Showing posts with label Race. Show all posts
Showing posts with label Race. Show all posts

Friday, September 9, 2022

Comics Review: "GOOD ON BOTH SIDES" is Good Cover to Cover

GOOD ON BOTH SIDES – A (TH)INK ANTHOLOGY #5
KEITH KNIGHT PRESS/Microcosm Publishing

CARTOONIST: Keith Knight
ISBN: 978-0-9788053-5-7; paperback; 6" x 7.5" x 0.4" (June 2022)
128pp, Color, $20.00 U.S.

Good on Both Sides is a new collection of the socio-political, single-panel comic strip, (th)ink.  Debuting in 2000 on the now defunct website, Africana.com, (th)ink is the creation of Keith Knight, a cartoonist, comics creator, and musician.  Knight is also the creator and an executive producer on the recent Hulu series, “Woke.”  (th)ink currently appears in several outlets, including the Nib, Daily KOS, Antigravity, and The Funny Times.

Good on Both Sides, the fifth (th)ink paperback collection, takes its title by paraphrasing Donald Trump's moral equivalency after the 2017 “Unite the Right” rally in Charlottesville, Virginia.  It covers (th)ink episodes published during the early years of Donald Trump's masquerade as the 45th President of the United States.  Knight captures the absurdity of the time under an absurd leader and chronicles and depicts everything that made non-white supremacists cringe.

THE LOWDOWN:  In a sense political cartoonists are a dime a dozen.  The truth is that I have a hard time finding many that are really bad at their chosen professions.  What makes Keith Knight different?

I first became acquainted with Knight's work in late 2006 when I received a copy of Are We Feeling Safer Yet? (2007), the second (th)ink collection.  Sadly, I lost touch with him and had not thought of him until I heard about his Hulu TV series, “Woke,” last year.  I recently reconnected with him to request a copy-for-review of Good on Both Sides.  On the back cover of this book is a quote from Dawn Tol, part of which reads, “Keith Knight has never been more overtly Black.”

That is what makes Knight different from other political cartoonists.  He is Black.  Yes, there are other African-American political cartoonists (Walt Carr, David G. Brown), but for now, we are talking about Keith Knight, who is from a particular tradition.  That tradition involves Coloreds, Negroes, Afro-Americans, African-American, etc. who do not bite their tongues, metaphorically or otherwise, for the sake of propriety and for the feelings of good White folk and cautious, fretting Black folk.

I had forgotten just how screwed up the first half of Trump's occupation was … because the second half turned into … well,you know.  Knight's commentary via political cartoons is both incisive and relentless.  I won't say that he is “unapologetic” because apologizing is irrelevant in the context of what Knight does.  It isn't just Trump that is wrong with this country; it is also the rotten culture and society.  Honestly, much of that rot comes from White racism, supremacy, and privilege:  those that perpetuate it; those that enjoy the advantages while letting someone else do the dirty work; and those who benefit and give nominal lip service in criticizing it.

In Good on Both Sides, nothing and no one is spared.  Warts and all, Klan robes and hoods:  Knight reveals the stains without a thought for decorum.  Political commentary, words, pictures, or cartoons need that, especially when so many commentators want us to “turn down the temperature.”  Knight is the triple truth, Ruth.

Good on Both Sides isn't all about Trump.  As I said, there were plenty of awful people during that time who deserve Knight's punches.  Knight also offers several nice memorials and tributes to such luminaries as W.E.B. Du Bois, Dick Gregory, and Josephine Baker, to name a few.  I am not crazy about everything in Good on Both Sides, but it's close.  I could have read another hundred pages just to see what Knight has to say about the time period this collection covers.

Keith Knight's political cartoons are timely, and many are timeless.  The timeless ones will always have bite, but the timely will cut like a knife for years to come.  And Good on Both Sides is just plain funny.  I laughed a lot, and I practically always need that from political cartoons.  I encourage you, dear readers, to get a copy of Good on Both Sides.  Maybe if enough of you read it, someone will get the notion to shortlist Mr. Knight for a Pulitzer Prize.

I READS YOU RECOMMENDS:  Fans of great political cartoons and of Keith Knight's work will want to read Good on Both Sides.

A

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


You can buy copies of Good on Both Sides at indie book stores or at the following online shops: here or https://keithknight.bigcartel.com/product/pre-order-good-on-both-sides-the-new-th-ink-collection and here or https://microcosmpublishing.com/catalog/books/1446.


Find Keith Knight on the Internet:
https://keithknightart.com/
https://kchronicles.com/
https://twitter.com/KeefKnight
https://www.patreon.com/keefknight
https://www.instagram.com/iamkeithknight/?hl=en
https://keithknight.bigcartel.com/
https://microcosmpublishing.com/catalog/books/1446
https://www.facebook.com/keithknightcartoonist/
https://www.gocomics.com/thekchronicles


The text is copyright © 2022 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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Thursday, October 28, 2021

Comics Review: "DARK BLOOD #4" is Hungry Like the Wolf

DARK BLOOD #4 (OF 6)
BOOM! STUDIOS

STORY: LaToya Morgan
ART:  Moisés Hidalgo
COLORS: A.H.G.
LETTERS:  Andworld Design
EDITOR: Dafna Pleban
COVER: Valentine De Landro
VARIANT COVER ARTISTS: Juni Ba; Valentine De Landro; Jonboy Meyers
24pp, Colors, 3.99 U.S. (October 2021)

Dark Blood created by LaToya Morgan

Dark Blood is a new six-issue comic book miniseries created and written by screenwriter LaToya Morgan (AMC’s “The Walking Dead,” “Into The Badlands”).  Published by BOOM! Studios, the series is drawn by Walt Barna and Moisés Hidalgo; colored by A.H.G.; and lettered by Andworld Design.  The series focuses on a Black World War II veteran who discovers that he has strange new abilities.

Alabama, 1955.  After leaving his job at the diner, “Hardy's Eats,” Avery Aldridge, also known as “Double A,” has a fateful encounter with a racist.  Double A is a highly decorated World War II soldier, a former fighter pilot, a member of the soon-to-be-legendary “Red Tails.”  He is expected to act like a boy … when he is actually a very powerful man.  But this is “The Night of the Variance,” and everything is going to start to change – even the things some don't want changed.

Dark Blood #4 opens in 1955 – the Night of the Variance.  Avery is on the run with Sheriff Wright closing in on him.  Avery is certain that the police have blamed him for an accidental death that occurred behind the diner where he works.  His younger brother, Theodore “Theo” Aldridge, is waiting for him, and li'l bro will be shocked by what Avery has to reveal.

Those revelations include what happened ten years ago in World War II – behind enemy lines – when Avery had an encounter with ... werewolves.  Can Avery clear his name and find out what's really happening to him?

THE LOWDOWN:  I thought that the term “Nazi werewolves” was merely some B-movie or cheap sci-fi/horror trope.  Though Pocket, the reading list service, I discovered Lorraine Boissoneault's article for Smithsonian Magazine that detailed the World War II guerrilla fighters referred to by that name.

In Dark Blood, television writer-producer LaToya Morgan (AMC's “TURN: Washington's Spies”) offers a comic book that flows through multiple genres, including science fiction and fantasy, horror, and history.  It is a reality-based drama that treads the borders of the fantastic the way Rod Serling did in his legendary TV series, “The Twilight Zone.”

On the other hand, Dark Blood #4 throws readers into the thrill of the hunt, as two similar kinds of human wolves hunt Avery, ten years apart.  In this way, Morgan reminds us that there are thrills, chills, and action flowing in Dark Blood.  Like EC Comics' famous war comics titles, Frontline Combat and Two-Fisted Tales, Dark Blood drops readers behind enemy lines into the treachery and menace of war.  In 1955, as Avery eludes his pursuers, fans may be reminded that there is nothing like the thrill of watching an unsuspecting person wander into the Twilight Zone and end up being hunted.

In Dark Blood #4, Moisés Hidalgo, who also drew issue #3, delivers the kind of comic book storytelling that will have readers burning through the pages, and rereading much of the it.  The naturalism of his illustrative style keeps the story from being constrained by time.  What happens is more important than when it happened, making the story feel timeless.  In a sense, what occurs in Dark Blood #4 is always an occurrence – to one person and another, at one time and another.

A.H.G.'s beautiful colors on Hidalgo's art brings forth the power of this story, and for me, it's like riding lightning through Avery's (mis)adventures.  As usual, Andworld Design's lettering throws gasoline on the fire.

So, dear readers, at least you who need a change from what you read every month, here it is.  Like Rodney Barnes and Jason Shawn Alexander's Killadelphia (Image Comics), Dark Blood is the … new blood your imaginations need.

I READS YOU RECOMMENDS:  Fans of modern science fiction and dark fantasy comic books will want to drink Dark Blood.

A+

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


Dark Blood trailer: https://www.youtube.com/watch?v=WzzXIYr_FrA&feature=youtu.be
Dark Blood first loook: https://www.boom-studios.com/wordpress/archives/dark-blood-1-first-look/
https://twitter.com/MorganicInk
https://twitter.com/WaltBarna
https://twitter.com/AHGColor
https://twitter.com/andworlddesign

https://twitter.com/boomstudios
https://www.boom-studios.com/wordpress/
https://www.facebook.com/BOOMStudiosComics
https://www.instagram.com/boom_studios/


The text is copyright © 2021 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

------------------

Amazon wants me to inform you that the affiliate link below is a PAID AD, but I technically only get paid (eventually) if you click on the affiliate link below AND buy something(s).


