It’s Not a Riot…When it is White Folks

Let’s see, car windows smashed, police vehicles burned, Trader Joe’s and other stores looted… 2 Police injured…

We are talking about an upscale “civil disturbance” here.

The key here is they looted Trader Joe’s…Ostensibly just for a bit of Yerba Matte to clear tear gas sting and re-align their chakras…

At least two officers were injured as demonstrations over police killings turned violent in California overnight, with protesters smashing windows and hurling rocks at cops, according to authorities. Berkeley Police said officers used smoke and tear gas after crowds refused to disperse. What started out as a peaceful protest devolved into chaos when “splinter groups broke off and began hurling bricks, pipe, smoke grenades, and other missiles at officers,” according to Berkeley Police spokeswoman Jennifer Coats. She said six people were arrested in the melee.

She said “numerous officers” were struck and that one officer who was struck with a large sandbag was treated for a dislocated shoulder at a local hospital. Protesters vandalized cars, smashing windows and looting businesses, according to Coats, who said a Trader Joe’s, a Radio Shack and a Wells Fargo Bank were vandalized along with “numerous” police cars. The local police department was reinforced by more than a hundred officers from other local police departments, highway patrol and the county sheriff’s office.

Because 80% of the crowd in upscale Berkeley, Ca was white folks…It could not have been a riot!

 

Dear White People

“Dear White People” is touted as movie satire of the post-Obama era. To be honest, I haven’t seen it yet. Should be interesting….

 

And – “Racism Insurance”

 

Fascinating is this piece in American Prospect. If you follow the link there and look at the comment section – you will find the sort of racism discussed in the movie – here are a few, just from the few hours this one has been up:

“Black people can’t be racist. . .” is the latest argument from The Left.

It is a crap argument (obviously).

Proof? The country elected its first African-American (how i loath that term) President and the Black people embraced this as “pay back time”.
Which, of course, is Racist to the core. And now they are finally learning — you become what you believe to be true about others. (Now THAT truly is “pay back”) :0)

“Six years into his presidency, I am still waiting for my presents.”

Maybe if you have enough pride, integrity, and self respect to not sign up for your *FREE* Obamaphone, they don’t send you one.

The problem is the black community lives under a false pretense that the Democratic Party has it’s best interests at heart. The problem is the system is designed to keep blacks from being educated by unionizing teachers who have poor teaching skills and can’t be fired. The system also provides welfare instead of trade education…Democrat politicians run inner city schools with a mixture of incompetence and corruption, also turning a blind eye to the devastating end result of a social welfare system that breaks down ambition, creates idle time (and you know whose plaything that is) and fosters black on black crime that you are terrified to address, rather focusing on statistically insignificant (in comparison) white on black crime.

Grow up, don’t do hard drugs, finish school, don’t have babies out of wedlock.

You too can have “Privilege.”

After Ferguson, ‘Dear White People’ Arrives Right On Time

Satirizing racial tensions in the so-called post-racial America, Justin Simien’s film, Dear White People, follows the lives of several students at Winchester University, a fictional, mostly-white Ivy League college.  As it explores the topics of racism, white privilege, affirmative action and interracial relationships, the film almost serves as a rebuttal to everything claimed by people who deny that racism and white privilege exists.

At Winchester, students live in dorms fashioned as houses, with Armstrong Parker House being the house where black students have traditionally chosen to live. In the beginning of the film, Samantha White runs for head of house opposite her ex-boyfriend and son of the dean of students, Troy Fairbanks. Samantha wins. When Kurt Fletcher—son of the university president—picks an argument in the Armstrong Parker dining hall using thinly veiled racist comments, Samantha kicks him out, and strains begin to simmer.

Samantha hosts a radio show called Dear White People, using her platform to dole out bits of advice to fellow students. Some of them are funny: “Dear white people, the number of black friends required in order to not be considered racist just been raised to two.” While others point out backhanded bigotry: “Dear white people…dating a black guy just to make your parents mad is a form of racism.” Her radio show is a kind of public service, offering a glimpse of racism from a black person’s point of view.

To some it may seem like because black bus passengers are no longer relegated to the seats in the back and we no longer have separate water fountains, that racism is over. But to blacks, the quips from Samantha White’s radio show represents the myriad ways in which we still encounter racism today.

