February 12, 2012
Death penalty case puts racism on trial in North Carolina

Gregory Week's courtroom
Photo: Judge Gregory Weeks presides over the hearing in North Carolina’s Cumberland County

    In North Carolina, the Racial Justice Act seeks to remedy years of inequity on death row. But can racism be regulated?

    In 1991, 18-year-old Marcus Reymond Robinson and a friend convinced Erik Tornblom, 17, to give them a ride home from a gas station.

    Robinson and his friend then pulled a gun on Tornblom, forced him to drive to a field, took his car and his money and shot him in the head.

    A jury later convicted Robinson, who is black, of pulling the trigger on Tornblom, who was white. The prosecution presented evidence that Robinson said he wanted to kill a “whitey”.

    He was sentenced to death and scheduled to be executed in 2007. But like many death row convicts, he has survived past that date, and continues to appeal his sentence.

    Last week, he appeared in a North Carolina courtroom as the first death row inmate to present evidence under North Carolina’s Racial Justice Act (RJA), a controversial law designed to compensate for bias in the judicial system.

    He and his legal team are hoping the new law will offer him relief in the form of life in prison without parole.

    In the process, they’re putting racism itself on trial.

    ‘Wild disparities’

    Critics of the death penalty have long argued that it is applied in an uneven and unjust fashion.

    “Currently, only about 1% of the people who are accused of intentional murder are receiving the death penalty. There are wild disparities,” says Malcolm Hunter, one of Robinson’s lawyers and executive director of the Center for Death Penalty Litigation.

    Marcus Robinson
    Photo: Marcus Robinson was found guilty of killing Erik Tornblom

    “I could show you the summaries of 50 cases any year in North Carolina and say ‘I want to pick out the two or three that get the death penalty’, and you’d never be able to do it.”

    series of studies over the past 30 years show that race is often a significant factor in who gets the death penalty: that black convicts are more likely to receive the death penalty than white ones, that white victims are more likely to result in a death sentence than black ones.

    For Shirley Burns, the mother of Robinson, the idea of sentencing bias isn’t just an academic exercise. Her other son, Curtis, was killed in 2006.

    His killer wasn’t eligible for the death penalty but could have served life in prison. Thanks to a plea bargain, he is currently serving a 22-year sentence.

    “Punishment for a crime is not wrong, but the way that it is dealt to different people is wrong,” says Ms Burns.

    Though it is currently unconstitutional to seek the death penalty for racially biased reasons, defendants must prove intentional bigotry to make their case.

    That’s a difficult order, says Frank Baumgartner, a professor of political science at the University of North Carolina.

    “You would have to get someone to say I did this on purpose, and I did this for the reason of racial bigotry,” he says. “It’s almost never done.”

    But by looking at several cases over time, broader patterns of systemic bias emerge.

    Excerpts from Racial Justice Act

    The defendant has the burden of proving that race was a significant factor in decisions to seek or impose the sentence of death in the county, the prosecutorial district, the judicial division, or the State at the time the death sentence was sought or imposed. The State may offer evidence in rebuttal of the claims or evidence of the defendant, including statistical evidence.

    In the 1987 Supreme Court case McClesky v Kemp, justices weighed whether these statistical patterns could be used to prove bias in a death penalty appeal.

    In a 5-4 decision, the justices decided against the use of this data, noting that the matter was one “best presented to the legislative bodies” who could choose to pass specific laws addressing this concern.

    In 2009, the legislature in North Carolina did just that.

    Data defence

    The Racial Justice Act (RJA) allows death penalty prisoners to use statistical patterns of injustice, not just the facts of an individual case, to prove bias.

    similar but weaker law exists in Kentucky, and has yet to be put to use.

    Under North Carolina’s RJA, Defendants are eligible for a life sentence without parole if they can show that they were more likely to receive the death penalty because of their race or the race of their victims.

    They can also, as in the case of Marcus Robinson, try to prove racial bias in how the state used their “peremptory challenges” during jury selection.

    These challenges allow lawyers for both the prosecution and the defence to strike a certain amount of potential jurors without cause, as long as in doing so they adhere to federal laws against discrimination.

    Barbara O’Brien, a law professor from Michigan State University, studied the role of race in peremptory jury strikes in North Carolina from 1990 to 2010.

