Wednesday, October 21, 2015

Shots On The Bridge: The Context Is Racism

I harbor and advise skepticism when the suffering of Black people becomes grist for White authors. The ten-year “anniversary” of the levee failure and the 2005 deluge of New Orleans was accompanied by the latest hemorrhage of Katrina literature, primed to commemorate and cash in. 

On the final Tuesday in August, Pulitzer Prize-winning journalist Ronnie Greene was in Washington, D.C. to discuss the freshly published Shots On The Bridge: Police Violence and Cover-Up in the Wake of Katrina. The book deconstructs the Danziger Bridge Shooting – where New Orleans police officers gunned down a pair of unarmed Black families, leaving two dead, four savagely maimed – and a decade of court wrangling. 

Greene shared one sentence with his D.C. audience that confirmed my suspicions and nearly decimated my willingness to read his book: “I really tried to put this shooting in context of what [the officers] were going through, what the department was going through.” 

In his discussion and the text, Greene describes the officers as Katrina’s “hostages,” laboring in the wake of unimaginable ruin and bedlam. Police leadership was flagrantly inept. Local officials and global news outlets insisted looting hooligans might overrun Louisiana. The officers, like many, had failures in the city’s bleakest hour. 

This position is tenable if the carnage on Danziger Bridge is a singular example of NOPD misbehavior. 

It is not. 

Greene documents decades of pre-Katrina, during Katrina, and post-Katrina police delinquency and abuse of New Orleans’ Black citizens. He cites the 2011 Department of Justice findings, which concluded, “NOPD’s mishandling of officer-involved shooting investigations was so blatant and egregious that it appeared intentional in some respects.” Even hinting that a natural or manmade disaster should mitigate our assessment of this slaughter and the years of fraud concealing it, minimizes the barbarism of the involved officers and devalues the Black lives terminated and mangled. As Greene meticulously documents, much of the Danziger conspiracy took place well after New Orleans was dry. 

In spite of my concerns, I had to read Greene’s offering. While sharing his motives for writing this grisly account, he remarked that Katrina created “so many horrors you couldn’t keep track.” Shots On The Bridge provides an abundance of detail about the NOPD ambush and cover-up that could have easily been debris in the wreckage. But most importantly, it emphasizes that an atrocity was perpetrated against innocent, loving families. These grieving relatives’ unwavering pursuit of justice may be the greatest - and least cited - example of NOLA “resilience.” 

The police fraudulently cast the Madison brothers as a band of armed ruffians who “had been looting and terrorizing people since the storm.” In truth, Ronald Madison was a mentally challenged 40-year-old with the mind of a six-year-old; he cried at the thought of abandoning Bobbi and Sushi, the family dachshunds, and rejected the chance to evacuate before the storm. His protective brother Lance comforted and shepherded him as they struggled to survive an inundated city. 

While crossing the bridge, officers shot Ronald in the back twice. He asked his brother Lance to, “Tell Mom I love her.” Ronald was shot in the back five additional times, stomped, and handcuffed after his death. 

Lance Madison survived, only to be shackled at gunpoint, arrested, charged with eight counts of attempted murder, and crammed into a temporary jail at “Camp Greyhound.” “He was held in a cage with a portable toilet. German shepherds circled the cage.” Lance’s love for his brother demanded that he recite witnesses’ names and remember critical facts of the Danziger carnage for the twenty-five days of his confinement.

The Madison family received reports of Ronald’s death and Lance’s arrest early. “For more than nine months, Sherrel Johnson did not know where her son JJ was.” Her son, James Brissette Jr., accompanied the Bartholomew family across the Danziger. Greene informs us that floodwaters claimed all but one of Johnson’s photographs of her 17-year-old son. If JJ were alive, she could take more pictures. 

“Bullet after bullet shredded JJ’s body from the heel of his foot to the top of his head; the teen now lay dead on the pavement. Seven gunshot wounds and even more pellet wounds, fired from multiple weapons, tore into JJ’s right leg, right buttock, and right elbow; pierced his left arm and shredded his neck; and lodged in his brain. His wiry body was left unrecognizable.” 

JJ and Ronald Madison were the only casualties that day, but NOPD brutes littered the bridge with bullet-riddled black bodies. The horror is presented in excruciating clarity: “Screams mixed with gunfire. The mother, father, and daughter, Lesha, cried out, bloodied and in pain. A bullet grazed Big Leonard Bartholomew’s head. Another tore into Lesha’s stomach. More gunfire ripped into Susan Bartholomew’s right arm, nearly severing it from her shoulder, her limb held together by skin. Lesha, at seventeen years old, one inch shorter than Susan, lay atop her mother, trying to shield her as bullets tore through the concrete barrier.” 