Wednesday, September 22, 2021

Comics Review: "DARK BLOOD #3" Races with the Devils

DARK BLOOD #3 (OF 6)
BOOM! STUDIOS

STORY: LaToya Morgan
ART:  Moisés Hidalgo
COLORS: A.H.G.
LETTERS:  Andworld Design
EDITOR: Dafna Pleban
COVER: Valentine De Landro
VARIANT COVER ARTISTS: Juni Ba; Valentine De Landro; Christian Ward
24pp, Colors, 3.99 U.S. (September 2021)

Dark Blood created by LaToya Morgan

Dark Blood is a new six-issue comic book miniseries created and written by screenwriter LaToya Morgan (AMC’s “The Walking Dead,” “Into The Badlands”).  Published by BOOM! Studios, the series is drawn by Walt Barna and Moisés Hidalgo; colored by A.H.G.; and lettered by Andworld Design.  The series focuses on a Black World War II veteran who discovers that he has strange new abilities.

Alabama, 1955.  After leaving his job at the diner, “Hardy's Eats,” Avery Aldridge, also known as “Double A,” has a fateful encounter with a racist.  Double A is a highly decorated World War II soldier, a former fighter pilot, a member of the soon-to-be-legendary “Red Tails.”  He is expected to act like a boy … when he is actually a very powerful man.  But this is “The Night of the Variance,” and everything is going to start to change – even the things some don't want changed.

Dark Blood #3 opens in 1945, ten years before the Variance.  In Alabama, Emma Aldridge, Avery's wife, feels the penetrating eyes of a member of the local wolf pack, also known as a police officer, specifically Officer Wright.  Meanwhile, near the Austrian border, Avery and a fellow pilot race for safety with another kind of wolf pack, in the form of a Nazi commandant and his soldiers, nipping at their heels.

Ten years later, back in the present, it is the “Night of the Variance.”  Once again, Emma evades a wolf, while Avery runs away from one.  As he did a decade before, Avery will once again have to decide when he should stop running and turn around and start fighting.

THE LOWDOWN:  The indignities that Avery Aldridge suffers in Dark Blood #2 are familiar to me because I have experienced some of them and others were told to me via first hand or second hand accounts.  A theme that runs throughout Dark Blood, thus far, is the notion that Black people are often being hunted.  Sometimes, even being watched is a form of being hunted; the difference is that the hunter hunts with his stare or gaze.

Television writer-producer LaToya Morgan (AMC's “TURN: Washington's Spies”) offers in Dark Blood a comic book that flows through multiple genres, including science fiction and fantasy, horror, history, and reality-based drama, to name a few.  As a television writer, she knows how to deliver action, suspense, and thrills along with the character drama.  And Dark Blood #3 offers the thrill of the hunt.

This third issue finds husband and wife, Avery and Emma Aldridge, living and surviving on the razor's edge more than once, over two time periods.  It would not be inappropriate to compare this issue's hunters, Alabama law enforcement and Nazi military personnel to one another.  After all, one was the teacher of codified racism, and the other was the student.  [I'll let you, dear readers, figure out which was which.]

Morgan delivers Dark Blood's most taut thrills and fraught drama, thus far, and this time she has a different artist as her creative partner.  Moisés Hidalgo, who drew a few pages of Dark Blood #2, returns to draw Dark Blood #3's dark nights of pursuit to life.  Hidalgo's compositions seem inspired by the surreal madness of Steve Ditko's comics and also the impressionism and and wild-eyed emotions of Japanese manga.  Here, Hidalgo makes the reader feel, as if he refuses to allow the reader to experience Morgan's story only in a rational way.  His art wants us to be fearful, desperate, and even irrational.  While reading this issue, I believed that I had to feel this story if I was really going to have a chance of understanding the characters' plights.

Once again, I must praise A.H.G.'s coloring for Dark Blood.  I read comiXology's digital editions of Dark Blood when I am reviewing the series, and A.H.G.'s colors look gorgeous in this format.  The coloring makes Dark Blood's interiors look like pages from a vintage comic book, so Dark Blood seems to be not a comic book about the past, but a comic book from the past.  It is like a memento from a time capsule, a story that has been waiting for us.

Strangely, Dark Blood #3 confirms what I have been thinking since I started reading this series.  Dark Blood is the comic book that some comic book readers need and have needed for a long time, though some may only discover this later via a Dark Blood trade paperback.  So, once gain, I highly recommend Dark Blood.

I READS YOU RECOMMENDS:  Fans of modern science fiction and dark fantasy comic books will want to drink Dark Blood.

A+

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


Dark Blood trailer: https://www.youtube.com/watch?v=WzzXIYr_FrA&feature=youtu.be
Dark Blood first loook: https://www.boom-studios.com/wordpress/archives/dark-blood-1-first-look/
https://twitter.com/MorganicInk
https://twitter.com/WaltBarna
https://twitter.com/AHGColor
https://twitter.com/andworlddesign

https://twitter.com/boomstudios
https://www.boom-studios.com/wordpress/
https://www.facebook.com/BOOMStudiosComics
https://www.instagram.com/boom_studios/


The text is copyright © 2021 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

----------------------

Amazon wants me to inform you that the affiliate link below is a PAID AD, but I technically only get paid (eventually) if you click on the affiliate link below AND buy something(s).


Wednesday, August 25, 2021

Comics Review: "DARK BLOOD #2": Ain't Nothing Like the Real Thing, Baby

DARK BLOOD #2 (OF 6)
BOOM! STUDIOS

STORY: LaToya Morgan
ART: Walt Barna with Moisés Hidalgo (pp. 10-12, 19)
COLORS: A.H.G.
LETTERS: Andworld Design
EDITOR: Dafna Pleban
COVER: Valentine De Landro
VARIANT COVER ARTISTS: Juni Ba; Valentine De Landro; Taurin Clarke
24pp, Colors, 3.99 U.S.(August 2021)

Dark Blood created by LaToya Morgan

Dark Blood is a new six-issue comic book miniseries created and written by screenwriter LaToya Morgan (AMC’s “The Walking Dead,” “Into The Badlands”).  Published by BOOM! Studios, the series is drawn by Walt Barna; colored by A.H.G.; and lettered by Andworld Design.  The series focuses on a Black World War II veteran who discovers that he has strange new abilities.

Alabama, 1955.  After leaving his job at the diner, “Hardy's Eats,” Avery Aldridge, also known as “Double A,” has a fateful encounter with a racist.  Double A is a highly decorated World War II soldier, a former fighter pilot, a member of the soon-to-be-legendary “Red Tails.”  He is expected to act like a boy … when he is actually a very powerful man.  But this is “The Night of the Variance,” and everything is going to start to change – even the things some don't want changed.

Dark Blood #2 opens six months before the Variance and reflects that which occupies Avery's oft-troubled mind.  He thinks of his wife, Emma, and their daughter, Grace Emmadell.  We see his life in “Vale Junction,” a small Black community where everyone knows him and loves Emma's “Vale Junction Book Mobile.”  Even his wartime experiences, especially from a particular time in Austria, circa 1945, flits in and out of Avery's memories.

However, reality intrudes after an altercation leaves Avery hurt.  Dr. Carlisle, a white university doctor, is the unlikely bystander who steps in to help, offering Avery immediate first aid.  As luck … would have it, Dr. Carlisle also operates a clinic “right outside of town on the old Rickman Farm” where he offers free medical care.  But nothing is really free...

THE LOWDOWN:  The indignities that Avery Aldridge suffers in Dark Blood #2 are familiar to me because I have experienced some of them and others were told to me via first hand or second hand accounts.  I admire a writer who can take such things and transform them into drama.  When a writer takes reality and inflicts it on make-believe people in a way that hits the audience in the soft spots (the heart, the soul, the mind), that is some mighty powerful storytelling.

Television writer-producer LaToya Morgan (AMC's “TURN: Washington's Spies”) offers in Dark Blood a comic book that is both science fiction-fantasy/horror and historical or reality-based drama.  She makes the Jim Crow world in her corner of Alabama truly an awful place, but at the same time, she presents in Vale Junction a Black community permeated with love and possibilities.  And that was the world that Black Americans lived not that long ago.

There are times when Avery suffers the insults of White people, and I can feel the hoary ghost of Nat Turner scratching at every window of my soul.  A documentary film or a work of journalism in our world would take Avery's experiences and attempt to engage our intellect.  Great drama takes those same experiences and engages our soul and ensnares our imagination.  It is through such mighty and imaginative drama that Morgan makes Dark Blood work as serialized fiction, a kind of fantastic fiction born in our reality based histories.

By page design and panel composition, artist Walt Barna brings the compelling drama of Dark Blood #2 to life.  With each panel, he is like a photographer working the right angles and capturing the perfect moments as he builds this chapter/issue.  There are also some beautifully drawn pages by guest artist Moisés Hidalgo.  Of course, A.H.G.'s gorgeous colors shift with the winds of Avery's memories, as well as with the linear jooks of Morgan's narratives.  So I credit the colors with forcing me to pay attention to the graphics throughout Dark Blood, especially this second issue.

After reading the first issue, I thought that LaToya Morgan, Walt Barna, A.H.G., and Andworld Design were off to a most excellent start, offering something that had great promise.  Dark Blood #2 aggressively delivers on that great promise.

I READS YOU RECOMMENDS:  Fans of modern science fiction and dark fantasy comic books will want to drink Dark Blood.

