Proud LAtino (he/him) motivated to make the world a better place, one word and one visual at a time. Producer/Interviewer/Writer – Owner of Visual Grammar, Inc.
I don’t know what is worse in this appalling situation involving “Turning Red” and the review submitted by Sean O’Connell. He is CinemaBlend’s MANAGING EDITOR! And that generic mea culpa from the website and O’Connell? Just more of that “Oops, my bad” copy that is such a weak bandaid. I’ve been a film reviewer in my career. It is never about YOU in most cases, but this era of writing for site traffic is so demoralizing. This feels like Pixar is now a target for alt-right bullshit. We need to do and be better already if we want to survive this endless barrage of hate.
Read more about the CinemaBlend controversy below.
The rise of Trumpism has torn the veil off of 21st century America and what lies beneath is a roiling sea of hatred towards all non-white groups. It seems no one is immune from this cancer. Just view any of the iPhone videos of unbridled rage shot on location at hotel pools to Starbucks to any grocery store of late.
I can’t help but shake in rage when I think how mainstream media was complicit in giving Trump and his minions a platform that is part-revival tent and part- propaganda machine. By reporting and repeating his often wildly untrue statements designed for maximum collateral damage, the effect is not to inform the masses, but to give the Trump machine more steam and crucial validation.
Before the election, I found it unfathomable that we’d live in an era where a U.S. President would turn to social media to handle world affairs in the manner of an unhinged youth suffering from Twitter Tourette’s. The very thought of such a political figure leading the greatest nation on Earth as if he’s the oligarch of the Troll Nation churned my stomach. It couldn’t possibly happen here, right Sinclair Lewis?
Now we have the children of the undocumented living in detainment camps on American soil.
Murals of presidents, with quotations in English and Spanish, appear on walls at the migrant shelter in Brownsville, Texas. (Health and Human Services Department)
What we decide to do about Trump and his rabid fan base will define the next generations of our nation. But we have to start paying attention. We can’t turn away or tune it out, people. We can’t distract ourselves with cat videos, endless phone swiping through the digital swamps of clickbait nonsense, Beyoncé & Jay-Z’s new album or whatever it is we do to pretend our lives are hunky dory.
We are at war for the soul of this great nation. To avoid service is to call yourself a deserter. You do not warrant a place in this nation once we put down our arms to vanquish the Orange menace, the entitled, rich white men who’d rather see us corralled up like animals and treated like garbage. You are no better than them in thinking it is someone else’s problem.
We cannot be complicit in our silence. You see, it won’t stop here, this flouting of human and civil rights. If we allow these camps to continue, Trump will allow for them to grow in numbers and the parameters can only be broadened from here. Citizens may find themselves behind those gates just because they fit a government profile that can change at any given moment.
Camps have happened here before. Like all the evil that men do, a precedent exists. We have the power to look back in anger and do something with that emotion to make sure it doesn’t happen again. That’s the beauty of history. The clues. The answers. The best-laid plans are present for us to make our futures better. Yet, we are the fly in the ointment. Our apathy and divisiveness make us so.
Walls. Chainlink fences. Camps. These are devices engaged by the weak and cowardly to keep control and power. But these are also man-made constructs. And it is men and women of great courage and faith in the goodness of humankind that will take them down. Change cannot be contained. This is our chance. Make your voice heard. Speak your truth.
Here’s mine: I am the gay son of Mexican immigrants, people who chose to become citizens of this great nation. To witness the children of other Latinos in camps is a slap in the face of all immigrants who created America. We must become the change we want to see in the world before we are all on the other side of that fence wondering what the hell happened.
I spent quite a bit of time on the set of Gina Prince-Bythewood’s poignant adaptation of Sue Monk Kidd’s best selling novel, “The Secret Life of Boys.” Given the task to produce the behind the scenes footage and content for this high profile project was both enviable and fulfilling. Impeccably cast with such luminaries as Queen Latifah, Sophie Okonedo, Alicia Keys, Jennifer Hudson, and Dakota Fanning, I sat down with all of these formidable talents on set on some cold and rainy days in Wilmington, North Carolina in 2007, later following up with them at the 2008 Toronto International Film Festival.
I’ll never forget that beautifully designed pink house, the centerpiece of Monk Kidd’s historical novel chronicling the life of a young white girl on the cusp of womanhood and the effect her housekeeper, and especially, a family of three beekeeping sisters have on her life. Projected against the canvas of the Civil Rights era in the Amercian South, the layers on which the narrative is told still resonate today, perhaps even more so.
