Christmas 2020: A Day of Joy in a Season of Covid-19

The Library of Congress

Christmas 2020 is upon us, and
 once again, I would like to share a Christmas Day poem 
by the 19th-century Scottish poet and essayist, 
Robert Louis Stevenson 
reflecting our common humanity:

A Prayer for Christmas Morning

By Robert Louis Stevenson

The day of joy returns, Father in Heaven, and

crowns another year with peace and good will.

Help us rightly to remember the birth of Jesus, that

we may share in the song of the angels, the 

gladness of the shepherds, and the worship of the

wise men.

Close the doors of hate and open the doors of

love all over the world.

Let kindness come with every gift and good

desires with every greeting.

Deliver us from evil, by the blessing that Christ

brings, and teach us to be merry with clean hearts.

May the Christmas morning make us happy to 

be thy children.

And the Christmas evening bring us to our bed

with grateful thoughts, forgiving and forgiven, for 

Jesus's sake.

Amen.

Wishing kind thoughts for a Merry Christmas. 

Although we are of many faiths,

it is important that our common humanity 

allows us to share a season of peace and goodwill.

May each of you stay healthy in the days, weeks and months ahead.

Photo Illustration: 

Christmas Tree at the Library of Congress, Washington, D.C.; by Michael Dickens © 2019. 

Evermore: Taylor Swift continues alchemy and teamwork started with Folklore

Last Friday, music megastar Taylor Swift released her ninth studio album on very short notice, Evermore. It’s the sister record to her eighth studio release from earlier this year, the Grammy-nominated Folklore. 

“To put it plainly,” Swift wrote on her Instagram, “we just couldn’t stop writing songs. To try and put it more poetically, it feels like we were standing on the edge of the folklorian woods and had a choice: to turn and go back or to travel further into the forest of this music. We chose to wander deeper in.

“I’ve never done this before. In the past I’ve always treated albums as one-off eras and moved onto planning the next one after an album was released. There was something different with Folklore.

“In making it, I felt less like I was departing and more like I was returning. I loved the escapism I found in these imaginary/not imaginary tales. I loved the ways you welcomed the dreamscapes and tragedies and epic tales of love lost and found into your lives. So, I just kept writing them.”

What immediately caught my attention – and I’ve never spent much time listening to or exploring the immensely popular music canon of Taylor Swift – is Swift’s collaboration with members of one of my favorite indie rock music groups, The National. In particular, Swift worked closely with the multitalented Aaron Dessner and she shared vocals on “Coney Island,” a song that deals with losing oneself in a relationship, with The National’s melancholy frontman, baritone vocalist Matt Berninger. In listening to both the song and the album, there’s a sense of artistic freedom and a break away from Swift’s conventional pop radio sensibility to create a folk album that’s full of sound and texture.

 Taylor Swift / Evermore

Meanwhile, sitting across the kitchen table, here’s what Aaron Dessner wrote on his Instagram: “It’s only been five months since Folklore was released. But truth be told, Taylor Swift and I never actually stopped exchanging ideas and somehow we’ve finished a sister record called Evermore that I love just as much. 

“These songs are wilder and freer, sometimes in strange time signatures and darker hues, but very much a continuation of what we started with Folklore. 

“I can’t begin to express my gratitude and respect for Taylor – I never cease to wonder at her seemingly boundless talent as a singer and a songwriter and storyteller. It’s been the experience of a lifetime to work so fast and furiously with her. ...

“My band mates in The National – Matt, Bryan and Scott, along with Bryce – are here, too. Hearing Matt sing with Taylor and the entire band perform on “Coney Island” – things have come full circle.”

Perhaps, Berninger put it best. He wrote on Twitter: “Singing a song with Taylor Swift is like dancing with Gene Kelly. She made me look good and didn’t drop me once. ‘Coney Island’ is an incredibly beautiful song she and Aaron Dessner wrote together. It really made me miss Brooklyn. Such a blast being a part of Evermore.”

Hearing the Swift-Berninger duet “Coney Island” for the first time recently was very intriguing and it’s what nudged me into giving the entire Evermore album a good listen on Spotify – and I like what I heard. If you’re someone who has always had an appreciation for the sense and sensibility – and seriousness – of The National, I think you’ll like what you hear from Swift with backing from The National on Evermore.

Cover photos: Beth Garrabrant (@taylorswift13/Twitter). Video: Courtesy YouTube.

Storytelling: Figuring out adulthood in “The Female Gaze”

“The Female Gaze,” a web series created by Shefali Vasudevan, is a twist on the classic romantic comedy genre that has always favored a man’s point of view. Produced and written by Vasudevan, an Emerson College graduate, “The Female Gaze” is directed by women and features a female-majority cast. It is her hope and wish that this series resonates with young women who are trying to figure out adulthood. 

Shefali Vasudevan

During a recent interview with Vasudevan and series co-star Camra Godwin, I was interested to learn about what inspired the creation of “The Female Gaze” and how it grew into a web series. The first season, which aired earlier this year via YouTube in seven weekly installments, is available for streaming. A successful Indiegogo campaign recently wrapped up to help provide backing for a second season that’s already in the works.