A+

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


Dark Blood trailer: https://www.youtube.com/watch?v=WzzXIYr_FrA&feature=youtu.be
Dark Blood first loook: https://www.boom-studios.com/wordpress/archives/dark-blood-1-first-look/
https://twitter.com/MorganicInk
https://twitter.com/WaltBarna
https://twitter.com/AHGColor
https://twitter.com/andworlddesign

https://twitter.com/boomstudios
https://www.boom-studios.com/wordpress/
https://www.facebook.com/BOOMStudiosComics
https://www.instagram.com/boom_studios/


The text is copyright © 2021 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

-----------------

Amazon wants me to inform you that the affiliate link below is a PAID AD, but I technically only get paid (eventually) if you click on the affiliate link below AND buy something(s).


Wednesday, July 21, 2021

Comics Review: "DARK BLOOD #1" is Hot Blooded

DARK BLOOD #1 (OF 6)
BOOM! STUDIOS

STORY: LaToya Morgan
ART:  Walt Barna
COLORS: A.H.G.
LETTERS:  Andworld Design
EDITOR: Dafna Pleban
COVER: Valentine De Landro
VARIANT COVER ARTISTS: Juni Ba; Dan Mora; Valentine De Landro; Marcus Williams; Javan Jordan; Mico Suayan; Felix Icarus Morales with Robert Nugent; David Sanchez with Omi Remalante; Karen S. Darboe; Ingrid Gala; Marco Rudy
24pp, Colors, 3.99 U.S.(July 2021)

Dark Blood created by LaToya Morgan

Dark Blood is a new six-issue comic book miniseries created and written by screenwriter LaToya Morgan (AMC’s "The Walking Dead," "Into The Badlands").  Published by BOOM! Studios, the series is drawn by Walt Barna; colored by A.H.G.; and lettered by Andworld Design.  The series focuses on an Black World War II veteran who discovers that he has strange new abilities.

Dark Blood #1 opens in Alabama, 1955.  It's night.  Avery Aldridge, also known as “Double A,” is leaving his job at the diner, “Hardy's Eats.”  In the alley, he has a fateful encounter with a racist.  Double A is a highly decorated World War II soldier, a former fighter pilot, a member of the soon-to-be-legendary “Red Tails.”  He is expected to act like a boy … when he is actually a very powerful, grown-ass man.  But this is “The Night of the Variance,” and everything is going to start to change – even the things some don't want changed.

THE LOWDOWN:  As I much as I love the original Star Wars movies and a number of classic Walt Disney animated features (Peter Pan), my all-time favorite movie moment occurs in 1967's In the Heat of the Night.  Involuntarily assigned to a homicide case in Sparta Mississippi, Philadelphia police detective Virgil Tibbs (played by Sidney Poitier) is interviewing a suspect, a local and powerful rich white man named Endicott (Larry Gates), when Endicott slaps him in the face.  Tibbs slaps him right back.  The first time I saw Tibbs slap Endicott, it took my breath away … and it still does.

Television writer-producer LaToya Morgan (AMC's "TURN: Washington's Spies") offers a sci-fi/horror spin on Tibbs' slap as the spine of the first issue of her new comic book, Dark Blood.  This time, the confrontation is longer, and Avery Aldridge's response is made a bit more complicated, partly because he seems unstuck in time.  Morgan does everything to tell her readers a lot by whetting their appetites for more, because they don't know the half of it, and she makes that “it” intriguing.

For all that I am intrigued by Dark Blood #1's story and concept, this first issue is also a showcase for the art team of illustrator Walt Barna and colorist A.H.G.  Barna's compositions are some of the most convincing period art that I have seen in a modern comic book in years.  Barna's Alabama, 1955 looks so “old-timey” that I could believe that it is something Barna drew at least half-a-century ago.  Barna's aerial sequences depicting Aldridge's time as a Red Tail reminds me of the comic book art one might find in EC Comics' legendary war comic book, Aces High (1955).

A.H.G.'s colors are gorgeous and also from a time machine.  If I didn't know better, I would say he hand-colored this comic book and manually separated those colors in a back office at a NYC-based comic book publisher – in days gone by.  Seriously, his colors shimmer, but are also earthy, and they make the storytelling's time periods look and feel authentic.

And I always enjoy Andworld Design's lettering, which is always stylish in a way that brings immediacy and power to the drama.  So LaToya Morgan, Walt Barna, A.H.G., and Andworld Design are off to a most excellent start, and Dark Blood #1 sparkles with promise.

I READS YOU RECOMMENDS:  Fans of modern science fiction and dark fantasy comic books will want to drink Dark Blood.

A

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


Dark Blood trailer: https://www.youtube.com/watch?v=WzzXIYr_FrA&feature=youtu.be
Dark Blood first loook: https://www.boom-studios.com/wordpress/archives/dark-blood-1-first-look/
https://twitter.com/MorganicInk
https://twitter.com/WaltBarna
https://twitter.com/AHGColor
https://twitter.com/andworlddesign

https://twitter.com/boomstudios
https://www.boom-studios.com/wordpress/
https://www.facebook.com/BOOMStudiosComics
https://www.instagram.com/boom_studios/


The text is copyright © 2021 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

--------------------


Saturday, June 12, 2021

NatGeo to Air "Rise Again: Tulsa and the Red Summer" Fri., June 18th

National Geographic Documentary Films Partners With Acclaimed Director Dawn Porter in Search of Justice and Peace 100 Years After the Tulsa Massacre in New Feature Documentary RISE AGAIN: TULSA AND THE RED SUMMER

Award-Winning Journalist DeNeen Brown Chronicles the Investigation of a Mass Grave in Oklahoma, Reporting on the Early 20th Century's Reign of Racial Terror and Legacy of Violence in the Two-Hour Special To Premiere On National Geographic Friday, June 18, at 9 p.m. ET/PT and Available To Stream on Hulu the Next Day, Juneteenth, Saturday, June 19, 2021

Get a first look at YouTube.

WASHINGTON--(BUSINESS WIRE)--National Geographic Documentary Films is partnering with acclaimed filmmaker Dawn Porter ("The Way I See It," "Good Trouble: John Lewis") and Trailblazer Studios on a feature documentary that sheds new light on a century-old period of intense racial conflict. RISE AGAIN: TULSA AND THE RED SUMMER comes one hundred years from the two-day Tulsa Massacre in 1921 that led to the murder of hundreds of Black people and leaving thousands homeless and displaced. The film will premiere on National Geographic on Friday, June 18, 2021, at 9 p.m. ET/PT. It will also be available to stream on Hulu the next day, Saturday, June 19, 2021, commemorating Juneteenth, when the last enslaved Black people in Texas received news of their emancipation, and will air globally in 172 countries and 43 languages.

Award-winning Washington Post journalist and Oklahoma native DeNeen Brown is at the heart of the film, reporting on the search for a mass grave in her native state. Digging into the events that led to one of the worst episodes of racial violence in America's history, Brown reveals insights into racial-conflict incidents that erupted in the early 20th century. Between 1917 and 1923, when Jim Crow laws were at their height and the Klu Klux Klan was resurging across the nation, scores of Black homes and businesses were razed, and hundreds of Black people were lynched and massacred with impunity.

Brown's reporting highlights the revived call for justice for victims and survivors. Following a 2018 investigative report, Brown explores the current new anti-racism movement in the context of the Tulsa Massacre and the Red Summer. With access to family members of those killed, city officials, archeologists and historians, the film reveals the decades-long effort by descendants and community members to find the victims' bodies and unearth truths that have been suppressed for nearly a century. RISE AGAIN: TULSA AND THE RED SUMMER also untangles the role the media played in covering events at the time in order to reveal the full extent of the nation's buried past.

"I'm interested in following the evidence where it leads while giving a voice to those directly affected by the tragic events in Tulsa and throughout the Red Summer. This is the time to tell this story, which is not only about Black victims but also about Black resistance. There is so much our society is currently reckoning with, but seeking the truth about the damage wrought by unchecked mob violence against the Black community is a starting point. Sadly, the racism motivating the Red Summer has not been eradicated. It is clear, we must acknowledge these wrongs if healing is to begin," said Dawn Porter.

DeNeen L. Brown added, "In Tulsa, there is an increased urgency to properly honor Black people who were murdered during the 1921 Tulsa Race Massacre. Black activists in Tulsa have been working for years to bring national attention to this horrific chapter in U.S. history, in which as many as 300 Black people were killed by white mobs, and the prosperous Black community of Greenwood was destroyed. This year, as the city recognizes the 100th anniversary of the massacre, Tulsa finds itself at a point of inflection to learn from its horrific history and bring justice to survivors and descendants who have been denied true justice for too long."

Also being covered in a future issue of National Geographic Magazine, the excavation of a possible mass grave in Tulsa will continue early 20th century calls from Black newspapers, which reported on the Red Summer era seeking justice for the dead. The excavation is just one part of the effort to reckon with the past.

National Geographic Documentary Films' RISE AGAIN: TULSA AND THE RED SUMMER comes on the heels of its highly successful docuseries CITY SO REAL, continuing to shed light on social justice and racial equality in America. The banner's most recent films, REBUILDING PARADISE, from director Ron Howard, debuted at Sundance 2020, and THE CAVE, from director Feras Fayyad, was nominated for an Academy Award® for Best Documentary Feature in 2020. National Geographic Documentary Films previously released the Academy Award-, BAFTA- and seven-time Emmy® Award-winning film FREE SOLO; the Sundance Audience Award winner SCIENCE FAIR; Emmy winners LA 92 and JANE, both of which were included in the top 15 documentaries considered for an Academy Award in 2017; and duPont Award winner HELL ON EARTH: THE FALL OF SYRIA AND THE RISE OF ISIS.

