Little Richard: I am Everything and Portrait of Jason Challenging the Societal Norms

By George Morris

Challenging the Norms

Society in the 1950s was plagued with segregation and homophobia. There was a specific image that people had to uphold and fit into that severely limited expression and art. That was until certain artists such as Little Richard and the producers of Portrait of Jason started to emerge. Through both documentaries, what is considered “accepted” through art, music, performance, sex, religion, and expression is challenged. I found that both documentaries, from the same time period yet produced at in different decades, have significant overlap about how two prominent people broke down the same barriers between expression, sexuality, and race, on different stages of the world. While Portrait of Jason explored identity, intersexuality and the challenges that people in those categories faced, Little Richard was a symbol of hope showing people that expression, art, and identity are possible anywhere.

Little Richard: I am Everything.

The documentary Little Richard: I am Everything on HBO MAX was incredibly moving and was presented in a way that easily helped connect the life and actions of Little Richard to challenges that different communities face in our present-day community. The documentary would flash between actual footage of Little Richards performances and subsequent interviews and then to present day experts offering their opinions on his life actions. Despite having little prior knowledge of this era or person, this style made it very easy for me to connect with the time period as well as the character and personality of Little Richard. I found that Little Richard expressed many different emotions including confidence as well as a sense of hurt through his interviews. This made it easy for me to agree with the experts when they determined that he was deeply affected by never receiving the same recognition of his peers despite being one of the creators of an entire genre of music, and the most prominent faces of expression and rebellion through rock and roll.

This documentary helps inform that Little Richard (Richard Penniman) was a prominent Artist who reinvented pop music and rock and roll as a form of self-expression in the 1950s. He is known for breaking almost every rule in music and is credited for creating a template for black and queer origins of rock and roll. Little Richard referred to himself as the emancipator, the architect and the one who started it all. 

People wanted him to conform to Ray Charles and imitate others famous African musicians when he wanted play something that was completely his own.

One lunch break at an audition, he sat down at a piano and played an original called tutti fruity. This song shocked everyone because of the tempo, lyrics, and the energy that it brought to the room. He was singing about graphic sex, and everyone was baffled that he could accomplish it without being threatening. While listening I was personally shocked because I had thought that Elvis was the original writer (which leads us to Little Richard’s next problem).

White society didn’t like that he was becoming a hero. Other artists began playing his songs and selling more records from them. This can be attributed to the older generation of white society being against having a black gay man as the popular musician of the time. They were saying over the radio that it would corrupt their children, and that it was brought to America by the communists. It is also important to note that this was during the same time as Emmit Till. Because of his mixed-race attendance at performances and his sexual identity Richard was arrested many times.

Although Richard was able to empower so many other people and artists, the documentary showed that he was never able to accept himself. The world kept trying to make him fit a certain mold and he seemed to struggle throughout his life with really identifying himself as either in the box or out of it, he was everything. Little Richard gave people the fuel to rebel against society and societal norms. Everybody was afraid of him because he was unpredictable. Little Richard's music began to break down the walls of segregation because everyone wanted to listen to it, not just the African American community. All of this work and his accomplishments only cause me to wonder, why is he not more well known? Why had I not known Little Richard as one of the greats and creators of Rock and Roll Prior to watching the documentary?

Art expressing an American Issue: Art for the Millions: American Culture and Politics in the 1930s and John Steinbeck’s The Grapes of Wrath

By Juliana

The Great Depression took place during the 1930s in America. This was a very dark time for the people in America. Many Americans lost their jobs because of this economic recession. Due to unemployment rates rising, they had no money for food or to provide for their family. Many hardships were going on throughout America during this time. Literature and the arts were cultural expressions that were impacted by the Great Depression. Literary works such as John Steinbeck's "The Grapes of Wrath" encapsulated the period's sufferings, and art helped depict these hardships through artistic pieces. 