“A lot of the film and television I saw growing up was very male-centric,” says Vasudevan. “When I went to film school and realized how heavily male the industry was, I knew I really wanted to create something of my own to combat it. 

“The term ‘The Female Gaze’ is a twist on the term ‘Male Gaze,’ where everything in art, entertainment and news has been told strictly from the male perspective up until recent years. We wanted to flip that and make the narrative about women and how they view the world.”

Vasudevan approached Godwin, her Emerson classmate with whom she shared an improv class, with her idea of telling their stories in a unique way and she was instantly on board. “I had worked with Shefali before, and have always respected and trusted her vision,” says Godwin. “I was also excited about being involved with a web series that honestly portrayed a variety of stories about men and women that I could relate to.”

Camra Godwin 

Asked if it’s easy to relate to the situations her character, Jen, has found herself in, Godwin said that while her character “is not directly based on myself, she is in a lot of situations that I’ve also found myself in.

“For example, figuring out where she stands in a relationship versus being single and navigating jobs. I feel like I’ve been able to relate to every part of Jen, even if I haven’t been in her exact scenario. I still feel the same emotions and make the same discoveries that she does.

“For me, it was pretty easy to get inside Jen’s head, as a lot of what she experiences is similar to what I’ve gone through as I navigate my 20s. It’s a release for me to be able to bring my current awareness from personal situations and go back into that situation as Jen who’s experiencing it for the first time.

“Shefali has a really great honest writing style, but she also loves when actors make the role their own. During the rehearsals she encouraged us to improvise, which we sometimes added lines from, and tweak the dialogue to sound a little more like how our character would say it. It’s such a great experience to work with Shefali, because she puts so much into her work and then opens it up for collaboration to make the best product possible. That’s the ultimate dream!”

When Vasudevan started creating “The Female Gaze,” she was writing from her own perspective and personal experiences as a 24-year-old (she just turned 25 this month) and with an 18-to-30-year-old audience in mind. She said, “I think a lot of the themes are universal. 

“The characters deal with love and find themselves, and I don’t think anyone ever stops learning about themselves!”

Godwin, 25, agrees, saying “I think a lot of people 18-30 would relate directly to what each character is going through, but the emotions that our characters feel transcend age groups.

“Everyone has an idea of what heartbreak, excitement, love and confusion (to name a few) feels like!”

In developing “The Female Gaze,” Vasudevan, who earned a BFA in Film Production from Emerson College in Boston, originally hoped to learn more about filmmaking. She also became a central character in her own web series. The first series run of seven episodes included titles such as “First Time,” “F**kboy,” “Damsel,” and “Best Friends.”

In the fourth episode, “Damsel,” Vasudevan’s character, Priya, shares an intimate on-the-mouth kiss with her friend, Silvia (played by Avery Richardson). When asked if there was any sense of awkwardness, or if it was about Priya’s empowerment, acting upon her desires – perhaps figuring out her sexuality – she expressed, “I was writing this scene based on the experience of some of my friends and myself. What a lot of people today don’t really understand is that sexuality can be a little more complicated to navigate and not all black and white. It can also be something that is repressed in a lot of us because for so long in our lives we were told we had to think a certain way. Older generations tend to think that you can only like men or you can only like women. But I think for some people the attraction is based on person to person and relationship to relationship.”

Vasudevan suggested that Priya’s character “has entertained the thought of being with a girl, but until this moment in her life she has never met a girl in real life that she was attracted to. So, in the previous episode, she was with a man she felt attracted to,” but then “she feels so strongly toward Silvia that she has to act on it! I think by the end of the series, Priya realizes she has to explore this about herself before she can be in an open and honest relationship with either a man or a woman.”

While the final product of each six-to-seven minute episode comes off as a very smooth viewing experience, there’s plenty that goes into the creation and production. “We shot everything episode to episode,” said Vasudevan. The music heard in each episode comes from a variety of Emerson alumni (GUPPY, Pool Boys, Love Under the Sun) and Vasudevan said each were kind and gracious about contributing their music to the series.

“Learning how to self-produce my own work outside of college was difficult,” Vasudevan admits, “but I started to form a community and creat a good work flow this project.”

Road trippin’ with “The Female Gaze.” 

Within this community, which includes some of her former Emerson classmates and other Emerson alumnae residing in the Los Angeles area, Vasudevan decided to use an all female production crew for “The Female Gaze.” She said that most of the crews she’s work with have been majority male. “I would hear from the crew members things like, ‘Oh well, no women came out for the job,’ or ‘We’ve worked with this guy forever so we trust him.’ I thought this was insane because I know so many female crew members in different departments (such as lighting, camera team, production design) who are constantly not getting work. So, I wanted this set to be an opportunity for some of these female crew members.”

Indeed, Vasudevan changed the dynamic, and in doing so, she confesses that having a majority female crew also brings a different energy to the set. “There is a lot less ego involved – and a lot of creativity,” she said. “I have been on some really great male-run sets, but in general, on female-run sets everyone is just there to work and do a good job.”

