Race Forward: The Wealth Gap

Comments on video found HERE

Did you know that in 2010 Black Americans made up 13% of the population but had only 2.7% of the country’s wealth?

Did you know that there is no way to accurately make such a statement or that the term “Black Americans” is an imaginary social construct?

That the median net worth for a white family was $134,000, but the median net worth for a Hispanic family was $14,000, and for a Black family it was $11,000?

Did you know that this is based on a SURVEY which sampled 6,026 families?

Even assuming that each family (liberally) represents 5 individuals, that amounts to (6,026 x 5) / 316.5 million or < 0.01% of the US population.

That the median wealth for a single white woman has been measured at $41,000, while for Hispanic women it was $140, and for Black women, $120?  Did you know that?

Did you know that this is based on a SURVEY and not a MEASUREMENT of 4,421 families who volunteer information?

Did you know that the actual numbers reported are $100 for single, ‘black’ women without vehicles and $120 for single ‘Hispanic’ women without vehicles? The numbers are $5,000 for single, ‘black’ women with vehicles and $2,680 for single ‘Hispanic’ women with vehicles? Did you know that this is household data so children factor into the equation?

Do you know what that’s called? Systemic Racism, and yes, it’s really a thing.

Did you know that systematic sloppy logic and statistics should not be blamed on systematic racism?

Read a different view on US Afropean poverty

Full Metal Jacket (1962)

Director Stanley Kubrick (Hebrewpean).

Token mulattos, focus on European male military issues, first Vietnamese seen is a female whore who “luv you long time” and wants to “sucky sucky”, US Euro male soldier states: “half these gook whores are serving officers in the Vietcong, the other half got STDs”, the next Vietnamese is a male thief who farces martial arts, zipperhead, gook, gooks, mama-san’s legs, uses the term “blacks” for a mulatto officer, faceless Vietcong killed, faceless Vietcong prisoners, faceless Vietnamese civilians, gooks, faceless Vietnamese civilians, gook civilians, dead Vietnamese, gook, “inside every gook is an American trying to get out” (i.e. a gook is not an American),  jungle bunny, dead male Vietcong (who precipitates the terms zipperhead, gooks, commie bastards and slant eye), much focus on the wounding of one US European soldier, faceless Vietcong, faceless Vietcong killed, “we’ll let the gooks play the Indians”, long commentary on the death of two dead Europeans, token ‘Latino’, gooks, gookers (said by Afropean), gooks, commie males willingly pimping their females, #1 fuckee, sucker, “every thing you want long time”, “she love you good, boom boom long time”, “you black boys pack too much meat”, yella sista (Africanizing of a Vietnamese whore), fucking niggers (Kubrick uses the Vietnamese to inflate the Afropean penis then a European to debase them into niggerhood, European manhood still trumps African masculinity as Euro male takes a whore from an African), focus on injured European male, nigger, African male shot in slow motion, European male shot in slow motion, long focus on dying Euro male, slow motion death of a crazed female Vietcong, “no more boom boom for this baby-san” (Latino), gook.

Kubrick has time for Vietnamese prostitution and thievery but not for the daily lives of the Vietnamese, the point of view is clearly US-centric so Kubrick can’t claim he was making an anti-war film and just sprinkling racism to be realistic. Rather he is clearly anti-war but intent on sustaining US European war masculinity by emasculating Afropeans, Africans and ‘Latinos’ while pimping Vietnamese females and killing Vietnamese males. Look at the ethnic themes presented. First a feminized Vietnamese prostitute and the male Vietnamese who are more concerned about theft than a co-ethnic female whoring herself. Then there is the lone substantive scene with a dead Vietnamese male soldier. This is followed by the reinforcement of Vietnamese females as prostitutes complete with a male Vietnamese pimp. The whore is used to temporarily masculinize an African male by stating his penis is too big and she is not interested. Eager to be masculine, he displays his penis and she relents. Before he can penetrate the female to complete his masculine status, he is quickly deflated. Called a “nigger”, his masculinizing object is taken away by a taller more muscular European male but he (the African male) does not resist. The Latino is in the background and reduced to token irrelevance. The final scene employs a skilled Vietnamese sniper who is later shown to be a crazed female. The masculine killing role is now given to a Vietnamese female so as to feminize Vietnamese manhood. Notice the Eurocentric logic. Europeans are true males, Africans are fake males (or afforded temporary masculinity through Vietnamese femininity) and the Vietnamese (and other so-called East Asians) are essentially bisexuals. Africans are masculinized and are masculine to East Asians but still subservient to European masculinity. This is nothing new but a rehash of Fu Manchu-esque themes in a Vietnamese setting. It’s the patented use of the East Asian model minority feminization stereotype to temporarily masculinize Africans as violent criminals for the sustenance of supposedly normal European masculinity. It’s the patented use of the demonic Jap rapist vs. the stereotypical mammy who is thankful for any job. It’s playing off non-European ethnic groups against each other.

Left Behind (2014)

Mentally unstable Afropean female,

lb3Masculine European male (‘aim here’ he says),

lb2Effeminate East Asian male complete with homosexed hands and terrified facial expression,

lb1And again … note the cowering hands (and less fearful European midget),

lb4… classic Hollywood.

Hollywood Roundup III

Dig (S01E01): Hebrewpean masculinization (violence, subduing an Arab male with a gun), European masculinization (coitus, upper chest nudity, violence, brandishing a gun, pursued by Euro female, full rear view nudity), Zionist nationalism (Hebrewpean male calls Palestine “my country”), double tokenism (female African ambassador), promotion of Kaballahism and end-time dispensationalism paranoia.

