“Griots” project comes to McClymonds

by Jaden Nixon

The “Griots” project made a powerful impact at McClymonds.

“It gave us insight into how Oakland teens think,” said Kaya LaForte, a freshman who saw the exhibit late last month.

“The Griots of Oakland” is the name of a book and an oral history project by five young black men who collected stories of growing up Black in Oakland in interviews with 100 Black  men aged 6 to 24. ‘Griots’ is a West-African word that means storyteller.

“It should be made for the whole school and all of Oakland to see,” said Joseph Sanford, a senior. “It makes me remember about the ‘hood, and what people don’t know about living in a different community and what we do to make it out.”

The project was launched by African American Male Achievement (AAMA), which works to empower young black males, and Alameda Health Care Services Agency created a project to allow young African American males to share their personal experiences. They worked with Story for All to recruit five young men from the ages of 14 to 18 to collect stories.

The young men were taught African American and Oakland history, as well as videography, by the non-profit.

With video cameras and 30 interview questions, the young men hit the streets, interviewed teens at school and captured on video the voices and thoughts of over 100 African American males from the ages of 6 to 24.

Interview questions ranged from “What did you eat for breakfast?” to “What is it like being a young African American man in Oakland?” The answers were sometimes alarming. While nearly 79 percent of boys under 13 said that it was good to be a young black male, 83 percent of those over 13 said that it was hard.

The exhibit at McClymonds included photos, quotes and video clips from the interviews. A book was also published.

However, for some, it is just a reminder of the ordinary. “I’ve seen people get shot. When I see this, I don’t feel anything new,” said McClymonds sophomore Billy Giddens. ” I just go on to the next day.”

From Stewie to Springer: Curse Words Pollute

by Sana Saeed

Little kids imitate. That’s just what they do, all day long. So when they hear curse words at an especially early age,  they repeat those words, to anyone, everywhere, all day long, ad nauseum.  Ask any parent. It’s embarrassing.

So why print curse words in our student blog macksmack, even if uttered by an outstanding athlete after a heated game? Why air them on network comedies (even out of the mouth of Stewie from Family Guy) ? Why stultify a nation?

Curse words represent the lowest level of intellect and the most limited vocabulary. Easy to use, shocking and emotional, they discourage children from developing a more extensive vocabulary with which they could communicate eloquently with other members of society.  Curse words make us all lazy.

Should we condone the use of curse words because we want to be progressive or liberal (and feel sorry for those who don’t use a thesaurus). I say NO.

Should we allow the use of curse words because we can only use 140 characters on Twitter and want to make a BOLD statement. I say USE CAPS INSTEAD.

The use of curse words is destroying our culture, limiting our horizons, reducing our grey matter. And I find it sad that the last protectors  happen to be government agencies like the Federal Communications Commission.

Television shows have been using the beep sound to block the cuss word out and block inappropriate images with a black line or by making them blurry.

Watch any episode of  Family Guy: as it comes on, the FCC makes it mandatory to place a message that says ” viewers’ discretion is advised.”

This allows mothers to scoop up their children before they end up learning curse words like “female of some carnivorous mammal” or “a lewd and immoral woman” (you know the word) and blurt them out to grandma on weekends.  That’s why we need media censors.

Without the FCC, programs like the “Jerry Springer”, which should be completely removed from public broadcasting, would give kids an early human anatomy lesson.

Even on the radio, many stations have to bleep lyrics to explicit songs.

It is completely inappropriate for us to be exposed to the foul language that seems to be taking over our lives — on the screen and airwaves, in our schools and gyms.

The use of curse words is the first sign of a drop in morals and ethics. If you can disrespect someone with words, you dehumanize that person.  So what stops you from shoving that person, robbing that person,  or shooting that person?

In and Out of Shadows: A Play About Undocumented Youth Hits Home

by Romanalyn Inocencio

Watching In and Out of Shadows at the Marsh Theater in San Francisco was like sitting in my living room listening to my Mom. The Filipina mother in the story threatened like my mother, giving you a choice of what household instrument you can get hit with.

It hit home because I’m Filipina and these life stories — focused on fears about the police, stress over grades and college — reflect the anxieties of my undocumented cousins and friends.

Some significant details are different of course. The stories of crossing the border into the United States from Mexico, when one kid had to be drugged because he could not learn his fake name,and another had to crawl through the sewers, are harrowing.