RISE AGAIN: TULSA AND THE RED SUMMER is produced by Dawn Porter's Trilogy Films and Trailblazer Studios in association with National Geographic Studios. Porter serves as producer and director, with DeNeen Brown as contributing reporter and Lauren Capps as story producer. For Trailblazer Studios, Jeff Lanter and Ashleigh Di Tonto are executive producers. For National Geographic, Christine Weber is executive producer, and Courteney Monroe is president, Content.


About National Geographic Documentary Films:
National Geographic Documentary Films is committed to bringing the world premium, feature documentaries that cover timely, provocative and globally relevant stories from the very best documentary filmmakers in the world. National Geographic Documentary Films is a division of National Geographic Partners, a joint venture between Disney and the National Geographic Society. Furthering knowledge and understanding of our world has been the core purpose of National Geographic for 132 years, and now we are committed to going deeper, pushing boundaries, going further for our consumers … and reaching millions of people around the world in 172 countries and 43 languages every month as we do it. NGP returns 27 percent of our proceeds to the nonprofit National Geographic Society to fund work in the areas of science, exploration, conservation and education. For more information, visit natgeotv.com or nationalgeographic.com, or find us on Facebook, Twitter, Instagram, YouTube, LinkedIn and Pinterest.

About Trilogy Films:
Trilogy Films specializes in creating award-winning, feature-length documentaries that elevate important issues and spark necessary conversations. Led by filmmaker Dawn Porter, Trilogy has produced content for some of the globe's largest content brands and distributors, while earning several of the industry's highest honors, including a Peabody Award for the 2016 documentary Trapped and Independent Spirit Award nomination for her 2013 film Gideon's Army. Recent projects include John Lewis: Good Trouble (Magnolia Pictures), about the late Congressman John Lewis and The Way I See It (Focus Features), about photojournalist Pete Souza, who served as Chief Official White House photographer for President Barack Obama and as an Official White House photographer for Ronald Reagan. Trilogy Films is currently producing an Apple TV multi-part documentary series with Oprah Winfrey and Prince Harry that focuses on mental illness and wellbeing.

About Trailblazer Studios:
Trailblazer Studios is an Emmy-winning entertainment, production, post and sound facility. Based in Raleigh, N.C., Trailblazer's nearly 20,000 sq. ft. facility boasts a soundstage, production offices, edit suites, picture finishing, sound mixing and other related services. Most recently, the company announced a first-of-its-kind television endeavor with Reuters to adapt its highly acclaimed, award-winning investigative series The Body Trade. Trailblazer, which delivered nearly 100 hours of original programming in 2020, is currently producing several announced blue-chip, natural-history and premium-documentary series for several networks, including National Geographic, OWN, Discovery and PBS. The company also assists clients with delivering content to HBO, Netflix, Amazon and numerous film festivals, including Sundance, Full Frame and Tribeca.

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Monday, May 24, 2021

Disney Junior Announces "Rise Up, Sing Out," Focused on Race, Racism and Social Justice

Disney Junior Teams Up With Questlove and Black Thought From The Roots for New Animated Short Series 'Rise Up, Sing Out,' Focused on Race, Racism and Social Justice

-- Produced in Collaboration With Academy Award®-Winning Lion Forge Animation --

BURBANK, Calif.--(BUSINESS WIRE)--As kids and parents continue to navigate and understand the current issues happening in our country and around the world, Disney Junior—home to the #1 preschool network—announced today the new animated short series "Rise Up, Sing Out." Presenting important concepts around race, racism and social justice for the youngest viewers, the series consists of music-based shorts that are designed to provide an inspiring and empowering message about noticing and celebrating differences and providing a framework for conversation. The shorts are slated to premiere later this year across all Disney Junior platforms.

The shorts will feature music by Ahmir "Questlove" Thompson and Tariq "Black Thought" Trotter of the GRAMMY Award®-winning musical group The Roots, who are executive producing through their Two One Five Entertainment production company alongside Latoya Raveneau (Disney+'s highly anticipated "The Proud Family: Louder and Prouder"), who also serves as executive producer. The Conscious Kid, an organization dedicated to equity and promoting healthy racial identity development in youth, is consulting on the series and will develop a viewing companion guide for parents. "Rise Up, Sing Out" is produced in collaboration with Academy Award-winning animation studio Lion Forge Animation ("Hair Love") for Disney Junior.

Joe D'Ambrosia, senior vice president, Original Programming and general manager, Disney Junior, said, "We recognize that many kids are experiencing a multitude of feelings around what's happening in our world today and know that many families are struggling with how to discuss sensitive issues around race. Our goal with these shorts is to open up the conversation and provide families with the tools and knowledge to address these important topics with their preschoolers in an age-appropriate manner through music and relatable kid experiences."

In a joint statement, Thompson and Trotter said, "It is an honor to work with the Disney Junior team to help create a series of shorts that will empower and uplift the future generations in the way we know best, through music. We hope these shorts will encourage the young audience to recognize and celebrate our differences as human beings while learning the tools to navigate real-world issues of racial injustice."

Follow on Instagram and Twitter for up-to-date news on #RiseUpSingOut

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Monday, February 8, 2021

#28DaysofBlack Review: "BlacKkKlansman" is Bold and Brilliant

[Spike Lee finally earned his long-sought after competitive Academy Award, having won an “Honorary Academy Award” in 2015 at the age of 58, the youngest ever to achieve that award.  BlacKkKlansman is not so much a biopic as it is a black comedy, police procedural, crime comedy, and semi-espionage film.  Yet, this film retains Lee's fierce cinematic voice with its trademark campaign against American white supremacy/racism/privilege.  Thank the Lord.]

TRASH IN MY EYE No. 9 of 2021 (No. 1747) by Leroy Douresseaux

BlacKkKlansman (2018)
Running time: 135 minutes (2 hours, 15 minutes)
MPAA – R for language throughout, including racial epithets, and for disturbing/violent material and some sexual references

DIRECTOR:  Spike Lee
WRITERS:  Spike Lee and Kevin Willmott and Charlie Wachtel and David Rabinowitz (based on the book, Black Klansman, by Ron Stallworth)
PRODUCER:  Spike Lee, Jason Blum, Raymond Mansfield, Sean McKittrick, Jordan Peele, and Shaun Redick
CINEMATOGRAPHER:  Chayse Irvin (D.o.P.)
EDITOR:  Barry Alexander Brown
COMPOSER:  Terence Blanchard
Academy Award winner

DRAMA with some elements of comedy

Starring:  John David Washington, Adam Driver, Laura Harrier, Topher Grace, Jasper Pääkkönen, Ryan Eggold, Paul Walter Hauser, Ashlie Atkinson, Corey Hawkins, Michael Buscemi, Ken Garito, Robert John Burke, Fred Weller, Nicholas Turturro, Isiah Whitlock Jr., Damaris Lewis, and Alec Baldwin and Harry Belafonte

BlacKkKlansman is 2018 historical film drama and black comedy from director Spike Lee.  The film is based on the 2014 memoir, Black Klansman, by Ron Stallworth.  The film focuses on an African American police officer who successfully manages to infiltrate the local Ku Klux Klan branch with the help of a Jewish surrogate.

BlacKkKlansman opens in 1972.  Ron Stallworth (John David Washington) is hired as the first black officer in the Colorado Springs Police Department.  Although he starts in the record room, he soon works his way into the position of undercover cop.  His superior, Chief Bridges (Robert John Burke), assigns him to infiltrate a local rally where national civil rights leader, Kwame Ture (Corey Hawkins), formerly known as Stokely Carmichael, is giving a speech.  At the rally, Stallworth meets Patrice Dumas (Laura Harrier), president of the Black Student Union at Colorado College, and he becomes attracted to her.

After being reassigned to the intelligence division under Sergeant Trapp (Ken Garito), Ron discovers the local division of the Ku Klux Klan in a newspaper ad.  Taking the initiative, Ron, posing as a white man, calls the division and speaks to Walter Breachway (Ryan Eggold), the president of the Colorado Springs, Colorado chapter.   Since he mistakenly used his real name during the call, Ron realizes that he needs help after Walter invites him to a Klan meet-and-greet.

Sgt. Trapp brings Ron together with two detectives, Jimmy Creek (Michael Buscemi) and Phillip “Flip” Zimmerman (Adam Driver), who is Jewish.  Ron continues to talk to the Klan on the phone, but Flip pretends to be Ron, acting as Ron's surrogate when he actually has to meet up with the Klan members.  Flip gradually begins to infiltrate deeper into the local Klan organization, but some members grow suspicious of him.  The stakes grow higher after Ron starts a phone relationship with infamous Klan leader, David Duke (Topher Grace), who is coming to meet the Colorado Klan.

BlacKkKlansman is a police procedural, a racial drama, a historical film, a period drama, a biographical film, and a true crime story, or at least, a true story.  However, there is one thing that BlacKkKlansman certainly is, and that is a Spike Lee movie.

Lee's collaborators and actors certainly do some of their best work.  Chayse Irvin's cinematography is beautiful, and Barry Alexander Brown's editing creates a hypnotic rhythm that drew me ever deeper into the film so that by the midpoint, I believed that I was part of the story.  In fact, Irvin and Brown shine as a duo in the sequence that depicts Kwame Ture's speech in a sweeping interval of Black faces that captures the broad spectrum of Blackness in America.  Everything sways and flows to Terence Blanchard's (of course) outstanding, Oscar-nominated score.

