Nubian Message, March 1, 2017 — Changing the narrative

NUBIANMESSAGE NORTH CAROLINA STATE UNIVERSITY | RALEIGH, NC | THENUBIANMESSAGE.COM | wednesday, March 1, 2017

CHANGING THE NARRATIVE

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Letter from the editor Hey family, Happy Women’s HERstory Month! While I’m sad that Black History Month has ended, I’m super excited for this month because it recognizes the contributions of another huge part of my identity.

For my fellow black women, this is a time for us to acknowledge and pay respects to those who have fought for us to be where we are. It has never been easy to be a black woman in America, but we remain resilient. I appreciate that aspect of our identity, but I also want you to remember that it is okay to not always be strong.

Take this month to reflect on the unique contributions of our ancestors, because Lord knows we have been the backbone of this country for centuries.

While doing so, also reflect on your own contributions, congratulate yourself and practice self care. You are not any less strong or resilient because you take time for yourself.

To my black men, this is your time to consume knowledge about the contributions of black women. Oftentimes, black history is centered around your contributions and it ignores the accolades and contributions of your sisters. This is also a time for you to learn to listen to the concerns of today’s black women. Do not attempt to silence the women who have done nothing but love, respect and care for you. Don’t bite the hand that feeds you. It’s because I love you that I can say that there are too many instances of you speaking for us black women instead of allowing us to speak for ourselves.

Regardless, I’m excited for this month and all that is has to offer. Stay tuned to the Nubian Message to read more about amazing black women and their history on this campus.

Nothing but love, Stephanie

THISISSUE 3 SAAC WEEK EVENT

Black Panther Party event celebrates history

4 LINGUISTIC PLAY

ARTS NC State event celebrates black girls

5 BLACKADEMICS

Meet Dr. Thomas Easley

6 THE AFRO-LATINX STIGMA Why there is a stigma against Afro-Latinx people

7 KENTON’S CORNER Oscars aren’t the only thing #SoWhite

The Sentinel of the African -American Community at N.C. State Since 1992.

Stephanie Tate

Editor-in-Chief

Ashley Darrisaw

LAYOUT DESIGNER

COVER PHOTO BY CODY HELM

Anahzsa Jones

Managing editor

Allona Wilkerson

LAYOUT DESIGNER

Only with the permission of our elders do we proudly produce each edition of the Nubian Message:

Dr. Yosef ben-Yochannan, Dr. John Henrik Clark, Dr. Leonard Jeffries, The Black Panther Party, Mumia A. Jamal, Geronimo Pratt, Tony Williamson, Dr. Lawrence Clark, Dr. Augustus McIver Witherspoon, Dr. Wandra P. Hill, Mr. Kyran Anderson, Dr. Lathan Turner, Dr. M. Iyailu Moses, Dokta Toni Thorpe and all those who accompany us as we are still on the journey to true consciousness.

news

WEDNESDAY, MARCH 1, 2017 | 3

SAAC WEEK EVENT celebrates the black panther party Kenton GIBBS STAFF WRITER The Society of Afrikan American Culture (SAAC) kicked off their annual SAAC Week by reviewing the history of one of America’s most polarizing groups, The Black Panther Party (BPP). The event was titled Power to the People: A Complete History of the Black Panther Party.

Power to the People was a compilation of several videos, a personal testament and various historical artifacts that put together a timeline chronicling the rise and fall of the BPP. The event was coordinated and hosted

by SAAC’s political affairs chair, Malik Hines, a junior studying political science.

Co-hosting were Josh Span, a sophomore studying mechanical engineering and Trevor Jenkins, a junior studying accounting.

When asked what it meant to be the first event of SAAC week, Mr. Hines displayed a modicum of levity. “It was a lot of pressure on me, but you know I had to display a Kobe style clutch gene. Last year when I coordinated Barack to the Future, it was also the first day so I’m used to this.”

The event started with a brief introduction followed by a six minute video about the historical relevance of the Black Panther Party. This video depicted a multitude of hallmark moments that the activist group produced. There was film of Huey P. Newton at a few of the BPP’s many public rallies or protests as well as moments depicting the community environment fostered by members of the group.

The speakers gave in depth bios of the

group’s founders, Huey P. Newton and Bobby Seals immediately after the video.

The Ten Point Program, a set of guidelines that the BPP created to outline their operations, was also explained to the crowd.

