racist blackface stunt Scrapped By Warner Bros. TV

everybody knows that they had to scrap that racist stunt after people start asking questions. This is the same racist brothers than want to white wash Akira in the move adaptation of a Japanese tale. only hiring white actors to use Japanese names.  They also scrap that after public outrage.

 

 

EXCLUSIVE: After receiving inquiries from Deadline, Warner Bros. has canceled plans to “paint down” a white stunt woman to double for a black actress on its hit Foxshow Gotham. On Monday, dark makeup was applied to the face of a white stunt woman in a hair and makeup test in advance of two days of filming next week in New York. After receiving calls from Deadline, WB initially downplayed the significance of the story, but after looking into it said that it had made a “mistake” and would hire a black stunt woman instead.

“A mistake was made this week in casting a stunt woman for a guest star in a particular scene on the show,” the studio said in a statement. “The situation has been rectified, and we regret the error.”

“Painting down” white stunt performers so that they can pass for black has been going on for decades, even though SAG-AFTRA calls the practice “unacceptable” and “improper.” Blackface went out in the 1930s, but “painting down” white stunt performers goes on to this day, and there is no language in the union’s contract that expressly prohibits it. The union’s contract only requires that stunt coordinators “endeavor” to find stunt performers of the same race and gender as the actors they are doubling. For many black cast and crew members, however, the practice is insulting and demeaning, a holdover from Hollywood’s openly racist past.

Plan To Film ‘Gotham’ Stunt Woman In Blackface Scrapped By Warner Bros. TV

 

 

 

Brownface: Jonah from Tonga

In Jonah from Tonga (a 6 part ‘mockumentary’ tv series to be shown on HBO) the main character, Jonah, is a criminal teenage Australian boy of Tongan roots. There are several areas of serious concern with this series.

First, Jonah is played by a Caucasian, 39-year-old Australian in brown face make-up and a curly haired wig. Brownface in 2014, really?

Second, Jonah is clearly identified as ‘Tongan’. The name of the show is Jonah from Tonga. The series starts in ‘Tonga’. The logo is a caricature of of a ‘Tiki’ carving. Etc. We get it. You want us to think it’s about a Tongan. And for Americans, most of whom have little previous knowledge about Tonga, this series will shape the way they think about the nation, its culture, and its people. So what will they learn?

1. All the teenage ‘Tongan’ boys shown in the series are low achievers, gang members, or in jail. The school’s high achievers are Caucasians.

2. Much of the ‘comedy’ is derived from this blackface/brownfaced ‘Tongan’ character’s acts of violence, sexual aggression, ignorance and profanity. This is problematic not only because of the show’s astounding inherent racism, but because much of his behavior is deeply counter to Tongan culture. He swears at his sister and his father. He is extremely disrespectful to teachers. He makes sexual edvances on his cousin. He is sexually suggestive to his Aunt and a Nun. And much, much more. All this is deeply offensive in Tongan culture. Tonga is a devoutly religious country, very family-oriented, with one of the highest PhD rates per capital. None of this is reflected in Jonah from Tonga.

3. In another nod to the racism of minstrel shows, Jonah’s only saving talent is presented as dancing, and his brother’s as singing.

4. The excuse given for all this is ‘lighten up, it’s only comedy’. First, even reviewers who liked it thought it was not that funny. A typicalreview is: “the documentary truth of the situation and the people seems more important than the laughs here” (Julia Raeside, The Guardian). Which captures the problem  — many viewers will assume there is a ‘documentary truth’ in the series that teaches them something about Tonga. And it will be equally unfunny when a Tongan boy, already doing his best to fit in an American high school, gets taunted with a variation of ‘Hey Jonah – show us your dXXk tattoo!’

Tonga is a loyal friend of the US. It has troops in Afganistan, large, devout communities in Salt Lake City, academics in US higher education,  and players in major US sports teams. This show drives a wedge in that relationship. And for what?  The only saving grace is that Jonah from Tonga was a ratings disaster in Australia and the UK.

