Smiley, Tavis. "Melvin Van Peebles". Tavis Smiley. PBS. 27 May 2004. .

After some bantering where Melvin reveals he is actually “Sir Melvin” (“brother from the south side of Chicago has been knighted”), Tavis Smiley begins the interview with Melvin Van Peebles and his son Mario. Tavis asks Mario what it was like growing up in the shadow of his father, who responds saying that Melvin “never though being successful would make him forget his blackness…who he is.” They discuss Melvin growing up in an institution/industry where he is “mad at the system but not mad at the people.” Sweet Sweetback's Baadasssss Song was therefore an indictment of the system but not necessarily everyone who functions within that system. Melvin acknowledges that all the film unions were all-white and he sought to make a film that utilizes people of all races in spite of the singular racial perspective portrayed in Sweetback. Next they talk about Mario’s film New Jack City (1991) and Mario confides that since the studio heads are all white, it’s tough to pitch a movie with complex non-white characters. More often than not, studio heads use black characters in simple way (i.e. comic relief or subservience). Thus, most of the Van Peebles’ films are done by racially mixed crews and funded by black producers. They move on to Mario losing his virginity on screen in Sweetback’s beginning at 13 years old, which Mario says was a great experience (he kept asking for retakes). The conversation continues about the paternal link between Melvin, Mario, and now Mario’s kids in his recent biopic of his father, Baadasssss (2003). After discussing how they make due with limited resources and time (Sweetback was shot in 19 days “without technology), they finish by talking about how to promote a controversial movie nobody wants to advertise.

This interview was very interesting to read because it shed light not only on some of the feelings behind the controversial production of Sweet Sweetback’s Baadasssss Song, but also illustrated the father-son relationship between Melvin and Mario Van Peebles. Sweetback is a film that is meant to affect the younger generation, instilling them with a sense of pride and refusal to tolerate intolerance. As this interview demonstrates, Melvin instilled his son with a sense of purpose and duty, not only to his family and race, but to under-privileged, under-utilized film crews as well. Although the character of Sweetback ultimately becomes a loner, it was the production of that film that brought people together in order to challenge society and the Hollywood system with new, provocative images and stories.  As Melvin said, it was the system, not the people, that needed to be directly confronted.

Michael Cornfield's Commentary summarizes the ways in which the internet has become an essential medium of American politics. Cornfield outlines five major innovations of the Howard Dean (Joe Trippi, manager) 2004 campaign: news-pegged fundraising appeals, net-organized local gatherings, blogging, online referenda, decentralized decision-making. Cornfield examines the different Deanian techniques that Kerry and Bush utilized in their campaigns - Kerry focused more on fund-raising while Bush concentrated on grass-roots mobilization. Cornfield ultimately concludes that the Democrats started too late and were not effectively organized.

In an effort to analyze the techniques utilized by the emerging 2008 candidates, this article is useful for historicizing Internet politicking. One of the most interesting comments is Cornfield's re-imagining the concept of an "activist" - who might soon include "people who do little more than what ten minutes a month at their computers enable them to do." Although Moveon.org got 500,000 people to sign the petition against impeaching President Clinton, the House ultimately voted for impeachment. The organization's real power seems to have come from fund-raising for candidates. Is online activism now (say online petitions or virtual marches) as effective (in terms of real-world effects in policy, etc.) as live-action grassroots efforts - or could it be in the future?

This article (as its title indicates) is focused on the internet aspect of the 2004 campaign and does not offer a well-rounded examination of other campaign factors.