Many onlookers seemed to be very intently focused on the information that Hines and Jenkins were presenting to them.

“I knew about the Black

Panther Party, kinda like the general stuff and peripheral stuff like their main motives, but I didn’t know that 70% were women. That was pretty cool.”

-Marcus Tisdale,

Sophomore studying mechanical engineering

The pivotal role that women played in the movement was the next speaking point and it was accompanied by a visual aid as well. The video featured Angela Davis explaining her upbringing and why calling the BPP violent was unreasonable.The presenters then presented facts on female members of the Black Panther Party. Some of these facts included the fact that the

group was majority female and Elaine Brown was the first ever female chair of party. A few of these facts seemed to surprise many.

Marcus Tisdale, a sophomore studying mechanical engineering said that this was a learning experience for him. “I thought the event was really informative. I knew about the Black Panther Party, kinda like the general stuff and peripheral stuff like their main motives, but I didn’t know that 70% were women. That was pretty cool.

I didn’t think they held such prominent roles because they seemed like such a stereotypically masculine group,” Tisdale said.

The next thing that was covered were the circumstances that led to the demise of the group. The main thing spoken about during this segment was the involvement of former FBI director J. Edgar Hoover and Cointelpro. The speaker said that Hoover deeming the BPP as America’s greatest enemy allowed for the undermining of the Panther’s basic civil rights.

Furthermore, spies being sent in to disrupt the BPP was highly effective as this took a heavy toll on the group.

The next person to speak was a Ph. D. candidate in public history, Cheryl Dong.

She is currently going through the process of having her dissertation reviewed.

Dong’s dissertation is about the history of the Black Panther Party. She gave a first hand account of the US government using her father’s upcoming expiration of his visa as leverage to coerce him into falsely

testifying against five young black men.

When asked about why, she told her story candidly.

“While my scholarship is

in and of itself objective, to hide the personal is first dishonest and second takes away from the power of my work.”

-Cheryl Dong,

Ph. D. candidate in public history

“At the very end of the day I see myself as a political historian. I’m in this because I care about the politics and about the movement. While my scholarship is in and of itself objective, to hide the personal is first dishonest and second takes away from the power of my work,” Dong said.

The event was ended by games to see who retained the information the best followed by pizza. The crowd was very diverse and seemed to have been very attentive during the event. It would be safe to assume that SAAC achieved it’s goal of informing people with this event.

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news

BLACK GIRL: LINGUISTIC PLAY CHANGES THE NARRATIVE keilah davis STAFF WRITER A funky jazz melody on an play underneath them. electric bass cuts through dim “BLACK GIRL: Linguistic lights and theatrical haze. A single Play showcases and elevates the spotlight illuminates a black rhythms and gestures of childwoman, Camille A. Brown, with hood play, highlights the musical senegalese twists in a high ponycomplexity and composition, and tail, large hoop earrings, a yellow claims them as art,” Brown said.

“Queens NYC Cab” crop top and “It is remembering, conjuring, jean shorts, standing against a honoring, and healing. It’s a black brightly decorated chalkboard. She girl’s story through her gaze. This looks up and sees herself reflected work is a gift to myself and Black in the mirror panels hung from the girls everywhere.” ceiling. As Brown begins to tap her The third, and final, piece told feet, a piano follows her movement the story of a mother attempting with quick rhythms. The show has to style her daughter’s natural hair. begun.

However, the daughter’s perforCamille A. Brown & Dancers permance proved that she could not formed BLACK GIRL: Linguistic be tamed.

Play in Stewart Theatre on Saturday, Esperanza, an 11-year-old who Feb. 25 at 8pm. BLACK GIRL also came with her mother, said, “I refeatured live music from bassist ally liked it. I thought it was really Tracy Wormworth and pianist Scott beautiful how the dancers were Patterson. dancing with each other. I liked “It reminded me of my childthe third part with the girl with the hood,” said one audience member. afro.”

Brown, the artistic director of At the end of the show, Brown Camille A. Brown & Dancers, is a invited the audience, filled mostly four time Princess Grace Award with black families, black girls and winner and a 2015 TED Fellow. Her black women, to create their own work has also been commissioned collective mural. She encouraged

by Alvin Ailey American Dance the audience to respond to what Theater, Philadanco!, Complexions, Cody Helm/Staff Photographer they had just seen and embrace the and others.

Dancers perform various scenes to explore childhood memories of self-discovery during emotions they had felt.