 

http://oldfilmsflicker.com/post/92273595668/in-jonah-from-tonga-a-6-part-mockumentary-tv

 

more on that racist piece of shit Chris Lilly

http://thatalienatedblackgirl.tumblr.com/post/94312787172/chris-lilley

 

 

Ridley Scott’s Exodus film latest racist movie from hollywood

Director Ridley Scott’s new biblical blockbuster, Exodus: Gods and Kings, has come under fire for “whitewashing” African history, casting four white leads to tell a story of Israelities and Egyptians.

Sydney’s Joel Edgerton, a blue-eyed blond from Blacktown, has a shaved head and a deep tan to play the lead Egyptian role of pharaoh Ramses II.
A porcelain-pale Sigourney Weaver plays his mother, Queen Tuya.

US Breaking Bad star Aaron Paul features as Israelite leader Joshua and the English-born Christian Bale takes on the role of Moses.

Tariq Nasheed, a director of the race documentary series Hidden Colors, has campaigned against the film for “redefining history”.
“The storyline takes place in ancient Africa, but all the African Kings and Gods are portrayed by white actors and all the slaves, thieves and ‘lower class’ Egyptians are played by Black actors,” he wrote on Facebook

“When I saw they have Sigourney Weaver playing an African queen, I was done.”

A screenshot of the cast list on movie website IMDB, contrasting the roles of the black and white actors, has been retweeted more than 1100 times.

Some on Twitter have also taken aim at the set, particularly the nose on the Great Sphinx of Giza, saying it gives the statue a European profile.

The Exodus casting is the latest in a long Hollywood history of making actors play different ethnicities, no matter how much dark make-up is required.

Another Exodus actor, Englishman Ben Kinglsey, was rebuked for the heavy whole-body make-up he wore to play Gandhi, even though Kingsley has Indian heritage.

Anthony Hopkins went very orange as Shakespeare’s Moor Othello in a 1981 BBC production while Charlton Heston stood up for the right of a white actor to play a Eurasian role in Miss Saigon.

The US legend declared the casting block “obscenely racist” and resigned from the Actors Equity labour union in protest.
http://www.smh.com.au/entertainment/movies/ridley-scotts-exodus-film-cops-complaints-about-racist-casting-of-joel-edgerton-and-sigourney-weaver-20140729-zxxqh.html

Modern Hollywood and the Ancient East

more reasons why Asian actors should go to Asia for entertainment jobs. stop begging racists for acting jobs

The 1001 Arabian Nights. The Biblical flood and the family that repopulated the world. The Jewish exodus out of Ancient Egypt. The story of Jesus of Nazareth. The Ancient Egyptian gods Horus, Ra, and Set…

These movie concepts, in development for 2014 and 2015 releases, are based on stories and histories from the Eurocentric concept of the “East” that have captured the Eurocentric imagination. They’re also rare acting opportunities for actors of color that continue to be cast with white actors.

Liam Hemmsworth and Anthony Hopkins will star as leads in the Arabian Nights. Russell Crowe stars as the patriarch of the Earth-repopulating family of Noah in what the film claims is a “close adaptation of the Biblical story of Noah’s Ark.” Portuguese actor Diogo Morgado portrays the role of Jesus in Son of God. White Brit Christian Bale plays Moses and white Australian Joel Edgerton plays Ramses II in Exodus. White Scottish, Danish, and Australian actors top the cast of Gods of Egypt portraying Set, Horus, and Ra.

North African, Near Eastern, Middle Eastern, South Asian–they’re already arbitrary cultural classifications. Depending on Hollywood’s purposes, these characters, cultures, and stories are either made white or racialized as a swath of brown.

When the Persian characters were heroic protagonists in The Prince of Persia, they were depicted by white American and British actors (with the exception of the villain, depicted by mixed race British-Indian actor Ben Kingsley.) When the Persian characters were villains in 300, they were cast with black and brown actors including Brazilian actor Rodrigo Santoro as Xerxes and Ghanian actor Peter Mensah as the Spartan messenger who memorably declares “This is madness!” (Did either production cast Persian American or Persian actors in major roles? Nope.)

