Fruits of our labor

The final months of summer gardening are always met with mixed emotions. This is often when the plants we have worked so hard to grow come to fruition and are ready for harvest. It is also the time when the impacts of bugs, drought and animals are felt more acutely, and the mature plants require more care to keep them producing the glorious vegetables during this harvest season.

There is so much to learn about life through gardening as it teaches you that the work is never done, growth requires care and attention, and to produce results you have to put in the time. All too often, when embarking on anti-racism efforts, fellow white people (myself included) often want to see the fruit without the labor. There are many times where we say, “please just tell me what to do” without having the context or the history for why this particular action is needed. Without this foundational understanding, it can be difficult to commit to the work in meaningful and long-term ways.

The scope and importance of becoming more aware of whiteness takes time to dig into the depths of our subconscious, to unearth long-held beliefs and thought patterns that many argue are imprinted into our DNA over generations. It takes quiet reflection, sitting the discomfort of acknowledging our own dirt, picking away at our bugs, having conversations with people to help us clear the weeds, and fertilizing our soil with knowledge. Due to our social conditioning, the gardens of white people, in particular, need the investment of time, curiosity and labor to understand what lies beneath.

The beautiful upside to this work is knowing that it will produce the results we want. There are literally hundreds of years of learning to unlearn but we are so lucky to have books by James Baldwin, Audre Lorde, bell hooks, Maya Angelou, and countless other Black authors to read, social media accounts to follow and films to watch. In the moment, it may feel overwhelming and hard to understand where it will lead us, but we have to trust the process and our own labor in the work.

Gardening is not an easy process. The path to success is not clear or linear, and there are variables that will constantly pop up, and work to deter us from seeing the work through until maturity. The same is absolutely true to on the path to becoming anti-racist. There are going to be moments of appreciation, gratitude, frustration, sadness, and fear. Despite all of this, those who take on the work know one thing to be true: In the end, it will be worth it.

Art in the open

Watch sculptors at work at Nashua’s annual symposium, hunt for clay monsters in Manchester and spend an evening at an art bazaar in Concord, plus find other ways to enjoy art outside.

Also on the cover, Madear’s opens in Pembroke with a new menu, a new vibe and a new bakery, p. 16. Try a rosé on a hot summer day, p. 20. And find live entertainment all week long starting on p. 27.

Cover Photo: “For the Love of Friendship” sculpture by Tony Jimenez, near Lovewell Pond in Nashua. Photo by Matt Ingersoll.

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Let Them Eat Tweets, by Jacob S. Hacker and Paul Pierson (Liveright/W.W. Norton, 217 pages) Jacob Hacker and Paul Pierson ...
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Nashua teen honored with annual Buddy Cup Every summer, teens from New England and New York who are involved in ...
Walk the village Take a walk through the Canterbury Shaker Village (288 Shaker Road in Canterbury; shakers.org, 783-9511) on Saturdays ...
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Film Reviews by Amy Diaz Jamie Foxx, Joseph Gordon-Levitt and Dominique Fishback fight a chaos-bringing drug in Project Power, a ...
Books to go!Manchester has a brand-new Bookmobile, and it was scheduled to get rolling after a ribbon-cutting ceremony on Tuesday, ...
Make every day a rosé day With this incessant heat, what can be more satisfying than a cool glass of ...
New music from Mindset X leader As a performer, Steven Scott has some distinct personas. He’s the leader of Mindset ...
Madear’s relocates to downtown Pembroke, introduces bakery Nearly a year after Madear’s hosted its final night of service on Hanover ...
• Film fest finishes season: The New Hampshire Jewish Film Festival, being held virtually, presents its final two films of ...
• Singer: A recent guest on NH Chronicle Summer Songfest, Justin Cohn performs covers with some tasty originals — some ...
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Solo turn

New music from Mindset X leader

As a performer, Steven Scott has some distinct personas. He’s the leader of Mindset X, a band with which he’s created ambitious progressive rock, most recently the 2015 concept album Oceans. More than a few fans know him for playing cover songs as The Deviant at area restaurants and bars.