Brown’s inspiration for BLACK The audience chalkboards were the Black Girl: Linguistic Play. Camille A. Brown and Dancers performed the play live in GIRL: Linguistic Play came from filled with drawings of flowers, Stewart Theatre on Saturday, February 25, 2017 Kyra Gaunt’s book, The Games hopscotch and tic-tac-toe boards, Black Girls Play. and phrases like “Black Girl Magknown as Hambone, Juba is a dance origtic Play, the choreography drew from “As I began to create the work, ic,” “sisterhood”, and “a bond that inally from West Africa that was popular traditions of West and sub-Saharan Africa, can never be broken.”

I realized that I was exhausted by steamongst enslaved African-Americans.

African-American social dances, and step. reotypes and tropes because, as a Black Destinie Statum, a senior studying social “Who was I before the world defined The effortless transitions between each female director, I battle with them daily,” work, said, “What I enjoyed most was me?” Brown said. “What are the unspoken revealed the transmission and persistence Brown said in the choreographer’s note. the different complexities and seeing all languages within Black girl culture that are of old and traditional styles through genThe first piece began with audio of the different [dance] styles. Seeing stuff I multidimensional and have been approerations. young girls singing double dutch songs hadn’t seen in years really made me laugh priated and compartmentalized by others?

The second piece featured a story of a in the street. Brown and a second dancer and smile. It gave me a lot of joy.”

What are the dimensions of Black girl broken and reconciled friendship. The began jumping to the speed of imaginary “If the audience sees parts of themselves joy that cannot be boxed into a smile or a friends engaged in a series of dance batropes. Their only music was the sound in our work--their struggles and their grimace, but demonstrated in a head tilt, tles, incorporating a range of styles and of their tapping feet. Soon their jumping joys--regardless of their color, gender, or lip smack, hand gesture, and more?” smudging the chalk mural behind them. would flow into step, the Harlem Shake, socioeconomic background, then I know Throughout BLACK GIRL: LinguisThe guitar and piano motif continued to Nae Nae, the Dougie, and Juba. Also we have done our job,” Brown said.

FEATURES

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blackademics : Dr. Easley CHALLENGES THE STATUS QUO ANAHZSA JONES MANAGING EDITOR

Photo courtesy of the College of Natural Resources website

Dr. Thomas Easley is the Director of the Community for Diversity in the College of Natural Resources. Before that, he went to the University of Georgia and transferred to Alabama A&M University, where he graduated with a B.S. in forest science. He later received a master’s degree in genetics from Iowa State University. In 2004, he joined the Wolfpack family in the position he holds now, receiving his doctorate in adult education from the university.

Easley’s path was not the clearest in the beginning. He received a scholarship to study forest science, which was what made the decision to study it for him. This lead to his interest in genetics, which afforded him the opportunity to do research at Iowa State while earning his masters.

One of the most influential events in turning him to education happened while he was in school at Iowa state.

The lab he worked in, among several others throughout the state and the country, were attacked by citizens who felt they were “playing God.” Bombings attempting to sabotage research, always set when people weren’t there.

He says he understood the fear, but not the destruction that was threatening lives.

He had the idea to hold town hall meetings to explain the research, even

though many of colleagues felt the general public couldn’t understand what exactly it was that they were doing. After the town hall, the threats stopped. This really began to pique Easley’s interest in how people learn.

In 2001, Easley became a counselor for Iowa State’s McNair program, and had 12 students his first year, all of whom were Latino. He was the only counselor who had all of his students go to graduate school, and also the only one who had only students whose second language was English. He asked himself, “Well, how do I connect with people who speak a different language than me?”

Easley took an intro Spanish class to improve his grasp on the language and allow him to at the least begin conversations and open the door for his students to feel comfortable. “They had a space that they could come to and they didn’t have to fake who they were.

They had a space they could come to where they could be themselves. So as long as they had that, they could go deal with the other challenges in the classroom. That could impact their performance, and even impact their perception,” said Easley.

That’s when Easley says he really got focused on how people learn. “If I can do that with people, and we don’t even share the same ethnicity, then wow, I wonder, what else could we do if we really understood how people learn and if we were willing to make … the proper adjustments so we could connect with the people that we’re trying to reach and teach. That’s when I really got interested in education.”