I can see how Adam Driver's performance as Flip captured the attention of Oscar voters.  I also get why John David Washington and Laura Harrier's strong and beguiling performances did not capture the same attention from Academy Award voters.  All the performances are good, as the actors took character types and did something different with them.  Two short but important speaker roles, Corey Hawkins' Kwame Ture and Harry Belafonte's Jerome Turner, are the heartbeat of BlacKkKlansman.

But, as I said, this is Spike Lee's film; this is a Spike Lee film.  Spike is a visionary, a contrary cinematic artist stubbornly making his films his own and making other people's stories his own.  Spike has never been shy about putting the racism of white people on display.  He condemns white racism and white supremacy, revealing its brutal violence, banal evil, and systematic oppression in stark and often blunt cinematic language – regardless of what of criticisms that may come his way because of the way he tells stories.

BlacKkKlansman is Lee's most savage take and rigorous excavation of white racism and white supremacy in America since his seminal classic, Do The Right Thing (1989).  BlacKkKlansman is Lee's best film since Do The Right Thing, and it earned him his long overdue Oscar (for “Best Adapted Screenplay” that he shared with three other writers).  [No, I'm not overlooking Chi-Raq.]

Do The Right Thing was a bomb that angered more white people than it impressed, but BlacKkKlansman is the work of a veteran filmmaker, a mature artist, so to speak.  This time, Spike Lee acknowledged Black people's prejudices and bigotries, and many of the White characters in this film are sympathetic, are allies, and are even heroes.  Still, BlacKkKlansman makes clear that whatever Black racism that exists, it is White racism that has wielded the power in American.

With allusions and outright references to the present struggle for equality and civil rights, BlacKkKlansman makes it clear that we still have to fight the power and the White devil.  Three decades later, however, Spike Lee is willing to portray White allies, but he can still get under … honky skin.  That is why so many Oscar voters chose Green Book's sentimentality over BlacKkKlansman's black-is-beautiful power in the “Best Picture” Oscar race … when BlacKkKlansman may be the best American film of 2018.

10 of 10

Saturday, February 6, 2021


NOTES:
2019 Academy Awards, USA:  1 win for “Best Adapted Screenplay” (Charlie Wachtel, David Rabinowitz, Kevin Willmott, and Spike Lee); 5 nominations: “Best Achievement in Music Written for Motion Pictures-Original Score” (Terence Blanchard), “Best Motion Picture of the Year” (Sean McKittrick, Jason Blum, Raymond Mansfield, Jordan Peele, and Spike Lee), “Best Achievement in Directing” (Spike Lee), “Best Performance by an Actor in a Supporting Role” (Adam Driver), and “Best Achievement in Film Editing” (Barry Alexander Brown)

2019 BAFTA Awards:  1 win for “Best Screenplay-Adapted” (Spike Lee, David Rabinowitz, Charlie Wachtel, and Kevin Willmott); 4 nominations: “Best Supporting Actor” (Adam Driver), “Best Film” (Jason Blum, Spike Lee, Raymond Mansfield, Sean McKittrick, and Jordan Peele), “Original Music” (Terence Blanchard), and “David Lean Award for Direction” (Spike Lee)

2019 Golden Globes, USA:  4 nominations: “Best Motion Picture – Drama,” “Best Director - Motion Picture” (Spike Lee), “Best Performance by an Actor in a Motion Picture – Drama” (John David Washington), and “Best Performance by an Actor in a Supporting Role in a Motion Picture” (Adam Driver)

2019 Black Reel Awards:  11 nominations: “Outstanding Motion Picture,” “Outstanding Actor” (John David Washington), “Outstanding Director” (Spike Lee), “Outstanding Screenplay” (Charlie Wachtel, David Rabinowitz, Kevin Willmott, and Spike Lee), “Outstanding Ensemble,” “Outstanding Score” (Terence Blanchard), “Outstanding Breakthrough Performance, Male” (John David Washington), “Outstanding Breakthrough Performance, Female” (Laura Harrier), “Outstanding Cinematography” (Chayse Irvin), “Outstanding Costume Design” (Marci Rodgers), and “Outstanding Production Design” (Curt Beech)

2019 Image Awards:  5 nominations:  “Outstanding Independent Motion Picture,” “Outstanding Motion Picture,” “Outstanding Actor in a Motion Picture” (John David Washington), “Outstanding Directing in a Motion Picture-Film” (Spike Lee), and “Outstanding Breakthrough Role in a Motion Picture” (John David Washington)

The text is copyright © 2021 Leroy Douresseaux. All Rights Reserved. Contact this site or blog for reprint and syndication rights and fees.


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Thursday, June 4, 2020

PBS to Broadcast a Series of Films and New Specials on Race in America

PBS to Address Race and Racism in America Through Broadcast and Streaming Content

RACE MATTERS: AMERICA IN CRISIS, A PBS NEWSHOUR SPECIAL Premieres Friday, June 5 at 9:00 p.m. ET

AMERICA IN BLACK AND BLUE 2020 Premieres Monday, June 15 at 9:00 p.m. ET

Films with Historical Context by Henry Louis Gates, Jr., Including RECONSTRUCTION: AMERICA AFTER THE CIVIL WAR, BLACK AMERICA SINCE MLK: AND STILL I RISE and THE AFRICAN AMERICANS: MANY RIVERS TO CROSS; and From Stanley Nelson and Independent Lens, THE BLACK PANTHERS: VANGUARD OF THE REVOLUTION, and More Will Rebroadcast and/or Stream Across PBS Stations and Platforms

PBS KIDS and PBS LearningMedia Provide Resources to Support Families and Educators

PBS AMERICAN PORTRAIT Invites Americans to Share Their Stories About Racism and Its Impact, Past and Present


ARLINGTON, Va.--(BUSINESS WIRE)--PBS announced that it will broadcast a series of films and new specials focused on race in America following the murder of George Floyd on May 25, 2020, and the ensuing protests that erupted across the country. In addition to re-broadcasting films focused on African American history by Dr. Henry Louis Gates, Jr. and Stanley Nelson, PBS will also curate a playlist of programs from FRONTLINE, POV, INDEPENDENT LENS and other iconic series that explore the impact of racism on Black Americans and the larger country.

    .@PBS to Address Race and Racism in America Through Broadcast and Streaming Content

“As a media system that serves every person in America, we stand with the Black community, and we stand against racism and hate," said Paula Kerger, President & CEO of PBS. "In the coming days and weeks, we will use our national reach and community presence to deepen understanding, foster conversation and enable meaningful change. And we will continue to stand behind our courageous journalists, whose unwavering commitment to speak truth to power is essential to the strength of our democracy.”

PBS will rebroadcast THE TALK – RACE IN AMERICA on Thursday, June 4, 2020 at 9:00 p.m. ET. The documentary, which first aired in 2017, tells six stories of struggle between people of color and law enforcement in America. It chronicles how families of color attempt to protect their children with “The Talk” — about what to do and how to react if they are stopped by police.

On Friday, June 5, 2020 at 9:00 p.m. ET, PBS and member stations will air a new special, RACE MATTERS: AMERICA IN CRISIS, A PBS NEWSHOUR SPECIAL. The one-hour program will be anchored by managing editor Judy Woodruff with contributions from senior national correspondent Amna Nawaz, correspondent Yamiche Alcindor and special correspondent Charlayne Hunter-Gault. RACE MATTERS: AMERICA IN CRISIS will focus on the frustration pouring out onto American streets, outrage about police brutality, and America’s deep systemic racial disparities in the economy, education, criminal justice system and health care, especially during the COVID-19 pandemic. The program will also include grassroots voices from around the country and roundtable conversations with thought leaders and other newsmakers.

Also on Friday, June 5, PBS will rebroadcast FRONTLINE “Policing the Police,” in which writer and historian Jelani Cobb examines allegations of abuses within the Newark Police Department and the challenge of fixing its broken relationship with the community. “Policing the Police” will air at 10:00 p.m. ET.

GREAT PERFORMANCES “Twilight: Los Angeles” encores Monday, June 8, 2020 at 10:00 p.m. ET. Anna Deavere Smith’s powerful one-woman theater piece gives a riveting account of the violent aftermath of the 1992 Rodney King verdict and the lasting impact of the Los Angeles riots on America’s conscience. Award-winning director Marc Levin weaves Smith’s stage performance with news footage and interviews to create a portrait of rage, sorrow, loss and battered hope.

AMERICA IN BLACK AND BLUE 2020, which broadcasts on PBS stations Monday, June 15, 2020 at 9:00 p.m. ET, will report from across the country, and include interviews with key leaders and participants in the struggle for racial justice, accountability and equity, as well as voices from law enforcement. As the latest crisis of police violence on black citizens — and outraged protests and ensuing violence — engulf the nation, this PBS special will bring context and insight. It will update reporting from the original AMERICA IN BLACK AND BLUE, which first aired in 2016, as well as THE TALK - RACE IN AMERICA. Correspondents will report from Minneapolis, Georgia, New York and elsewhere, and interviews from PBS NEWSHOUR WEEKEND, AMANPOUR AND COMPANY, and other PBS national and local programming will be included. More details are forthcoming.

