Times blogger lurves Ray-cism

(TW for anti-immigrant racism, with a brief detour into combined contempt for, and erasure of the victimization of, undocumented women who are sexually trafficked.)

I found this inspiring bit of cultural criticism at the website of the NY Times. Unfortunately, what it is likely to inspire is either nausea or tears; possibly both. Dave Itzkoff commends to us a video by Ray Stevens of Stevens' song, Come to America, saying:

If there’s an upside to the polarized debate over illegal immigration in the United States, it’s that it has put Ray Stevens back in the limelight.

I left this comment on Mr. Itzkoff's column

It's such a relief to learn that there is an upside to this "polarized debate"! I am a little disheartened to learn that it consists of a hack novelty-song writer putting brainless racism to music, though.

That was all I could manage until I had a chance to recover after having the following piece of garbage slapped up against my brain. (transcript follows the video, beginning under the fold)



Stevens represents three "ethnic" characters in this video who are supposed to be illegal immigrants. One is clearly meant to be an Arab, one a Mexican, and the third, the one in the flowered shirt, I have interpreted as meant to represent a Cuban, owing to his "tropical" shirt, his being seen always with a cigar, the suggestion that he has arrived in this country by small boat across the ocean, and one scene in which he is represented as visiting his "home" which is illustrated, I believe, by Spanish Colonial architecture. The first two ethnicities are quite obvious; the third is my interpretation of the elements I just named.

Throughout the transcript, where I indicate that Stevens is singing, his voice is accompanied by a guitar. The song is kind of a bouncy, up-tempo ditty, with some tinkly piano in spots.

Be warned: this transcript is long. The video is just over three-and-a-quarter minutes, but there are very frequent changes of background.

[begin transcript]

Opening title: A Ray Stevens Production

(Music begins to play as a phone rings.)

(The scene changes to a very small office. Ray Stevens, who has a mustache and fairly short beard, and is 70 or 71 years old, according to Wikipedia, but looks younger than that here, is wearing a red check shirt, a bow tie, and what looks like a pork pie hat with the brim turned down. This character I refer to in the transcript as Bureaucrat Stevens. He is sitting between a filing cabinet and a desk, facing the camera. There is a globe at the left of the screen. Behind him is a window through which an office building is seen. Bureaucrat Stevens answers the phone.)

Bureaucrat Stevens (speaking): Hello. This is the I.I.A.P. . . .

(The scene changes to Stevens in a Navy baseball cap with some sort of insignia [it's roundish and gold around the outside, with some red, possibly red and white stripes, inside] an open-necked shirt, and a blue blazer with a red pocket square. He is listening to his cell phone, then pulling it away from his ear to stare at it in apparent disbelief. Behind him is a blue sky and [irony alert!] the Statue of Liberty.)

Bureaucrat Stevens (speaking): . . . the Illegal Immigration Assistance Program, a taxpayer-funded division of (inaudible).

(Back to the blue-blazered Stevens, who is supposed to be calling the I.I.A.P., and who sighs and rolls his eyes while listening to the list of languages)

Bureaucrat Stevens (speaking): For Spanish press 1, Portuguese 2, Arabic 3, Farsi 4 . . .

(Back to Bureaucrat Stevens at the I.I.A.P., who continues to list the language choices)

Bureaucrat Stevens (speaking): French 5, Swaa-HEE-li (exaggerated, drawn-out pronunciation of Swahili) 6, German 7, Italian 8 . . .

(brief cut to Stevens and Lady Liberty, then back to Stevens in the office)

Bureaucrat Stevens (speaking): . . . and if you insist on English, please stand by.

(The scene returns to blue-blazered Stevens in front of the Statue of Liberty. He begins to sing.)

Stevens (singing): If you're thinking about illegal immigration, be careful when you're choosin' a nation, 'cause breakin' the law in some countries is frowned upon.

(Stevens slaps the side of his face in disbelief)

Stevens (speaks): Imagine that!