During this time the Dust Bowl also occurred. This period of severe dust storms left agricultural devastation and economic hardships, especially for people who worked on farms. The people who lived and worked on these farms affected by the Dust Bowl had to leave and began to flee westward, like in "The Grapes of Wrath." The Joad family loses their farm due to the drought caused by the Dust Bowl. The Joad family migrates from Oklahoma to California. However, they encounter many challenges when migrating to California. As the Joads left their home in search of work, they were encountered with horrible working conditions as migrants. There were low wages and a lack of rights given to the migrant workers. This is where social injustice also came into play in the 1930s. 

Displayed in 2023, the Art for the Millions: American Culture and Politics in the 1930s at the Metropolitan Museum of Art exhibit shows various works that depict what was going on in America during this time. Works such as paintings, sculptures, drawings, photographs, and many more are displayed in this exhibit. When looking at these artworks, the viewers can look a little deeper into the history and understand what happened during this time but in a more creative way. Certain artworks at this exhibit connect to the story told in "The Grapes of Wrath." 

One piece from the exhibit that stood out to me was this photograph to the left. This photograph is by Dorothea Lange, and pictured is of a migrant family having car issues. Migrant families were forced to leave their homes and had very little money left. This photograph captures a raw moment of a family encountering an issue when there is an even bigger issue that they are facing in the world. When looking at this photograph, it reminded me of the part in "The Grapes of Wrath" when the Joads stop on the side of the road to help the Wilsons with their car trouble. The Joad family crosses paths with other families who have been displaced, creating a group of people who are fighting for their lives.

Another piece that caught my eye at the exhibit was this photograph to the right. This photograph is by Walker Evans. Evans would document the harsh existence of families who grew cotton in Alabama during the time of the Great Depression. The photo is of a father and daughter who are barefoot. It looks as if the dad has bruises on his feet, indicating his hard work. During this time it was hard to find work or continue working because of the economic state of the country. The father and daughter are at ease and it shows the beauty of the people during this hard time in America. 

"The Grapes of Wrath," offers a complex depiction of the social, economic, and cultural climate of the 1930s and is a literary monument to the hardships and resiliency of the American people. When looking at artwork that connects to the story, you can see the story in a new modern way.

Connecting Narratives of Inequity and Identity in Film with Portrait of Jason and Prison Abolitionist Documentary

By Ana Mayer

Prison Abolition and the Resonance of Portrait of Jason

As 2023 marks the third anniversary of George Floyd’s death and the inception of the Black Lives Matter protests, we find ourselves at a crucial juncture for reflection and action. In the wake of a movement for social turnover, the 2020s has renewed a commitment to addressing systemic injustices and amplifying marginalized voices. As we navigate this pivotal time in the United States, we look to the artists of both the past and the present who are responsible for evoking such a change in the narrative. As today’s efforts to expose social inequity through film and art echo the civil rights initiatives of previous decades, we can connect activist documentaries today with Shirley Clarke's 1967 film Portrait of Jason in a shared effort to amplify the intimate narratives of marginalized characters.

Jason Sole of the Humanize My Hoodie Movement

A Prison Abolition Documentary Event

Beyond Walls, an initiative curated by the Center for Political Education, Critical Resistance, MPD150, and Survived + Punished in partnership with Working Films, features documentary films that expand the vision of prison industrial complex (PIC) abolition. I had the pleasure of attending one of their nationwide screenings in Brooklyn, in which five short documentary films were shown and accompanied by a panel of commentators and activists alike. The short films showcased by Beyond Walls describe actionable steps that challenge mass incarceration practices, inspiring its audience to conceptualize a world devoid of policing and prisons. The initiative illuminates the long history of oppressive social and economic practices perpetuated by law enforcement, ICE officers, and others engaged in state violence.

