On Ferguson: To be relevant is to be powerful
September 2, 2014

The murder of Michael Brown by the Ferguson Police creates an opportunity for millions of people to confront the tragic and mundane daily realities of White Supremacy and Anti-Blackness, which are part of everyday public and private life for so many people in this country. It is imperative to rethink the spectacle that has been created out of Ferguson, and to contextualize it within as many structural realities of racism that we can comprehend. 

In the past three decades, we’ve seen patterns of racist violence continue in America. Less than 25 years ago, we saw L.A. Police excessively chase and beat Rodney King, and the racially charged riots that followed. Now, we see Ferguson. Less than ten years ago, we heard “I am Oscar Grant” (after Oscar Grant III was fatally shot by BART police in Oakland). Now, we hear Ferguson. Less than 5 years ago, we saw the largest police department in the U.S.A employ racist Stop and Frisk Policing tactics, and the enormous campaigns that rallied against those tactics. Now, we rally around Ferguson. Less than 3 years ago, we saw millions of Black and Brown youth wearing hoodies declaring, “my skin color is not a crime,” in honor of Trayvon Martin. Now, we honor the memory of Michael Brown. And Ferguson. 

Less than a week after we saw protests in Ferguson, we saw the police killing Kajieme Powell just blocks away. 

This is not to compare the lives of our fallen brothers and sisters. May they rest in peace in a heaven of liberation. May their families know that their pain is important. It’s just as important as analyzing why local police departments get millions of dollars to purchase military weapons from the equivalent of the U.S. Military’s Goodwill Store, and analyzing why we don’t see the police kill White young people in the same way. These are two different ways of recognizing the trauma inflicted on those directly affected by White Supremacy; they are equally necessary in resisting the cruel and unusual force being used against People of Color by the U.S.A. 

We must look at Ferguson as another battle of resistance to make People of Color relevant to the redistribution of power in the United States. The 13th Amendment was a work in progress from when the first person was abducted from Africa and deposited as property, and not as a person, in the eyes of the United States of America. The implementation of the 13th amendment to end slavery is still in process. We need to recognize the difference between a true end to slavery and the mutations of slavery that we currently live in. 

The creation of capital through the killing of the Black body became slavery. During Reconstruction, a sense of solidarity grew between “freed” Black people and poor White people. Jim Crow made segregation laws to enforce that even the poorest White person was still not Black in the eyes of the U.S.A. 

The rise of mass incarceration has been driven by the same mechanism that drove slavery — the creation of capital through racism. The United States incarcerates more people than any other country in the world, and non-White people are incarcerated at rates much higher than White people for all crimes, especially non-violent and petty crimes. This all only took approximately 400 years to create in this country. Dismantling this reality is not only going to take a long time but will also require numerous acts of resistance. 

Public education likes to declare that the Civil Rights movement was a victory. In fact, 50 years after the Civil Rights Act, Black men are nearly right where they started economically, but with a very high incarceration rate. 

A person does not just end up in prison as an exchange for an alleged crime. Our incarceration rates start with police forces. 

Cops (Constables on Patrol), originated in the U.S.A. as brigades of (White) people who surveilled both public and private property and searched for “runaway slaves.” Slaves were considered property of a slave owner, and if they fled for freedom they were “runaway property.” Eventually, there was too much work for these private slave brigades so every level of government in this country began to fund these patrols. These patrols became police departments. 

The police were not established as a response to public safety. The police were not established to help people in bad relationships, or to solve problems between groups of people. The police were created as a response in order to protect property that was already stolen through the process of slavery, and keep it safe for self-declared slave owners. When a country is founded by slave owners and founded to declare their capital independent of Great Britain — when a country is built on slavery and colonialism — what else would be the plight of this country’s public institutions? 

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Cr: 李东海后援会海世代
Eng trans: elf_ninida


Rui to leave SCREW to pursue career as fashion designer

SCREW has announced that their bassist Rui will be leaving SCREW after their live at AiiA Theater Tokyo 2014/12/28. While the band will continue with 4 members, Rui will be ending all of his activities in music field. Instead he has decided to follow his dream of becoming a fashion designer.

Rui himself comments the matter in his blog as following.

"As announced, I will be ending my band activities together with my graduation from SCREW on 28th December. So, after this I will not be forming a new band or performing as a bassist from now on. I’m not leaving because of quarrels or anything, so I do feel lonely, however the people around us gave me a push, so I decided from now on I will live trying out things I want to do.

I’m not sure if I should say this now, but I would like to follow my old dream of becoming a fashion designer. I could not be more grateful to members and manager, company president and the whole staff of our artist office who understood my feelings and gave me the necessary push.”

We hope all the best to Rui and the other 4 members.

credit : musicjapanplus

Soviet-Style Punishment Dished Out to US Novelist for Writing Fiction


From the Dept. of Insane and Dangerous Overreactions to Fictional Threats:

A 23-year-old teacher at a Cambridge, Md. middle school has been placed on leave and—in the words of a local news report—”taken in for an emergency medical evaluation” for publishing, under a pseudonym, a novel about a school shooting. The novelist, Patrick McLaw, an eighth-grade language-arts teacher at the Mace’s Lane Middle School, was placed on leave by the Dorchester County Board of Education, and is being investigated by the Dorchester County Sheriff’s Office, according to news reports from Maryland’s Eastern Shore. The novel, by the way, is set 900 years in the future. 