Inspired by real events, the climax of the movie is a Halloween party thrown by white students. The invitation calls for students to come out and “liberate their inner negro.” The theme? Dress up as a black person. White students don blackface and dance haphazardly to rap music. They pose for pictures contorting their fingers in what they think are gang signs. It’s offensive, but perhaps the most offensive thing is that this part isn’t fictional—several colleges have dealt with white students throwing parties just like this. When black students get wind of the event, they crash it and the racial tension on campus finally boils over.

But the most important moment in the film is when Samantha White, defines racism: “Black people can’t be racist, she says. “Prejudiced, yes, but not racist. Racism describes a systemic advantage based on race. Black people can’t be racists since we don’t stand to benefit from such a system.” The treatment of white rioters and black protesters by the mainstream media is an accurate reflection of this definition.

In the wake of the ongoing protests in Ferguson, Missouri, over the police shooting of Michael Brown, an unarmed black teenager, Dear White People is a cultural assessment that arrived right on time. Look at how Ferguson protesters were labeled as “rioters” and “thugs” while white students who rioted at a pumpkin festival for no apparent reason were simply “unruly” kids. That’s but one of many forms of the systemic privilege the Samantha White character is referencing.

Of course, screenwriter and director Justin Simien didn’t need Ferguson to make Dear White People timely. Systemic white privilege and the language of racism is an American tradition as old as the republic.

One doesn’t need to look any further than the vitriol spewed at President Barack Obama. Conservative pundits never miss a chance to claim that Obama is not a real American (see: white). He’s been called the food-stamp president, the affirmative-action president, and has been accused of giving free stuff to black people. (Six years into his presidency, I am still waiting for my presents.)

Undoubtedly, there will be people who continue to pretend that white privilege is a myth. They will decry the movie as “reverse racism” but Dear White People has a response. “How would you like if someone made a Dear Black People?” asks a white student in one scene. Samantha informs him that there’s no need, because media outlets, like Fox News, have already made it very clear how white America feels about black people.

Dear White People is a fresh take on being black in a white world. While the film leaves a bit to be desired in terms of deeper exploration of the issues at hand, it’s still a must-see—especially for white people.

Ebola And Media Hysteria

About once every year or two, somebody on Faux News says something intelligent. Shep Smith seems to be one of the more frequent commentators over there who actually speaks to reality, instead of fear mongering to the right. The most accurate, intelligent thing said on Faux News about the Ebola scare so far…

You Can See Me Now – In The Movies

Back before digital photography, the Film used in professional level cameras had distinct qualities in terms of color rendition. Certain types of Kodak tended towards blue, others were “warm” – enriching the reds and yellows. This meant if you were shooting anything with blue, the sky for instance – the rendition was spectacular. Browns and greens tended to be “muddy” and tonal quality – the differentiation between something with multiple greens for instance – tended to wash out into a “middling” color instead of the full spectrum. Fuji Film tended towards yellow, and produced really vibrant greens and, to a lesser extent browns…

Ergo – getting film to “see” black folks, or even render the plethora of skin tones was difficult, if not impossible. Getting fine detail was virtually impossible for darker skin tones.

Since similar film formulations were used to make movies – black folks just all came out as the same color – if you could see an detail at all.

‘12 Years a Slave,’ ‘Mother of George,’ and the aesthetic politics of filming black skin

In one of the first scenes of early Oscar favorite “12 Years a Slave,” the film’s protagonist, Solomon Northup, played by Chiwetel Ejiofor , is seen at night, sleeping alongside a fellow enslaved servant. Their faces are barely illuminated against the velvety black background, but the subtle differences in their complexions — his a burnished mahogany, hers bearing a lighter, more yellow cast — are clearly defined.

Mother of George,” which like “12 Years a Slave” opens on Friday, takes place in modern-day Brooklyn, not the candlelit world of 19th-century Louisiana. But, like “12 Years a Slave,” its black stars and supporting players are exquisitely lit, their blue-black skin tones sharply contrasting with the African textiles they wear to create a vibrant tableau of textures and hues.

“Mother of George” and “12 Years a Slave” are just the most recent in a remarkable run of films this year by and about African Americans, films that range in genre from the urban realism of “Fruitvale Station” and light romantic comedy of “Baggage Claim” to the high-gloss historic drama of “Lee Daniels’ The Butler” and the evocatively gritty pot comedy “Newlyweeds.” The diversity of these films isn’t reflected just in their stories and characters, but in the wide range of skin tones they represent, from the deepest ebonies to the creamiest caramels.

