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End of the Pandemic? A Grassroots Perspective

...that left people who were unemployed or homeless without access to relief.5"Gov. Kemp Announces First Round of This Year's Special Tax Refund," Department of Revenue, May 1, 2023, https://dor.georgia.gov/press-releases/2023-05-01/gov-kemp-announces-first-round-years-special-tax-refund#:~:text=Single%20filers%20and%20married%20individuals,a%20maximum%20refund%20of%20%24500. Free99fridge...

Ireland’s First Sacred Harp Convention: “To Meet To Part No More”

...since the 1970s, spreading to the United Kingdom and Canada in the mid-1990s, and then to Poland, Ireland, France, Germany, Italy, and the Czech Republic since 2008. Many participants in...

Corporations, Corruption, and the Modern Lobby: A Gilded Age Story of the West and the South in Washington, DC

Corporations, Corruption, and the Modern Lobby: Part 2: White describes the lengths both men went to in an attempt to gain subsidies and credit for their respective railroads Part 3: White shows...

Vale of Amusements: Modernity, Technology, and Atlanta's Ponce de Leon Park, 1870–1920

..."a harbinger of mass culture" that helped bring about new codes of conduct as well as cross-racial relationships.3Kasson, 112. Kasson's history offers a relatively rosey view of amusement parks as...

Something True about Louisiana: HBO's True Detective and the Petrochemical America Aesthetic

...Acadiana, women who are either whores or wives, fisherman roughing it out in raised camps, serial murdering pederasts with Satanic attitudes. Typical of the way Louisiana is coded in the...

Nearly exhausted sulphur vat from which railroad cars are loaded, Freeport Sulphur Co., Hoskins Mound, Texas, 1943

Mississippi as Metaphor: State, Region, and Nation in Historical Imagination

Mississippi as Metaphor Part 2: The limits of James Silver’s image of Mississippi as “the closed society” Part 3: The idea of Mississippi as America writ large: did the “Mississippi...

Slavery's Traces: In Search of Ashley's Sack

...the plantation through the Civil War until freedom came in the spring of 1865. Some newly freed people also stayed in the vicinity. For example, the man Scipio listed in...

A Real American Horror Story: On Steve McQueen's 12 Years a Slave

...runaway slave from Georgia, hiding the fact that he was once a free man from most of the people he met in order to avoid even more brutal treatment. Northup's...

References
1.	David Denby, "Privilege and Bad Manners," The New Yorker, January 7, 2014, http://www.newyorker.com/online/blogs/culture/2014/01/steve-mcqueen-armond-white-controversy.html. In a statement to the Hollywood Reporter, White refers to himself as "the strongest voice that exists in contemporary criticism," and claims that several influential New York film critics are using the concocted incident as a chance to convene a "Communist-style special 'Emergency Meeting' supposedly in the interest of legislating 'decorum'—a meeting based entirely upon something that none of them actually heard and one that is really intended to purge me from the Circle." See Scott Feinberg, "Embattled Film Critic Armond White: I Never Heckled Steve McQueen," The Hollywood Reporter, January 7, 2014, http://www.hollywoodreporter.com/race/embattled-film-critic-armond-white-669032.
2.	Pitt's presence in the film is one of 12 Years a Slave's few missteps. Having such a recognizable star come in and play a kind of angel figure distracts us from both the miracle of Northup's staying alive and the power of Ejiofor's performance. Had the role been played by a younger, less well-known actor, it would have highlighted the randomness of Northup's delivery from bondage. This problematic choice to cast Pitt (perhaps made by Pitt himself in his role as producer) has had repercussions outside of the film itself, as a poster advertising 12 Years a Slave's Italian release featured a huge headshot of Pitt looming over a much smaller full-body profile of Ejiofor. The poster was quickly recalled, but not before it led to a backlash from critics who felt the marketing was focusing on the film's white stars (there was also a poster featuring Michael Fassbender, who at least has a lot of screen time) at the expense of its two black leads, Ejiofor and Lupita Nyong'o. The poster was made by a third-party distributor and reflects a long-term problem Hollywood has had in marketing films focusing on people of color, particularly in international markets.
3.	Recently, Phil Robertson, one of the stars of the astoundingly popular A&E television show Duck Dynasty, gave an interview to GQ in which he said (among many other things) that: "I never, with my eyes, saw the mistreatment of any black person. Not once. Where we lived was all farmers. The blacks worked for the farmers. I hoed cotton with them. I'm with the blacks, because we're white trash. We're going across the field. . . . They're singing and happy. I never heard one of them, one black person, say, 'I tell you what: These doggone white people'—not a word! . . . Pre-entitlement, pre-welfare, you say: Were they happy? They were godly; they were happy; no one was singing the blues." See Drew Magary, "Duck Dynasty's Phil Robertson Gives Drew Magary a Tour," GQ, January 2014, http://www.gq.com/entertainment/television/201401/duck-dynasty-phil-robertson.

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