Sunday, March 18, 2018

Rue the Day, Britannia! In Majority Non-White London, Knife Crime Almost Entirely Committed by Black Immigrants

The United Kingdom has extreme gun control laws

It doesn't have control over its border. 

London is now home to more than 8.6 million people, the highest the city’s population has been since 1939. What’s more, 44% of London now consists of black and ethnic minorities, compared to only 28.9% in 2001. That’s according to the Greater London Authority, which serves the London mayor’s office [via the BBC]. 
London’s proportion of immigrants may seem high, but that’s not an uncommon balance for many global business capitals. Below are diversity readings for some of the world’s largest financial centers, according to research group Long Finance’s Global Financial Centres Index. (Zurich, Seoul, Tokyo, and Geneva are also in the top 10, but reliable demographic data for those cities was not readily available.) 
London has always attracted immigrants, but they’ve often come one group at a time, the Economist notes. That began to change in the 1990s, as conflicts in Africa and the Middle East, the Soviet Union’s collapse, EU expansion, and growing emerging market wealth drove more foreigners to Britain. Between 2001 and 2011, London’s white population decreased by 6%, while the “Black other” population (not African or Caribbean) increased 110%, according to the 2014 Greater London Authority report. Overall, black and ethnic minorities grew 55.5% over the decade. 
The growth could have a major impact on politics. A recent report from the Migrants’ Rights Network and the University of Manchester estimates that around four million foreign-born residents will be eligible voters in this year’s May elections. Though they don’t vote uniformly, there are a few issues immigrants tend to agree on. For instance, the report suggests that migrant voters (ethnic minorities who are not born in the UK) care more about issues of immigration and discrimination. Those sentiments could be bad news for the right-wing UK Independence Party, which has veered toward anti-immigration policies.
And here's the chaser. [UK knife crime takes toll on black teenagers:Young black and ethnic teenage boys 'disproportionately' affected as both victims and perpetrators in London., Al Jazeera, 2-24-2018]:
Knife crime in the UK is taking a toll on young black men, who are disproportionately being stabbed and killed in the capital, official statistics show. 
According to police figures, knife crime rose by more than a fifth in the UK last year, with a third of the recorded 37,443 offences involving a knife or sharp instrument taking place in London. 
Black and minority ethnic teenage boys and men were disproportionately affected, as both victims and perpetrators, the city mayor's office revealed. 
"I recognise that there is a disproportionate number of young black males that are getting stabbed and unfortunately being killed," Nicholas Davies, London police chief superintendent, told Al Jazeera. 
"The gangs don't necessarily follow racial groups, some can be very multicultural, but as a rule we're finding the biggest threat to a young black male is indeed a young black male."
Invite the 3rd world, become the 3rd world.

Even better, have public officials make excuses for the foreigners turning the nation of your ancestors into a landmass scarcely recognizable to what existed less than a score ago.

Saturday, March 17, 2018

#WakandaIsntReal: Two White University Professors Argue the Success of 'Black Panther' is a Repudiation of President Trump

There can be no doubt about it anymore: black people view Black Panther with a religious affinity. [In Age of Trump, we all needed 'Black Panther' to save the day,, 3-16-18]:

Since opening last month, Black Panther has grossed almost a billion dollars worldwide. The film seems poised to break into the top 10 most successful superhero movies in U.S. history. And critics are in love. 
So what explains the film's runaway success? (Warning: spoilers ahead.) 
#WakandaIsntReal, but Donald J. Trump is very real. More to the point, the sound and fury electing him in 2016 is real too...
One obvious reason is that it's fresh and familiar at the same time. Black Panther is a superhero movie in which the hero, and his extraordinary supporting cast, are African. On the one hand, the audience expects and receives some of the usual hero fare: an origins backstory, and a narrative arc that includes a super-powered villain, as well as the inevitable rise, fall, and return of the film's protagonist, T'Challa. 
On the other hand, this is a hero, and a world, that Hollywood has never showcased before. While Marvel and DC have increasingly produced films and comics featuring heroes of color, women, and gay and transgendered characters, the core of the hero universe is still mostly white, male, and straight. 
Black superheroes, in particular, are usually afterthoughts and sidekicks, like Falcon (Avengers) and "Rhodey" (Iron Man). 
But Black Panther mercilessly upends the comic book status quo. T'Challa is the heart of the film, and while he has superhuman strength and other enhanced senses, he is also a diplomat, a king, and a man unafraid to rely upon the wisdom and power of others, especially black women. T'Challa represents bravery and leadership, but his half-sister Shuri is the film's inventor and genius, and the warrior-bodyguard Okoye embodies military prowess, honor, and fierceness. 
To put all this differently, Black Panther's appeal to an especially large and diverse audience can be partly explained by the movie's reliance on a collection of heroes and themes that are both transgressive and safe. Generation after generation of audiences have come to equate heroes as a group of white, mostly male saviors. But Black Panther gives us characters who look and speak differently. All of the Wakandans have African-inflected accents, and costumes and garb that celebrate a homegrown and distinctive culture. 
Indeed, the entire world of Black Panther is colorful, kinetic, and technologically and organizationally superior to our own. Wakanda, the fictional city in the film, features hologram communications, a magnetic levitation rail system, and advanced medical techniques that enable Shuri to save the life of Everett Ross, the movie's white sidekick. Black Panther offers us the alternate world Africans might have experienced in the absence of colonization, war, slavery and Western culture. 
Even the film's charismatic and sympathetic villain, Erik Killmonger, is transgressive. His dangerous difference would pass as conventional in other creative works. Killmonger is the only black character in the film who is also American. And his excellence in combat and lethal nature comes from what would normally be a traditional hero's biography: he's a decorated and talented U.S. Special Forces soldier, who fought campaigns in Iraq and Afghanistan. 
But Black Panther tempers these genre-disrupting ideas. After all, Killmonger, who aims to achieve racial justice by arming black citizens and fomenting revolution, is defeated. And while T'Challa and Okoye can not be mistaken for, say, Batman and Robin, their ultimate promise to end Wakanda's isolation and aid the poor and needy across the globe is a pretty standard superhero aspiration. 
Black Panther appears at a curious time in the United States. Having recently experienced eight years of the nation's first black president, the United States is sometimes described as entering a post-racial period, where multiculturalism and difference are uncontroversially embraced. 
At the same time, the rise of Donald Trump has ushered in a resurgence in white nationalism and outright white supremacy. And, of course, our stubborn racial disparities in economic opportunity, political representation, and incarceration predate Trump's populist nativism. 