PBS and member stations will this week begin rebroadcasting and/or streaming a full slate of films about the history of injustices within the African American community. Films from Dr. Henry Louis Gates, Jr. include THE AFRICAN AMERICANS: MANY RIVERS TO CROSS, a chronicle of African American history, from the origins of slavery on the African continent through more than four centuries of remarkable events; RECONSTRUCTION: AMERICA AFTER THE CIVIL WAR, a four-part series that explores the transformative years when the nation struggled to rebuild itself in the face of profound loss and African Americans forged a new, more equal place in American social and political life, only to face the backlash of segregation and institutionalized disempowerment whose legacy persists today; and BLACK AMERICA SINCE MLK: AND STILL I RISE, a detailed exploration of how the civil rights movement impacted the country, including successes and failures related to political and economic equality.

PBS will also provide Stanley Nelson’s award-winning Independent Lens film THE BLACK PANTHERS: VANGUARD OF THE REVOLUTION, a riveting look at an earlier era of conflict and how the Black Panthers provided community services while advocating for more radical national change.

All films will also be available for streaming on station-branded PBS platforms, including PBS.org and the PBS Video App, available on iOS, Android, Roku, Apple TV, Amazon Fire TV and Chromecast. PBS station members will be available to view all episodes via Passport (contact your local PBS station for details).

In addition to the broadcasts, films from Henry Louis Gates, Jr. and Stanley Nelson will be included as part of a special curated collection streaming free on PBS.org. The filmmakers will offer their insights into the events currently gripping the country and historical origins for greater context. The programs below will also be included as part of the curated collection, with titles provided in association with Black Public Media.

INDEPENDENT LENS “Always in Season”
A grieving mother embarks on a quest for racial justice after her teenage son’s suspicious death.

INDEPENDENT LENS “Charm City”
Get to know the people on the front lines of three years of unparalleled violence in Baltimore.

INDEPENDENT LENS “The First Rainbow Coalition”
Notable community groups in 1960s Chicago bridge race and ethnicity to form a surprising alliance.

INDEPENDENT LENS “I Am Not Your Negro”
Explore James Baldwin’s unfinished book about race in America in this Oscar-nominated documentary.

JOHN LEWIS – GET IN THE WAY
Follow the courageous journey of John Lewis, from his youth in the segregated South, through his leadership within the Civil Rights movement, to his current role as a powerful voice in Congress.

POV “Whose Streets?”
Take an unflinching look at the Ferguson uprising, told by the activists leading the movement.

PBS AMERICAN PORTRAIT, the signature programming and engagement initiative of the network’s 50th anniversary, invites people across the country to share their stories about race and current events with a new prompt, “Now is the time...” Stories can be uploaded to AMERICAN PORTRAIT at pbs.org/americanportrait and may be included in a featured collection of personal stories from Americans grappling with racism and its impact, past and present. PBS AMERICAN PORTRAIT will air two new specials this fall and a four-part docuseries in January 2021 that spotlight American stories, including how the far-reaching impact of the events of 2020 have affected our everyday lives.

PBS KIDS will offer families resources to discuss race, racism, civil rights, current events and more with young children, including a virtual event on YouTube on Tuesday, June 9 at 3:30 p.m. ET with parents, teachers and child development experts.

PBS LEARNINGMEDIA will offer materials to help educators talk with students about race in America and current events, including classroom-ready resources for a variety of grade levels aligned to state and national standards. Professional learning materials for educators will also be available later this month.

In the spirit of providing resources and information on topics exploring race in America, PBS DIGITAL STUDIOS will curate a themed playlist featuring wide-ranging content from some of its most popular series, including SAY IT LOUD, ABOVE THE NOISE, ORIGIN OF EVERYTHING and CRASH COURSE. Programs explore “The Origin of Race in the USA,” “Should We Police Our Police,” “The Reason #BlackTwitter Exists (And Is Totally Awesome),” “What Does Resistance Look Like” and many more.


About PBS
PBS, with more than 330 member stations, offers all Americans the opportunity to explore new ideas and new worlds through television and digital content. Each month, PBS reaches over 120 million people through television and 26 million people online, inviting them to experience the worlds of science, history, nature and public affairs; to hear diverse viewpoints; and to take front row seats to world-class drama and performances. PBS’ broad array of programs has been consistently honored by the industry’s most coveted award competitions. Teachers of children from pre-K through 12th grade turn to PBS for digital content and services that help bring classroom lessons to life. Decades of research confirms that PBS’ premier children’s media service, PBS KIDS, helps children build critical literacy, math and social-emotional skills, enabling them to find success in school and life. Delivered through member stations, PBS KIDS offers high-quality educational content on TV – including a 24/7 channel, online at pbskids.org, via an array of mobile apps and in communities across America. More information about PBS is available at www.pbs.org, one of the leading dot-org websites on the internet, or by following PBS on Twitter, Facebook or through our apps for mobile and connected devices. Specific program information and updates for press are available at pbs.org/pressroom or by following PBS Pressroom on Twitter.

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Thursday, April 30, 2020

Negromancer News Bits and Bites from April 26th to 30th, 2020 - Update #21

by Leroy Douresseaux a.k.a. "I Reads You"

Support Leroy on Patreon:

BLACK AMERICA AND COVID-19 - Crisis or... :

From YahooGMA: (4/28) - Rana Zoe Mungin, a 30-year-old teacher from Brooklyn, died on Monday, April 27th for COVID-19.  She had twice been denied a test for the coronavirus after showing symptoms.  Her family and friends blame racial disparity in the health care system.

From RSNWashPost:  How COVID-19 is a perfect storm for Black Americans.

CORONAVIRUS/COVID-19 NEWS - Hollywood and Beyond:

From YahooNews:  The Centers for Disease Control (CDC) has added six possible new symptoms of COVID-19.

From YahooNews:  Why does COVID-19 kill some people and hardly affects others?

From YahooNews:  Yahoo has a dedicated page of links updating news about COVID-19.

From Deadline:  The news site "Deadline" has a dedicated page for news about coronavirus and the film, TV, and entertainment industries.

From TheNewYorker:  The venerable magazine has a dedicate COVID-19 page free to all readers.

From YahooNews:  Re: the federal government's response to COVID-19: What if the most important election of our lifetime was the last one - 2016?

From YahooNews: (4/28) - A consumer group has launched a website to keep track of company and corporations that get those COVID-19 "Paycheck Protection Program" (PPP) small business loans.

From YahooNews: (4/28) - The United States has now has 1 million confirmed cases of COVID-19.

From YahooFinance:  The COVID-19 pandemic may finally cut the cord to cable TV for Americans.

From YahooNews: (4/26) - COVID-19 is breaking the American food chain.

From YahooNews:  (4/26) - An ingredient in the popular heartburn medicine, "Pepcid," is being studied as a treatment for COVID-19.

ENTERTAINMENT NEWS:

MOVIES - From Variety:  Oscar-nominee Adam Driver joins director Jeff Nichols for "Yankee Comandante."

MOVIES - Deadline:  Universal's "Trolls World Tour" (DreamWorks Animation) has earned an estimated $95 million in rental fees during its first 19 days in release on PVOD (premium video on-demand).

From Deadline:  After comments that Universal made in a "Wall Street Journal," the theater chain, AMC, says that it will not carry Univeral's films in its venues.  This is the latest front in the "day-and-date theatrical-VOD" battle.

MOVIES - From BleedingCool:  The Grammy-winning recording duo, Daft Punk, will compose the musical score for Dario Argento's next film, "Black Glasses," his first film in eight years.

POLITICS - From TheDailyBeast:  Fox New has apparently cut ties with MAGA sambos, the vlogging and social media duo, "Diamond & Silk."

STAR TREK - From BleedingCool:  Director Jonathan Frakes, a veteran "Star Trek" actor and director, talks about Season 3 of CBS All Access' "Star Trek: Discovery."

TELEVISION - From DeadlineRyan Murphy teases the return of American Horror Story's "Rubber Man."

TELEVISION - From YahooEntertainmentDr. Anthony Fauci, National Institute of Allergy and Infectious Diseases, gets his wish.  Brad Pitt played him on the April 25th 2020 broadcast of "Saturday Night Live."

From YahooEntertainmentDr. Anthony Fauci is pleased with Brad Pitt's portrayal of him on SNL.

MOVIES - From Variety:  Paramount Pictures is pushing back the release dates of the next two "Mission: Impossible" films.  "Mission: Impossible 7" movies from July 23, 2021 to November 19, 2021.  "Mission: Impossible 8" moves form August 5, 2022 to November 4, 2022.

OBITS:

From Deadline:  The Indian actor, Irrfan Khan, has died at the age of 53, Wednesday, April 29, 2020.  He is best known to American audiences for his appearances in the films, "The Amazing Spider-Man" and "The Life of Pi" (both in 2012) and "Jurassic World" (2015).

From Variety:  The actor Gene Dynarski died at the age of 86, February 27, 2020.  Dynarski is best known for appearing twice on "Seinfeld," as "Izzy Mandelbaum, Jr.," and twice on the original "Star Trek," most memorably in the episode, "Mudd's Women."

From Deadline:  Country music vocalist (bass singer,) Harold Reid, has died at the age of 80, April 24, 2020.  Reid was best known for his association with the country, gospel, and vocal group, "The Statler Brothers.

From Deadline:  The former president and longtime member of the Hollywood Foreign Press Association, Jorge Camara, has died at the age of 84, Friday, April 24, 2020 of cancer.  The Hollywood Foreign Press Association hands out the "Golden Globes" awards.


