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BOGAEV: Well, a call to be open about and to challenge our assumptions, that is such a wonderful place to end. Thank you so much. It’s been wonderful talking with both of you. SMITH: Whereas I see the play as making a point for a modern audience about raising the question about, “How can we tell stories?” Shakespeare himself puts it in a racialized context. That is, he says, how can we, now, as modern day audiences, how can we tell Othello’s story when Othello himself is very anxious about how that story’s going to be told? When I talk about Othello essentially saying, Well, who’s going to tell my story? I think the sort of meta dimension of that is about us as audiences and critics. How do we tell that story? IAN SMITH: It was actually a seminar. So, there are a group of us participating in the conversation, and somebody asserted, several times actually, that Othello is not about race. My sense is that, he felt that this statement was supposed to be a corrective of some kind. And, so… And I said, “Oh, you’re not comfortable talking about race in a mixed environment, are you?” And I saw 60 heads nod in unison. And I said, “Okay, listen. You’ve been talking about rape. You’ve been talking about violence, you know, killing people in ‘Beowulf.’ You’ve been talking about a lot of hot button issues. We can get through this together, if you’re willing to, you know, be willing to say something, and be willing to make a mistake, and we can learn from that together. But, we’re not going to learn anything, if you’re going to sit there silently.” And finally, they started opening up. “I think this is a racist play.” And, “I love Shakespeare, but this seems racist to me.” You know, like, they were all over the map with their very emotive reactions to Othello. And, in a real sense, in that kind of discussion, when somebody makes that kind of declaration, there’s an attempt to coopt the conversation, there’s an attempt to control the conversation, and there’s an attempt to silence those who would want to produce a sort of progressive argument about race and similar topics. And so, that is why I then referred to Adrienne Rich, where it is about a sort of view then, that would rather perpetuate the idea that we live in a world in which we think or we imagine or we speak as if whiteness is the totality of experience and knowledge.

This podcast, “Teach Him How To Tell My Story,” was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster and Esther Ferington. We had help from Tobey Shreiner at WAMU-FM in Washington, DC, Neil Hever at radio station WDIY in Bethlehem, Pennsylvania, and Jeff Peters at Marketplace in Los Angeles. Eddie witnesses Chrissy Cunningham's death and is the last person to see her alive, so it makes sense why he becomes a wanted man. Granted, those outside the core group aren't aware of the terrors that reside under Hawkins. Chrissy's boyfriend, Jason, leads the charge to find "Eddie the Freak," believing his connection to Dungeons & Dragons is the cause of the deaths in town. With the help of Dustin, Steve, and the others, Eddie stays hidden until he officially joins the group in investigating Vecna. Kallen, Jeffrey L. (27 November 2013). Irish English Volume 2: The Republic of Ireland. Walter de Gruyter. ISBN 9781614511298– via Google Books. Metro.co.uk appreciates that the cost of living has impacted everyone and money may be tight, but if you are able to make a donation and help change someone’s life both here and in Ukraine, you can do so here. But I wonder if it it really works, or if the baggage that Shakespeare’s name brings with it, which is almost always positive… It’s hard to think of any negative baggage that comes along with Shakespeare’s name in our cultural climate. But I wonder if that kind of force of the positivity of his reputation gets in the way of having real, productive conversations about race. Ian, I’m curious what you think about that.

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SMITH: I think that’s quite right. And also, what it implies, therefore, is, as you just said, that Shakespeare’s name comes with this sort of, very positive sort of valence. What that also then underscores, is that for some people to attach race to Shakespeare makes race something negative. That, by definition, race is something that’s going to somehow dirty or muddy the Shakespeare waters. When, race per se is not something dirty or negative. Race is about a study of relationships, about how people interact with each other. That’s what race is about, fundamentally. BARBARA BOGAEV: Ian, I’d like to start with a story that you tell about the time you were on a panel at a Shakespeare conference and it was about Othello, and one of your fellow panelists kept insisting that Othello is not about race. So, tell us about that and your reaction to that.

BOGAEV: Ayanna, jump in here. Is this your experience as well of Shakespeare in academia or in circles where you’re talking about Othello? Networks, Hornet (2022-02-11). "We're Loving the Push to Revive the Hanky Code for a New Queer Population". Hornet . Retrieved 2022-02-18. While we celebrate 50 years of Pride this year, Metro.co.uk is shining a light on two charities that offer life saving support to the LGBTQ+ community - and asking readers to please donate whatever you can to help them both continue to help others. THOMPSON: Well, I think Ian lays it out perfectly, right. I think, our fantasy is that when someone writes a first-person travelogue, that what we’re getting is an actual representation of truth. But, in fact, no. What you get is a kind of recycling of older narratives that you already have in your head, and you’re kind of placing them onto the new environment that you’re experiencing. And I think that plays out in the plays in really fascinating ways. And, especially, in the ways that Shakespeare, I think, tries to shake up certain audience expectations regarding race and then, kind of, fulfills them over and over again, in many different ways.