Shots On The Bridge skillfully blends court transcripts and police reports with crushing anecdotes from bereaved and wounded victims. Jose Holmes, who was blasted repeatedly, was thought “too far gone” and nearly left for dead. His recovery is all the more astounding because some of the hospital staff accepted the NOPD lies and “told Jose he needed to get healthy because, once he was released, he would be arrested on attempted murder charges.” 

Little Leonard Bartholomew was fourteen-years-old and a hulking eighty-five pounds at the time of the shooting. His family was reduced to bleeding carcasses clinging to life. He was shot at – not hit, slapped by a white patrolman, and handcuffed. Given the day’s events, he was fortunate. 

Greene rightly encourages readers to reflect on Little Leonard’s tearful apology upon reuniting with his dismembered family members. 

“I should have been shot, too. It isn’t right that I got off like that but everybody else has to go through all of this pain. And I’m just walking around, I’m fine. I don’t have to worry about injuries. It just isn’t right.” 

There’s an immense depravity about a Black teen suffering PTSD and survivor’s guilt not from Hurricane Katrina, but from crossing paths with the New Orleans Police Department. 

Readers can juxtapose the families’ suffering against the online comments that erased the 2011 federal convictions

Shots On The Bridge is an important reminder that Katrina and the cataclysmic levee fiasco are not the only horrors from 10 years ago.

Tuesday, October 20, 2015

Racial Profiling Of John Henson Recalls Former Bucks Teammate Larry Sanders

Milwaukee Bucks’ center John Henson inked a four year $44 million extension on October 1st. One would think (hope) a robust salary inoculates him from Racism. Unfortunately, all the nickels in the world can’t buy sanctuary from White Supremacy. Henson’s recent trip to Schwanke-Kasten Jewelers, a White-owned Wisconsin retailer, provides confirmation. 

Henson describes his attempt to patronize “the leading jewelry store in Southeastern Wisconsin” as “one of the most degrading and racially prejudice things I've ever experienced in life.”

As the White jewelers watched a 6’11” 220lbs. black male lumbering toward their establishment, they didn’t see new money. They designated Henson a menace, bolted the doors, shooed him away from the premises, and scurried for their lives to the rear of the store. This, of course, mandated a police call. Henson says two officers assured the terrified Whites that all was well, but only after they ran his plates and interrogated him. 

In 2013, black 16-year-old Corey Stingley was suspected of shoplifting in Milwaukee and summarily strangled to death by three White men. No one was indicted. All things considered, Henson may have been lucky. 

This latest instance of shopping while black under White Terrorism calls to mind one of Henson’s former teammates, Larry Sanders. The two were Bucks teammates for three seasons, which included a 2013 playoff run against LeBron James and the Miami Heat. 

In December 2013, Sanders was cited for disorderly conduct and assault and battery for his involvement in a Milwaukee nightclub scuffle. Like Henson, Sanders too concluded Racism was a factor in the brawl and the subsequent reporting on the skirmish. He published several comments online, which stated in part: “I take full responsibility for my actions, this is something I’ve dealt with my whole life...from being the black male being followed around the store to being the black male helped around the store.. I’ve seen the American society from both ends...ppl are hypnotized by the media to feel and base certain judgment toward certain groups of ppl…” 

He wasn’t finished. “Guess it’s my turn, we “thugs” aka black men in America built this country and now we are the primary source of entertainment… guess we’re still building…slavery never stopped.” 

Sanders was clowned for “playing the race card,” scolded as another black baller who deserves a prison-orange jumpsuit instead of an NBA jersey. Bleacher Report summed up Sanders as “an irresponsible miscreant, unworthy of the money he’s being handed.” 

But in 2015, Sanders pulled a Dave Chappelle. The 26-year-old left $27 million on the table and retired. He checked himself into Rogers Memorial Hospital to get help for mood disorders, anxiety and depression. The former first round draft pick explained how being perpetually promoted as “this angry [black] man” pushed him to “a place of anxiety and fear, suffering.” Sanders described his exodus as an effort to preserve and nourish his mental health.

Kellen Winslow’s Hall Of Fame football career had to end before he realized that in “the real world… I was just another nigger.”  In several respects, Henson and Sanders may be ahead of the curve.

"Non-white people, particularly black males, have sometimes been called "Bucks" by those White persons who practice White Supremacy (Racism)." Neely Fuller Jr.

Thursday, September 24, 2015

Why Racists Gave Viola Davis An Emmy #HTGAWM

Emmy-winning Viola Davis cantbreathe

Viola Davis is a superb illustration of the labor required for #BlackSelfRespect. White Terrorism saturates her life, mandates that “classic beauty” be anything but black. She testifies to unrelenting abuse in the 2011 documentary Dark Girls, remembering how she was “constantly being called ‘black ugly nigger’ — those words together.” 