This is Hollywood. Hollywood doesn’t handle diversity with nuance. It ignores the diversity of Africa and views it as a black monolith (with the exception of a whitewashed Egypt), it doesn’t get distinctions such as Persian or Arab, and it encourages audiences to mentally blend South Asians and Middle Easterners in fantasy representations of barbarism and terrorism.

http://www.racebending.com/v4/blog/modern-hollywood-ancient-east/

UC Irvine fraternity’s offensive ‘blackface’ Jay-Z parody video sparks outrage

trying to join the white club?

 

 

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An Asian American fraternity has revived allegations of racism at the University of California, Irvine, by making a parody music video in blackface and posting it on YouTube.

Four members of the Lambda Theta Delta fraternity recorded a homemade skit in which one wore black make-up to impersonate the rapper Jay-Z, prompting recriminations and apologies. The students said the parody of the Jay-Z and Justin Timberlake song Suit and Tie was intended as harmless fun but student organisations and university authorities condemned it as insensitive and racist.

 

“We’d like to point out that this blackface video isn’t the first, nor is it the last, example of racism that’s been shown on this campus,” Ainaria Johnson, co-chairwoman of UCI’s Black Student Union, told the Daily Pilot. Johnson noted that a second video on the fraternity’s YouTube page featured a blackface.

In 2011, a chef at the university caused a spat by serving fried chicken and waffles, an African American culinary stereotype, to mark Martin Luther King day.

Thomas Parham, UCI’s vice chancellor for student affairs, told the Daily Pilot that university authorities were investigating the Jay-Z impersonation video. “We as a campus, I as an administrator, we are shocked,” he said. We are dismayed to see what I think is insensitive in a video parody that was made by these individuals.”

It was unclear if the use of blackface, a throwback to minstrel and vaudeville shows which parodied black people, stemmed from ignorance or disregard, said Parham. “In either case it’s reprehensible.”

Black students comprise about 2.6% of the university’s 27,000-strong student body.

The members of Lambda Theta Delta, the university’s oldest and biggest Asian American fraternity, posted the video earlier this month with the disclaimer: “No racism intended. All fun and laughter.” Its existence was first reported by OC Weekly.

 

The Asian Pacific Student Association called the video “deeply offensive”. The Black Student Union made a formal complaint.

The fraternity posted an apology on its Facebook page. “The use of black face in the video is incredibly offensive as well as insensitive. This behavior is simply unacceptable and the individuals responsible for the video have already been reprimanded within the organization prior to the public outcry to which this formal apology is responding.”

guardian.co.uk © Guardian News and Media 2013

 

 

 

White Girl In Black-Face Ran Off Twitter By Sistas But Were They Wrong?

 

commentary by Tommy Sotomayor

 

 

 

 

Dishing it out but cannot take it! (mostly white) Hypocrites whining and crying over the blonding of Ann of Green Gables

for years people of colour including myself have been outraged  at hollywoods racist whitewashing of POC characters in thier movie adaptations of comics, novels, cartoons and the whitewashing of book covers placing pictures of white models where the story’s main protagonist are non-whites. me and other POCs are being told that we are too P.C, sensitive, accused of racebating, it’s abusiness they are catering to thier white audience that cant handle a non-white protagonists, etc.   I initially ignored this non-news story but since racist hollywood is getting out of control i decided to address this white crying over the blonding of Ann.

to those who are upset  I DON’T GIVE  A SHIT about your favourite character being blondewashed why?

None of you were outraged at these hollywood and hollywood inspired racist incidents which include:

Hunger games move watches celebrate the killing of black kids in the hunger games on twitter.

Movie audiences openly advocate the killing and murdering of East Asians on Twitter after they watch the remake of Red Dawn.

spoiled rich college kids(they may be 18 and over but they act like kids) having racist theme parties on college campuses and committing racist acts and hate crimes against POC students while the racist authorities on these same campuses look the other way.

Racist coward Joanna Angel dressing up her friend in yellowface but too chickenshit to get a white woman dress up in blackface, like anti-asian bullies she is not afraid of the consequences.

The whitewashing of Nora in the movie adaption of “Warm Bodies”, In the original book, Nora has an Ethiopian Father and a White mother They choose a white blonde actressto portray Nora. Johnny Depp dressing up in Indianface acting as “Tonto” in the remake of ” TheLone Ranger”. Tonto is described as a native American in the original 1930s-1950s radio and tv show. in the tv show adaptation Tonto was played by a Canadian Mohawk(first nations) actor.

