Memo to US American Sports Media and Reverend Al “I’m Not Too” Sharpton: Tiger Woods Ain’t All The Way Black! by Frank Y Pak Agostinelli
Unless you hail from the city appropriately named “Unda’a Rockville” you are well aware of the exchange between the Golf Channel’s Kelly Tilghman and pro golfer Nick Faldo about Eldrick Tiger Woods. Faldo and Tilghman were discussing young players who could challenge the world's No. 1 player toward the end of Friday's broadcast at Kapalua when Faldo suggested that to take Tiger on, maybe they should just gang up for a while. Lynch him in a back alley, Tilghman replied. Woods is the most dominating player ever to step foot on a green. In a sport well known for exclusivity, Woods has effectively set a standard that anyone can excel at a high level. A comment in most cases that may go over someone’s head, did not on this occasion. The reason why this comment was blown out of proportion is the ignorance of sports media types who still see Tiger Woods as strictly an African-American. At this moment, the band warmed up and the red carpet was rolled out for the Reverend Al Sharpton. He was led to the podium and did what he does best. Tilghman was suspended for 2 weeks but Sharpton wants her fired like Don Imus was. Sharpton is delusional as well as multiracially, multiculturally, and multiethnically challenged.
Al Sharpton has done some great things but the key word is has. What you see now is a civil rights activist who has morphed into a gravy-training opportunist, caught in a time warp feebly attempting to hold his status intact. Sharpton is like a former boxing champion who doesn’t know when to quit. At first, your heart goes out to him but then quickly dissipates into, "go away already!" It would be one thing if Woods wasn’t mixed and Tilghman’s comment was delivered with malicious intent. Such an event would be advantageous to someone like Sharpton who would sweep in and "altruistically" speak of what has to be done so this does not occur again. But Woods is mixed and Tilghman’s comment wasn’t malicious whatsoever but rather tongue-in-cheek. But tongue-in-cheek doesn’t excuse the sensitivity component intertwined with the word "lynch." Woods, who has been a friend for 12 years quickly came to Tilghman’s defense and said through his agent Mark Steinberg, it was not an issue. I believe we are all in agreement regardless of what we are ethnically, Tilghman screwed up. Maybe she could have used something I had said regularly about the best way to stop the New England Patriots, kidnap the team or in this case Tiger Woods. Kidnapping is very serious too but I can confidently say when comparing the words/actions lynching and kidnapping, there is no comparison, but at the same time it is 2008. The comment was meant to show great respect to the greatest golfer of all time. It was a distasteful (because of the history behind the word) attempt at humor. Tilghman apologized, publicly and privately. Regardless, whether it was in a statement from Steinberg, or Woods’ ancestors delivered the message of the comment being a non-issue, the media wants more. They want to hear from Woods with all the nonsensical bells, whistles and theatrics most bored out of their mind Americans seem to fiend for. As Jason Whitlock stated in his Real Talk column on Fox Sports, "What should we make of Tiger Woods' decision to avoid dealing with this controversy publicly and personally? We, the media, make it too costly for public figures to express their honest feelings. We can't handle the truth. Tiger is best served saying as little as possible."
The sports media would have one under the impression they are the most multiracially, multiculturally and multiethnically challenged people you have ever read in print or heard on a sports show. Well, they are making a strong case because the majority are. If every time a sports talk show host or some other wanna-be expert stated Tiger is African-American I received a dollar, I could pay to play 19 holes of golf with the Striped One for charity and put my future kids (we’re hoping for 2) through a master’s program. Maybe there are those in sports media who feel their dose of cultural immersion (in their opalescent view) is to hit up the Taco Bell for a number 6 or the catering truck outside their building serving egg rolls. Or maybe they accidentally went to a birthday party being hosted at Benihana. Just as I stated in September of 2007 about Andrea Kremer’s stupid comment, "No matter what one's field of work is, you better know it thoroughly and if you do not, you're making the effort." Just as the case of Derek Jeter, Woods’ background was not fully acknowledged (as usual) and its relevance to the story bears importance. It certainly does not lessen the impact of Tilghman’s use of the word lynch. Still, if it was John Daly who was the receiver of the comment, would this be blown out of proportion? Of course not. There is no mistaking Daly is White; he appears White so he must be White. Cue in John Cougar Mellencamp: Ain’t that America, something to see. The majority of America sees Tiger Woods as Black. If you were to correct them on Woods’ racial make-up (as I have on several occasions) and how he perceives himself (I'm just who I am, whoever you see in front of you), this would be their cue to say, "Well he looks Black to me, it’s all the same, I knew he had to be something else," or the classic, "I didn’t know that." Of course you didn’t know because you, a) don’t care to know and are just humoring the messenger of an empirical fact, b) you don’t care because you despise Tiger Woods (because you think he’s Black) for whipping everybody’s ass on the PGA tour and c) regardless he spoke on the Oprah Winfrey Show and glossed himself Cablinasian, he’s still a Black man in your eyes.