(The scene changes to a background of hills and the Great Wall of China. In the foreground are Stevens in a flowered shirt of the kind referred to as "tropical", a straw hat and sunglasses, with a long cigar in his mouth, waving some people not seen toward him, while two men move past him with their heads down, one dressed in what looks like a white shirt and dark vest, and wearing what is meant to represent an Arab headdress, the other in a large sombrero and blue shirt. Both the men's headgear appears to be inauthentic, its cultural message directed at people who are not of the ethnicity being indicated.)

Stevens (singing voiceover): Sneak into China, they'll call you a spy . . .

(The scene changes to low, jagged hills, in front of which are two versions of Stevens: fake-Cuban Stevens (the flowered shirt and straw hat guy), and fake-Mexican Stevens in the sombrero. Both have wide eyes and mouths open in apparent shock)

Stevens (singing voiceover): . . . ship ya to Mongolia 'til ya die . . .

(The scene changes to desert, with a camel lying down in front of low hills behind which the sun is setting. In the foreground is Stevens again, in the dress meant to represent generic Arabishness.)

Stevens (singing voiceover): . . . and in the SU-dan they'll hang you and the camel you rode in on.

(Stevens chuckles on the voice track, and the fake-Arab Stevens on screen does what is apparently his only bit of "acting", but livens it up by slapping both hands against his cheeks; more "Oh, no!" than shock this time.)

(The scene changes to blue-blazered Stevens in front of Mt. Rushmore.)

Stevens (sings): Yeah, and don't go hiking and enter I-ran . . .

(Background behind blue-blazered, singing Stevens changes to a beautifully carved ivory-colored building, presumably in Iran, which is not identified, surrounded by a parking lot, several smaller buildings and signs, in front of which blue-blazered Stevens continues singing.)

Stevens (sings): . . . or you might never be heard from again, and in Mexico . . .

(Scene changes to Mexican official, who I think is the current President of Mexico, Felipe Calderón, standing at a podium with an insignia on it, in front of a Mexican flag and a large sign or banner on which, in large block letters, are the words PRESIDENCIA DE LA REPÚBLICA. Again, blue-blazered Stevens is in the foreground singing)

Stevens (sings:) . . . you might face a firing squad.

(Scene changes to what appears to be an old painting of several soldiers in dark uniforms, white belts and small hats shooting, at close quarters, a black man in a white shirt and dark pants. A light-skinned man in a sombrero, long grey jacket and grey slacks, and a darker-skinned man with a beard, in a white shirt and dark pants, stand in front of the soldiers also, and are apparently also to be shot. At the back is a high, grey stone wall, and in the foreground, blue-blazered Stevens glances over his left sholder toward the painting and grimaces slightly.)

(The scene changes again as the sound of the "firing squad" is heard, to what might be a studio with faux-brick walls on the sides, a purple and silver wall behind, and on the left of the screen an inset of Kim Jong Il. In front, blue-blazered Stevens sings. As he does so, Kim Jong Il is replaced by fake-Mexican Stevens, fake-Cuban Stevens [holding a boat paddle], and fake-Arab Stevens, all nodding in agreement with blue-blazered singing Stevens.)

Stevens (sings): Yeah, forget all about goin' to North Korea, that's a great example of a bad idea. So when it comes down to it . . .

(The scene behind blue-blazered Stevens changes to a large map of the Southern U.S. and Northern Mexico, showing highways, and with the border traced in green. Multiple large, printed black arrows appear on it, beginning in Mexico and crossing the border into the U.S., pointing north.)

Stevens (speaks/sings): . . . there's only one option you got! Yeah! . . .

(The scene changes to an ocean with the sun setting in the background. In the foreground is fake-Cuban Stevens holding a boat paddle; this changes to sombreroed Stevens beside the rickety barbed-wire fence; then changes back to fake-Cuban Stevens making boat-paddling motions and motioning as if to others to join him; which changes back to sombreroed Stevens singing back-up phrases - "USA" and price to pay" and "if you get caught illegally immigratin' " to the voiceover of blue-blazered Stevens singing the main part.)

