FREE AT LAST?: In ‘Runaway Slave,’ pastor and activist C.L. Bryant and other African American conservatives reject liberal politics and ask whether big government entitlements are a new form of slavery.
The title of the new film Runaway Slave might lead some to dismiss it as just another dramatization of a commonly rehearsed chapter of black history in America. But when one discovers that the film is actually a documentary about a politically liberal African American pastor’s conversion into the conservative political movement, the title suddenly takes on a much more provocative tone. On one level, Reverend C.L. Bryant’s Runaway Slave is a coming-of-age narrative about his shift from being a pastor and NAACP Chapter President to being a prominent defender of small government, free markets, and personal responsibility. On another level, however, it is a clear rebuke of what the filmmakers perceive as the black community’s enslavement to the Democratic Party and progressive politics. Bryant wants us to understand that the black community is not a political monolith, and that our moral and economic concerns might be better addressed by the Republican Party’s conservative platform.
A press release for the movie leaves no doubt about the film’s point of view. After announcing that the movie comes to us “from the creators of Tea Party: The Documentary Film,” it goes on to describe the film’s general premise:
Rev. Bryant takes viewers on an historic journey across America that traces the footsteps of runaway slaves who escaped to freedom along routes that became known as the Underground Railroad. But in the film, he also travels a “new underground railroad” upon which Black Conservatives are speaking out against big government policies which have established a “new plantation” where “overseers” like the NAACP and so-called “civil rights” leaders keep the Black community 95 percent beholden to one political party.
And interviews from such noted conservative figures as Glenn Beck, Herman Cain, Star Parker, and the late Andrew Breitbart help the film draw clear ideological lines in the sand. Fans of 2016: Obama’s America, another controversial conservative documentary released this year, will find much here to “amen” to as well.
The great achievement of Runaway Slave is its geographically and ideologically diverse portrait of black conservatism. Bryant talks with financial conservatives like Marvin Rodgers, a Rock Hill, South Carolina, an aspiring politician who emphasizes the “pocketbook politics” of supporting small businesses and encouraging entrepreneurship. He speaks with academics like the economist Thomas Sowell, conservative school-reform advocates, right-to-life activists, and small business owners. Interestingly, everyone but the Wall Street and country club conservatives are present. Their omission is noteworthy — precious few black conservatives are a part of the proverbial 1 percent. Nevertheless, by interviewing grassroots activists and organizations in nearly every region of the country, Bryant convincingly demonstrates that black conservatism is a national thread within the African American political tradition.
The film sets forth a conventionally conservative view of government: lower taxes; less government regulation; strong defense of property rights. Additionally, participants construe the government as a presumptuous behemoth that presents itself as the “Daddy,” “Slave Master,” and “God” of American citizens. In this framework, reducing the size of the public sector becomes an article of faith, not simply a political position.
Two dynamics merit mentioning here. First, deep appreciation for our nation’s originating documents — the Declaration of Independence, the Constitution, etc. — sits alongside profound disappointment with the current state of government. If our origins are laudable and our contemporary moment is lamentable, as the movie claims, then we must conclude that we lost our national footing somewhere along the way. The documentary avoids conceptual clarity about how this moment of decline happened, when it happened, and who is responsible for it. Progressives and Socialists — two distinct traditions which are conflated in the film — are blamed for leading America astray, but the accusation is too vague to persuade anyone who is not already a true believer.
Secondly, the attacks on government are general — there is no exploration of the merits and demerits of Social Security, Medicare, and the GI Bill, for instance, programs that are popular across the political spectrum. Instead, the viewer encounters Government as a monstrosity that overtaxes, overregulates, and overreaches at every turn.
Runaway Slave is also noteworthy for its conservative form of American civil religion. Many Americans are familiar with more progressive forms of civil religion — Dr. King’s “I Have A Dream” speech on the steps of the Lincoln Memorial or Abraham Lincoln’s second Inaugural Address, for example. But there is another side to American exceptionalism. U.S. congressman Allen West of Florida alludes to this tradition when citing Matthew 5 to position America as “a city set on a hill.” America, in this view, is the country where you reap what you sow. A land where hard work, education, and the hand of Providence guides families upward on the ladder of social mobility. It’s not difficult to see how many of these cultural values have become inseparable from the American brand of Christianity.
