Weâd be better off understanding the Democrats and Republicans as two runners in a marathon race repeatedly passing each other the baton rather as opposing teams tbh
except when the Democrats have the baton they extend healthcare coverage to 20 million people and when Republicans have control they claw healthcare coverage away from 24 million people. So, no, its not at all like thatâŠ
You can be dense and ignorant of reality all you want so you can continue dickriding Democrats but lemme show you what I mean by baton passing
1.Immigration
2. Crime (code word for controlling black/brown people)
3. Immigrants/Refugees
It wonât allow me to post anymore videos so links will do:Â https://www.youtube.com/watch?v=sCTyd_ihCqE
4. War
https://www.youtube.com/watch?v=5BwxI_l84dc
https://www.youtube.com/watch?v=PIiyDiyUZ2w
https://www.youtube.com/watch?v=IQg8ktsrnXY
So now when youâre done being content with the meager crumbs of a Republican inspired healthcare plan passed by unified Democratic Congress and president you tell me exactly how âits not at all like thatâÂ
I know policy changing, shifting rhetoric and priorities, and well history is a hard nuance for Tumblr to grasp but let me just put it simply. Every Clinton video you drag up from the 90âs that shows a neo-con view should be shown against the HW Bush/ Super Right Wing alternative. The Democrats took a while to evole into the Centrist Left progressive Obama shaped once becoming the leader of the party and itâs still moving toward even being more progressive but it takes time⊠the right on the other hand has been moving densely conservative since Nixon with only a short show of compassion during the W era. To compare the 2 as the same thing is grossly negligent to any type of political school of thought and frankly just fucking stupid.
So if you wanna actually learn, read a fucking book and get off Tumblr.
âThe Democrats took a while to evole into the Centrist Left progressive Obama shaped once becoming the leader of the party and itâs still moving toward even being more progressiveâ
Those hypothetical examples donât correlate at all though and completely miss the point of the screenshot. That one example doesnât negate hundreds of years of privilege OR the fact that the majority of hate crimes are actually directed at black people soâŠI mean, it is just so illogical to make that point considering white people did just that around the same time as your âexampleâ and were barely held accountable (if at all) which still proves that white privilege is a thingâŠsince you made that irrational and irresponsible statement you already managed to prove their point.Â
Like, the fact that you took that screenshot and turned in into a attack on black people (and only black people, out of all of those examples) shows that youâre an anti-black racist using common derailment and dogwhistle tactics.Â
Disney attempts to confront racism but instead delivers the kidsâ version of Crash.
âZootopia presents a world in which society is divided between predators and prey, both of which have put aside their biological differences in an attempt to live in harmony. The film can be interpreted as an attempted mea culpa for the animation studio after Song of the South, the 1946 feature in which Uncle Remus relates the story of Brâer Rabbit, who is persecuted by the ax-wielding Brâer Fox. If youâre familiar with Song of the South, itâs likely because of its clumsy portrait of the Reconstruction-era South, which presents former slaves as jolly, contented storytellers. Unsurprisingly, Disney has never allowed the film to be released on video.
While tackling themes of race in a meaningful way is a major step forward for Disney, Zootopia shares the same issue that has long plagued depictions of race in pop culture. As in Paul Haggisâ Crash and the Broadway musical Avenue Q, all forms of racism and prejudice in Zootopia operate on a fairly level playing field. In Zootopia, nearly every animal experiences casual bigotry in their everyday life. In one scene, Nick is condescendingly referred to as âarticulate,â a veiled reference to comments on how âwell-spokenâ President Barack Obama is. In another, Judy warns Nick never to touch a sheepâs wool without asking. The moment is a nod to an old adage about black hair.
This view of race relations â in which everyone harbors individual prejudice â strongly recalls âEveryoneâs a Little Bit Racistâ from Avenue Q. As the song reminds us, âEveryone makes judgments based on race.â If the musicalâs lone Asian-American, a girl named Christmas Eve, believes that Jewish people have lots of money and that taxi drivers smell bad, it more or less excuses other forms of racism â like Kate Monster, a white schoolteacher who lives in her neighborhood, telling jokes about black people.
Such actions, however, are only equal in a society where everyone has the same amount of privilege and institutional power. A well-educated white woman and a Japanese immigrant â who is also a non-native English speaker â do not. Statistics from the Center for Immigration Studies show that in New York, where Avenue Q is set, the average household income for first-generation immigrants is just $41,338. Thatâs more than 20 percent lower than the average income for those born in the US.
Race scholars often define racism a little differently than the general public. A middle schooler, for example, might understand that term to mean âhating someone based on the color of their skin,â but thatâs only half of the equation. Groups such as the Anti-Racist Workshop define racism in a more complex way: âprejudice plus power.â As scholar Delmo Della-Dora explains, âRacism involves having the power to carry out systematic discriminatory practices through the major institutions of our society.â If Christmas Eve has less access to those institutions (i.e. less power) than Kate Monster, she has less ability to do anything about her individual prejudices. They simply donât carry as much weight.