Easley came to NC State in 2004 in the same position he has now, but not doing the same thing. At first, the focus of his job was on recruitment and programming of underrepresented students within the college of natural resources. Since then, he has taken on the roles of professor, administrator and “really being more of a part of the fabric of what we do in the college,” “Being able and willing to challenge the status quo and challenge the power here in the college. They don’t like it

sometimes, but that’s the job or working in diversity. You are here to be an irritant, you are here to challenge the status quo, but do it in a motivational way and an encouraging way so that people can continue to work, but don’t settle.”

“When people say, ‘Well this is how we’ve always done it,’ I think that’s kind of y’all’s freaking problem, so it’s time to change things.”

He assists with the people who work with recruitment now and is glad that part of his role has shifted. He now focuses primarily on retention of underrepresented students. He said “we don’t use the word ‘minority’ to describe our students. Because there’s nothing minor about us.”

In the scope of retention, they work on programs throughout the year that he calls more “intentional,” comparing them to festivals and things the college put on in the past for the various cultural celebrations and months of recognition throughout the year. In a recent presentation about programming, Easley asked rhetorically “So you know how we do all these programs and have all this food? So every time you eat an eggroll, you learn more about Asia?”

He acknowledges that those types of events are nice and are entertaining but said he does not believe that they lead to social change. Because of this, he and others within the college have begun tailoring their programs to be more relevant to the issues they are trying to address.

“If our activities are not tied to policy changes, then what are we doing in the first place? That’s really what we need to get to, because the it’s the policies that govern what we do.”

When asked why he felt his position was important, Easley responded with “Well one, if they knew how to solve it [diversity in recruitment] before I came here, it would be done by now.”

He goes on to say that there are people who care about these issues, but do not know how to address them. Even Easley has had his challenges, and believes that they are due, in part, to

the fact that he’s “been trying to create initiatives to work within a system that doesn’t work in the first place.”

To Easley, however, the position itself is less important than who’s in it.

“The position is a prescription of what other’s think needs to be done. When the individual is in the position, he or she has the opportunity to determine what the organization actually needs.

I feel like that’s what I’ve done,” said Easley.

Easley feels that his title, Director of the Community for Diversity, is good, but doesn’t encompass all of what is required of him. “For a position like this, it’s great to have a director title, but I think it should be more than that. It should probably be like, an assistant dean, or associate dean,” he said. He went on to list the many functions he performs in the college, including programming, writing grants for funding, engaging in research, and representing the college both locally and nationally. “To me, that’s a dean because you’re a figurehead in the college. That’s what we do now.”

He would like faculty and staff to know, “I am more than this position.”

Easley is also a rapper and a minister, which has given him the public speaking skills he has, and the ability to connect with total strangers to get his point across. He said that it is true of everyone, that everyone is more than just their job, and it’s important to know that.

From recruitment and programming, Easley is now a professor, an author about to finish his first book, and tours the country teaching other organizations how to grow their diversity initiatives based off of the system he helped to create here at NC State.

Outside of that, he is a hip hop artist who goes by ‘Rashad’ and a minister to Peace Church here on campus.

“I want students to know that there is somebody here who cares about them, just don’t treat our office like a traffic dump and bring all your crap here. While we’re here to assist, it’s your job to execute.”

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OPINION

unpacking the STIGMA against AFRO-LATINX Whenever someone asks me what I am or where I’m from, I’ll be very quick to answer proudly that I am Dominican. However, that’s my ethnicity, not my race. And while many people will say that race is irrelevant, I am one that believes that one should be proud of his or her roots. Like many others from the Caribbean, I am VLAD URENA mixed between three different races: CORRESPONDENT white, black, and Amerindian.

Growing up, I witnessed black members of my family being shunned by the white ones, despite living alongside each other in the same small mountain town their whole lives and being culturally identical. Eventually I realized that this was not a unique case; this problem plagued all of Latin America.

Afro-Latinxs are people from Latin America with a significant amount of African ancestry. While some countries, mainly the ones in or by the Caribbean, have a larger Afro Latinx population than the rest, the fact of the matter is that there are black Latinos all over the Americas. Many of them are not even recognized by their homelands. Two Latin American countries, Mexico and Chile, do not nationally recognize their black population at all.

“If you are black, do not feel

as if you cannot relate to Afro Latinos. They have faced much discrimination in their communities, same as many of you have. ” We all know that millions of slaves were forced over to the Americas in the Atlantic slave trade, but many aren’t aware of the fact that ninety five percent of slaves were taken to Latin America and the Caribbean while only five percent were brought to the English colonies. This is the reason why today, Brazil has over 57 million black people, Haiti and Dominican Republic both have over eight and a half million each, Cuba has seven million, and Colombia has about five million.