Black Panther enters this uncertain and fractured era with a utopian promise that is both disruptive and restorative. 
The superheroes will save us and bring us together, on terms that are largely familiar. As T'Challa puts it, "more connects us than separates us" and we must "look after one another, as if we were one single tribe." 
But this unification and renewal occurs through an iconoclastic and genuinely original set of heroes, who beat back both their enemies and the hollow stereotypes of shiftless, alienated, and lawless people of color.
#WakandaIsntReal, but blacks will still allow the movie to inflate their already toxic levels of self-esteem to an unimaginable degree. With this op-ed, we learn Black Panther and Wakanda - a character and a fictional African nation invented by two Jewish writers in the 1960s - represent some great repudiation of Donald J. Trump.

Trump Tower is real.

Trump occupying 1600 Pennsylvania Avenue in Washington D.C. is real.

Wakanda isn't real.

Thursday, March 15, 2018

A Metaphor for Our Dispossession: Harriet Tubman Monument Officially Replaces Confederate Statue in 70% Black Baltimore

Previously on SBPDL: Metaphor for White Dispossession: Perch in 70% Black Baltimore Once Holding Aloft a Monument to Stonewall Jackson and Robert E. Lee Soon to Host Statue of Harriet Tubman

Baltimore was founded as a white city, built by white people to shelter generations of white Baltimoreans to come. It was abandoned by white people when black crime became a constant threat, and is now a 70 percent black city lorded over by black elected officials utilizing the specter of black crime to keep gentrification at bay.
Nothing is over. Nothing. 

Our monuments, built to celebrate our history, stand as powerful rebukes to the egalitarianism dominating 21st century American life, which is why they must be defaced, vandalized, demonized, and ultimately destroyed.

In 2017, under the cloak of darkness, the new black mayor of Baltimore removed three Confederate statues.[Baltimore Mayor Had Statues Removed in ‘Best Interest of My City’, New York Times, 8-16-17]

This, of course, is a city seriously contemplating putting a statue up to Divine, the transvestite who literally ate dog crap in Pink Flamingo

Confederate statues are now all gone, but a true hero for our egalitarian, anti-white zeitgeist is prepared to go up where once men honored by a long dead Baltimore stood remembered by a white majority unashamed of their southern (white) ancestry. [Baltimore rededicates former Confederate site to Harriet Tubman, Fox Baltimore, 3-11-18]:

Hundreds of people gathered at Wyman Park Dell Saturday for a special ceremony in honor of civil rights activist and abolitionist, Harriet Tubman.
A grove site was dedicated to the Maryland native in the same area where a Confederate statue was recently removed.