The white washing of Nina Simone in an upcoming movie where light skinned latina Zoe Saldana was picked to portray a dark skinned black jazz musician Nina Simone they even Dress up Zoe in prosthetics (despite popular belief blackface is still here) .   I could go on and on and list other similar racist incidents where the fans of Ann of Green Gable are silent, and or condone them but get butt hurt when Ann of Green Gables is portrayed by a sexy blonde model.

if you are  are a redhead don’t join these hypocrites I would not be surprised if many of them enjoy attacking, harassing and bullying redheads in thier so called “national kick a ginger days”. recent news reports show they are targets of bullies. just doa google search on redheads targets of bullying, redheads and bullying, etc

Redheads in the U.K face bullying

British red haired family forced to moved after bullying campaign

Some are even equating anti- red hair sentiment with racism

now to the news of the blonding of Ann of green gables

No, Canada’s most loveable freckled redhead has not dyed her hair, got a boob job and moved to the Jersey Shore. It just looks that way on Amazon.com, where an enterprising but misguided new publisher has enraged readers with a $13.49 set of L.M. Montgomery’s beloved Anne of Green Gables novels adorned with a cover image of a bleached-blond farm girl signalling “come hither” on a haystack.

“Anne has red hair. RED HAIR,” complained one online reviewer. “It’s a key part of her character and is a strong influence on her words and actions. Secondly, Anne is 10 at the start of the series. What is up with the bedroom eyes?”

“This is nuts, offensive even,” wrote another, identifying herself as “once a little red headed girl myself.”

“I love these three books to death,” she added, “but I will never buy copies of this edition for anyone. For shame!”

The blond Anne melodrama spotlights an obscure but active niche in the thriving, try-anything world of digitally enabled self-publishing, also known as indie publishing.

Using digital copies of public-domain texts that are available free from many sources – the Montgomery copyrights expired in 1993 – the indie publishers slap on new covers, with images often obtained from cheap stock-photo sources, and offer them for sale through any one of the popular self-publishing services that are now fully integrated into the massive Amazon sales list.

The key to the process is that no books are printed – or real money invested – until an order is received. When and if they appear, orders are fulfilled by third parties using “print-on-demand” technology that can produce instant books one at a time.

The new Anne set was published using Amazon’s own CreateSpace self-publishing platform. Neither company responded to inquiries about the new edition. The identity of the publisher is unknown.

Three years ago, CreateSpace signed agreements with both the U.S. Library of Congress and the British Library to make more than 100,000 of their public-domain titles available using the same technology. But entrepreneurs have found a new angle.

Among other sexed-up covers now available online is an edition of Wuthering Heights published by lulu.com showing two naked lovers in profile on its cover.

“There’s nothing wrong with a makeover, even for literary greats, so long as the finished product is true to the spirit of the work, said lulu spokeswoman Sarah Gilbert. “For most novelists, past or present, the goal has been a wide audience.”

For living writers, CreateSpace and its kin offer an easy way to get older books back in print, according to self-publishing expert Doug Heatherly. But the practice of reselling public-demand titles “is mostly drying up now,” he said, as sources of free content become more widely available.

This is not the first-time Canada’s iconic redhead has been subject to a copyright struggle. The company that produced the Anne of Green Gablesfilms in the 1990s underwent a long struggle with the heirs of Ms. Montgomery, who claimed a “reversionary copyright interest” in all things Anne.

In the end, the heirs and the government of Prince Edward Island incorporated an entity called The Anne of Green Gables Licensing Authority Inc. to manage their claim to the commercial use of the character’s image and milieu.

Even so, many of Montgomery’s books, including Anne of Green Gables, are available as free downloads from sites such as Project Gutenberg.

