The theme this week is awesome little black girls!
Battle at Big Rock
Did I say I love dinosaurs, and that I will basically watch any movie with dinosaurs in it (including the cartoon ones)?
I loved this little short because it combines two of my favorite things, smart, little, black girls, and dinosaurs. Why? Because I used to be a smart, little, black girl who loved dinosaurs!
I probably will not be seeing thisi nhte theater, but it looks intriguing, so i’ll definitely stream it later. I don’t rely on movies to tell me my history. I prefer non-fiction for that, but movies are supposed to be a stepping stone to knowledge, not the end.
Dilili In Paris
I think this movie came out last year, but I’m still gonna shill for it, because its exceptionally cute. Its about a smart, little Black princess, who gets into adventures, when she visits Paris for the first time.
I’m looking forward to this movie, but not just because there’s a smart little Black girl in it. I did enjoy the book, which is the sequel to The Shining, and I like really Ewan McGregor.
In the Shadow of the Moon
Okay, here’s another time travel story, from Netflix, where a young woman keeps returning from the dead, in an attempt to save the world.
If Lupita Nyongo’s presence in this movie doesn’t do anything to attract you, then how about Lupita and zombies? How about Lupita, some kids, and some zombies? How about Lupita at Summer Camp, with kids, fighting zombies?
THOMAS BLACKSHEAR II
I just love this man’s art. its so classic, yet so emotional.
After graduating in 1977 from the American Academy of Art in Chicago,
Thomas Blackshear worked for a year for the Hallmark Card Company in Kansas City, Missouri. While there, he met the famous illustrator Mark English and became his apprentice for several months. By 1980, he was working as head illustrator for Godbold/Richter Studio.
He became a freelance illustrator in 1982 and has been self-employed ever since.
Known for his dramatic lighting and sensitivity to mood, Blackshear has produced illustrations for advertising, books, calendars, collectors’ plates, greeting cards, magazines, postage stamps, and national posters. His clients range from Disney Pictures, George Lucas Studios, and Universal Studios to International Wildlife and National Geographic magazines. He has illustrated thirty United States postage stamps and a commemorative stamp book titled I Have a Dream.
Blackshear has also designed and executed illustrations for four collectors’ plate series. He is known for his best-selling Christian prints produced for DaySpring’s MasterpieceCollection. In 1995 he created Ebony Visions, which has been the number-one-selling black figurine collectible in the United States for the past twenty years. He won Artist of the Year in 1999 for that line from the National Association of Limited Edition Dealers and the prestigious International Collectible Artist of the Year Award in 2001. In 2006, Blackshear had a one-man show through the Vatican in Rome. There he unveiled his painting of Pope John Paul II for the twenty-fifth anniversary of the Pope John Paul II Foundation.
Blackshear’s work has appeared in the Society of Illustrators annuals 24, 25, 27, 28, and 30, and in Volume 2 of Outstanding American Illustrators Today. His many awards included Gold and Silver Honors in the 1982 Kansas City Art Directors Club; two Gold Awards and Best of Show in 1986, Best of Show in 1989, and two Gold Awards in the 1990 Illustrators West Shows; a Gold Medal in the 1988 National Society of Illustrators; two Silver Awards in the 1989 San Francisco Society of Illustrators Show; and the Plate of the Year Achievement Award in 1990. His paintings are displayed at the Museum of Biblical Art in Dallas, Texas, and the Booth Western Art Museum in Cartersville, Georgia.
Thomas Blackshear II is represented by Broadmoor Galleries, Colorado Springs, Colorado; and Trailside Galleries, Jackson, Wyoming, and Scottsdale, Arizona.
Scarlett Johansson is at it again, signing up to play a transgender man, Dante Gill, in a movie called Rub and Tug, and directed by the same guy who fucked up the Ghost in the Shell movie. Apparently, these two have not learned one damn thing about appropriating, and/or whitewashing, the stories of marginalized people. Why is this appropriation? Here, have an essay!
