Paul Shirley
Letters to the Editor
The race angle on Littleton massacre; Conason just doesn't get punk music.
White lies
BY JILL NELSON
(05/04/99)
I, too, was puzzled by the media’s tone on the tragic killings in Colorado.
“How could these upper middle-class white boys do something like this? Must
be that Goth thing, or their video games or cliques …” The
violence occurring in inner cities gets only a shrug and an “It figures.”
America is so saturated in violence that everyone is affected.
Even pretty little towns in the Rockies are susceptible. The folks who fled
the scary violent cities have discovered that the enemy is in their own
picket-fenced backyard.
– Meg Pearson
Washington
In “White lies,” Jill Nelson sets up a pretty brittle straw man. After all the school mass shootings by and of white kids in the past few years, how could she really be surprised and relieved that the killers
weren’t black?
Come on. That’s like being surprised and relieved to find out that the
rush-hour traffic jam you hear about on the radio wasn’t caused by a
rampaging elephant.
– Josh McHugh
Crazy as they wanna be
BY DEBRA DICKERSON
(05/04/99)
“Crazy as they wanna be” and “White lies” have honestly and precisely pinpointed the ugly foundation of racism on which much of the infrastructure of this country is based.
On the evening of the Littleton massacre, a white woman at a staff meeting asked if I had heard about the shooting. I had been in meetings all day and had not. She explained the incident as best she could, and then looked at me and said, “I thought this type of thing only happened in Compton.” I was visibly surprised at her statement, and asked, “Have you ever heard of this type of thing happening in Compton?”
I hadn’t mentioned the word race, but we both knew that race had everything to do with her statement, and with my response. The sad part was that she thought that her statement was innocent. She didn’t realize how deeply images of what criminals look like are ingrained.
– Russell Davis
Dickerson’s article was so typical; white children are continually going on murderous rampages, yet somehow the black community’s problems are at issue. Certainly the black community does not take “comfort” in the mass killings by white children.
After all, what Dickerson fails to relate is that blacks have been through the gun-violence holocaust of the ’80s crack cocaine war. I find it particularly egregious for Dickerson to mislead readers with a heading that depicts an article on white mass killers, but detours (purposely in my opinion) to the usual montage: Blacks have a shorter life expectancy; blacks commit more crimes; blacks have more babies out of wedlock. We blacks have heard it all a million times. Too bad Dickerson was too apprehensive to confront a problem that seems to plague whites.
– Willie Bass
I very much enjoyed Debra Dickerson’s “Crazy as they wanna be.” But
I just can’t resist pointing out to Dickerson and Salon that the
reason the director didn’t include any blacks in “Saving Private Ryan”
is because the U.S. Army was very much segregated at that time. It’s
pretty doubtful any blacks would have been allowed anywhere near
Normandy until the beachhead had already been secured. Kind of hard to
fault Spielberg for being historically authentic.
– Jim Morekis
Hitler youth?
BY JOE CONASON
(05/04/99)
While I very much appreciated the fact
that Joe Conason urged people to read “eerily prescient” magazines such as
Hit List in order to better understand such counterculture phenomena, it
was disheartening to discover that he exhibited almost as much confusion
about such groups as the rest of the media — apparently even after reading
Kevin Coogan’s article on “The Politics of Black Metal” in the
February/March 1999 issue of our magazine. Indeed, Conason not only was
unable to differentiate clearly between such radically distinct
music-oriented countercultures as punk, industrial and black metal, but
also to distinguish between diverse currents of the radical right and
various “underground” religions.
Perhaps Conason would be better able to make such crucial cultural
distinctions if he did not have such a condescending attitude toward all
forms of what he refers to as “screeching, atonal music” and other
“offensive crap.” Only after overcoming such prejudices will he be in a
position to discuss such topics more objectively, and in the process to
transcend the biases of the mainstream media.
– Jeff Bale
Editor, Hit List Magazine
Berkeley, Calif.
Joe Conason, like everyone else, is missing the point about the Littleton
murders. These two kids did not kill because they wore black trench coats,
or listened to a certain type of music, or believed in a certain set of
sociopolitical theories. They killed because they saw themselves as
worthless, useless and hopelessly out of sync with the mainstream that
surrounded them. Like thousands of other teenagers who act out in ways
ranging from cutting class to cutting classmates, they were constantly
bombarded with the idea that they were different, and that different was
unacceptable.