A Philadelphia Parade’s “Tradition” of Racial Insensitivity

culture of racist stereotyping on display

 

If you’ve never lived in Philadelphia, you may not know that every New Year’s Day—going back, in some form, for centuries—the city holds a carnival-esque event with roots in European and minstrelsy traditions. It’s called the Mummers Parade. And the 2013 edition, like many before it, has generated controversy. This year, the primary target for criticism (though certainly not the only target) was a musical skit featuring an apparently all-white group advocating against the outsourcing of jobs by dressing in stereotypical Native American and Indian garb. As Philadelphian Dan McQuade wrote yesterday, the event has always been deliberately subversive and provocative. But, as he himself asked, does that make this sort of thing OK?

 

No. “Indi-Insourcing,” the skit in question—in which the performers inexplicably dance to “Gangnam Style” and “Apache”—tries to use wordplay to comically comment on the loss of American jobs to foreign competitors. A sign changes from “New Delhi Call Center” to “New Jersey Call Center”; and “Native” Americans represent U.S. citizens, while the Indian characters are unwanted job stealers from across the globe. The “satire” falls flat, however, in its wild misappropriation of both Native American tradition and Asian culture, and ultimately highlights, not intentionally, the xenophobia that so often creeps into the outsourcing debate.

The skit looks even worse when you consider it alongside the parade’s tradition of stereotyping minority groups. In the event’s earliest days, debauchery and revelry were celebrated in the streets against a backdrop of class and ethnic tensions. The young, male Philadelphians who participated were a mix of working-class Germans, Irish, and blacks. According to Susan G. Davis, members of the community “impersonated” types, with “Chinamen,” “Dutchmen,” “Red Indians,” and a blackface “Jim Crow” making regular appearances each year. By the late 1800s, the raucous activities were moved to the more secular New Year’s Eve and New Year’s Day holidays. Despite the pervasive use of blackface, some black Philadelphians did participate back then—the Golden Eagle Club reportedly marched with 300 black members in 1906, for instance—but minority participation has tapered off almost completely in the last 70 years.

Blackface was officially banned from the event in 1964, but it hasn’t completely disappeared. During this year’s event, a “tribute” to the minstrel show was performed. No dark makeup was used, but it’s hard not to see this as a sly way of holding on to a questionable tradition while whitewashing its inherent racial overtones. There are ways to honor the festival’s history without stereotyping multiple ethnic groups in the process. But the “tradition” defense doesn’t cut it. That one’s been used before.

 

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The racist outrage of Christmas in Holland

In Britain, the idea of dressing up as a comedy black person is – obviously – an absolute no-no. In the Netherlands, however, they haven’t got a problem with it. At least, that is the case when Christmas comes around.

The Dutch version of Father Christmas is called Sinterklaas. He arrives before Christmas and parades through town, riding a white horse and wearing a red bishop’s mitre. He used to be accompanied by a jester symbolising the devil. But in the mid-1800s, when the Dutch were major players in the global slave trade, this changed. To this day, Sinterklass turns up with Black Peter, or Zwarte Piet, a subservient, child-like, simpleton character in black face paint, red lipstick, and an afro wig. To get a feel for the degradation this involves – if you have a strong stomach – watch the video above. The unvarnished racism it portrays is nothing short of breathtaking. Not only is Black Peter forced to carry out demeaning domestic chores, he is led down the street on a lead and shown scrabbling for dog food on the floor. At one point, a Victorian illustration of slave masters beating black slaves is flashed onto the screen, to the sound of laughter from the audience. Cultural differences or no cultural differences, this is beyond the pale. It is astounding that in 2012, this is part of mainstream Dutch culture.

Writing for This Is Africa, the journalist Siji Jabaar mounts a formidable evisceration of the tradition, in which he forensically lays bare the history and evolution of Zwarte Piet, and demolishes one by one the arguments in favour of the practice. For example, he addresses the following objection: “It’s harmless fun. We don’t see Zwarte Piet as a black person, and neither do kids. They see him as Zwarte Piet.” By way of answer, Jabbar writes: “Why, then, do some white kids call black Dutch people Zwarte Piet? Some are clearly making the connection. And why do you have white adults calling out to their black colleagues, ‘Hey, our very ‘own’ Zwarte Piet!’? . . . If the Dutch government thinks that Zwarte Piet is correct, just invite Barack Obama over for dinner on the 5th of December. But we all know they ain’t gonna do that; they ain’t that dumb.”