There’s another side to the singer, songwriter and guitarist that’s not as familiar to his followers, but it will be soon as he prepares to release a spare, acoustic solo EP called Albino Road. A preview single, “Anywhere But Here,” came out late last month.

In a recent phone interview, he said he was tapping his inner Cat Stevens or Roy Harper for the new disc, which he hopes to release in full later this fall.

“The solo stuff came out of the need to express myself on the softer side of things,” he said. “Mindset X leans toward a rocking, electric sound, while this is kind of indie folkish.”

There’s a lot of reflection on the record, and a few painful truths about human nature. The title cut recalls a historical event in Andover, Massachusetts, toward the end of the 19th century. According to folklore, a pair of albino children living there were killed by fearful neighbors, who also burned down the family’s home.

The song reflects the racism of today, Scott said.

“They killed the kids just for being different,” he said. “We’ve been through this crap before, why are we still doing it? We’re still in the same position, just with better technology. It’s a weird road we’ve taken as a species. It confused me, made me a little angry and I tried to put that in the song.”

The EP’s other two tracks provide brighter bookends. “Anywhere But Here” is a carpe diem for the downtrodden, with lines like “cheers to the ones who ignore their fears … don’t be silent, ever scared, ’cause this is your life,” while “Sunshine On Me” is a call to action that echoes the Youngbloods’ ’60s chestnut, “Get Together.”

He hopes to finish and release Albino Road by the end of August, and is currently contemplating how to unveil it live.

“I’m figuring out if I want to present it in a solo fashion, or try some looping, or have some people on stage,” he said. “I may drop a song into my covers set, as my plan is to peel away from that at some point and do all originals.”

The project has changed shape on the way to completion. “Originally … it was just going to be me and my acoustic guitar,” Scott said, “but any time I try to do that I end up thinking, ‘I wonder what a piano would sound like, or a flute.’”

He recruited local producer and musician Jay Frigoletto to add some layers to “Anywhere But Here,” which revved up the once-austere track.

“Instead of a down to earth folk song,” Scott said, “it turned out to be more folk rock.”

Mindset X was working on a new album with plans to hit the studio in April, “but Covid threw a wrench in all of that,” Scott said. “We didn’t jam for a couple of months because we weren’t supposed to.”

With his solo record basically done, MSX is targeting the next month or two to record tracks for release early next year.

“There’s a lot of questions still to be answered, but we’re ready to go and I’m proud of the stuff we’ve written,” Scott said. “It’s definitely us all the way.”

For now, Scott performs covers to audiences, who seem to appreciate him more.

“You look back six months ago and people are posting about three friends who showed up to see them play, but now people are really hungry for it,” he said. “They seem more enthusiastic, and more willing to accept an original song thrown in now and then. I try to move to the light and away from the darkness; Covid exists — we know that — but you gotta look for some good in all of this.”

Featured Photo: Steven Scott. Courtesy photo.

Steven Scott – The Deviant
When:
Friday, Aug. 21, 6 p.m.
Where: Jocelyn’s Mediterranean Restaurant, 355 South Broadway, Salem
More: stevenscottmusic.com

The Music Roundup 20/08/20

Singer: A recent guest on NH Chronicle Summer Songfest, Justin Cohn performs covers with some tasty originals — some from his upcoming album. Cohn is ubiquitous in the regional scene, memorably providing lead vocals for Rocking Horse Music Club’s debut single “Everywhere Is Home” and appearing on the group’s tribute album to Genesis guitarist Anthony Phillips. Thursday, Aug. 20, 5:30 p.m., Murphy’s Taproom Carriage House, 393 Route 101, Bedford, facebook.com/justincohnmusic.