When she was asked if there have been an production obstacles, Vasudevan said, “PLENTY! But I love it. My background from school is directing and writing, but more recently I decided to learn more about producing and acting.

“Producing has been such a fun way to use my problem solving skills. For the cafe episode (shot in a Le Pain Quotidien in Studio City), I actually talked to a few different cafes and Le Pain Quotidien was just the most responsive, affordable and flexible to work with! Lunch was also included in our space rental fee, which was incredible. I’m still dreaming about their chocolate hazelnut spread.

“The biggest obstacle was definitely the final episode of the first season and coordinating everyone on that set. I had a lot of help from my good friend and co-director on that episode, Caroline Ullman. The main issues came with coordinating actors and making sure we got through all of the scenes we needed to film in such a short amount of time. But the team of filmmakers we worked with were so incredible and patient with us! We ended up eating everything we needed and then some.”

Asked what the reaction from friends and family has been, Vasudevan said her family has been extremely supportive of the entire process. “I told my mom about what the story was going to be about a long time ago,” she recalled, “and when I started making the project I felt so insecure about it.

“There was one day when I was on the phone with her talking about how nervous I was, and she told me, ‘This is so incredible what you’re doing. You’re creating a body of work for yourself, of what you’re like right now, of what your friends are like, of what you’re experiencing, and you’re always going to remember it because you have this series.’ And that made me really happy and more confident about the project because yeah, maybe not a lot of people will see it, but it is such a truly vulnerable expression of my life right now and I’m excited to have that.” 

Godwin added, “When we first put it out, there’s always a sense of anxiousness because you want people to be able to connect with it like you did, and all that anxiousness has melted away for me now!”

With “The Female Gaze,” Vasudevan is emphasizing storytelling from a woman’s perspective. “I want people to see that women are messy and complicated and annoying and beautiful and weird, and that’s okay!

“I also hope that the stories resonate with people. Getting responses from people telling me that they related to the characters was incredible and more than what I thought I would get out of this experience initially.”

Find “The Female Gaze” on social media:
On Facebook @ https://www.facebook.com/thefemalegazeseries/
On Twitter @TFGSeries
On Instagram @thefemalegazeseries

Credits: “The Female Gaze” videos, courtesy of YouTube. Individual photos of Shefali Vasudevan and Camra Godwin by Lauren Cabanas. Cover photo and Road Trip episode photos by Zachary Shea Mills. Behind the Scenes of the final episode “This Is Not A Party” photo by Ariel Skovera.

Our day of joy returns: A Prayer for Christmas Morning

Christmas 2018 is upon us, and
 once again, I would like to share a Christmas Day poem 
by the 19th-century Scottish poet and essayist, 
Robert Louis Stevenson 
reflecting our common humanity:

A Prayer for Christmas Morning

By Robert Louis Stevenson

The day of joy returns, Father in Heaven, and

crowns another year with peace and good will.

Help us rightly to remember the birth of Jesus, that

we may share in the song of the angels, the 

gladness of the shepherds, and the worship of the

wise men.

Close the doors of hate and open the doors of

love all over the world.

Let kindness come with every gift and good

desires with every greeting.

Deliver us from evil, by the blessing that Christ

brings, and teach us to be merry with clean hearts.

May the Christmas morning make us happy to 

be thy children.

And the Christmas evening bring us to our bed

with grateful thoughts, forgiving and forgiven, for 

Jesus's sake.

Amen.

Wishing kind thoughts for a Merry Christmas. 

Although we are of many faiths,

it is important that our common humanity 

allows us to share a season of peace and goodwill.

Photo illustration: Michael Dickens © 2018.

Encore: Who lives, who dies, who gets to tell your story?

Creative genius / Lin-Manuel Miranda

It's been said that works of art have long informed how people understand the past, and Lin-Manuel Miranda's Hamilton, which I saw for the second time in the past year last weekend in New York City, is no exception.

As the creative genius of the Broadway smash-hit Hamilton, Miranda changed the way that people considered one of the Founding Fathers and the era he lived in. In doing so, it put Miranda in lofty territory, alongside how Shakespeare transformed Richard III, and how the author Leon Uris romanticized the founding of Israel in his novel Exodus.

In revisiting an essay I wrote about Miranda in March 2016, here's some things worth noting:

In creating Hamilton, Miranda relied on the core elements of hip-hop and R & B-inspired music as well as jazz, pop and Tin Pan Alley – plus a racially-diverse cast – to make history as relatable as possible. Soon after its 2015 debut, Hamilton became a certifiable Broadway box office hit – it remains one of the toughest, most-sought after tickets on Broadway – and the musical became centered around a story arc that relates Hamilton's life story, from his orphaned upbringing in the West Indies to his death in a duel at the hands of Aaron Burr.

"This is a story about America then, told by America now," Miranda, a native New Yorker of Puerto Rican heritage, once told The Atlantic, "and we want to eliminate any distance between a contemporary audience and this story."