After watching the documentary, the viewer is left to wonder: what distinguishes conservative visions of government from the liberal visions? Reverend Bryant is not endorsing a libertarian or anarchist view of society. Despite his impassioned pleas about escaping from the plantation, there is no sign that he wants to destroy the master’s house. That is to say, Runaway Slave does not explicitly or implicitly advocate dismantling our social insurance system, ending subsidies to large agribusiness corporations, or stopping the Supplemental Nutrition Assistance Program (formerly known as food stamps).
Generally speaking, political realities temper the policy visions of liberals and conservatives. Bryant documents a deep commitment to liberty within the American political tradition. Rightly so. But there is little — if any — mention of our political tradition of equality, a complementary thread in our tapestry. The argument of the film would be strengthened if it directly addressed, for instance, the policy trade-offs that Presidents Nixon (expanding food stamps, starting the Environmental Protection Agency) and Bush (Medicare prescription drug program, comprehensive immigration reform proposal) made between liberty and equality. That oversight notwithstanding, Runaway Slave is one of the most expansive treatments of black conservatism currently available, and is therefore worth watching and discussing.
View the theatrical trailer below, and visit the Runaway Slave website for information on where to see the film in your area.
A DIFFERENT PATH: Ameena Matthews, whose father is Jeff Fort, one of the Chicago’s most notorious gang leaders, was herself a drug ring enforcer. But having children and finding solace in her Muslim faith pulled her off the streets. (Photo: Courtesy of Kartemquin Films)
Youth violence in Chicago has reached epidemic levels, with gunfire plaguing neighborhoods across the metropolitan area. It is a disease that is responsible for claiming the lives of dozens of young people, many of whom were engaged in activities as innocent as walking to school or playing in their yards when their lives were cut short.
Each day innocent bystanders are being killed due to the incessant gunfire. In an effort to counteract the violence, a number of community activists have come together in a collaborative effort with hopes of “interrupting” the bloodshed in the city’s streets. Their stories are told in the award-winning documentary The Interrupters. Directed by acclaimed filmmaker Steve James (Hoop Dreams) and produced by bestselling author Alex Kotlowitz (There Are No Children Here), The Interrupters chronicles the lives of three Chicagoans who were once participants in the destruction but who turned their lives around to become “violence interrupters.” Now they are working to restore peace to their community.
Last month, a collection of community organization, including the South Side Help Center, CeaseFire, and the University of Chicago Medicine, partnered with the filmmakers of The Interrupters to host a movie screening and panel discussion on addressing the youth violence problem. UrbanFaith attended the event and chatted with the students, community leaders, and anti-violence experts who participated in the forum.
Check out the video below for an overview of the event, and then visit TheInterrupters.com and InterruptViolence.com for more information about this important grass-roots initiative.
Have you seen it yet? Yeah, we’re talking about “Gangnam Style.” The YouTube video has more than 230 million views. The song is utterly infectious. The crazy dance is ubiquitous. And, most interestingly, South Korean rapper PSY is bringing attention to a whole new pop-culture scene.
If you’ve never seen the smash viral hit video “Gangnam Style,” and you missed the recent TV appearances by Korean pop star PSY, let me describe it for you.
Take the silliness of Monty Python, the materialist accoutrements (and shiny suits) from P. Diddy, and the outlandish dance moves of MC Hammer, filter it through the Korean pop oeuvre, then multiply exponentially through internet memes… you know what, I can’t do it.
Just stop and watch it already.
It’s amazing.
(DISCLAIMER — it’s pretty tame overall, but still somewhat uncouth. The chorus says, “hey sexy lady!” and features shots of Korean female yoga-clad derriere. And there’s a random dude with a cowboy hat doing pelvic thrusts in an elevator. It’s a little insane.)
VIRAL SENSATION: South Korean pop star PSY has set off a worldwide craze with the music, dance, and humor of his “Gangnam Style” video, which has received more than 230 million views on YouTube. (Photo: Wikipedia)
In a recent interview on NPR’s All Things Considered, PSY explains the meaning of the song, and came off like a music veteran should – calm, self-assured, and articulate. But there’s no way he could’ve known how far it would go. More than 230 million YouTube views later, the song’s signature phrase, “Oppan Gangnam Style,” has joined the likes of “ayyy Macarena” and “u can’t touch this” as iconic lyrics to dance crazes that people find inexplicably irresistible. (Even SNL couldn’t resist.)
Naturally, it’s already attracted plenty of imitation. And since there are evangelical Christians who love to imitate (seriously, 50 Shades of Grace?), let this post be a public service announcement:
To all the church creative teams out there considering doing a parody of “Gangnam Style,” please don’t. Without a sizable Korean presence in your production, it could very easily come off as racially insensitive, corny, or just in generally poor taste (the Deadly Viper controversy comes to mind).