Wednesday, September 25, 2019

Law Firm Details Comcast vs. Entertainment Studios

MILLER BARONDESS FILES BRIEF IN U.S. SUPREME COURT IN OPPOSITION TO COMCAST ON GROUNDBREAKING CIVIL RIGHTS STATUTE

In a groundbreaking case before the United States Supreme Court, Entertainment Studios Networks, Inc. (“Entertainment Studios”) alleges that Comcast Corporation (“Comcast”) violated the Civil Rights Act of 1866, 42 U.S.C. § 1981 (“Section 1981”), which gives “all persons” the same right to “make and enforce contracts” as “is enjoyed by white citizens.” Section 1981 was enacted after the Civil War to bring former African American slaves into the economy of the country and enhance economic inclusion.

Entertainment Studios, owned by Byron Allen, who is an African American entrepreneur, produces television programming, owns and operates multiple television channels, and also has a motion-picture production and distribution company. Entertainment Studios’ channels, JusticeCentral.TV, Cars.TV, ES.TV, MyDestination.TV, Pets.TV, Comedy.TV, and Recipe.TV, are award-winning lifestyle channels with general audience appeal. They are carried by major multichannel video programming distributors, including Verizon FIOS, AT&T U-verse, DirecTV, RCN, DISH, Mediacom, Service Electric, and many other distributors.

Entertainment Studios alleges that since 2008, it has offered its channels to Comcast for cable carriage and has even offered JusticeCentral.TV with no license fee, but Comcast has steadfastly refused to contract with Entertainment Studios. The lawsuit alleges that Comcast refused to launch Entertainment Studios Channels because Comcast claimed it lacked capacity to carry the channels, while at the same time launching more than 80 lesser-known, white-owned channels. As the largest cable distributor, Comcast has more than enough bandwidth to carry the Entertainment Studios Channels; and of the more than 500 channels carried by Comcast’s major competitors—Verizon FIOS, AT&T U-verse, and DirecTV—Comcast carries every single one, except the Entertainment Studios Channels.

Entertainment Studios also asserts that it was told by one Comcast executive that it refused carriage because “we’re not trying to create any more Bob Johnsons.” Bob Johnson is the African American founder of Black Entertainment Television, a groundbreaking network that was eventually sold to Viacom for $3 billion. The lawsuit alleges that Comcast did not want to support an African American media entrepreneur who would compete against the white-owned networks Comcast owns and/or carries.

Per Skip Miller, counsel for Entertainment Studios and partner with Miller Barondess, LLP in Los Angeles, “This case is about economic inclusion of African Americans in the media. It is critical to our country to break down racial barriers in business. I have tremendous respect for Byron Allen for his courage in taking on this case and firmly believe we are on the right side of the law. The data below, from our legal brief, illustrates the importance of this case.”

Today, the wealth gap between African Americans and white people remains significant. “Though black people make up nearly 13 percent of the United States population, they hold less than 3 percent of the nation’s total wealth. The median family wealth for white people is $171,000, compared with just $17,600 for black people.” Trymaine Lee, A Vast Wealth Gap, Driven By Segregation, Redlining, Evictions and Exclusion, Separates White and Black America, N.Y. Times Magazine (Aug. 18, 2019).

According to a January 2016 report from the Minority Business Development Agency, African American-owned businesses account for $150.2 billion in gross receipts whereas all U.S. firms account for $33.5 trillion. In other words, African American-owned firms account for roughly 0.4% of the gross receipts in the entire U.S. economy.

In the area of media ownership, the focus of this litigation, the picture is similarly dismal. “[A]ccording to the latest FCC analysis, people of color collectively owned 7 percent of all U.S. full-power commercial broadcast television stations, or just 98 of the nation’s 1,388 stations. (Though we note that a significant number even of these stations are only nominally owned by people of color, with broadcasters using shell companies headed by people of color to evade FCC ownership rules).” Written testimony of Craig Aaron (President and CEO of Free Press and Free Press Action) before the U.S. Senate Committee on Science, Commerce, and Transportation Subcommittee on Communications, Technology, Innovation, and the Internet Regarding “The State of the Television and Video Marketplace,” June 5, 2019, at 17. According to the Federal Communications Commission, in 2015 whites owned 1,030 stations (74.4%), while African Americans owned 12 stations (0.9%). Federal Communications Commission’s Third Report on Ownership of Commercial Broadcast Stations: Ownership Data as of October 1, 2015; released May 2017, at 7.

As Miller concluded, “Section 1981 is a critically important civil rights statute to ensure basic civil rights to African American-owned businesses. Comcast’s position would effectively shut the door of the federal courts to African Americans who were treated differently in contracting on account of race.”


About Entertainment Studios Networks, Inc. (“Entertainment Studios”):
In 1993, Byron Allen founded his Los Angeles-based global media company, Entertainment Studios. The company produces and distributes Emmy Award-winning and nominated shows, while selling advertising for 43 broadcast and cable television programs. Entertainment Studios has one of the largest libraries of family and advertiser-friendly lifestyle content in the world. For more information, please visit https://entertainmentstudios.com/.

About Miller Barondess, LLP:
Miller Barondess, LLP is a 35-lawyer firm in Los Angeles handling high-stakes litigation and trial work. Skip Miller is among the top trial lawyers in the nation, representing clients from celebrities to Fortune 500 companies to government in litigation matters. The firm’s attorneys hail from top law schools and aggressively and effectively litigate for their clients. For more information, please visit https://www.millerbarondess.com/.

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Thursday, November 5, 2015

Review: "The House I Live In" Remains a Timely Documentary

TRASH IN MY EYE No. 42 (of 2015) by Leroy Douresseaux

[A version of this review first appeared on Patreon.]

The House I Live In (2012)
Running time:  108 minutes (1 hour, 48 minutes)
Not rated by the MPAA
DIRECTOR:  Eugene Jarecki
WRITERS:  Eugene Jarecki with Christopher St. John (additional writing)
PRODUCERS:  Sam Cullman and Christopher St. John
CINEMATOGRAPHER:  Sam Cullman (D.o.P.) and Derek Hallquist (D.o.P.)
EDITOR:  Paul Frost
COMPOSER:  Robert Miller

DOCUMENTARY – Race, Economics, Politics, Society

Starring:  Eugene Jarecki, Nannie Jeter, David Simon, Michelle Alexander, Charles Bowden, The Honorable Mark W. Bennett, Mike Carpenter, Charles Ogletree, Carl Hart, Shanequa Bennett, Kevin Ott, Anthony Johnson, Maurice Haltiwanger, and Richard Miller

The House I Live In is a 2012 documentary from director Eugene Jarecki.  The film chronicles the War on Drugs in the United States.  Danny Glover, John Legend, Brad Pitt, and Russell Simmons are among the film's executive producers.

Eugene Jarecki's examination of the War on Drugs spring from a deeply personal place.  He takes notice of how drugs have affected Nannie Jeter and her family.  Ms. Jeter was the housekeeper in the Jarecki home, and she was the caretaker of the Jarecki children, especially of Eugene.

From there, The House I Live In shines a harsh light on “War on Drugs” in the United States and both its immediate and long-term impact on American society, especially at the bottom rungs of society where the working class, poor, and destitute reside.  Jarecki's film tells the stories of dealers, of police officers and other law-enforcement officials, of prison inmates, and of other people affected by this decades-old crusade against the sale and use of illegal narcotics.  Through these stories, the film reveals the profound human rights implications of America's “War on Drugs.”

Some documentary films are packed with information via interviews, archival information, omniscient voice overs (usually provided by the director or by a celebrity, usually an actor).  Some films have to be packed with information, simply because their subject matter is complex or because the subject is an event or program that has been occurring over several decades.

The House I Live In tackles subject matter that is both complicated and that is long ongoing.  When President Richard Nixon began what we know as the “War on Drugs” in 1971, people probably thought of it as simply “the war of drugs,” no capital letters.  At some point, however, the war of drugs became the “War on Drugs,” with capital letters.  This “war” was all-encompassing, becoming the biggest fight against crime in the U.S.  According to Jarecki, the country has spent over one trillion dollars on the War on Drugs, with something like 45 million people have been convicted of drug-related crimes.

More than anything, families and communities have been affected, and by affected, I mean damaged, ruined, and even destroyed.  That is where The House I Live In turns darker and becomes a little more complicated and controversial.  I don't want to spoil the film for those who have not seen it (and please, do see it), but this documentary flat out states that the beginnings of the “War on Drugs” goes back farther than many people realize and that the early battlefronts usually involved various minority and outsider groups.  What people did not realize in the past was that eventually this war would ensnare those who never thought their little tribes would be the focus of a state-sanctioned, destructive crusade.

As with many such documentaries, Jarecki includes interviews with numerous people who study or are involved directly or indirectly in the War on Drugs.  I suggest that viewers pay special attention to Michelle Alexander, a civil rights litigator and the author of the non-fiction book, The New Jim Crow.  She is one of most important voices in matters of civil rights and of American history concerning the lives and the oppression of slaves and their African-American descendants.

Once again, Eugene Jarecki has delved into the dark side of official America, the powers-that-be, as he did in his documentary film, Why We FightThe House I Live In is one of those documentaries that should be considered an educational film, a must-see for all middle and high school students across the country.  It wouldn't hurt for the general public to see this film; in fact, it might help the country.  The House I Live In is an engrossing, engaging documentary film that refuses to let you turn away, and most importantly, it is truly an “important film.”

9 of 10
A+

Tuesday, August 25, 2015


The text is copyright © 2015 Leroy Douresseaux. All Rights Reserved. Contact this site for reprint and syndication rights and fees.


