Racism is DEAD

Jesse Willams part 2

Racism is dead and was assassinated by actor, activist and humanitarian, Jesse Willams, whom was dressed, appropriately, in all black. But before we rescue ourselves from mourning the deceased, it is customary and critical that we do a full evaluation of the limbed body of racism—because it might still be alive.

His assassination attempt was at the 2016 BET Awards—when he was bestowed the 2016 Humanitarian Award for his continued commitments to humanity and social justice.

“Now, this award, this is not for me,” Jesse said. “This is for the real organizers all over the country. The activists, the civil rights attorneys, the struggling parents, the families, the teachers, the students that are realizing that a system built to divide and impoverish and destroy us cannot stand if we do.” He then added, “It’s kind of basic mathematics. The more we learn about who we are and how we got here, the more we will mobilize.”

Organically, the crowd roared in excitement and gave Jesse a beautiful standing ovation. Finally, I imagined, that they, too, thought that racism was dead. But, some of us know by now, that, no matter how great the speech or performance was, racism has a way of staying alive.

Take, for example, President Barrack Obama’s 2008 victory speech, “If there is anyone out there who still doubts that America is a place where all things are possible, who still wonders if the dreams of our founding fathers is alive in our time, who still questions the power of our democracy—-Tonight, is your answer.”

Then, that same night, after that moving and powerful speech, a group of young white men, Raph, Michael, and Brain, came upon a 17-year-old African American male who was walking home after watching the election speech and assaulted him. They brutalized the young man with a metal pipe and police baton, injuring his head and legs.

Much like Beyonce’s SuperBowl performance, where she, too, was dressed in all black, Jesse Willams’s prolific oratories at the BET Awards is a reminder that we should not only celebrate those who are brave enough to speak truth to power, but to remain vigilant and constantly checking the pulse of racism.

Click here to watch Jesse Williams’s full speech.


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Kanye West, Taylor Swift’s Nightmare

Kanye west nakes

“Taylor cannot understand why Kanye West, and now Kim Kardashian, will not just leave her alone.”

—A statement from Taylor Swift’s Representatives—

Kanye West has done it again; capturing the world’s attention with his “Famous” music video that took 3 months to make. Although, some may view it as creative expression, there’s a special someone in the video who thinks he’s gone too far.

In the “Famous” music video, which was premiered on TIDAL, Kanye used the likenesses of celebrities, like, Taylor Swift, Donald Trump, Ray Jay, Kim Kardashian, Caitlyn Jenner, George W. Bush, Rhianna and 5 other celebrities, to say that it was a “comment on fame.”

Inspired by realist painter, Vincent Desiderio and his 2008 ‘sleep‘ painting, the music video shows the aforesaid celebrities naked and tangled in a bed of white sheets together. For example, you can see Kim Kardashian’s famous backside, Donald Trump’s famous hairdo and Rihanna’s famous breastplate tattoos.

Although this may be true, that, those aforesaid celebrities are indeed famous for those things, but where do you draw the line between artistic expression and downright humiliation?

What Kanye West has effectively done, is to completely blur the latter and make room for more public humiliation by other artists.

In the song West raps, “I feel like me and Taylor might still have sex/Why? I made that b**** famous,” referring to the time when he interrupted Taylor on stage at the 2009 MTV VMAs.

In response, Taylor said that she felt “humiliated” by Kanye’s video and lyrics. But, soon after, instead of apologizing, Kanye went on Twitter and tweeted, “Can somebody sue me already #I’llwait”

I understand that Kanye West is loved by many, has a huge following, and when he does something outrageous we just automatically accept it because he’s an artist, but I think at a certain point we, the fans, has to call him out when he’s doing too much—especially when he’s hurting other people.

Soft-bullying should not be promoted—just because someone is an artist.


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Patricia Arquett, White Women As Allies

osca for patrica
letter a2t the 2015 Oscars, Patricia Arquett, whom was nominated for best actress in her supporting role in the film Boyhood, said, “every women who gave birth. to every tax payer and citizen of this nation. we have fought for everybody else’s equal rights. It’s our time to have wage equality, once in for all. and equal rights for women in the United States of America.”

The audience, whom applauded such latter stupidity were predominantly white, privileged, and long-time strangers to working-class poverty and the emotional headaches associated with being disenfranchised. Which begs the question, who was Patricia Arquett advocating for, with her presidential campaign-like speech?

“We have fought for everybody else’s equal rights,” but when you say “we,” who are you talking about? because I’m assuming that your talking about white women as allies, right? and when you say other’s “equal rights,” I venture to assume, again, that your talking about the oppressed people of this nation, right? However, we have to set the record straight on your latter naïve realism—because the white feminist movement was never designed to coalesce with true under-represented citizenry’s of this nation. Instead, it was to act as an emotional and psychological shield from the brutality of white-male patriarchy. With that said, and with the obvious buffoonery exposed, that is why people such as Patricia Arquett needs to be checked when they make such false claims of solidarity with oppressed people.

Despite the very few, at least the ones who were bold enough to show their solidarity in open spaces—not the false liberal ones whose discontent with inequality never escaped the chambers of their mind—white women allies were not the allies of African Americans during slavery. They whipped our children, upheld the law of the land that made it a crime to teach slaves how to read, participated in auction-blocks—that separated mothers from their young, made a sport out of reporting false rape allegations against the black man—knowing quite well it would lead to his lynching. So, forgive me, when I cringe over your weak narrative of solidarity, for those lived experiences of slaves who saw you for who your were, in the absence of the master, to be more wicked than the white man.

Before I depart—to find something to quench this emotional flame of mine—I must mention, also, that you were never there when Native Americans were being evicted from their homes, to be placed on reservations, while their children were forced to assimilate to white culture or face death, by brutes who believed in a pretzel-logic ideology of Manifest Destiney. Then, there were the Japanese during World War 2—by law, forced into concentration camps, under hazardous living conditions, paid $16 dollars a week, while some, shipped off to work for white families as domestic workers, all because they were assumed to be spies for Japan—when in fact, ten people were convicted of spying for Japan, all of whom were Caucasian.

In closing, Patricia Arquett, next time you open your mouth to say something you feel so passionate about, such as we “fought for everybody else’s equal rights,” just think, will history be able to defend you?