The documentaries shed light on systemic issues, human rights, and alternative perspectives within the criminal justice system, including stories of the San Quentin State Prison COVID-19 outbreak victims, a man who was born in a prison cell and separated from his parents for the first forty years of his life, and incarcerated family members sending messages over a radio show as a way to engage with the outer world. The films not only capture personal stories but have also been curated by a group of educators who have been formerly incarcerated. Jason Sole, criminal justice professor and founder of the Humanize My Hoodie Movement (pictured above), has worked to spread the concept of prison abolition through documentary and art exhibition nationwide after serving multiple years in prison for a nonviolent crime. After the screening, Sole spoke with me about his history of incarceration and how his eventual attainment of a PhD in criminology and successful legislative work in juvenile delinquency reform was more than enough evidence to prove to himself that "a cage was not the answer". His stories, as well as the ones portrayed in each of the short films, incite a broader call to change by narrowing the focus of a vast issue onto the intimate lives of the individuals whose lives have been largely compromised from systemic injustice.

Drawing Connections to Clarke

Shirley Clarke’s 1967 documentary film Portrait of Jason features a similarly intimate portrait of Jason Holliday, a black gay man who recounts his life experiences, dreams, and challenges during a twelve hour long extended interview with Clarke. He serves as an exemplar of injustice by embodying the intersectional challenges faced by individuals at the margins of society in 1960s America. Both Jason’s story and the short film screen feature intimate personal narratives that expose systemic injustices faced by marginalized communities. These narratives become agents of change, challenging the power structures and societal norms and offering a call to reevaluate our understanding of equity and the justice system.

Jason Holliday, posing for Portrait of Jason, 1967

The narratives in Portrait of Jason and the prison abolition documentaries exemplify the transformative potential of documentary film and their ability to serve as catalysts for social change by encouraging critical thinking, challenging societal norms, and inspiring audiences to actively participate in the pursuit of a more just and equitable society. The use of documentary art in capturing social change in 2023 can be used to not only commemorate the milestones of the past but to actively engage with narratives that propel us toward a more equitable and empathetic future.

D. Smith gives her Audience a Key Behind the Door that Holds the Lives of Trans Sex Workers: Welcome to Kokomo City

By Sofia Hernandez

    In 1967, society’s eyes were opened to the charismatic life of Black gay man Jason L. Holiday through a candid and rare glimpse into his life in Shirley Clarke’s groundbreaking film, Portrait of Jason, exploring a discussion on intersectionality, identity, and representation. By defying conventional documentary forms, its creative methodology promoted critical discourse and empathy regarding societal biases. In 1990, the world was once again introduced to a dialogue about gender, identity, and community, this time through Jennie Livingston’s Paris is Burning, illuminating the vibrant ballroom scene among LGBQ+ communities of color, providing frequently ignored individuals the empowerment and visibility that the mainstream media disregards. Now, in 2023, the world is granted the key into the lives of 4 Black trans sex workers, Daniella Carter, Koko Da Doll, Liyah Mitchell, and Dominique Silver, thanks to the captivating and visually intriguing work of film maker and musician, D. Smith, who welcomed us intto Kokomo City. 

“A temptin’ 

Masquerade

You dress you 

walk you talk 

You’re who 

you think you 

are 

Street life” 

    These are the lyrics of Kokomo City’s opening song, “Street Life” by Randy Crawford. This song simply and about perfectly encapsulates what the audience is about to be introduced to: the raw dynamic and astounding lives of Black trans sex workers in the 21st century. With as progressive as one might believe our society is in 2023, this film serves to prove that wrong, and right, in many different ways. The film’s opening anecedote is that of Liyah Mitchell, who recalls an instance in which she once reached for a client’s gun to shoot him, but realized it wasn’t loaded. Her storytelling and animated hand gestures contribute to the audiences need to know what happens next. She then fell down the stairs, struggling, yet after further explanation, the date was rescheduled for the next night. By starting the scene with what could set the stage for the film to be a suspenseful drama, there is a sense of amusement  as then goes into the enthusiastic buzz of “Street Life.” 