This event did not occur out of the blue. If one parent,
one teacher, one student, one administrator had made the effort to help
these kids, this whole incident might never have happened. Until we stop
creating children with a need to strike back at a world which is crushing
them, all the gun control laws in the world won’t stop the next Littleton
from happening.
– Ayah Setel
It’s clear that Conason simply hasn’t done his homework. Industrial music is generally quite liberal, culturally distinct from heavy metal and possesses at least a
rudimentary sense of humor. By casting it as violent neo-Nazi Satan worship,
he contributes to the fast-growing suspicion that those who are in any way
“different” are budding killers. In characterizing Throbbing Gristle (a
band, I will wager, that he’s never heard) as neo-Nazis, he ignores their
subtle, anarchic, left-wing lyrics (and their long history of
misunderstanding by tabloid media), as well as their deeply held moral
values. He does further injustice to the true “industrial” movement by
lumping it together with puerile poseur Marilyn Manson and the fascist
Norwegian black metal scene. “Black metal” is by no means a “subset of
industrial music.” Try again, Salon.
– Greg Lyon
Oberlin, Ohio
JOE CONASON RESPONDS …
My column clearly referred to “certain ugly elements,” not to all industrial or punk or metal or thrash bands. Nor did I declare those genres “offensive” or crappy in totality — the antecedent to that sentence is the glamorization (by groups like Throbbing Gristle) of Nazi iconography, Charles Manson, etc. Beyond that, I cede the ongoing, tedious debate about precise genre boundaries to musicians, fans and critics like Jeff Bale, adding only this from Bale’s own introduction to the Coogan article: “[M]any new youth countercultures [have] emerged from the radical neo-fascist milieu, especially since the mid-1970s.” Exactly my point. And it is in within those countercultures that we may discover where disturbed kids like Klebold and Harris get the idea that Hitler is cool.
The disturbing case of “Ben H.,” the messianic marksman
BY JUSTIN FRANK, M.D.
(05/03/99)
Dr. Frank’s hatred, judgment and character assassination are ugly even when
concealed under a veneer of political correctness. If Dr. Frank is your house psychiatrist, you should look into a different HMO. He succeeds more in making a mockery of himself and his profession than anything or anyone else.
– Tom Quigley
Media turns to disaster porn to keep an audience
Cable news would rather discuss Haiti's natural disaster than its man-made one
Brian Williams The black T-shirt — so tight, so come-hither. And oh, those safari button-downs — joke-worthy on Eddie Bauer mannequins, but on news correspondents, so … enticing.
America missed these sartorial seductions, pined for their sweet suggestive nothings. And now, finally, a nation of television addicts can thank its disaster pornographers for bringing back the lurid garments — and the lustful voyeurism they evoke.
Yes, thousands of miles from the San Fernando Valley’s seedy studios, the adult entertainment business is alive and panting in Haiti. This year’s luminaries aren’t the industry’s typical muscle-bound mustaches of machismo — they are NBC’s Brian Williams pillow-talking to the camera in his Indiana Jones garb, CNN’s Sanjay Gupta playing doctor and, of course, CNN’s Anderson Cooper in that two-sizes-too-small T-shirt “rarely missing an opportunity to showcase his buff physique,” as The New York Times gushed. They are all the disaster porn stars in the media with visions of Peabodys and Pulitzers dancing in their heads.
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David Sirota is a best-selling author of the new book "Back to Our Future: How the 1980s Explain the World We Live In Now." He hosts the morning show on AM760 in Colorado. E-mail him at ds@davidsirota.com, follow him on Twitter @davidsirota or visit his website at www.davidsirota.com. More David Sirota.
The view from the Port-au-Prince airport
My grand tour of the least glamorous of the Caribbean islands: Hispaniola. Plus: Landing without "radar" in Haiti
This GeoEye-1 satellite image taken from 423 miles in space at 1037 am EST (1537 GMT) January 16, 2010, shows Port-au-Prince International Airport with multiple aircrafts, supplies and personnel on the ground. World leaders have pledged massive assistance to rebuild Haiti after the earthquake killed as many as 200,000 people, but five days into the crisis aid distribution was still random, chaotic and minimal. REUTERS/GeoEye Satellite Image/Handout (HAITI - Tags: DISASTER ENVIRONMENT) FOR EDITORIAL USE ONLY. NOT FOR SALE FOR MARKETING OR ADVERTISING CAMPAIGNS(Credit: Reuters) Hispaniola, 1999.