When Hollywood insists on casting across gender, it hurts trans people by reinforcing two ideas: First, that trans men are “really” women (and vice versa); and second, that trans people are always visibly trans. The idea that trans people are pretending to be something we’re not is at the root of most of the hatred we’re subjected to, hatred that sometimes leads to violence—
I stumbled across this little post about the toll, that White people calling the police on random Black people, has on the police dispatch workers, who take these calls. I used to wonder what the hell the dispatchers were thinking when they received such calls, and it did indeed skip my mind, that a great many of them are Black, that they receive calls like this all day ,every day, (we only know about the ones that go viral) and they have no choice but to take the calls. She talks about what an emotionally draining job it is to be Black, and taking these types of calls, where the callers make no secret about WHY they are calling.
The woman who wrote this article clearly states that the reason these people are calling the police is they are racist bigots. The yare calling becasue they want Black people to be removed from spaces they think are theirs, or punished for being in that space. She also talks about how the police are required to answer every single call. They have no choice about it, and many of the cops she knows, are every bit as sick of these non-emergency calls, as the random Black people these calls affect, because they are a complete waste of their time.
You swallow your cold oatmeal, you roll your eyes at your cubicle mate, and you enter the call for eventual dispatch even though you wish you could pretend you never got it. (If you don’t enter the call and something happens, you could lose your job for negligence.) Then you grab the next call.
That said, it is time for ALL OF us to hold a special day for Black people, to call the police, on any random White person, that wanders into our orbIt. Why? Because we are some petty muthafuckas, who are tired of this bullshit! Karen got on yoga pants in the office? Call ’em! Don looking at you with pursed lips or a smirk?That’s just suspicious! Call’em! Suzan getting too loud with her mega grande, cafe latte, half mocha decaf order at the Starbucks? Call’em! cuz she can’t possibly drink that much coffee, without passing out!
I cannot stress enough how important it is to watch Nannette, by Hannah Gadsby, available on Netflix now. Its probably one of the finest standups I’ve ever watched, and I’ve seen some of the great ones. She is up there with Robin Williams, Whoopi Goldberg, when she was at the top of her career, and George Carlin.
Hannah talks about being transgender, and non-binary, while living in Tasmania, childhood bullying, the foundations of comedy, and the confluence of sexism and art. It’s a really incredible piece of work, and although Gadsby announced their retirement, from comedy, right in the middle of their special, I hope they change their mind, and continue to bring their insights to the rest of us.
There’s a subset of men who hate women who call themselves MGTOWS (Men Going Their Own Way). Except there’s only one little problem. They don’t ever go their own way. What they do is sit on the internet harassing women, and spending endless hours fantasizing about the day women are going to need them.
Here’s an article about Women Going Their Own Way, and how they seem to actually be doing what their name suggests, which is going their own damn way, and not sitting around, obsessing about the men who won’t date them.
Solitude is often considered a privilege when we can afford to choose it and a punishment when it’s thrust upon us, and the same seems to extend to solo-living situations: Moving out to a place of one’s own for peace, quiet, and privacy is an occasion for congratulations, while living alone as a result of being abandoned or left behind is a much more pitiable affair. In other words, there’s an assertive, active image of living alone and there’s a sad, passive image of living alone.
Just a little post about how the Greats of history became great in the first place. They had servants to take care of their day to day shit, like washing things, and preparing food.
how the fuck did all of those renaissance dilettantes learn so much crap? Like they spoke 3 languages and were foremost in several branches of science, plus they wrote poetry, played the violin, and were master artists? And they still had time to be gay?
The emotional and physical labor necessary to maintain the lifestyles of Renaissance and Enlightenment polymaths was shunted almost entirely to their uncredited servants, slaves, wives, and daughters.
Whenever we compare ourselves to the ‘genius men’ of the past, and wonder why we fall so short, remember this: their intellectual capacity, energy, and freedom was because there was someone else washing the damn dishes.
We still feeling the effects of the Black Panther movie which was released months ago. Here Tiffany Haddish, from Girl’s Trip, spoofed one of the best fight scenes n the movie, when she hosted the BET Awards.
You have to watch this whole video. I guarantee that you will not see where this video is going, and you will laugh your ass off. It’s a journey!
Here’s another of my favorite gang fight videos. If I had to see this then you have to see it!
I am totally here for this EPIC Art feud between the artist, Stuart Semple, and his arch-nemesis, Anish Kapoor. Yes, you have to read the entire thing. This is a SAGA!