The interviews with the cast had to encompass a dialogue on racial and gender equality, a conversation that has lost none of its power or importance today. At the time of principal photography, Barack Obama and Hillary Rodham Clinton were both seeking the Democratic Nomination for president. It was a time of great hope and wonder, at seeing history happen before our very eyes. It was an inspiring force, particularly for the cast who were essaying roles set in an era of great pain and suffering in a war for societal change.
Grammy winner Alicia Keys was at the peak of her popularity when she signed on to star in “The Secret Life of Bees” in 2007. Still a vocal activist and philanthropist today, I chose this interview as the second installment of “Generic” as a means to bridge our conversation in 2008 with today’s dialogue on fighting to protect and promote gender and racial equality. Keys has not given up the fight in 2017, as heard through her artistry and public appearances. Neither should any of you.
Alicia Keys as featured on Season 12 of the NBC music competition series, “The Voice.”
The Four Seasons Hotel, Toronto
September 8, 2008
Few recording artists today have the incredible staying – and selling — power like that of Alicia Keys.
Instantly setting herself apart from her rump-shaking contemporaries upon her 2001 debut, Keys’ smooth blend of old school soul and rhythm & blues continues to court global favor. With 11 Grammy awards on her shelf, as well as more than 20 million albums sold worldwide, the musical life of Ms. Keys is without compare. So, why the eagerness to extend her artistic reach into acting where so many others have been met with deaf ears? The answers were direct and simple.
Performance for Keys comes from the same place and she is more than up for the challenge of voicing new words without music. However, what matters for this artistic hyphenate – which continues to extend with new titles – is that what she is saying is something of worth. And in 2008, Keys proved she had quite a bit to say through several mediums, beginning with her most challenging motion picture effort to date, an acclaimed role in the hit screen adaptation of Sue Monk Kidd’s “The Secret Life of Bees.”
Citing the novel as one of her favorite books, Keys was eager to portray “June Boatwright,” the strong protector of a trio of beekeeping sisters living in 1960s era rural American south. What drew Keys to the project was that the character of “June” more than understands the racial strife of the outside world and its threat to the idyllic Eden of her family home. It is no coincidence that the character’s ability to express a softer emotion is through playing the cello, something Keys, already trained musician in her own right, sought to learn to give realism to the role. It is a scene-stealing performance, in spite of formidable work from co-stars Queen Latifah, Dakota Fanning, and Jennifer Hudson. Yet, it was the experience of making her third film, in advance of the most historic moment in African-American history that offered Keys the most gratifying and educational experience of her career.
In discussing this latest chapter in her life, the 27-year-old native New Yorker proved as passionate and focused as she sounds in such hits as “No One” and “Fallin’.” Those smoky tones are no studio-enhanced trick, something I commented to her during our chat at the Toronto Film Festival for “The Secret Life of Bees” earlier in September. Shamelessly, I said it was a “drop-drawers” kind of voice. I got a flash of that amazing smile and a husky laugh.
It is encouraging to know that film will continue a role in her life, whether on screen or by contributing music. In addition to “Doncha Know (Sky is Blue), the end credits song from “The Secret Life of Bees,” Keys can also be heard with Jack White (of The White Stripes) tearing through “Another Way to Die,” the theme to the new James Bond film “Quantum of Solace.” Even with just being nominated for a few more Grammy Awards for several tracks off her recent “As I Am” album, art will have to share space with her most serious endeavor, working tirelessly as a global ambassador for Keep A Child Alive, a non-profit organization that provides life-saving AIDS medicines directly to children and families living with HIV/AIDS in Africa. Yes, this Julliard-trained hyphenate knows no bounds this year, one of the 2008’s most important personalities.
Without further delay, a confession that is truly in the key of Alicia.
(L-R) Sophie Okonedo, Alicia Keys, Director Gina Prince-Bythewood, Tristan Wilds, Dakota Fanning, Jennifer Hudson, producer Lauren Shuler Donner and Nate Parker from the film “The Secret Life Of Bees”, pose for a portrait during the 2008 Toronto International Film Festival at The Sutton Place Hotel on September 6, 2008 in Toronto, Canada.
JORGE CARREON: It can be said that each of the woman in “The Secret Life of Bees” represents a different facet of what it is to be a woman. Would you agree with that?
ALICIA KEYS: I would. I really do see the many variations of beautiful women in this film. They come in all styles, shapes, sizes, colors and all types of pasts; things that we’re recovering from and going through and embracing. So I do agree.
CARREON: Regardless of the film’s time frame and issues, is it really hard to be a woman?
KEYS: I think it is. It’s the most beautiful thing to be on the planet, so that’s first. But secondly, it is difficult to be a woman because we carry a lot on our shoulders and we are very, very strong. Sometimes we make it look really easy, but it’s not always easy. I think another thing we do as women is we hold things inside of us because we have to keep on pushing and keep going. Keep going for our family, our kids, for the ones that we love, you know? Sometimes that does weigh heavily on us. But I think that we are the most resilient and we are definitely just beautiful creatures. I love being a woman. I love it very much.
