(Indeed, though she’s obviously far greener an on-camera presence, her approach as a broadcaster resembles that of another “The 1619 Project” executive producer, Oprah Winfrey, whose daily talk show ably addressed race in American life, Winfrey’s personal story or popular culture on any given day.) As a topic, the extent to which music extends from slavery is clear, but the connection of Rodgers’ tale of overcoming career setbacks during the fall of disco is one degree further removed still - and worth telling both on its own terms and as part of a tribute to Black ingenuity and virtuosity. Part of Hannah-Jones’ appeal is that she’s no purist. The episode is studded with heart-wrenching footage of blackface performers mocking Black joy, and anchored by conversations with Times critic Wesley Morris and disco pioneer Nile Rodgers. The show ranges widely: One compelling installment, in the middle of the series’ run, contemplates the role of music in Black American life. Episodes toggle newsmagazine style between interviews and more general observations about history and culture, including Hannah-Jones’ personal story as a biracial woman with roots in the South. This helps make the documentary feel novel, even as it restages for a new medium a conversation Hannah-Jones has been having for some time.
0 Comments
Leave a Reply. |