"The problem is that white people see racism as conscious hate, when racism is bigger than that. Racism is a complex system of social and political levers and pulleys set up generations ago to continue working on the behalf of whites at other people’s expense, whether whites know/like it or not. Racism is an insidious cultural disease. It is so insidious that it doesn’t care if you are a white person who likes black people; it’s still going to find a way to infect how you deal with people who don’t look like you. Yes, racism looks like hate, but hate is just one manifestation. Privilege is another. Access is another. Ignorance is another. Apathy is another. And so on. So while I agree with people who say no one is born racist, it remains a powerful system that we’re immediately born into. It’s like being born into air: you take it in as soon as you breathe. It’s not a cold that you can get over. There is no anti-racist certification class. It’s a set of socioeconomic traps and cultural values that are fired up every time we interact with the world. It is a thing you have to keep scooping out of the boat of your life to keep from drowning in it. I know it’s hard work, but it’s the price you pay for owning everything."Scott Woods (via newwavefeminism)
i always cry
Actress Shanola Hampton attends the CBS, The CW, Showtime & CBS Television Distribution’s 2014 TCA Summer Press Tour Party at Pacific Design Center on July 17, 2014 in West Hollywood, California."A Response to the Question of Hamas | AmericaWakieWakie (via america-wakiewakie)
As for Hamas… [t]he so-called terrorism Israel says it is fighting, in reality, is the counter-violence created by the terrorism it commits. As I have said before, there is a difference in violence and counter-violence. The former is oppressive, the latter is the retaliatory reaction to oppression and is absolutely vital to the liberation of a peoples ruthlessly subjugated. If Israel is really concerned with the alleged “terrorism” of Hamas, its most prudent action would be to immediately cease participating in the terrorizing of Palestinians. This is the nature of cyclical violence, but it is by no means equivalent when one party has the 4th largest military in the world and the backing of United States military might and the other has Soviet era rockets.
To better understand Palestinian resistance, I offer the words of Jeff Sluka:
”The condemnation of liberation movements for resorting to violence or armed struggle is almost invariably superficial, hypocritical, judgmental, and unfair and tends strongly to represent another example of the generalized phenomenon of “blaming the victim.” The violence of the situation, the per-existing oppression suffered by those who eventually strike back, is conveniently ignored. The violence of the oppressed is a form of defensive counter-violence to the violence of conquest and oppression. In no armed national liberation movement I know of in history has this not been the case.”
— National Liberation Movements in Global Context
After decades of war on Palestinians and the occupation of their land, Israel has threaded through itself a clearly defined and widely accepted, yet often unarticulated, acceptance of violent oppression. It is, within the dissonance they abide, a fully rationalized phenomenon for its government, with full confidence of Israeli Zionists and the United States government, to carry out odious acts of state-sanctioned terrorism against Palestinians. Yet when those murdered, so clearly revealed in the scope of recent events, grow weary enough to fight against occupation, their counter-violence is totally fetishized, their humanity dehumanized."
Finished this illustration (and the first season of House of Cards) in the wee hours of this morning. Eagerly awaiting the arrival of this movie in Milwaukee in a couple of weeks. I’ve seen a few instagrams of the original model currently on display in the lobby of the ArcLight Cinema and am supremely jealous of LA friends.
Here is a great short piece and slideshow with production designer Adam Stockhausen on creating the world of The Grand Budapest.
Dreaming in Gold