political change because in class we discussed the construction of America and its values. Where do we find the balance between our ideals and the practicality of enforcing them?
Check out this article:
Monday, February 14, 2011
And you've been so many places
I guess it must be so
But still I cannot see
If the savage one is me
How can there be so much that you don't know?"
Wednesday, February 9, 2011
I know, I know, Benjamin Franklin lived and died long before the age of film, but Franklin always thought about the future. Besides being a thinker and inventor, he was also very much involved in designing an image for the United States when it first became a country. Now, long after Franklin’s death, a staple in American culture and how the rest of the world sees us is our film industry. The Academy Awards recognizes the best of the best in the film industry. Since it the Oscars are only a few weeks away and Ben Franklin had a lot of opinions about subjects, I thought it would be interesting to pick Franklin’s brain and figure out what his opinions are on the ten films nominated for “Best Picture”.
· 127 Hours- Great story of survival through every possible obstacle. Inspired Franklin and wishes the troops during the American Revolution could have seen it so it could have inspired them to survive. Oh well, we still won.
· Black Swan- Is a good look at a mental breakdown, seen through the eyes of the victim. Good psychological thriller, but not Franklin’s cup of tea.
· The Fighter- Good story, but wonders why Lowell (a city only forty-five minutes away from Boston) could be so trashy. Boston is Franklin’s first home and it gives Boston a bad rap.
· Inception- He thinks this movie is interesting and he loves that it makes you think. He loves the twist ending and that it leads the viewers up to their interpretation. Likes that it prompts discussions and analysis.
· The Kids are Alright- Families are a lot smaller than in Franklin’s time, where families had many children. This film confuses but enlightens Franklin on different types of families. He is pleasantly surprised.
· The King’s Speech- Well made, but he can not support it because of his Revolution mentality. He chooses not to support England or anybody named King George (no matter if it’s III or VI)
· The Social Network- Is impressed by the script and was surprised. He assumed that it would be a simple story over the founding of a website, but it is actually a story of friendship, power, and betrayal. If he didn’t know any better, it sounded like a plot of a Shakespearean drama.
· Toy Story 3- Likes the animation and the story of friendship. Can relate because it was hard for him to leave home at first too. Franklin also wishes he invented talking toys before he passed away.
· True Grit- Thought the acting was good but thought it was anti-climatic. Didn’t like the way that the US was betrayed. Franklin likes the city and has no desire to move to the country after seeing this western.
· Winter’s Bone- He, like the rest of the county, has never heard of this movie.
Benjamin Franklin’s choice winner: Inception, because he loves to think and pay attention for over two and a half hours at a time. It’s on his daily schedule.
Tuesday, February 8, 2011
"Was the government to prescribe to us our medicine and diet, our bodies would be in such keeping as our souls are now...Government is just as infallible too when it fixes systems in physics." (p. 662)
TJ' use of the word MEDICINE really stood out. Is he against Obamacare?
Don't get me wrong Jefferson is a true scholar, but that's his ultimate problem. As the father of American republicanism (agrian society and states rights), he (along with others) laid the seeds for the Civil War
Thursday, February 3, 2011
Wednesday, February 2, 2011
Tuesday, February 1, 2011
Sunday, January 30, 2011
Wednesday, January 26, 2011
Friday, January 14, 2011
"I have a dream. A dream of contract extensions and no trade clauses. A dream of shoe deals and movie cameos. A dream in which black men can be perpetually portrayed as athletes and entertainers--and where they can be subject to extended analysis by snarky white commentators. Oh yes, I have a dream. A dream of a world where all black men have an equal opportunity to make the Top Ten Plays reel. A dream where black women will remain underrepresented in sports coverage of all kinds, and where the WNBA will receive less attention than hockey, which won't be covered at all."
Allow me to employ a sports metaphor to ask: Am I off base here?