Stevens' voice (sings over those scene changes:) Yeah, come to the USA. There's no penalty to pay if you get caught illegally immigratin'.

(Fake-Mexican Stevens is now holding a small American flag on a stick, sort-of-dancing along as he sings.)

Fake-Mexican Stevens (sings): Come to the USA . . .

(Scene changes to fake-Arab Stevens standing in the foreground, with a commercial airplane parked behind him which says, "CLYDE AIR" on it. An airline worker is walking in front of the plane's engine, and an airline luggage truck and luggage handler are near the front of the plane; the ocean is in the distant background. Fake-Arab Stevens looks a bit furtively to the side, then pulls a U.S. flag on a stick from his clothing and waves it with an expression suggesting he is stoked about getting away with something.)

Stevens' voice (singing): . . . 's it will be your lucky day . . .

(Scene changes to an open landscape which is mostly blue sky, with a line of hills in the distance, and a large, blue sign at front right which says 'ARIZONA' in white block letters at the top; below a white line is a large pattern of alternating red and yellow blocks of color radiating out from a big white star; below another white line, in white block letters are the words: THE GRAND CANYON STATE WELCOMES YOU.)

Stevens' voice (singing):. . . 'cause if you get in there's lots of goodies waitin'.

(Fake-Mexican Stevens, then fake-Cuban Stevens, followed by fake-Arab Stevens pop up one by one in front of the Arizona sign singing wordless syllables to another couple of bars of the music.)

Stevens' voice (singing): Like health care, welfare . . .

(The scene changes to blue-blazered Stevens standing in front of the U.S. Capitol building, singing.)

Stevens (sings): . . . free education, help with your voter registration, and . . .

(The scene changes to fake-Mexican Stevens beside the barbed-wire fence, smiling, his hand outstretched as someone off-camera puts money into it one bill at a time.)

Stevens' voice (sings:) . . . driver's license and credit cards and license plates for your car . . .

(Fake-Mexican Stevens turns to the camera with an expression of disbelief at the U.S. largesse which is being given him by the unseen hand.)

Stevens (sings): . . . and lots of jobs for you to do, and employers who'll turn . . .

(The scene changes to blue-blazered Stevens in front of the Reflecting Pool on the National Mall in Washington, D.C., with the Washington Memorial in the distance, and behind that the Capitol building)

Stevens (sings): . . . a blind eye, too.

(Stevens looks upward and to the side, perhaps suggesting the employer looking away from the guilty knowledge of hir employee's being undocumented. The scene returns to fake-Mexican Stevens by the barbed-wire fence, waving his U.S. flag on a stick, moving from side to side in time with the music, and apparently miming singing along with the voiceover of Stevens singing, which continues.)

Stevens' voice (singing): Come to the USA.

Voices of female back-up singers (sing): USA

(The scene changes to the fake-Mexican Stevens standing beside the barbed-wire fence, now playing a red-and-white electric guitar for several seconds. He finishes with a smile as Stevens sings the next line in voiceover.)

Stevens' voice (singing): No need to worry 'bout the Constitution . . .

(The scene changes to blue-blazered Stevens, singing. Behind him is a pretty lavender-painted Craftsman-style house with a windowed-dormer. It has a railed porch; several steps up to the porch are flanked by columns which are red-brick to the top of the porch-railing, then narrower, lavender-painted wood above. There is some greenery along the porch railing and along the side of the house, where a white picket fence can also be seen. A very large, white sign on the roof, in front of the dormer, is lettered in red, "CAT HOUSE".)

Stevens (sings): We'll help you start a house of prostitution, if that's the kind of work you wanna do. You see, those gringo . . .

(The scene changes to an old, worn-looking stucco or adobe building with a balcony supported by columns framing five arches, with a smaller outbuilding and fields behind. In front of that is bare dirt, with blue-blazered Stevens singing in the foreground.)

Stevens (sings): . . . infidels are crazy; they'll give citizenship . . .

