The Plight of the Podium Negro [ by Charles Coe]

Pennsylvania Republican Governor Tom Corbett’s facing a tough battle for re-election; one poll has him trailing his Democratic challenger by up to 25 points. He’s had a particularly hard time attracting black voters, many of whom where outraged by his signing of a 2012 law, later overturned by a Pennsylvania judge’s ruling, that would have required voters to present a photo ID.

Corbett’s campaign team recently released a photograph they hoped would suggest that things were just hunky dory between him and the black community. The photo shows a low-key, friendly Corbett. Casually dressed in denim shirt, no tie, top button unbuttoned, talking to a small group of supporters. Standing behind the governor is a middle-aged black woman, gazing at him in adoration.

“See?” the photo implies. “Black people like Governor Corbett too! Because he understands the issues that are important to our African-American citizens.”

Just one problem: The shot’s a fake; the woman’s image was Photoshopped from a stock photo. As an African American I am totally outraged. It’s a matter of job security. I happen to be a member in good standing of the National Union of Podium Negroes, and I am extremely concerned about the impact this might have on my profession.

As you know, Podium Negroes are the black and brown faces you see in photographs of right-wing politicians at public events. Usually the politician’s at the podium with a group of supporters standing behind him—his wife and family, perhaps a veteran in uniform, a prominent athlete or entertainer and a Podium Negro or two (often the only brown faces in the room). And now the Corbett campaign’s threatening our livelihoods. If someone can just paste in fake photos of Podium Negroes, what happens to us? The real workers? And with computer-generated graphics, there’ll be nothing stopping them from pasting digitized Negroes into live events as well.

Few people realize how difficult and demanding our profession can be. We spend hours listening to country music at rallies and conventions. We eat countless plates of tuna-noodle casserole and Jell-O with little marshmallows at receptions. We stand with smiles glued in place while listening to politicians who sometimes sound like they’ve been using their heads as doorstops. We work hard, and we deserve our country’s appreciation and respect.

Our union is convening an emergency session of the management committee to address the challenge presented by Digital Podium Negroes. The Corbett campaign has fired the first shot; now we will respond. And I am confident we will enjoy the support of all fair-minded Americans who realize, as was so eloquently stated by a stalwart supporter of our profession, former President George W. Bush, “how hard it is to put food on your family.”

 

Charles Coe is author of two books of poetry:  “All Sins Forgiven: Poems for my Parents” and “Picnic on the Moon,” both published by Leapfrog Press. His poetry has appeared in a number of literary reviews and anthologies, including Poesis, The Mom Egg, Solstice Literary Review, and Urban Nature. He is the winner of a fellowship in poetry from the Massachusetts Cultural Council. Charles’s poems have been set by a number of composers, including Beth Denisch, Julia Carey and Robert Moran. A short film based on his poem “Fortress” is currently in production by filmmaker Roberto Mighty. Charles is co-chair of the Boston Chapter of the National Writers Union, a labor union for freelance writers. He has been selected by the Associates of the Boston Public Library as a “Boston Literary Light for 2014.” His novella, "Spin Cycles," has just been released by Gemma Media. I

 

Comments

[Tony Press]

The more things change, or don't, the more they ... well, you know. Though this post appeared over a year ago, it is a perfect post for today, and, likely, for many days/months/years to come.

[Charles Coe]

Hola Tony,

I wish I could look back and say this piece ISN'T relevant any more. But I don't see that happening any time soon...