Kendra on the industry’s expectations of the audience: “What’s the nerd stereotype? The guy who looks like Kevin Smith, or the [brown] girl who’s been loyal to the same comic shop for years? There’s a worry, subconscious or not, that if white males have no one to identify with that the readership vanishes. No amount of trend-bucking — take Miles Morales, for example — is going to change that.”
Arturo on white fans’ reluctance to accept when POC are cast as characters who were originally white: “It’s the natural result when the industry spends decades prioritizing white male characters — you have white male fans getting twitchy over this sort of casting while accepting white-washing or all-white stories.”
- From “Who Gets To Be A Superhero? Race and Identity in Comics” by Gene Demby.
Recommended Reading: The full transcript of a panel interview including Kendra, Arturo, Kelly Kanayama and Alan Yu.
By Arturo R. García
One of the worst things about the worst responses to Richard Sherman’s interview Sunday night with Erin Andrews might be this: he probably saw it coming, and has decades’ worth of history to back him in that response.
By Arturo R. García
By now you’ve no doubt heard that reality “star” Phil Robertson of Duck Dynasty “fame” was suspended from the show — or, in snake-oil TV-speak, placed on “indefinite hiatus” — after glibly engaging in some concern-trolling homophobia in a GQ interview while painting his show and his family’s public embrace of its Christian faith as some sort of antidote for whatever it believes ails America.
But what hasn’t been reported nearly as widely is the amount of outright racially prejudiced statements Robertson also lets fly in the piece, which points to a bigger problem for A&E. The network has been all too happy to trade on Robertson and his family’s “good ol’ boy” brand. Now it has to deal with the consequences.
By Guest Contributors C. Richard King and David J. Leonard
One would hope sport media outlets might take their civic duty to foster critical thinking, public engagement, and informed debated seriously. Their approach to the representations in Native Americans in sport suggest otherwise. Under the veil of fairness and balance, they opt to speak for, to be silent and to silence as preferred pathways.
When ESPN columnist Rick Reilly offered a defense of Native American mascots because the American Indians he knew did not have a problem with them. Flouting his whiteness and playing his privilege with little regard, he spoke for Native Americas. His word – his whiteness, his platform – made their words meaningful. His editors neither batted an eye nor cleared a space for Native Americans to express themselves.
In fact, Reilly misrepresented his key source, his father-in-law, who wrote a lengthy retort in Indian Country Today that noted he found the name of Washington D.C.’s National Football League team to be objectionable. Reilly still stood by his piece and neither he nor his publisher have offered a correction or an apology.
By Arturo R. García
Advisory: This post deals in part with suicide and brain trauma
At its core, League Of Denial is a story about hurt. The special report by PBS’ Frontline traces the shameful history of the National Football League’s attempts to stymie, then co-opt research into the increasingly hard-to-hide connection between football, concussions and, ultimately, chronic traumatic encephalopathy — the disease known as CTE for short.
And while the report gives due time to the hurt experienced by not only the players affected but their families, another story emerges: how far the NFL went to hurt the career of Dr. Bennet Omalu, the Nigerian-born pathologist who first discovered the fatal link.
By Guest Contributor Ethel Tungohan, cross-posted from Grad Student Drone
The controversy surrounding Devina DeDiva’s racist posts against Megan Young, the Filipina who was recently crowned Miss World 2013, exploded all over my Facebook and Twitter feeds a few days ago. For those of you not privy to what DeDiva stated, see her Facebook feed below:
DeDiva’s words, while hurtful and racist, is so similar to sentiments I’ve heard expressed before that I was saddened but unsurprised. When the Philippines’ labour export policy has, since the late 1970s, been reliant on the export of women to work in households around the world, it is no wonder that ‘Filipinas’ are equated with domestic servitude.
Demographically, the viewers AMC wants are more likely to do a lot of pills than unscrew a light bulb to smoke some ice, even if the substances are chemically similar. There are plenty of expert scientists making tons of money cooking up and selling amphetamines, but they’re not robbing trains or toting guns. Big Pharma brings in a $250 billion annually in the U.S. alone, much of it from the same chemical compounds in White’s lab. When it’s 89 percent pure, it’s illegal meth; when it’s 99 percent pure, methamphetamine is sold by Lundbeck Inc. under the trademark name Desoxyn, for “the short-term management of exogenous obesity.” Walter isn’t making crank; he is manufacturing black-market pharmaceuticals.
A “Breaking Bad” in which the street dealers were diluting the product would have had Walter and his partner Jesse Pinkman competing with every local operation, struggling to set up a larger distribution network without costly middlemen and, well, interacting with meth users a lot. But “The Wire on Ice” isn’t sexy enough to sell a Dodge, and a teacher slanging to his fucked-up former students would turn stomachs, not open wallets. Suffice to say it would be a darker show.
Which brings us to the other thing that sets White and Pinkman apart from their competitors: color. And I don’t mean blue.
The white guy who enters a world supposedly beneath him where he doesn’t belong yet nonetheless triumphs over the inhabitants is older than talkies. TV Tropes calls it “Mighty Whitey,” and examples range from Tom Cruise as Samurai and Daniel Day Lewis as Mohican to the slightly less far-fetched Julia Stiles as ghetto-fabulous. But whether it’s a 3-D Marine playing alien in “Avatar” or Bruce Wayne slumming in a Bhutanese prison, the story is still good for a few hundred million bucks. The story changes a bit from telling to telling, but the meaning is consistent: a white person is (and by extension, white people are) best at everything.
- From “Walter White Supremacy,” in The New Inquiry
[h/t Rania Khalek]
But now, the white-makes-right faction of American society is making a comeback. Pissed over the fact that the racial demographics of the U.S. are turning against them, the white right of America is in full backlash mode. You may remember this viral video of an uprising at a Town Hall meeting hosted by Delaware Representative Mike Castle.
The birthers in this video are the kissing cousins of tweeters labeling our new Miss America a terrorist. In fact, angry birthers and racist tweeters complaining about the rockin’ brown blush on the cheeks of our new Miss America are just the foam on the crest of a wave of white resentment that is rising, and quickly, over the fear that white Americans are losing control of American culture, including cultural symbols like Miss America and the standard of beauty, femininity, and American accomplishment she represents.
Make no mistake, this Miss America scuffle is just one small battle in a much larger war over the meaning of “American” in a country whose future depends on the full inclusion of people of color, but whose history and contemporary political fights are all too often about limiting citizenship rights and genuine American cultural identity to white males.