Tiger Woods is about "all" people so if you’re offended, why are you offended? All people means you! Some Blacks believe Woods is denying he is African-American. He isn’t. What these detractors fail to see is Woods is representing Blacks! Whites! Asians! Native Americans! Jews! Etc.! His efforts do not center exclusively on Blacks. This has been a recurring theme in Woods’ life as stated in Charles Barkley’s book Who’s Afraid Of A Large Black Man (pgs. 8-9) and on the Larry King Show. This equation is simple as 1 plus 1 equals 2 but attention starved mongers turn it into EFE. Tiger Woods gets it whereas a perverse number of people in this country seem to be entrenched in the same time warp Sharpton is. There is no denying the hydra named race is real regardless of its genesis. There are only so many individuals like Woods who are able to see through this tornadic society created by our ancestors and manifested by us.
There are those in the media who have their respective master’s in half-truths, incomplete reporting, and elephant crap. Two truths that cannot be spun are that Woods told the world back 2001 who he is, and that he immediately came to the defense of his friend Kelly Tilghman. One has to wonder what direction were some of these reporters going by saying Woods is African-American when he is a Mixed Asian? In addition, were the White reporters suffering from “White Guilt” by wrongfully admonishing Kelly Tilghman? Were some of the Black reporters jumping on the bandwagon and using this incident as an opportunity to lie to themselves and to the public by saying Tiger Woods is a Black man? They have discredited their reporting with shoddy journalism. Look no further than the Duke "rape" case. The media should be using its position to set a true precedent instead of reflecting societal nonsense. It is the media’s priority to be absolutely thorough in their reporting just as it is the priority of someone like Sharpton to have all the facts straight before rallying for support and calling for someone to lose their job. It is also the priority of the reader and the viewer to use critical thinking, a little bit of common sense and never take what the media relays/reports/says as the truth until a story’s avenues have been completely exhausted and broken down into a concrete conclusion. Until this day arrives, at least you can always depend on someone to be thorough and truthful in his writing.
AsiansOfMixedRace.com Interview: pc muñoz
pc muñoz is a musical innovator who has worked with some of the finest artists over the years. His sound is Mutant Funk. His music are songs about the soul, the heart, the flesh, the distractions. He is a recording artist, a producer, and a percussionist. He is Mixed, Hapa, Mestizo, whatever. He is pc muñoz.
AMR.com: You’ve been doing your thing for over 15 years. How much have you grown as an artist?
pcm: I think as an artist I'm pursuing the same things I always have, but over time my skills and artistry have deepened, and my ability to execute has improved. I hope this makes for more meaningful and effective work.
AMR.com: For those who haven’t experienced your sound, how would you describe it?
pcm: People often call me a cross between Leonard Cohen and Prince...I think that works. You know, lyric-oriented music, with a spoken/sung lead vocal, and adventurous, funky music underneath. But I do think that description leaves out my avant-garde, musique concréte tendencies. Especially in the studio, I use a lot of non-musical, or extra-musical, sounds in place of traditional musical instruments, and the sonic world I seek to inhabit often has nothing to do with Western/European-based harmonic ideas. Lately I've been calling what I do Mutant Funk, or Funk Concréte.