The fact that audiences are seeing such a varied, nuanced spectrum of black faces isn’t just a matter of poetics, but politics — and the advent of digital filmmaking. For the first hundred years of cinema, when images were captured on celluloid and processed photochemically, disregard for black skin and its subtle shadings was inscribed in the technology itself, from how film-stock emulsions and light meters were calibrated, to the models used as standards for adjusting color and tone.

That embedded racism extended into the aesthetics of the medium itself, which from its very beginnings was predicated on the denigration and erasure of the black body. As far back as “The Birth of a Nation” — in which white actors wearing blackface depicted Reconstruction-era blacks as wild-eyed rapists and corrupt politicians — the technology and grammar of cinema and photography have been centered on the unspoken assumption that their rightful subjects would be white.

The result was that, if black people were visible at all, their images would often be painfully caricatured (see Hattie McDaniel in “Gone With the Wind”) or otherwise distorted, either ashy and washed-out or featureless points of contrast within the frame. As “12 Years a Slave” director Steve McQueen said in Toronto after the film’s premiere there, “I remember growing up and seeing Sidney Poitier sweating next to Rod Steiger in ‘In the Heat of the Night,’ and obviously [that was because] it’s very hot in the South. But also he was sweating because he had tons of light thrown on him, because the film stock wasn’t sensitive enough for black skin.”

Montré Aza Missouri, an assistant professor in film at Howard University, recalls being told by one of her instructors in London that “if you found yourself in the ‘unfortunate situation’ of shooting on the ‘Dark Continent,’ and if you’re shooting dark-skinned people, then you should rub Vaseline on their skin in order to reflect light. It was never an issue of questioning the technology.” In her classes at Howard, Missouri says, “I talk to my students about the idea that the tools used to make film, the science of it, are not racially neutral.”

Missouri reminds her students that the sensors used in light meters have been calibrated for white skin; rather than resorting to the offensive Vaseline solution, they need to manage the built-in bias of their instruments, in this case opening their cameras’ apertures one or two stops to allow more light through the lens. Filmmakers working with celluloid also need to take into account that most American film stocks weren’t manufactured with a sensitive enough dynamic range to capture a variety of dark skin tones. Even the female models whose images are used as reference points for color balance and tonal density during film processing — commonly called “China Girls” — were, until the mid-1990s, historically white.

In the face of such technological chauvinism, filmmakers have been forced to come up with workarounds, including those lights thrown on Poitier and a variety of gels, scrims and filters. But today, such workarounds have been rendered virtually obsolete by the advent of digital cinematography, which allows filmmakers much more flexibility both in capturing images and manipulating them during post-production.

Cinematographer Anastas Michos recalls filming “Freedomland” with Julianne Moore and Samuel L. Jackson, whose dramatically different complexions presented a challenge when they were in the same shot. “You had Julianne Moore, who has minus pigment in her skin, and Sam, who’s a dark-skinned guy. It was a photographic challenge to bring out the undertones in both of them.”

Michos solved the problem during a phase of post-production called the digital intermediate, during which the film print is digitized, then manipulated and fine-tuned. “You’re now able to isolate specific skin tones in terms of both brightness and color,” says Michos, who also shot “Baggage Claim,” “Jumping the Broom” and “Black Nativity,” due out later this year. “It gives you a little bit more flexibility in terms of how you paint the frame.”

Daniel Patterson, who shot “Newlyweeds” on a digital Red One camera, agrees, noting that on a recent shoot for Spike Lee’s “Da Blood of Jesus,” he was able to photograph black actors of dramatically different skin tones in a nighttime interior scene using just everyday house lamps, thanks to a sophisticated digital camera. “I just changed the wattage of the bulb, used a dimmer, and I didn’t have to use any film lights. That kind of blew me away,” Patterson says. “The camera was able to hold both of them during the scene without any issues.”

The multicultural realities films increasingly reflect go hand in hand with the advent of technology that’s finally able to capture them with accuracy and sensitivity. And on the forefront of this new vanguard is cinematographer and Howard University graduate Bradford Young , the latest in a long line of Howard alums — including Ernest Dickerson, Arthur Jafa and Malik Sayeed — who throughout the 1990s deployed the means of production to bring new forms of lyricism, stylization and depth to filmed images of African Americans….

MSM Coverage of Obama Biased Negatively

News coverage of President Obama is biased towards the negative, explaining why he is having such a difficult time getting his message across, or getting credit for the accomplishments of his Administration. This isn’t the first time this has happened. If you will remember back to the 2000 Presidential Election cycle, the MSM all but crowned Bush President 11 months BEFORE the actual election. The MSM spent a lot of time tossing Bush softball questions and giving him the benefit of the doubt.