Nymphomaniac Volume I (2013): European female nymphomaniac states that she sexed a number of males in both “the country of the big black cocks” and “the country of the small yellow cocks”. She is only shown sexing European males so her supposed experience is for what value to the viewer? It is to make explicit commentary of abnormal Africans and East Asians but with implicit commentary of the ‘normal’ sized penis, reserved of course, only for the European. She does not sample other non-European penises or care to share their size data with the viewer.

Nymphomaniac Volume II (2013): European nymphomaniac seeks out an African male who brings his brother-in-law along for sex. The camera emphasizes their oversized penises and this sex scene is explicit with one in her vagina and the other in her anus. The Africans start quarreling over feeling each other’s penis and the European female is left watching their antics. Homoerotic European voyeur at its finest.

Hollywood Roundup II

Life (S01E01): The persecuted, resilient European male, Afropean male medical doctor, European male heterosexualization, Latina maid, S01E02: Continued European male heterosexualization with Afropean female, S01E04: Continued European male heterosexualization with two European females and another European female.

Captured in Chinatown (1935): The Ling and Wong gangs have been killing each other for 200 years (inter-ethnic violence narrative), the dead are called “Chinamen” by the press (the Englandmen are perhaps lost in stupid-land), they are all dressed in ethnic gear (unlike early immigrant ‘Jews’ or Dutch apparently), ethnic music proliferates (conspicuously absent in other ethnic migrant movies) and the Chinese go back to killing when an Italian tries to steal the jade wedding necklace (inter-ethnic violence narrative).

The Man in the High Castle (S01E01): ‘Japs’ vs. ‘Nazis’, ‘yellow man’, sexualized, forward thinking, compassionate, artistic Hebrewpean male, feminized Japanese male (beaten by a European female half his size), vagina chasing Japanese male, first image is of the Japanese as martial artists, no anti-German words, Europeans fighting against the Nazis but all the Japanese are emperor worshippers, simplistic, highly improbable Japanese-German relationship, ‘slants’, Germans describe the Japanese as superstitious (beats Hitler’s search for Valhalla), a Japanese man asserts that the Japanese cannot hope to compete with German technology, the Japanese colonialists freely Iive and mingle with Europeans (why would they?), Afropeans as irrelevant to storyline, pro-US nationalist, no sense that the US Europeans did worse to the indigenous people, Germans have no accents, some Japanese (including a Filipino playing a Japanese) however, have issues learning English. Why would a colonial power learn the colonized language is not explained.

Don’t Trust the Bitch in Apartment 23 (S01E01): Created by an Iranian female. European male James Van Der Beek is said to have a penis the size of a cucumber. East Asian female goes goo-goo over said European male. Multiple sexualization of European males (the first instance is in the initial 20 seconds of the episode). Token African male porter, accented, overweight Indian female receptionist, mulatto male, Afropean policewoman, male African child nerd and Turkish immigrant family.

Hollywood Roundup I

Zombie Nation (2014): S01E01, European masculine superiority [Garnett (Tom Everett Scott) over African masculinity [Lt. Mark Hammond (Harold Perrineau)], Hammond plays a bagger vance, sacrificing himself for a European male so that another European male (Garnett) could replace him as alpha male in a world of predatory flesh-eating zombies.

The Goonies (1985): Executive producer Stephen Spielberg, Screenwriter Chris Columbus, Director Richard Donner, Sean Astin, Jeff Cohen, Corey Feldman, Within four minutes of the movie, the opening shot of Ke Huy Quan is as a gadget man (model minority), Quan is accented, called Data (seriously?) and fashions himself as the British character 007. Jewish character, Latina maid (Rosalita) who does not speak English.

Seventh Son (2014): An East Asian warlock, a South Asian warlock, an African warlock and an African witch, are all subservient to a stronger European witch. A younger witch states that her father was a gypsy and her mother a witch (why not a European witch?).

Unbroken (2014): Resilient European males in the face of Japanese male aggression. Screenplay by Joel and Ethan Coen.

 

Mervyn Alleyne on Race and Ethnicity

Mervyn C. Alleyne is a Trinidadian sociolinguist.

Race, then, is the socialized perception of phenotypical characteristics. These phenotypical characteristics constitute only one of the features recognized and used for human classification. Behaviour and customs (language, clothing, foods, religion) constitute another set of features and, together with race, provide the basis for ethnicity.

Racism intersects with ethnocentrism. Racism is the belief that phenotypical or alleged genotypical characteristics are inherently indicative of certain behaviours and abilities, and it leads to invidious distinctions based on a hierarchical order. Ethnocentrism is the belief in the superiority of one’s own culture.

When a people come to believe that their assumed superiority is based on a superior genetic pool, it is a pathological case of racism and ethnocentrism combined.

Western European languages are full of metaphorical expressions showing this semantic development of colour terms. In at least some cases, the affective associations and the metaphorical usage are clear and consistent. Yellow, for example, has a rather consistent association with cowardice and other kinds of pejoration in English (cf. yellow-bellied, yellow streak, the yellow press). According to Ferguson (1954, 268), in the Renaissance, yellow was used to suggest jealousy, treason, deceit. The traitor Judas was frequently painted in a garment of dingy yellow. In the Middle Ages, heretics were obliged to wear yellow. In periods of plague, yellow crosses were used to identify contagious areas.

Alleyne, M. 2005. The Construction and Representation of Race and Ethnicity in the Caribbean and the World. Kingston, Jamaica: University of the West Indies Press. Kindle Edition.