#antiblack violence /

[alwaysinbetweeninsaneandinsecure]

This family HAS BEEN ABLE TO FLEE SUDAN!! AND ALSO They are still in need of funds to help with immigration costs. Every give and share helps this family move toward the safety and peace that they so deserve.

[bossymarmalade]

[ x ]

Since Neely’s killing, the station located at the intersection of NoHo and SoHo has become a center for actions protesting the city’s racist criminalization of its unhoused residents and memorializing Neely. The crimson display, reminiscent of a brutal crime scene, was accompanied by a letter to “cop mayor” Eric Adams that called out “vigilante violence” and the structural imbalances of power and wealth in the city’s political and social landscape.

“We are fed up with the attacks on the working class, crime baiting, the austerity budgets, the endless demonizing of the most vulnerable people in our society,” the letter read. “This wasn’t a single tragedy — we are in a crisis. Whose side are you on?”

[meatcute]

the recent breonna taylor ruling is so fucking horrible. so the cops can break into a black couples house and kill an unarmed black woman, and then it can be legally decided that she died bc her boyfriend was trying to defend them both? why is this even possible??? (rhetorical question.) there are not words to describe how disgusting and disrespectful this is. i hope everyone involved in allowing this ruling to happen gets the lifetime they deserve.

[fluffytimearts]

Just uh- gonna leave this here. a certain english va of a current popular anime was given racist remarks and pretty much harassed into deactivating his account because of racists--

I'll leave a reminder here:

creating your representation in art is nothing wrong as long as you aren't doing it in "fixing" or harm but just doing it out of enjoyment and sharing with others.

being a major hypocrite and creating double standards when all it supposed to be is fandom art and fun is really shitty. Call out actual things that are harming people like l0lic0ns/p3d0s/MAPs or ACTUAL racists or stuff like that.

if you need example of why this isn't a problem look at international miku day the biggest example of how people make their own versions of a character and feel happy doing it and sharing with others without discourse or harassment. take their example.

if you disagree and can't handle the basic decency of not being a jackass then unfollow me or block me because I have no time to deal with shitty people.

-- (OOC) Al

PS. a lot of these art communities are really fucking toxic so be careful and love ya'll <3

[renegadeurbanmediasource]

White supremacy rebooted! Those who lynched Blacks were never, ever prosecuted. That’s because the culprits usually included judges, police officers, and regular citizens. They also believed it was their right and they’d get away with murder. Sounds familiar right?

[blackownersseekingsuccess]

The Greatest Show On Earth: Richard Wright’s Between the World & Me

by Levi Wise Kenneth Catoe Jr.

When people say that life is a ‘circus’ they mean chaos, a spectacle, such as the dehumanization of Black bodies, which was once performed as a public spectacle in America... Written in (1935), African-American writer Richard Wright's poem Between the World and Me serves as a powerful reminder of how lynchings in the American South became just another form of the traveling circus. A circus is defined as noisy, confused activity, and by exploring Wright’s use of diction in the double entendres that are present and through the poem’s circular narrative, the symbolism is conveyed throughout every character, every scene, and every moment played out metaphorically on the page, representing multiple roles in the assassination of Black bodies swinging from and then dropping from trees to the sadistic, overwhelming applause of Jim Crow-era white southerners. Wright’s most significant literary aspect in Between the World and Me is the irony of the Black male protagonist portrayed as the story’s tragic hero, dispelling the familiar white trope narrative of the white damsel in distress living in constant fear of the antagonistic Black male, often depicted as the monster, while setting the stage for Wright’s tragic irony of a maliciously racist and incomprehensible traveling circus act.

Through Wright's use of a “circus” as an extended metaphor in the narrative, with the “whites” as its ringmasters presiding over the exploitation of the Black male body as its unwilling performer, it reinforces the historical trauma of colonial chattel slavery in America that Blacks have long endured. According to Herman, “the ordinary response to atrocities is to banish them from consciousness" (Judith Lewis Herman, Trauma and Recovery, 1992), and she goes on to say that “atrocities, however, refuse to be buried," so as Black bodies have been historically forced to submit to the American colonial capitalist economic system, an unfair system in which the white oppressor benefits through financial gain over the Black oppressed, who remain historically uncompensated, leading to the irony being implored throughout. But, ironically, unlike the days of chattel slavery in America, a debt will finally be paid but paid to the future Black Americans in the form of knowledge, which allows this surreal 1935 lynching to not have been done in vain because future Black Americans became audience members without having to be one of the appalling white circus “revelers” in attendance of the blasphemous circus event.

Wright’s use of imagery and symbolism in Between the World and Me illustrates the sordid scene of events throughout its diction. The narrator, being the ancestor or soothsayer of the African Diaspora, paints a picture that’s surreal. Often when the circus comes to town, its frenzied activity, sensationalism, theatricality, or razzle-dazzle; and its characters, according to the narrator, “the gin-flask passed from mouth to mouth, cigars and cigarettes glowed, the whore smeared lipstick red upon her lips, and a thousand faces swirled around me, clamoring that my life be burned." (Richard Wright, ‘Between the World and Me) It is here that Wright initiates the show-not-tell literary device of a celebration of life while being consumed by death. A colorful circus scene enthralled with consumption of everything from liquor to cigarette smoke to laughter to joy to burning flesh to negrophobia According to Semmes, “white ambivalence toward the Black body was reflected in its most extreme form through lynching.” (Clovis E. Semmes, Racism, Health, and Post-Industrialism: A Theory of African-American Health, 1996)