This spiritual molestation is common for black people around the globe and helps explain the vicarious adulation so many black females experienced when Davis became the first African American female to win an Emmy for her lead role in the ABC drama How To Get Away With Murder. Danielle Moodie-Mills writes that during Davis’ moment of unprecedented accomplishment, “She stood on that stage, fierce, beautiful and firm in her blackness and womaness.” She paid homage to “General” Harriet Tubman as “she called out racism and challenged a system that refuses to see black women as whole.” 

Davis and HTGAWM executive producer Shonda Rhimes are lauded for subverting racist projections of black people and producing opportunities for black actresses to be broadcast as commanding, professional, and valued. 

But even though HTGAWM is a ShondaLand production, Rhimes did not write or create this series. Those credits belong to a gay White man, Peter Nowalk. He praises Rhimes as his guru and gushes about the lessons learned from years collaborating on her other lucrative franchises, Grey’s Anatomy and Scandal. There’s widespread gratitude for Nowalk devising the character Annalise Keating that allowed Julliard-trained Davis to make history. 

Yet her unparalleled triumph felt familiar. 

Davis’ victory seemed an encore of Denzel Washington and Halle Berry palming 2002 Oscars for exemplary portrayals of black hooliganism and debauchery. Nowalk repackages and camouflages worn-out Racist concepts of blacks toiling to help whitefolks and presents profoundly anti-black moments in the limited scenes when Davis is sans wig, unadulterated black. At its lowest, black female sexuality is – as usual – cast as malignant and scandalous. 

One of Davis’ signature works is her 2011 Oscar-nominated portrayal of The Help’s Aibileen Clark, a servant for a White Supremacist family in 1960’s Mississippi. In spite of the film’s success, Davis candidly observes another constant: “I have been given a lot of roles that are downtrodden, mammy-ish… Then you’re going to be hungry for your next role, which is going to be absolutely the same. That’s the truth.” Nowalk’s debut project was “her shot at the anti-mammy,” according to GQ contributor Amy Wallace. Annalise Keating represents “a flinty, stylish defense lawyer and law professor,” and a scarce opening to animate a black female character as “cerebral and alluring… with a handsome husband and a lover on the side.” Ostensibly, Nowalk unshackled Davis from a racist industry, that, according to Kirsten West Savali, “pathologizes, reduces and co-opts blackness at every turn, especially black womanhood.” 

But Annalise’s time and energy is almost exclusively in service to Whites. She’s an attorney extraordinaire with blouses worth more than Aibileen’s house. Other than one humdinger of an exception, black people are not privy to her counsel. Whites are the sole beneficiaries of her legal acumen, and the bulk of her customers aren’t even “good” Whitefolks. She successfully, ruthlessly defends White drug traffickers, alleged White sex offenders, admitted and suspected White killers. Her clientele is a smorgasbord of white-on-white crime. Mimicking Hattie McDaniel’s venerated contribution to Gone With The Wind, Annalise has no children and devotes the bulk of her time to the maintenance of unscrupulous white lives. 

Now, about that humdinger. 

The show’s sixth episode is the lone outlier, the only time Nowalk’s lead character devotes her energies to aiding black people. Keating successfully liberates a death row inmate (David Allen) who had been wrongly caged for decades. Kayla Kumari Upadhyaya digests the plot of the episode and why it signifies vintage ShondaLand entertainment: 

“A white senator used Allen as a pawn to gain political power and gentrify an inner-city [black] area for financial gain. Annalise loudly condemns the racialized nature of the Senator’s scheme in one of the best Viola Davis moments in an episode full of spot-on Davis moments (seriously, this is going to be her Emmy reel episode, right?).” 

Unfortunately, Racists don’t permit black people to enjoy a full glass. They must kick it over. Before one can appreciate a primetime drama with the courage to indict a White man for the deliberate caging of black bodies, we’re reminded that Annalise is still primarily concerned with the well being of whitefolks. Her white husband specifically. 

Her lying, adulterous, womanizing, murderous, “handsome,” White husband. 

Following her courtroom conquest, she jettisons her makeup and straight hair - props to imply strength. She confesses that she’s been lying, planting evidence, and framing the innocent to protect her guilty White spouse, Sam Keating. The scene concludes with Davis’ character dissolving into a whimpering puddle while declaring her need for psychopath Sam ad infinitum. 

