The Ballad of Joe Arpaio

The Ballad of Joe Arpaio
By LAWRENCE DOWNES
March 16, 2009
NY Times Editorial Notebook

Saul Linares, a factory worker from Hempstead, N.Y., sat down at dinner on Feb. 7 with pen, paper and a story to tell. Then he did what similarly equipped Mexicans have done since the 1800’s. He wrote a corrido.

“In the left hand I was eating, and with my right hand I was writing it down,” he said. He was done in 20 minutes.

Mr. Linares was on a weekend retreat for immigrant-rights organizers in Rye, N.Y. After work on Saturday they took a break for a “cultural night” of poems, songs and stories.

Mr. Linares, 30, had never written a corrido before. He is from El Salvador, where they sing cumbias. But people all over Latin America like corridos. He knew what to do.

Voy a cantarles un corrido a los presentes,

que le compuse a Joe Arpaio de Arizona,

un sinvergüenza, desgraciado, anti-inmigrante,

que se ha ganado el repudio de toda la gente.

I will sing a corrido to all those present

that I wrote for Joe Arpaio from Arizona,

a shameless, disgraceful immigrant hater

who has earned the repudiation of the people.

Corridos are Mexican folk ballads, stories of love, betrayal, murder, drugs, often lurid and usually drawn from real life. Scholars who collect them by the tens of thousands say they are the literature of the rural poor: pulp nonfiction.

Mr. Linares’s subject, the Maricopa County sheriff, is infamous for abusing prisoners, strutting on TV and arresting Latinos on flimsy pretexts. To his victims he is a figure of fear and mockery, part Bull Connor, part Buford T. Justice from “Smokey and the Bandit.” He is prime corrido material.

Arpaio puts the immigrants in jail

because he says that they are crooks

but they are only looking for a decent job ...

And without any apparent sense or reason

he paraded them in chains down the street.

That is all true. The inmate parade happened in Phoenix on Feb. 4. Last week the Justice Department told the sheriff he was being investigated over accusations of racial profiling, and Congress members denounced his “reign of terror.”

Mr. Linares, a former day laborer, had his audience cheering, but he was modest about it. He threw the song away. Someone had to persuade him to retrieve and save it. The next day, he and a guitarist, Francisco Pacheco, squeezed into a bathroom, for better acoustics, and recreated the moment for a portable recorder. You can hear it at nytimes.com/opinion.LAWRENCE DOWNES

http://www.nytimes.com/2009/03/16/opinion/16mon4.html?th&emc=th

Tangled-up tale of immigrants in L.A.; Movie Review of "Crossing Over"

Tangled-up tale of immigrants in L.A.
By Carrie Rickey
The Philadelphia Inquirer Film Critic
Posted on Fri, Mar. 13, 2009

In the aerial shots of Los Angeles that punctuate Wayne Kramer's Crossing Over, the cloverleaf created by intersecting freeways gives the impression of embroidery on fine cloth.

Once the director gets down to ground level, though, the picture looks markedly different. Looking from L.A. south to the Mexican border, Kramer sees immigrants - many of them undocumented and anxious to become legal. And he shows how they try to weave into the social fabric and in the process get all tangled up.

So, too, does Kramer's film, a responsible message movie wrapped in an irresponsible exploitation flick that cries fire in a crowded theater.

A feverish, multistory affair cut from the same bolt as Crash and Traffic, Kramer's Crossing Over presents Southern California as an unraveling crazy quilt of a big tent. For every foreigner desperate to get in, there is a gatekeeper preventing it - or profiting from it.

Similarly, in Kramer's obviously heartfelt movie about the risks many take to be in America, for every gripping plot turn taking you to the edge of your seat, there's one that has you shaking your head in disbelief.

Harrison Ford - in his best role in years - and Cliff Curtis are the main reasons to see the film. They play Max and Hamid, ICE (Immigrant and Customs Enforcement) agents whose job is to pull out illegals like so many stray threads. They raid sweatshops and take into custody undocumented workers such as Mireya (Alice Braga). If she gets deported, who will care for her young son?

Also in Kramer's patchwork are U.S.-raised children of immigrants, like Taslima (Summer Bishil) and Yong Kim (Justin Chon), who try to reconcile divided identities. If they assimilate, they become alienated from their families. If they are proud of their countries of origin, they don't fit in with their native-born peers. Taslima, who gives an impassioned classroom speech interpreted by some as Osama bin Laden propaganda, also arouses the suspicion of federal agents.

And trying to stake a toehold are aspiring actors and singers (and sometimes lovers) Gavin (Jim Sturgess), from Britain, and Claire (Alice Eve), from Australia. In their attempts to score green cards, one games the gatekeepers and the other is gamed by them.

Every drama needs a villain. This overstuffed melodrama has two. One is an Immigration and Naturalization Services adjudicator (Ray Liotta), who trades legal status for sexual favors. The other is . . . well, that would be giving away too much.

Kramer, himself a naturalized American of South African origin, paints a composite portrait in frustration, grief and hopelessness.

Occasionally, his screenplay signals a flash of humor - especially in the Sturgess story line. And happily, Kramer lets the gifted Curtis (the New Zealander of Maori descent who has played just about every ethnicity imaginable) deliver a soliloquy about what U.S. citizenship represents to those who fight so hard to earn what natives take for granted.

Despite some very moving passages, almost all involving the low-key Ford, who has a bleeding heart under his ICE badge, and Curtis, Kramer's film doesn't come together like its obvious antecedents.

To the extent that they succeeded, Babel, Crash and Traffic showed how, though we are all different, our fates are interconnected. Kramer's point seems to be we are all different, all want to be American, and all are just pieces in a quilt waiting to be stitched together.

http://www.philly.com/inquirer/weekend/20090313_Tangled-up_tale_of_immigrants_in_L_A_.html