CARREON: Do you think such gender driven a story like “The Secret Life of Bees” has a place in contemporary entertainment that extends beyond a female audience?
KEYS: There are so many wonderful women in the world and we have to be represented properly. So, yes! It is time to tell more interesting stories about the many variations of women.
CARREON: Men are thinking, “How does this relate to me?”
KEYS: I think ‘The Secret Life of Bees’ is something that will relate to a lot of men. In fact, all the men that I spoke to were like, “I’ll tell you what. I thought it was a ‘chick flick,’ but I really loved it.” They can see in the women their mothers, their sisters, lovers they know. They can see all the women that they know and they can see their own experience being a young person displaced and trying to find their way through it all. It’s not really about color and it’s not about gender. It’s about the experience of finding your place in this world and I think that’s something that everyone can relate to. It’s a story about the human condition. We can all relate to love, family, defeat, and fear. And, we can all relate inspiration, hope, and faith. These are all the themes that are inside the movie.
CARREON As you continue to evolve as an artist, what made this filmmaking experience important to you?
KEYS: This experience is what I expected it to be and more! I learned that it’s just incredible to be around such fascinating women. I learned that it’s amazing to be directed by a woman like Gina (Prince-Bythewood), who was the screenwriter as well. I learned that when you put a whole lot of great women in one space, it’s a wonderful outcome.
CARREON: Faith continues to be a buzzword in the media of late. It seems entertainment is not shying away from addressing such themes, either. Why do you think faith and family have to go hand in hand?
KEYS: Faith brings the family together. And through all of the things that families go through, it’s the faith that we keep that allows us to know that we’ll make it through everything. You can’t do it on your own, even if it’s just one person; you need someone that has that faith with you.
CARREON: Do you find yourself thinking about your life’s journey after being part of a project like a film as opposed to music?
KEYS: Very much so. Always. Especially now, I am definitely searching for my place, my stability, what I’d like for myself. It’s a good journey because sometimes I just dig and find and figure it out. That’s what I think they’ve all done in “The Secret Life of Bees” and I’m doing it, too.
Queen Latifah, Jennifer Hudson and Alicia Keys in Fox Searchlight Pictures’ The Secret Life of Bees (2008)
CARREON: Is there any coincidence that three of the film’s leads are actually musicians in their own right?
ALICIA KEYS: No! (Laughs)
CARREON: As your career continues to evolve, do you feel different about music and acting in a movie? Is it exercising the same muscle or is it nice to switch it up a little bit?
KEYS: Well, for me, acting and music do come from the same muscle in regards to tapping into something that’s honest and pure. You’re expressing it with abandonment, and in that way, it’s very much the same. The difference is, obviously, you are in a film. You’re becoming a different person from yourself, so you’re expressing another person’s story. With music, I’m expressing my story but it’s so similar because you’re empathetic, you understand it and you can connect. What I find about “June,” I can connect with every part of her. I understand her from a woman’s perspective, from a transitional perspective, from growing from one kind of part of your self into the next. There’s so much of me in her.
CARREON: “Bees” director/writer Gina Prince-Bythewood gave the cast an amazing amount of resources to feel connected to the period of the film. Why is it important then, Alicia, to continue to look back to honor the struggles of one time and how they parallel to our own contemporary experience?
KEYS: That’s something that we discussed a lot. Gina has been phenomenal in providing us with a multitude of ways to dig out who our characters are and where they sit amongst society and what’s happening in the society at this time. The NAACP and SNCC and all of these organizations that were coming up were really fighting powerfully for a major change with the opportunity for Black people to be able to vote. It’s an incredible history. Sometimes we go on in life and don’t realize the amount of struggle that it took to just get to the point of where we are. You know how many people say, “Oh, I’m not voting, it’s rigged anyway.” How many people struggled, fought and died for that and you take it for granted as if it’s not important to utilize your voice when that’s all we wanted? To have a voice? It’s important to remember and understand things like that. To understand where we have come from and to realize that we, honestly, haven’t even come that far, which is the sad part. You know what I mean? Because you think about the state of the world today and I think about where we are in this film, and it’s almost parallel. Major change, radical change, much struggle and fighting needed to just demand something different.
CARREON: The film offers your first of two new songs bearing your voice this year. What was the inspiration for the song featured in “The Secret Life of Bees?”
KEYS: I love the song in the film and it really represents it perfectly. Just the fact that sometimes you might feel down, you might feel like the world is on your shoulders, but have a little faith in you because the sky is blue.