AMR.com: Who are some of those you listened to growing up who have influenced your sound?
pcm: I tend to compartmentalize this question whenever it comes up. Strictly musically speaking, Ornette Coleman, Prince, Paul McCartney, Parliament-Funkadelic, and hip-hop are very important influences. On a lyrical level, folks like Bob Dylan, Jackson Browne, Gil Scott-Heron, Rakim, Karen Peris, Chuck D, Bill Withers, and Dolly Parton are big with me. Also, experimental/avant-garde artists have made a huge impact on the way I think about and work with sound...folks like Edgard Varése, John Cage, Anthony Braxton, Luciano Berio...Miles Davis when he was doing that thick, stewy funk. Then there are these seemingly small things which actually mean a lot to me and my musical imagination....like Maurice White's use of the kalimba with Earth, Wind & Fire. Using this traditional instrument in a new context. Though I'm not a guitar player, Eddie Van Halen's playing---which is incredibly rhythmic and textural--has always been an inspiration for me. Before I was a solo artist, I spent a lot of time playing drums for gospel choirs; that was huge. I'm really into Chinese flute and drum music, too. I could go on and on about this...
AMR.com: You have collaborated with a lot of great artists in all different areas of expression. Who are they and how is it working with those who share your vision?
pcm: I love the subtle dance, the give-and-take inherent in true collaboration. I can't possibly name everyone, since the list is so long, but I'll mention a few folks. Obviously, having Jackson Browne sing on one of my songs was a humbling thrill. Working with Dr. Fink (formerly of Prince and the Revolution) is always a pleasure. Danny Kalanduyan, the master kulintang (Filipino Gamelan) player, was very interesting, a true artist. Recently I produced an album by Joan Jeanrenaud, the former cellist for the Kronos Quartet who is now solo. The album is incredible--really cool stuff---and working with her was effortless and great fun; we had a very natural rapport. We also do a duet of sorts on my new album. I love that kind of working relationship. Working with Ingrid Chavez recently was a fantastic experience, too. All the people on the twenty haiku album were awesome. Again, I could go on and on...
AMR.com: You’ve have a new album set for release this summer, titled Grab Bag. What can fans expect from you?
pcm: Expect a wild ride of an album. There are many different music styles on the album--hence the title--and I feel there's a lot of cool lyrical things on there too. I'm very excited to get it out in the world...I feel it's my best work yet.
AMR.com: Who are the players in the left hook?
pcm: I'm so fortunate that I've always had great folks in my ensembles. the left hook is made up of Kevin Carnes, a phenomenal drummer who is best known as the anchor for the Broun Fellinis, an SF-based jazz/hip-hop trio. He also works with George Clinton and lots of other folks. He's also a really cool vocalist. Vicky Grossi is on the bass...she's got this great style which fits well with my work---she's a big pop and funk fan but also heavy into improv and experimental music. Danny Zingarelli both sings and generates a slew of electronic sounds from laptops and other tools; he's always ready to push the envelope sonically. Dave Worm is a virtuoso vocalist known for his work with SoVoSo, an Oakland-based vocal jazz group...he was also in Bobby McFerrin's Voicestra. Together, we create a kind of sonic confrontation that you can't ignore....like a left hook!
AMR.com: Indie labels have grown tremendously over the decades. Can you elaborate why they churn out some of the best music out there?
pcm: To put it most bluntly, it's because the major labels are mostly interested in music in terms of its potential as a profitable product. So what you often get from them is product...calculated stuff, nothing nourishing, but sure to sell. Like a bag of potato chips. Potato chips might taste good, but they don't do much for you....and they may possibly harm you! Indie labels can churn out pure product as well, of course, but in theory, and traditionally, their role is to provide the alternative.
AMR.com: Can you talk a little about Talking House Productions?
pcm: Talking House Productions is a production company and indie label founded by a group of folks in San Francisco, good friends who have made music and done business together for many years. The goal is to produce and develop high-quality music artists and music content. I'm both a producer and artist at Talking House...that is, I produce other artists, and I also am on the roster as one of the label's artists. It's a great thing....I love being part of it.