(The scene changes to fake-Mexican Stevens beside the barbed-wire fence, cradling a light-skinned doll with long dark hair in his left arm, while holding the small flag in his right hand. He turns and mugs at the camera happily.)

Stevens' voice (sings): . . . to your new baby. So ya see there's really . . .

(The scene changes to fake-Cuban Stevens, with his paddle, in front of the ocean; he shrugs as Stevens' singing continues.)

Stevens' voice (sings): . . . one choice for you. Ha - ha!

(The scene changes back to fake-Mexican Stevens beside the barbed-wire fence. Fake-Mexican Stevens fake-sings along with the voiceover being sung by Stevens.)

Stevens' voice (sings): Come to the USA.

The scene changes to fake-Arab Stevens walking in front of the "CLYDE AIR" plane somewhat furtively, as he is hunched over with his head down, then he straightens up, turns around and waves as if to motion others behind him to come along.)

Stevens' and female singers voice's (sing): S' there's no penalty to pay . . .

Male singers voice's (sing): Why should there be?

(The scene changes back to fake-Mexican Stevens by the fence, with his American flag, singing along as Stevens sings in voiceover.)

Stevens' voice (sings): . . . if you get caught illegally immigratin'.

(Male back-up singers, or Stevens himself on a separate track, I can't tell, here sing a line that I can't understand most of.)

Male voice (sings): Treat me (inaudible) illegally immigratin'. I said, come to the USA . . .

(The scene changes to fake-Cuban Stevens, who waggles his cigar at the camera.)

Stevens (sings): . . . 'Cause it will be your lucky day, 'cause . . .

(The scene switches to fake-Mexican Stevens at the barbed-wire fence, waving his U.S. flag.)

Stevens' voice (sings): Cause if you get in there's lots of . . .

(The scene cuts to the big 'ARIZONA' sign again, and fake-Mexican Stevens appears in front of it, followed by fake-Cuban Stevens, then fake-Arab Stevens pops up between them. All three sing along in wordless syllables.)

Stevens' voice (sings): . . . goodies waitin'. Yeah, you can get public housin' . . .

(The scene changes to blue-blazered Stevens standing in front of a giant TV satellite dish; behind that a building is partially visible.)

Stevens (sings): . . . and cable TV . . .

(The scene changes to blue-blazered Stevens standing in front of a supermarket meat case, over which is hung some red-white-and-blue, stars-and-stripes paper bunting.)

Stevens sings: . . . and food stamps . . .

The scene changes again. Behind blue-blazered Stevens is now a giant wedge of yellow cheese with bright orange chunks in it.

Stevens (sings): . . . and even government cheese.

(The scene behind blue-blazered Stevens changes to a country field, with low hills in the distance. Immediately behind Stevens a muddy track leads through a wide-open gate in a low fence.

Stevens (sings): The borders are a swingin' door. Go home for a visit . . .

(The scene changes again. Fake-Cuban Stevens, still holding his paddle in his left hand and his cigar in his right, sort-of-dances in a street. On the left of the scene are trees and a light pole, on the right is a large, old building, in the Spanish Colonial style, with a regular series of arches on the ground floor and wrought-iron railings in front of the windows above.)

Stevens' voice (sings): . . . and come back for more.

(The scene changes to fake-Arab Stevens in front of a high, chain-link fence, behind which two men in what appears to be a form of Middle Eastern or North African dress - long, white shirts and white pants, with white skullcaps - stand in front of a doorway, while another man in khaki pants and a light-colored shirt leans against the fence. The place is suggestive of some kind of detention facility. Fake-Arab Stevens looks over his shoulder at the fence and sort of skulks away, as Stevens' sings the next line in voiceover.)

Stevens' voice (sings): There's sanctuary and amnesty.

(The scene changes to blue-blazered Stevens standing in front of a large yellow sign which says, in black, block letters across the top: CAUTION. Below that are the silhouettes of a running family, led by a [presumed] man in pants, followed by a [presumed] woman in a skirt, who is pulling by the hand a child with pigtails. It is the kind of sign which has been erected at places where there has been a significant incidence of people who have crossed the border illegally attempting to cross highways on foot, risking significant injury and death. Dry hills are behind him.

