Categories
Politics

Justin Fairfax Accuses Terry McAuliffe of Treating Him Like Emmett Until

Terry McAuliffe, the leading candidate in this year’s Democratic primary for governor of Virginia, faced a series of attacks from his rivals during a debate Tuesday night to reduce his broad support from black voters. On the most extraordinary broadside, State Governor Justin Fairfax accused Mr McAuliffe of treating him like George Floyd or Emmett Till after Mr Fairfax was charged with sexual assault by two women in 2019.

Mr McAuliffe, a white former governor of the state who is backed by many of the state’s top black elected officials, publicly called for Mr Fairfax to step down earlier this year.

Mr Fairfax’s statements on Tuesday comparing himself to two blacks killed in episodes of white violence were the clearest attempt by any of the three black contestants in the race to racially distinguish themselves from Mr McAuliffe. Who wants to reclaim the office they held from 2014 to 2018?

The charge came at the end of the debate, the first for the five Virginia Democrats running for governor. In response to a question asking candidates to imagine the future of law enforcement in Virginia, Fairfax said theoretical descriptions are unnecessary as he is a living embodiment of the harm that false accusations and a rush for judgment can cause.

“Everyone on this stage called for my immediate resignation, including Terry McAuliffe three minutes after a press release was issued,” said Fairfax. “He treated me like George Floyd, he treated me like Emmett Till, no due process, took my guilt immediately. I have a son and I have a daughter and I don’t want my daughter to be attacked, I don’t want my son to be falsely accused. And this is the real world that we live in. Therefore, we need to tell the truth to power and understand how it will affect people’s lives. “

Mr McAuliffe did not reply to Mr Fairfax at the debate stage. His spokesman declined to respond to the comments.

In February 2019, two women accused Mr. Fairfax of sexually assaulting them in different episodes – allegations that Mr. Fairfax had always denied. Mr Fairfax faced a flurry of demands for his resignation. Weeks later, in a speech on the Virginia Senate floor, he compared himself to lynch victims.

Mr Fairfax wasn’t the only candidate Tuesday night trying to separate black voters from Mr McAuliffe. The race’s sparse public poll has shown that Mr McAuliffe has sizeable advantages over his four opponents, and no poll has shown he has less than a two-to-one advantage over his closest rival.

Jennifer McClellan, a senator running for governor, accused Mr. McAuliffe of underfunding the state’s probation system, cutting contracts with the National Rifle Association during his tenure as governor and late campaigning for racial justice.

“Racial justice is more than just criminal justice reform,” said Ms. McClellan, who is black. “It’s embedded in every system we have in government, and I didn’t need George Floyd’s murder or the Unite the Right rally to teach me that.”

During his speech, Mr McAuliffe highlighted his relationships with Mr Northam and President Biden, two Democrats who both owe their offices to strong relationships with and support from black voters. He highlighted his move to restore the voting rights of 206,000 offenders in the state, saying every police officer in the state should wear a body camera “so we can see what’s going on.”

“Thank goodness we had all of these people there who had these cell phones when George Floyd was murdered,” he said.

Mr McAuliffe made little mention of his rivals during the debate, except to remind the audience that Ms. McClellan was a more frequent partner of his when he was governor. But at the end of the debate, Mr Fairfax tried to define himself as the talkative former governor’s main competitor.

“There seem to be two rules up here, one where the governor can speak for as long as he wants and do what he wants and one for everyone else,” Fairfax said. “I think that’s part of the problem that we have so many differences in our society.”

Categories
Entertainment

Justin Bieber, Nonetheless Searching for a Sound

It is with some awkwardness – confusion? – that I have to tell you that the first voice you hear on Justin Bieber’s new album, Justice, is that of Martin Luther King Jr., “Injustice everywhere is a threat to justice everywhere.” King returns midway through Album back, in an interlude in which a speech is sampled about that a life without conviction and passion is no life at all, which is absolutely true.

King’s calls to action are undeniably powerful – they should be widely heard. And yet they do not feel anchored in the framework for an album by the 27-year-old pop star: a grand gesture in search of an equally ambitious commitment – political, spiritual, emotional, even musical – to strengthen it.

It just draws attention to the lingering underlying conundrum with all things Bieber has, namely that, despite some indelible hits, his fame far surpasses his catalog and that he has kept it – in an open or reluctant, destructive or self-protecting manner – throughout his career. never has rested in one place for very long and never tried to stand up for its own particularity.

Because of this, his last album, Changes, was one of his most successful, full of mid-range R&B that goes well with his slightly silky voice. It wasn’t a runaway triumph, but it was coherent and comforting, and most importantly, baggage-free. It was also a reminder that Justin Bieber, the musician and performer, may not be actively interested or particularly well-suited to the song scale that is usually prescribed for someone as popular as Justin Bieber the celebrity.

However, the disorganized, sporadically strong “justice” feels like a slap on the wrist for “change” or the version of Bieber that nursed it. Instead of settling for one groove, this album oscillates between several: quasi New Wave, Christian pop, acoustic soul and much more. Bieber’s sixth studio album, Justice, is filled with songs that feel like production practice, lightly splattered with eau de bieber, the musical equivalent of merchandise.

A variety of guest functions offer the opportunity to try out different appearances with varying degrees of success. The production of “Love You Different” with dancehall rapper Beam nods weakly to the Caribbean, but nowhere near as effective as Bieber’s 2015 smash “Sorry”. Nigerian star Burna Boy appears on “Loved by You”, but Bieber doesn’t match his guest’s casual gravitas.

“Die for You” is perhaps the most ambitious stylistic collision here. A fast-paced, synthetic duet with aspiring pop slacker Dominic Fike that dates back to the mid-1980s, but Bieber isn’t the kind of power singer who can beat the extravagance of the production. The same goes for “Unstable” with Kid Laroi, the Australian singer-rapper who knows his way around Juice with a WRLD whine – Bieber sings seriously and clearly while his partner bows in fear.

By far the most successful of the collaborations is “Peaches,” a sun-drenched and seductive R&B number starring up and coming stars Daniel Caesar and Giveon, which Bieber finds most vocally (although he was in even better shape when he debuted this song solo the Tiny Desk Concert from NPR.

More often, however, “Justice” tries to force Bieber a big-tent-pop – the John Hughes movie chords on “Hold On” or the runway walk-bop on “Somebody”. In places like “Ghost” these impulses are at least soured with the acoustic guitar, and the shift in his singing is remarkable – he switches from the accented piece to the main character.

Lyrically, “Justice” focuses on songs about triumphing over unfortunate behavior, about preaching devotion to a more powerful being – a woman, a God – who has not left you in a time of need. “You prayed for me when I was by faith / You believed in me when no one else did / It’s a miracle you didn’t run away,” he sings pointedly, “As I am”.

At the end of the album is “Lonely”, the moving piano ballad that he released last October and that felt like the cleanest break with his former self that he had ever hired for a song. These songs are Bieber at its most self-referential, least crowded, and also at its strongest – they end a steady, intimate feeling that runs through an album that does anything to distract from it.

Justin Bieber
“Justice”
(Def Jam)