In a September 29, 2015 essay for The Atlantic, Edward Delman wrote, "Hamilton, then, has the potential to strongly influence the way Americans think about the early republic. For one thing ... it understands Thomas Jefferson to be a deeply flawed individual. It presents an American history in which women and people of color share the spotlight with the founding fathers. The primarily black and Hispanic cast reminds audiences that American history is not just the history of white people, and frequent allusions to slavery serve as constant reminders that just as the revolutionaries were fighting for their freedom, slaves were held in bondage.

"Perhaps, the most significant lesson the show might teach audiences, and one that has particular relevance today, is the outsized role immigrants have played in the nation's history. Alexander Hamilton was an immigrant – a fact that Miranda repeatedly emphasizes throughout the show – and the musical also prominently features the Marquis de Lafayette, a French nobleman who played a crucial role during the revolutionary war."

It's pretty amazing to think back to the fascinating process which Miranda translated the history of the unlikely rise and untimely fall of the first U.S. Treasury Secretary, Alexander Hamilton, onto the stage. He drew upon the Ron Chernow biography of Hamilton for focus and inspiration. Then, flash back to May 12, 2009, when Miranda first performed "The Hamilton Mixtape" before an audience that included President Barack Obama and First Lady Michelle Obama at the White House Evening of Poetry, Music and the Spoken Word, accompanied by pianist Alex Lacamoire.

In looking back at a February 2015 feature about Hamilton, Rebecca Meade of The New Yorker wrote: "It does not seem accidental that Hamilton was created during the tenure of the first African-American President. The musical presents the birth of the nation in an unfamiliar but necessary light: not solely as the world of élite white men but as the foundational story of all Americans. Thomas Jefferson, James Madison, and George Washington are all played by African-Americans. Miranda also gives prominent roles to women, including Hamilton's wife Eliza Schuyler, and sister-in-law Angelica Schuyler. When they are joined by a third sister, their zigzagging harmonies sound rather like those of Destiny's Child.

"Miranda portrays the Founding Fathers not as exalted statesmen but as orphaned sons, reckless revolutionaries, and sometimes petty rivals, living at a moment of extreme volatility, opportunity, and risk. The achievements and the dangers of America's current moment – under the Presidency of a fatherless son of an immigrant, born in the country's island margins – are never far from view."

The Grammy Award-winning original cast recording, produced by The Roots' Questlove and Black Thought – has been a welcome companion of mine on my car stereo for several years – and I never really tire of its songs.

"I don't know how many really good ideas you get in a lifetime," Miranda once told The Hollywood Reporter, "but the idea of telling Hamilton as a hip-hop story was definitely one because you get to do everything: love and death and a war and duels and revenge and affairs and sex scandals."

One thing remains certain: Thanks to Miranda's genius, the Tony Award-winning Hamilton continues to have a positive influence in altering our perception of American history, and the role in which artists are helping shape historical narrative. And, Miranda knows that he can't stop being who he is just because more people are looking at him.

Photo credits: Lin-Manuel Miranda's Twitter feed and Google Images. Video/audio credit: YouTube.com.

Call Me By Your Name: A sensual and transcendent film

Call Me By Your Name / Sensual, transcendent, an Oscar contender.

Call Me By Your Name, a new film by Italian film director Luca Guadagnino, is a tender coming-of-age tale debuting this week that already has won over critics and audiences and is projected to be an Oscar contender.

A sensual and transcendent tale of first love, Call Me By Your Name is based on an acclaimed novel by André Aciman that is set in the summer of 1983 in the beautiful north of Italy countryside. My wife and I enjoyed The Cinema Club's sneak preview of the film Sunday morning in a northwest Washington, D.C. theater.

Call Me By Your Name

The central character in Call Me By Your Name is an American-Italian boy, Elio Perlman, 17 and precocious (wonderfully acted by 21-year-old Timothée Chalamet), who enjoys spending his high culture days in his family's 17th century villa transcribing and playing classical music on piano and guitar (Chalamet actually played both instruments in the film), reading books, swimming at the river, going out at night, and flirting – especially with his friend Marzia (played by Esther Garrel). It all sounds like innocent fun – and for the most part, it is. There's a certain sophistication and intellect about Elio for us to like and admire.

Throughout the 2 hour and 12 minute film, we see how Elio enjoys a close relationship with his parents. His father (played by Michael Stuhlbarg of HBO's Boardwalk Empire fame) is a classical archeologist specializing in Greco-Roman culture while his mother (played by Amira Casar) is a translator, who is always looking out for Elio's best cultural interests.

Indeed, Elio's interest is getting out in the world and experiencing things on his own, including having sex with both Marzia and with Oliver, a very charming and closeted 24-year-old American doctorate scholar (played by Armie Hammer), who is interning with Elio's father for the summer. Elio bonds with Oliver over their shared Jewish heritage, the Italian countryside they see together riding their bicycles, and his emerging sexuality. In this movie about desire, we soon learn, love means having no geography; it knows no boundaries.