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Exclusive! Production designer Michael Curry talks Diagon Alley’s “Tale of the Three Brothers”

In an exclusive interview with MuggleNet, production designer and award-winning artist Michael Curry opens up about bringing “The Tale of the Three Brothers” to life for the The Wizarding World of Harry Potter: Diagon Alley and hints at possible upcoming WWoHP projects.


Escobar: Paradise Lost, a Chapter 2 and Roxbury production, internationally marketed by Pathé International and distributed in the United States by Radius/TWC, will close the Pearls section of the 62nd San Sebastian Festival.

Written and directed by Andrea di Stefano, the film stars Academy Award-winner Benicio del Toro as Pablo Escobar, Josh Hutcherson (Hunger Games), Claudia Traisac and Carlos Bardem.

Benicio del Toro has confirmed that he will come to San Sebastian to present the film and receive the Donostia Award for his whole career. Josh Hutcherson, Andrea Di Stefano and Carlos Bardem will also attend the Festival.

Everything Is Everything: Dean Blunt Wire Feature Outtakes by David Keenan

On N-Dubz

“I like some mainstream pop, man. N-Dubz. But only N-Dubz’ 2nd album, it’s tight.” Tulisa is hot, man. “Slamming. Totally slamming. Slamming.” Who’s the wee midget guy that looks like hell? “Dappy, yeah Dappy. I really like watching them in the studio, they’re really good, N-Dubz in the studio, I like his production techniques, Dappy in the studio, they’re real producers man. I really rate them. N-Dubz are serious. They tried. They tried. I think it’s the second album, it’s got a song called ‘Wouldn’t You’ on it. It’s fucking heavy, so euphoric. But I think that’s when they were on the yay hard, like proper on it. That’s always the best album, when the coke gets in, when that advance clears, before my coke hell, the early bit. It’s when you just keep going, like, yeah, king of the world! Yeah, yeah!”

On the gentrification of Hackney

“People that complain about gentrification are usually the fuckers that are gentrifying the place!” Yeah, you know that your hood is finally gentrified when Ultra-red move in and start protesting about gentrification. “They’re the worst symptom of it! 100%. I know for a fact I much prefer to have my trainers on and keep em on, know what I mean? I much prefer this life than the life I used to have. Its way closer to NY in a way now cause there is this blend of different vibes. At first people moved away now everyone has come back, London Fields is like that now. Once in London Fields, one Saturday, when it’s packed, there was a shoot out, everyone got sprayed. No one got shot but they sprayed up a bench and everyone started running. People should understand that this all has to co-exist, everyone has to somehow be around each other. It is nice if everyone doesn’t get fucked with too much. Like innocent people. I’ve never been opposed to gentrification, I just don’t like pricks in my area but you know what, there were always pricks in my area! Those that want to glorify what it used to be should come out and hang on Downs Road when Derek Bailey used to be about there. Ask Karen Brookman and she will tell them exactly what it was like, speak to Gen or Chris & Cosey, you know. They would really explain what it was like. It was not a fun fucking place man. Well, it was fun but in a different kind of way. Everything is everything, we just have to accept that some things have to be there, irrespective of our liking of them or otherwise.”

On Jandek

“I went to check out the sound at Cafe OTO to see if it would work for Free Jazz and it happened that Jandek was playing. I had to get out. I wasn’t feeling it in any way. I didn’t like the girl who plays with him now. I couldn’t even sit through it. I had to step. I asked my friend and the next night she was still there, still on stage. Damn. She’s still there man, she’s still there. Oh, shit. That’s some groupie gone wild shit right there.”

On the underground

“What is underground? What does underground have to do? I thought underground was kind of economics or an ethos. I don’t get how now if you use a picture of a beautiful woman it immediately must be or becomes a critique. So that means it has to look bad for the underground or ugly? Why can’t it just be a good looking woman on an underground record who looks fine? Why is there a value system that’s all twisted like that? Because who doesn’t want to see a beautiful woman? The underground thinks that they stand against mainstream values so you stand accused of putting a conventionally beautiful woman on the sleeve. The underground practice mainstream values the same way the mainstream practice it. In fact they practice mainstream values more shrewdly. Because it hasn’t got the fucking money. So actually the underground can kiss my arse. The underground doesn’t know what it is talking about. That’s why I have no time for it. Cause it’s doing the same shit and it is fooling way more people.”

On social media

“I’m not really on the net, I don’t fuck with social media, it’s just too cloudy. I think that people are not evolved enough to deal with that shit. They’re not evolved enough to deal with that shit with their egos and I think that people, some people are best away from it. Not everyone is quite built for it and it really came like a ton of bricks and everyone embraced it and it has fucked a lot of people up. As far as what I’m doing and keeping things as pure as I can, I try to stay away from any of that. I don’t want to hear a whisper, I don’t get involved.” But that’s how dull things have become, that even the fact that you choose not to have an on-line presence is seen as some kind of deliberate statement. “This is what I’m trying to say. Nothing is that big a deal. I just don’t want to be on-line. I just want to put out material. I don’t see why that says anything necessarily other than the fact that I don’t wanna be there. It’s not for me. I don’t know why that has to become a part of the modern artist that I need to take on, like, when a promoter asks you can you make me a mix, can you come and do this thing, that’s the thing they’re meant to be promoting! So now I’m doing your job for you yet I’ve got to go and play as well so now I’m doing double the work but still the bullshit? Once again it shows how everyone’s craft has dropped yet artists need to take on more shit. More responsibilities, it’s ridiculous.”

Read the full Wire feature here: http://www.thewire.co.uk/archive/issues/367

photograph by David Keenan