Stephen L. Carter: Really, Texas? Don’t punish Black students for their hair

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After Ronald Reagan’s 1984 reelection landslide, his inaugural committee advertised for “attractive, clean-cut, all-American” performers to dance and sing at various celebratory events. The description ignited a firestorm on any number of grounds, not the least of which was race: Activists feared that the committee wanted no Black performers — in particular, that “clean-cut” meant not having distinctively Black hair.

That episode comes to mind in the wake of last week’s decision by a Texas judge to uphold a public school’s suspension of a Black student for refusing to trim his hair. The question before the court was whether the (aptly named) Barbers Hill Independent School District had violated a new state statute forbidding racial discrimination on the basis of hair. Because the district’s rules address length but not style, ruled the judge, the statute isn’t violated.

Where to begin? Perhaps with the New York Times’s delightfully deadpan description of the hair in question: “locs, or long ropelike strands of hair, that he pins on his head in a barrel roll, a protective style that his mother said reflected Black culture.”

What the Times calls “locs” were traditionally “dreadlocks” or simply “locks” — once a symbol of Black rebellion, later a flashpoint for arguments over cultural appropriation, and nowadays simply a way some people wear their hair.

Black people especially.

Texas school districts seem to have gone out of their way to specify that locks are not acceptable, as the sociologist Patricia A. Banks notes in a recent analysis. And Barber Hills, intentionally or not, has plunged willy-nilly into one of the most complex and painful aspects of the nation’s long, tortured history: attitudes toward Black people and their hair.

The nation’s relationship to hair has always been complex. In her excellent book “Foul Bodies: Cleanliness in Early America,” the historian Kathleen M. Brown notes how during the 18th and 19th centuries, hair was thought to carry disease; keeping hair clean and groomed in public was a way to show that you were safe.

Black hair was considered especially dangerous, a fear often shared even by slavery’s opponents. Brown tells us how the abolitionist Fanny Kemble despaired at the way that female slaves covered their children’s “poor little wooly heads” with “half a dozen hot, filthy coverings.” Kemble decreed that on her husband’s plantation, at least, enslaved children would be permitted to wear hats only if their heads were shaved.

True, during the era of enslavement, hairstyling was one of the few areas in which most owners left their human property to decide for themselves. But what appeared atop the head remained a key marker of racial distinction. An 1858 article in a medical journal set forth differences between Black and white hair as evidence that the two races were separate species. In 1896, a Southern newspaper solemnly reported that African hair was curly to “deflect the rays of the tropical sun” and thus prevent “more severe penetration into the brain.” Ten years later, W.E.B. Du Bois would publish “The Health and Physique of the Negro American,” part of which was devoted to illustrating, with copious photographs, the enormous variety of black hair and skin. The report made no difference.

Yet although public display of groomed hair mattered, creating that look was a private matter, one almost of intimacy. Small surprise, then, that long after white shopkeepers yielded to the inevitable and began accepting the custom of the burgeoning Black middle class, white hairdressers and barbers refused. Thus arose the tradition of Black-owned beauty parlors and barber shops. As late as 1953, the decision by an upstate barber to cut a Black child’s hair, in defiance of the “unwritten law,” made the New York Times.

In light of this sad history, how does Barbers Hill justify its rules? In the Houston Chronicle, the superintendent compared the district’s hair requirement with similar rules for those who join the military. Service members, wrote Dr. Greg Poole, “realize being an American requires conformity with the positive benefit of unity, and being a part of something bigger than yourself.”

Indeed they do. But the analogy fails. Service members today are all volunteers; they know what they’re getting into. If Darryl George’s family had sent him to a private school, whose dress and hair regulations they knew in advance, they’d have significantly weaker moral standing to complain. Instead, he attends a public school. That we have public schools is good; but let’s not pretend the kids are present by choice. If they’re forced to be present, they should also feel welcome.

Which brings us back to 1984. When the firestorm erupted, Reagan’s inaugural committee quickly made clear that “clean cut” was not a euphemism for white but rather meant “someone who’s cheerful and outgoing.” The Washington Post subsequently reported that “a large portion of those selected were minorities.”

In short, the group went out of its way to show how welcoming it was to those its rules appeared to exclude — not just in words but in actions. Forty years later, the Barbers Hill school district might consider following Reagan’s example.

Stephen L. Carter is a Bloomberg Opinion columnist, a professor of law at Yale University and author of “Invisible: The Story of the Black Woman Lawyer Who Took Down America’s Most Powerful Mobster.”

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Pop culture-inspired travel is a serious trend in 2024

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Laurie Baratti | TravelPulse (TNS)

A recent study conducted by trip-planning website TripIt reveals that pop culture-inspired travel is set to double in the coming year, with younger generations leading the trend. When we talk of pop culture trips, that might encompass anything from traveling to attend a concert in another city or country to taking a “set-jetting” trip to see the overseas filming locations of a favorite movie or TV series.