After importing the slaves, many Spanish colonies adopted Spain’s Casta system that made blacks the poorest of the different ethnic groups but the one that had to pay the highest taxes.

In many Latin American countries, people of African descent still are traditionally not placed in positions of political power. For example, in the Dominican Republic’s

1996 presidential election, President Joaquin Balaguer campaigned against Jose Francisco Peña Gómez on the grounds that Peña Góme was dark skinned and had a Haitian immigrant parent.

While I am a proud Dominican, I’ll be very quick to denounce the way my country treats Haitians. Despite the the many issues between the two, one of the leading factors of it are that Dominicans view Haitians as being dark despite many Dominicans sharing the same heritage.

However, the biggest difference comes from the fact that many of those Dominicans don’t identify as black.

They’ll be quick to point out the fact that there is a possibility that they have some European ancestry. But it’s not their fault that they want to find that one white drop. It’s what they were trained to do.

In Puerto Rico during the 1700’s, there was a law that was the opposite of the US’ one drop rule. Effectively, if a black Puerto Rican could prove that a member of their family’s last four generations was white, then he or she could be counted as white as well.

In addition, Rafael Trujillo, the Dominican dictator during the 1900’s who himself was a quarter Haitian, is remembered for ordering a genocide of Haitians and other dark skinned people in the Dominican Republic.

The biggest of these instances, the Parsley Massacre, killed over 10,000 people, which was only a fifth of the total deaths during his dictatorship. Genocide was often ignored in Latin America in order for countries to get rid of their “black problem.”

In the few countries where people of African descent have held power, people blame their shortcomings on their ancestry. Manuel Noriega, the former Panamanian dictator, became a CIA informant and a cocaine trafficker, but his actions were instead blamed on the fact that he was part black. However, not all communities were ashamed of their African roots.

San Basilio de Palenque, a small village in Colombia, has been declared as a UNESCO World Heritage Site for being the first free city in the Americas, having been created as a purely black town and outlawing slavery in 1691. In addition, San Basilio is the only place in where a Spanish-Bantu language is spoken to this day. They embrace their African roots, and they are proud to live in both sides of their life.

Peru, while not always embracing its black population, has recently tried to improve on this. Since 2006, June 4th has been nationally recognized as Day of Afro Peruvian Culture. Cuba, meanwhile, has been focusing on their black heritage for almost a century. Running parallel to the Harlem Renaissance during the early 1900’s, the Afrocubanismo movement took off. Expressing themselves through different forms of art, countless black Cubans, such as Celia Cruz and Nicolas Guillen excelled and transcended to speak to, inform, and entertain all of Latin America while proudly holding on to their roots.

Of all Latin American countries though, Haiti might be the one to identify with their African roots the strongest.

With only less than twenty percent of their population being either mixed or white, their French Creole and Haitian Voodoo are heavily influenced by their traditional customs.

“And if you are Afro Latino, be

proud. Embrace your blackness, and embrace your Latinx heritage.”

Perhaps the strangest feeling that many Afro Latinx people encounter, though, is living in the United States.

Here, many people assume that they are either Black or Latino. Not both. Too many times have I seen friends and family be asked how they spoke Spanish if they were black. Being black and being Latino are not mutually exclusive. Regardless, many Afro Latinos instead only identify with black culture.

On the other hand, my father’s side of the family is predominantly white, but my mom’s side has many black people in it. I’ve often seen my grandfather be mocked and told to go fetch things for my white uncles, simply because my grandfather is black, something that he himself does not like to admit despite the fact that he is dark skinned. Even my best friend’s grandmother, a black Puerto Rican who lives in the Bronx, says that she does not want anyone bring black people into her house.

It’s time to end the discrimination in our communities towards Afro Latinos. Whether you are informed or not on the history of Afro Latinx people, it would be good to read up some more. If you meet a person that identifies as Afro Latino, don’t make them feel as if they’re an anomaly. They are human beings, like you and me.

If you are black, do not feel as if you cannot relate to Afro Latinos. They have faced much discrimination in their communities, same as much of you have.