Wednesday, March 14, 2018

"It's not about the money. It's about sending a message. Everything burns": Disney's Diverse $250 Million 'A Wrinkle in Time' Bombs, but Movie Critics Celebrate the Victory Over Whiteness it Represents

There can be no doubt Disney's $250 million (Production & Advertising budget) A Wrinkle in Time is a monumental bomb. The media spin on this box office disaster has been hilarious, with one Hollywood Reporter writer letting slip why we must celebrate the multicultural abomination of a beautiful work representing the richness of a white culture being supplanted by the current year diversity mandate... 
 Ava DuVernay's film was destined to disappoint, given the outrageously high bar set for female and minority directors. Disney marketed A Wrinkle in Time to theatergoers like no other film in recent memory. 
A monumental bomb, but the money was well spent. It's about sending a message to whitey. Your culture and history belongs to us now...
I went to the movies about once a week in the past month (I'm talking civilian screenings, not ad-free press previews), and each time, I saw a Wrinkle trailer with director Ava DuVernay in close-up, telling the audience what making her fantasy children's adaptation meant to her. DuVernay, whose last two films (the MLK bio Selma and the mass-incarceration doc 13th) racked up three Oscar nods in as many years, thus became the face of Wrinkle, despite more recognizable castmembers like Reese Witherspoon, Oprah Winfrey, Mindy Kaling and Chris Pine. (In contrast, you won't see Steven Spielberg's mug in the Ready Player One trailers.) DuVernay's central role in selling Wrinkle is a testament to her popularity as a spokesperson for inclusion in Hollywood. 
As the first live-action $100 million project helmed by a woman of color, A Wrinkle in Time had to tell two feel-good stories: that of a biracial teen (played by Storm Reid) learning to love and trust herself, and that of female artists and artists of color triumphing in an industry that has traditionally disregarded their perspectives and contributions. 
But Wrinkle didn't deliver on either count. Mixed to negative reviews led to a disappointing $33 million opening weekend at the box office. With a 42 percent Rotten Tomatoes rating and a middling B CinemaScore, the film underwhelmed critics and adult audiences (kids gave it an A–), weighed down as it was by a messy script with too many affirmational platitudes and not enough character development. I'll happily defend the (wildly ambitious, immensely personal) movie on its own merits. But first, it's important to note the ludicrously unfair burden that Wrinkle was saddled with as soon as DuVernay signed on and turned protagonist Meg into a biracial girl: It had to be both artistically dazzling and a commercial hit in order for it to be considered any kind of success. 
Grossly put, the "system" was rigged against it. DuVernay certainly proves herself as such with Wrinkle. As a critic, I probably wouldn't indiscriminately recommend the film, but I appreciated that it was a planet-hopping movie with a girl of color at the center. I also admired the injection of the floridly supernatural into West Adams, a historically black neighborhood in Los Angeles (not far from where DuVernay grew up), and, of course, the beauty of the various extraterrestrial terrains, some of which brought me to tears. DuVernay certainly proved wrong naysayers who have dismissed her filmmaking talent in the past and attributed her meteoric rise to saying the right thing. 
A Wrinkle in Time is, arguably above all, a visual feast. So DuVernay didn't make a "good" movie. What she has made is an endlessly watchable one, and I hope critics, at least, will soon embrace those other elements in addition to the film's social milestones — just like they'd do with any other notable movie. "Isn't it nice to hear filmmakers of color talk about craft?" 
DuVernay asked Korean-American filmmaker Justin Chon during a Q&A for his film Gook. There's nothing to be gained from shortchanging DuVernay's racial and feminist accomplishments with Wrinkle. But I hope one day we can appreciate the film beyond them, too.
The racial reimagining of A Wrinkle in Time, though it is critically viewed as a poor movie and commercially a money loser for Disney, must be appreciated because it's a racial and feminist accomplishment. 

And only bigots would dare disagree, with poor audience reviews on Rotten Tomatoes a reminder white people should no longer be allowed a public opinion when it comes to important works of art that must be must be appreciated because it's a racial and feminist accomplishment...
More than a month before Ava DuVernay’s “A Wrinkle in Time” arrived in theaters, an “audience review” appeared on Rotten Tomatoes that offered an isolated comment from user “Jonathan G”: “Piece of shit remake of a wonderful book.” The “review” posted on February 5, weeks before DuVernay’s big-scale Disney adaptation of the beloved Madeleine D’Engle book was set to hit theaters.It wasn’t even the earliest “review” to appear on the aggregation site. That one hit the web January 7, when user “CGF M” wrote in a half-star review: “This film is going to fumble and should not deserve any recognition. The original novel is better than what is already being presented. It’s one big cliche, the acting seems dry, the only performance I can possibly say that will be GOOD is Chris Pine’s, that’s it. Casting just for the sake of diversity or being politically correct does not make a film, Disney. The effects also, they do not look good.” 
More than a month before Ava DuVernay’s “A Wrinkle in Time” arrived in theaters, an “audience review” appeared on Rotten Tomatoes that offered an isolated comment from user “Jonathan G”: “Piece of shit remake of a wonderful book.” The “review” posted on February 5, weeks before DuVernay’s big-scale Disney adaptation of the beloved Madeleine D’Engle book was set to hit theaters.It wasn’t even the earliest “review” to appear on the aggregation site. That one hit the web January 7, when user “CGF M” wrote in a half-star review: “This film is going to fumble and should not deserve any recognition. The original novel is better than what is already being presented. It’s one big cliche, the acting seems dry, the only performance I can possibly say that will be GOOD is Chris Pine’s, that’s it. Casting just for the sake of diversity or being politically correct does not make a film, Disney. The effects also, they do not look good.” 