But that doesn’t mean that we can’t appreciate it.
So here are five lessons about creative ministry we can learn from the “Gangnam Style” phenomenon:
1. Top-shelf entertainment is inherently cross-cultural. No longer is something limited in scope to boundaries of nationality, race, or even language. As a matter of fact, the best films and literature freely borrow and interpret from a variety of styles and cultures. Music is no different. Just as Americans have embraced the Japanese word and concept of “karaoke,” so too have plenty of Koreans adopted mannerisms from American pop culture, including hip-hop. And there are plenty of really good Asian emcees, including several who are Christ followers, like Jin (formerly of Ruff Ryders), and Korean-born Brooklynite HeeSun Lee.
This truth is pretty self-evident, however many creative Christians fall on either extreme of cultural myopia (only being interested in your own culture) or cultural appropriation (taking elements of the culture in an ignorant or disrespectful manner). Believers wanting their work to engage with their broader community should take this to heart. We can’t run away from other cultures, and we can’t be irresponsible with our cultural engagement.
2. Today’s pop culture is dominated by visuals. “Gangnam Style” is a perfect example of this. Without the video, the song, catchy as it is, would not be the juggernaut that it is. This is why, as an artist or a band, you can’t just have a certain sound, you’ve also got to have a certain look to go with it. This is also one of the reasons why church creative teams are beginning to invest more time and energy into set design, because the ambiance makes a difference.
While I’m on this topic …
3. Production values matter. I can’t say this enough. Many YouTube videos by Christians have clever ideas and funny concepts, but they’re marred by poor lighting and bad editing. A large part of the reason why “Gangnam Style” is popular is because it looks fantastic. PSY and his crew went to a lot of effort with the various outfits, locales, etc.
Speaking of which …
4. Audiences appreciate commitment. What sets this video apart from the millions of others like it is that it’s really funny. Improv coaches believe one of the keys to comedy is commitment. PSY didn’t just do a few silly things and call it a day. He went all out. Rapping in a tuxedo while confetti gets in his mouth. Or in a public bath (complete with uncomfortable elderly onlooker). PSY is not necessarily the most attractive, physically fit guy out there, but he’s likable in this video because of the lengths he’s willing to go to deliver his message. And because of that, many people received it.
Which brings me to …
5. Great songs unify people. I was reminded by this awhile back when Michael Jackson passed away. One of the downsides of this era we live in, with the proliferation of DIY pop stars and a million different TV channels, is that audiences are so heavily segmented that there are very few things that a LOT of people enjoy together. Thus, viral videos like “Gangnam Style” are filling the void left by top 40 radio and TV shows like Soul Train, American Bandstand, and, if you want to back even further, The Ed Sullivan Show. “Gangnam Style” isn’t necessarily great music per se, but so much of the fun is that so many people love it. When my phone rings out “Gangnam Style” while I’m on the bus, I get knowing nods and grins. It’s like being in a secret club.
And that sense of belonging is, unfortunately, lost in some evangelical circles. There are direct economic incentives for worship leaders to write, record and sing their own music. And while there’s nothing wrong with that, I think we all need to remember the power that music has to unify. Few things are more healing than being in an unfamiliar church environment and hearing a familiar song.
So let these principles occupy your mental space as you try to deal with having “Gangnam Style” stuck in your head, and enjoy this latest viral video hit.
Just make sure, if you have kids, that you use a little discretion. You don’t want to have to explain why your 4-year-old loves saying, “heyyyyy, sexy lady.”
POP CULTURE SENSATION: Korean pop star PSY performs his hit ‘Gangnam Style’ on NBC’s ‘Today Show’ at Rockefeller Plaza in New York. The video has surpassed 200 million views on YouTube. (Photo: Nancy Kaszerman/Newscom)
Perhaps you’ve been wondering what all the fuss is about “Gangnam Style,” the latest YouTube video-gone-viral with more than 220 million views to date. If you are one of the few remaining inhabitants of the planet who haven’t seen the video, then let me bring you up to speed:
• The rap/song features South Korean pop star Park Jae-Sang, who goes by the name “Psy” (short for “Psycho”), accompanied by a cast of South Korean celebrities who most of us will not recognize, all dancing to a driving, ear-catching techno beat.
• Unless you are fluent in Korean, you can expect to understand none of the words in the video except “sexy lady” (and of course, “Gangnam style”. By the way, “Gangnam” is pronounced Gahng-nahm — not “gang” rhyming with “bang” as I continue to hear many American media types pronounce it.) You can find a translation of the full song all over the Internet; here is one example.