    The many voices heard throughout this film encompass every realm of the reality of life as a black trans woman, especially those in the line of sex work. D. Smith, who herself is a Black trans woman, gives a platform to women who serve as representatives of a community who are very rarely given the opportunity to openly recount their life stories and experiences. In an article published by The New York Times, “This is not a maudlin film; instead it is a movie with heroines who fight tooth and nail for their lives and their self-with” (Bugbee). As hard of a truth that it is, violence will never not be a prominent part of these women’s lives. The exploration of the hardships yet empowerment that these women face daily throughout the entirety of their lives is truly inspiring, and reveals the injuries, both mentally and physically, that these women go through even in this day and age. Many are blind to the reality of this life, yet this film beautifully paints the inspiring perseverance and pride that these women carry themselves with, something that as the movie goes on, the audience is drawn to admire more and more. 

    Daniella Carter’s closing dialogues include the image of a blooming flower which is consistently portrayed on the screen, as a representation of the growth and blossoming of these women’s lives when they transitioned into who they have beautifully become today. There is an on going hypocrisy that is highlighted through each individual’s personal statements and experiences: when looked at by men, these women are seen as women, yet when looked at by women, these women are beautiful until they are “exposed” as a threat, different, and worthless. Towards the end of the movie, Daniella Carter states, “But remember this, the way you not experiencing it is the way I’m experiencing it, and what makes my shit so different?  Because I’m not carrying it out the way you want me to?” 

    The individual interviews with these 4 captivating women, the perspectives of “trans-attracted” men, and the unique stylistic cinematic approach carried out by D. Smith truly leaves an impact on each audience member. The two closing scores, Stacy Barthe’s “Ain’t I a Woman” and D. Smith’s “Children of the Rainbow” perfectly conclude the film in a exciting and lively way that gives viewers a fresh perspective and respect for the tenacity of the black trans community. 

“I want all people to feel empowered. Empowered to open their minds and hearts to a fresher narrative. I want people to feel more comfortable when speaking about or to trans people.” 

D. Smith 

Same but Different: The Met's Art for the Millions: American Culture and Politics in the 1930s Exhibit and Joan Didion's The White Album

    Currently on view at the Metropolitan Museum of Art is an insightful and transporting exhibition titled Art for the Millions: American Culture and Politics in the 1930s. On display are various works from different artists that draw light to the social and political unrest that was so clearly intertwined with the decade. The exhibit seeks to highlight various perspectives and realities of the time, especially laborers, black Americans, and women. In better understanding America in the 1930s, each piece acts as a form of commentary better shaping the viewers perception of the time. 

Oddly enough, walking through the various rooms that connected the exhibit, each with a different focus, I felt as if I was being taken through the decades' various themes - piece by piece. It was as if I was reading each chapter in Joan Didion's 1979 The White Album. Both works seek to bring attention to the common attitudes towards culture, politics, and history of their respective places and times. While the exhibit is centered on works of art, the additional exhibit commentary and blurbs associated with the works of art provide additional context to the overall experience for those who attend. Additionally, Didion’s work is a collection of autobiographical essays while the exhibit, I argue, is a biographical collection of artworks depicting the United States during the 1930s. It is a great learning experience for those who wish to add more color to what they learned in their American history courses. 

From our history books, and common knowledge, the 1930s was not a good time for our country. Unemployment was high, savings low, people were hungry, and more hardships were shared among many. During this time, the government, specifically Franklin D. Roosevelt, created the New Deal - a plan designed to combat the depression and support the country. Much of the materials that remain today often depict the US as a resilient country who, despite its downturns, would come out stronger than before. During this time, while some artists were commissioned by the government to support the programs, others decided to remain independent and create works of their own. Such works as on display at the Met, depict the interpreted realities of leftist artists that capture the true sentiments shared by the people of the time and the attitudes of what was to come. Furthermore, I appreciate how the exhibit highlights perspectives often overlooked for the time including women and people of color. 

