Monday, November 20, 2017

Her Name is Chelsea Beller: White Atlanta Woman Murdered by Three Blacks (Atlanta Media Refuses to Admit Racial Dynamics of Execution)

Previously on SBPDL: "Obama's Son" Nkosi Thadiwe Targeted Brittany Watts for Being White

At a time when the black-controlled city government of Atlanta is prepared to change names of anything celebrating the Confederate heritage of the city (goodbye Confederate Avenue...), a white woman was brutally murdered by three blacks as she tried to close up an upscale restaurant. 

Worse, not one Atlanta news agency/organ will report the race of the suspects, even though surveillance video of the atrocity clearly showcases the racial aspect of what amounts to an execution. 
29-year-old Chelsea Beller was a manager at Barcelona Wine Bar in Atlanta. She was murdered by three black males in a robbery. The Atlanta press/media refuses to identify the race of the suspects, even though surveillance video makes clear they are black

This, of course, is a city where black crime - and the threat of being a victim of black crime - drove whites to retreat to the suburbs, handing over the city to an undistributed line of black mayoral control for nearly 45 years. 

Chelsea Beller might have been a racial egalitarian. 

She might have voted for Hillary Clinton and campaigned against Donald Trump. 

She may have had a 'coexist' sticker on her car and advocated for every progressive cause parroted by the establishment as somehow counter-culture. 

But in the end, she was murdered by three black males the media in Atlanta refuse to even identify as being black. [Reward increases, video released in deadly wine bar robbery, Fox 5 Atlanta, 11-20-17]:

New video released on Monday show three men storming into a popular wine bar in Atlanta’s Westside neighborhood during the early morning hours Sunday. Police said the extremely violent armed robbery turned unnecessarily deadly and investigators have raised the reward to get these dangerous men off the streets. 
The video shows the men, like a streak running into the patio area of the Barcelona Wine Bar located at 1085 Howell Mill Road around 1:45 a.m. as the establishment was closing. A person just inside the patio area dives to the ground, but is then forced up and inside the business by one of the men. 
The next clip provided by Atlanta Police shows one of the men, wearing a black hoodie and an extremely distinctive style of pants binding the hands of an employee with electrical tape near the dishwashing station. 
Not on the video released by police, was the brutal assault of 29-year-old Chelsea Beller, a well-loved employee, who investigators said was forced upsofficeo the officer area to open the safe and then was shot in the shoulder. Beller was rushed to Grady Memorial Hospital where she was later pronounced dead. 
Barcelona remained closed Monday. Well-wishers placed flowers at the restaurant's front entrance in memory of the popular bartender. 
"Just to see such a young, vibrant person taken out of the world it really hurts to see that," said Donald Strohman. 
Eric Jerral stopped by on the chance the restaurant had reopened to offer his condolences to Beller's co-workers. 
"Sad News. My wife and I are regular customers here. We've gotten to know several members of the staff here quite well and we had the pleasure of meeting the young lady that was killed," said Jerral. 
"Every time I saw her I always saw her with a smile on her face," said Travis Borden, Holler and Dash restaurant. 
For Borden, knowing robbers shot Beller even after she did what they ordered makes her death all the more tragic. 
"I just can't believe the audacity of the individuals that were there you know seems like they got what they wanted and still decided to make the ultimate decision," said Borden. 
Barcelona Wine Bar's General Manager Eric Ferraro said the loss was a "horrible tragedy." 
"It has shaken all of us. As the investigation gets underway, we are working closely with Atlanta police to help them with the investigation," he said in a statement. 
"Our thoughts and deepest sympathies are with her family and our team," Ferraro said. 
The Atlanta Police Department issued the following statement Monday regarding the violent encounter: 
“No crime against our citizens, anywhere in the city, is acceptable. But the robbery and murder of an innocent restaurant manager doing her job is a terrible crime that has shocked even the most jaded among us here at APD. We have made fighting violent crime our priority, and this incident underscores that our work is never done. Our investigators are working diligently to find those responsible for this crime. We will continue to focus our efforts on identifying and apprehending violent repeat offenders who prey on innocent people. These crimes are unacceptable, and we will not rest in our pursuit of shutting down these violent criminals.”
When one is perceptive, the Fates have an incredible way of showcasing the folly of the present via the ignored wisdom of the past.