“Sorry, no, it’s too dangerous,” says the driver.
“Um. OK.” To the best of my knowledge and experience, Port-au-Prince is the only place in the world where a cabby will refuse a $20 bill to take a pilot into town for a quick tour. Where else, I don’t know. Maybe Monrovia or Freetown during the wars there?
I’m in Haiti for 90 minutes, on a two-stop turn out of Miami. I was awake before dawn to the roar of the air-conditioning unit when the phone rang, the scheduler rattling off the report time for an afternoon trip to Port-au-Prince and Santo Domingo — a three-leg out-and-back.
Continue Reading ClosePatrick Smith is an airline pilot. More Patrick Smith.
Scientology to the rescue
John Travolta is bringing much-needed supplies to Haiti. The problem? He's also bringing L. Ron Hubbard
In the wake of the spectacular outpouring of relief to the people of Haiti, a number of generous benefactors have emerged. But few are alighting upon Port-au-Prince with quite as much baggage – for good and otherwise – as John Travolta.
Yesterday the 55-year-old actor did something extraordinary: He got off his ass and flew his own Boeing 707 from Florida down to Haiti with an astonishing four tons of ready-to-eat military rations and medical supplies. It is a gesture no one would look askance at in and of itself, particularly at a time when relief organizations like Doctors Without Borders have been having persistent problems getting into the beleaguered country. We may raise a skeptical eyebrow at the fact that the famous movie star – and his lovely wife, Kelly Preston – just happened to arrive prepared for a camera-ready scene of unloading cargo, but it’s doubtful anyone in Haiti right now is saying, “Medical supplies? We would, but you really sucked in ‘Old Dogs.’”
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Mary Elizabeth Williams is a staff writer for Salon and the author of "Gimme Shelter: My Three Years Searching for the American Dream." Follow her on Twitter: @embeedub. More Mary Elizabeth Williams.
When the media is the disaster
In the wake of the Haiti earthquake, false depictions of victims as criminals hinder the relief effort
Left: Haitian children line up to receive food at a food distribution site. Right: A woman defends herself as others try to take a bag she carried out of a damaged building in Port-au-Prince on Thursday. Soon after almost every disaster the crimes begin: ruthless, selfish, indifferent to human suffering, and generating far more suffering. The perpetrators go unpunished and live to commit further crimes against humanity. They care less for human life than for property. They act without regard for consequences.
I’m talking, of course, about those members of the mass media whose misrepresentation of what goes on in disaster often abets and justifies a second wave of disaster. I’m talking about the treatment of sufferers as criminals, both on the ground and in the news, and the endorsement of a shift of resources from rescue to property patrol. They still have blood on their hands from Hurricane Katrina, and they are staining themselves anew in Haiti.
Continue Reading CloseRebecca Solnit grew up in California public libraries and is thrilled to be revisiting them all over the state as part of the Cal Humanities California Reads project, which is now featuring five books, including her A Paradise Built in Hell: The Extraordinary Communities That Arise in Disaster. More Rebecca Solnit.
Haiti loses feminist leaders
Three women's rights activists are among the earthquake's casualties
Three leading women’s rights activists can be added to the tragically long list of those confirmed dead from last week’s Haitian earthquake. Magalie Marcelin, Anne Marie Coriolan and Myriam Merlet all made tremendous strides in combating rape and domestic violence in the country — and they all died under the rubble, CNN’s reports.
Marcelin a lawyer and actress in her 50s, founded the women’s rights organization Kay Fanm, which supports victims of domestic violence. The similarly-minded Myriam Merlet helped start domestic violence shelters in Port-au-Prince and campaigned to get Eve Ensler to bring “The Vagina Monologues” to Haiti. The 53-year-old was also a top adviser for the country’s Ministry for Gender and the Rights of Women and a founder of the feminist organization Enfofamn. Coriolan, a 53-year-old sociologist, was also a top adviser for the gender ministry and founded the group Solidarity with Haitian Women. She fought fiercely for courts to take rape seriously as a tool of war and not a “crime of passion,” as it had been.
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Tracy Clark-Flory is a staff writer at Salon. Follow @tracyclarkflory on Twitter. More Tracy Clark-Flory.
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