The politics of black hair exponentially magnify the significance of this scene and all other settings when Annalise reveals her natural. Franchesca Ramsey reminds us “there are very few black women on TV wearing their natural hair.” “There's a long, complicated history of black women being told by society [Whites] that their natural hair is unprofessional, ugly, distracting, and a whole host of other insults.” In another display of #BlackSelfRespect, Davis lobbied to have HTGAWM include her unprocessed do. It’s fascinating to deconstruct Nowalk’s politicking of black hair. 

Upadhyaya unpacks the unmasking: “Annalise sits at her vanity and slowly peels back her layers. She removes her wig, her eyelashes, her makeup, never breaking eye contact with the reflection of her natural self. It’s an intimate, powerful moment television doesn’t often show: A black woman removing all the elements White Supremacy tells her she has to wear to be beautiful, successful, powerful. And let’s not forget that that wasn’t just Annalise taking it off: It was Davis, too...” 

What happens in the narrative at this moment? Sam admits to having an affair with a dead blond girl. More layers are unearthed as the audience discovers that before they were married, Sam was her therapist – helping Annalise cope with the trauma of child rape. He was previously married, but had an affair with Annalise. She accurately diagnoses his fetish for mistresses who are “weak, broken, messes that” require his straightening. The scene ends with Sam violently subduing and momentarily smothering his black wife. 

Annalise’ authentic locks re-emerge at the top of episode six. Wes, a law student and main character played by Harry Potter star Alfred Enoch, determines that his law professor is lying to protect her murderous white husband. He confronts Annalise and her natural hair to declare explicitly and repeatedly that she is “disgusting.” 

This is not “anti-mammy” or “anti-racism;” this is the routine war to insist that black females be rebuked, abused, and de-feminized at all times. 

The anti-blackness of Nowalk’s series is most forcefully emphasized in the presentation of black female sexuality. During a Variety interview, he disclosed, “Some of the characters are very driven by sex and I think that’s cool. I think Annalise — and Viola and I talk about it — she’s definitely driven by sex.” The problem becomes blatant in how Nowalk animates Annalise’s sexuality. 

Her marriage – again, her husband's a White killer – began as an affair with a married man. His infidelity continues, while she’s stepping out with a dying cancer patient’s husband. And she doesn’t merely have adulterous sex with this black male, she betrays him continually, has him incarcerated unjustly, and decimates his life. This is not a critique born of “respectability politics.” This is an emphatic restatement of Melissa Harris-Perry’s conclusion that “the implications of sexual images for black American women are different.” “The sexualized myths of black women have conspired to narrow the political and social world for sisters.” How To Get Away With Murder was supposed to be beyond those confines. 

Alessandra Stanley helped launch the series when her contentious New York Times piece described Davis as “darker-skinned and less classically beautiful.” Earlier in the same paragraph she writes, “As Annalise, Ms. Davis, 49, is sexual and even sexy, in a slightly menacing way.” Unarmed black teens like Renisha McBride and Michael Brown Jr. are “menacing.” Is the sexuality of primetime, Emmy-winning White actresses branded as “menacing”? The scripting of Annalise’s promiscuity promotes Stanley’s perception. 

This is best illustrated during the first season's winter finale. After an ugly verbal dispute and a second round of domestic abuse, Annalise’s White husband gives a mic drop and reminds us that black females are disgusting. 

“You're nothing but a piece of ass. That's what I saw when I first talked to you in the office that day. Because I knew you would put out. That's all you're really good for. Dirty, rough sex I'm too ashamed to tell anyone about. That's how foul you are. You disgusting slut.” 

Should this be the Emmy reel episode?

Friday, September 11, 2015

Hurricane Katrina: Sniping Looters With Chris Kyle

We've had a bountiful serving of commentaries and ceremonies on Hurricane Katrina and a decade of ethnic cleansing and resilience in New Orleans. Former President George Bush rebuked Kanye West by nuzzling black children, the Danziger Bridge killers of Ronald Madison and James Brissette Jr. celebrated their 2011 federal convictions being trashed, and the 9th Ward got a plaque.

There's been more time reminiscing about New Orleans’ looters of yore than jabs at federal inmate, former Mayor Ray Nagin.

Between Wendell Pierce’s new book, Lil Weezyana, and the consistently vulgar Chicago Tribune… the late Chris Kyle was forgotten.

Which seems impossible considering American Sniper christened 2015 with six Academy Award nominations and grossed more $300 million. “The most lethal sniper in U.S. military history” sports a list of honors nearly equal to his number of confirmed kills. In June, he was posthumously awarded the Texas Legislative Medal Of Honor. More than 200,000 petitioners insist Kyle be awarded the Congressional Medal Of Honor, and just this summer, a Georgia Family converted seven acres of farmland to a monument for the murdered Navy Seal.