Tuesday, March 13, 2018

Wakanda is a social construct: National Geographic 'apologizes' for honest depictions of non-white civilizations

Shot. [OPINION: Wakanda Forever, Jackson Free Press, February 28, 2018]:

While Wakanda is a fictional land, it portrays images of success and wealth that could have been if Africa had not been colonized. It is so vastly opposing to the images we're fed of what Africa looks like. It pushes us to the edge of our imagination and makes fantasy dance with reality in a beautiful way. The intentional effort to study African tribes and tradition gives a magnetic overview of all that is African. 
"Black Panther" is a depiction of the Africa that our ancestors knew could exist. Its portrayal of royalty and tradition is what we come from. It's in our DNA. It's a bright, new morning light that awakens pride that Hollywood has controlled for generations. Up to this point, we've been served a fraction of what most of society envisions when they think about black people—you know: angry, ratchet, pimps, whores, just folk whose value is lost on them. I suppose Hollywood under-estimated our desire to see us complete an entire cast, in starring roles, in positions of power, in beauty and intelligence. 
Wakanda is a fictional place and exists only in the minds of the comic-book writers, but it represents something very real: a break in mental slavery that has kept us bound for so long that we couldn't see a world that belonged to us. It represents an idea that offers real hope, opportunity and determination. Wakanda is everywhere. But the place that is most important, where its reign is undeniable, is in our hearts. Once we open them to this fictional place, it is now reality—a reality that we all embrace in unity. 
Listening to the stories my father shared with me as a young girl gave me a true connection to my African ancestry. I didn't know that seeing a movie would serve as such a determined reality. There's nothing fictional about the potential, the history, the traditions, the intelligence, the ancient tribal cultures and excellence Wakanda introduced to some and reintroduced to others. It's in us—always has been; always will be. 
Wakanda Forever! Africa Forever!
It seems that the Black Panther movie has done such a good job of immersing audiences in its world that many people think it's real. 
Two hotel booking sites have revealed that site searches for the word 'Wakanda' – the name of the fictional African country the movie is set in – have risen dramatically. reported that the number of people landing on its Wisconsin Wakanda Water Park page is up by 620 per cent and reported that searches for neighbouring Wakanda Park are up by 55 per cent year on year. 
A spokesperson for commented: 'The fact we've seen such an increase in the number of site visits to the Wakanda Water Park destination page on our website since the launch of Black Panther suggests that, until people visit our website searching for trips, they're not aware it's a fictional destination. 
'Either that, or people are more interested than ever in attending the Water Park, but we think that the movie has something to do with it!', meanwhile, said it had spotted spikes in searches to other Wakanda namesakes around the world. 
It said searches for Wauconda, Illinois (pronounced identically to Wakanda), are up more than 25 per cent and Makanda, also in Illinois, are up over 40 per cent year on year.

And finally, the chaser. [For Decades, Our Coverage Was Racist. To Rise Above Our Past, We Must Acknowledge It, National Geographic, March 2018]:
Race is not a biological construct, as writer Elizabeth Kolbert explains in this issue, but a social one that can have devastating effects. “So many of the horrors of the past few centuries can be traced to the idea that one race is inferior to another,” she writes. “Racial distinctions continue to shape our politics, our neighborhoods, and our sense of self.” 
How we present race matters. I hear from readers that National Geographic provided their first look at the world. Our explorers, scientists, photographers, and writers have taken people to places they’d never even imagined; it’s a tradition that still drives our coverage and of which we’re rightly proud. And it means we have a duty, in every story, to present accurate and authentic depictions—a duty heightened when we cover fraught issues such as race. 

Monday, March 12, 2018

"If we lose... we lose it all": New Gallup Poll Shows Non-Whites/Democrats Overwhelmingly Favor Diversity and Inclusion Above Protecting Free Speech

"If we lose, we lose our country. We lose our independence. We lose it all." Stonewall Jackson, Gods and Generals

There's no second place.

There's no silver medal.

There's no runner up.

There's no participation trophy.

If we lose, we lose it all.
Diversity means the end of our First Amendment

We lose everything.

Just as gun rights require a white majority, so does free speech require the latter to flourish.