• “Gangnam” refers to the wealthiest, most opulent district in Seoul, South Korea; it’s an area that is only 15 square miles but holds nearly as much of the nation’s GDP as New York state (that’s state, not city) does in the U.S. You can look at this infographic for some more details.)
• No horses were harmed in the making of the video, but they do inspire the dance move that is taking the world by storm.
So is “Gangnam Style” worth watching? I have seen it a few times now, and I admit the tune is catchy and the video visually arresting (albeit occasionally bizarre; Psy breaks down the song scene-by-scene here). I’ve now also seen countless clips of Psy’s appearances on the gamut of American television shows, from Ellen to SNL to the MTV Video Music Awards, each time with Psy doing his signature horse trotting from the song, each time with an exuberant audience laughing and loving every moment.
It’s fun.
Yet with each time I see the spectacle of Psy, I feel like my soul dies just a little bit.
Surely I must be overreacting! As Psy himself says, this is a historic moment for Koreans, who have never had the chance to see one of their own experience this level of pop-culture fame and acceptance here in the U.S. Shouldn’t I, a Korean-American, be thrilled for his success and full of ethnic pride for his popularity? Or at the very least, can’t I just enjoy the song alongside his hundreds of millions of fans and try to master his moves like Britney Spears?
The easy thing to do would be to watch the video, have a few laughs, share it like everyone else is doing, then move on with my life. What’s the harm? But I think about an exhortation that Professor Rosalie de Rosset gave to Moody Bible Institute students recently, and it stops me short:
“Having a philosophy of leisure means that, as a Christian, you have thought theologically and biblically about what you do with the time you call your own, with what you choose as entertainment, what you do when you relax or you may fall into the moral problem of drift, of a ‘group think’ mentality which merely follows a leaderless crowd, falling into triviality but even more the great emptiness that can haunt us as we drift along by chance or by circumstance.”
(From Dr. de Rosset’s chapel talk entitled “Mindful or Mindless: A Theology of Leisure and Technology,” September 12, 2012, Moody Bible Institute.)
I think that it’s the descent into “group think” that has bothered me most about the “Gangnam Style” phenomenon. Most people can only discern that Psy is singing about “sexy ladies” and managing to get a whole slew of them to dance like horses. Few have looked into the song enough to understand that it is actually poking fun at the lifestyle and excesses of über-upscale Gangnam.
I imagine my ambivalence about the video’s popularity might be akin to what I’ve heard some of my African American friends say about certain black rappers or shows on BET — that they are unintentionally propagating old stereotypes in the manner of a modern-day minstrel show. The sad irony is that the more popular “Gangnam Style” has become, the more its actual substance has gotten lost amidst the spectacle. What began as a song that contained an interesting social commentary has become a “minstrel show” for the majority masses.
Moreover, when music becomes popularized, it takes on a cultish quality: people become converted, they evangelize about the songs (made easy these days with all of our “liking” and “sharing” and “tweeting” of media), and the artist is turned into an idol. In his book Listen to This, music critic Alex Ross writes that “audiences have routinely adopted music as a sort of secular religion. … Musicians find themselves, in a strange way, both enshrined and enslaved.”
As I watch Psy move from talk show to talk show, repeating his now familiar shtick of “dress classy, dance cheesy,” as much as there is a part of me that is happy for him and his success (and I admit I feel some of that for him), there is an equal or larger part of me that feels sorry for him. He cannot go anywhere right now without doing the same show, over and over, because that is what the masses desire and require.
A MESSAGE BEHIND THE MADNESS: Those who understand Korean know that ‘Gangnam Style’ is actually poking fun at the lifestyle and excesses of an ultra-wealthy and exclusive district of Seoul, South Korea. But most viewers of the video are likely unaware of the song’s satirical intent.
The masses don’t care if the song has some deeper intent; they don’t want to know what all the foreign-sounding words even mean. They’re content with the novelty of it all (and with the horse dance). Likewise, the media doesn’t care about the opportunity the song gives to open a window — damning though it may be — into South Korean culture. They just use Psy to boost their ratings and then move on. Psy might be having the time of his life, but I wonder if there is any part of him that wishes he could just be free of all the madness.
So the popularity of “Gangnam Style” isn’t just a human-interest story of a K-pop (“Korean-pop”) star unexpectedly making it big. It also gives us clues about the world and culture in which we live. And we can either uncritically laugh alongside Psy’s legion of countless new fans, mimicking him with exuberance, or we can take a moment to ask ourselves if there is any downside to spending a few scant minutes of our lives watching the video, sharing it with our friends, and perpetuating the mass hysteria.