“What on is going on with the Dutch?” he continues. “How can such an abhorrent anachronism exist in a seemingly modern and progressive country? . . . Millions of black people were killed or enslaved by white people over four centuries, and millions more continue to suffer discrimination all over Europe and in the States, so this Zwarte Piet character is about as funny as wearing a swastika.”

The practice is not without opposition in Holland. In 2011, four people wearing T-shirts saying “Zwarte Piet is Racist” were arrested; in 2006, NTR, the Dutch public broadcasting corporation, advocated changing Black Peter to Rainbow Peter. But the public appetite for such innovation proved weak. While the Dutch Belgians in Flanders took the step of reversing the tradition so that Sinterklaas is black and Pete is white – crude, but at least it’s something – the next year, people all over Holland blacked up again. And they have been doing it with gusto ever since.

In Britain, we have become so over-sensitised to phrases and images that may cause offence that the phrase “political correctness gone mad” has entered the lexicon of cliché. There is a temptation to roll the eyes and grumble that people need to get a sense of humour. But this indicates how Britain is relatively clean of racism in the public sphere. By comparison, Holland is stuck in the dark ages.

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another day another white owned company: Illamasqua put out a blackface ad customers revolt

 

another day another example of normal racist behavior from a white owned company which are often owned by racists. TV networks, movie studios, fashion and beauty companies. they all display the same racist behaviors.

 

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British beauty brand Illamasqua is stirring up trouble with a so-called “blackface” ad for its winter makeup campaign.

The ad features a woman whose entire face — except for her lips — is painted black, with the slogan, “I’m not dreaming of a white Christmas.”

Another ad in the campaign features a model whose face is painted white.

Illamasqua posted the questionable ad on its website, Facebook and Pinterest pages, prompting dozens of customers to voice their disgust.

“This ad is horrifying,” wrote one woman on Pinterest.

“Wow, this is racist and gross,” wrote another. “Really surprised Pinterest can’t/ hasn’t taken it down, it must be extremely alienating to black pinners.”

Others cut the beauty brand some slack, classifying the ads as “art.”

“Just an editorial interpretation of the opposite of white,” explained one commenter.

Illamasqua responded to the criticism Tuesday but refused to remove the ad.

“The model painted black has been interpreted by some as ‘black face,’” the company said in a statement. “This was certainly not our intention nor inspiration.”

Illamasqua added that they were “shocked by the cynicism behind some of the comments.”

So, sound off in our comments section. Is Illamasqua racist or are its customers too sensitive?

 

 

Hollywood Racism and blackface: Zoe Saldana transforms into Nina Simone for new movie… with the help of facial prosthetics, fake teeth and an afro-style wig

Racist Hollywood continuing their war against non-whites by engaging in black-face choosing a light skinned mixed Latina  dressing her  up in  prosthetics to make her look like Nina Simone the black female Jazz Singer. a similar racist yellowface movie cloud atlas is now playing in theaters.

Nina Simone

pictures showing Zoe in blackface using prosthetics

 

 

 

 

 

Here is light skinned mixed Latina Zoe Saldana

She caused controversy when it was first revealed that she had been cast as Nina Simone, with many saying she wasn’t ‘dark-skinned enough’ to play the legendary jazz singer.

But in first pictures of Zoe Saldana on the set of highly-anticipated biopic Nina, the 34-year-old actress has shown she is throwing herself into the role whole-heartedly.

Zoe was seen wearing a black afro-style short wig and what appeared to be a prosthetic nose, clutching a folder believed to contain her scripts as she made her way to the movie set.

She also appeared to have some slightly darker make-up shaded along her cheek and jawline.
She wore a black dressing gown with white trim, teamed with a matching pair of slippers as she prepared to meet with the wardrobe department ahead of her day’s work.

The decision to cast Zoe as Nina was met with strong criticism with many in Hollywood, including Nina’s daughter Simone Kelly.

Simone took to her Facebook page to voice her concerns, writing: ‘Appearance-wise this is not the best choice.’

However, Simone then continued to say that she had no problem with the star’s acting ability, but added she would have liked to see a darker-skinned actress such as Viola Davis or Kimberly Elise take the part.