Confederate Avenue in Atlanta is on the verge of being erased, on exactly the same day three black males - whose identity the Atlanta is careful to avoid mentioning in any article or nightly broadcast - executed a 29-year-old white woman who was just trying to close up a restaurant.

Sunday, November 19, 2017

Since Blacks are arrested disproportionately for fare evasion on public transportation, nationwide movement for decriminalization

If nothing is done and the egalitarian world order (EWO) isn't stopped, a misery and darkness will engulf the planet far beyond apocalyptic visions prophesied in end times literature. 

A glimpse of the hellish future is found in Washington D.C., where we learn a massive budgetary shortfall for the Metro (public transportation) falls squarely on fare evasions. Only problem: those getting a free ride vying fare evasion are almost all people of color - black - which means the state must look the other way. [Here’s why some lawmakers are pushing back against fare evasion crackdowns, Washington Post, 11-12-17]:

Allen’s conclusion — that a ­business-suit-wearing white man would be an unlikely target of a fare-evasion sting — is part of the perspective propelling proposed legislation in the District that would decriminalize fare evasion, lowering the maximum possible fine to $100 from $300 and eliminating the possibility of jail time. 
Public transportation can not work in a multiracial society
The D.C. Council’s move mirrors a trend in cities across the country based on a growing awareness among lawmakers of how issues such as legacy policing practices, unconscious bias and systemic racism can unfairly target communities based on race or age — even in the seemingly mundane case of fare jumping. 
Some legislators are questioning whether fare evasion should be a crime at all, arguing that targeted enforcement campaigns are bound to ensnare poor and low-income people who don’t have the money to pay their fares — let alone fines. 
“Absolutely there’s been a raised consciousness on this that did not exist 20 or 30 years ago,” said Nassim Moshiree, policy director at the American Civil Liberties Union of the District of Columbia. “Activism like the Movement for Black Lives has had a positive impact on raising awareness that policing — and the explicit and implicit bias in policing — means that certain communities are impacted in unfair ways. Even when it comes to something like fare evasion.” 
Metro does not get any of the money raised through the fines; those dollars are funneled to the corresponding jurisdictions where the tickets were issued. But the cash-strapped agency is worried about lost fare revenue. Metro Transit Police Chief Ronald A. Pavlik Jr. estimated that the agency loses up to $25 million a year in unpaid fares — a hefty sum for an agency that just announced that it will seek a $29 million increase in the operating subsidies from the jurisdictions that fund it.  
Metro General Manager Paul J. Wiedefeld said he understands concerns about unfair targeting, but he also thinks that people across demographic boundaries feel a sense of injustice that some people flout the rules and ride free, while others dig deep to pay their fares. 
“It’s a fairness issue, across the entire community,” Wiedefeld said. “You have people in those same communities that they’re concerned about being targeted, who are paying their fares. And I think it’s right that everybody pay their fare.” 
Earlier this year, in Oregon, prosecutors vowed to quit pursuing charges against the majority of fare evaders on Portland’s TriMet light-rail system, after a Portland State University study concluded that black riders were significantly more likely to be suspended from the system for repeat violations.
Wait, what about six percent black Portland?

You read it correctly, the almost 73 percent white city of Portland has abandoned prosecuting fare evaders to protect black people from public displays of perpetuating racial stereotypes. All based on an academic study finding no racial systemic disparity, but just enough of the smell of racism was present to denote something foul going on (even though the study noted blacks were more than likely repeat offenders...). 

We've dismantled our civilization under the auspices of equality and the belief only perverse inherent white racism keeps a racial utopia from spontaneously erupting euphorically nationwide. 