The musical builds on a familiar theme: college application.  In it, the undocumented teens are preparing their personal statements for an AB 540 conference at UC Berkeley (AB 540 allows DREAMers to attend California colleges at in-state rates).

 We meet Angel, who arrived in the US alone via a sewer when he was 13. And Juan who, as a determined six-year-old, had to be drugged with cough syrup during the crossing because he adamantly refused to take his cousin’s name as his own. We watch a newly urbanized “vato loco” (crazy dude in Spanish) teaching an undocumented Chinese friend how to speak street Spanish.

Running through the entire musical is the fear of deportation. Many families in the  play  have deceptive status – undocumented parents who lie to their children about their papers (often telling their children they have papers, when they don’t)  and who live in constant fear of separation.

Even under AB 540 or President Obama’s recent two-year deportation deferral program for certain undocumented youth, students who get to stay may suddenly be left alone with nobody to take care of them. The diverse group of young actors, many whom are directly affected by the issue, mix English, Spanish, Tagalog and other languages as they examine the unwieldy human effects of this messy political issue.

When Young Actors Tell Their Real Stories On Stage

 

photographs by Breannie Robinson

by  Breannie Robinson

“This is my real life,” said actress Deanne Palaganas, a 25-year-old who plays a Filipino mother who is arrested by police and jailed for not having her papers.

The actress talks about the prejudice she encounters, the judgments of people not accepting her because she has no papers even though she pays taxes.

Palaganas portrays an immigrant and single mother from the Phillipines in Gary Soto’s newest play, Living In and Out of Shadows, which played last month at the Marsh Theater in San Francisco.

To write his play, Soto read through the harrowing experiences of immigrant teenagers, gathered through interviews conducted by the Marsh Youth Theatre actors, living in Richmond and Pinole, and wove them together in an intricate compilation of stories and songs.

Palaganas herself was an undocumented teen, forced to live in secrecy even while attending college.

Like Palaganas, many of the actors were telling their own stories on stage. Others were portraying people they had interviewed.

The play refrains from stereotyping the immigrant look and experience.  Soto said his biggest fear was not including enough ethnicities, which is why he added a Chinese teen and added the stories of several of the Marsh Youth Theater’s undocumented actors from Canada, the Phillipines, and Mexico.

This is most noticeable when a young Chinese girl addresses the point, saying “they think only Mexicans and Latinos know the way [across the border] but we Chinese know the route, too. ” In the play, her Chinese family takes a plane ride to Peru, travels from Peru to Mexico and then crosses the Mexican-US border illegally.

Several of the interviews with Marsh Youth Theatre actors made it into the play, including a story from a young man who migrated to the U.S. illegally but told Soto,  “because I’m white, they don’t bother me.”  An Indonesian girl found it frustrating to have people refer to her as Chinese or Mexican.

Besides adding cultural diversity,  Soto made sure to include real details: for instance, a young boy had to re-cross the Mexican-American border through an underground sewer pipeline after he was caught by ICE the first time when trying to cross through the desert with his uncle.

Palaganas said her character reminded her much of her own mother, loud and passionate, outspoken and prone to alternating between rapid or soft Tagalog but never a mixture. “For many of us, this is our story,” she said.

“I’m allowed to stay here because Obama let me,” said Palaganas.”Not many Filipinos are open.  They train their kids to maintain their reputation, to say they have papers,” said Palaganas.

“To them [American-born] we are aliens,” said Palaganas.  She criticized the U.S. government for accepting taxes from undocumented immigrants, but refusing to acknowledge their contribution or pay any benefits. As for undocumented parents, “They tell us we have to act normal, act American,” said Palaganas, who was accepted to UC Irvine and San Francisco State but could not get a scholarship because she was undocumented.

“You just try to live your life normally and don’t tell nobody your status,” says Louel Senores, who plays Felix, the articulate, dancing, rapping Filipino high school student and activist in In and Out of Shadows.

Senores’ story is a bit different: he received his papers in 8th grade. He was able to attend UC Berkeley from which he graduated with a degree in engineering  For him, the challenge was professional: how to portray a jock when he was trained as a ballet dancer.

Although not in the script, he added his own line about being gay because he wanted to include LGBT in the production, as they are among undocumented youth.

“Filipinos from the islands are more conservative, they are not very open to homosexuality,” said Senores. 