Alright sit down for some Art World Drama bcause this is what I live for.
So, sometime last year (?) science invented Vantablack, which is the darkest possible shade of black. Art world got incredibly excited. But as it needs to be very carefully made in a lab, it’s hard to get a hold of, and is extremely expensive. Enter Anish Kapoor, aka FuckFace McGee. Anish Kapoor buys the rights to Vantablack. He is the only human being on the planet that can legally use it, and he’s kind of a prick about it.
Art world is not thrilled with that.
Enter Stuart Semple.
Stuart Semple is an artist, and also makes pigments to sell in his free time. Stuart Semple is astoundingly pissed about this Vantablack nonsense, and Anish Kapoor’s dickery. Stuart Semple makes a new pigment, the brightest shade of pink ever, called Pinkest Pink, and puts it for sale on the internet. To be bought by everybody except Anish Kapoor. Literally, to purchase, you need to confirm that you are not Anish Kapoor, do not associate with him, and will not sell or give the pigment to Anish Kapoor or his associates. Art world has a good laugh, everyone buys Pinkest Pink because it’s awesome, and damn it we deserve something.
Anish Kapoor however is a penis, and will not take this lying down, because HOW DARE he not have literally everything.
Anish Kapoor gets his London associates to buy him a thing of Pinkest Pink, and being such a classy human being, posts a picture to instagram of him with his middle finger covered in Pinkest Pink, captioned with “Up yours. #pink”
Everyone flips shit, because. Y’know. Fuck that guy. Especially Stuart Semple. For context here, Anish Kapoor is one of the richest artists on the planet, and has repeatedly been referred to as everything wrong with the art world, and the epitome of the art worlds elitism problem. He’s a giant douchebag. Meanwhile Stuart Semple makes pigments just to get them out there. He turns 0 profit from his now enourmously popular pigments.
Stuart Semple launches an investigation as to who the fuck leaked Pinkest Pink, and plans to strike back. He does so by releasing two new products. First is Diamond Dust, which is a glitter made from glass, so that a painting is still visible after it’s applied, but glitters like a mofo. It’s the most reflective glitter out there, and is available to everyone who isn’t Anish Kapoor. And it being made of glass, if you stick your finger in there, it’s going to hurt quite a bit, so that was Stuart Semple’s way of saying “shove your middle finger in this, asshole, see what happens”. Except without saying that, because he can get an insult across while still being fucking classy.
He also releases Black 2.0, created with the help of over a thousand artists worldwide.
Black 2.0 is the answer to Vantablack. Black 2.0 is a slightly less black black, but looks functionally the same to the human eye. It’s completely safe, smells like cherries, and costs four pounds. Vantablack is highly toxic, potentially explosive, needs to be applied in a special laboratory and sealed properly, can’t be moved across borders, can reach 300 degrees celsius if you’re not extremely careful, and costs thousands of dollars. Anish Kapoor is the only human being who can use Vantablack. He is the only human being who cannot use Black 2.0.
So I think we can guess who got the better deal.
And thus the feud ends, Kapoor defeated.
…But not quite.
Kapoor, in this entire afair, has made exactly two comments to the public. The first being his charming message about aquiring Pinkest Pink, the second being claiming to Buzzfeed that he and his small army of lawyers will be suing Semple, an extremely poor artist who cannot afford a lawyer.
No lawsuit has been made yet, fyi.
The point is, Kapoor is a prick, and doesn’t like talking to the lower classes. So one day in July 2017, he decides he needs another floor on his London studio apartment, and starts making arrangements to have it built. His neighbors are fucking pissed, because this will ruin the light of their apartments. They call to Semple to save them, or at the very least piss Kapoor off some more.
Semple answers to the call, and releases two new paints, Phaze and Shift, as always, banned to Kapoor. They change colours, Phaze with temperature, and Shift is just iridescent. Shift needs to be painted over Black 2.0 to work, and Phaze just works on its own.
So that’s been the art world for the last two years.
Basically, get fucked Anish Kapoor your bean sucks and so does your vantablack.