During the second half of the film, the main focus is on physicality and emotions and the budding relationship between Elio and Oliver, in which Elio discovers the beauty of awakening desire and how it will alter his life forever. When Elio and Oliver kiss and engage in sex, it's all about figuring things out, both physically and emotionally. There are some long stretches without dialogue.

Near the conclusion, after Oliver has returned home, Elio's father pulls him aside and the two share a frank and accepting father-son talk about sexuality. Professor Perlman is very articulate when he conveys to his son to grow up and "be the person you needed when you were younger." Finally, Elio smiles at the end of this long scene. As the film's credits roll, we see him internalize what's happened in the entire movie.

Call Me By Your Name: Courtesy of Sony Pictures Classics • Rated R • 132 minutes • In English, Italian, French and German with English subtitles. • Directed by Luca Guadagnino • Screenplay by James Ivory • Original songs performed by Sufjan Stevens.

Reflections on patriotism: Dan Rather on what unites us

Dan Rather reads from his book 'What Unites Us.'

Dan Rather finds himself thinking deeply about what it means to love America as he surely does in the age of President Donald Trump.

At a time in our nation's history when there's a crisis over our national identity, the longtime broadcast journalist has surfaced as a calm, measured voice of reason and integrity. At 86, he has embraced social media, where he regularly contributes his thoughts and wisdom via his Facebook page, which has more than 2.5 million followers.

Last week, Rather's new book, What Unites Us: Reflections on Patriotism, written with Emmy Award-winning journalist Elliot Kirschner, was published. In it, Rather has written a collection of 16 original and passionate essays that reflect on what it means to be an American in the 21st century.

During a recent book tour lecture at George Washington University in Washington, D.C., I listened attentively to Rather, in conversation with Washington Post editorial writer Jonathan Capehart. He discussed a variety of topics including patriotism and freedom of the press, whose values have transformed us and represent institutions that sustain our nation.

On the subject of patriotism, Rather read from his book: "Patriotism – active, constructive patriotism – takes work. It takes knowledge, engagement with those who are different from you, and fairness in law and opportunity. It takes coming together for good causes," he said. "This is one of the things I cherish most about the United States: we are a nation not only of dreamers but also of fixers. We have looked at our land and people , and said, time and again, this is not good enough; we can be better."

When asked about Capehart to discuss freedom of the press, Rather didn't hesitate when he responded: "We are the witness to the truth and there's a lot of good reporting going on out there. This president is pushing us toward a 'post-truth' and 'post-fact' political era.

"American journalism is at a crossroads," he continued. "News is what the public needs to know and it's generally what somebody else doesn't want you to know about."

Rather's storied career – he spent more than 40 years with CBS News and succeeded the legendary Walter Cronkite in the anchor chair for The CBS Evening News – has made him one of the world's best-known journalists. He's interviewed every president since Eisenhower. With decades spent on the front lines covering the world's biggest stories – from the assassination of President John F. Kennedy to the Vietnam War to the Watergate crisis that ended with the resignation of President Richard Nixon – Rather is able to offer his readers a unique if not intimate view of America's history and its historical change.

It's easy to gain from reading What Unites Us and by listening to Rather that regardless of the state of our current national political climate, he maintains a fundamental sense of hope that comes from sharing our nation's transformative values, from empathy to inclusion to service.

Photo of Dan Rather by Michael Dickens © 2017.

"Battle of the Sexes": Game, set, match, Billie Jean King

Battle of the Sexes /
Emma Stone as Billie Jean King (L) and Steve Carell as Bobby Riggs.

"Battle of the Sexes," a fictionalization of the 1973 exhibition tennis match between World No. 1 Billie Jean King and ex-champion and serial hustler Bobby Riggs, starring Emma Stone and Steve Carell, opened to much fanfare in theaters across the U.S. last month.

It's a very good movie – a beautiful film about sports – with great storytelling, and I was gripped from start to finish. What hadn't occurred to me when I sat down with my wife in a suburban Washington, D.C. theater on a recent Sunday afternoon to see "Battle of the Sexes" was that at its core, it's a lesbian love story that goes back and forth between intimate moments and public events, on and off the court. Throughout the film, we find out just how brave and authentic an athlete – and person – the 29-year-old King really was. Mind you, she just happened to be the top female tennis player in the world, too.

Meanwhile, Riggs had been one of the top players in the 1940s and won six major titles. However, by age 55, the self-avowed male chauvinist pig – both an energetic hustler and promoter, but an ebullient boor – had become a big gambler with a penchant for turning provocation into profit. 

"It was a man vs. woman match made for maximum public-relations gimmickry, but also a deadly serious referendum on equality on and off the court," wrote Manohla Dargis in her review of the film for The New York Times.

Indeed, the bespectacled King was a feminist symbol and the first woman athlete in any sport to win more than $100,000 in a single year. She was the centerpiece of the fledgling Virginia Slims women's professional tour that was out to fight against the gross inequalities that defined men's and women's professional tennis since the beginning of in the Open Era in 1968. Fast forward to the 2017 WTA Finals in Singapore won by Caroline Wozniacki on Sunday, with the awarding of multi-million dollar prize money to its participants and broadcast to a worldwide television audience, and you realize just how far women's tennis has come in the past forty-plus years.

