Z World Detroit -- The Post-Apocalyptic World Found in a 90 Percent Black City

There's a scene in World War Z, the new Brad Pitt movie, that has real-world significance. With what's left of the American government retreating to air craft carriers (a flotilla of naval vessels), there's a throw-a-way scene of members of the military bringing abroad the framed U.S. Constitution and Declaration of Independence. It's mentioned, briefly, that D.C. has fallen.

Artifacts from a world now ruled by zombies were removed from the ruined of Washington D.C. in World War Z; it's a shame white people didn't do the same when they were forced out of Detroit by blacks. 

 Amid all the chaos of the world ending and the attempt to preserve some vestige of the former civilization, this scene punctuated the recent news the Detroit Institute of Arts could see its prized inventory put on the auction block to satisfy the debts of a 90 percent black city.

 Or, six percent of the debts.

 This is a city that has provided electricity to customers over the past five at an operating loss of $150 million annually, which means virtually no one is paying their electric bill. [DTE to take over Detroit electricity service, Detroit News, June 27, 2013]

 It's also a city where one solution to the economic woes facing the 90 percent black (a rarely mentioned creation of that same 90 percent black population) was to create a zombie style amusement park [Idea for Detroit zombie theme park catches some attention, Detroit Free Press, July 9, 2012].

Dubbed Z World Detroit, the idea was to turn large areas of abandoned Detroit real estate into an urban zombie theme park.

It hasn't gone anywhere yet, because the entire city is already an urban zombie municipality.

With the appointment of Keyvn Orr as the Emergency Manager of the city has ensured that the black population responsible for the post-zombie apocalypse nature of Detroit won't be blamed for the economic or moral conditions of the city. After all, Orr empathizes with them as a black man who grew up in Detroit[Orr: 'Painful sacrifices' are needed to avoid bankruptcy, The Detroit News, June 10, 2013]:

 Addressing those who believe an EM isn’t necessary, Orr said the city had a chance to correct its problems through a consent agreement forged in March 2012 that “put out certain prescriptions for things that were supposed to be accomplished in a year’s time. And they weren’t.” 

Orr also spoke about his background and the racism his family members experienced, saying he understands the struggle of black Detroiters. “No one can tell me about issues involving discrimination,” he said. “I’ve lived it. ... I don’t want anyone to think I don’t understand, in a very real sense, what I’m asking them to do.” 

Issues of discrimination in a 90 percent black city shouldn't be given any credence at this point, for its precisely because of the paucity in the city of Detroit that it is in such a perilous economic state ($18 billion in deficits).  

Z World Detroit has already come true, and yet the Lansing-appointed emergency manager is prattling on about understanding the plight of 'discrimination' in a city populated by a near monochromatic population of blacks. 

But just as those black elected officials inherited a city already constructed from the white people who abandoned it (with the high levels of black crime a crushing blow to social capital and an insurmountable obstacle to avoid), the black population also inherited priceless cultural artifacts from the racial group distinctly different from them. 

Whereas the Detroit Institute of Art and all the art housed in it represents the expression of European-descended people, the city of Detroit in 2013 is the expression of African-descended people. 

It truly is Z World Detroit. 

And with the bankruptcy of a 90 percent black city imminent, an attempt to pay back debts assumed by a completely black-dominated city/population (since 1974 and the election of Coleman Young, Detroit has been a black-politically dominated city) could mean the selling of artifacts from a civilization they supplanted. 

There's no need for a zombie-style amusement park in Detroit; the 90 percent black city is already post-apocalyptic
 

The white civilization that actually built Detroit [Anxiety in Detroit Over a Prized Car Trove, New York Times, June 19, 2013]:

But there is another Detroit family jewel in question that is largely unknown outside the automobile world and to some people even more treasured — a collection of 62 lovingly maintained classic cars donated to the city since the 1950s by civic-minded families seeking to preserve the Motor in Motor City. 

Most of the cars are stored under protective plastic bubbles in a World War II-era riverfront warehouse on the grounds of Fort Wayne, while others are on display at the Detroit Historical Museum or on loan to exhibits around the country. 

Just as art patrons are resisting selling van Goghs and Matisses to satisfy Detroit’s debt, car lovers are pushing back at the possibility of losing what they regard as the city’s historic industrial heart and soul — including a Cadillac Osceola that dates to 1905, and a vintage Ford Mustang worth an estimated $2 million. 

“The cars stand for us, the expression of the thousands of people working hard to produce the birthright of America,” said Jerry Herron, a Detroit historian and dean of the Irvin D. Reid Honors College at Wayne State University. “It would be a sad day for Detroit and for America.” 

rom the perspective of Adam Lovell, the curator of the historical society’s museum, the cars’ real value lies in what they represent for Detroit. Each vehicle in the collection has a story that, taken together, “tell little snippets, tiny microstories” of Detroit’s history. 