Rocker: With co-lead vocalist Neeley Luna now in the band, The FAR host a mask-mandatory show to honor first responders and frontline workers battling the Covid-19 crisis, who will be admitted free. The Dracut, Mass., group covers rock and pop across the decades, from Fleetwood Mac to Snoop Dogg, with a soft spot for ’70s acts like Boston, Journey and Eddie Money. Friday, Aug 21, 8 p.m., Jewel Music Venue, 61 Canal St., Manchester, jewelmusicvenue.com

Fiddler: For the finale in a series of open air concerts, Jordan Tirrell-Wysocki performs with his trio. The versatile fiddle player offers plenty of Irish and Celtic music but will take a vocal now and again and venture into a jazzier place. The show is presented by Bank of NH Stage, which hopes to host live music soon, though Root Shock, originally set for Aug. 28, is now canceled. Saturday, Aug. 22, 6 p.m., Fletcher-Murphy Park, 28 Fayette St., Concord. Tickets $10 at banknhstage.com.

Rouser: An outdoor show rescheduled from early July, Whiskey Horse offers a high-energy sound that mirrors today’s Nashville. Waylon Jennings coined its name, “outlaw country,” a genre owing more to Lynyrd Skynyrd than Hank Williams Jr. Billed as “rocked up and rowdy,” the band plays covers, featuring twin electric guitars and layered harmonies. Wednesday, Aug. 26, 6 p.m., Abbie Griffin Park, 6 Baboosic Lake Road, Merrimack, merrimackparksandrec.org.

Project Power (PG-13)

Film Reviews by Amy Diaz

Jamie Foxx, Joseph Gordon-Levitt and Dominique Fishback fight a chaos-bringing drug in Project Power, a promising but under-baked action movie from Netflix.

It is a chocolate chip pancake with a raw-batter center — potentially satisfying but frustrating for its not-quite-there-ness.

Art (Foxx) is on the hunt for the source of Power, a new street drug that comes in a glowy pill and, when ingested, gives the user five minutes of some kind of superhuman power. Most of the time. Sometimes it kills the user — is I think the implication of a scene where a person takes it and immediately explodes. And it doesn’t appear that you know or have any choice in what power it gives you. And that power could kill or maim you, in the moment or over time. Feels like a lot of medication side effects but I guess the chance that you can be briefly bullet-proof, as New Orleans police detective Frank (Gordon-Levitt) is when he takes Power, or chameleon-like, as with an “invisible” bank robber we see him chase, is enough for some users.

Robin (Fishback, this movie’s real star) is an enterprising high school student who sells Power to help raise money for her mom, who is sick and needs medical treatment. Robin sells to Frank sometimes, who buys because it helps him and other cops level the playing field with the Powered-up criminals they chase. Frank likes and roots for Robin and is genuinely concerned when she texts him for help.

Trying to work his way through the Power supply chain in New Orleans, Art kidnaps Robin to get information about the person distributing Power to dealers. Though initially he gets her assistance through threats, Robin seems to come around to Art’s mission. A former military officer and an early test subject for the Power drug, Art later had a daughter with naturally occurring superhuman abilities. She was kidnapped by Power’s manufacturers and now Art is desperate to get her back.

The movie brings Art, Robin and Frank together at what feels like a late point — actually, everything feels like it happens later than it should in this movie. At an hour and 53 minutes, this movie feels about 20 minutes too long but also off in its pacing. Within individual scenes, there is good momentum and good chemistry between Fishback, Foxx and Gordon-Levitt, who are fun individually and fun together. But the movie itself doesn’t quite keep the energy level where it needs to be.

All three of the leads — but Fishback, in particular — are solid at the action and the comedy (which isn’t big and quippy but more smart and to the point) this movie requires. But Project Power often feels like it turns down the volume on them or crowds them out with a lot of visual “here’s what the drug is doing” business.

