It showed the entrenched dogmatic thinking towards destroying anything that isnt familiar. The robot was an analogy for any minority, gender, or idea that does not conform with the normalcy of its surroundings. Altho in this case it was an analogy for minorities..hence..the urbanized presentation of the robot, and its desire to have sex. Also, noteworthy..given the urban trappings.
Sex with an urban..sic minority..is a no-no. punishable by imprisonment and ultimately death.
All done in parody..in which i dont think the creators were even aware.
"Until the Lion writes his own story, the tale of the hunt will always glorify the hunter." - African proverbs
BEBOP--"Roland = pinnacle of objectivity"
"On working through writers block"
So I was standing in my garden at three in the morning with a glass of whisky, smoking furiously and swearing at the sky, reduced to waiting for the thunder bolt to hit when...
I just feel that it's an extreme waste of an asset that DC could be using to make some noise. Forget about her being Asian for a second, Cassandra Cain's story, especially if you discount virtually EVERYTHING that happened to her over the past 6 years is one of the most engaging that have been produced in the Genre period. Seeing her evolve from a combat Savant who could barely to talk, to a functioning young woman who makes us understand that what Bruce created is bigger than him could only win fans.
Instead, DC treats her (and Steph, who was a great Batgirl) like she's one of the worst parts of the character catalog. That's no real reason for this, and it's the reason why people feel the powers that be kinda hate the character.
Those who refuse to learn from History, will repeat History as they wonder "What the F*ck happened?"
George Zimmerman: Right-Wing American Jesus, Martyr, and Mascot for Post-Racial America
and this (which can be added to the hipster racism article at jezebel that Roland linked to (the link to the Lester Bangs article in pdf is definitely worth a read)We are running out of metaphors with which to describe the killing of Trayvon Martin by George Zimmerman. Is this saga a Rorschach test, one where the polarizations of race, class, and political orientation (quite literally) color how we interpret the events of that tragic evening? Or is the killing of Trayvon Martin better described as a projection of sorts—where the realities of the color line and a society that systematically devalues the lives of black and brown people are amplified on a national stage?
At this point in our national ordeal, tragedy has succumbed to absurdity. In all, these matters have devolved into a three ring traveling circus worthy of PT Barnum and the flim flam artists of the early 20th century.
Zimmerman has offered a bizarre “apology” for killing an unarmed teenager that makes his death sound more like an act of God and random accident, than the result of one person’s desire to irresponsibly play vigilante toy cop. Thugs have assaulted innocent people as “retribution” and “revenge” for Trayvon Martin. George Zimmerman’s defenders on the Right have magically discovered a deep love for the health and safety of black folks, as well as a profound concern about “black on black” crime. The reverse racists, racism deniers, and conservative adherents to the trinity cult of “gun rights,” white racial resentment, and black criminality have reimagined Zimmerman as a martyr, victim, and mascot.
This week, Reuters news service opened a new exhibit in this perverse roadshow. Chris Francescani’s profile of Zimmerman has all of the elements of a great spectacle, one that draws upon old anxieties and tropes about race in American life, while also adding some new twists. According to Reuters, George Zimmerman is apparently “part-black” through his great grandfather from Peru. Moreover, Francescani has innovated upon the classic “best black friend defense” for those who are accused of acting with racial animus, by profiling how Zimmerman’s grandmother was a babysitter for two African-American children.
In this tale, there is also an unnamed black informant who legitimates Zimmerman’s racial profiling of Trayvon Martin. She paints a portrait of a neighborhood under siege by black hooligans and thieves. Thus, in this narrative, George Zimmerman was a “reasonable” person who acted in good faith, as he meted out his version of justice on a person he decided was “suspicious” by virtue of his identity as a teenager who happened to be black, male, and walking down the street.
Apparently, in “post-racial” America, blood quantum, melanin, DNA, and familial associations are now immunizers for any charge or assertion that racism could have played a role in George Zimmerman’s decision to hunt down and kill Trayvon Martin.
