Tag: Film

To Sir, with Love

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Be forewarned. This is not a story about the 1967 British drama film starring Sidney Poitier.

Though as background, in a riveting performance, Poitier portrays Mark Thackeray, an unemployed Black American engineer who takes a teaching job in a working-class London school.

Thackeray clashes with a band of rowdy high school students. Along the way, he challenges their prejudices, navigates social barriers, and–ultimately–earns their respect with innovative teaching methods.

It’s a profound story about the challenges of educating through discrimination. In the end, we viewers feel the emotional triumph of Thackeray’s accomplishment and are treated to Lulu’s rousing rendition of the title song.

If you’ve never seen the iconic film, I recommend it. Few films are more reminiscent of the sights and sounds of the turbulent 1960s.

But what I really want to write about today is the labels we use to address one another, and how those monikers change as we age.

This morning, as I finished a thirty-five-minute set and dismounted a treadmill at the Scottsdale Community College gym, a fortyish man exercising behind me smiled and announced with kindness (not love), “Sir, you’ve dropped something.”

I glanced down to discover my Silver Sneakers membership card lying on the floor next to the treadmill. I thanked him profusely, picked up the card, then proceeded to wash down the machine with a disinfecting wipe.

This experience gave me pause. At this stage of life (my late sixties) I am most often addressed as “sir” in situations like this with strangers in public forums. Certainly not, “young man”. Because I am not that.

I am certainly no longer a “boy” either, even though I definitely identify as male (he/him) and an elderly neighbor refers to my husband Tom and me as “the boys”. (She has known Tom since he was a “boy” visiting his grandfather.)

Anyway, I suppose I am “sir” to the outside world as I approach my sixty-ninth birthday in July. Better than “Hey You!”, it’s a respectful, somewhat formal, fatherly (dare I say grandfatherly even if I am not one) acknowledgement of who I am and who I have become in my older-and-sorer-but-still-relatively-fit body.

But I hope you’ll always refer to me as “Mark”, that generally kind, friendly author and gay man who is doing his best to stay sane in this dystopian country by writing about our everyday happenings that fly under the radar.

I Don’t Pretend

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It’s late Friday afternoon in the desert. The mockingbird outside our backdoor is singing his or her heart out. It’s a tender, hopeful, pre-weekend serenade … a chirpy, lyrical refrain coming from the top of a telephone pole that connects our heavier world of technology and dissonant news and noise.

None of us knows what tomorrow will bring … ever. But especially now.

Case in point: early this afternoon as Tom and I devoured a few remaining slices of sausage and veggie pizza from the night before, a military jet zoomed overhead.

The sudden surge of decibels jarred our nerves. Though we live near a military base at Papago Park, we rarely hear that intense noise. Only an occasional squadron of helicopters arriving or departing.

We are a nation of divided people living on the edge of time, sound, and sensibility. Each day when we climb out of bed, we are aware of the dismantling of institutions we have come to know and respect.

Each day we are threatened by another batch of edicts tossed out the sidedoor by an authoritarian regime bringing shame and constant anxiety to those of us raised to believe in a country that once valued high ideals over low morals.

I don’t pretend to have the answers. But I know silence will kill us.

I won’t pretend to be someone I’m not. Or as I have said frequently to friends lately, “I’m not putting this genie back in a bottle.”

What do I mean? I spent too many years as a teenager and young adult (of the 1970s, 80s and early 90s) denying my true gay identity, subverting my whole self to try to fit into a predominantly straight, suburban culture.

That caused me (and others in my life at the time) tremendous personal pain. And, on a larger scale, denying the truth kept our society from advancing to a higher plain of equality, freedom, and human possibilities.

Yet now our federal (and some of our state and local government officials, too) are attempting to wipe away the contributions and accomplishments of our “diverse” people from websites and history books.

For instance, native code talkers who–by virtue of their distinct language–were instrumental in helping to bring an end to World War II.

Did you know that recently pages on the Arlington National Cemetery website–highlighting the graves of Black and female service members–have been removed?

These and other efforts are designed to erase the accomplishments of women and people of color.

How far will this attempt at whitewashing our history go? I don’t pretend to know. But I do know that the best attributes of our diverse culture exist in the past and present and people need to know about these contributions.