From the start of the exhibit, spectators are met with the initial work by Louis Guglielmi “One Third of a Nation”. A depiction of the corner of a building in a geometric style with are and mute colors drawing a somber vibe to depict the melancholy of the time. He depicts the bad quality of life experienced by many during the Great Depression. There are additional pieces that give similar feelings including Edward Laning’s “Unlawful Assembly, Union Square” and Harry Gottlieb’s “Three Lane Traffic” which were supported by the Federal Art Project and gave rise to socially conscious prints. The artists represented in the exhibit were seeking to express the thoughts, feelings, and rallying cries of the general public through various mediums including paintings, drawings, sculptures, films. Clothing, and more. Prints, I learned, were the method of choice by artists because of feasibility for reproduction and sharing ideas. 

The exhibit and Didion’s work are closely related not only in what they wish to portray but quite literally through the work of Georgia O'Keeffe, her 1931 piece “Cow’s Skull: Red, White, and Blue”. Georgia O’Keeffe was referenced in Didion’s 1979 novel. I recommend reading Didion’s work before going to see that of O’Keeffe as having that background provides more insight into the artistic style of O’Keeffe who found her artistic freedom in the West. O’Keeffe was described as hard and a woman who is open to what she sees. Didion speaks of her Cow’s Skull painting, the very painting on display in the American Culture exhibit. It is one to be noticed - and I can confirm it is one you cannot miss! In staring down the iconic soulless skull, I developed a greater appreciation for the work than I would have if I did not know its context. O’Keeffe was changing the way in which women could claim and conquer the artistic American landscape during her time. 

Cow's Skill: Red, White, and Blue 1931 Georgia O'Keeffe

One Third of a Nation 1939 O. Louis Guglielmi

The Golden Bachelor & The Role of Reality

THE GOLDEN BACHELOR / THE REAL WORLD

A NEW REALITY  

    By now, most people have heard about the Bachelor franchise after first premiering in 2002.  While many fans, including myself, grew tired of the show and its repetitive format and storylines, a new concept has recently brought in new and old fans of the show: The Golden Bachelor.  The show follows 72 year old Gerry on his journey to find love after his high school sweetheart and late wife passed away in 2017.  He is a father and grandfather from Indiana, essentially a stereotypical wholesome midwestern man.  This is the type of lead the franchise typically casts, just usually significantly younger. 

    The women range from ages 60-75, which varies immensely from the cast typically being in their 20s and 30s.  With age and more life under their belts, the stories feel more real and fans have truly connected with them.  Many of the women have children and grandchildren and are either divorced or widowed.  It is extremely refreshing to watch in comparison to the typical young contestants on the show who are mostly attempting to gain fame and become influencers.  The women are typically very calculated in order to stay on the show longer and gain more followers.  However, this group of women has been extremely respectful and supportive of each other and what they all have been through.  They all have so much more life experience and have already established careers and families, making the show more mature but still fun

The hometown episodes were very different from the typical episodes, as Gerry met the women’s kids and grandkids as opposed to their parents.  This is potentially a better representation of the women, as they are the families that they created as opposed to were born into.  The grandkids were very cute to watch and brought honesty and fun to the show.

The show has proven to be successful by the ratings as well.  It clearly brings a fresh perspective to a classic show and resonates with viewers.  During the Women Tell All episode, Kris Jenner made a cameo saying how much she enjoys the show.  This fresh perspective of real and mature stories has really resonated with fans.  It also inspires older generations to put themselves out there more and that it isn’t too late.

It’s interesting to see the comparison to the first episodes of the Real World where reality TV was a new concept at the time and people had to truly connect with the people on their screens in order to become fans.  The Golden Bachelor is a new take on a popular and long-running show.  While one show is a part of an already established franchise and the other was completely new, both still offer a new perspective. 