** My interview with Alicia Keys was conducted on September 8, 2008, at the Toronto Film Festival for 20th Century Fox International. It has been edited from the original transcript.
In my first conversation with President Trump on Inauguration Day, I thanked him for the positive things he had said about the Dreamers. He looked me in the eye and said: “Don’t worry. We are going to take care of those kids.”
Despite many of the terrible immigration policies this Administration has put forward, I have always held out the hope that President Trump would keep his word and “take care” of the Dreamers. After all, the President told America, “we love the Dreamers.”
But today’s announcement from Attorney General Sessions was cold, harsh, threatening, and showed little respect, let alone love, for these Dreamers.
Starting this countdown clock will require Congress to act fast to stop rolling mass deportations of hundreds of thousands of young people—students, teachers, doctors, engineers, first responders, servicemembers, and more. Families will be torn apart and America will lose many of our best and brightest unless Republicans join with Democrats to right this wrong immediately. I first introduced the Dream Act sixteen years ago to ensure these young people could stay here, in the only country they’ve ever known. Now Congress must act on this bipartisan bill, and act now. These families cannot wait.
— A statement from U.S. Senate Democratic Whip Dick Durbin (D-IL), ranking member of the Judiciary Subcommittee on Immigration.
The intent of the Deferred Action for Childhood Arrivals (DACA) policy signed by President Barach Obama in June 2012 was to allow undocumented immigrants who entered the country as minors to receive a renewable two-year period of deferred action from deportation and eligibility for a work permit. As of 2017, an estimated 800,000 young people, also referred to as “Dreamers” (after the failed DREAM Act), enrolled into the program. As for September 5, 2017, DACA is no more. Now, they face an uncertain future, whether they enrolled into the program or are no longer eligible for its protection.
Political Cartoon by artist Lalo Alcaraz, 2017
Living in fear as an undocumented individual is just one of the many realities faced by millions of people living in the United States today. Historically speaking, to be an immigrant is to be responsible for all the societal ills and woes of a nation. We’ve seen what humanity can do when it vilifies and turns against “The Other,” that group of people who become the target of genocides and “final solutions.” How anyone can venerate such monsters, as witnessed in Charlottesville, Virginia last August is beyond the pale. Yet, we have only begun to see the ramifications of a president who has inspired those living with white privilege to exact a sense of revenge, of taking back a country they feel has gone to the dogs. That’s what many of us are to certain sectors of America, animals unworthy of being deemed human.
Since Trump took office, he’s made an art of playing to the cheap seats, that coterie of angry trolls sporting those damn red caps with the legend “Make America Great Again.” His propagandist rhetoric continues to target journalists, Women, the Muslim community, Black Americans, the LGBTQ community, the Latino Community, anyone who just isn’t white. He targets anyone with a brain able to deduce just how dangerous his screaming brat mentality really is for us all.
Trump wants to be worshipped, not challenged, even by those he chooses to marginalize. He demands your respect, although he’s done nothing to earn it. To challenge him is to stir his pitchfork mob of fans while most the members of his political party of choice opt to stick its head in the sand or stay silent. All fear to lose their moment of power, even if it means sacrificing the greater good of the nation. I often wonder who will stand up for anyone if most of the nation is excluded from the bullshit Trump country club our president and his acolytes have chosen as its manifest destiny for our nation.
Our most treasured national icon, the Statue of Liberty, is an ageless beacon, offering shelter from the storms of inhumanity elsewhere. Trump has turned our borders into the frontline of class and racial warfare, its motto is “Keep Out. You Don’t Belong Here.” If we are now known for turning people away, mercilessly deporting the rest, how will that not stop the war on terror? How will it not inspire new groups to target this great nation with their own brand of wrath? We cannot keep punishing the many for the sins of the few who refuse to honor decency and peace.
This entire nation owes its very identity and soul to the millions of other immigrants who have risked life and limb for decades to secure a better life for themselves and their families. To believe otherwise is absolutely un-American. Perhaps if those who fear “The Other” understood that not everyone who dares to call America their new home is a criminal run amok. Perhaps they need to be reminded of the ones who come here for a specific reason, to find their version of the American Dream. Like my parents. Like many of my friends’ parents and families. Who knows what immigrants can offer this nation in terms of innovation, inspiration, and beneficial to us all lucky enough to be citizens of the United States. Perhaps they need to know that not everyone who comes here is looking for a handout or abusing the social welfare system. I offer one reminder for your consideration.
In 2005, writer Joshua Davis penned an extraordinary article for Wired Magazine chronicling the lives of four undocumented teen boys from Arizona. What made them unique? They bested universities such as MIT and Harvard to win a robotics prize at UC Santa Barbara. Titled “La Vida Robot,” Davis’ meticulously written story of Cristian Arcega, Lorenzo Santillan, Luis Aranda and Oscar Vazquez’s journey to victory was truly the stuff of Hollywood films. A decade later, that film, rechristened “Spare Parts,” was produced.