We are probably not supposed to be talking about the link between the Dark Monster Below, (Bless His Forthcoming Eternal Reign), and his devoted disciples, the Bi-Sexuals! Question: Does being an LGBTQ ally make you complicit in the Dark Monster’s eventual takeover of Earth?
I’m just asking.
“Bisexual women get energy from other women and then turn around and put that energy into working out their relationships with men”
Can anyone even explain what this means? What is this “energy”??
Bi women perform seances to absorb the youth of past wlw which they use to appear more attractive to men
A bi woman once absorbed all my energy and i couldnt help goku form a spirit bomb
But it’s a huge hassle, handling your Dark Bisexual Powers. Especially when you’re new to it all. Like, say you date five girls in a week. That gets you at least ten (10) POWER ORBS. You store them in your body and if you’re not careful they’re released whenever you come into contact with any man.
I’m just saying that when I was thirteen, I shook a guy’s hand and he exploded.
I was laughing about these photos for days. And yeah, I’d have a fucking heart attack, at the thought of my nieces and nephews playing on one of these contraptions. I mean, look at these things. They are massive constructs designed for children to play on. Parents really didn’t give a shit whether or not their kids lived or died back then, I guess. Talk about the literal “Survival of the Fittest”!
*Sometimes you get some interesting discussions to eavesdrop on over at Tumblr. This one is about how the western ideas of approaching the rest of the world always seem to depend on conquering and collecting other countries, and simply stealing the resources, rather than relying on trade.
People often forget that some five hundred years of history, after the fall of Rome, seemed to have consisted of endless warfare between the various city-states, that came into existence afterwards, and when they finished warring among themselves, they began to compete with each other for who could gather up most of the rest of the world and own it.
It almost seems like colonization, genocide, slavery, and conquest were the hideous byproducts of various European nations competing among themselves, to prove who was the more superior group of White people.
What’s galling is, while engaging in this behavior ,Europeans managed to displace their barbarity onto the backs of the people they conquered and destroyed, as a reason for conquering and destroying them. (Sounds familiar doesn’t it?)
What’s sad about this is that most White Westerners cannot conceive of any other way of approaching the rest of the world, except through dominance and submission. It is a philosophy that finds its way into everything from entertainment to politics.
It’s really hard for people to understand that everyone had boats, exploration, and trade interactions without the same level of murder, colonization, and violence that the Europeans did. It’s really hard for people to get that.
This is important for the knowledge/history aspect, but also because of what was said above, that exploration/seafaring/technological advancement does not automatically mean conquest, colonization, and genocide. It’s one of those myths that an annoyingly large amount of people pass around to justify white supremacy: that everybody wants to conquer and wipe out everybody else, and that white people just got the technology and exploration level up first to do it. They like this myth for several reasons: 1) it frames genocide, slavery, conquest, etc, as natural results of human development, SOMEBODY would have eventually done it regardless 2) it frames evil acts as “human nature”, it implies that the victims of those acts would have done them if they could, and that the people doing it were only acting on “nature” 3) it implies that because white people did these things therefore white people must have had the highest technological level and 4) because white people had the highest technological level therefore white people deserved their place in the world as conquerers and colonizers and enslavers.
Of course none of this is true, but it’s something our society likes to believe and the narrative is distributed through “common knowledge” and through our media, where non-white cultures in “historical” dramas are framed as “primitive” or warlike or both, and all the various dystopia fiction where “the oppressed become the oppressors” and what not (i.e. everybody wants to conquer everybody else, so SOMEBODY has to be on top).
*I want to get rid of the argument about “Historical Accuracy” when it comes to defending lack of diversity in fantasy worlds. That concept needs to be taken out back, and killed with fire, because I no longer want to hear that PoC did not contribute to the European historical record, and that somehow has relevance for their existence in fantasy worlds, that are based on particular European time periods.
“To put it yet another way, in my country where Dukes are actually a thing, there are a grand total of 30 (6 members of the Royal family, 24 others), and while the amount of Duchies in the Kingdom has varied a bit over the years, this number has remained relatively stable. By contrast, although I don’t have access to hard census data for the 19thcentury, Google reliably informs me that there were 2,651,939 people in London in 1851. And, if we take the extremely conservative estimate that only 0.1% of them were people of colour, that means that in the mid-19th century there were 2650 POCs in London compared to about 30 Dukes in the whole country.