While 30 years ago when the Real World first aired, younger people may not have had the same power that they do today.  While in the past, people may have thought of young people as naive, but today youth is highly valued.  Many industries including the beauty industry profit immensely off of selling a goal of looking youthful.  In the entertainment industry, many actresses book less jobs once they reach a certain age.  The Golden Bachelor fights ageism stereotypes and proves that life is not over after 50.  This message is important and reflects the time.  People stay healthy and active into older ages and consequently live longer.  While one might have previously thought their life was over once getting older, now people understand there is still time and opportunity to live a fulfilling life.

    Similar to the Real World, the Golden Bachelor takes contestants out of their comfort zones and makes them all live together without previously meeting.  This lends itself to friendships to be formed and conflict to arise.  This is something that people particularly gravitate to when watching reality TV.  While the conflicts may seem unimportant, some people may relate to them and help them understand someone else’s side in their real life.  Additionally, seeing positive female friendships on the Golden Bachelor has proven to be more entertaining and enjoyable than the typical catfights and drama.

Abstract Expressionism

Contemporary Abstract Expressionism in New York City: A Reflective Exploration with 'Paris is Burning'" 

Greetings, enthusiasts of fine arts and cultural discourse. In this discourse, we embark on an insightful journey through the dynamic streets of New York City, where the enduring echoes of abstract expressionism persist within the hallowed halls of its galleries. Notably, we juxtapose this with the thematic underpinnings of the film 'Paris is Burning.' Prepare to delve into the confluence of avant-garde brushwork and the sophisticated realm of voguing. 

The Pictorial Landscape of NYC: 

A Resurgence of Abstract Expressionism Abstract expressionism, an avant-garde movement characterized by unrestrained artistic expression, embodies the spirit of uninhibited creativity. Artists, akin to virtuosos, liberally cast emotions onto canvases, crafting compositions that transcend conventional visuality. Today, the spirit of this movement permeates the air of New York City, particularly within the artistic enclave of Chelsea. Chelsea's galleries stand as contemporary bastions of this artistic ethos. Though absent in corporeal form, the influence of pioneers such as Jackson Pollock remains palpable. Bold brushstrokes, an infusion of vibrant hues, and an intentional ambiguity beckon observers to engage with the intangible, embracing the quintessence of abstract expressionism.

 Paris is Burning: A Chronicle of Vogue, Pose, and Artful Presentation 

Transitioning to the film 'Paris is Burning,' a documentary encapsulating the clandestine world of drag balls in 1980s NYC, we encounter a milieu where self-expression transcends the confines of conventional art forms. The film elevates the act of voguing to an artful practice, offering a poignant commentary on resilience, self-discovery, and the transformative power of embodying one's identity. The synergy between these ostensibly disparate worlds is intriguing. Both abstract expressionism and the ballroom culture portrayed in 'Paris is Burning' are emblematic of a shared ethos—of transcending societal norms, basking in individuality, and proclaiming one's presence with unapologetic fervor. 

An Imagined Intersection: Basquiat, Haring, and the Ballroom Aristocracy 

Envision an amalgamation of Basquiat's spectral brushstrokes converging with the effervescent energy of voguing in a nocturnal rendezvous. In this envisioned space, paint-splattered canvases coalesce seamlessly with the theatricality of voguing competitions. The synthesis is harmonious, fostering a realm where diverse forms of expression converge and coexist. 

The profound, unbridled nature of abstract expressionism finds an unlikely but harmonious counterpart in the disciplined, choreographed elegance of the voguing culture. Beyond the visual spectacle, both mediums serve as platforms for personal narratives, struggles, and triumphs. The raw, unapologetic nature of abstract expressionism finds a kindred spirit in the voguing culture. It's not just about what you see; it's about what you feel. Whether it's a canvas or a runway, it's a stage for personal stories, struggles, and triumphs.

