A Quote by Stephen Malkmus
Freddie Gray was a story I followed closer than others, for whatever reason, in this larger narrative of police brutality.
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In Baltimore they can't do police work to save their lives. Now because of Freddie Gray they're not even getting out of the car and policing corners - they're on a job slowdown, basically. Right now if the police stopped being brutal, if we got police shooting under control, and the use of excessive force, if we have a meaningful societal response to all that stuff, and the racism that underlies it, the question still remains: what are they policing, and why?
The Democrats, because they are the media, still establish the narrative for Washington every day. And whatever that narrative is, the Republicans - for some reason (I think it's force of habit and years and years of conditioning) - still become subservient to whatever that narrative is.
The whole reason behind my album 'Free TC' is seeing all that police brutality, injustice, mass incarceration.
This is the problem with the United States: there's no leadership. A leader would say, 'Police brutality is an oxymoron. There are no brutal police. The minute you become brutal you're no longer police.' So, what, we're not dealing with police. We're dealing with a federally authorized gang.
There is police brutality. People of color have been targeted by police.
We just were saying no more police brutality. And we had enough of police harassment in the Village and other places.
When I pick a story, I'm very much aware of the larger issues that it's illuminating. But one of the things that I, as a writer, feel strongly about is that nobody is representative. That's just narrative nonsense. People may be part of a larger story or structure or institution, but they're still people. Making them representative loses sight of that. Which is why a lot of writing about low-income people makes them into saints, perfect in their suffering.
Things either become unclear in a story or they're just ambiguous with no real point. So defined gray area with clarity that also works in the narrative, that's tricky.
We became closer and closer at the end of Freddie's life, and I think we were co-dependent in many ways. We stuck together for an awfully long time, and I think we all felt we needed one another.
I usually do at least a dozen drafts and progressively make more-conscious decisions. Because I've always believed stories are closer to poems than novels, I spend a lot of time on the story's larger rhythms, such as sentence and paragraph length, placement of flashbacks and dialogue.
The legacy of the Freddie Gray unrest? I think that remains to be determined.
In Crash, you've got a pathological cop who at the end justifies police brutality. He tells the naïve, young cop that you're going to end up the same as him. He's the most sympathetic character in the movie. So, the naïve cop ends up murdering this Black kid and tries to cover up the evidence. It sort of justifies police brutality and the planting of evidence which is what happened in the O.J. Simpson case.
I try to do the story the way I feel the story should be done, and how that folds into whatever larger sorts of categories or questions is really none of my business.
Just because I was at an anti-police brutality protest, doesn't mean I'm anti-police. We want justice, but stop shooting unarmed people.
Gray goes with gold. Gray goes with all colors. I've done gray-and-red paintings, and gray and orange go so well together. It takes a long time to make gray because gray has a little bit of color in it.
Los Angeles for many years had operated with a police department that was far smaller than other police departments had in areas of comparable or larger size, New York and Chicago being the most obvious examples.
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