If you are Latino and meet a black Latino, remind them through your actions that you both have some similarities. You both have roots to beautiful Latin America. If you’re a mixed Latino like me, remind your white family that black Latinos are on the same level as them and should not be put down verbally, physically, or in any other form. Remind them that if it wasn’t for our Afro Latinx population, we wouldn’t have our bachata, merengue, cumbia and salsa music. We wouldn’t have our plantains or our yucca to eat.

And if you are Afro Latino, be proud. Embrace your blackness, and embrace your Latinx heritage. Tell your family that you’re happy to belong to it. Be proud of being who you are.

OPINION

WEDNESDAY, MARCH 1, 2017 | 7

Kenton’s corner: WHITEWASHING IN HOLLYWOOD

Kenton GIBBS STAFF WRITER

I don’t care how inclusive and progressive Hollywood tried to be with the most recent Oscars ceremony. They have a serious problem with properly dealing with race. White washing is the act of adding white actors to play people of color or throwing in a white savior just because. The horrid practice of whitewashing will never be okay, but it used to be excusable because of financial rewards. However that is no longer the case. So why does it still

happen?

In the past, getting white actors to play roles that depicted people of color was extremely profitable. Although this motive is selfish it at least makes some logical sense.

Most people’s moral compasses are guided by the almighty dollar. You had moments like Al Pacino playing a Cuban refugee named Tony Montana, and that seemed to work well for Universal Pictures as it made nearly triple its budget for the film in the box office. But as of late, we have seen box office flop after flop produced by whitewashing the casts.

“Most people’s moral compasses

are guided by the almighty dollar.”

There are many recent examples that show studios have a decent amount of failures when going with the whitewashing formula. For every time a studio has success with a movie where Tom Cruise is playing the role of a samurai like in “The Last Samurai,” there’s also dumpster fires where Emma Stone plays an Asian American woman like in “Aloha.” The budget for that movie was 52 million dollars but it only raked in 26 million dollars at the box

office. “Aloha” isn’t the only white washed movie to barely allow a studio to break even as “Gods of Egypt,” “the Lone Ranger” and many others fall in this same category. But I would be remissed if I didn’t mention the fact that there are other types of white washing.

The second part of whitewashing is throwing white saviors into movies about people of color for no good reason. This disgusting act took place all throughout the awe inspiring movie Hidden Figures.

In the scene when Katherine Johnson, played by Taraji P. Henson, runs from her desk a little over a mile away to the colored restroom in pouring rain only to return soaking wet and is asked why she is taking such long bathroom breaks, she says it is because there are no colored bathrooms in the main building. Her white boss, played

by Kevin Costner, apparently had no idea the bathrooms were segregated until that very moment, which to me, says something about the aloof nature of powerful white men.

He then proceeds to get a crowbar and tear the whites only sign off of the bathroom.

As riveting and well acted as this scene was, it was completely fictitious and ignored the real hero. Johnson simply used the whites only bathroom but the sign moment did happen just in a different way. So in that way she was her own savior, not her boss who probably couldn’t have cared less. According to the book the movie was based on, the removing of the sign dealt with an offensive sign in the dining room that read: Colored Computers. The real hero was Miriam Mann. She removed the sign daily until the staff got tired of putting it out knowing Mann would get rid of it.

To make matters worse, the director of the film Theodore Melfi defended his added white savior even though the actor that he gave the hero moment blew the name of the movie at the academy awards calling it Hidden Fences.

When questioned about the unnecessary addition Melfi said, “There needs to be white people who do the right

thing, there needs to be black people who do the right thing,” Melfi said. “And someone does the right thing. And so who cares who does the right thing, as long as the right thing is achieved?”

“If the only way white people can

relate to a movie about a historical event from the 60’s is if there are white people doing the right thing, they probably should go see something else.”

Well, it’s pretty important to state that no one did the right thing except for the women who showed up to work and ignored not so subtle hints at them being second class citizens. Another thing that needs to be stated is if the only way white people can relate to a movie about a historical event from the 60’s is if there are white people doing the right thing, they probably should go see something else. A vast majority of the time during this period white people either supported the oppression of black people or did little to nothing to address it. So throwing that in paints a picture that is flatly false in order to give white viewers a chance to feel good about themselves.

Long story short, the Oscars and other award shows being ultra black this year isn’t fooling me. As progressive and forward thinking as many perceive Hollywood to be, the hills of stars still hasn’t addressed it’s problem of adding white people where they don’t belong.

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