Conclusion: Modalities 

In conclusion, the interplay between contemporary abstract expressionism in the city's galleries and the voguing culture depicted in 'Paris is Burning' yields a captivating intersection of artistic modalities. It underscores the notion that irrespective of the medium—be it the canvas or the dance floor—art serves as a vehicle for the articulation of personal narratives. As you traverse the cultural landscape of the city, let the spirit of abstract expressionism and the voguing subculture be your guiding muse, contributing to an enriched and nuanced experience within the ever-evolving tapestry of the urban milieu.

America as an Audience: "Take Care of Maya"

  On November 9th, 2023, headlines across the country were swarmed with the news of the Kowalski family’s victory in court. 261 million dollars. Definitely a hefty number. I had never actually heard of this case, but immediately began watching the documentary “Take Care of Maya” to learn the whole story. 

And with a mix of family, power struggles, and a rare condition - it’s no surprise that this case has taken over America. Directed by Henry Roosevelt, the film gives an overview of the Kowalski family, Maya Kowalski’s condition, chronic regional pain syndrome, and the whirlwind they experienced at Johns Hopkins All Children’s Hospital (JHACH) in 2016.

 This isn’t a movie review, so I’m not going to analyze Roosevelt’s techniques or the soundtrack. But with a mix of interviews with the Kowalskis, court testimony, phone calls, and hospital footage - we get the whole picture of the nightmare that unfolded for the family. 

Maya, Jack, Beata, and Kyle Kowalski (Netflix) 

As the “number one children’s hospital in Florida” (according to their website), you’d think that JHACH would be providing top-tier pediatric care to families across the state. Yet, for the Kowalskis, Maya’s hospitalization transformed their lives into a whirlwind of child abuse allegations, power conflicts, and trauma. Maya was in state custody for almost three months, and she was only released from the hospital after the suicide of Beata Kowalski, her mother. From the get-go, we can tell that Beata was extremely passionate and assertive. Someone who would do whatever it took to ensure that her daughter was receiving the best care possible. But with high tensions and allegations of Munchausen’s syndrome by proxy, Maya was separated from her family and deprived of the care she needed for her CRPS. 

The documentary ends with the Kowalskis' attempts to bring their lawsuit to trial, which (as we now know) has brought them retribution for the matriarch of their family. But I’d like to talk about something that these films and the many true crime, scandalous stories have in common. It reminds me a bit of our conversation in class about “Don't Let Me Be Lonely” by Claudia Rankine. These families and victims have been totally sensationalized by the media. The Kowalski family has definitely benefited from the press - achieving a form of justice for their mother. But c’mon. There are so many other families that have gone through the same thing but received little to no attention. 

Child abuse allegations, children ripped away from their families, and false imprisonment. Sally Clark. Trupti Patel. And many more, who are victims of false Munchausen by proxy allegations and diagnoses. Olivia Gant. Garnett Spears. Others are victims of actual Munchausen by proxy syndrome. These are all human lives that have been attributed to the condition, and yet I’d never heard of these names before doing my research for this blog post. 

Only a small number of perpetrators, victims, and lawyers are put in a spectator position to the American audience. An audience who follows these cases meticulously, yet once it’s all over disregards the human lives involved entirely. Don’t we have an obligation to keep these names alive? There’s a fine line between entertainment and education - but American media tiptoes across it way too much. I think we have to work towards setting aside the riveting, investigative (these are the adjectives Netflix uses to describe “Take Care of Maya”) aspects of media that have turned these real lives into entertainment for the masses.

Maya Kowalski (USA Today)

I am truly happy for the Kowalskis’ win in court. They received legitimate recognition and retribution that their experience with JHACH was wrong. It never should’ve even happened. But what are we doing as an audience? Do we have a responsibility as well? And after watching this documentary, I feel that I’m left with more questions than answers. 