The movie also makes mention of Henrietta Lacks (the woman whose cells are fundamental to the last 60-plus years of medical research) and the fact that Power’s makers are testing the drug on the people of New Orleans. This feels like heavy stuff to just sort of sprinkle into a movie without doing anything with those elements. As with the movie’s overall pacing and runtime, I feel like this aspect of the story could have been more significant and given the movie more weight had somebody (some studio exec, in ye olden days when this movie would have been theater-bound?) asked for another draft of the screenplay and another round of edits on the finished film.

While the movie can be filed under “meh,” Fishback — and to a lesser degree Foxx and Gordon-Levitt — pushes the movie a notch above. Her Robin is an engaging character, the movie is always at least 30 percent more interesting when she’s on screen. A natural C, Project Power gets a boost from Fishback into B- territory.

Rated R for violence, bloody images, drug content and some language, according to the MPA on filmratings.com. Directed by Henry Joost and Ariel Schulman (and if you’re thinking “hey, that sounds familiar but from where,” they are the directors of some mid-series Paranormal Activity entries and of the documentary Catfish) with a screenplay by Mattson Tomlin, Project Power is an hour and 53 minutes long and is available on Netflix.

Book Review 20/08/20

Let Them Eat Tweets, by Jacob S. Hacker and Paul Pierson (Liveright/W.W. Norton, 217 pages)

Jacob Hacker and Paul Pierson are not amused, no matter what their book title says.

In fact, the political scientists, who live on opposite coasts, are convinced that America is becoming a plutocracy, governed not by its people but by its rich people. And they believe that Republicans are to blame.

Hacker and Pierson are established GOP-bashers; in three previous books, the pair skewered “the war on government,” the Republican revolution and “winner-take-all” politics (played, of course, by Republicans. They don’t come to the podium neutral. But hear them out. They’re not specifically out to tear down the Tweeter-in-Chief, but the system that enabled him, a system they say goes back more than 40 years.

The system results from what they call “the conservative’s dilemma,” which is this: Wealthy people have power that derives from their wealth, and they want policies that preserve it. But in a democracy, the poor and middle-class have votes that can take away that power. The wealthy conservative, then, is forced to court a constituency whose interests and needs are vastly different from her own to stay in power, and sometimes decides democracy isn’t all it’s cracked up to be.

Their fear was wonderfully expressed in the mid-19th century by a British conservative, Lord Robert Cecil, who thought that under democracy “the whole country shall be governed by an ignorant multitude, the creature of a vast and powerful organization, of which a few half-taught and cunning agitators are the head … in short, that the rich shall pay all the taxes, and the poor shall make all the laws.”

Some factions in America today, particularly in the streets of Portland, would say, “You got a problem with that?” with no sense of irony.

But British conservatives did, over time, succeed; Hacker and Pierson note that Winston Churchill and Margaret Thatcher governed for nearly six decades, combined. And American conservatives have assumed and retained power in part by using a time-honored strategy: “addressing the material needs of the newly enfranchised.” (Did someone say stimulus checks?)

That alone, however, will not win elections, especially when the opponents offer bigger checks.

Which is why Hacker and Pierson believe that conservatives resort to stoking “cleavages,” or sectional loyalties, which “generate intensity sufficient to motivate potential voters and convince them to put their economic concerns to the side.” In other words, create divisions between people in terms of race, religion or ethnicity. As a policy, that’s plenty flammable, but it becomes downright explosive when combined with the sort of income and wealth inequality that America is seeing now, Hacker and Pierson say.

To make their case, Hacker, at Yale, and Pierson, at the University of California, Berkeley, scroll through a history of bad actors who, over the past 50 or so years, helped to create the political climate we live in now. They range from Richard Nixon to Lee Atwater, from New Gingrich (who they call “something of a founding father of our current political dysfunction,” to George W. Bush and his father. They, of course, save plenty of pages for Trump. But they argue that the plutocracy ball was already rolling back when he was on his first wife, and that most people clinging to it were Republican).