In its absence, free speech is extinguished. Strange how freedom of speech thriving requires a 2nd Amendment to ensure no tongue is silenced...[Students Say Diversity Is More Important Than Free Speech: A new Gallup/Knight Foundation report breaks down student attitudes on the First Amendment., Inside Higher Ed, 3-12-18]:
College students value a diverse and inclusive environment more than free speech rights, according to a new study on student attitudes on free expression. 
The report from Gallup and the Knight Foundation comes at a turbulent time on college campuses nationwide, where students have challenged the principles of the First Amendment -- they have called for controversial campus speakers to be disinvited, and when they disagree with speakers’ message, have shouted them down. They’ve also called for administrators to invest more in diversity initiatives and are demanding clear statements from them against speech they deem hateful. 
Asked to select which is more important, about 53 percent of the students interviewed for the study picked diversity, versus 46 percent who chose free speech. This data is based on telephone interviews with 3,014 traditional-age students (18 to 24) at 100 four-year institutions, both public and private. 
When the authors broke down the data further, they provided a clear picture of what certain campus demographics prioritize. About 61 percent of men favored free speech rights far more than a diverse and inclusive campus (39 percent). Conversely, 64 percent of women believe that diversity is more important, versus 35 percent who picked free speech. 
Differences emerge with race, too. White students tended to value free speech more -- 52 percent compared to 47 percent who picked diversity and inclusion. About 68 percent of black students, meanwhile, said diversity was more important compared to 31 percent for free speech.
If we lose, there is no second place. There is no redemption. There is no peace.

If we lose, we lose it all.

Sunday, March 11, 2018

Disney's $250 Million Black Power Reimagining of the White Fantasy Classic 'A Wrinkle in Time' Bombs

Previously on SBPDL: Meg Murry is White: In Upcoming "A Wrinkle in Time" Disney Film, Black Director Deliberately Casts Black Actress in White Role

What happens when Disney spends $250 million on an affirmative action director to take a beloved work of a white fantasy writer and turn it into an exercise of black power on film? 

You get a bomb - pieced together with every politically correct trope imaginable - of hilarious proportions. [Black Panther’ Rules 4th Frame With $41M+; ‘A Wrinkle In Time’ At $34M: A Diversity & Disney Dominant Weekend, Deadline, 3-10-18]:
Despite A Wrinkle in Time posting a softer opening in comparison to its huge $100M-plus production cost, Disney isn’t crying: They easily own the top two spots at the box office, plus it’s a major breakthrough for two films which boast positive messages of diversity. 
A black director was allowed to make a black power fantasy - appropriated from the work of a white author about a white heroine - to the tune of $250 million from Disney. And it bombed...
What A Wrinkle in Time has to look forward to are rolling spring breaks in hopes of luring families in. On Monday, 18% K-12 are out and 37% colleges; those figures will spike over Easter weekend with Good Friday seeing 79% K-12 out and 43% colleges. Even though A Wrinkle in Time had a marketing campaign which sought to hook a diverse moviegoing crowd, African American and Hispanic crowds turned out respectively at 18% and 14% along with 54% Caucasian per ComScore/Screen Engine’s PostTrak. Compare this to Black Panther‘s first weekend which pulled in 37% African American, 36% Caucasian and 17% Hispanic. Arguably, Black Panther is stealing away a good bulk A Wrinkle in Time‘s audience, however, if the exit scores on the female family movie were higher, its chances of overindexing would be higher. 
Rival studio executives would like nothing more than to gaze on Disney’s humanity at the B.O. this weekend, having buzzed that a $30M-ish start for A Wrinkle in Time just doesn’t cut it profit-wise with regard to this $100M-plus production (a $40M-plus start would put this pic at a better end-game stateside which is where it needs to make most of its money). With combined estimated $250M P&A and production costs film finance sources do not see A Wrinkle in Time breaking even, but given the lack of family product in the U.S./Canada marketplace, there’s a chance it gets to $100M-$120M.
Black Panther is not a diverse film; it's a black film, with a few token white faces tossed in.  A Wrinkle in Time was a book by a white woman about a white heroine, which Disney allowed to be reimagined by a black supremacist who turned it into a black power fantasy. 

And the movie bombed, even though the black power director spent every waking hour praising her work as a 'love letter' to black girls everywhere (though she was appropriating a piece of white culture to fulfill her vision of blackness Disney foolishly funded). 

She was explicit in the $250 million being nothing more than the fulfillment of a black power fantasy for black girls and girls of color. [Ava DuVernay calls 'A Wrinkle in Time' a 'love letter' to black girls everywhere:"A Wrinkle in Time' is a story for young people; it’s for kids, and it’s for the kid inside of us.", NBC News, 3-7-18]:

Director Ava DuVernay is exploring new territory and making history with a film adaptation of the beloved children’s book, “A Wrinkle in Time.” 
She is the first woman of color to direct a $100 million film, which hits theaters on Friday. The blockbuster movie’s multicultural cast includes actresses Storm Reid, Oprah Winfrey, Reese Witherspoon and Mindy Kaling. 
DuVernay sat down with NBCBLK in Los Angeles to discuss the importance of making the film and how it can make a positive impact on young girls and boys, especially children of color. 
[This interview has been edited and condensed for clarity.]NBCBLK: WHAT ATTRACTED YOU TO THE STORY?AVA DUVERNAY: A black girl as the hero attracted me to the story of “A Wrinkle in Time.” When Disney told me this film could be made and that I could cast it the way I wanted to, I said, “Could Meg Murry be a black girl?” They said, “Yes.” I said: “Well, you got a deal. I will come and make that movie.” I’m glad I did. It’s a love letter to our girls.WHAT WERE SOME OF THE MOST CHALLENGING ASPECTS OF DIRECTING THIS MOVIE?AVA DUVERNAYI don’t think of it as challenging because every day was a joy. It was like, "black girl magic." Every day I showed up, and there’s Oprah, there’s Gugu, there’s Storm, and me. And all the people who rallied around us, the Maori people in New Zealand. 
We were in the Sequoias [National Park in California] and with people up North in the Bay Area. We also shot in the Baldwin Crenshaw District in Los Angeles. The school that Meg Murry attends is Crenshaw High School. We shot in the Adams District in a historic black neighborhood [in Los Angeles]. We were able to bring all these things to the film and Disney was game for it, so those weren’t challenges, they were blessings.