At the same time, during her prime King was championing women's rights, including equal pay. So, in agreeing to play the floppy-haired Riggs in an exhibition match that was staged inside the vast Houston Astrodome in Houston, Texas – and televised in evening prime time throughout the U.S. – it became both personal and political while remaining entertainment, too. 

"There's a lot to follow and a great deal to look at, including an atmospherically embellished past that turns the movie into a veritable way back machine of amusing and amusingly unfortunate colors and choices," writes Dargis. "There are plaid jackets and flirty minis, sideburns and shags, harvest-gold drapes and rooms perilously fogged in by cigarette smoke."

The real Billie Jean King and Bobby Riggs, in 1973.

Leading up to the big match, Riggs' sexist pronouncements get bigger and more outrageous, and some of his stunts – many of them wildly absurd and self-serving – are hard to take seriously. However, they offer some good comic relief during the film. Yet, for all of the drama and pomp and ceremony, the King-Riggs event drew plenty of Hollywood attention. Spectators came to the event dressed elegantly and sipped champagne while sitting court side. There were more than 30,000 fans watching in person inside the Astrodome while 50 million Americans watched at home on TV. (I was a high school teenager when the real event occurred, and I remember watching it at home on TV with my family. I was pulling for King to win.)

Riggs was paid $50,000 to sport a bright yellow Sugar Daddy jacket, which he took off after just three games. Meanwhile, King entered the arena in the great Hollywood fashion of Cleopatra, complete with four muscular and bare-chested males dressed in the style of ancient slaves who carried her in on a feather-adorned litter. Riggs presented King with an oversized Sugar Daddy lollipop and King gifted her opponent with a piglet, which was symbolic of his male chauvinism.

As it happened, the two-time Wimbledon champion King ran Riggs all over the court and trounced her opponent in straight sets, 6-4, 6-3, 6-3. She won by forsaking her usually aggressive approach to play a solid baseline game that allowed her to handle his lobs and soft shots. Afterward, she called her winner-take-all victory over Riggs the "culmination" of her career.

While King and Riggs are the focal points of the film, the tennis scenes are pretty convincing. That's because real players were used as doubles for King and Riggs. Kaitlyn Christian, a former champion collegiate doubles player at the University of Southern California who is struggling to make it as a professional on the minor-league ITF circuit, acted as Emma Stone's tennis double in portraying King, and former men's professional Vince Spadea served as the tennis double for Steve Carell, who played Riggs. 

Before she was cast, Christian had never played with a wooden racket with its smaller sweet spots like the ones King used in her prime. However, I learned, her forehand and backhand slice was convincing and it reminded me of how much the women's game has evolved since King's heyday into one that relies upon powerful ground strokes as exuded by predominant power players of today like Serena Williams. 

Looking back, King liked to serve and volley. She wasn't afraid to come toward the net to control points against her opponents. Her style, which served her well both throughout her professional career – and for one great festive night against Riggs – was one that relied upon finesse coupled with a dash of touch and spin.

Meanwhile, King's personal life became a bigger part of the movie, thanks to directors Jonathan Dayton and Valerie Faris of Little Miss Sunshine fame, who tweaked the screenplay. King, who came out as a lesbian in the 1980s and would go on to become a widely admired advocate for LGBT groups, was at the time of her exhibition against Riggs married to a man – and in the early stages of grappling with her sexuality after falling for a female hair stylist.

"It really did happen this way, where Billie Jean began her first affair with a woman at a time when she was one of the most famous women in America, if not the world," Mr. Dayton told The New York Times. "So that seemed like an important story to tell. And at the same time, she was fighting this very public battle for equality."

While Riggs may have viewed the match as nothing more than a publicity stunt, King felt that beating Riggs was important both for women's tennis as well as for the women's liberation movement. "I thought it would set us back 50 years if I didn't win that match," King once said. "It would ruin the women's tour and affect all women's self-esteem."

Instead, while King's victory over Riggs didn't define her career, it became her destiny to work toward gender equality – not only in tennis but in all sports. And, as a nation that loves its sports, we are all appreciative of what this true champion has achieved in her lifetime.

Super Bowl ads: Are you paying attention, Mr. President?

How did I spend my Super Bowl Sunday? Watching the big game, of course. As much as I was riveted by the exciting outcome – New England beat Atlanta, 34-28, after coming from behind to force the first overtime game in the 51-year history of the Super Bowl – I focused on the commercials, too.

This year, many ads contained politically charged messages and several TV spots highlighted hot-button themes such as immigration (Budweiser, 84 Lumber), equal pay (Audi) and inclusion (Coca-Cola). Are you paying attention, Mr. President?