    Shirley Burns
    Photo: Shirley Burns says her son’s first trial was biased

    At Robinson’s RJA hearing, she testified that, on average, North Carolina prosecutors in death penalty cases excluded qualified black jurors at more than twice the rate of qualified non-black jurors.

    For Marcus Robinson’s jury pool, qualified blacks were rejected 3.5 times more.

    “Being black does predict whether or not the state will strike the potential juror, even when controlling for these other variables,” she said.

    The final jury seated in Robinson’s case had nine white members, two black, and one Native American. The rate of black members on the jury, 18%, was not much different to that of North Carolina’s black population,about 21%.

    But under the RJA, the final makeup of the jury is not at issue. Instead, it’s what role the state played to get to that point.

    “Absent of other things, naturally the prosecution will want less blacks, defence will want more. The question is whether we should allow the prosecution to bleach juries,” says Mr Baumgartner.

    “Should the state, on our behalf, engage in a racially discriminatory pattern of behaviour?”

    Colour blind justice?

    For the family of Erik Tornblom questions about systemic bias and judicial fairness seem far removed from the death of their son. He is not a statistic, they say, and neither is his killer.

    Racial Justice Act timeline

    • 1987 Supreme Court decision McCleskey v Kemp says that under current law statistics cannot be used to prove bias in individual cases
    • 2006 Legal challenges temporarily halt executions in North Carolina
    • 2009 The North Carolina Senate passes the Racial Justice Act. Opponents include district attorneys and conservative lawmakers.
    • 2011 Amid continued opposition to the RJA, the Senate passes a new version of the bill, which eliminates the use of statistics. It’s later vetoed by the governor
    • 2012 As of January, all but a handful of North Carolina’s 158 death row inmates have filed a claim under the RJA

    “What do people in Michigan have to do with us in North Carolina?” Patricia Tornblom, Erik’s stepmother, asked after the first day in court. The family wore buttons that read “Justice is color blind”.

    To them, the only racial bias that matters should be the one that Robinson displayed when seeking out a white victim.

    The prosecution cannot make this argument. They cannot provide details of the murder and argue that the death penalty was well deserved. They can only present their own statistics expert, as well as evidence from the judge and prosecutor in Robinson’s original trial.

    Both men maintain that race was not a factor in the state’s jury selection process. More judges are expected to testify to similar effect.

    But the Racial Justice Act fundamentally redefines the way the judicial system views racism. For years, the courts only saw racism as a deliberate act, done with malice.

    The RJA says that racism has more to do with subtle shifts and built-in prejudices that permeate what should be a fair process.

    “People can be motivated by race without even realising it,” said defence attorney James Ferguson in his opening arguments. Later, he presented expert witnesses testifying to that same claim.

    The hearing is expected to wrap up within the week, after which Judge Greg Weeks will make a ruling.

    His decision as to whether or not Robinson qualifies for a new sentence will help shape the way that the law is interpreted in the future, and will reveal how far-reaching the consequences of the RJA could be for death row inmates, state prosecutors and the people of North Carolina.

    Either way, his decision is expected to face appeals, and to serve as a historic moment in the ongoing debate over how American courts deal with race, justice and death.

    February 11, 2012
    via believermag:

I have always tended to work obsessively on one topic at a time to the exclusion of everything else. I don’t consider this a virtue. For the past 6 months, that topic has been ancient tragedy: its nature, its savage and troubling beauty, its conflict with and superiority to philosophy, and its massive and unacknowledged relevance to the contemporary psychical and political situation. This is why my cultural ingestion has been a little Cyclopean of late, with one or two exceptions, like belatedly watching all five seasons of The Wire for hours at a time over the holidays. Of course, I turned that into a Greek tragedy too. The book I’ve read most in the last months is A Lexicon, Abridged from Liddel and Scott’s Greek-English Lexicon (Clarendon Press, 1980), which I bought in 1983 and which meant I couldn’t afford to go to the pub for two weeks. - Simon Critchley
1. Myth and Tragedy in Ancient Greece, Jean-Pierre Vernant and Pierre Vidal-Naquet: the most brilliant and detailed account of ancient tragedy, which the authors understand as an aesthetic invention, whose subject is not the tragic hero, but the city itself. The tragic hero is a problem, not the solution to any problem. Tragedy is the rendering spectacular of the political situation of the city. 
2. Aristotle on Comedy, Richard Janko: for all you fans of speculative philology out there. Was there a second book to Aristotle’s Poetics? It would appear so. Why was it lost? Was it because it was unseemly for ‘The Philosopher’, as Umberto Eco put it in The Name of the Rose, to be seen to dignify laughter with a theory? We don’t know. But the questions raised are fascinating: if tragic catharsis proceeds through pity and fear, then how might comic catharsis work? In the words of the obscure Byzantine text, Tractatus Coislinianus, comedy ‘has laughter for its mother’. The latter tractate also contains a wonderful discussion of the comic effect of diminutives, where the example given is ‘Socratiddles’.
3. Six Tragedies, Seneca: forget his vapid, Hollywoodized (viz. Gladiator) Stoicism, the imperial self-help dogma of the First Century, his theatre is intensely gruesome and makes Tarantino look tepid. Seneca’s world is dark, paranoid, intense and claustrophobic; a world where forgiveness and redemption are impossible and where monstrous passions consume individuals. ‘What can reason do? Passion, passion rules’, say Phaedra. It’s a lot of fun. It’s a world where blind Tiresias disembowels an Ox and Theseus tries to rebuild his son’s smashed body from its dismembered parts, ‘What can this be, so ugly? I do not know what part it is, but I know it belongs to you’.
4. Grief Lessons, Euripides, trans. Anne Carson. There is an unpleasantness about Euripides and a relentlessness that differentiates him from the other tragedians. Where Aeschylus looks at the story of the House of Atreus and sees a story of familial violence leading through bloodshed to the legitimate political order of Athens, Euripides looks at the same story and sees ‘smeared makeup’. After all her kids have been slaughtered, Hekabe finds out that destiny will transform her into a dog. Imagine an afterlife of dog biscuits.
5. Frames of War, Judith Butler. I share a passion for the moral ambiguity of Greek tragedy with Judith Butler and we are teaching a course together at the New School on the subject. My admiration for her work – its rigor, its honesty, its relentless self-questioning - increases with the years. The frame for tragedy is war and its centre is the experience of grief. The centre of Judith’s book is grief as a political category, of who counts (and who doesn’t) as a grievable population. Whatever we call what happened in North Africa last winter, at its centre is the politics of grief, for example in Benghazi this February, when guns were turned on mourners at a funeral in for people murdered at a protest. 
6. Fanged Nuomena: Collected Writings 1987-2007, Nick Land, eds. Ray Brassier and Robin Mackay.
Nick and I were students together during the wild years at Essex University in the late 1980s. He had the most brilliantly seductive and meteoric mind, endlessly imaginative and capable of adopting, inhabiting and discarding any philosophical position. With Nick - and rightly so - philosophy infected every area of life and sheer vitality of life reverberated in his thinking. I heard some of the texts in this book as talks and many of the others I read in draft. I’m really delighted that they are being published because I see this book as a kind of righteous revenge. Nick was dismissed by professional philosophers because they simply didn’t want to think and preferred their turgid academic complacency. Although Nick and I ended up - for stupid reasons that are best forgotten - as public enemies, I always privately admired him for his unwavering desire to take thought to its absolute limit and then see how much harder one could push. I wish I’d pushed harder.
Read Jill Stauffer’s interview with Critchley from our August 2003 issue

    via believermag:

    I have always tended to work obsessively on one topic at a time to the exclusion of everything else. I don’t consider this a virtue. For the past 6 months, that topic has been ancient tragedy: its nature, its savage and troubling beauty, its conflict with and superiority to philosophy, and its massive and unacknowledged relevance to the contemporary psychical and political situation. This is why my cultural ingestion has been a little Cyclopean of late, with one or two exceptions, like belatedly watching all five seasons of The Wire for hours at a time over the holidays. Of course, I turned that into a Greek tragedy too. The book I’ve read most in the last months is A Lexicon, Abridged from Liddel and Scott’s Greek-English Lexicon (Clarendon Press, 1980), which I bought in 1983 and which meant I couldn’t afford to go to the pub for two weeks. - Simon Critchley

    1. Myth and Tragedy in Ancient Greece, Jean-Pierre Vernant and Pierre Vidal-Naquet: the most brilliant and detailed account of ancient tragedy, which the authors understand as an aesthetic invention, whose subject is not the tragic hero, but the city itself. The tragic hero is a problem, not the solution to any problem. Tragedy is the rendering spectacular of the political situation of the city. 