Saturday, March 10, 2018

In Federal Hill, one of the Whitest Communities in 70 percent Black Baltimore, Private Security Firm Hired in Last Ditch Effort to Keep Restaurants, Bars, and Stores Open

Baltimore is a 70 percent black city. 

Back in 1918, it was nearly 90 percent white and a world class city. 

Now, with the whites less than 25 percent of the overall population in Baltimore (America's most dangerous and violent city), one of the few neighborhoods left that's overwhelming white is going to extraordinary lengths to stop any more white flight from occurring. 

Federal Hill in Baltimore is 74 percent white, and one of the nicer communities in the city, with a number of restaurants, shops and bars producing tax revenue desperately needed for The Charm City. 
Baltimore is 70 percent black, but Federal Hill is 74 percent white. 

So what happens when this community, a white oasis of civilization in an otherwise Chocolate City where western civilization is being overwhelmed by Africans in America, decides it wants to maintain social capital, property valuations, and keep stores - open for decades - in business? 


Federal Hill Main Street (FHMS) has hired Wolf Professional Security to provide an unarmed security team in its boundaries of Montgomery St. to the north, Ostend St. to the south, S. Hanover St. to the west, and Light St. to the east. 
FHMS President Craig Stoner said this security initiative began in November. “We approached the businesses about some cleaning and greening initiatives, but the conversation turned towards crime and safety and how it’s impacting everyone’s sales,” he said. 
Several high-profile robberies have taken place in Federal Hill and the surrounding neighborhoods since last year, including a number of assaults and robberies on Halloween. 
FHMS issued an RFP last month for the security initiative and choose Wolf Professional Security this week after meeting with three companies. The security initiative will be funded by members of the Federal Hill Hospitality Association (FHHA), which is made up of about 20 restaurants and bars in Federal Hill. The initial fund will be about $10,000 to $15,000 a month. 
FHHA raised funds through membership dues along with events such as the Federal Hill Irish Stroll and Federal Hill Fiesta. 
The details are still being ironed out and could change on a month to month basis, but Wolf Professional Security will likely provide a security team five days a week (Wednesday to Sunday) with two security guards during the week and more on the weekends. Wolf Professional Security will provide a patrol car as well. 
Wolf Professional Security is based in Baltimore County and employs retired police officers and retired and active military. Wolf Professional Security provides security to the Waterfront Partnership and many businesses in Baltimore. 
Security guards will have handcuffs and pepper spray and will engage when they see certain illegal activities taking place. 
Wolf Professional Security has an existing relationship with Baltimore Police Department (BPD) due to its experience in the city. Along with engaging, Wolf Professional Security will be an extra set of eyes on the street relaying information to BPD. 
While FHHA will be funding the launch of the security initiative, FHMS will be putting together a marketing push with its new marketing team, Crush Marketing, to encourage residents of nearby neighborhoods and additional businesses to contribute to this effort. 
FHMS be will launching a website where donors can set up one-time or monthly donations. FHMS is also applying for Local Impact Grants from the Casino Local Development Council (LDC) and the South Baltimore Gateway Partnership (SBGP). Both are funded by Maryland casino revenues. 
FHMS also plans to host festivals and fundraisers to fund this security initiative. 
Stoner said that while the security team will focus on FHMS’s boundaries, it will do some patrols further into adjacent neighborhoods. The patrol area of the security team will likely expand as more money is raised by residents. 
“Everyone in the Downtown-area business district is hurting right now,” said Stoner. He noted that it will be a huge loss for residents of the community if businesses continue to close. 
Stoner said that FHMS will also likely seek to raise funds for additional cleaning and greening around the Federal Hill and South Baltimore community. FHHA currently hires ProjectServe, a subsidiary of the Living Classrooms Foundation, for street cleaning three times a week.
As darkness falls, western civilization is extinguished. One of the last overwhelmingly white communities in Baltimore must resort to a private security firm to keep people not only safe, but create the perception of safety for people visiting the city and dining at restaurants within Federal Hill.

More empirical evidence the architects of the marketing slogan "diversity is a strength," were the greatest liars of all time.