So, from a certain perspective, a historical romance about a person of colour set in England in the mid-19th century is 88.3 times more plausible than one about a Duke. But because we’re used to seeing stories about Dukes in the 19th century and we aren’t used to seeing stories about people who aren’t white or heterosexual in the 19th century, stories about the absolutely tiny number of high ranking members of the landed aristocracy seem natural and normal to us while stories about the proportionally much larger number of marginalised people living in England at the time feel implausible or disorientating, even though they’re actually more reflective of the lives of real people.”
*This is about the devaluation of art done by women, and the prioritization of female nude art, created by, and for, a male audience. Bet you never gave this one much thought before, have you? Hell, I studied art for two decades, and it never occurred to me that the value of certain types of art is biased in favor of the male gaze.
Could the reason for 83 percent of the New York Metropolitan Museum’s nudes being female have anything to do with it being run predominately by men? And who collects art?Rich people, right? And who is rich enough to collect art?
*This particular discussion highlights how fashion does not exist in a vacuum. Clothing is just as political as any other part of our culture from hairstyles to music. This also ties into something discussed in an earlier post, about how, before the Civil Rights Movement, juvenile delinquency was coded as being White, (before that it was Italian and Latino) was heavily romanticized, and was almost never associated with Black teenagers. After the Civil Rights Act was passed, juvenile delinquency (and violence) became associated with Black and Brown youth exclusively, (reaching new heights during the nineties, with the invention of the Super-Predator.)
Greaser was a derogatory term for a Mexican in what is now the U.S. Southwest in the 19th century. The slur likely derived from what was considered one of the lowliest occupations typically held by Mexicans, the greasing of the axles of wagons; they also greased animal hides that were taken to California where Mexicans loaded them onto clipper ships (a greaser). It was in common usage among U.S. troops during the Mexican-American War.
why are greaser aesthetics still used to depict “bad boys” in art and media, when it hasn’t been that way since the 50s. this is a real mystery, i’m a serious scientist.
And the response:
it’s a so frustrating because greasers were originally Mexicans or other latinxs, or Italians – either by subculture reclaiming, or slur. “Greasers” started out as the object of white fear.
Ethnically, original greasers were mostly composed of mostly Italian Americans in the Northeastern United States and Chicanos in the Southwest. Since both of these peoples were mostly olive-skinned, the “greaser” label assumed a quasi-racial status that implied an urban lower class masculinity and delinquency. This development led to an ambiguity in the racial distinction between poor Italian Americans and Puerto Ricans in New York City in the 1950s and 1960s. Greasers were also perceived as being predisposed to perpetrating sexual violence, stoking fear among middle class males and arousal among middle class females.
What most people remember is NOT the actual era of the greasers, but instead the 60′s and 70′s “sanitization” of who they were, why they were stereotyped against, and why they were used as villains.
so before the 40′s-50′s, greaser was heavily used to portray a racist stereotype of a Mexican/Chicano man as violent/aggressive. (at least in media). This term also got used against some other latinxs in general, as well as Italians and sometimes Greeks. At least in hollywood this “greaser” type promoted mexicans as bad/dangerous and while also promoting latin lover stereotypes:
The Mexican Government soon objected to Hollywood’s portrayal of its citizens as “bandits and sneaks” and threatened to ban all films produced by companies which offended its people. This 1922 threat caused screenwriters to treat their neighbors to the south with more care. The “greaser” swiftly lost his Mexican nationality in the attempt to diffuse potential complaints, but his ghost still haunted new screenplays which concerned Hispanic characters.
Clever subterfuges often placed an unnamed “greaser” in a new locale. Rather than use the name of an actual country and risk offending its inhabitants, screenwriters began to create mythical cities and nations. “The Dove” (1928) provided an obvious example. The film concerned Don Jose Maria y Sandoval (Noah Beery), who considered himself “the bes’ damn caballero in Costa Roja.” Costa Roja, as the title cards explained, was situated in the Mediterranean!
Wikipedia mentions that the Mexican American community was then…investigated to see if they had ties to the Nazis. (Yeah.)