The stories feature industry titans making groundbreaking cars, and workers fighting to prove their grit to the world — and to their companies. 

It is an eclectic collection, from the innovative 1934 Chrysler Airflow four-door sedan to the 1960 Chevrolet Corvair — later declared by Ralph Nader to be “unsafe at any speed.” Even an AMC Pacer, one of the oddest cars from the 1970s, sits in the 50,000-square-foot warehouse, which smells like a musty basement and pulses with the whir of the fans that keep the bubbles inflated 24 hours a day. 

There is also the 1919 Dodge coupe belonging to John Francis Dodge, with gold initials JFD imprinted on the rear door and an odometer that reads 4,126. A 1902 Oldsmobile runabout is considered the first mass-produced automobile in the world. 

A 1987 Cadillac stretch limousine was custom-made by workers in a failing bid to persuade General Motors to keep open the Fleetwood plant where it was made. 

Mr. Lovell counts among his favorites a 1924 two-door Hupmobile with a four-cylinder engine, manufactured by the long-defunct Hupp Motor Car Company. 

“If you look in a 1920s Detroit phone directory for car companies, you’re going to see 60 different listings,” he said. “That just boggles people’s minds. Some produced two cars, some produced hundreds.” 

Another unlikely favorite of his is a 1984 Dodge Caravan. 

“I call it the Model T of the ‘80s,” he said. “It defined the soccer mom generation.”For Sandra Studebaker of Fraser, Mich., who donated the minivan to the historical society in 2004, the four-cylinder, standard-transmission vehicle has personal significance. 

“It had become a member of my family,” said Ms. Studebaker, a distant relative of the Studebaker automotive family. “I even named it Brown Betty. I could not give Brown Betty to anyone who would run it into the ground.” 

The collection is valued at more than $12 million, according to an independent estimate produced by Hagerty, the classic car insurer based in Traverse City, Mich., at the request of The New York Times. 

“You can tell it’s a collection meant to paint the history of the automobile,” said Jonathan Klinger, a Hagerty spokesman. “It’s designed to tell a story.”

And though black people have contributed nothing to the history of the automobile, they are exclusively the contributors to the economic and moral collapse of the city of Detroit, a metropolis that has degenerated into nothing more than the real-life manifestation of Z World Detroit. 

Is there anything of material value that blacks have contributed to Detroit? 

Seriously. 

Is there? Here's a breakdown of Detroit's assets. Unfortunately, the Detroit News is to kind in falling to acknowledge the 90 percent black population of the city of Detroit is its greatest liability [Detroit Zoo giraffe? Belle Isle? Detroit's treasure trove could be vulnerable to sale to settle debt, Detroit News, June 2, 2013]:

A healthy, breeding female giraffe from the Detroit Zoo could fetch $80,000 on the open market. Detroit’s half of the Detroit-Windsor Tunnel was valued a few years ago at $65 million. 

A prototype of the 1963 Ford XD Cobra owned by the Detroit Historical Museum carries an estimated price of $1 million. Belle Isle? 

Maybe several hundred million dollars. Maybe more. If everything is indeed on the table when it comes to turning Detroit’s assets into dollars, then the possibilities are nearly endless, bewildering and sometimes bizarre. 

Detroit is teetering on the brink of the largest municipal bankruptcy in American history. The city’s emergency manager, Kevyn Orr, and his team have said they want to evaluate everything owned by the city as they begin negotiations with creditors in the face of $15 billion to $17 billion in debt and future pension obligations. 

Orr already created a tsunami of controversy when he acknowledged late last month that billions of dollars worth of art owned by the city and housed at the Detroit Institute of Arts were vulnerable to creditors. But he potentially could sell or privatize numerous other city assets, too, from public parks to operations of the city’s Water and Sewerage Department to sundry treasures found in some of Detroit’s other cultural institutions.

Zombies are all the craze now, with World War Z opening huge and The Walking Dead playing to record cable audiences on AMC. In the aftermath of the initial zombie surge, civilization collapses and what's left of humanity is left to pick up the pieces and fight to restore some sense of normalcy.

Now tell me -- a 90 percent black city already gives us a glimpse into a world where a much different kind of undead has trampled upon the civilization they inherited when the violence inherit in their community drove away the people responsible for making the city a one-time Paris of the West.

George Romero and Max Brooks nightmarish, hellish version of the macabre has come true.

We call it Detroit 2013, a manifestation of the type of community black people will create when left to their own devices.

Anyone up for buying a giraffe?