Friday, March 9, 2018

It Wasn't Going to Stop With Confederate Statues: Monuments to White Pioneers in Kalamazoo, Michigan and San Francisco Being Torn Down Because of Claims of "Racism"

Shot. [Donors withdraw support of Bronson Park after fountain relocation decision,, 3-4-18]:

There's mixed reaction after a late-night decision to remove the Fountain of the Pioneers from Kalamazoo's Bronson Park. 
Pioneer Monument in San Francisco is coming down; a similarly named monument in Kalamazoo, Michigan is also being removed
The 5 to 1 city commission vote was finalized around 1:00 a.m. Tuesday morning. 
The decision means the controversial monument and the two reflecting pools will be relocated from the park within a few months. 
Kalamazoo City Manger Jim Ritemsa says removal will make Bronson Park more welcoming and promote the idea of racial healing and social acceptance within the community
"We felt it was time for Kalamazoo to make a stand around racism, and the time was now," Ritesma said. 
Monday's vote also changes a $2.8 million master plan for Bronson Park, which included $1.25 million in repairs to repair the concrete fountain. Fundraising was put on hold last fall after the fountain debate reemerged.
"I think it's an ambiguous and subversive work of art that needs to be used as a teaching tool," Marcia Stucki, a co-chair for the 21st Century Bronson Campaign, said.
The 21st Century Bronson Campaign was launched in 2016 with a goal to raise money for the park. To date, $2.2 million has been raised, according to city leaders.
Ritsema says more than $500,000 in pledges have been directed specifically toward fountain repairs. 
"We are going to reach out to donors specifically for the fountain and inform of their decision, and let them decide if they want their donation returned or if they want to donate it to the entire larger project," Ritesma said. 
Stucki says her family's foundation, Stucki Family Foundation has pledged $35,000 to the 21st century Bronson Campaign since 2016. However, Stucki said she will withdraw her pledge after after Tuesday's vote to remove the Fountain of the Pioneers. 
"I am absolutely done with the city of Kalamazoo. My family is done with any contributions to Kalamazoo," Stucki said.
Chaser. [After final vote, city will remove racist Pioneer Monument statue: Last days for “Early Days”, San Francisco Curbed, 3-7-18]:

As anticipated, the San Francisco Arts Commission voted unanimously Monday to remove the “Early Days” statue from Civic Center’s Pioneer Monument, placing the century-plus old bronze figures in storage until a long-term decision about their fate can be made. 
The decision caps off a six-month long debate, after some San Franciscans approached the commission in August 2017 to complain about the statue, which features a pious but patronizing scene of a Spanish missionary helping a beaten Indian to his feet and pointing him toward heaven. 
In February the city’s Historic Preservation Commission voted unanimously to recommend removing “Early Days” despite some commissioners expressing reservations about whether the sculpture has additional value as an expose of 19th century racism. 
Argument over the “Early Days” scene dates back decades and the city considered removing the figures once before, according to an Arts Commission report on the statue released in February: 
The “Early Days” sculpture grouping has been a longstanding point of concern for the community. Extensive debate occurred [...] in 1990‐1996 when the Pioneer Monument was relocated to its current site in order to make way for the construction of the New Main Library.

Thursday, March 8, 2018

#WakandaIsntReal: In 75% Black Birmingham, Al., Black Elected Official Holds Black on Black Crime Town Hall to Convince Blacks to Stop Killing Each Other

Remember Birmingham ?

Blacks in Birmingham, Alabama pushed white people out of the city until they took demographic control and where able to assume political ownership (democracy in a multiracial civilization is nothing more than a racial headcount).

The dire consequences of the racial change in Birmingham is documented in the 'reverse colonialism' post at SBPDL, delineating the shocking depreciating in real estate once the city went from majority white to nearly 75 percent black. 
Birmingham was once one of America's great cities. Now it's a 75 percent black city, where town halls are held to convince black people to stop killing other black people

And now, with white people slowly trickling back into the city, the black controlled city government is actually launching a task force to try and stop gentrification

Yes, really. 

What if we could show you one story representing a micro-look at the "quality of life" blacks create - in the absence of whites - illustrating precisely why Jim Crow once protected the majority white inhabitants of Birmingham pre-1964 (and kept black people safe from the consequences of liberated blackness)?

Just one story, really. 

Fellowship Baptist Church in Birmingham was the venue for Rep. Rolanda Hollis' (D-Birmingham) town hall meeting on Saturday.
The topic: "It starts at home." The focus of the event was to discuss black on black crime. Hollis called it a very serious issue and said there was a great need for a town hall focusing on it. During the two hours of the event, those who came out had the chance to voice their opinions on the matter. 
"I think that when it comes to black on black on black crime, the blame is put on everything except the black on black crime," Rep. Hollis said. "We need to start dealing with it in our own areas to decrease the crime with everything that is going on."