No evidence places “killer Kyle” in the Crescent City when the levees broke. But Nicholas Schmidle reports that the deified veteran bragged about notching extra kills on the flooded streets of New Orleans:

“In the days after Hurricane Katrina, he said, the law-and-order situation was dire. He and another sniper… set up on top of the Superdome, and proceeded to shoot dozens of armed residents who were contributing to the chaos. Three people shared with me varied recollections of that evening: the first said that Kyle claimed to have shot thirty men on his own.”

Perhaps if Clint Eastwood had included this scene in the fallen soldier’s biopic, he would’ve nabbed an Oscar or three. 

In his autobiography, Kyle habitually brands the people he slayed in Iraq as “despicable savages.” Identical verbiage was employed against the drowned black citizens of New Orleans. Sheri Fink writes that Former Memorial Hospital (Baptist) employee and Suspected Racist Dr. John Thiele feared “crazy Black people, who think they’ve been oppressed for all these years by White people,” would wade through toxic sludge to rape, dismember, and torture hospitalized elderly patients. Some of Dr. Thiele’s armed colleagues evoked Kyle’s spirit by threatening to shoot “looters,” “including wide-eyed children” near a hospital window. 

In Katrina: After The Flood, Gary Rivlin depicts Tulane University’s Lance Hill bearing witness as Katrina transmogrified Whites “to their original state.” Hill “watched as two White men thanked a white National Guardsman for helping to protect their city. ‘Now if you can just keep the blacks from coming back.’”

Kyle may have been absent, but local police, state troopers, National Guard, military personnel, privately contacted Israeli forces, Academi (Blackwater), and gun-toting White civilians saturated the streets of NOLA. AC Thompson conducted years of research on nearly a dozen Black people who were killed in the week following Katrina by New Orleans police officers or random White citizens. Enforcement officers alleged that Baton Rouge police targeted and molested black evacuees and branded them "'animals' that needed to be beaten down." The documentary Welcome To New Orleans records a gang of Whites gleefully admitting to carnage Kyle could only counterfeit. They picnic and reminisce about “looters” they capped after the storm. “It was like shooting pheasants.”

Banishing, hunting black bodies, terminating black life is a hallowed occasion in the history of White Supremacy. The hurricane, levee failure, and contempt for black life consumed more than a thousand black lives.

Kyle told tall tales where he added to that number.

Wednesday, July 01, 2015

Dukes Of Hazzard Canceled (Again), Empire Returns In September

I’ve seen more episodes of Dukes of Hazzard than Empire

One of these programs encourages antiblack violence in support of White Supremacy and will remain on the air for the foreseeable future. 

The Dukes of Hazzard, which was canceled when Madiba was still in prison and before Dylann Storm Roof existed, has been expunged from the TV Land lineup. No reason was given, but it's suspected that the Confederate flag dispute prompted the removal.The show's featured getaway ride is named “General Lee” and brandishes a Confederate flag. 

Much like Ferguson 2014, White Supremacists have done a masterful job framing our understanding of the most recent illustration of white pathology. We’re groomed to accept Roof as a “unique” White man. Told Racism will be stifled by removing a symbol of “turmoil for African Americans.” 

They were referencing the Confederate battle flag, but… black people are being EricGarnered with shrines to Racism and White killers. 

The removal of Dukes creates space for an infinite number of viewing options that invariably sanctify identical concepts of white power that guarantee American Snipers like Roof. 

The manifesto attributed to the Charleston Terrorist quotes a
pivotal scene from the 1998 film, American History X
I see all this stuff going on, and I don’t see anyone doing anything about it. And it pisses me off. 
This is part of the Hitleresque tirade Derek Vineyard presents to a troop of White Supremacists before a Roof-like assault on a non-white business. Edward Norton earned an Academy Award nomination for his portrayal of Vineyard. Roof’s muse goes on to kill two black people, rejoices after stomping through a black male’s skull. 

This film – and Empire – will have more broadcast time now that Dukes has been banished. 

Many reports acknowledge that the former CBS series was "one of television’s highest rated shows" in the early 80’s. They do not suggest that flagrant appeals to white power were an integral aspect of the show’s charm. In edition to invoking the Confederate general's spirit and the flag of white defenders of black enslavement and treason, they made “Dixie” a hallmark element of the production. 

The song's opening verse tells all: I wish I was in the land of cotton. The theme song of the Confederacy, "Dixie" has become an exalted white power hymn that Whites defend and coalesce to sing on campuses and sporting events across the land. Campuses including the University of Mississippi and South Carolina's The Citadel.