Wherever blacks fail, racism must be blamed as the reason why. [Prosecutors will stop pursuing charges against most TriMet fare evaders, Oregon Live ,1-6-17]:

The district attorneys for Multnomah, Washington and Clackamas counties announced Tuesday that they will drastically cut back prosecutions of people who evade paying TriMet fares. 
The prosecutors said the move is in response to a Portland State University study in December and their own research that found African American riders caught riding MAX trains without paying faced bans from TriMet at a noticeably higher rate than white riders. 
Fare evaders who are criminally prosecuted have frequently been charged with interfering with public transportation, which is classified as a misdemeanor under state law. Prosecutors say they plan to stop pursuing criminal charges against hundreds of fare evaders caught annually -- except in extreme cases or cases of chronic offenders. 
They don't want the public to take this as a sign that they're going easy on evaders, the prosecutors said, and stressed that people who don't pay to ride will still face consequences. 
Fare evaders could be ticketed and fined administratively by TriMet, they said. Riders who threaten or assault operators or other passengers will still face criminal charges in state court. 
"All people who ride TriMet need to feel safe," said Rod Underhill, Multnomah County's district attorney. 
Defense attorneys cheered the change. 
"I've already sent them a congratulatory email," said Lane Borg, executive director of Metropolitan Public Defender Services. "It's a great thing that they've done this. ... We need to call out racism in the system." 
Borg said he also agreed that the charge of interfering with public transportation didn't fit the act of fare evasion. Those who have been prosecuted repeatedly find themselves in a hole of fines and court obligations that keeps getting deeper -- and often is difficult to escape, he said.
Why not just let all black and brown people ride public transportation for free? Call it the Rose Parks Plan and forever end unfair stigmas of black people being suspects for fare evasion, allowing them to ride free of charge. 
Our civilization was sacrificed to the EWO, and wherever racial differences flare up (mother nature returning with a vengeance), the only logical reaction is to scream "racism" and find a white person/people to blame. 

Saturday, November 18, 2017

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Thursday, November 16, 2017

The Post-Apartheid Condition of Ponte City Tower in South Africa vs. Fictional World of Marvel's Wakanda

SBPDL NOTE: It's coming! Because We Live Here: The Paul Kersey AnthologySecure your signed copy by contacting us at A $25 donation gets you a signed copy! For a donation of $300, you get signed copies of ALL books published by Paul Kersey. 

Shot. [‘Black Panther’ isn’t just another Marvel movie — it’s a vision of a future led by blackness,, 11-12-17]:

Marvel’s Black Panther lives in the present, but there’s plenty that would suggest otherwise. Slated for a February 2018 release, the movie — which is directed by Ryan Coogler (Fruitvale Station, Creed) — showcases the world of Wakanda: a fictional African nation that’s the most technologically advanced place on the planet. The country is led by King T’Challa, a.k.a. Black Panther (Chadwick Boseman), and is rich with all sorts of sci-fi tech: futuristic hologram beadsself-materializing superhero costumes and some of the most mind-blowing aircrafts the world’s ever seen.
A fictional look at "advanced" African nation...
But Wakanda is more than just a fun spectacle; it represents something much more magnificent and powerful — a version of Africa unaffected by the external world, one that was allowed to pursue its own march toward spectacular progress. 
When the most recent trailer for the movie was released in October, people weren’t just excited, they were jubilant. Now, it’s an event pretty much every time there’s a new Marvel movie but — no disrespect to Spider-Man: HomecomingThor: Ragnarok, etc. — those blockbusters don’t normally have an entire culture of people impatiently awaiting their release. So what makes Black Panther especially noteworthy? 
The secret sauce of Marvel’s Black Panther is Afrofuturism — an arts form that combines science fiction with black culture to create a future informed by blackness. On its face, Black Panther masquerades as Marvel’s latest superhero flick. Dig deeper and you’ll find the movie’s true identity: an Africa-set, Afrofuturist film — made for black people, by black people — powered by a Disney budget. 
Afrofuturism has been looking ahead for decades 
As a term, “Afrofuturism” is often credited to author Mark Dery, who reportedly coined it in a 1992 essay for Duke University Press called “Black to the Future.(Arizona State professor Michael Bennett noted in a phone interview with Mic that he also gives credit to Mark Sinker, editor of U.K. music magazine The Wire, who “didn’t use the term [Afrofuturism] but he expressed many similar concepts that hit the notion on the chin.” Other early proponents, Bennett mentioned, include professor Alondra Nelson and author Sheree Thomas.) 
But as a concept, Afrofuturism dates much further back than the early ’90s, making Black Panther the latest in a long line of works to blend sci-fi and black culture. 
The original Star Trek series from the 1960s isn’t overtly Afrofuturistic, but it does feature actress Nichelle Nichols, who played Lieutenant Uhura and who was the first black woman to portray a sci-fi character. And that was a significant milestone — so much so that, in a 2011 interview with NPR, Nichols said she nearly left the show to pursue other roles, but was dissuaded by none other than Dr. Martin Luther King Jr. Nichols said that when they first met, King told her, “You are marching. You are reflecting what we are fighting for.” 
The feeling of satisfaction Black Panther viewers get from viewing even just the trailer isn’t just because it’s a Marvel film with a black main character (though this is also important). The movie’s real importance is that, like the works of Octavia Butler and Sun Ra, it offers an entire world to escape into. In Wakanda, we’ve moved past the problems of police shootings of black youth and the court verdicts they result in, or an administration that disregards the voices of many of its black citizens when they publicly protest. 
Afrofuturism offers a reprieve from the real world, and Black Panther could be the most mainstream, biggest-budget example of it yet. In February, for roughly two hours, black people will get to live in a world where we’re the coolest heroes, we make the coolest stuff and Donald Trump isn’t president. Afrofuturism can bring a troubled people something truly special: an escape.