All forms of race-based stereotypes should be challenged and condemned, but what Avenue Q and Zootopia donât seem to grasp is that thereâs a very big difference between systemic racism and simply holding bigoted views. While Zootopia does make an effort to show racially exclusive professions like policing as engines of supremacy, the film is mostly driven by a look at individual worldviews. Itâs more about diversity than racism itself.
This is a problem shared by Paul Haggisâ Crash, the divisive 2006 Oscar winner for Best Picture. The film is about a group of Los Angelenos forced to deal with deep-seated ignorance when they get into a series of car wrecks via loosely connected events. In the film, Jean Cabot (Sandra Bullock) and her husband, Rick (Brendan Fraser), are carjacked by two black men. When the pair get home at the end of the evening, she confronts him: She knew the men were trouble and didnât say anything. Jean then has all the locks changed on her doors before she gets a look at the Latino locksmith (Michael Peña). To her, he looks suspiciously like a âgangbanger.â
According to Crashâs worldview, racism is overcome when individuals like Jean simply stop being racist. She falls down the stairs and hugs her Latina maid, while Matt Dillonâs character â a rapist cop â saves the life of the very biracial woman he sexually assaulted days earlier. The Awlâs Anne Helen Petersen describes these scenes as a âneoliberal shitshow,â and they are. Petersen writes that, in Crash, âthereâs certainly no need for systemic change, or consideration of how systemic inequity has perpetuated racism between individuals.â
If Avenue Q and Crash illustrate racism without a system, Zootopia illustrates racism without privilege. In order for racism to exist, there has to be some sort of hierarchy of power, but the film has no pecking order. Both Nick and Judy seem to stand in for the outgroup, despite the fact that theyâre on opposite sides of the predator/prey divide. While Assistant Mayor Bellwether (Jenny Slate) routinely refers to prey as âthe little guy,â she also claims predators are just 10 percent of the population. That would suggest theyâre on the bottom of the totem pole, but predators also hold the positions of power in Zootopia: Judyâs boss â the city mayor â is a lion. The filmâs seeming chain of command never actually agrees with itself.
It doesnât really work to have a film about the âOtherâ in which everyone is the âOther.â In Zootopia, predators begin to return to their âsavageâ beginnings after Bellwether infects them with a drug that makes them go wild. Her plan is to use fear of the outsider to eradicate predators (âFear always works,â she exclaims). Zootopiaâs moral seems to be that society can reach a racial harmony when bad individuals are ousted from power. After Bellwether is caught and removed from her position, weâre to understand that things will more or less go back to normal. In Zootopia, the system is not the problem; itâs the individuals who are the problem.
Itâs a lot to ask for a film to explain concepts of privilege and systemic injustice to young kids in a way that wonât have their parents running for the exits. But Zootopiaâs message is at best muddled, and at worst it contradicts many of the lessons the film is attempting to impart. In Zootopia, no one really benefits from racism, and everyone is thus harmed by it equally â which is actually a pretty dangerous idea. But Zootopiaâs racial parable is so opaque that you can almost read into it anything you like. As film critic Matt Zoller Seitz noted, âI can imagine an anti-racist and a racist coming out of this film, each thinking it validated their sense of how the world works.â
Zootopia has so much it wants to say about diversity and inclusion, and itâs admirable that Disney wants to do better seven decades after they first locked Song of the South away in the vault. But if the studio wants to add anything meaningful to todayâs racial climate, more movies with good intentions and poor follow-through wonât be enough. Weâve already got one Crash. In 2016, we deserved something far better than the kidsâ version.â
Disney attempts to confront racism but instead delivers the kidsâ version of Crash.
âZootopia presents a world in which society is divided between predators and prey, both of which have put aside their biological differences in an attempt to live in harmony. The film can be interpreted as an attempted mea culpa for the animation studio after Song of the South, the 1946 feature in which Uncle Remus relates the story of Brâer Rabbit, who is persecuted by the ax-wielding Brâer Fox. If youâre familiar with Song of the South, itâs likely because of its clumsy portrait of the Reconstruction-era South, which presents former slaves as jolly, contented storytellers. Unsurprisingly, Disney has never allowed the film to be released on video.
While tackling themes of race in a meaningful way is a major step forward for Disney, Zootopia shares the same issue that has long plagued depictions of race in pop culture. As in Paul Haggisâ Crash and the Broadway musical Avenue Q, all forms of racism and prejudice in Zootopia operate on a fairly level playing field. In Zootopia, nearly every animal experiences casual bigotry in their everyday life. In one scene, Nick is condescendingly referred to as âarticulate,â a veiled reference to comments on how âwell-spokenâ President Barack Obama is. In another, Judy warns Nick never to touch a sheepâs wool without asking. The moment is a nod to an old adage about black hair.
This view of race relations â in which everyone harbors individual prejudice â strongly recalls âEveryoneâs a Little Bit Racistâ from Avenue Q. As the song reminds us, âEveryone makes judgments based on race.â If the musicalâs lone Asian-American, a girl named Christmas Eve, believes that Jewish people have lots of money and that taxi drivers smell bad, it more or less excuses other forms of racism â like Kate Monster, a white schoolteacher who lives in her neighborhood, telling jokes about black people.