That is, he now recognizes everything that has gone wrong and he says essentially, I want someone to tell my story. But he makes it very clear that he wants that story to be told in a just, fair way. And so we ask ourselves, why does he pause to make that kind of distinction? And then, for me, it became clear, especially if you put this play side-by-side with Hamlet. Hamlet’s dying. He has a friend, Horatio, and, he says, tell my story when I die, and Horatio in that play is the just man. And he knows that he’ll have someone to tell his story; Othello doesn’t. Jordan, Hugh (14 October 2011). Milestones in Murder: Defining Moments in Ulster's Terror War. Random House. ISBN 9781780573748– via Google Books. MICHAEL WITMORE: From the Folger Shakespeare Library, this is Shakespeare Unlimited. I’m Michael Witmore, the Folger’s director. This podcast is called “Teach Him How To Tell My Story.” a b Filice, Eric; Raffoul, Amanda; Meyer, Samantha B.; Neiterman, Elena (2019-07-05). "The Impact of Social Media on Body Image Perceptions and Bodily Practices among Gay, Bisexual, and Other Men Who Have Sex with Men: A Critical Review of the Literature and Extension of Theory". Sex Roles. 82 (7–8): 387–410. doi: 10.1007/s11199-019-01063-7. ISSN 1573-2762. S2CID 198629523.

SMITH: Yes, that actually is a quote from Adrienne Rich. And, not just the person’s view on talking about Othello in this way, but also the experience of others in that room for whom that kind of approach to talking about race has a definite impact. That is to say, when somebody sits or stands in a room and makes that sort of declaration, there are intended consequences. Some of us in the room are quite unsettled by that sort of statement, right? A writer, Tim Wise, talks about white privilege and power, and to quote him, he says, “That which keeps people of color off balance in a racist society is that which keeps whites in control.”Also known as flagging, the handkerchief code involves wearing a hankie or bandana in a specific colour to nonverbally communicate. SMITH: Well, some time ago, I was… You know, I’ve been always taught about the white handkerchief in Othello. You know, Ayanna will tell you, that’s sort of standard thinking on the play. But it never really sort of sat with me completely. And so, a couple years ago, I was thinking more about this, and it occurred to me as I was reading the text, that what we found there actually was a reference in the play where Shakespeare sort of makes it clear, at least to me, that… He speaks about the handkerchief “dyed in mummy.” It initially came about because of the shortage of women in the area at the time. At square dances, some men would wear a blue bandana to show they’d take the ‘male’ leading role, while others would wear red to signify they’d follow. BOGAEV: Right, and we’re going to talk more about historic accuracy in a moment. But, you were making a really interesting argument on that panel. And if I could paraphrase it, I think what you were arguing was that the only world in which Othello is not about race is in a white privileged world. And the way that you put it, is a world where people “think, imagine, and [can] speak as if whiteness described the world.” The question for me, really, is whether Shakespeare, the cultural weight of Shakespeare’s fame, gets in the way of talking about race in a productive fashion. And I think this is something that’s been hard to have a real conversation about with other Shakespeareans and with practitioners, with actors and directors, because they all want to make it very relevant and make it meaningful for their audiences, whether your audience is a student, a fellow scholar, or, you know, actual theater audiences.

The hanky code has recently undergone a revival and while the use of handkerchiefs may not be as prevalent, the hanky colours are a common consideration in the choice of leather and fetish gear colour. [9] It should not, however, always be assumed this is the case and is best used as a conversation starter rather than a certain indication of sexual preferences. The modern hanky code is often reported to have started in New York City around 1970, when a journalist for the Village Voice joked that instead of simply wearing a set of keys on one side or the other (then a common code to indicate whether someone was a "top" or a "bottom"), it would be more efficient to subtly announce their particular sexual focus by wearing different colored handkerchiefs. [3] [4] [5] Other sources attribute the expansion of the original red–blue system into today's code to marketing efforts around 1971 by The Trading Post, a San Francisco department store for erotic merchandise, promoting handkerchiefs by printing cards listing the meanings of various colors. [6] In the film Cruising, Detective Steve Burns ( Al Pacino) goes into a store and has the handkerchief code explained to him by a hanky salesman ( Powers Boothe). Glymond, Joanne. "Judicial robes belonging to The Right Honorable Turlough O'Donnell Q.C." www.newry.ie.

And at the end of the semester, they ranked their favorite texts that we had read in this survey class and Othello came out on top. And I think it was because they were hungry to have a forum in which they could talk about race openly. But they didn’t know how to do it, without someone saying it’s okay. With the advent of the internet, people were better able to connect and explore, express and discover new or existing fetishes.The hanky code expanded to encompass these fetishes, communicating interests through new colors and even new fabrics, such as leather or lace. The color system has also expanded beyond hankies to other accessories. It is not uncommon to have harnesses, singlets, or leather articles in a color derived from the hanky code to indicate a desirable fetish or sexual interest. Sociological Aspect