On June 21, 1943, the State Un-American Activities Committee, under state senator Jack Tenney, arrived in Los Angeles with orders to “determine whether the present Zoot Suit Riots were sponsored by Nazi agencies attempting to spread disunity between the United States and Latin-American countries.” Although Tenney claimed he had evidence the riots were “[A]xis-sponsored”, no evidence was ever presented to support this claim. […] In late 1944, ignoring the findings of the McGucken committee and the unanimous reversal of the convictions by the appeals court in the Sleepy Lagoon case on October 4, the Tenney Committee announced that the National Lawyers Guild was an “effective communist front.”
so that 1940′s look becomes this over time:
three Cholos showing off their outfits (1950′s). why? because zoot suits were deemed horrifically unamerican and “wasteful” during WWII.
but then ofc bitch ass racist white boys and motorcyles co-opted the look, add in a little bit of Travolta white washing of the radical pushback against racism in the origins of this stuff, and now we’re here.
I have been wondering about the depiction of Tony Stark in the MCU vs. the comic books. The comic book version of Tony has at least some redeeming qualities, much like the version in the Iron Man Trilogy. He’s not a great character in the trilogy, but he’s less awful than in The Avengers movies, for example.
When Tony is depicted in other movies in the MCU, besides his own, he’s often written as a callous, misogynist, asshole, who is thoroughly unlikable. For example, I got the impression that the Russo Brothers deeply dislike Tony Stark, because he doesn’t come off looking good in Civil War, at all, and even manages to look several degrees worse in Spiderman: Homecoming.
A lot of what this guy says about Tony’s lack of moral center, I already talked about, in an earlier post, comparing him to Steve Rogers. In that post I expressed some doubts about my assessment of Tony’s character, and its nice to know I wasn’t the only person getting that take.
This was something I specifically stated in my post:
*I have always wondered about this narrative, being put forth by the media, that these killers deserve sympathy because they were victims of a society that didn’t understand them. It turns out that they are, just as I suspected, mediocre, entitled ,white boys, who go on killing sprees because the world refuses to worship them for being the special snowflakes they believe themselves to be.
I like how she ties this into the racial aspect, where white men receive sympathy for killing others, (and the benefit of the doubt), but Black men who kill…don’t.
Also read up on the topic of “Wound Collectors, which is a fascinationg insight into how some mass killer’s minds work. Just about every mass killer, according to many of the writings they have left behind, seem to fit this dynamic.
These individuals use these wrongs, slights, or wounds, to then justify their beliefs or behaviors, or to help them deal with their own psychological or social distress. What is the definition of a wound collector or wound collecting?
Wound collecting is the conscious and systematic collection and preservation of transgressions, violations, social wrongs, grievances, injustice, unfair treatment, or slights of self and others, for the purpose of nourishing, fortifying, or justifying a malignant ideology, furthering hatred, satisfying a pathology, or for exacting revenge.
More on the point about Columbine: Eric Harris was actually a relatively popular kid. Not with the “popular kids” but, when it came to the more obscure cliques in the school, Harris was actually relatively well liked even for a kid who was, as was stated, an ACTUAL psychopath. Dylan Klebold was less popular, but only because he was more of a follower who mostly just wanted to hang around Harris.
Neither one of the Columbine shooters was bullied. They literally WERE the bullies.
Klebold’s own mother has been vocally debunking the narrative that they were bullied and “the real victims” for years. Her book, “A Mother’s Reckoning” is worth reading. It counters everything in the media. Kid was well off, wanted for nothing, wasn’t abused, neglected or bullied. What he was was radicalized by Harris, a neo-Nazi.
And just as “Walk Up” types don’t suggest showing compassion for poor Black or brown kid at risk of joining a gang, they don’t acknowldge that white radicalization is the root of a lot of America’s problems, more so than non-Westen radicalization that is readily accepted as dangerous.
Telling kids they should be kinder to the creepy kid who does Nazi salutes in the hallway is in fact making them more susceptible to radicalization. “Walk Up” is not only misguided, racist, misogynist and ableist, it makes things worse. Painting the Columbine shooters as the real victims set off the era of school shootings, and the more people call for more empathy toward angry white men who fit the profile (and again, in many cases these kids are actual neo-Nazis), the worse it gets.