From left: teacher Allan Cameron, Lorenzo Santillan, Oscar Vazquez, Cristian Arcega, Luis Aranda, and teacher Fredi Lajvardi. Photo: LIVIA CORONA
Directed by Sean McNamara and starring George Lopez, “Spare Parts” benefited from the momentum of the early DREAM Act (DACA) era, when the Latino voice had never been more urgent in terms of our national narrative. While the film relied on the “feel good” tropes of the underdog story, it did not shy away from the fact that these “illegals” are not the enemy in this ugly, paranoid era of fear mongering and reactionary politics.
Writer Jorge Carreón with Oscar Vazquez and his wife Karla on the New Mexico set of “Spare Parts” in November 2013.
I had the privilege of meeting journalist Joshua Davis and the real boys of Carl Hayden High, interviewing them and their cinematic counterparts for Pantelion Films. Along with producer and star George Lopez, they first expressed the importance of the Latino imprint in terms of mainstream films. However, their ultimate goal was to not only provide quality entertainment, it was to also illuminate an essential community still undervalued or unfairly marginalized by some Americans.
“Spare Parts” opened in January 2015, renewing attention on the lives of Vasquez, Arcega, Santillan, and Aranda. Over the course of a decade, the group from Carl Hayden High School inspired countless newspaper and magazine pieces. Writer Davis followed up his “La Vida Robot” article with a book, also titled “Spare Parts,” catching up on the lives of the boys. Director Mary Mazzio was inspired by the Hayden students to create the documentary “Underwater Dreams.” The quartet was also included in “Dream Big,” an IMAX feature-length documentary about engineering achievements. Even the team’s famed robot Stinky had its moment when it was put on display at the film’s premiere at the Smithsonian.
“When Mexico sends its people, they’re not sending their best. They’re not sending you. They’re not sending you. They’re sending people that have lots of problems, and they’re bringing those problems with us. They’re bringing drugs. They’re bringing crime. They’re rapists. And some, I assume, are good people.”
— President Donald J. Trump during a campaign speech, June 16, 2015.
Yet, with all the attention and praise for their underdog story, life after high school for Vasquez and several of his classmates has not been without its complications. As of 2014, Vasquez was able to secure his American citizenship after a challenging decade that saw him return to Mexico at one point. His return to his homeland meant a 10-year ban of re-entry to the U.S. It was or the assistance of Senator Dick Durbin, D-Ill., who helped overturn the ban, allowing Vasquez return to the States with a visa. Enlisting in the U.S. Army, Vasquez saw combat in Afghanistan before returning and finishing his college education. Now a U.S. citizen, he and wife Karla moved to Texas with their family, where he works in an engineering-related job with BNSF Railroad.
Photo: Livia Corona
Aranda was already a citizen when the team won the robotics contest. Arcega and Santillan both attempted college careers but ultimately were forced to drop out due to the changes in Arizona state law that required all students without legal status to pay out-of-state tuition fees. Today, Santillan runs a catering company with former classmate Aranda, appropriately called Ni De Aqui, Ni De Alla. Translation? “Neither from Here Nor from There.”
“The Making of ‘Spare Parts'” featurette produced by Jorge Carreon @ Monkey Deux, Inc., edited by Steve Schmidt and Drew Friedman for Pantelion Films.
The effect of this unilateral executive amnesty, among other things, contributed to a surge of unaccompanied minors on the southern border that yielded terrible humanitarian consequences. It also denied jobs to hundreds of thousands of Americans by allowing those same jobs to go to illegal aliens. —
From U.S. Attorney General Jeff Sessions statement on the Trump Administration’s rescinding of DACA, September 5, 2017,
As of September 2017, the more than 800,000 undocumented children brought to the U.S. by their parents are awaiting the other chancla to drop now that “President” Donald J. Trump has announced the end of DACA. Its effect will be catastrophic, breaking families apart and ending opportunities, like finishing an education or gainful employment, that have been hard won. What we stand to lose as a nation, however, is on par with a lobotomy.
The hope generated in 2012 when President Barack Obama signed this bold piece of legislation into effect was designed to protect them from a growing sense of paranoia and fear stoked by members of the GOP, and especially, Trump. They don’t know who are the Dreamers affected, nor do they care. Trump’s campaign engaged classic fear-mongering tactics, stoking the fires of intolerance with his supporters. It didn’t matter if the facts were true or not. The lack of employment, our border safety, our homes, our lives, we were all under attack by this scourge of evil from Latin America or elsewhere. We smirked that Trump could never be elected on such a brazenly racist and xenophobic platform. No one was laughing as the election proved otherwise. Now we have the sound of fear and it is palpable. (That American-born Latinos even voted for him because they deemed “her” unpresidential and untrustworthy is a testament to self-loathing that deserves its own essay. I say to them now, “Look what you’ve done to your brothers and sisters in blood. Shame on you.”)
