Just for the record, this isn’t antisemitism. I saw this Saturday, soon after it was painted, while driving past with my kids on the way to the river. I’m one of the chairs of the Jewish safety committee for this area, so it’s safe to say that my anti-Jew radar is exquisitely well tuned.
“Fuck Israel” written on a public Rock that, for decades, has been a locus of political speech? That isn’t hate speech.
The fact is, Israel is a goddamned country. You can say the nastiest words in the world about Israel, and as long as you keep it about the nation-state of Israel, we’re all good. It’s just like how you can criticize China or the Democratic Republic of the Congo without being racist about it.
Meanwhile, standing outside a synagogue and holding a sign that reads “Israel Has No Right to Exist”? That is antisemitism. And folks have been doing it just a few hundred feet up the street from the goddamned Rock for 16 years and Ann Arbor has done shit about it:
The 45/45/10 Formula for narrative/argument is one of the perpetual bees bumbling around my bonnet.This video for this song is such a stone cold perfect example (and, subsequently, so rhetorically devastating) that I just had to share.PRO-TIP: The first two-and-a-half minutes will likely be almost unbearable to watch for most white Americans.If it helps, know that Joyner Lucas (the musician and the voice you hear throughout the song) is black (although not the black guy in the video).
At any rate, to review my 45/45/10 Formula:
The first 45% of a piece is the Setup: Characters/concepts/situations/dynamics are presented and relationships among these made clear
The next 45% is the Tangle: Complication(s) disrupt (or at least complicate) the situation laid out in the Setup
The last 10% is the Resolution: The knot is Untangled, for better or worse
In the case of this track, the Setup runs from the open to ~2:50. The Tangle then runs to ~5:50, and from that point to the cut to black is the Resolution. What especially thrills me here—beyond the hard body impact of the rhetoric itself and the lean power of the videography—is how shifts in the music mark out the transitions between stages in the argument: Each section break is marked out be an abrupt shift in the tone and mood of the backing track.
This is a wonderful primer on how to structure an narrative argument to hold an audience and not persuade them, per se—because that’s not the goal—but rather to enduringly stick in their craw, so they keep troubling over your argument long after they’re done with the piece of entertainment.This is how you write moral fiction.This is how you plant the seeds that grow the trees that, indefatigably and seemingly effortlessly, bend the arc of that moral universe back toward justice.
And that, kids, is our business.Go, watch … and learn.