Do your research properly or don’t have an opinion.
“According to Lee (2013), there are two leading causes of school shootings: bullying (87%), as well as both non-compliance and side effects from psychiatric drugs (12%). Most school shooters claimed or left evidence behind indicating that they were victims of severe and long-term bullying. The majority of bullying victims experienced feelings of humiliation, which resulted in thoughts of suicide or revenge (Lee, 2013). Additionally, of those school shooters who had been prescribed psychiatric medications, 10% displayed medication non-compliance (failed to take drugs prescribed). Many school shooters who were taking psychiatric drugs for their disorder experienced side effects of the drugs prior to carrying out a violent act (Lee, 2013). In fact, there have been 22 drug regulatory warnings on psychiatric drugs citing effects of mania, hostility, violence, and even homicidal ideations (Lee, 2013). There have been at least 27 school Ideas and Research You Can Use: VISTAS 2015 4 shootings committed by those taking or withdrawing from psychiatric drugs, which has resulted in 162 wounded and 72 students and/or faculty killed (Lee, 2013). However, there has yet to be a federal investigation in the United States on the link between psychiatric drugs and acts of school shooting.“
That 2013 data completely ignores the rise of white radicalism over the past five years. I read through the link, they didn’t even include rates of known white supremacy or radicalization. 76% of the attackers were white (with a 8% gap where race isn’t specified) according to their data, 99% were male and many left “cryptic messages,” a detail typical of neo Nazi mass killers like Eric Harris and Dylan Roof. That they didn’t analyze possible radicalization was a pretty major oversight.
Angry young white men believe they are the most persecuted, it’s not a surprise that attackers frame themselves as bullying victims. There’s a more a accurate term for it that hadn’t yet been coined in ‘13: wound-collectors.
In essence these are individuals who go out of their way to collect social slights, historical grievances, injustices, unfair or disparate treatment, or wrongs—whether real or imagined (Dangerous Personalities (link is external) 2014 Rodale Publishing)
At some point, we’re gonna have to stop pretending they’re “fighting back.” (X)
Hellotailor (who I love btw! Please check out their website where they discuss the meaning of clothes and fashion in various movie franchises.), caught a lot of shit for writing this about Ready Player One. I don’t dislike the movie (it looks hella fun, and it is Spielberg!), but that doesn’t mean they’re wrong.
Ready Player One could be the most hated movie of 2018. Considering the fact that it’s a Spielberg film with relatively respectable reviews, that’s quite an achievement. But like Fifty Shades of Grey, it’s based on a bestselling book that lends itself well to embarrassing viral quotes. Ready Player One has come to represent a certain kind of toxic fanboy mentality, and no amount of positive reviews can change that now.
At this point, the film’s quality is almost irrelevant to the backlash. Opponents are going after Ready Player One’s basic concept, because it’s such a perfect illustration of Big Bang Theory-stylegeek culture and its obsession with masturbatory trivia.
It simultaneously caters to the idea that white male nerds are underdog heroes, while proving that they’re actually a dominant force in Hollywood.
Whenever I talk about racebending as a concept when it comes to comics and comics-related properties, smartasses always show up to say something snarky like “what if Black Panther or some other Black hero were a white guy”. They crowd into my mentions or any comment field they can get a hold of, trying to […]
**And further readings on Race and Media for the weekend include a description of harassment in the Art world, for speaking the truth, which is important to me because I’m an artist.
This ties into America’s general belief that History was all White, and that PoC played no part in European History at all. As Dr. Who said, “History has been whitewashed!” And yes, I blame Hollywood, and America’s general historical ignorance. It’s this ignorance of the part PoC played throughout every era of human history that leads to cries of “Historical Accuracy” every time a Black person wanders into the orbit of, not just historical films, but any Fantasy films that have a foundation in European folklore.
**And on Race and Fandom Wankery…Stop It! Fandom is every bit as racist as non-geek culture, but Klandom thinks it’s better at disguising it. There has also been some confusion about patterns of implicit racism vs calling individuals racist.
Thinking that you are personally being called out on your racism is basically the Racism 101 approach to this topic, because we’re not talking about individual people, although individuals may be used as examples of what were drawing attention to.