As the child of immigrant parents, I am beyond angry. As an American citizen, I am ashamed. I wasn’t raised to hate people. I was raised to believe in the innate good of humanity, because good can flourish, even in the direst of times. Yet, to be told that I’m not good enough to be an American because of my Latino heritage or my sexuality is enough to make me want to take up arms. This is not the America that raised me and I’ll be damned if I let it harm anyone else out of fear and intolerance. What Trump offers is not the American Way. It is HIS way. That’s not good enough, not for this beautifully diverse nation.
Immigrants are not here to eradicate white history or white privilege. Nor are they here to tear this country asunder. That is a total lie to keep the status quo of xenophobia. We excuse the horrors of white terrorism, but movements like Black Lives Matter are deemed dangerous, inspiring legislation to declare such movements as being illegal.
American history was never just white. It is every color and creed and orientation, no matter how hard people try to obfuscate it. We are at a crossroads that will have consequences for generations to still to come. What we lose by excluding the many undocumented individuals now forced to live in the shadows again won’t be felt immediately, but it will be felt. Nothing stirs up a public more than paying for the poor decisions of our leaders. And we will pay for the loss of DACA is many ways, socially, morally and economically.
We are deporting the wrong groups of people. To be silent is to be complicit in this cruelly interminable series of unjust and un-American traitorous political acts. If we continue down this path of eradicating those deemed unworthy of citizenship, we will cease to be the United States of America. We will become the Dishonorable States of Trump, a soulless and rudderless nation offering nothing but a smirk, hatred, and violence to the world that once looked to us for guidance, protection, and inspiration.
Ana Rice, 18, of Manasas, Va., holds a sign that simply reads “SHAME” outside the White House. Sarah L. Voisin/The Washington Post
**Now that the DACA program has been shut down, here is a breakdown of the Trump decision and what people should know:
Some DACA recipients won’t lose their DACA on March 5, 2018: People who have DACA now and whose DACA doesn’t expire until after March 5, 2018, will continue to have DACA and the work permit that comes with it until the expiration date of their DACA.
It’s too late to apply for DACA: The president ended the program so from Wednesday (September 6) on no more applications for DACA are being accepted.
A deadline that shouldn’t be missed: People whose DACA expired Tuesday, September 5 or will expire Wednesday, September 6 through March 5, 2018, can renew their DACA, but they must apply by October 5.
The ball is in Congress’ court – or Trump’s?: Between now and March 5, 2018, Congress can draft legislation to revive DACA, come up with a substitute or even do away with what the administration has put in place. Some opponents of DACA disagreed with the program being authorized by the president but may support a congressionally created program. Late Tuesday, Trump tweeted that he may “revisit” the DACA issue if Congress doesn’t act.
Legal challenges could play a role: There’s always a possibility of a court case. President Donald Trump came up with the DACA phase out plan under threat of legal action by a group of state officials. A young immigrant and immigration group filed a lawsuit in New York Tuesday challenging Trump’s action. There could also be discrimination lawsuits as a result.
“Nobody wants to be alone Everybody wants to love someone Out of the tree go pick a plum Why can’t we all just get along?”
From “Androgyny” by Garbage
It was an unusual Sunday at home in that it was quiet and I was totally alone. I’d just returned from my umpteenth work trip this year to discover that, unlike the gorgeous temperate weather of Vancouver, LA was as hot as Satan’s asshole. While I wasn’t exactly loving making sopa in my Hanes t-shirt, I occurred to me that it I could finally be a puta in my own home! Without hesitation, I reached over to my iPhone, whispering, “You whore,” and ignited the Growlr and Scruff apps with a newfound purpose. That was before I realized I was better off making soup in my undies. Behold this exchange with Bachelor No 1:
HIM: Are you masculine?
ME: What?
HIM: Would you define yourself as masculine?
ME: I find that question rather insulting. What the hell does that have to do with anything?
HIM: It’s just a question. I’ve never had anyone react this way to it before.
ME: People want to see us dead. Why are we wasting time being shitty to other gay men by judging whether they’re masculine or not?
HIM: I’m not responsible for Prop. 8. LOL
ME: Come over, decide for yourself. But I’m not answering the question.