"Norman Seabrooks, The Citadel's first African American scholarship athlete, disliked hearing 'Dixie' as a fight song, and he would sit down or walk away when he heard the tune. As captain of the football team, he would leave the locker room early and step on the field before the band started playing. Other black cadets exhibited similar protests, and Seabrooks' classmate Larry Ferguson faced a severe backlash for refusing to play the song as a member of the Regimental Band. Ferguson's academic scholarship was threatened and one night, he and his roommate returned to the barracks to find their room trashed, racial threats painted on the walls, their books shredded, and a doll hung from the ceiling by a noose."

The stars of Dukes are white delinquents who habitually #CrimeWhileWhite. The show’s signature moment features “General Lee” and the Dukes evading authorities while the car horn blares the secessionist ditty that yearns for the "bondage, beatings and rape" of the plantation phase of White Supremacy. 

In 2015 Washington state, one of my White “neighbors” has the very same Dukes Of Hazzard, “Dixie” melody for his car horn. White Supremacy memorabilia transcends region and time because collective devotion to White Terrorism is unbounded. 

Irrespective of recent events, it’s unlikely my “neighbor's” car horn will be prohibited. 

Thursday, March 12, 2015

Gregory Johnson, Jr. Died In A White Fraternity Like SAE

This is how a public university defends its values? By effectively evicting and contemplating expulsion for those who express hate for others based on their race? Is sending the white students packing even responsible? Is it educational?  Whatever happened to the adage, “Sticks and stones may break my bones, but names will never hurt me”?  And what about the principle of passionately rebutting outbursts of racism with speech of one’s own, while loving the racists? It’s that value to which Dr. Martin L. King, Jr. subscribed.
Michael Meyers of the NY Daily News bemoaned the University of Oklahoma's decision to hold it's Sigma Alpha Epsilon chapter accountable for their Racist conduct. If Darren Wilson isn't punished for killing a black teen, who could justify or stomach White juveniles being reprimanded for singing about lynching a nigger?

Astonishingly, Meyers' plea for tolerance and mercy for the Sooner transgressors is not widespread. All members of the Oklahoma SAE chapter were suspended by their national organization, the chapter is banned from campus, the White students ordered to vacate their frat house, and two members (Levi Pettit, Parker Rice) have been expelled.

My counter-racist code demands that I not help Whites/Racists to the best of my ability. But the rampant, shameless White hypocrisy this incident has unleashed requires me to briefly channel Annalise Keating/Aibileen Clark and help the pounced upon SAE brotherhood.

Ann Telnaes, the president of the Univ. of Oklahoma David Boren and a host of others grabbed their rocks and commenced to throwing as if their house wasn't glass. As if they weren't members of the same White brotherhood/sisterhood that birthed, nourished, groomed, protected and instructed SAE. As if they weren't Racist.

As if SAE's Racist spectacle is an oddity, a deviation from the global White Supremacy norm.
A party at Clemson University has some of the student body upset. The party, held on Martin Luther King Junior day, poked fun at racial stereotypes with partygoers dressed in blackface and other offensive gear. Pictures from the event show one man who'd painted himself black, and other students gripping bottles of malt liquor with their hands duct-taped to the bottles. The theme of the party was 'Living the Dream.' Jan. 2007
Some Arizona State University fraternity students posted horrendously offensive photos of themselves dressed in basketball jerseys, bandanas, drinking out of watermelons and throwing gang signs in celebration of Martin Luther King Jr., Day. Jan. 2014
An incident involving Wheaton College football players who dressed up in Ku Klux Klan robes as part of a parody of the Will Smith film "Bad Boys II" has rocked the college's campus, which already has been reeling from two other recent high-profile incidents. March 2015
A white student walking down the hall of her dormitory at Wheaton College found a noose hanging near the door of a black dormmate three weeks ago. It was the sixth apparently racist incident to occur at the college in the last two years. Nov. 1983
Two student associations at Lund University in southern Sweden have been reported for hate speech after a party featuring the sale of "slaves" complete with blackened faces and ropes around their necks. April 2011
It's a grotesque lie to trivialize the SAE footagee as youthful tomfoolery, a tragic mixture of booze and naivete, or a lone blemish to otherwise burgeoning race relations. White elders brazenly, perpetually carry out identical Racist rituals. Andrea Shea King announced to a live radio audience that Congressional Black Caucus members should be lynched in front of the US Capitol Building for opposing Prime Minister Netanyahu's address to congress. Kelly Tilghman told a live television audience that uppity Tiger Woods should be hung from a tree. The Montgomery County Sheriff's Department (Ohio) investigated five deputies (two were fired) for sending racist text messages for years. Those texts included - but were not limited to: “I hate Niggers. That is all.”  “What do apples and black people have in common? They both hang from trees." And according to the Department of Justice investigation of the Ferguson Police Department, Darren Wilson's former colleagues have a lot in common with the boys of SAE.