Stevens (sings): Bring the whole fam damily, eventually. Yeah.

(The scene changes back to fake-Mexican Stevens waving his flag-on-a-stick along the barbed wire fence. He sings along with the voice over.)

Stevens' voice, along with female back-up singers (sings): Come to the USA.

(Scene returns to the tiny office where it started, with Bureaucrat Stevens in red-checked shirt, glasses and pork pie hat on the telephone.)

Stevens (speaks): This has been a public service message sponsored by (inaudible). . .

(The scene returns to blue-blazered Stevens in front of the Statue of Liberty. He has Bureaucrat Stevens on his cell phone. He nods ruefully as Bureaucrat Stevens finishes speaking.)

Bureaucrat Stevens continues speaking: . . . dedicated to the col-lapse of the American way of life. Uh, ha, ha, ha - yeah.

(The scene returns to the three cheesy "immigrant" Stevens' in front of the 'ARIZONA' sign. They sing along in wordless syllables as the song ends, looking pretty pleased with themselves. Fake-Cuban Stevens waggles his cigar, while Fake-Mexican Stevens lifts his shoulders and turns out his hands in a shrug, ending by slapping his hands together in apparent delight.

The final screen is black, with these words in white lettering: This Video and Song are dedicated to the hard-working American citizens who were born in other countries and chose to "Come to the U.S.A." the right way!

www.RayStevens.com

[end transcript]

What isn't wrong with this piece of garbage? Starting where it ends, with that smarmy dedication to American citizens born elsewhere, which is nothing more than a lazy attempt to produce a "get out of racism free" card.

Stevens allows that immigrants who came here "the right way" are hard-working. Yet he's sure that those desperate enough to risk life and liberty coming here "the wrong way" to have their labor* exploited for long hours, low pay, and no benefits, by employers who manipulate them with the threat of deportation, have only showed up with their hands out for all that free cash (and cable TV!) that the government is handing out to those lazy bums. This despite the fact that most of the benefits mentioned in the song are not available to undocumented immigrants.

Stevens also informs us that undocumented immigrant women who are sex workers have entered into that work because that's just the kind of work they want to do, and further that "we" will set them up in comfortable homes from which to conduct this business. The facts, of course, are otherwise.

And while it's true that entering either Iran or North Korea illegally is ill-advised, I can think of no reason why we in the U.S. should want to emulate either of those countries in our treatment of either citizens or immigrants. The suggestion that being undocumented in Mexico might bring you before a firing squad is simply bizarre.

Mexico has no death penalty. Their civilian court system hasn't executed anyone in over seventy years. Conservatives like to charge that laws against being in the country illegally are stronger in Mexico than in the U.S, but Mexico decriminalized illegal entry several years ago. It's still illegal, but the penalties are minor.

What is even more disturbing to me than the existence of this song and video is the fact that someone who writes for the Times thinks it appropriate to promote this dishonest, inflammatory piece of rubbish. We all know the line, of course. It's satire. No, it isn't. Satire punctures the pretensions of the powerful; it mocks their depredations. It does not invent depredations by the powerless.

Say it with me now: "It's only a gag." "But it's fun-nee." Humor is subjective. What is objectively true is that this song and video perpetuate a series of lies about undocumented immigrants which foment and exploit resentment against them.

It is also objectively true that that resentment, on occasion, erupts in violence against someone perceived to be an undocumented immigrant - or just an immigrant, Mr. Stevens pious disclaimer notwithstanding. People who write for the New York Times should know that.

Comments on the Times promotion of this drek can be left on the page where it is posted. Email, fax and snail mail info for letters to the editor is here.

*This link is to a page at the UFW.org website where individual farm workers talk about their working conditions. I have no reason to believe that any of the workers featured there are undocumented. I linked to that page as an illustration of the kinds of work and working conditions which many undocumented workers endure, because on that page workers are telling their own experiences in their own words.