“The very rich invest most heavily in the Republican Party; its politicians, its party organizations, its allied groups, and its causes,” Hacker and Pierson write. Forbes says that of the 100 richest Americans, nearly two-thirds contribute mainly or exclusively to Republican or conservative causes, and they outspend Democrats in the top 100 by a ratio of three to one.

How, then, can they stay in power, since they require the votes of working-class Americans? According to the authors, conservative base-building relies on two “Rs” — resentment and racialization, which studies have shown isn’t difficult even among reasonable people. They cite a 2012 Harvard study in which researchers sent two “good-looking, cheery, and well-dressed” Hispanic-looking people to ride the commuter rail from a suburb of Boston into the city, chatting in Spanish the whole time. The researchers interviewed commuters before and after the experiment and found that after being exposed to the Spanish-speaking men, the commuters were more likely to say immigration should be reduced.

In other words, just two friendly people speaking Spanish created a backlash against immigration within a few days. “When outsiders breach the boundaries of established social groups, those within them often react with resentment, even revulsion,” Hacker and Pierson write.

Imagine, then, a political operative armed with that knowledge and determined to win at all costs, and it’s not hard to see why “dog whistles” are so much of the political conversation these days.

Regardless of where you stand on the political spectrum, Let Them Eat Tweets is an interesting synopsis of one side’s version of how we got to 2016, and where we may be headed in four months. The arguments weaken when Hacker and Pierson propose solutions, most of which involve not re-electing Trump; in fact, they believe the country, and our democracy, needs a “stinging” repudiation of Trump in November. From there, they offer benign and predictable hopes: that the country reform the economy so it’s not so accommodating for the wealthy; a development of a “more robust and inclusive democracy”; strengthening the middle class; and so forth.

To their credit, they insist they’re not out to stamp out conservatives or Republicans. “The hope is not that the GOP gets relegated to permanent minority status. Our institutions create very strong incentives to have just two major parties, and it is neither realistic nor desirable to expect only one of them to rule.” They also give examples of Republican governors that they seem to like, or at least not actively dislike: among them, Chris Sununu, Charlie Baker of Massachusetts and Phil Scott of Vermont.

And the answer to your most burning question: Hacker tweets, Pierson doesn’t.

B

BOOK NOTES

Not being a follower of what used to be known as beauty pageants, now “scholarship pageants,” I just now learned that this year’s Miss America performed a science experiment as her talent.

The potential for chemical explosions onstage may not easily replace the swimsuit competition, insofar as ratings go, but that is certainly interesting. Is the evolution of the beauty pageant interesting enough for not just one book on the subject, but two? Publishers think so. There are two books out this month on pageant culture, strange for a year in which there won’t even be a Miss America pageant.

The first, and likely the best, is Hilary Levey Friedman’s Here She Is, The Complicated Reign of the Beauty Pageant in America (Beacon Press, 275 pages). Props to Friedman for bravely using the term ‘beauty pageant,’ which is no longer allowed in conversation. She is a sociologist with a Ph.D. who lives in Providence, Rhode Island, and is uniquely qualified to lead the discussion, being a state president of the National Organization for Women, daughter of Miss America 1970 and an occasional pageant judge. I am psyched to read this when it comes out this week.

Also out this month is Looking for Miss America: A Pageant’s 100-Year-Old Quest to Define Womanhood by Margot Mifflin (Counterpoint, 320 pages). The title gets to the heart of why there’s suddenly so much talk about pageants; the Miss America contest turns 100 years old next year, and I guess publishers want to get a jump on the predictable jokes about how well she has aged.

(I still don’t understand why we had two asteroid movies at the same time in the summer of 1998, but that’s a topic for Amy Diaz.)

Mifflin is a New York professor who has previously written about the history of women and tattoos (2013’s Bodies of Subversion, powerHouse Books, 160 pages). Her take on pageants looks more like a scholarly book; Friedman’s looks more fun.

Neither is to be confused with The American Pageant, the history book that has been a staple of high-school history classes since 1956. (I still have mine; do you?) — Jennifer Graham

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