In a survey of a representative group of 1,000 Americans, TripIt found that twice as many participants are planning on taking pop culture trips in 2024 than did in 2023 (40% vs. 22%), underscoring a growing trend among U.S. travelers.

Younger generations are at the forefront of this shift, with 41% of Gen Zers and 32% of Millennials having taken a pop culture-related trip over the past year, while only 17% of Gen Xers and 7% of Boomers said the same. And those figures are continuing to rise, with 59% of Gen Zers and 58% of Millennials planning a pop culture trip within the coming year, while Gen Xers trail at 35% and Boomers at 19%.

In a survey of a representative group of 1,000 Americans, TripIt found that twice as many participants are planning on taking pop culture trips in 2024 than did in 2023. (Kiattisak Lamchan/Dreamstime/TNS)

The research also uncovered a correlation between income levels and the likelihood that people will embark on pop culture escapades. Respondents who earn less than $50K per year were found to be more than twice as likely to plan a pop culture trip, while higher-income individuals ($100K+) are only 1.5 times more inclined to do so.

This inclination towards pop culture travel isn’t just a solitary pursuit; it’s a social experience. Approximately 86% of respondents expressed a desire to share their pop culture travel experiences with friends or family, highlighting the communal aspect of these journeys. The survey further revealed that having a companion — whether a friend or family member (41%) or romantic partner (16%) — significantly impacts the decision to embark on a pop culture-inspired getaway, with nearly half (48%) of participants emphasizing the importance of shared experiences that money can’t buy.

Interestingly, music emerges as a prime motivator for pop culture travel. Concerts and music festivals top the list of pop culture activities, attracting 66% of those who have taken pop culture trips in the past year. And more than half of survey respondents (56%) plan on traveling to attend a music event in the near future.

Beyond concert and music festival events, pop culture trips are largely being taken to experience sporting events (43%); locations from a movie, TV show or book (28%); and viral social media locations (16%).

Taylor Swift performs during The Eras Tour at SoFi Stadium in Inglewood, California, Monday, Aug. 7, 2023. (Allen J. Schaben/Los Angeles Times/TNS)

Taylor Swift’s Eras Tour is proving to be a key driver for travel plans in 2024, garnering interest from 39% of respondents who said they would travel to see one of her shows this year. Festivals like Coachella and Lollapalooza also hold significant appeal, particularly among Gen Zers (56%) and Millennials (60%), although Gen Xers (35%) and Boomers (21%) are also tempted to a lesser degree.

Notably, nearly all travelers (94%) who took pop culture trips last year said that the memories they made during their travels lived up to the hype. This may not be as wholesome a sentiment as it initially sounds, though, since their reasons for saying so are less personal than prompted by perceived social standing.

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Asked about the reasons that these trips lived up to their expectations, nearly half of Gen Zers and Millennials (45%) said it was because their friends were envious, compared to 26% of Gen Xers and Boomers who said the same. Even more (57%) Gen Zers and Millennials cited getting great content for their social media streams as the primary reason why their trips didn’t disappoint, while 26% of Gen Xers and Boomers said the same. And 71% of those younger generations thought that acquiring awesome merchandise during their trip was the clincher, while 55% of the older generations felt the same.

©2024 Northstar Travel Media, LLC. Visit at travelpulse.com. Distributed by Tribune Content Agency, LLC.

Willie Nelson leads unbelievably great concert lineup out on tour

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Willie Nelson’s Outlaw Music Festival Tour returns in 2024 with a lineup that is so good that you just might not believe your eyes.

The rotating cast of amazing talents who are set to perform on the road show include, of course, headliners Willie Nelson & Family as well as Bob Dylan, Robert Plant and Alison Krauss, John Mellencamp with Brittney Spencer, Celisse, Southern Avenue and Billy Strings.

Wow.

Tickets go on sale to the general public at 10 a.m. March 1, OutlawMusicFestival.com. There is also a Citi cardmember presale that runs 10 a.m. Feb. 27 to 10 p.m. Feb. 29, citientertainment.com.

“This year’s Outlaw Music Festival Tour promises to be the biggest and best yet with this lineup of legendary artists. I am thrilled to get back on the road again with my family and friends playing the music we love for the fans we love,” Willie Nelson said in a news release.

The inaugural Outlaw Music Festival took place in 2016 in Scranton, Pennsylvania. Over the years, the festival has featured such acts as Chris Stapleton, Neil Young, Luke Combs, Van Morrison, ZZ Top, Eric Church, Bonnie Raitt, Sheryl Crow, Tyler Childers, Sturgill Simpson and the Avett Brothers.

