Colin Kaepernick's Jersey he Wore to Spit in Face of the National Anthem to be Honored at the National Museum of African American History and Culture

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Remember Colin Kaepernick? ESPN and the corporate media's favorite mulatto quarterback is currently unemployed, many believing he's been blackballed for his decision to protest the National Anthem of a nation scarcely even existing anymore. 

Kaepernick's jersey will be featured in the National Museum of African American History and Culture

Only a few weeks after Travyon Martin received a posthumous degree in aeronautical science from Florida Memorial University, the true "F-U" to white America happened. [Colin Kaepernick's Protest Jersey Donated to Smithsonian: Outspoken quarterback is compared to Muhammad Ali, Rolling Stone, May 19, 2017]:

Free agent quarterback Colin Kaepernick's jersey he wore while protesting the National Anthem in 2016 were donated to the Smithsonian. 

Harry Edwards, a sociologist and a long-time San Francisco 49ers advisor, reached out to the National Museum of African American History and Culture in Washington, D.C. 

"I said, 'Don't wait 50 years to try to get some memorabilia and so forth on Kaepernick,'" Edwards told USA TODAY Sports. "'Let me give you a game jersey, some shoes, a picture … And it should be put right there alongside Muhammad Ali. He's this generation's Ali.'" 

After ending his protest, Kaepernick has found other ways to get his message across.  

Earlier this month, the free agent quarterback brought his Know Your Rights Camp to Chicago, in which over 200 campers attended workshop on topics such as financial literacy, nutrition and how to deal with law enforcement among others. A few months earlier, in January, Kaepernick donated $25,000 to a Chicago non-profit organization that shares his vision for helping communities help themselves. 

At the end of the camp, the participants were given a backpack that consisted of ancestry kits and a copy of The Autobiography of Malcolm X.

How to deal with law enforcement? Don't break the law and always cooperate with police. 

Trayvon Martin (whose famed hoodie might appear in the same museum). Michael Brown. Colin Kaepernick.

Back in 2008, Harriet Tubman, Martin Luther King and Rosa Parks were rated as America's greatest heroes.

For the decade we are currently enduring, Martin, Brown, and Kaepernick are names we are force-fed on a daily basis until we become gluttons, advocating exclusively for black rights and for black advancements with every fiber of our bodies.

Clint Eastwood Laments "Political Correctness" Destroying Cinema in 2017: In 1974, Black Muggers in "Death Wish" Were Changed to White so Movie wouldn't be labeled "Racist"

It was already too late, Clint. 

Dirty Harry was made in 1971 and immediately faced denunciations of "fascism" from respectable corners of the literary/artistic world. 

By 1974, another vigilante would be released on celluloid (purportedly one of President Trump favorite films), which we will learn shortly faced a politically correct rewrite for it to be made. 

But first... [Clint Eastwood: Political correctness would stop Dirty Harry being made today, Yahoo.com, May 22, 2017]:

Clint Eastwood thinks that his classic cop thriller ‘Dirty Harry’ couldn’t be made today, thanks to political correctness. 

It was already too late in 1974, when Death Wish producers were forced to change muggers who raped Bronson's characters wife and daughter from black males to white, so as not to be called "racist"

Speaking during an on-stage interview at the Cannes Film Festival, the 86-year-old actor and director said: “A lot of people thought it was politically incorrect. 

“That was at the beginning of the era that we’re in now, where everybody thinks everyone’s politically correct. We’re killing ourselves by doing that. 

“We’ve lost our sense of humour.” 

‘Dirty Harry’ does feature as its antagonist a racist, homophobic serial murderer in actor Andy Robinson’s deranged Scorpio. 

Clint has long railed against so-called political correctness. 

Following Donald Trump’s inflammatory, racially-charged remarks in the lead-up to the US presidential election last year, Clint said we needed to ‘f**king get over it’. 

“We’re really in a pussy generation. Everybody’s walking on eggshells,” he said in an interview with Esquire. 

“We see people accusing people of being racist and all kinds of stuff. 

“When I grew up, those things weren’t called racist. Secretly everybody’s getting tired of political correctness, kissing up. 

“[When I did] Gran Torino, even my associate said, ‘This is a really good script, but it’s politically incorrect’. And I said, ‘Good. Let me read it tonight’. The next morning, I came in and I threw it on his desk and I said, ‘We’re starting this immediately’.”