My husband Tom, an aficionado of films from the 1960s and 70s, has been leading a film series this winter and spring at the Scottsdale Public Library, titled “Movies That Matter: the 1970s.”

Each Monday afternoon, between 75 and 100 people attend this free series. The audience is mostly white people who love great films.

Last week, Tom screened “Dog Day Afternoon”. Directed by Sidney Lumet and starring Al Pacino, the film–based on a true story that occurred in Brooklyn, New York, in the 1970s–chronicles a botched bank robbery in the heat of the summer.

It’s an intense and sometimes funny film early on. Pacino plays Sonny. He’s desperate to get the money his partner needs for a sex change operation. But we don’t know that until more than half the movie has spooled through what once was a movie projector.

It’s a must-see flick. I won’t spoil the outcome if you haven’t seen it. But the most meaningful and important aspect of this story is that 93 people attended. They listened to Tom’s stage-setting intro for historical context. They watched the film, and then they talked about it. Together.

They talked about what it meant. They examined the techniques employed in the film to tell the story effectively. They existed in that space for three hours as a community of people in a shared experience.

I don’t pretend to know all of the political affiliations represented in that room. But I’m certain they left with a greater appreciation for film and how it can shed light on the differences and pressures–like them or not–that have existed in our American society for decades.

Tom delivers his opening remarks at a screening of Dog Day Afternoon at the Scottsdale Public Library on March 17, 2025. Photo by our friend and neighbor Diego.

That’s Not My Bag, Baby

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In reality, it is my bag. I just wanted to say it wasn’t, so I could quote Austin Powers: International Man of Mystery from the 1997 movie that spoofs 1960s spy films. This commemorative swingin’ sixties Woodstock bag, while not remotely vintage, was a groovy gift from a friend about ten years ago. She knew how much my husband and I love pop culture from that era. Primarily because we were children of the sixties.

Truth be told, now that we are fully ensconced in our sixties, Tom and I schlep this colorful tote bag with us on fall, winter, and spring Saturday mornings when we shop for fresh fruits and vegetables at the Scottsdale Farmers Market here in Arizona.

By now, I’m sure you’ve realized this Baby Boomer bag is nothing more than a lame prop for me to tell a story about the fiftieth anniversary of the Woodstock festival … billed as “Three Days of Peace and Music” … a pivotal moment in popular music history which actually stretched into four days (August 15-18, 1969) of peace, rock, sex, drugs, rain, mud and traffic on and around Max Yasgur’s 600-acre dairy farm in Bethel, New York.

The irony of me writing this story is that I have no personal connection to Woodstock. No substantive recollection of it either. It wasn’t so much that Woodstock wasn’t my bag. It simply wasn’t on my radar as a twelve-year-old boy living in the steamy suburbs of St. Louis, Missouri, in 1969. Perhaps I was a little too young. Or maybe just a little too out of touch with what was happening outside my immediate world.

My focus was on other things closer to home. Mostly, following my beloved St. Louis Cardinals, collecting baseball cards and creating my own canvas to obsessively scribe the scores of all twenty-four major league baseball teams on it every day from April to September of 1969. As I described in my book Tales of a Rollercoaster Operator, by the end of the regular season, I had recorded 3,888 handwritten ball scores and squeezed them onto one giant rolled up piece of paper!

You can see I had no time or inclination to join the wave of Woodstock worshipers from afar. Even if I had, my Lawrence-Welk-loving parents had different ideas of what constituted popular music … a-oney-and-a-twoy-and-a … and they controlled the TV dial in our household.

It would be another thirty years before I’d really see and hear Woodstock. The moment of enlightenment came in the form of a grainy VHS tape of the 1970 film that won the Academy Award for Best Documentary Feature. I sat with my future husband on the love seat in his Schaumburg-Illinois condo. Together we immersed ourselves in the actual performances, interviews with some of the artists, and candid footage of the fans.

Thanks to the film and the resourcefulness of my movie-loving husband, I got to see and hear Richie Havens open the show and Jimi Hendrix close it on the same well-traveled stage before a sea of soaked teens. Though it had taken me thirty years longer than the rest of the country, I had finally closed the gap in my knowledge about the “Three Days of Peace and Music” in mid-August 1969 that would come to define the counterculture movement of our generation.