2024 OUTLAW MUSIC FESTIVAL TOUR DATES & LINEUPS:

Friday, June 21, 2024

Ameris Bank Amphitheatre, Alpharetta, GA

Willie Nelson & Family

Bob Dylan

Robert Plant & Alison Krauss

Celisse

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Saturday, June 22, 2024

PNC Music Pavilion, Charlotte, NC

Willie Nelson & Family

Bob Dylan

Robert Plant & Alison Krauss

Celisse

Sunday, June 23, 2024

Coastal Credit Union Music Park, Raleigh, NC

Willie Nelson & Family

Bob Dylan

Robert Plant & Alison Krauss

Celisse

Wednesday, June 26, 2024

Veterans United Home Loans Amphitheater at Virginia Beach, Virginia Beach, VA

Willie Nelson & Family

Bob Dylan

Robert Plant & Alison Krauss

Celisse

Friday, June 28, 2024

Empower Federal Credit Union Amphitheater at Lakeview, Syracuse, NY

Willie Nelson & Family

Bob Dylan

Robert Plant & Alison Krauss

Celisse

Saturday, June 29, 2024

Northwell Health at Jones Beach Theater, Wantagh, NY

Willie Nelson & Family

Bob Dylan

Robert Plant & Alison Krauss

Celisse

Sunday, June 30, 2024

PNC Bank Arts Center, Holmdel, NJ

Willie Nelson & Family

Bob Dylan

Robert Plant & Alison Krauss

Celisse

Tuesday, July 2, 2024

Xfinity Center, Mansfield, MA

Willie Nelson & Family

Bob Dylan

Robert Plant & Alison Krauss

Celisse

Saturday, July 6, 2024

Bethel Woods Center for the Arts, Bethel, NY

Willie Nelson & Family

Bob Dylan

Robert Plant & Alison Krauss

Celisse

Sunday, July 7, 2024

Hersheypark Stadium, Hershey, PA

Willie Nelson & Family

Bob Dylan

Robert Plant & Alison Krauss

Celisse

Monday, July 29, 2024

North Island Credit Union Amphitheatre, Chula Vista, CA

Willie Nelson & Family

Bob Dylan

John Mellencamp

Brittney Spencer

Wednesday, July 31, 2024

Hollywood Bowl, Los Angeles, CA

Willie Nelson & Family

Bob Dylan

John Mellencamp

Brittney Spencer

Saturday, August 3, 2024

Shoreline Amphitheatre, Mountain View, CA

Willie Nelson & Family

Bob Dylan

John Mellencamp

Brittney Spencer

Sunday, August 4, 2024

Toyota Amphitheatre, Wheatland, CA

Willie Nelson & Family

Bob Dylan

John Mellencamp

Brittney Spencer

Wednesday, August 7, 2024

Ford Idaho Center Amphitheater, Boise, ID

Willie Nelson & Family

Bob Dylan

John Mellencamp

Brittney Spencer

Friday, August 9, 2024

ONE Spokane Stadium, Spokane, WA

Willie Nelson & Family

Bob Dylan

John Mellencamp

Brittney Spencer

Saturday, August 10, 2024

The Gorge Amphitheatre, George, WA

Willie Nelson & Family

Bob Dylan

John Mellencamp

Billy Strings

Brittney Spencer

Friday, September 6, 2024

Somerset Amphitheater, Somerset, WI

Willie Nelson & Family

Bob Dylan

John Mellencamp

Southern Avenue

Saturday, September 7, 2024

Credit Union 1 Amphitheatre, Tinley Park, IL

Willie Nelson & Family

Bob Dylan

John Mellencamp

Southern Avenue

Sunday, September 8, 2024

Hollywood Casino Amphitheatre, St. Louis, MO

Willie Nelson & Family

Bob Dylan

John Mellencamp

Southern Avenue

Wednesday, September 11, 2024

Riverbend Music Center, Cincinnati, OH

Willie Nelson & Family

Bob Dylan

John Mellencamp

Southern Avenue

Thursday, September 12, 2024

Blossom Music Center, Cuyahoga Falls, OH

Willie Nelson & Family

Bob Dylan

John Mellencamp

Southern Avenue

Saturday, September 14, 2024

The Pavilion at Star Lake, Burgettstown, PA

Willie Nelson & Family

Bob Dylan

John Mellencamp

Southern Avenue

Sunday, September 15, 2024

Pine Knob Music Theatre, Clarkston, MI

Willie Nelson & Family

Bob Dylan

John Mellencamp

Southern Avenue

Tuesday, September 17, 2024

Darien Lake Amphitheater, Buffalo, NY

Willie Nelson & Family

Bob Dylan

John Mellencamp

Southern Avenue

 

‘Spaceman’ review: Sandler stars in so-so film for grown-ups about inner journey

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You may not know it from the title or the vaguely cartoonish logo bearing that title, but “Spaceman” is not just another Adam Sandler-Netflix movie.