Understanding Hipster Racism: Lester Bangs’ 1979 “White Noise Supremacists”
Lindy West’s piece at Jezebel this week, “A Complete Guide To Hipster Racism,” has been blowing up my Facebook wall (and probably yours too) for good reason. As justice-minded folks have critiqued HBO’s ‘Girls’ for its lily-white representation of New York City, the pushback to the pushback has gotten ugly fast — whether it’s show story editor Lesley Arfin making jokes about Precious, or Vice founder (and old-school hipster racist) Gavin McInnes knowingly throwing the word ‘lynching’ around. At the core of every statement defending the whiteness of ‘Girls,’ and the ‘ironically’ racist jokes that accompany it, is the argument that only bad people are susceptible to racism, so therefore it’s okay for us good people to pretend to be racist, for comedy’s sake. Anyone who doesn’t like it is the real racist. There’s a bunch wrong with this argument, both in terms of logic and basic decency, and West does an excellent job of debunking it piece by piece.
But why is hipster racism, bigotry as an edgy joke for white people (and other people), so persistent? For answers, ThinkProgress’ Alyssa Rosenberg points us toward an 1979 Village Voice article by influential music critic Lester Bangs, titled “The White Noise Supremacists” [PDF] — and it’s sickeningly familiar. Bangs was an integral part of the late ’70s / early ’80s CBGB’s scene in New York City, a scene which has been posthumously hailed as a high point for racial harmony in which punk, rap, reggae, and new wave all came together. Bangs describes it less charitably as a place where white punks rebelled against everything, and quickly forgot why they’d gotten started. The result? What he refers to as “racist chic,” the employing of swastikas and epithets to get a rise out of some authority or other, and the resulting deeply homogeneous scene that offers no trouble to the actual-racist CEOs of the record industry.
Bangs calls out a lot of people and names a lot of complicated factors, but is hardest on himself. It’s an essential inside look at the mechanics of white-dominated counterculture, a decades-old movement that wants authenticity from people of color and not much else.
In general, counterculture is predicated on the idea of disenfranchisement, of powerlessness, of being outside the system. This often requires a certain amount of willful self-invention, i.e. disingenuous affectations of poverty and the denial of privilege. Once you’re dug into that situation, being informed that your words and actions DO affect people can feel like a punch in the nose, because it contradicts the foundation of your being. (I’m speaking from experience here as someone who’s gotten called out on ‘edgy’ jokes in younger days; the gut instinct to ‘stick to your principles’ is real and difficult to examine objectively.) Add that to our society’s never-healthy approach to race, in which we demonize Racists while saying that racial inequity is someone else’s problem, and the results are predictable. Oh yeah, and in 2012, add a dash of internet anonymity
they label me a villain cause of how I express my feelings
Hell, this shit is still going on in the scene especially in the hardcore scene and depending on the band/scene, a lot of white dudes have aping attitudes/aesthetics from the hip-hop scene and making these types of jokes; it's weird. AND depending on where you were, there might have not been much diversity in the scene. Hell, I was one of a few minorities in my scene and it so prominently white.
Thankfully, I for the most part grew out of that (after a few ass whoppings and internal look), though I'm still a fan of neo-folk (a mixture of folk, industrial, punkish attitudes) which has gotten a lot of shit for it's fascist imagery and nationalist lyrics. Though some bands do take those things seriously, most the bands in this genre are making it a joke/parody of it or it's fetishistic or bands who have musical influences but none the images or lyrics.
Last edited by Johnny P. Sartre; 04-30-2012 at 03:34 PM.
Saludos desde el exilio a una generación de destructores.
I do know that the show has fans as I have several friends who watch the reruns and tell me that Teisha has the nicest ass
Child Of The Atom Smasher
I love this skit and the Civil War on Drugs one, where Sam (the guy in the yellow shirt) and Trevor (the tall cop) play two stoners and in the earlier parts decide to chill out with Bob, a slave from the caribbean
then Bob tells them about the Underground Railroad and since Sam and Trevor ar estoners, they react like this:
"WOAH! IS THAT A REAL THING?
"DUDE THAT SOUNDS AWESOME BOB! YOU SHOULD TRY THAT THEN COME BACK AND HIT US UP
Bob is like "yeaaaah, I don't think I'll be doing that"
they label me a villain cause of how I express my feelings
We Want You! Join Us At CBR:Age of Marvels!
If ya scared then say ya scared!!!
Anyone who doesn't like Miles Morales is a racist.