Long after the game ends, collectively, we do seem to remember the commercials, especially the good ones. There were a couple of ads that resonated with me for a variety of reasons, for Coca-Cola and for Airbnb. Both aired early during Sunday evening's Super Bowl LI game broadcast.

In "It's Beautiful," Coca-Cola's message was simple: "Together is beautiful." The Atlanta-based soft drink titan scored a touchdown with its Super Bowl ad that aired just before kickoff, in which culturally diverse Americans sang a multilingual version of "America The Beautiful," in English, Hindi, Arabic and Tagalog.

The 60-second spot designed by Wieden + Kennedy debuted during the 2014 Super Bowl to mixed results and was revived during last year's Rio Olympic Games. However, given the current national conversation many Americans have been sharing about immigration and diversity, its message seemed more relevant. "It's Beautiful" featured plenty of beautiful, multicultural images depicting America as a nation of many races, many ethnicities and many religions. It promoted optimism, inclusion and humanity, themes which seem foreign to the dystopian American carnage being propagated by the Trump Administration. It was beautifully filmed and edited, and given today's political climate, "It's Beautiful" took on a certain poignance this time.

Another commercial worth applauding came from Airbnb, whose politically charged message in its "We Accept" ad spoke volumes about diversity and acceptance: "Acceptance starts with all of us." In its Super Bowl commercial, put together on short notice  – perhaps seen as a Silicon Valley response to President Trump's immigration ban – Airbnb reminded us of this simple but important message: "We believe no matter who you are, where you're from, who you love, or who you worship, we all belong. The world is more beautiful the more you accept." Indeed, the world is more beautiful the more #weaccept. The hashtag went viral by halftime.

Afterwards, I learned Airbnb CEO Brian Chesky announced that the company is aiming to provide short-term housing for 100,000 refugees, disaster survivors, and other displaced persons over the next five years. Additionally, over the next four years, Airbnb will donate $4 million to the International Rescue Committee.

"We couldn't talk about the lack of acceptance in the world without pointing out the challenges in our own community at Airbnb," the company said in a statement following the airing of its ad. "The painful truth is that guests on Airbnb have experienced discrimination, something that is the very opposite of our values. We know we have work to do and are dedicated to achieving greater acceptance in our community."

Looking back on both ads – expressions of American values I support – reminded me of this: I have many multicultural friends – thanks, Facebook – who are close and dear to me. They represent many races and ethnic backgrounds, come from many different religious faiths, and speak multiple languages. I have friends who identify with the LGBTQ community. I have friends who are biracial. I have friends who are raising biracial children and friends who are parenting transgendered children. Thus, it's important to see advertisers, representing both legacy and start-up companies, reaching out to all Americans by conveying positive messages about inclusion, diversity and acceptance. After all, there's no larger TV audience than a Super Bowl audience for spreading a good message.

Regardless of what you think, Mr. President, these ads conveyed the true spirit of our America.

Cover photo: Courtesy of Google Images. Videos: Courtesy of YouTube.

Women's March: Inspiration, motivation, galvanization

Unity in numbers / Hundreds of thousands of women (and men), both
white and of color, marched for political activism in Washington, D.C. and
throughout America, and around the world. 

The American writer and poet Alice Walker, who wrote the critically acclaimed novel The Color Purple, once said "Activism is our rent for living on the planet." I think she was on to something because last Saturday women (and men), both white and of color, spanning a variety of economic and religious backgrounds, united for a just cause.

They marched for political activism. Health care, the economy, climate change, immigration, paid family leave, net neutrality, education, freedom of the press.

Millions united worldwide and took to the streets to protest the inauguration of Donald Trump and also to celebrate women's rights. On Saturday, they marched for democracy.

My heart and support goes out to my friends, family and loved ones – and to all – who marched not only in the Women's March in Washington, D.C., but also hundreds of sister marches throughout America and around the world. Through the power of their spoken and written words, as well as through their images and pictures that were shared via social media platforms – and, importantly, in their strength in numbers – we saw that there is such great hope for our country. I'm proud to see so many devote their time and energy towards walking for civil liberties and basic, fundamental human rights for all.

A view of the National Mall as seen from the U.S. Capitol,
during the Women's March in Washington, D.C. The
number of participants far exceeded expectations,
event organizers said, and it eclipsed the crowd attending
President Trump's inauguration a day earlier.

A day after President Trump's inauguration last Friday, in which he shared his uniquely dark and dystopian vision of the U.S., there was much support, love and light shown during the Women's March in Washington, D.C. According to the organizers of the event, the goal was to send a powerful message to the new administration and to the new President. Initial estimates numbered 500,000 participants in the nation's capital alone – considerably more than the 200,000 expected, and far exceeding the number who attended Friday's inauguration of the 45th President. Demonstrations remained peaceful throughout.

Linda Sarsour, a Palestinian-American activist and national co-chair of the Women's March on Washington, said during an interview Monday evening on MSNBC's All In With Chris Hayes that she was extremely overwhelmed by the turnout. "Women showed up (all over the world) and showed their power," she said. Asked why the march exceeded expectations, Sarsour said: "We were able to speak to the values of people. We came together in solidarity to stand with the most marginalized people. We were also intersectional. It wasn't just about reproductive rights. It was climate justice and racial justice and immigrant rights. Everyone found a place to be there. We spoke to every one's inner frustrations. We went from Friday's devastation to Saturday's inspiration, motivation and galvanization."

