William R. Boyer

The savage crimes of civilization cannot mute the cries of the savage. But the voice of the savage is not the machine buzz of chainsaws in the forest or the clank of garbage trucks in the ghetto. Her savage voice mirrors an angel, an angel wailing one last song of protest before the last bulldozer takes out the last wild place.

...

You seldom wavered

You always questioned

When we never trusted

the smoke, the steam, the fog

or more precisely

the cooling towers

and modern chimneys

and their endless denials

in the names of our children;

Can you still detect the distant battle drums

beyond their crude walls

The silica source of our glass embrace

The contrast against concrete monuments

of their unrestricted restrictions,

Bringing us closer to fermented red serenities

and the eventual savoring

of the fresh water’s edge,

Long after the shareholder meetings we disrupted

We recall your robin song voice

and better futures

with frank sense and mirth

Respecting zebra mussels

and mocking invasive authorities

Toasting unnamed friends

and unimaginable foes;

...

a review of

Judas and the Black Messiah

Director: Shaka King 2hr 6m (2021)

“You can kill a revolutionary, but you can’t kill a revolution.”

—Fred Hampton, 1969

But what if killing a revolutionary does kill a revolution?

—Curious Film Critic

Until recently, few high school social studies classes, let alone the general adult population, ever stumbled upon COINTELPRO, state terrorism, or Fred Hampton, the last of four prominent African American leaders assassinated during the 1960s, after Medgar Evers, Malcolm X and Martin Luther King. As the mainstream seems even less aware of our essential protest past, perhaps Hollywood has oddly begun to fill a disturbing void.

...