Word: comer
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Dates: during 1990-1999
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...white mainstream. "There are many more positive images about black people in the media than there used to be, but there's still a lot that says that white is more beautiful and powerful than black, that white is good and black is bad," says James P. Comer, a Yale University psychiatrist who collaborated with fellow black psychiatrist Alvin F. Poussaint on Raising Black Children (Plume...
...their book, Comer and Poussaint emphasize a calm and straightforward approach. They point out that even black children from affluent homes in integrated neighborhoods need reassurance about racial issues because from their earliest days they sense that their lives are "viewed cheaply by white society." If, for example, a black little girl says she wishes she had straight blond hair, they advise parents to point out "in a relaxed and unemotional manner . . . that she is black and that most black people have nice curly black hair, and that most white people have straight hair, brown, blond, black. At this...
...also look at other recent autobiographies and biographies of Black Americans: Lorene Cary's Black Ice, General Benjamin O. Davis Jr.'s Benjamin O. Davis, Jr., American, Sara Lawrence Lightfoot's Balm in Gilead: Journey of a Healer, James's Comer's Maggie's American Dream: The Life and Times of a Black Family, to name...
...artifice aspiring to art. So was the 1924 atrocity it portrays. When Nathan Leopold (Craig Chester) and Richard Loeb (Daniel Schlachet), two rich young homosexuals, murdered the child Bobby Franks, they were creating a portrait of themselves: powerful elitists, unsullied by the vulgarity of conscience. Director Kalin -- a comer -- is smart enough not to explain the murderers. Instead, in a chiaroscuro cinema style that suggests morgue photos taken by Cecil Beaton, he presents the pair as stars of their own camp pageant, a sickly sweet deb ball, where the revelers dance all night on the bodies of their inferiors, then...
...songs called Harvest Moon (Reprise) that returns to the softer, folk-accented vein of earlier hits like Harvest. Lucinda Williams shows a bluesy heart and a folk spirit in her recent Sweet Old World (Chameleon/Elektra), and an intrepid small record company in New Jersey called Bar/None has a real comer in Freedy Johnson. His album, titled Can You Fly, features the idiosyncratic singer-songwriter stalking his own subconscious, sounding like a cross between Hank Williams (on The Mortician's Daughter) and a skid-row Springsteen (on We Will Shine). John Prine had a wonderful new album a few months back...