The Textual, Tactile, Tittilating, Tantrum-ridden, Totally multimedia musings & sometime portfolio of Dangerfield Newby, by and through is instrument on Earth, Christopher Alan Chambers. Newby died in 1859 in John Brown's raid on the federal company town of Harpers Ferry. White townspeople fed his dead body to pigs. He joined Brown to forstall the sale of his wife, not to start a revolution. And in dying, he started a revolution. His body's long disintegrated into loam; his consciousness survives in bits and bytes. Enjoy. Engage. Enrage.
Chambers is alive, of course, and lives 80 miles from Harpers Ferry in Washington DC. He teaches at Georgetown University, contributes to RT America, MSNBC and Smithsonian Magazine.
Everybody has to have their Scandal now. Even in fab stays like Sleepy Hollow. This is just part of typical herd reaction of network whitepeople in charge, bereft of original thinking (that’s risky and costs money) for the latest fad. Last year, it was giving Tea Party & redneck stand up comics their own sitcom. Still, it’s good to see Octavia get the recognition she richly deserves.
On the flipside, even fans must admit that a show about a troubled African American or Latino teacher turned, um, rock cocaine dealer and killer would have a little trouble getting green lit—especially if the originator and show runner make it damn clear they want the guy to be an anti-hero hero to black or Latino millennials. Crime can be cool when its not so personal and real. Just sayin’ as we say goodbye to Walt..
These results clearly show that the rise of the Tea Party movement was a direct result of the growing racial and ideological polarization of the American electorate. The Tea Party drew its support very disproportionately from Republican identifiers who were white, conservative, and very upset about the presence of a black man in the White House—a black man whose supporters looked very different from themselves.
Alan Abramowitz, Emory University, in The Polarized Public?: Why American Government Is So Dysfunctional (Pearson, 2013). As quoted by Michael Tomasky, New York Review of Books. (via politicalprof)
This is a resource post for all the Good White Person™s out there. You know, the ones who say things like “It’s not my fault I’m white! Don’t generalize white people!”, or “I’m appreciating your culture! You should be proud!”, or “Why do you hate all white people, look I’m a special snowflake who’s not racist give me an award for meeting the minimum requirements for being a decent human being”.
Well, if you are actually interested in understanding racism and how it ties into cultural appropriation, please read instead of endlessly badgering PoCs on tumblr with your cliched, unoriginal arguments and repeating the same questions over and over.
On White Privilege aka don’t blame me just because I’m white:
A small, or almost trivial matter? Perhaps. But it is a metaphor, and all of these little metaphors pile up, each day, and over a lifetime, multiplied by millions—it becomes a norm. And so it becomes allegory for modern America. Not so small anymore, eh? But awareness can change it. White folks, wake up… ;)
"You’re not going to go into a network and sell a show on really fascinating tales of black women, and Latina women, and old women and criminals. But if you take this white girl, this sort of fish out of water, and you follow her in, you can then expand your world and tell all of those other stories. But it’s a hard sell to just go in and try to sell those stories initially. The girl next door, the cool blonde, is a very easy access point, and it’s relatable for a lot of audiences and a lot of networks looking for a certain demographic. It’s useful."
more, plus an audio interview with Jenji Kohan, showrunner for Orange Is the New Black
In other words, “We have to appeal to white supremacy, perpetuate it, in order to tell stories about nonwhite people and make white people interested.”
Quite an indictment of Hollywood and American society.