Wright implores the literary device of personification because trousers do not stiffen on their own but human males become stiffened, using the literary device of metaphor to gender the victim by drawing attention to the sexual organ that hardens inside a man’s pants, while also equating race to the victim by using the colloquialism "Bloods." According to Semmes, “African Americans remain symbols of sexuality, immorality, and violence. These images help to dehumanize African Americans and shift the blame for socially induced health problems to some inherent defect of personality.” (Clovis E. Semmes, Racism, Health, and Post-Industrialism: A Theory of African-American Health, 1996) All of those elements are present within that one line from the poem at the end of its second stanza, which illustrates the trauma of racism perpetuated against Black people within the USA. When people say that life is a ‘circus’, they mean chaos, which draws on Wright's use of the literary device of the extended metaphor to establish Between the World and Me as a tragic irony. According to Britannica, “a circus is a company of performers who put on diverse entertainment shows that may include clowns, acrobats, and trained animals." (Circus | Definition, History, Acts, and Facts), and according to Semmes, Europeans “likened Africans to apes,” using diction lynching becomes Wright's metaphor for a circus.

Finally, in 1935, Wright used a circus metaphor to convey cruelty and disarray, antisocial and uncivilized behavior, and style over substance in his poem Between the World and Me. In 1952, Hollywood director Cecil B. DeMille referred to the circus as The Greatest Show on Earth. In my opinion, Wright’s use of metaphors and vivid imagery in Between the World and Me depicts the internal battle of an individual against societal norms, revealing the complexities of identity and resistance in African American literature. I found the use of irony and dramatization in representing the metaphor of a circus in anti-lynching literature of the Jim Crow Era to be a critical analysis of America. I also felt through the lens of tragic irony that this paper examined the use of lynching as a metaphor for a circus and its impact on how trauma generationally plays a role in the Black community in America. Richard Wright's poem Between the World and Me mourns the tragic scene of a gruesome lynching and expresses its harsh impact on the narrator.

Wright depicts this effect through the application of personification, dramatic symbolism, and an extended metaphor of a traveling circus that evolves into a three-ring circus as all of the characters take center stage: from the whore to the drunks to the Black body being exploited on a trapeze hanging till he drops like the human cannonball being exploited by his master of the ring. It is through this diction that Wright manifests the narrator's agony, creating sympathy for its protagonist, the tragic hero, as this three-ring circus concludes in tragic irony. Between The World and Me serves as a poignant reminder of the struggles of African Americans to assert their humanity and dignity in the face of institutional racism, making it a vital contribution to the canon of Richard Wright's work. To summarize, folks who came to a circus did not come to see the ordinary; they came to see the sublime; the “freaks” and Black people were viewed as freaks, right alongside the bearded lady, the elephant man, the African pygmies, the dwarfs, and the Siamese twins. The circus was where, turn of the century Vaudeville acts came to die... Lynching is basically like a circus; everything is all out on display, but ironically, it’s not, but some might still call it the greatest show on earth...

by Levi Wise Kenneth Catoe Jr.

[nocorpsenocrime]

MoT #766 Prioritizing Hate Crimes Abroad But Not In The U.S.

[mxshr0mz]

"I'm 100% against racial prejudice but I want to live in a time when it was illegal for black people to eat in the same restaurants as me."

[uncontrollablesphere]

[image description: photo of Sonya Massey wearing a graduation cap and gown, smiling with a baby in her arms. End id]

“After an initial discussion and request for Massey’s drivers license, Grayson spotted a pot of boiling water on the stove and ordered Massey to remove it to avoid starting a fire. In doing so, Massey asks the officers – who visibly distance themselves from her as she goes to handle the pot – why they moved away from her. “Where you going?” she asks them. “Away from your hot steaming water,” Grayson answers, with a laugh, before Massey responds: “Away from the hot steaming water? Oh, I’ll rebuke you in the name of Jesus.” With his gun drawn, Grayson closed the distance between himself and Massey, who was beginning to kneel behind a counter with her hands up. Massey can be heard saying, “I’m sorry,” as Grayson continues to advance. “I’m sorry,” she says again as Grayson fires three shots, striking her with a bullet below the eye that exited from the back of her neck. As Massey lay dying on her kitchen floor, Grayson says he’ll go get his medical kit to render aid. “That’s a headshot. She’s done,” Grayson says before going to get the med kit. As the pair stand there with their guns still drawn, Grayson says: “I’m not taking a bullet out of her fucking head,” then points out that the water from the pot had reached his feet. “What else can we do?” Grayson asks his partner. “I’m not taking hot boiling water to the fucking face.” Grayson’s partner tends to Massey and at one point says, “she’s still gasping” and wonders what’s taking Grayson so long with the medical kit. When paramedics and other officers arrive, one can be heard asking, “where’s the gun?” Grayson replies that Massey had a pot of boiling water and threatened to rebuke him in the name of Jesus. Paramedics took her to a nearby hospital, where she was pronounced dead. Grayson has been arrested and charged with three counts of first-degree murder and is being held without bond until his trial is set to begin. It is exceedingly rare for police officers to be charged with murder in the death of a citizen, and hasn’t occurred in such a high-profile case since the killing of George Floyd in 2020.”

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Body-cam video shows Illinois police officer fatally shooting Black woman in face | Illinois | The Guardian