AMR.com: Can you talk about your current projects?
pcm: Well, recording-wise.... you mentioned Grab Bag, my upcoming album. I'm putting the finishing touches on that right now. I'm also wrapping up an EP by a great local artist named Carmen Jones, which is a really cool little collection of R&B tunes. I'm in the early stages of a collection with Oakland-based artist FEMI, who is a fierce, multi-talented performer. I also co-produced a single with the rock artist BRAY, who's a classic hooksmith. Out of the blue I was asked to participate in a Prince tribute project.....I just finished that. I can't say what song I did just yet, but it's funky. And I already mentioned the wonderful album by Joan Jeanrenaud, which is called Strange Toys.
Performing-wise, it's all about the left hook. I hope to do more shows this year, to better balance out all the time I spend in the studio.
AMR.com: Do you have any up coming performances fans should be on the look out for?
pcm: The left hook will do three shows at the Rogue Festival in Fresno, CA in late February/early March. Those shows will be very exciting.....totally different every night, with lots of improv. Tell your Central Valley homies!
AMR.com: You have worked as a panelist for the DIY Festival. What is the DIY Festival and how did you get involved?
pcm: The DIY Music Festival is an arm of the DIY Convention, which organizes events to help independent artists from various disciplines. Panels, guest speakers, showcases...stuff like that. They always seem to get a lot of heavy-hitters to come through. This year they've changed to a more salon-like format, which I think is a really great idea. The founder, Bruce Haring, is a cool guy who really believes in the DIY ethic.
AMR.com: How did you feel when twenty haiku won the “Best in Spoken-Word” award at the 2006 DIY Book Festival?
pcm: I felt great about that! I met a lot of interesting folks at the ceremony, and was inspired by Bruce Haring's unwavering commitment to independent authors and artists.
AMR.com: Can you talk about the documentary film you have in the works?
pcm: Sure. All throughout 2008, my filmmaker brother Alex, whose films play in festivals all over the globe, will be shooting footage of myself and the left hook for a documentary film. The film will likely come out in 2009. Last year Alex won an award for one of his documentaries at the UrbanWorld Vibe (Magazine) Film Fest in NYC...I'm excited he's turned his camera on us for this project. He's also collecting lots of old footage and photos of my past work to include, so if anyone reading this has some cool footage or photos of me performing, email me and I'll tell you how to get it to Alex!
AMR.com: When you’re not composing and performing, how do you spend your time?
pcm: I have a one year old son....when I'm not working on music or tending to music-related things, I'm usually with my son and my wife. I love to go to the movies, but I don't get a chance to do that much right now. I like to read and work out as well...I try to do at least a little of both every day. For pure frivolity, I like surfing on ebay looking for interesting drums, vintage electronic instruments...
AMR.com: What are you listening to now?
pcm: These days I'm usually listening to whatever I'm working on, either artists I'm working with, or sometimes my own stuff in progress. So, it's a lot of rough mixes, half-finished versions, arrangement ideas, things like that. Work-related. I did recently go on a Smokey Robinson kick, after seeing a tribute to him on TV the other day. Smokey is a great songwriter....awesome lyricist. "Take a good look at my face, you'll see my smile looks out of place, look closer, it's easy to trace...the tracks of my tears." Whoo, man!
AMR.com: Who is pc munoz?
pcm: I'm still getting to know myself, after all these years. These things I know : I'm a husband, a father, an artist. And a work in progress.
AMR.com: Do you have any advice for those who want to get into the music industry?
pcm: Well, for aspiring musicians/recording artists, I always say---take the time to learn about the history of the music you dig. If you like Feist, for instance, find out who she's into, check out their records, then find out who those artists are into, and check out those folks. It's important to have an understanding of the broader continuum in which you'd like to insert yourself and your work, and it can only help to listen, read, learn, and know more.
AMR.com: Due to circumstances beyond your control, every cassette, piece of wax, CD, mp3, mp4, etc., has been destroyed except for one. Who is this album by?
pcm: I think the answer to this one would change from time to time, with my mood and attitude. Right now, I feel like the one album I would hope would survive would be Aretha Franklin's gospel album, Amazing Grace. Well, either that or Stevie Wonder's Journey Through the Secret Life of Plants. Or McCartney's first solo album. Ok, I'm already cheating.....