Such actions, however, are only equal in a society where everyone has the same amount of privilege and institutional power. A well-educated white woman and a Japanese immigrant â who is also a non-native English speaker â do not. Statistics from the Center for Immigration Studies show that in New York, where Avenue Q is set, the average household income for first-generation immigrants is just $41,338. Thatâs more than 20 percent lower than the average income for those born in the US.
Race scholars often define racism a little differently than the general public. A middle schooler, for example, might understand that term to mean âhating someone based on the color of their skin,â but thatâs only half of the equation. Groups such as the Anti-Racist Workshop define racism in a more complex way: âprejudice plus power.â As scholar Delmo Della-Dora explains, âRacism involves having the power to carry out systematic discriminatory practices through the major institutions of our society.â If Christmas Eve has less access to those institutions (i.e. less power) than Kate Monster, she has less ability to do anything about her individual prejudices. They simply donât carry as much weight.
All forms of race-based stereotypes should be challenged and condemned, but what Avenue Q and Zootopia donât seem to grasp is that thereâs a very big difference between systemic racism and simply holding bigoted views. While Zootopia does make an effort to show racially exclusive professions like policing as engines of supremacy, the film is mostly driven by a look at individual worldviews. Itâs more about diversity than racism itself.
This is a problem shared by Paul Haggisâ Crash, the divisive 2006 Oscar winner for Best Picture. The film is about a group of Los Angelenos forced to deal with deep-seated ignorance when they get into a series of car wrecks via loosely connected events. In the film, Jean Cabot (Sandra Bullock) and her husband, Rick (Brendan Fraser), are carjacked by two black men. When the pair get home at the end of the evening, she confronts him: She knew the men were trouble and didnât say anything. Jean then has all the locks changed on her doors before she gets a look at the Latino locksmith (Michael Peña). To her, he looks suspiciously like a âgangbanger.â
According to Crashâs worldview, racism is overcome when individuals like Jean simply stop being racist. She falls down the stairs and hugs her Latina maid, while Matt Dillonâs character â a rapist cop â saves the life of the very biracial woman he sexually assaulted days earlier. The Awlâs Anne Helen Petersen describes these scenes as a âneoliberal shitshow,â and they are. Petersen writes that, in Crash, âthereâs certainly no need for systemic change, or consideration of how systemic inequity has perpetuated racism between individuals.â
If Avenue Q and Crash illustrate racism without a system, Zootopia illustrates racism without privilege. In order for racism to exist, there has to be some sort of hierarchy of power, but the film has no pecking order. Both Nick and Judy seem to stand in for the outgroup, despite the fact that theyâre on opposite sides of the predator/prey divide. While Assistant Mayor Bellwether (Jenny Slate) routinely refers to prey as âthe little guy,â she also claims predators are just 10 percent of the population. That would suggest theyâre on the bottom of the totem pole, but predators also hold the positions of power in Zootopia: Judyâs boss â the city mayor â is a lion. The filmâs seeming chain of command never actually agrees with itself.
It doesnât really work to have a film about the âOtherâ in which everyone is the âOther.â In Zootopia, predators begin to return to their âsavageâ beginnings after Bellwether infects them with a drug that makes them go wild. Her plan is to use fear of the outsider to eradicate predators (âFear always works,â she exclaims). Zootopiaâs moral seems to be that society can reach a racial harmony when bad individuals are ousted from power. After Bellwether is caught and removed from her position, weâre to understand that things will more or less go back to normal. In Zootopia, the system is not the problem; itâs the individuals who are the problem.
Itâs a lot to ask for a film to explain concepts of privilege and systemic injustice to young kids in a way that wonât have their parents running for the exits. But Zootopiaâs message is at best muddled, and at worst it contradicts many of the lessons the film is attempting to impart. In Zootopia, no one really benefits from racism, and everyone is thus harmed by it equally â which is actually a pretty dangerous idea. But Zootopiaâs racial parable is so opaque that you can almost read into it anything you like. As film critic Matt Zoller Seitz noted, âI can imagine an anti-racist and a racist coming out of this film, each thinking it validated their sense of how the world works.â
Zootopia has so much it wants to say about diversity and inclusion, and itâs admirable that Disney wants to do better seven decades after they first locked Song of the South away in the vault. But if the studio wants to add anything meaningful to todayâs racial climate, more movies with good intentions and poor follow-through wonât be enough. Weâve already got one Crash. In 2016, we deserved something far better than the kidsâ version.â
âRudeness is merely an expression of fear. People fear they wonât get what they want. The most dreadful and unattractive person only needs to be loved, and they will open up like a flower.â
Why Kendull and kaliope and friends will never be on ppl like Rihannaâs level is so clear at the met gala⊠theyâre so obsessed w pushing this sex symbol thing like we all know rih always naked but she has no problem wearing things that completely hide her body and actually takes the risk of having a concept outside of âlook at my augmented bootyâ â ïž like no one is gonna forget youâre sexy if you do something interesting for once⊠rihanna looked like a sexy origami piece regardless and they out here like⊠that⊠nonsense