They are doing it again, this time in support of a stable of Republican mental midgets and moral degenerates who, under no circumstance could be considered “Presidential material”. It is time to fight back, at least for fair media coverage.

 

Study finds harsh media coverage for Obama

President Obama “has suffered the most unrelentingly negative treatment” of all presidential candidates over the past five months, according to a study released Monday from the Pew Research Center’s Project for Excellence in Journalism.

Pew found that Mr. Obama was the subject of negative assessments nearly four times as often as he was the subject of positive assessments. It found he received “positive” coverage nine percent of the time, “neutral” coverage 57 percent of the time and “negative” coverage 34 percent of the time.

The study, which was conducted using a combination of “traditional media research methods [and] computer algorithms to track the level and tone of coverage,” cuts against the widespread conservative claim that the “liberal media” aides Mr. Obama and other Democrats while attacking Republicans.

Pew says it looked at coverage from more than 11,500 news outlets, including local and national broadcasts, news websites and blogs.

Mr. Obama’s negative coverage could be explained in part by the fact that he is “covered largely as president rather than a candidate,” Pew said – and coverage of him is linked to the struggling economy.

Among the Republican presidential candidates, Pew found that Rick Perry has received the most positive coverage of all the candidates, with 32 percent positive coverage. He was followed by Sarah Palin (31 percent), Michele Bachmann (31 percent), Herman Cain (28 percent) and Mitt Romney (26 percent.) Palin, a vocal critic of the media, ultimately decided not to seek the GOP nomination.

Perry had the best ratio of any candidate, with 32 percent positive coverage to 20 percent negative coverage, a 12 percent net positive ratings in terms of coverage. He was followed by Palin (with 9 percent net positive coverage), Bachmann (8 percent net positive), Cain (5 percent net positive), Ron Paul and Jon Huntsman (both with 4 percent net positive coverage.) Pew found that Cain surged in positive coverage starting in late August – even before he did so in the polls.

The only candidate who received more negative coverage than Mr. Obama was Newt Gingrich, whom Pew found was the subject of negative coverage 35 percent of the time. That can be attrubited in part to his early stumbles, including his criticism of the House GOP Medicare plan and the decision by top staffers to abandom Gingrich’s campaign. While Pew found that Mr. Obama received just nine percent positive coverage, however, Gingrich received 15 percent positive coverage.

The candidates with the worst coverage ratio were Mr. Obama (25 percent net negative coverage), Gingrich (20 percent net negative), Rick Santorum (3 percent net negative) and Mitt Romney (1 percent net negative.)

As Politico’s Keach Hagey notes, Pew found that Mr. Obama had widely positive media coverage during his first 100 days in office, with 42 percent positive coverage and 20 percent negative coverage.

The Not so Sting – At NPR

I watched this video, which is currently making the right wing outrage circuit – and I find it hard to be upset at the NPR executives.

They are telling the truth. The Tea Party is racist. The best thing that could happen is for NPR to be able to get off of the small subsidy provided by the Government. And quite frankly, I see no difference between the Republican Party today, and what the Republicans accuse the Muslim Brotherhood of.  Simply domestic terrorism versus the threat of foreign terrorism.

Indeed,  being a businessman who doesn’t like my time being wasted – I feel that NPR should sue Mr O’Keefe and Veritas for wasting their executives time. NPR is probably too chickenshit to do it – which is the problem in this country. The forces of fairness, progressivism, and any sort of intellectual honesty in this country aren’t smacking these right wing scumbags in the teeth with a 2 x 4 …

Yet. Although Wisconsin is becoming a shining beacon of hope.

Insofar as the Jewish owned or influenced media in this country, that is true. It isn’t an evil thing, or a bad thing – it is a minority which has been very successful at advancing their issues and supporting their ideas relative to Israel. You want to change that view to more pro-Islamic, or pro China, or pro anything – then you have to invest in American Media – whether through training and developing higher caliber news people and reporters, or by buying networks like Faux to propagandize whatever you want to sell as Murdoch did.

It’s one of the reasons Russia TV and Al Jazeera are now more trusted names worldwide than any of the American News media. Our Media is for sale to the highest bidder, often to say whatever they are paid to say, courtesy of Faux.

I think the folks quitting their jobs at NPR is utterly bullshit – and wish they would stand up to this type of sleazy blackmail.

The Sno’ Ho’ Goes Through Withdrawal…

Funny!

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