Tag: Do the Right Thing

There Are No Easy Answers

 

Today is the 30th anniversary of the release of Spike Lee’s 1989 film Do the Right Thing, first shown at the Cannes Film Festival in France. May 19 is also the birth date of Malcolm X, whose posthumous influence on the film Mr. Lee acknowledges with a quote from him at the end, along with a quote from Martin Luther King Jr.. The quotes are about non-violent resistance to oppression (the Rev. King) and the occasional need for violence in self defense against oppressors (Malcolm X). As throughout the rest of the movie, Mr. Lee makes no judgements, but merely puts those ideas out there for the audience to consider. Do the Right Thing provokes thought; it does not provide answers, and 30 years later the state of race relations in America has hardly budged from what Mr. Lee portrayed in the film.

 

The film did not win the highest prize at Cannes, the Palme d’Or, though it was nominated. It was not nominated for Best Picture at the Oscars, and the film that won the honor for 1989 was Driving Miss Daisy, a good film about race relations but a safe one for Hollywood, and a film that in the years since has receded in importance in the rear view mirror. Nearly 30 years later, Spike Lee’s film BlacKkKlansman was nominated for Best Picture at the Oscars but lost to another safe film about race relations, Green Book. Both Driving Miss Daisy and Green Book are films produced by largely white filmmakers for consumption by a largely white audience, and are meant to comfort white liberals without unduly upsetting white conservatives. That each received Hollywood’s highest honor is a testament to the institution’s eagerness to pat itself on the back for occasionally making a social message movie without rocking too many boats.

MartinLutherKingMalcolmX
Martin Luther King Jr. and Malcolm X waiting for a press conference to begin in March 1964. Photo by Marion S. Trikosko for U.S. News & World Report, now in a collection at the Library of Congress.

What’s missing in that equation, of course, are African-Americans. In contrast, Spike Lee has made films for everybody, and Do the Right Thing was groundbreaking in that respect. All the characters he portrays are well rounded, with good and bad aspects to all of them. As the late film critic Roger Ebert noted, there are no heroes or villains that we can easily hang labels on. Those portrayals are more true to life than the safe, near-stereotypes portrayed in Driving Miss Daisy and Green Book. The complexity can also leave some viewers uneasy, since they desire the satisfaction of stories that follow a familiar arc leading to either a comforting conclusion or one that at least ties up some loose ends of the story. Do the Right Thing provides none of that. It is a wonder a major Hollywood studio, Universal, backed the film financially and distributed it widely. That it was popular with the public and, eventually, with most critics despite its unconventionality in style and substance is a testament to how well crafted it was by Mr. Lee and his cast and crew.

Ossie Davis as Da Mayor has a confrontation with some youths on the street in Do the Right Thing. Warning: foul language.

30 years later Do the Right Thing stays with people who view it now for the first time as much as it did with people who saw it then, prompting the same questions in their minds. A few years before Mr. Lee made the film, there was the racially charged incident at Howard Beach in the New York City borough of Queens, an incident which informed the events in Do the Right Thing. Two years after the movie came out, there was the police beating of Rodney King in Los Angeles, and despite the incident being filmed by a bystander, showing the excessive use of force by the police, the cops were subsequently cleared in court, leading to riots in black neighborhoods. There has been no end of ugly, often fatal, incidents in America like those portrayed in the movie, and they just keep coming, like waves pounding the shore. The observations Spike Lee made in Do the Right Thing about race relations in America are still relevant today; the question remains – is anybody listening well enough to change things?
— Vita

“I just want to say – you know – can we all get along? Can we, can we get along? Can we stop making it horrible for the older people and the kids?”
— Rodney King, speaking on television in relation to the riots in Los Angeles on May 1, 1992, after a jury acquitted the police who beat him the year before.

 

Justice , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

No Sweat

 

Nike’s new advertising campaign featuring Colin Kaepernick poses some ethical questions for him and for potential buyers of Nike’s athletic apparel. It does not effectively pose any ethical questions for the company, Nike, because they have never been overly concerned with that sort of thing, as continuing controversy over its reliance on overseas sweatshop labor attests. For Nike the new advertising campaign is strictly a business proposition.

 

Nike Headquarters Oregon
Nike Headquarters near Beaverton, Oregon, in July 2010. Lake Nike is in the foreground. Photo by Brandon Carson.

Mr. Kaepernick has been under contract with Nike since 2011, but this is the first time the company has prominently featured him in their advertising. The campaign has everybody talking, and that of course is the goal of all advertising. Nike may or may not support the cause of protesting police brutality and racial injustice, but more likely they are simply capitalizing on Mr. Kaepernick’s notoriety and are willing to sit on the fence about his protest cause, no matter what their ad slogan implies about it.

What’s more difficult to parse is the willingness of Mr. Kaepernick to make himself the face of such an amoral corporation. It’s hard to believe that a socially aware man like him would be completely unaware of the lingering taint of Nike’s historic exploitation of cheap, non-union labor. Nike has dozens, perhaps hundreds, of athletes under contract to promote its products, but none have been primarily renowned for social justice causes as much as Colin Kaepernick. There are substantial financial incentives for him in participating in Nike’s advertising, though it beggars the imagination to believe he is unaware of the conflicting signals he is now sending people who have supported his protest.

The targets of Nike’s advertising, the buyers of its shoes and other athletic gear, are probably mostly unaware of Nike’s history of exploitative labor practices. That has to be what Nike is counting on and why they are willing to put forward a controversial figure to promote their products. Nike knows its target market is under 30, and to many of them Mr. Kaepernick is a hero, while only a minority of them may know or care about Nike’s history of bad labor relations. Nike is still in business, after all, and doing better than ever. For Nike’s young customers, there is likely no dissonance bubbling up from this advertising campaign.

It is mostly older folks who are upset with Mr. Kaepernick’s kneeling protests, and Nike doesn’t need their business to stay afloat. The campaign is a cynical, amoral ploy by Nike, which is no surprise, but it’s puzzling to consider Mr. Kaepernick’s motivations, if they are indeed any deeper than face value, such as how Nike depicts him on their poster, accompanied by a slogan with echoes of Spike Lee’s Do the Right Thing, or as Nike might appropriate it, Just Do the Right Thing.
— Ed.

 

News , , , , , , , , , , , , , ,