In the incredible book Bronson's Loose!: The Making of the Death Wish Films, we learn just how deep the infection of political correctness was in the early 1970s, just after Dirty Harry had been released:

In Garfield's novel [Death Wish], the pivotal attack on the wife and daughter is not describe, and there is no rape. Mayes's screenplay also had the assault taking place off-screen. But Winner shot a repulsive and vicious scene that showed both women being beaten and humiliated and the daughter being sexually assaulted. The director explains, "I thought that the audience had to be geared up to so hate the people that did this, that they wanted that type of person killed. I think you had to show [the attack] in order to get the audience sympathetic to Bronson going out and killing people." 

The sequence is one of the most brutal ever shown in a mainstream film and was made even more shocking by the presence of the classy Lange as one of the victims. (One effective camera angle represents the wife's point of view as she sees her daughter being violated.) 

In Death Wish, Winner topped his disturbing scene in Chato's Land, where the Bronson character's wife is gang-raped and degraded.  

Adding to the queasiness of the scene are the performances of the three scary-looking actors who played the attackers. "You're looking for a villain to be as horrible as possible so the audience really hates him, and then they don't mind of he or his mates are killed," Winner explains. The screenplay specifically called for several of the mugger characters to be black, but Paramount executive Frank Yablans, concerned that the film would be racist, urged the director to limit the number of African Americans that were cast as thugs. (p. 12 -13)

Sorry Clint Eastwood, but political correctness had already killed cinema three years after your Dirty Harry came out.

The rot runs deep. It was already terminal in 1974. Forty three years later, it's merely festering on carrion.

NOLA Mayor Blames Confederate Monuments for People Leaving City, Though Black Population Rose 39.6% between 1960 and 2000

Flash back to 1950 New Orleans. 

• The city was 70 percent white and 30 percent black. 

Flash back to 1960 New Orleans. 

New Orleans was 70 percent white in 1950. It only became a "Chocolate City" after the fall of segregation and restrictive covenants made protecting white civilization from black depravity illegal in the eyes of the U.S. Constitution

• The city was 62.5 percent white and 37 percent black. 

Flash back to 1970 New Orleans. 

• The city was 54.4 percent white and 45 percent black. 

Flash back to 1980 New Orleans. 

• The city was 42.5 percent white and 55 percent black. 

Flash back to 1990 New Orleans. 

• The city was 34.9 percent white and 61.9 percent black. 

Flash back to 2000 New Orleans. 

• The city was 28 percent white and 67 percent black. 

Flash back to 2010 New Orleans. 

• The city was 33 percent white and 60 percent black. [

  Walking to New Orleans: Ethics and the Concept of Participatory Design in Post-Disaster Reconstruction by Robert Ross, p. 164 - 165]

The city of New Orleans reached a high population of 627,525 in 1960, declining to a population of just 484,674 in 2000. There were 392,649 whites in New Orleans in 1960 - when they represented 62.5 percent of the city - and in 2000, there were 135,956 whites in the city. 

Or, the white population decreased 65.37% between 1960 and 2000 in New Orleans. 

There were 233,344 blacks in New Orleans in 1960 - when they represented 37 percent of the city - and in 2000, there were 325,947 blacks in the city. 

Or, the black population increased 39.6% between 1960 and 2000 in New Orleans. 

Why bring this up? [NOLA Mayor: Civil War Monuments Caused a ‘Great Migration’ Out of the City, Breitbart, 5-19-17]:

Louisiana – Mayor Mitch Landrieu (D) says residents of his city left because of monuments dedicated to Civil War-era icons. 

In a press scrum, Landrieu told the media that the Confederate monuments, which he is in the final stages of removing, “have run people out of the city.” 

“But I will say this for people that are interested in the cost,” Landrieu said. 

“The cultural and economic and the spiritual loss to this city for having those statues up that have run people out of the city,” Landrieu claimed. “The great migration that sent some of our best and brightest to places across the country that we don’t have the benefit of has been incredible.” 

Historians, in the past, have said that the opposite is true of New Orleans, however, arguing that the city attracts tourists and residents because of its rich history and public museum-like displays. 

Landrieu made the statement hours before the City began removing one of the most famous monuments, a statue of General Robert E. Lee at Lee Circle. Other monuments already removed by the Landrieu Administration include the Battle at Liberty Place, Jefferson Davis, and the P.G.T. Beauregard Monuments.Landrieu’s comments were made despite no evidence showing such a migration in the last decade due to the Civil War-era monuments.

