- ABC’s Puerto Rican Drug Dealer “Joke” Fiasco Spreads Through Social Media and Community (Latino Rebels)
We have already shared our initial reactions to the joke, which was delivered by the character of Angel, portrayed by Puerto Rican actor Amaury Nolasco. Like we said last night, we are giving the show the benefit of the doubt, since we think that what might have been a sarcastic joke in written form became a lame and offensive joke when it was recorded.
Nonetheless, a grassroots movement out of New York City was immediately formed through social media and a small group of protesters stood in front of ABC’s offices in New York City, demanding that ABC apologize. According to Julio Pabón, one of the campaign’s organizers, the local New York affiliate WABC-TV has already apologized, but nothing has come out from the national network.
“We want apology from the network, who are the ones responsible for the airing of the show,” Pabón said. “We have not heard from them yet.”
News 8 has learned ICE took the girl’s fingerprints, but somehow didn’t confirm her identity and deported her to Colombia, where the Colombian government gave her a work card and released her.
“She talked about how they had her working in this big house cleaning all day, and how tired she was,” Turner said.
Through her granddaughter’s Facebook messages, Turner says she tracked Jakadrian down.
U.S. Federal authorities got an address. U.S. Embassy officials in Colombia asked police to pick her up.
But that was a month ago, and the Colombian government now has her in a detention facility and won’t release her, despite her family’s request.
What is clear from the research about this issue is that women of color are less likely to receive midwifery care, and that disparity is larger than the population numbers would suggest. I think this dynamic is complicated by global sociopolitical historical factors. For example I experienced resistance from Latina immigrant women to midwifery care because of the stigma toward parteras (midwives) in their home countries. In many places in Latin America, midwives and home birth are seen as the option used by women who can’t afford to go to hospital for birth–basically an option only for those who have no other option.
That creates class and race stigma on home birth and midwifery care.
This stigma is no accident. Global socioeconomic policy in Latin America (and I assume elsewhere as well) has long promoted hospital-based childbirth as a marker of development, and encouraged this move with foreign aid dollars and other development initiatives. The medical students I observed in Ecuador were clear that their obstetrical training and guidance came from US practice. So does the push toward hospital-based birth and away from traditional midwifery care.
- White Liberals and the Politics of Racism in the Obama Era (Racism Review)
Not surprisingly, Twitter exploded and lots of people called out Greenwald for making a “rape joke.” Greenwald has over 68,000 followers on Twitter so when he says something there, it’s to a rather large audience (at least potentially). But, rather than apologizing for the comment, Greenwald doubled down, saying that the reference to rape was not a metaphor and in fact Obama supporters would defend the president in the face of “ANY evil: assassinations, child-killings: EVEN rape violent crime like rape.”
In U.S. culture, the image of a black man raping a “pure” woman like a nun (read: virginal) is an incendiary reference that conjures up the legacy of lynching and the myth of the black male rapist that was used to justify that violence. Using the “nun rape smear” to make a point about political supporters of Obama has a lot of people outraged, and rightly so, perhaps chief among them are survivors of actual rape (not the political-point-making-rhetorical-rape). Greenwald got pretty defensive when he thought one of his Twitter followers was accusing him of racism (he wasn’t) and he continues to even acknowledge that the remark might have been offensive.
- 20 Years of Black Lesbian Cinema (The Root)
An unprecedented black LGBT (lesbian, gay, bisexual and transgender) success at the Sundance Festival in January, the film was immediately picked up by Focus Features for distribution and has since received two nominations for the Spirit Awards, which recognize independent film. In November, Rees was awarded breakthrough director of the year at the Gotham Awards.
Clearly, the movie’s positive critical reception owes much to the brilliant dramatic performances of newcomers Oduye and Pernell Walker, veterans Charles Parnell and Kim Wayans, Bradford Young’s beautiful cinematography and Rees’ subtle yet sophisticated depiction of Alike and her middle-class African-American family’s coming to terms with her lesbian identity.
But Pariah is also indebted to a cadre of often overlooked but no less important documentaries and coming-out films released during the height of black lesbian filmmaking from 1991 to 1996.