Unlike the comedic live-action and animated romps the actor and producer has churned out as part of the multiple-times-extended movie-making deal between his Happy Madison Productions and the streaming giant, this is a drama with Sandler front and center trying to make one giant leap for mankind and boldly going where no man has gone before.

But while “Spaceman” sees Sandler’s character travel deep into the solar system on a solo mission, this story is primarily one of an introspective journey, as the protagonist worries the marriage he left on Earth is failing and works through choices he’s made with the help of an unusual new friend.

It’s always interesting to see Sandler take on the occasional drama, the “Saturday Night Live” alum giving strong performances in, for example, the well-received “Punch-Drunk Love” (2002) and “Uncut Gems” (2021). Sorry to say he’s not as good here, the actor never seeming to find a groove with the character of lonely Czech cosmonaut Jakub Prochazka.

Still, it is a little surprising — and very disappointing — that “Spaceman” is rarely more than borderline-engaging given it’s directed by Johan Renck. Best known for helming episodes of television shows, including a handful of “Breaking Bad” installments, he most notably directed every chapter of the acclaimed 2019 limited series “Chernobyl.”

“Spaceman” is not on that level.

After a brief sequence in which we watch Jakub walk through a small river while wearing his spacesuit, we are formally introduced to him as he is nearing Jupiter. Near the giant planet resides what’s been dubbed the Chopra Cloud, a visually striking phenomenon in space that poses a threat to Earth.

“I wish you could see it the way I do,” he says during a broadcast back home before expressing excitement about soon venturing inside it and learning more about the mysterious particles that comprise it. “We still don’t know what they are or where they come from, but as I enter the Chopra Cloud, I might just unravel some mysteries of the universe.”

During this chance for folks to interact with him, a young girl asks Jakub if he’s lonely, noting that he’s been referred to as “the loneliest man in the world.” He assures her that he is not that, that he talks every day with his wife, Lenka (Carey Mulligan), who is carrying their child.

In truth, not only is Jakub lonely, but he’s also not sleeping well, thanks at least in part to a malfunctioning toilet making constant noise. One night, he dreams of a small alien entity literally getting under his skin and crawling around under his face.

Soon, though, he encounters a much larger creature from a far-away place, a spider-like being he will come to name Hanus.

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Initially, Hanus terrifies Jakub, who flees to the craft’s airlock, suits up and exposes the ship to a blast of anti-contaminant chemicals in an attempt to hurt the nightmarish visitor. However, Hanus, speaking calmly and gently (Paul Dano of “The Batman” provides the mellow voice work), quickly convinces the fellow explorer he means him no harm.

Although he believes he may have lost his mind, Jakub is happy to have someone to talk to, especially since he suddenly isn’t hearing from Lenka, which concerns him.

His worries are not off-base, as his wife has recorded a message in which she informs him she’s leaving him — a message the woman in charge of the mission, Isabella Rossellini’s Commissioner Tuma, is refusing to send through to Jakub.

Hanus not only can communicate with Jakub in his own language, the creature saying he has studied humanity and refers to Jakub only as “Skinny Human,” he seemingly has the power to help Jakub replay moments from his life, many of them painful.

However well-intended, this all is a bit … well, something. It feels a little precious at times, downright trite at others.

Scenes on the ground featuring Lenka, who goes to visit her mother, Zdena (Lena Olin), are strong enough that “Spaceman” may have benefited from more of them — especially given the acting talent of Mulligan (“Maestro,” “Promising Young Woman”).

The screenplay for “Spaceman” is written by Colby Day, who adapted it from Jaroslav Kalfař’s 2017 novel, “Spaceman of Bohemia.” Regardless of whether this is intentional, the story keeps you guessing as to whether Hanus is real or something Jakub has unwittingly constructed — distractingly so, as that really isn’t the point of the film.

It’s also a little distracting that both Sandler and Mulligan sound as they typically do, Renck noting in the film’s production notes that he doesn’t “do accents.” (You may recall that in “Chernobyl,” a lot of Russian characters sounded VERY British.)

Ultimately, thick accents wouldn’t elevate “Spaceman” to the point of being easy to recommend — especially with an ending that may require more than one viewing to understand. (Thank the cosmos for the rewind function!)

As it is, the film’s appeal lies mainly in the fact that it is not the typical Adam Sandler-Netflix movie, and that takes this journey it only so far.

‘Spaceman’

Where: Netflix.

When: March 1.

Rated: R for language.

Runtime: 1 hour, 48 minutes.

Stars (of four): 2.