What’s the first image that pops into your head when I say the word “refugee”?
For many, it will be that of displaced African villagers, perhaps with stomachs bloated from hunger, listlessly waiting in line for water in some desecrated wasteland.
For others, it might be more recent images: those of shivering, terrified Syrians, crammed into boats as they prepare to make a perilous voyage across the Mediterranean.
But how many would think of scenes like this?
No, that’s not the Balkans or Turkey or Darfour. That’s the Congregational Church of Austin in Texas, barely over a thousand miles from where I’m writing these very words.
The “American Immigration Crisis” has been quietly brewing since 2014, when a sudden surge of migrants- most of them young children– attempted to cross into the US from countries in Central America.
The response by many, as you can probably guess, was less than welcoming-
Across the Southwest (and the country at large), outrage was expressed over these “illegals”, the town of Murietta, CA perhaps serving as the best example. In July of 2014 buses carrying migrant families were protested in a manner that can only be described as repulsive- but I’ll let you watch for yourself and decide:
EDITOR’S NOTE: We end this year by each taking a look back and picking our five best posts, explaining both their importance to us and to the world we currently live in. Clicking the banner images will link you to each post, so as 2015 comes to a close join us in remembering how far we’ve come, but also how far we still have to go.
Somewhere in our collective history someone decided to depict God as a bearded, old human, dwelling in the clouds above. The trend caught on and has been going strong for the past couple millennia. As ubiquitous as this portrayal of the almighty has become, we argue that this imagery is the root of some of the worst theology (and art, music, and video) out there today, and how problematic it’s become for both the believer and non-believer alike.
Few images have so perfectly captured the abject and hellish misery of war than this year’s photograph of the body of Aylan Kurdi- only 3 years old. A would-be refugee from the ongoing conflict in Syria, Aylan and his brother drowned after an overcrowded boat capsized during a desperate attempt to reach Europe. The photograph evokes the deepest feelings of sadness for the dead and sympathy for the living- but crucially missing from the emotional equation is anger. Read on to discover why pity for refugees simply doesn’t cut it. Continue reading →
I believe that the defining characteristic of this nation was its unerring sense of moral conviction- that all we did was in the advancement of some great work set into motion by ages past. That every undertaking stemmed from the deepest confidence in the simple rightness of our cause.
This faith led us, countless times, to commit terrible acts that damn the conscious of the nation. Slavery and Wounded Knee. Manzanar and Kandahar. McDonald’s and McCarthy. It’s led to the popular image abroad of Americans as fundamentally arrogant; loudly voicing their opinions without being asked, demanding where they have no right, interfering where they have no business.
And it was this same faith that has pulled this nation back every time. Yosemite and Normandy. Harlem and Harper’s Ferry. John Muir and Eugene Debs. The faith that sent millions to these shores from every corner of the world and the same unabashed confidence that sent American music, art, film, and literature back.
In spite of our divisions and our failings- and they are neither minor nor few- we are united by the common belief that our cause is not merely just but justice itself, and that its triumph needs only ingenuity, passion, and will to be secured.
We make an effort here at Culture War Reporters to not only decry travesties but to celebrate advances in art, politics, music, and media. And in this day and age, the presence of an honest journalist isn’t so much an advancement as it is a flippin’ miracle. That such a journalist should emerge from the McCarthyite dystopia that is FOX News is more baffling still.
But lo and behold-
Shep ****ing Smith.
Now granted- Smith’s been around for a while. His career as a journalist started clear back in 1985, and Shep’s been a top-rated newsman since the mid-90s. Still, it would be a decade later, during the “war on terror” that a change seemed to occur.
What (if anything) prompted it, I do not know. When exactly it happened- who can say? Perhaps it had been building for a while, but whatever it was, Shep Smith frickin’ lost it.
In the best possible way.
Now that clip was from 2009, by which time the debate on America’s use of torture (“enhanced interrogation”, to use the official term for it) had already been going on for some time. Again, the exact causes of Shep’s outburst are a mystery to me, but it really doesn’t matter.
This, people. This is the kind of stuff we need more of. Continue reading →
Seeing how I love to pretend that binge-watching comedy sketches counts as research, I decided to follow up on last week’s post about Amy Schumer with a post about Key and Peele.
I find a lot of Schumer’s work funny because I can relate to it. It’s not quite the same with Key and Peele, since I am neither black, nor male, nor American.
Although sometimes their characters aren’t male either.
Even though I have little in common with Jordan Peele and Keegan-Michael Key, I do find their work hilarious. They do a variety of flawless impressions and have a much wider range than Schumer, who generally sticks to one (albeit very funny) schtick.
Like Schumer, they also take on some very serious social issues in their comedy. Since they are both half-black, Key and Peele often touch on the way racism affects the lives of black or biracial individuals. Below, I’ve included three racial inequalities that Key and Peele do a great job revealing via their sketches.
Key and Peele often subvert this “threatening black man” trope in their sketches. In “Flash Mob” and “White Zombies” Key and Peele play non-threatening black men who are mistaken as dangerous by the white people (or white zombies) around them.
Similarly, “Solution to Racial Profiling” mocks the racial double-standard that fames black youth in hoodies as “thugs” while their white peers are described as “misunderstood”.
One of their more serious sketches, “Negrotown,” addresses police violence directly, by imagining a world where police violence and racial profiling no longer existed.
I haven’t been this depressed about writing a post since the attack on Charlie Hebdo. Even as my fingers move across my keyboard I can feel my willpower just oozing right out of me. And it’s not that the issues here aren’t worth talking about- they absolutely are. It’s just that the whole affair has been so…
…pointless.
Let me just hit you with the hard facts before we jump into this morass of stupidity and futility.
This Saturday in Seattle Democratic-Socialist and presidential-hopeful Bernie Sanders was holding a political rally for his campaign. Shortly after beginning, a pair of protestors from Black Lives Matter (a nation-wide movement speaking out against police violence towards African Americans) climbed up on stage. The two protestors, for some twenty minutes, recounted grievances of the local black community and scolded Sanders for not having been vocal enough about police violence towards minorities. “…Join us now in holding Bernie Sanders accountable…” stated Marissa Johnson, one of the protestors.
Culture War Reporters 