Chaser. [The South African Building That Came to Symbolize the ApocalypsePonte City, Africa’s tallest apartment block, is a mainstay of movies about the end of the world—but it was once an apartheid-era architectural triumph., The Atlantic, 2-21-17]: 

It was 10 a.m. on a bright spring morning in Johannesburg, and just outside my apartment, the zombie horde was growing restless. They shrieked and wailed, clawing at their tattered gray clothes and surging toward the walls around them. As they thrashed against concrete and barbed wire, I heard shots ring out. There was a guttural yell and then, abruptly, silence.
The reality of post-apartheid South Africa, where Ponte City (tallest building in Africa) has regressed to the black mean
Finally. For three days, the undead had been interrupting my workdays to fight pitchedcacophonous battles with their human nemeses on the movie set of Resident Evil: The Final Chapter 30 floors below my kitchen window. 
When I had moved into Africa’s tallest apartment building a year earlier, I hadn’t counted on my work as a journalist being interrupted by a zombie apocalypse. But in many regards, I had to admit, it made sense. For more than four decades, after all, the Ponte City tower, which juts out over downtown Johannesburg like a 54-story toilet-paper tube, has been a vertical warehouse for South Africans’ greatest hopes and worst fears about their cities and themselves. 
Built at the center of a buzzy, international neighborhood, Ponte began life as a posh address for white residents in the 1970s. The building’s unusual architecture—its flats all face a gaping open core—lent it a distinct, if eerie, appeal from the outset. But as the fall of apartheid transformed the city center, the building was dragged along with it, morphing into an outsized symbol of the violence and decay that gripped parts of Johannesburg during South Africa’s messy transition to democracy in the 1990s. 
By the time I arrived there, Ponte was shorthand in local media and the public imagination for a city transformed—or, depending on who you asked, destroyed—by the warp of history. Now, it seemed that Hollywood had figured out the logical end point of that metaphor. Over the past few years, the building has appeared in several international films (its credits include District 9, Chappie, and a Drake music video, among others), always as a place both desolate and dangerous. But Resident Evil, which opened in late January in the U.S., took it a step further. It picked Ponte up out of downtown Johannesburg, and dropped it down in the middle of a gutted metropolis at the end of human history. The symbolism was hard to miss.
When white people vacated Johannesburg, blacks in South Africa inherited not just the infrastructure whites built (and left behind), but the beautiful Ponte City tower.

Far from the fictional, scientifically advanced African nation of Wakanda, the world black people (Africans) create is fittingly found personified in the tragic, perhaps lugubrious tale of Ponte City.