Thursday, August 13, 2015

Remembering Michael Brown - One Year Later - #BlackLivesMatter - Update #3


On August 9th, 2014, the state of Missouri, using police officer Darren Wilson as its death weapon, murdered Michael Brown, Jr., an 18-year-old, unarmed young black man.  This killing occurred in Ferguson, a suburb of St. Louis.

It amazes me that a jury cannot give James Eagan Holmes the death penalty for killing 12 people (and wounding 70 others) at a Century movie theater in Aurora, Colorado in 2012.  However, the state can find it acceptable to kill an unarmed Black teen for (allegedly) bitch-slapping a cop.

After arresting Dylan Roof for killing 9 people in a South Carolina African-American church, the arresting officers took Roof to Burger King.  After being arrested in Waller County, Texas, Sandra Bland was given the trash bags she used to allegedly kill herself.

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A Mike Brown timeline from Yahoo News.

Michael Brown's family still mourning.

From YahooNews:  Roasted pig's head makes appearance at protest.

From YahooNews:  What it's like to be a Black cop in Ferguson.

From TheVox: The all-white Oath Keepers have shown up in Ferguson and they are openly well armed.  How would Ferguson police and St. Louis County police act if the Oath Keepers were Black and armed to the teeth, walking the streets of Ferguson.

From TheGuardian:  Pentagon taking back two military Humvees it once gave to Ferguson PD.

And just in time to remember this day comes news of another unarmed young black man, Christian Taylor, shot by a trainee doofus cop...

From MotherJones:  An interview with a civil rights activist who was at the front lines of the Ferguson protests.

From TheNation:  Youth movements to end White supremacy.

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Sunday, July 12, 2015

Everything's Peachy... if by "Peachy" You Mean Hemlock - 2015 - Updated #87

There's no "race problem" in America.  We all have black friends.  I even have more than I need.  [I call some of them relatives.]  Dr. King's dream has not become a nightmare.  It's become a dytopian vision of future that simply dresses the dark past in new fangled rags. - Leroy 16, Aug. 2014

From TheDailyBeast:  Fear of a dominant black woman, as seen in Serena Williams.

From Truthout:  In praise of Bree Newsome.

From TheAtlantic: Ta-Nehisi Coates on the Confederate flag.

From TheWashingtonPost:  Baltimore cop talks a horror show.

From TIME via RSN:  Baltimore is just the beginning.

From RSN:  Outrageous reasons cops gave for killing unarmed citizens.

From Truthout:  Swimming while black.

From Truthout:  Black and the U.S. military.

From GuardianUK: Banks targeted Black people with bad term loans - I think Rev. Jesse Jackson revealed this over a decade ago.

From Bloomberg:  How many indeed.

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From TheAtlantic: Take it down now - Ta'Nehisis Coates preaches!

From Truthout:  Two ways racists kill.

From TheDailyBeast:  John Oliver says "Kill the Confederate Flag."

From Intercept:  Only Muslims can be terrorists and not a white boy who slaughtered 9 Black people.

From GuardianUK: Jesse Jackson says we need more than prayer in the wake of Emanuel AME shooting.

From YahooPolitics:  Denmark Vesey, an American hero, finally gets a statue.

From TheNewYorker:  Charleston and the age of Obama.

From YahooNews:  I wouldn't forgive Dylann Roof, him or his Klanly... err... family.

From SPLC:  Southern Poverty Law Center statement on Emanuel AME shooting.

From YahooNews:  South Carolina State Senator, pastor Clementa Pinckney, among victims at Emanuel AME Church shooting.

From GuardianUK:  More on Pastor Pinckney.

From YahooNews:  What Dylann Roof said to his victims in Emanuel African Methodist Episcopal Church in Charleston, South Carolina.

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From TheDailyBeast:  More pool trouble for Black children; this time in Ohio.

From the GuardianUK:  Witnesses contradict Tamir Rice's killer, Cleveland PD officer Timothy Loehmann.

From YahooNews:  New documents on Tamir Rice shooting in Cleveland.

From RSN:   Obama remembers what happened to MLK.

From GuardianUK:  Don't buy the "Ferguson Effect."

From RSN:  Baltimore explained.

From TheGuardian:  Wal-Mart: where white cops go to shoot black men, and this one is on his second killing.

From AlJazeera:  Mexico's brothel state.

From RSN:  Relatives of people killed by cops speak out.

From WashPost:  Funny: some pro-law and order talking heads insisted that the number of people being shot be cops was falling fast.

From BuzzFlash:  40 reasons our jails are full of Black and poor people.

From TPM:  White fragility.

From YahooNews:  30 years on Alabama death row for nothing.

From the WashingtonPost:  DEA steals $16,000 from a young black businessman.

From Truthout:  Police don't see black children's lives as the future, but as disposable.

From TheGuardian:  Cops stop black guys in nice cars - Chris Rock.

From Haaretz:  Black is being oppressed anywhere there is white superiority - even in Israel.

From ThePlayersTribune:  Go ahead and put a cap in that ass, David Ortiz.

From the GuardianUK:  Justice for Arfee... It will make you laugh-cry.

From  BuzzFlash:  Anti-gay Christian bigots attack Disney/ABC Family about a proposed TV series in which gay rights activist Dan Savage is a writer.

From Truthout:  The school voucher rackets begins to serve its intended purpose.

From RSN:  FBI convicted a man using hair analysis, but it was a dog's hair.

From SFGate:  Cornell West on more shootings.

From GuardianUK: Elton John and Michael Stipe on the danger of the silence around the abuse of transgender prisoners.

From YahooNews:  After a black woman wins mayoral election, white cops and politicians flee town. Hilarious.

From GuardianUK: The black guy dies at the end.  The white guy knows why.

From TIME:  Kareem Abdul-Jabbar asks who will lead Black Americans.

From WashPost:  In 2004, Texas executed a man for the arson murder of his three young daughters.  He may have been innocent.  Now, the prosecutor of that case is facing misconduct charges.

From FreeThoughtProject:  DEA does not enforce drug laws in rich communities...

From TheGuardian: Yes, White outrage at Walter Scott shooting is not enough.

From Truthout:  Hip hop and Palestine.

From BuzzFlash: Accusations of being Jewish, then a suicide - strange goings in Missouri GOP.

From RSN:  The roots of American racism run deep.  Sho' nuff.

From Quartz: The power of Chris Rock's police-stop selfies.

From AmsterdamNews:  Mumia is in a diabetic coma.

From TheNewYorker:  Seymour Hersh returns to My Lai.

From Mashable: Banksy in Gaza.

From BuzzFlash:  The American terrorism of lynching.

From YahooSports:  College baseball player loses his gig for ugly thing he said about Little League World Series heroine, Mo'ne Davis.

From NPR via RSN:  A Black Mississippi judge's speech to three white murderers of a black man.

From NPR:  The power of Malcolm X as a public speaker.

From YahooNews:  ESPN's Steven A. Smith encourages Blacks to vote Republican in an argument that is familiar.

From Time:  Kareem Abdul-Jabbar on MLK Day.

From RSN:  "Letter from a Birmingham Jail" by Dr. Martin Luther King

From RSN:  Free speech in France... except for Muslim students.

From the WashingtonPost:  I didn't believe this statistic until I started working at LSU Graphic Services, when I discovered how many semi-literate white people held positions for which they were unqualified - as per the official requirements for their jobs.  Some made more money than Black employees with college degrees, and more shockingly, and also instructors and professors.

From YahooNews:  A Univision personality is fired for comparing First Lady Michelle Obama to Planet of the Apes.

From BuzzFlash:  Black man in Louisiana gets over 13 years for pot.

From AlJazeeraAmerica:  We need the Black Panthers.

From TheGuardian:  "The disappeared: Chicago police detain Americans at abuse-laden 'black site' "

From DemocracyNow:  Malcolm X remembered 50 years after his assassination.

From RSN:  Americans need fair housing free of discrimination, says Richard Trumka

From Truthout:  Update on Marissa Alexander who could not stand her ground in Florida as George Zimmerman.

From the NationalPost:  In Quebec, a young woman was locked in the back of a police truck with a man who then, raped here.

From NPR:  There is also a war on Black girls.

From ConsortiumNews:  How Jefferson Davis' name is synonymous with violence against African-Americans, especially in the form of lynching.

From AlJazeera:  In Hollywood, black lives don't matter (related to Oscars' snub of "Selma")

From Truthout:  Everything is not peach in LGBT equality.

From YahooSports:  The story of Brian Banks - falsely accused of rape, his college football and NFL dreams were destroyed.  Now, he works for the NFL.

From AlJazeera:  2014 is the year that the myth of equality under the law in America was exposed.

From CrooksandLiars:  More on the white man who shot the Black chief of police and got away with it.  By the way, a bulletproof vest saved the police chief's life.

From YahooNews:  South Florida cops shooting at mug shots of Black men.

From TheGuardian:  Yeah, why did they?

From TIME:  Kareem Abdul-Jabbar: The police aren't under attack...

From BuzzFlash:  Yes, the media does seem reluctant to call white supremacists and Christian fundamentalists terrorists when they commit acts of terrorists.

From Truthout:  The modern day lynching of Rev. Edward Pickney in Michigan.

From LATimes: Exonerated and broke.

From AlterNet:  A great review of the new film, Selma.

From YahooParenting:  7 things I can do that my black son can't.

From CNN:  I remember hearing about Macy's racial profiling case, but not this one involving "Treme" actor, Robert Brown.