The discussion that PoC and LGBT people are having is from the 401 Class, and seems to be over quite a few people’s heads. We’re discussing patterns of behavior across multiple platforms. We’re not talking about a handful of bigots, writing stories we don’t like, but about hundreds of people across fandom engaging in the same behavior, and then making the exact same excuses for their behavior, over and over again.
Contort these male characters into heteronormativity
Marginalize and erase characters of color
Write out women and replace them with men, especially in shipping
Attack women for “getting in the way” of our preferred ships
Hold female characters to higher standards than male characters
Hold characters of color to higher standards than white characters
Latch onto any single excuse to marginalize female characters
Utilize any single excuse to demonize characters of color
Put women on pedestals and act as if we’re doing them a favor
Justify white and male abuses or dismiss them as “mistakes”
Use actual mistakes to denigrate female and non-white characters
Romanticize white, male pain and mental illness
Expect female characters to perform all the emotional labor
Expect characters of color to be perfectly mentally healthy forever
Expect everyone to subsume their own mental health for the white males’
Dismiss the traumas and experiences of characters of color
Minimize the achievements of female characters
And then we wonder why mainstream media is so regressive, especially compared to us. We all talk as if mainstream media creators are behind the times.
Fandom likes to imagine itself as being progressive because of all the slash – a mechanism of progress which conveniently boils down to extra attention on overwhelmingly male (and overwhelmingly white) characters. This form of progress is one which takes a minor deviation from the social norm (homosexuality), only to end up ultimately supporting or even amplifying the status quo, by virtue of over-focusing on male characters (and over-representing white ones in the process).
Strip back that gay window dressing, though, and you’ll see that at best, fandom is just as socially stagnant as mainstream media and mainstream culture – or even worse, by virtue of engaging in media that overwhelmingly sidelines several other marginalized groups in order to prop up one.
Professional women have long known the old adage, “Whatever women do they must do twice as well as men to be thought of half as good.” What no one seems to realize is that fandom is still doing exactly the same thing.
We expect female characters to be twice as good for half the acclaim, we expect characters of color to be three times as good for a third of the acclaim, and we let white, male characters be only a quarter as good for four times the acclaim.
Mainstream media is keeping up with the times and with social progress just fine, it’s us who’ve deluded ourselves into believing that we, as a community, are more progressive than we actually are.
**And on Hollywood Erasure. This topic is especially interesting to me becasue I know there were Black cowboys. When Slavery ended, a lot of Black people fled West, rather than North, which is how and why there are so many black people in places like Minnesota, Oklahoma, California and a huge Black population in Texas. I know there were Black Cowboys (and many many Mexican ones) but this is something most Americans don’t no about due once again to Hollywood Whitewashing. The remake of the Magnificent Seven is a lot more historically accurate than the original.
Although the reception of that movie proves one more thing to me, that Denzel Washington can make whatever the Hell movie he wants, and no one will criticize him for historical accuracy. Apparently, he belongs in any era he wants.
The LIT History Series is for the Legends, Innovators and Trailblazers that have shaped our culture.
It is widely believed that the “Lone Ranger”, the famous cowboy of the TV show and the movie, was inspired by a Black man named Bass Reeves.
Reeves was born a slave, but he escaped to the West where he eventually became a Deputy U.S. Marshal, an expert marksman, and a master of disguise with his Native American sidekick. Blacks were a huge part of the Western frontier despite what’s told to us in pop culture or taught to us in the classroom. “The kids who are learning history in our schools are not being told the truth about the way the West was,” says Jim Austin, founder of the National Multicultural Heritage Museum. “I bet you nine out of 10 people in this country think that cowboys were all white – as I did.” (x)
Cherokee Bill, born Crawford Goldsby, was a notorious outlaw whose father was a Buffalo Soldier. His reputation and career as an outlaw rivals the reputation of Billy the Kid. Bill Picket was a “famous” Black cowboy who toured the U.S., Canada, Mexico, South America, and England, and he was inducted into the National Rodeo Hall of Fame 40 years after his death. (x)
And black cowboys are still here, they do exist.
That’s a huge part of history that was also erased from the history of America. We need to bring attention to this, because it’s unfair that black people along with other people of color have been erased from this narrative.