In a New York Times editorial published on its website Monday, it wrote: "Whether President Trump, newly ensconced in the White House, was surprised or even noticed is unclear. Given his reputation, he may not even care. But the Republican Party should."

We are America /
Marching near the National Museum of
the American Indian in Washington, D.C.
(Photo by Carla Morris.)

Actress America Ferrera, who was one of the first speakers at the Washington, D.C. rally, said: "We march today for the moral core of this nation, against which our new president is waging a war. Our dignity, our character, our rights have all been under attack and a platform of hate and division assumed power yesterday. But the president is not America. ... We are America and we are here to stay."

The feminist icon Gloria Steinem, 82, also speaking in the nation's capital, exulted: "This is the upside of the downside. This is an outpouring of democracy like I've never seen in my very long life."

Senator Elizabeth Warren, Democrat of Massachusetts, marching in Boston, said, "We can whimper. We can whine. Or we can fight back!"

Back in Washington, D.C., singer Madonna said matter-of-factly: "Let's march together through this darkness and with each step know that we are not afraid, that we are not alone that we will not back down. There is power in our unity and no opposing force stands a chance in the face of true solidarity." She added: "Today marks the beginning of our story. The revolution starts here. The fight for the right to be free, to be who we are, to be equal."

Energizing in the name of goodwill /
A sign proclaiming "My Body My Choice" was one of
many causes represented during the Women's March.
(Photo by Carla Morris.)

Among my many Macalester College friends who marched in Washington, D.C., and elsewhere, Carla Morris, an independent consultant who is married and the mother of two young boys, described her march experience like this: "It was like we had all individually and collectively found the real America again! I did not see a single act of unkindness or disrespect all day long." On her Facebook page, Morris called the mood in Washington, D.C. "so jubilant. Everyone on the trains going down to the march beamed at each other, smiled, chanted together, clapped, traded stories, helped each other. ... It was so wonderful. A fabulous, energizing day of goodwill."

Among many speakers whom I saw while watching TV coverage via MSNBC and C-SPAN, I was particularly interested in learning viewpoints from people of color and of different religions, groups which are being marginalized by the Trump administration. I heard the passionate voices of Zahra Billoo, the San Francisco Bay Area Director of the Council on American-Islamic Relations (CAIR), and of Van Jones, founder and president of Rebuild the Dream, an American center-left political organization, and a former Obama Administration advisor.

Billoo, a Muslim-American, said: "Our America ... includes all of us in our beautiful diversity. Our America requires that we march to protect each other. Our America needs us to build a better future. We have our work cut out for us but we are ready."

Marching towards a better future /
The Women's March showed peaceful yet powerful activism.
(Photo by Carla Morris.) 

Meanwhile, Jones, a black male, reached out to both conservatives and liberals during his speech. He said: "This movement has the opportunity to stand up for the underdogs in the red states and the blue states, to stand up for the Muslims and the Dreamers ... but also to stand up for the coal miners who are going to be thrown under the bus by Donald Trump. We're going to stand up for them. All those Rust Belt workers who he doesn't want to mess with but wants to mess over, we've got to stand up for them. We have to have a position that's clear. When it gets harder to love, let's love harder."


Looking back upon this special and unique day, in Washington, D.C., throughout American cities from Seattle and San Francisco to Ann Arbor and Chicago, to Raleigh, Boston and New York, and around the world – a record turnout for protests the likes of which we have not seen since the Vietnam War  – there was great strength found in this peaceful yet powerful activism, and unity in its numbers.

On this memorable day, love truly trumped hate.

Photos: Courtesy of Google images and Carla Morris.

The day of joy returns: A prayer for Christmas morning

With Christmas 2016 upon us,
 once again, I would like to share a Christmas Day poem 
by the 19th-century Scottish poet and essayist, 
Robert Louis Stevenson 
reflecting our common humanity:

A Prayer for Christmas Morning

By Robert Louis Stevenson

The day of joy returns, Father in Heaven, and

crowns another year with peace and good will.

Help us rightly to remember the birth of Jesus, that

we may share in the song of the angels, the 

gladness of the shepherds, and the worship of the

wise men.

Close the doors of hate and open the doors of

love all over the world.

Let kindness come with every gift and good

desires with every greeting.

Deliver us from evil, by the blessing that Christ

brings, and teach us to be merry with clean hearts.

May the Christmas morning make us happy to 

be thy children.

And the Christmas evening bring us to our bed

with grateful thoughts, forgiving and forgiven, for 

Jesus's sake.

Amen.

Wishing kind thoughts for a Merry Christmas. 

Although we are of many faiths,

it is important that our common humanity 

allows us to share a season of peace and goodwill.

Photo illustration: Michael Dickens © 2016.