In that same chapel talk to the Moody students, Dr. de Rosset says, “What we do with our leisure can have more effect on us than what we do purposefully. What we do purely for pleasure may have the greatest and most insidious effect on us.” A YouTube video-gone-viral of a Korean pop star may just be a YouTube video-gone-viral of a Korean pop star. Or perhaps it is we who are infected, with an ailment that clouds our ability to even discern anymore what is worth watching and sharing, or what is not even worth watching at all.
ATTENTION GRABBER: On Twitter, rapper Nicki Minaj was ecstatic to have drawn the attention of President Obama with her supposed endorsement of GOP presidential nominee Mitt Romney. (Photo: Christopher Macsurak/Wikipedia)
Well, good news: Nicki Minaj supports President Obama after all. Whew! That’s a relief.
Last week, you may recall, the twitterverse was all abuzz after the colorful rapper set off speculation that she was supporting Republican presidential nominee Mitt Romney. Her featured track on Lil Wayne’s latest mixtape caught the rapper sharing some puzzling lyrics that indicated she was casting her lots with the GOP. On Lil Wayne and Kanye West’s song “Mercy,” Minaj raps: “I’m a Republican voting for Mitt Romney/You lazy b***es is f***ing up the economy.”
Almost immediately, the world broke into an uproar attempting to decipher the eccentric rapper’s true intentions behind the cryptic verses. Rolling Stone magazine chimed in on the discussion when it raised the question of whether or not her words were a deliberate endorsement or just a provocative lyric.
But, this week, after President Obama was asked about the song and Minaj’s apparent endorsement of Romney, he told radio station WPYO-FM in Orlando, Florida, that he wasn’t so sure it was a Romney plug. “She likes to play different characters,” he said.
Minaj immediately jumped on the moment. In a tweet, she thanked Obama for understanding: “my creative humor and sarcasm,” then noted: “the smart ones always do …”
In the past the hip-hop star has been known to produce songs filled with controversial lyrics that many felt were for publicity and self-promotion. Rapper Talib Kweli agrees. In a tweet posted last week, he said, “I doubt Nicki seriously supports Romney. Her lyrics ain’t political. She just wants y’all to talk about her & she winning cuz it’s working!”
I particularly enjoyed another tweet from Kweli that helped tease out the irony in the apparent existential crises so many were experiencing after the Minaj mystery hit:
Taking Minaj seriously, Huffington Postcontributor Kia Makarechi observed that, “Minaj is hardly the first hip-hop figure to take a stance on the election.” In fact, Makarechi added that a week earlier Jay-Z had presented a video to concertgoers at his Made in America Festival that highlighted President Obama encouraging everyone to vote in the upcoming election.
One pop star that is definitely not a Romney supporter is Black Eyed Peas leader will.i.am. A couple weeks ago at the Republican National Convention, Gov. John Kasich quoted the band in his speech. Kasich said:
You know, I don’t know about you … but I’ve got a feeling. I’ve got a feeling –- and it’s not just because I like the Black Eyed Peas –- I’ve got a feeling we’re about to elect a new president of the United States of America!
Unhappy with the musical reference and his band’s indirect connection with the RNC, will.i.am tweeted, “Hey Gov Kasich #Igotafeeling that Ohio needed the auto bail out…#unitedamericanotdivided let’s educate our youth #reachforthestars.”
The following day, will.i.am continued to fight back in an emotionally charged television interview with Marlow Stern in North Carolina, to discuss his support for the President at the Democratic National Convention.
In different ways, both will.i.am and Nicki Minaj proved their influence in the culture, not to mention the way that pop music, hip-hop, and the opinions of its artists have become an important part of today’s politics.
The great achievement of Runaway Slave is its geographically and ideologically diverse portrait of black conservatism. Bryant talks with financial conservatives like Marvin Rodgers, a Rock Hill, South Carolina, an aspiring politician who emphasizes the “pocketbook politics” of supporting small businesses and encouraging entrepreneurship. He speaks with academics like the economist Thomas Sowell, conservative school-reform advocates, right-to-life activists, and small business owners. Interestingly, everyone but the Wall Street and country club conservatives are present. Their omission is noteworthy — precious few black conservatives are a part of the proverbial 1 percent. Nevertheless, by interviewing grassroots activists and organizations in nearly every region of the country, Bryant convincingly demonstrates that black conservatism is a national thread within the African American political tradition.