This video is just the latest illustration of White Culture. The most recent reminder of what it means to be White. Hopefully, the straw that permanently cracks the spine of the cock-and-bull notion that young Whites are rehabilitated, not Racist.

One of the few things worse than the faux White outrage directed at Oklahoma is the repulsive, bogus spectacle of Senators Jeff Sessions, Rob Portman, former president George "doesn't-care-about-black-people" Bush and the White occupation of Selma. Whites invest enormous sums of time and energy creating photo ops that suggest a sizable portion of Whites are not racist and value black lives. Whites allocated more resources to parade across a bridge named after a KKK member, than to earnestly examine and report the death of Gregory Johnson, Jr.

Mr. Johnson was a 20-year-old student at San Jose State University in 2008. He made the unfortunate decision to reside in the all White Sigma Chi Fraternity House; he was the sole black resident. He was found dead in the Sigma Chi basement on November 22, 2008. Much like LaVena Johnson, Kendrea Johnson, Khalid Flimban and Lennon Lacy... Mr. Johnson's death was deemed a suicide. To quote Quentin Tarantino, "No one who'll be missed."

The Johnson family was justifiably unsatisfied with the suspicious death of Gregory. They've resiliently pursued the truth, and their examination lead them to query the Federal Bureau of Investigation. FBI officials reportedly denied them further information on the death of Gregory Johnson, Jr. on the grounds that it was "a matter of national security." Consequently, the Johnsons filed a $520 million federal lawsuit against SJSU, the University police and Sigma Chi Fraternity. SJSU is also facing a $5 million suit from Donald Williams. In 2013 Williams was an 18-year-old black freshman subjected to ongoing and unpunished White Terrorism from his roommates; they violently assaulted him and called him "3/5" and fraction.

The election of President Obama preceded both occurrences; neither incident provoked the tsunami of finger-wagging and White hand-wringing elicited by SAE's tacky ditty. Gregory Johnson, Jr.'s family could have benefited from the national wrath and expedience demonstrated in Norman, Oklahoma. If #BlackLivesMatter, Denise Johnson might have a more accurate understanding of why her child is dead. In fact, she'd still have her son.
Founded in 1856 at the University of Alabama in Tuscaloosa, SAE has its roots in the antebellum South. When the Civil War began, almost all its members fought for the Confederacy.
Tuscaloosa is approximately 76 miles from Selma. It seems reasonable that some of the White brutes who murdered Jimmie Lee Jackson and sadistically mauled Congressman John Lewis and dozens more might be descendants of SAE architects.

Norman is 122 miles from Tulsa. It seems equally possible that some of the SAE members or general students compromising a University of Oklahoma enrollment topping 30,000 carry the genetic memory of White ancestors who slaughtered and plundered citizens of Black Wall Street.

The irredeemable Whites who sacrificed hundreds of thousands of White lives in defense of enslaving black people are the irredeemable White Terrorists documented in the 2015 report on the "egregiously underreported" lynchings of black people. This is the stock, the lineage, the foundation of the 21st century, global White collective. To restrict this pathology to SAE offers a disingenuous, inaccurate presentation of Whitefolks, Racism.

The White parents of the expelled kids insist their boys are good, got black friends, and are most certainly not Racist.

Apples and Racists don't fall far from the tree.

Wednesday, February 04, 2015

Super Bowl 49: Study In Racism

Tom Brady celebrates with Convicted Racist Mark Wahlberg

In 36hrs. my counter-racist evaluation of Super Bowl 49 became this blog's most popular entry ever. The most watched show in television history has continued to captivate long after the final whistle. New England's conquest of Richard Sherman, Marshawn "BeastMode" Lynch and the Seattle Seahawks illustrates many elements of the ubiquitous, corrosive and all-encompassing nature of White Supremacy. Numerous Suspected Race Soldiers filled the comment section of my post-game dissection. Predictably, they insist the outcome of Super Bowl 49 - much like Tasha Thomas' (John Crawford, III's girlfriend) fatal car crash, Timothy Loehmann being hired and authorized to kill murder Tamir Rice, and the North Miami Beach Police Department using photographs of black males for target practice - had nothing to do with White Supremacy (Racism).

Mr. Neely Fuller, Jr. says, "White people can show you better than I can tell you."

More where this came from.