Serving Reality: The Real Life of Fordham University Volleyball

 

I adapted the original work of The Real World documentary, by incorporating shaky camera angles, closeups, personal interviews, and popular music of the time period to showcase the reality of team dynamics and the real personalities of Division I college athletes. By emulating The Real World's use of capturing lighthearted conversation as well as interviews that portray individual thoughts of people on the team, my documentary creates a sense of reality, and gives an example of how the interworkings of team dynamics contribute to the everyday life and in-between moments for female athletes. Additionally, in order to create a documentary that is true to the time period of 2023, I incorporated popular music of this year that reflects what female athletes of this age group listen to before intense competition.

https://youtu.be/cchdjb8ELyA?si=_4cSQLHwGOG_6VTf
 

Dimensions

By: Andreas Lymberis

    College is a war, fighting to submit that assignment before the due date, battling the urge to do anything else besides studying, trudging through social circles, and struggling to find that one internship that will reply back to your application. As college students fight this four-year war, they are faced with another one, dealing with the effects that these things, and the things that come with being a human being, have on one's mental health. Analyzing the faces walking between Dealy Hall and Hughes on Fordham's campus, smiles seemed to be a spreadable disease, only seen moving throughout large groups and pairs of people walking by. Everyone else walking alone had the same emotionless face that seemed to be on autopilot as the only thing on their mind was going to their next class or location. However, this could not be the only thing on their mind.

    As I sat in my dimly lit apartment, head resting on my futon, staring at the texture of my ceiling, I remembered my friend Billy inviting me to a Men's Mental Health Union meeting. The meeting was on a Friday at 6 pm, an unusual time as Friday evenings were usually used in preparation for going out. However, a good amount of people showed up, all with the same emotionless facial expressions. It was the same one I had on, one that showed the uncertainty of going to a meeting about dealing with our deepest emotions and feelings that we never really express to others, but my straight face turned into a smile when I saw Billy smiling at me from the back of the room. The setting in the room mirrored what I saw outside on campus: groups sitting together smiling, like Billy and I, and then isolated individuals sitting by themselves with that expressionless look, waiting for the meeting to begin. Turning to Billy, I asked if he knew what today's meeting would be about, to which he replied, "I don't know man, mental health maybe?" I would normally laugh, but my smile went away, and now I felt what every other person was: anxiety about speaking about the things you refuse to tell others about. As a man, mental health was something not talked about, but with the first slide appearing on the board, that was about to change for every member of the room.

    Slides went by, discussing the close-interknit qualities of the club and the different events that would take place, which was typical for the first meeting of a new club. Soon, slides became hypnotizing; the circle of the dimensions of wellness put the audience in a trance; everyone seemed to try and calculate how each dimension should be tweaked in themselves, or if one should be prioritized, or if another was already a part of them. The importance of confidentiality was discussed; this confidentiality seemed almost like a reverse straight jacket of sorts, others placing it onto you to protect you from yourself, to help you express yourself from something you had refused to speak of for so long. The club leader proposed a question as the last slide appeared on the screen.

"Any questions?"

    To which a long pause followed. People looked around at each other, the ceiling, and the walls. I looked at Billy, and he was looking at a wall. I tried to think of a question, but a million things started racing through my mind: Do I break the silence? Should I talk about my thoughts? What is everyone else thinking about? Before I could think of another thought, someone yelled out.

"Yeah, where is the pizza?"

    The leader pointed toward the front of the class, where boxes of pizzas sat, and surprisingly, everyone sprinted to the front to start eating. Soon, everyone was speaking to each other. Pizza broke the ice. Pizza lit up all the previously emotionless faces, and now discussions occurred.

*In writing this essay I wanted to use Michael Herr’s new journalism approach to talk about something I had recently observed and talk more about topics found in the readings from class. Reporting on this matter, I added my own personal thoughts and feelings just as Herr did as he reported on the Vietnam War. I additionally added Herr’s style of using imagery and description to help set up the emotion present in certain moments.