Hunter Wallace noted the inconvenient truth of the racial reason behind New Orleans population decline: black crime and the fear of being a victim of random black crime drove whites away once the legal protections of Jim Crow, restrictive covenants, and segregation made living in the city an untenable option for those white parents worried about the new integrated world (and homicide in New Orleans has always been a black-in-origin phenomenon):

Maybe the Confederate monuments caused their >75 IQ too? 

The Confederate and Reconstruction monuments in New Orleans were erected in 1884 (Robert E. Lee), 1891 (Liberty Place), 1911 (Jefferson Davis) and 1915 (P.G.T. Beauregard). According to the US Census Bureau, the population of New Orleans grew in every decade of the Jim Crow era. 

The Civil Rights Act of 1964 brought the end of white supremacy and segregation in New Orleans. From the 1960 to the 2010 Census, New Orleans has lost 283,696 residents under integration. Many of these residents were black and were temporarily displaced by Hurricane Katrina. They are now returning to New Orleans which is reverting to pre-Katrina levels of violent crime. 

That’s what really caused the Great Migration out of New Orleans.

The Civil War monuments didn't cause people to abandon the city of New Orleans: prior to Hurricane Katrina, a most unnatural disaster befell the city of New Orleans as the Civil Rights victory compelled white people to abandon the city their ancestors built so that their progeny could live safe and free from the black dysfunction Jim Crow and segregation once protected them from. 

The white population decreased 65.37% between 1960 and 2000 in New Orleans. 

The black population increased 39.6% between 1960 and 2000 in New Orleans. 

Even though the Robert E. Lee statue might have been pulled down in New Orleans - erected in 1884 - his wisdom about black people's contribution to American life is as true as it ever was: 

 “I have always observed that wherever you find the negro, everything is going down around him, and wherever you find the white man, you see everything around him improving.”

It was the blacks, unleashed from the restrictions white people long ago enshrined into law to protect their descendants from black depravity, who drove productive white people from New Orleans. 

Not monuments, but blacks.  

L.A. Riots Turn 25: Remembering Blacks Lining Up For Welfare Checks During Riots on May 1, 1992

Confession. During the L.A. Riots, I was very, very young. 

It's why watching LA 92 on Hulu was so interesting, to see blacks loot, riot, and burn in the name of a black criminal, as well as attack white citizens. The documentary shows numerous white people come under assault, as well as Koreans defend their property and businesses from black rioters. 

No, we can't all get along... 

The best part of the whole documentary was a Chinese woman defend her already looted store, as she tried to keep out non-white (primarily black) hordes from burning down her business as she shouted, "This is America. This is America. This is America."

Over, and over again. 

She's right. 

What happened in 1992 Los Angeles is exactly what America has become. 

Few are willing to accept this fact, but it's the truth. 

Just a nationwide powder keg, giving off sparks...

But an interesting portion of the documentary was May 1, 1992, when thousands of blacks lined up at a Post Office. Surrounding this government building were burned out stores looted only a day before, but the Post Office remained miraculously untouched. 

There's a reason why. Congressman Maxine Waters is seen trying to calm the black crowd, rallying the troops via talking to them on a bullhorn about the need to be orderly and polite so everyone could receive their welfare check. 

The city of Los Angeles was a war zone, but blacks still were under the impression the white man would provide a welfare check... [L.A. riot claims 38 lives, surpassing 1965 Watts riots, UPI.com, May 1, 1992]:

Rev. Jesse Jackson walked the ravaged Crenshaw District Friday, meeting with distraught residents. 

Some law-abiding residents bemoaned the negative image they suffered at the hands of the rioters in addition to the physical destruction. 

''I'm tired of us being portrayed as animals,'' one woman said, crying in Jackson's arms as they watched a medical clinic burn to the ground. 

Jackson also visited a post office where hundreds of people were lined up waiting for their monthly Social Security or welfare checks. Many had no idea where they would cash the checks or spend the money on necessities because of the destruction of so many neighborhood shops and businesses.

It's a much watch documentary, because it powerful demonstrates there is no hope of black people ever assimilating to our civilization.

There can be no peace.

Friction will always exist, until a spark is created producing a Watts riot of 1965 or a Los Angeles riot of 1992.

Through it all, blacks will still demand their welfare checks come in the mail on time or arrive via direct deposit without the inconvenience of having to stand in line while blacks riot/loot/burn all around them.