    2. Aristotle on Comedy, Richard Janko: for all you fans of speculative philology out there. Was there a second book to Aristotle’s Poetics? It would appear so. Why was it lost? Was it because it was unseemly for ‘The Philosopher’, as Umberto Eco put it in The Name of the Rose, to be seen to dignify laughter with a theory? We don’t know. But the questions raised are fascinating: if tragic catharsis proceeds through pity and fear, then how might comic catharsis work? In the words of the obscure Byzantine text, Tractatus Coislinianus, comedy ‘has laughter for its mother’. The latter tractate also contains a wonderful discussion of the comic effect of diminutives, where the example given is ‘Socratiddles’.

    3. Six Tragedies, Seneca: forget his vapid, Hollywoodized (viz. Gladiator) Stoicism, the imperial self-help dogma of the First Century, his theatre is intensely gruesome and makes Tarantino look tepid. Seneca’s world is dark, paranoid, intense and claustrophobic; a world where forgiveness and redemption are impossible and where monstrous passions consume individuals. ‘What can reason do? Passion, passion rules’, say Phaedra. It’s a lot of fun. It’s a world where blind Tiresias disembowels an Ox and Theseus tries to rebuild his son’s smashed body from its dismembered parts, ‘What can this be, so ugly? I do not know what part it is, but I know it belongs to you’.

    4. Grief Lessons, Euripides, trans. Anne Carson. There is an unpleasantness about Euripides and a relentlessness that differentiates him from the other tragedians. Where Aeschylus looks at the story of the House of Atreus and sees a story of familial violence leading through bloodshed to the legitimate political order of Athens, Euripides looks at the same story and sees ‘smeared makeup’. After all her kids have been slaughtered, Hekabe finds out that destiny will transform her into a dog. Imagine an afterlife of dog biscuits.

    5. Frames of War, Judith Butler. I share a passion for the moral ambiguity of Greek tragedy with Judith Butler and we are teaching a course together at the New School on the subject. My admiration for her work – its rigor, its honesty, its relentless self-questioning - increases with the years. The frame for tragedy is war and its centre is the experience of grief. The centre of Judith’s book is grief as a political category, of who counts (and who doesn’t) as a grievable population. Whatever we call what happened in North Africa last winter, at its centre is the politics of grief, for example in Benghazi this February, when guns were turned on mourners at a funeral in for people murdered at a protest. 

    6. Fanged Nuomena: Collected Writings 1987-2007, Nick Land, eds. Ray Brassier and Robin Mackay.

    Nick and I were students together during the wild years at Essex University in the late 1980s. He had the most brilliantly seductive and meteoric mind, endlessly imaginative and capable of adopting, inhabiting and discarding any philosophical position. With Nick - and rightly so - philosophy infected every area of life and sheer vitality of life reverberated in his thinking. I heard some of the texts in this book as talks and many of the others I read in draft. I’m really delighted that they are being published because I see this book as a kind of righteous revenge. Nick was dismissed by professional philosophers because they simply didn’t want to think and preferred their turgid academic complacency. Although Nick and I ended up - for stupid reasons that are best forgotten - as public enemies, I always privately admired him for his unwavering desire to take thought to its absolute limit and then see how much harder one could push. I wish I’d pushed harder.

    Read Jill Stauffer’s interview with Critchley from our August 2003 issue

    February 10, 2012
    Why Lana Del Rey Scares Rock's Boys Club

    by Liz Phair (via The Wall Street Journal)

    Photo: AFP/Getty Images

    Rolling Stone asked me to speak about Lana Del Rey. I wanted to know how big my participation in the piece would be–was it substantial or just a quote? Just a quote, they said, to which I replied that I wasn’t super interested. Which was a lie. I have a lot to say about her, but no sound bites. You see, Lana Del Rey is exactly what I was hoping to inspire when I took on the male rock establishment almost twenty years ago with my debut record, “Exile In Guyville.”

    Let me break it down for you: she’s writing herself into existence. She’s giving herself a part to play because, God knows, no one else will and she wants to matter in this life. As far as I can tell, it’s working. I went straight to iTunes and bought her new release “Born To Die” in toto (how often do I do that??) because it was more than a collection of songs or a performance, it was a phenomenon. Maybe all the more so because she’s not overwhelmingly talented. The minute I hear the whisperings of “how dare she,” I’m interested. I don’t have to like it, it doesn’t have to be worthy.