Monday, February 02, 2015

Super Bowl 49: Castrating A Beast

The most important message in this essay is that in the last 100 years, the white collective simply has moved from the overt sport and entertainment of lynching and castrating Black men (removing their testicles), thereby controlling their “balls,” to a more highly refined series of symbolic representations of the same act…
                         The Isis Papers Dr. Frances Cress Welsing

The Buck Nigger

5 Time Pro Bowl running back Marshawn Lynch was one yard from brandishing back-to-back Super Bowl titles and MVP hardware to match his gold fronts and African medallions. Three feet. The Seattle Seahawks inexplicably faltered 36 inches from triumph. With a first and goal on the 1-yard line, Lynch wasn’t allowed to touch the ball - or his balls.

Absent a reasonable explanation, it's logical to suspect that powerful Whites may have decided that an obstinate black beast would not be permitted a super-bowl-winning touchdown and the requisite temptation for the most defiant end zone celebration in NFL history. A black male palming three balls.

Fans, players and analysts will offer a wealth of interpretations and a more cogent, transparent investigation of the decisive moments of Super Bowl 49 than the Ferguson grand jury proceedings.

Most of that discourse won’t suggest that another demon(ized) black male was subjected to Racism. If the Empire of White Supremacy obstructs and contaminates grand juries, police departments, McDonalds, and enlisted black female’s ability to maintain healthy, natural hair, why wouldn’t Whites thwart the success of uppity thugs niggers like Lynch and Richard Sherman?

White contempt for Lynch has been thinly veiled, crude, and pervasive. The New York Post’s Bart Hubbuch branded Lynch an “unprofessional dick” and a “childish jerk.” The New York TimesJuliet Macur channeled her Willie Horton, Central Park Five and George Stinney White angst to indict Lynch as a sexual beast.

He flashed that grin when the gymnast Shawn Johnson — the [White,] tiny and eternally adorable gold medalist from the 2008 Olympics — threw him a bag of Skittles as part of her gig with “Inside Edition.” Lynch blew her a kiss and told her, “You’re sexy, too.” She ran off, blushing. (I cringed, only because I first wrote about Johnson when she was 15 — and she is 23 now, but still looks 15.) 

A sabotaged ball game hardly registers when juxtaposed against the macabre mountain of lynched black males and razed black towns Whites have justified (celebrated) in the name of avenging an allegedly defiled pale woman. Lynch had the audacity to munch Skittles and live. The cockiness to disobey master, not speak on command. The Orenthal-James-Simpson-gall to get fresh with a White Woman.

Whites scripted Lynch as a petulant child rejecting White paternal authority by refusing to showcase a golden grin polished with White gratitude. A sassy nigger who needs reminding that his place is with the likes of Bay Area residents Bobby Hutton, Oscar Grant and Nubia Bowe. Whites provided him a plantation of dreams to escape the horrors of Oakland White Supremacy. And now he thinks he can defy White authority and keep his balls?

Black children like Darrin Manning had their balls taken for less: 
On January 7th, 2014 Darrin Manning, a 16 year old Black boy, was castrated by a female police officer that found him suspicious. Mr. Manning was a child, a straight “A” student, he was searched, patted down, and then his testicles were squeezed by this woman of the state so hard that they ruptured as indicated by an audible popping.
Maggie Rhodes’ black son Ashton had his genitals mutilated for less. 
When he was in the room, he was screaming like life and death like, like there wasn’t no tomorrow,” she said. “When she pulled back the cloth, like [Ashton’s penis] was like gone. She cut up instead of down, instead of cutting around the top of the penis.
White ball games should not be a priority for sane black people. No Super Bowl triumph or athletic achievement will provide permanent or even temporary solutions to black people’s problems with Racism (Whites). At best these institutions reify and reflect the White Supremacy values that make #BlackLivesMatter a hope or a hashtag, not reality.

Racist projections of demon, black beasts (not humans) that White and courageous Tom Bradys and Darren Wilsons must vanquish. Fairy Tale Racist Endings where brash, recalcitrant niggers are neutered by upstanding, hardworking Whites. White Supremacy could not reward Lynch’s weeks of supposed insubordination and genital flouting with an NFL crown. The core aspects of White culture that required the whipping of unruly Marshawn Lynch and the Seahawks fuel the ongoing molestation of Assata Shakur. The rebellious, “buck nigger” is insufferable and must be broken. Broken in a manner that exemplifies how black defiance concludes. White conquest over – often holding – black balls.

William Rhoden master crafted $40 Million Slave and an interesting prelude to New England’s return to glory. He hinted that “by hook or by crook,” Patriot success seemed likely. Maybe he sensed the Arizona showdown was more plantation than coronation of “black heroes.” With Serena Williams confiscating her 19th major championship at the Australian Open a day before the gridiron battle, Whites had already surpassed their tolerance for celebrating melanin accomplishment.
Entire cross-sections of the country prayed for a “white hope” to rescue the title from the “beast” who had stolen it.