I sat there, annoyed, sticking to my guns as he continued to insist I define my level of masculinity. I know it is a part of this era of people seeking guarantees so they don’t waste on anything like being committed to a single choice. No one takes a chance, but they extol the virtues of being on PrEP. They’ll list “Daddies” as a like, but won’t even acknowledge you if you’re really age of true Daddyhood. They say they hate douches who judge or have a long list of criteria, but ignore you if you dare to “Woof” them.
As we continued to volley back and forth with the texts, my anger stared to refine itself. Heat be damned, I was sticking to my original point. It IS a fucking stupid question. If you’re gold star homo who enjoys sucking dick and engaging in butt sex, how can that make you LESS of a man?
ME: I paint my toenails and I am skilled enough to tackle you hard.
(That brief period of playing football at Meller Jr. High and ERHS had its benefits after all. Thanks Coach Peterson!)
HIM: So, you’re masculine then?
ME: For fuck’s sake. Yes.
HIM: I’ll be over in 40 minutes.
So, how was he in person? Like any other friend of Dorothy’s I’ve met and nowhere near my chosen example of “All That is Man,” otherwise known as the great porn star Zak Spears.
The experience left me quite pensive after he – mercifully — left. It wasn’t anything like the incredibly gratifying experiences I recently had in NYC and Vancouver of late. Both gents could not have represented the evolving gay identity of today’s homosexual any better. Confident and honest, they were very much in tune with their sexual selves, proving themselves fantastic lovers as a result. So, why are some of us determined to make these distinctions of what qualifies as the measure of masculinity? It annoys me as much as that current vogue of telling people you’re being a grown up or “Adulting” or whatever the hell that means.
I can joke that we are barely over the period when Metrosexuals jammed the “gaydars” for many of us – and women. That we’ve gone from playing Gay or European to Gay or Hipster!
Yet, gender fluidity continues to spill over into fashion, with men wearing skin tight jeans and even just plain ole tights as their daily uniform. As many men explore once feminine tropes, today’s younger generations continue to take great pains to redefine their sexual or gender identities, eschewing the use of traditional pronouns. He and She have given way to Cis, Latinx and a list grows with each year as these “woke” beings lead the vanguard as to what defines sexuality and identity. It’s hard to keep it all “straight” anymore! (I know, low hanging fruit.)
I spent the better part of my adolescence and teens being subjected to a litany of slurs that were just variations of one word: “faggot.” The damage caused followed me into adulthood. I still bristle at the mere suggestion of anything that diminishes my sense of masculinity. I like being a man very much. I am out, proud and part of a community that has so much to teach the world. Yet, how is it, despite all the prejudices and intolerance that want to see us eradicated off this earth, gay men can be their own worst enemy?
We slut shame, even though we proudly crow being in “open relationships.” We femme shame even though we love watching those divine queens serve up glamour realness on “RuPaul’s Drag Race.” We poz shame as we brag about being on Truvada, ignoring that the rise of STD’s that is not slowing down or that our brothers of color are experiencing an unspoken genocide because of HIV/AIDS in certain parts of our country.
We are still playing that stupid “straight acting” card, despite the great strides taken since Stonewall. I wonder, is it because we want to protect ourselves from the grotesque hatred against our sexual selves? Is it self-loathing about being a cocksucker or buttfucker? I wish I had an easy to qualify answer. I know the space between who we desire and what we fetishize is rather small indeed. We want to fuck who we want to fuck. Period. But if we homogenize ourselves into being one type, we ignore the incredible diversity that populates our community, itself such a disservice.
We can choose a lot of things in this life. How we look on the outside. What we think we know about the world. Who we want to love or make love to in those moments of blissful carnality. But we cannot change who we are on the inside as men and women of the LGBTQ community. That is not a choice. That is our reality. We are truly born this way. If we are ever going to move forward as a group, like the greater section of our woefully ignorant society, we need to stop shaming or disavowing those who don’t fulfill some outdated criteria many of us had NOTHING to do in establishing.
I get ignored on these stupid apps on the daily for a variety of reasons and I’ve let that beat me down to the point where I feel that awful sense of being invisible again. I will be leaving them soon. But, it is important to note that I know what I can offer a man and it has been appreciated. And it will happen again. So, if a quasi-queer, but butch in bed, sweater wearing, Chanel LeVernis sporting, Phil Donahue-era and book smart homo is your thing, you know where to find me.
By the way, I forgot to mention Bachelor No. 2, himself a Latino. After a few texts, he wanted to know if my voice was “very very masculine.” At first, I played it flip and responded by saying I was a “raging, but awesome queen.”
Of course, he wrote, “Really?”
I responded, “Actually, no. But I’ve been told I sound really white.”
Leading media outlets reported that for the second time in a week, nooses have appeared on the Smithsonian grounds in Washington, D.C. For the second time in a week. Let that marinate for a moment.
