“Yellow Back Radio Broke-Down, by the African-American writer Ishmael Reed, is a satirical take on the traditional Western. It is Ishmael Reed’s second novel, following The Freelance Pallbearers (1967), and was first published in 1969. It tells the story of the Loop Garoo Kid, an African-American cowboy who practices the religion of Neohoodooism, and describes his struggle against established religion and cultural oppression. Yellow Back Radio Broke-Down is a western that spans some three centuries of history and references locations from across the United States landscape. Through the three colorful protagonists, Chief Showcase, a Native American, Drag Gibson, a white land capitalist, and the Loop Garoo Kid, an African-American cowboy, Reed criticizes the hypocrisy of the American Church, the warping of history to degrade the portrayal of African Americans, and ways the ‘white man’ attempts to destroy the ‘black man’. The novel’s title summarizes…

State legislatures and even school districts are banning ”critical race theory,” typically based on misinformation about what it is and what it isn’t. The laws and bans are sweeping, and many teachers assume they are prohibiting
discussions of racism, slavery, the KKK, or anything that might make white students feel uncomfortable. Where such views become law, the accurate teaching of American and world history becomes impossible. There have been many shameful episodes in history, and students deserve to learn about them honestly, not sugar-coated.

The National Education Policy Center posted an interview with Professor Adrienne Dixson, a scholar of CRT, who explained what CRT is and what it isn’t. Here is a small part.

Q: In just a few sentences, what is critical race theory?

A: CRT is a theoretical framework that originated in legal scholarship in the late 1980s. The founding CRT scholars were dissatisfied with anti-discrimination laws and…

“Point Blank is a 1967 Americancrime film directed by John Boorman, starring Lee Marvin, co-starring Angie Dickinson, Keenan Wynn and Carroll O’Connor, and adapted from the 1963 crime noir pulp novel The Hunter by Donald E. Westlake, writing as Richard Stark. Boorman directed the film at Marvin’s request and Marvin played a central role in the film’s development. The film was not a box-office success in 1967, but has since gone on to become a cult classic, eliciting praise from such critics as film historian David Thomson. … Walker works with his friend Mal Reese to rob a major crime operation, ambushing the courier on deserted Alcatraz Island. After counting the money, Reese shoots Walker, leaving him for dead. Reese takes the money and Walker’s wife, Lynne. Walker recovers. With assistance from the mysterious Yost, Walker sets out to find…

Alexandria Castle, Egypt

“Lawrence Durrell claimed that the four books of The Alexandria Quartet were ‘an investigation of modern love’. It’s possible to take that idea at face value. Some have even used it as a stick with which to beat him. Notably, his Guardian obituarist (writing in 1990, at a time when Durrell’s reputation was possibly at its lowest ebb) said ‘a harsh judgment’ of his masterpiece might be that it was ‘a four-volume romantic novel written by a poet steeped in Freud and on nodding terms with Einstein’. I’m guessing from the warm response the books have had from this month’s Reading Group that most of you reading this will see that as an absurd rather than just a harsh judgment. Even if we accept that Durrell was only concerned with romantic love, that gives us endless scope for discussion – as Reading Group contributor Wheldrake has…

“‘Back in the U.S.S.R.’ is a song by the English rock band the Beatles and the first track of the 1968 double album The Beatles (also known as the ‘White Album’). Written by Paul McCartney and credited to the Lennon–McCartney partnership, the song is a parody of Chuck Berry‘s ‘Back in the U.S.A.‘ and the Beach Boys‘ ‘California Girls‘. The lyrics subvert Berry’s patriotic sentiments about the United States, as the narrator expresses relief upon returning home to the Soviet Union, formally the Union of Soviet Socialist Republics (USSR). The Beatles recorded ‘Back in the U.S.S.R.’ as a three-piece after Ringo Starr temporarily left the group, in protest at McCartney’s criticism of his drumming and the tensions that typified the sessions for the White Album. Instead, the other Beatles created a composite drum track from numerous takes. McCartney’s singing was based on

The Harlem of Don Hogan Charles

“… Hundreds of stunning images from black history, drawn from old negatives, have long been buried in the musty envelopes and crowded bins of the New York Times archives. None of them was published by The Times until now. Were the photos — or the people in them — not deemed newsworthy enough? Did the images not arrive in time for publication? Were they pushed aside by words here at an institution long known as the Gray Lady? As you scroll through the images, each will take you back: To the charred wreckage of Malcolm X’s house in Queens, just hours after it was bombed. To the Lincoln Memorial, where thousands of African-American protesters gathered, six years before the March on Washington. To Lena Horne’s elegant penthouse on the Upper West Side of Manhattan. To a city sidewalk where schoolgirls jumped rope, while the…

A reader of the blog posted the following comment, which I find to be sane and wise:

There is so much hypocrisy and ignorance in this politicization of mask wearing and vaccination. When everyone’s health and well-being is on the line, there can be no personal choice to forego what keeps everyone safer.

Why is it these people insist they can mandate what a woman does with her body or who can and cannot marry, but not that we all wear masks to keep everyone safer?

If one can’t wear a mask out in public for a health reason (which, for the life of me, I can’t think of), perhaps one shouldn’t be out. If you’re a professional athlete competing closely against others, you should be required to be vaccinated. If you are a spectator in the stands, you should be vaccinated. If you’re a teacher, a bus driver, a…

Jeanne Moreau and Miles Davis

“In the late 1950s and early 1960s, cinema and jazz were at the forefront of an artistic revolution – one of improvisation, immediacy and invention. Both were born around the turn of the century, came of age in the 1910s and 20s, and attained a ‘Golden Age’ of mass-popularity in the 1930s and 40s. The late 1950s and early 60s, however, saw a convergence of these two artforms that, for a moment in time, shared a common spirit. Both sought to challenge the prevailing orthodoxy, to express what was modern and true about the world, to invent new forms, to re-invent old ones, and to create a language of ‘the now’. For a brief moment, across the world, they stood together against the old guard. Here we’ll look at how they came together, what they stood for, and how they eventually went their separate ways…