Wednesday, March 7, 2018

#WakandaIsntReal: Because of Black Violence at Funerals & During Funeral Processions, Chicago Police Creating Task Force to Stop the Violence

While black people across America swear allegiance to a fictional African nation invented by two Jewish comic book writers, the real world blacks create is entirely unlike what's purported to be hidden away in Wakanda. [Cook County Announces Task Force To Fight Cemetery Violence, CBS Chicago, 3-1-18]:

CHICAGO (CBS) — Violence at cemeteries, and during funeral processions, in Cook County is increasing.
A Hillside police chase is just one example of some of the violence. Chief Joe Lukaszek says three guns were recovered from the stolen SUV, which had just left a cemetery.
“There’s no respect for the dead anymore,” he said.
Cemeteries in Hillside are the final resting place for many gang members killed in Chicago. Funeral processions from the city often end up on the expressways, which lead to dangerous situations.
“People, literally, are jumping on other sides of the road, driving next each other, weaving in and out of traffic, guns being waived out of cars. There’s been shots fired from vehicles, as well,” Sheriff Tom Dart said.
As a result, Dart is creating a new task force to tackle the problem. It will be comprised of community leaders, citizens and law enforcement, as well as cemetery and funeral home owners.
“These individuals will help us to determine what types of things we can put in place to ensure that people have safe funerals,” said Cook County Commissioner Richard Boykin.
Rev. Ira Acree says communities also need to step up and have tough conversations with those causing the trouble. “There has to be a point where the buck stops. 

Something has to be sacred, and we got to respect our families. Simple as that,” he said.
Chief Lukaszek says the task force is a good idea, but agrees that accountability is needed to end the violence. “We need our judicial system to enforce what laws are on the books. We need our states attorneys to prosecute the criminals and put these people behind bars.”
Dart said he hopes to have the task force in place by May, as summer is historically when Chicago sees an uptick in shootings and murders — which, of course, means more funerals.

A police task force, funded with tax dollars, to try and stop black people from killing other black people at funerals and during funeral processions... 

Tuesday, March 6, 2018

A White Pill: Remembering When President Trump Told Fox & Friends "Django Unchained" Was the Most Racist Movie Ever Made (Racist Against Whites)

Sometimes the Left publishes articles they fail to realize will only cause Donald J. Trump supporters to increase their endearment for the president. If you're like me, this piece in The Daily Beast documenting Trump's reaction to Django Unchained in 2013 was greeted with only the highest approbation for our president. [Donald Trump’s Bizarre Oscars Smear Campaign Against ‘Django Unchained’:During the 2013 Academy Awards season, the then-reality TV host waged a one-man war against Quentin Tarantino’s revenge-Western, which he branded ‘very racist.’, The Daily Beast, 3-4-2018]:

Trump thought that this film, about a freed slave killing his wife’s evil captors, was racist against white people 
An actual Tweet from President Trump (then just a citizen) in 2013... you have to love this man!
The following morning, still fuming, he called in to Fox & Friends to recap the Oscars. And the first thing he did was launch into a rant about Django Unchained, which had wins in Best Supporting Actor and Best Original Screenplay.  
“Well, I thought they were very average. I was not impressed. Django Unchained was probably one of the most racist movies I’ve ever seen. I thought it was terrible, and a disgrace. You know, when they talk about guns and gun control, that movie, people should watch that [if] you wanna talk about something that’s really a problem,” howled Trump. 
Yes, Trump posited that the movie Django Unchained was more of a “problem” than “guns and gun control.” Sound familiar? He also took issue with Daniel Day-Lewis’ Academy Award-winning performance in the film Lincoln because, among other reasons, the Brit was “not from this country” and didn’t speak with “rapidity.”  
So just to recap: the two movies he had problems with that year were about freeing slaves.  
But Trump wasn’t done. He went on complaining about Django Unchained to any entertainment show that would listen. A few days later, speaking to his “grab ‘em by the pussy” confidant Billy Bush, Trump said, “I thought [Django Unchained] was totally racist. I thought it wasn’t a good movie. I’ve never seen so many people get hit by a bullet and explode. It was like they got hit by bombs.”  
“Certainly if somebody goes and sees this movie and their [sic] not 100 percent [in the head], this movie is not very good for people to watch…I thought it was not a very good movie and very racist,” he added.  
But for the record, Trump said he doesn’t harbor any animus toward the film’s writer-director, Quentin Tarantino. “No, I love some of his movies. I just didn’t like this one. I wanted to leave a little early. I didn’t do that, but I was bored by it. I got tired of watching people blow up,” he said. “Pulp Fiction, to me, is one of the greatest movies ever. I like him, I just didn’t particularly like this movie.” 
One could easily argue that the more realistic acts of violence committed in Pulp Fiction—including a white security guard raping a bound-and-bloodied black man—are more upsetting than the cartoonish blood-geysers of Django Unchained. 
Maybe Trump, who’s had a less-than-stellar history when it comes to “the blacks,” took issue with the fact that in Django, it’s primarily white people being killed by a black hero.