One was found on hanging off a tree, which was located outside of the Hirshhorn Museum and Sculpture Garden. The second noose was found inside the National Museum of African American History, purposefully left in an exhibit area illustrating the era of segregation in the U.S.
This pissed me off to no end, to say the very least. It is a defiling and cowardly act. I spoke to the great men and women of the National Museum of African American History last summer. It was inspiring and heartening to discuss the purpose and direction of this new museum. It is hateful what has happened here. More, it is hateful to see what we keep discovering happening on the daily in terms of racially motivated crimes in this country.
It doesn’t end there, either.
Given our current media cycle, I can’t help but wonder:
So, Kathy Griffin offended you? Hmmm. Granted, I’ve never been a fan of her “shock and awww it’s funny at your expense” humor. Yes, the photo of her holding Trump’s bloody head did go too far. But, if we’re going to denounce tasteless opportunism and cry “Foul play,” I ask that you take time think about what it feels like to be Barack Obama or LeBron James right now. Dare to remember some of the shitty and menacing things Ted Nugent would spout when President Obama was in office.
Don’t let the double standard hit you in the ass on your way to pontificating how it isn’t the same thing.
When current press secretary Sean Spicer was asked to comment on the Nugent tangent, Spicer just deflected the question and moved. Meanwhile, CNN has opted to disassociate itself from Griffin. Nugent, however, gets to pose for pics inside the Oval Office with glee.
Sorry, not sorry, Snowflakes for the above pic. But politics have never NOT been an ugly business. Yet, somehow, the ugliness could be tempered in the past by leaders who have given their lives to promote civility, truth and equality for all. That’s the pain of progress and many have benefited from their legacies.
But today?
Screaming pundits are elbowing for attention in the same, bizarre way as our president. Yet, we decry “fake news” or whatever hashtagged rallying cry set to undermine those people and institutions who rightfully stand tall as a beacon of truth by pointing out the insanity and troubling reality of the Trump Era. The tragedy is Trumpism stands firm and is not abating in the way it should. If anything, it is getting worse.
We stand to lose so much under #45! Why isn’t this getting through to people? I have to be certain that many Americans are not like the monsters of the GOP and alt-right who have sold out this country’s best interests for their own greed. We all can’t go down that stoney end because some loud-mouthed, drunk on power fool sold you a falsehood that immigrants, Muslims, gays or whoever just doesn’t fit in your archaic vision of what it means to be an American! These Bogeymen, women and children are NOT the root of all your problems!
If you think Obama left this country a burning wasteland of trash, devoid of “greatness,” then I pity you. With the reversing of anything and everything that our former president dared to accomplish in the face of some bullshit partisanship, we will see a wasteland alright. The greatest threat is not ISIS or even the Russians. It turns out the homegrown “patriots” who are now ramped up on Trump Juice are our biggest enemy. Make no mistake. They are the very definition of terrorism, lethal and devastating because they are one of our own! It is time to call these criminals exactly that: Terrorists.
We can continue to hide in our safe bubble worlds of artificial reality and escapism, making fun when #45 has another bout of Twitter diarrhea. But, do you think none of the viral videos illustrating the rampant racial hatred in this country affect the rest of us in the least? (And that’s just one example of the hatred that is spilling over into all walks of life.) You’re wrong. It does affect us. More than you know.
Some folks on my social media feeds have voiced to me that my negativity is just “bumming them out.”
Well, too bad.
I don’t want to be anyone’s gay court jester anymore, giggling over the red carpet reportage, celebrity driven gossip, film industry bullshit or keep those snappy retorts flowing just to make people feel good. This ain’t “My Best Friend’s Wedding” and I refuse to play the role of Rupert Everett.
Shit is getting real and I am determined to contribute to this dialogue of “What is wrong with us?” until something or someone starts steering this ship in a direction that benefits us all as great Americans, not only the ones #45 chooses to lead because they look or sound like his ignorant ass. Only when we restore our good standing in the world as a moral and just country, that is when joy will return to our lives. I’ll be the first to lead that dance.
As for the incidents at the Smithsonian, which are being investigated by the U.S. Parks police, this final word:
“The Smithsonian family stands together in condemning this act of hatred and intolerance, especially repugnant in a museum that affirms and celebrates the American values of inclusion and diversity…We will not be intimidated. With new urgency, we will tell the story of our nation and all its people. We will continue to fight this sort of ignorance with knowledge. Cowardly acts like these will not, for one moment, prevent us from the vital work we do. We will remain vigilant and, in spite of these deplorable acts, we will become a stronger institution for all Americans.”
Mr. Skorton, I stand with you and other citizens who firmly believe in this fight to restore the moral fortitude and decency that all Americans — and the world — deserve.
Written by Jorge Carreón 