After spending time with undocumented cast members, Senores feels fortunate. “I am an immigrant but I got my papers.  I didn’t think of it.  I didn’t realize they had it that hard.  That’s some f***ed up shit,” he added

“It was just a role but it makes you care,” said Senores. “As soon as you know someone who is going through that,  you care.”

Why Censorship is F****ng Stupid

by Khristan Antoine

Like any other art work, journalism has its own beauty and language.  But what happens when that language is simply not enough?  As student journalists, we are handcuffed by rules that say we can’t use certain words like sh*t, p*ss, f*ck, c*nt, c*cks*cker, motherf*cker, and t*ts.

We resort  to using words  that tame the real, strong emotion behind a significant quote even if it was uttered in the heat of the moment: just last week, an ecstatic Lady Warrior, who recently won the OAL championship after 37 years of deadends, said “We f***ing go.” And we had to use asterisks. In some school newspapers, we couldn’t even use the asterisks or the word.

For f*ck’s sake, we can’t even write a review of a rap album because we won’t be able to quote verbatim a decent lyric that portrays the meaning of the song entirely or precisely.

And there are myriad other examples. In an interview with a student for another story, the student talked about how her parents told her to wash the dishes and she sat on her butt and continued watching TV.  After a while, they began to lose their patience and resorted to the language we all know as authoritative.  She heard a loud bang and a scream that pierced the atmosphere.  “Get your fu***ng a$$ up and do the God da*n dishes!”  As she told us, “sh*t just got serious. ”

Cuss words carry the emotion of the person speaking them. They don’t necessarily harm or insult anybody but they make a strong impression. They change the tone of the conversation.

Words were never meant to be “bad.”  Who gets to decide what is acceptable or not? I fuc**ng think words, all kinds of words, are just that:  words. They were designed to fulfill their purpose to communicate  and express emotion.  If a word achieves its purpose, does it cease to be a good word?  What a silly thing to suppose that words are bad or good.

A word is only as good or as useful as its context.  As some may argue, cuss words  detract from the eloquent nature of language, allowing for a lazier approach to social intercourse (you can SAY intercourse, but not the F word).

What censorship fails to address is inequality:  not everyone has access to an education that provides the tools necessary to develop a more extensive vocabulary fit for use in society or even fit for a high school journalism blog.

I  s**t  you not, sometimes words unify and make it easier to have significant conversations — break ups, family showdowns, disciplinary lectures, just plain hurt feelings.

I do not believe “cuss words” should be the only words used in a daily interaction.  There should be a professional level to everything and anything discussed or shared but cuss words unite us all. They’re so basic that there’s no possible miscommunication.

“It Stops With Me” youths march from Mack to DeFremery for rally against violence

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Photos by macksmack staff

by Selena Williams

For Charlisse Coleman, it was an emotional moment. As the McClymonds junior took the stage slowly in DeFremery Park, she talked for the first time publicly about how her best friend was shot just as he was coming over to celebrate her 17th birthday.

“He was an innocent person and never did nothing to nobody,” said Coleman. The trauma of losing him — and the cycle of community violence that led to it –inspired Coleman to join Alternatives in Action’s YOLO, Youth Organizing & Leadership Opportunities, and to help organize a youth march from McClymonds High School to the park.

She and about 30 other students from West Oakland wore orange (for personal power) and blue (for truth)  T-shirts and carried signs that said, “Hug A Thug” “Is Taking A Life Worth It?” and “Stop the Dysfunction.” Some students chanted “YOLO” and others responded, “You know.” They marched along with school board member Jumoke Hinton-Hodge, city council candidate Lynette McElhaney, parents and community members. Several hundred people had gathered at the park for the “Life is Living” festival.

The leadership program began during the summer as an internship program in West Oakland. “Our campaign will help bring our community together to make a better place for the youth,” said Coleman. “We can’t do this by ourselves.”

Another speaker, Dominic Albert, who attended McClymonds, was the master of ceremony and did turf dancing. He told the crowd to “stop the negative cycles” of drugs, violence and dysfunctional households. “We want to erase [them] from our community,” he said.

The rally launched a week of activities for the “It Stops With Me” campaign, including a dinner with community leaders, a candlelight vigil for family members lost to violence and an election forum.

“It stops with me and soon it will stop with us,” chanted Coleman.