By Jim Kuhnhenn
WASHINGTON (AP) --Presidential contenders Barack Obama and John McCain plan to pull ads on Sept. 11 that criticize each other, a respite from the political fray to honor the anniversary of the 2001 terrorist attacks.
The campaigns made their decision known on the same day that a group backing community service on that day called on the candidates to refrain from partisan campaigning. The group, MyGoodDeed.org, wants Sept. 11 to become a national day of voluntary service and asked that Obama and McCain perform acts of community service instead.
McCain spokesman Brian Rogers said McCain did not plan to advertise at all on the anniversary. “Nine-eleven is not a day for politics,” Rogers said.
The Obama campaign said it plans to stop airing anti-McCain commercials on Sept. 11.
“We hope Sept. 11th is a day when Americans come together and reaffirm our resolve to address the common challenges we face together,” Obama spokesman Hari Sevugan said.
Both campaigns have been running tough ads against each other, with negative commercials outnumbering their positive spots.
MyGoodDeed.org is also among a number of organizations and families of Sept. 11 victims who plan to hold a ServiceNation Summit on Sept. 11-12 in New York. Sponsors invited Obama and McCain to attend a presidential candidates forum on Sept. 11.
McCain has agreed to appear. Obama’s campaign said it is talking with event sponsors about the possibility of an appearance.
In a letter to both candidates Tuesday, MyGoodDeed.org founders David Paine and Jay Winuk noted that the country seemed to forget partisan differences in the days after the attacks and were unified by a sense of compassion. The group planned to announce their appeal to the candidates on Wednesday. The campaigns revealed their intentions when contacted by The Associated Press.
“We ask you to help us rekindle that sense of unity by suspending your campaign activity on 9/11, and engaging in your own personal expression of charitable service in honor of those who perished and those who rose in service to help rebuild our nation,” Paine and Winuk wrote to the candidates.
Paine, the president of the group, runs a marketing firm in California. Winuk’s brother, Glenn Winuk, was a lawyer and volunteer firefighter who died after rushing to the World Trade Center to assist victims.
In an interview, Paine said: “We didn’t feel that it was appropriate for those individuals who want to lead our country to engage in divisive political activity on 9/11. Nine-eleven needs to be a day that is forever preserved as a day of unity and day of remembrance and day of compassion when we put aside our differences and we think about how we can help others in need.”
Review: Malcolm Washington Makes His Feature Directing Debut With “The Piano Lesson”
An heirloom piano takes on immense significance for one family in 1936 Pittsburgh in August Wilson's "The Piano Lesson." Generational ties also permeate the film adaptation, in which Malcolm Washington follows in his father Denzel Washington's footsteps in helping to bring the entirety of The Pittsburgh Cycle — a series of 10 plays — to the screen.
Malcolm Washington did not start from scratch in his accomplished feature filmmaking debut. He enlisted much of the cast from the recent Broadway revival with Samuel L. Jackson (Doaker Charles), his brother, John David Washington (Boy Willie), Ray Fisher (Lymon) and Michael Potts (Whining Boy). Berniece, played by Danielle Brooks in the play, is now beautifully portrayed by Danielle Deadwyler. With such rich material and a cast for whom it's second nature, it would be hard, one imagines, to go wrong. Jackson's own history with the play goes back to its original run in 1987 when he was Boy Willie.
It's not the simplest thing to make a play feel cinematic, but Malcolm Washington was up to the task. His film opens up the world of the Charles family beyond the living room. In fact, this adaptation, which Washington co-wrote with "Mudbound" screenwriter Virgil Williams, goes beyond Wilson's text and shows us the past and the origins of the intricately engraved piano that's central to all the fuss. It even opens on a big, action-filled set piece in 1911, during which the piano is stolen from a white family's home. Another fleshes out Doaker's monologue in which he explains to the uninitiated, Fisher's Lymon, and the audience, the tortured history of the thing. While it might have been nice to keep the camera on Jackson, such a great, grounding presence throughout, the good news is that he really makes... Read More