But other stars have come forward to back Zoe in the part, with singer and actress Jill Scott telling black women’s web site Hello Beautiful: ‘Zoe is an incredible actress.

‘I think that there should be some work done, like a prosthetic nose would be helpful and definitely some darker make-up.’

The synopsis of the motion picture so far only details that it is the story of the jazz musician and classical pianist, including her rise to fame and relationship with her manager Clifton Henderson.

The civil rights activist certainly celebrated women of darker complexions with her track Images (Of a Wayward Soul), which includes the lyrics: ‘She does not know her beauty. She thinks her brown body has no glory.’

Nina, which also stars The Help actor David Oyelowo as Henderson, is due for release in 2013.

link to daily mail

University of Florida fraternity members wore blackface to party

the latest racism from a university

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A University of Florida fraternity has drawn sharp criticism this week after two members darkened their skin and went to a fraternity party dressed in a style meant to represent African Americans.

On Thursday and Friday, social media sites were abuzz with news of the event as students and others passed around a photo showing two Beta Theta Pi members wearing “blackface” and donning thick gold chains, baseball caps and pants that hang so low they show their boxer shorts.

The theme of Wednesday night’s Halloween party, which was held off campus, was “Rock-stars and Rappers.”

Officials from the university and Beta Theta Pi’s national headquarters expressed disappointment on Friday. UF spokeswoman Janine Sikes said administrators will hold a town hall Thursday about the issue and its effect on the Gainesville campus of almost 50,000 students.

“We recognize that what they did is hurtful and perpetuates racist stereotypes of African Americans,” Sikes said. “We work very hard to create a welcoming environment for all of our students regardless of race or ethnic background.”

Blackface, a form of theatrical makeup, was used for decades to demean blacks by representing them as caricatures.

“We are outraged about it,” said Stevenson Chery, a senior at UF who’s from Orlando and a former president of UF’s Haitian student organization. “Students should know that this is wrong.”

The fraternity’s president, Ethan McMahon, issued a public apology Friday for the actions of the two members.

“While their actions were not intended with any malice or ill-will to any members of our community, clearly they were offensive …,” McMahon wrote in a prepared statement. “Our brothers’ actions were wrong — as was the inaction of our other chapter members for not stopping it — and we are truly, truly sorry.”

Boycott despicable, racist bitch Victoria Foyt: Her “Save The Pearls” Employs Offensive Blackface And Bizarre Racist Stereotypes Plot

A sheltered privileged, pampered, racist white woman named Victoria Foyt wrote a book about solar radiation from the sun killed off most of the white people making dark skinned/black people the dominant folks(calling them coals) FYI this word “coal” can be used as a racist slur  to call blacks. coal burner is used to describe white women who date/marry and sleep with a black man) and the whites called “pearls”. This is pandering to white supremacist racist fear of non-whites taking over and start to oppressed and dehumanize white people.

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Today In Racism: YA Series “Save The Pearls” Employs Offensive Blackface And Bizarre Racist Stereotypes Plot

Victoria Foyt is the (white) author of a new young adult book series called Save the Pearls. The book chronicles the adventures of Eden Newman, a white woman, or a “Pearl,” whose entire race has been enslaved by the dominant race of “Coals” — or dark-skinned people. Hoping to capitalize off of the popularity of dystopian young adult novels like The Hunger Games, Foyt constructed a narrative in which, she explains, “Solar radiation has wiped out most of the white race whose lack of melanin causes them to succumb to the Heat. The survivors, called Pearls, suffer from oppression under the new majority of dark-skinned Coals.” In the new world, Eden must rely on Bramford, a Coal. As Foyt describes it, Pearls is “a Beauty and the Beast story in which both parties must find self-acceptance before they can discover true love.”

Say what?

In an essay on Huffington Post, presumably meant to publicize her book, Foyt prides herself on receiving mostly positive reviews for her story. She marvels at the way Pearls‘ “interracial love story” is being so positively received by the audience. She writes:

Not too many years ago, I can imagine that this story might have generated heated comments about the sexualized fantasies about black men. And yeah, there was one. And having checked out that blogger, I strongly suspect that he belongs to a much older generation than young adults.