    Lana Del Rey seems to be bothering everybody because she allegedly “remade” herself from a folk singing, girl-next-door type into an electro-urban kitty cat on the prowl (of course I like her), and they feel she is inauthentic. I would argue that the uncomfortable feelings she elicits are simply the by-product of watching a woman wanting and taking like a man.

    Photo: Getty Images

    I am what is called a sex-positive feminist. Or maybe a radical feminist, or, wait–this one’s cool: an anarcha-feminist! Which is to say that I don’t give a fuck about your labels, I just want to hear the true voices of women self-expressing–smart ones, stupid ones, ugly ones, beautiful ones, good ones, bad ones, fat ones, thin ones, all of it–until the profound silence that has resounded throughout history is filled with a healthy chorus coming from our side of the aisle.

    Can you picture our society, “one nation under The Goddess, indivisible… etc.?” If the president was always a woman and all the senators, judges and key business leaders were all female? Picture being forced to talk endlessly about your feelings and listen and care when what you needed was just to get something done. Doesn’t that sound shitty? Tiresome? Oppressive?

    Yeah, I know the feeling ;) .

    Lana Del Rey really needs to duke it out with M.I.A. and Katy Perry, Lady Gaga and Kim Gordon, The Ting Tings and Tegan and Sara. That’s where she’s relevant. It’s our shit. You wouldn’t understand.

    So how does Liz Phair feel about Lana Del Rey? Well, as a recording artist, I’ve been hated, I’ve been ridiculed, and conversely, hailed as the second coming. All that matters in the end is that I’ve been heard.

    February 9, 2012
    Total Incarceration

    Total Incarceration

    In American prisons scattered across the various countries of the world, but outside the United States, prisoners are regularly raped, hung from hooks, subjected to waterboarding, burned, attached to electrodes, deprived of food, water or medicine, attacked by dogs, or beaten until their bones are broken. When on American military bases or on American territory, they are subjected to sensory deprivation or other systematic mistreatment of the senses. A hat is put on them to stop them from hearing anything, a hood to stop them seeing anything, surgical masks to prevent them being able to smell, thick gloves to neutralize their sense of touch. Or they have “white noise” inflicted on them, or else violent noise and total silence alternate at irregular intervals. They are prevented from sleeping, either by having a strong electric light kept on day and night, or by subjecting them to interrogation that can last for up to 24 hours at a time, for 48 days in succession. Or they are forced to pass from extreme cold to extreme heat, and vice versa. None of these techniques, it is alleged, cause the “deterioration of bodily functions” that would constitute torture.

    Tzvetan Todorov, The Fear of Barbarians

    (via Adbusters)

    February 8, 2012

    In December 2011, leaders from around the world gathered at the United Nations Alliance of Civilizations meeting in Doha, a forum meant to encourage dialogue between cultures and people.

    The host nation, Qatar, asked Vangelis, the Greek composer, to create the music for the event, which also marked the inauguration of Doha’s cultural village and Greek-style amphitheatre. The event brought together celebrated artists from around the world and his music was written to formulate a message of hope.

    Vangelis, one of the world’s most celebrated creators of electronic music and the Oscar-winning composer of the music for Blade Runner and Chariots of Fire, came to a Middle East in the midst of upheaval at a time of financial crisis in his own country.

    Al Jazeera’s Tony Harris met the composer to talk about the role of music in our times.

    “What we need today more than anything else is to invest in beauty, because beauty is harmony which comes from chaos. But we invest in chaos, because chaos is much more profitable than peace …. Beauty is a kind of safety vault for people. And music as well. I don’t think music is beautiful today, music is just a way to advertise other things because music is very powerful as a force and then through music we can advertise anything we want …. When music becomes a product … something is wrong about that.

    …To be interested in education, art, science culture, for me this is the key against the crisis today …. The banking crisis is not as important as the culture crisis. So when you deal with culture I think you can manage the rest easier. All the rest, all the misery comes because we don’t have beauty, you know, the quality of life. And quality of life is not money, quality of life is something else.”

    Vangelis

    (via Al Jazeera)