Otherwise, I’m happily surprised to say there has been not a blip of protest.

And while yes, it’s great that an “interracial love story” is received without protest (yay! progress), I’ve got bigger fish to fry with Pearls — and Foyt.

First off, while she may want to pat herself on the back for creating a story that turns on its head stereotypical tropes about the social value of whiteness and blackness, the very names she chooses to use say that Foyt may still hold those tired tropes dear.

“Pearl” as a term for whiteness ascribes high value, rareness, beauty and worth. And Coal as a term for dark-skinned? Low value and dirty. And as blogger Nnamdi Bawse points out, it’s a tried and true racial slur. But even without the shameful history of the slur, choosing such wildly divergent names, holding wildly divergent values, implies a positive value judgement on whiteness and a negative value judgment on blackness.

Then let’s take the “Beauty and the Beast” analogy. To refer to a dark-skinned man as “beastly” carries with it negative notions of blackness that are rooted in a historical portrayal of black men as sexually savage beasts. As Dr. David Pilgrim, professor of Sociology at Ferris State University writes, “During the Radical Reconstruction period (1867-1877), many white writers argued that without slavery — which supposedly suppressed their animalistic tendencies — blacks were reverting to criminal savagery.” So essentially, the construction of black men as “beastly” was used to justify slavery. So, awesome. Yeah, NO.

Finally, witness this video Foyt made to publicize her book, featuring a white woman in blackface. Memo to the world: Blackface is not okay. Like, EVER. Blackface is rooted in bygone minstrel shows, where white actors would play outrageously offensive stereotypes of blackness. As the website Black-Face.com explains, blackface is more than simply the application of dark makeup to a white face. Blackface “originated in the White man’s characterizations of plantation slaves and free blacks during the era of minstrel shows (1830-1890), the caricatures took such a firm hold on the American imagination that audiences expected any person with dark skin, no matter what their background, to conform to one or more of the stereotypes: the coon, the mammy, the Uncle Tom, the buck, the wench, the mulatto and the pickaninny.” These racial stereoytypes are all highly negative and delimiting.

Oh, and also? White people don’t get to decide if blackface is no longer offensive and when it’s acceptable. As historical perpetrators of racial stereotypes against black people, it’s patently ridiculous to say that “black people should just get over it.”

Further, Foyt pats herself on the back because her dystopian novel where whites are the disadvantaged race just mirrors her own teachings at home. “I have endeavored to raise my children with a color-free mentality. My son once mentioned that his color was white while mine was tan. This was said with no more feeling than if he’d been describing the different colors of our bedrooms.” Here’s the thing: Teaching kids not to “see” color, denies the fact that people of different racial identities experience life very differently. Only a person living from a position of racial privilege would ever say that they don’t “see” color. It’s a way to avoid dealing with the very real truth that people’s skin color does in large part define how they are perceived by the world. It denies a very real part of someone’s life and being, and it also reinforces the construct of Whiteness-As-Norm. Further as SF Gate blogger Bruce Reyes-Chow writes, “When one says ‘I don’t see color,’ then we no longer have to acknowledge the realities of our own prejudice and privilege as well as the real experiences of the others.  We stifle conversations that must happen around race in the US and squelch the possibilities of discovering together the one of the greatest gifts of U.S. culture … our diverse racial and ethic backgrounds.”

So it seems that however well-intentioned she might have been, Foyt needs to do a bit (a lot) more research on race politics, and the history of racism before writing a dystopian novel about it.

[SFGate]

[Huffington Post]
book cover with blackface

white woman in blackface from a picture from a promotional video for the racist book

and here is a picture of this racist, white supremacist, stereotyping, despicable bitch Victoria Foyt

a blogger do some digging and the racist bitch is actually writing fake positive reviews

actual racist quotes from her book

 

the mammy stereotype

If Eden is so oppressed how comes she is comfortable talking to a member of the ruling privileged class

in this tone of voice?

The typical white supremacist fears of non-whites taking over and killing white peoples that sort of thing one would see and

hear from fox news and the right wing AM racist hate radio

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The racist piece of shit hired an artist to make a portrait of the half dark skinned man/half beast who is the love interest of Eden named Bramford