Barack is a diplomat, a compromiser, a true organizer of ideas and solutions.
Barack has defeated all major obstruction to his agenda.
Barack has created a legacy to rival all past 43 POTUS.
Barack “Don’t Bluff.”
Barack is the epitome of Republican family values. RepubliCANTS are NOT.
Barack supports and fights for a Woman’s right to choose abortion and a right to choose her own health care options.
Barack is all powerful with Joseph Robinette “Joey B.” Biden, Jr. as his Vice President.
Barack supports Immigration Reform.
Barack IS A Black Man. (did I mention this?).
Lastly…..”Let’s Celebrate!“ A Very “Happy you will never be Presidents’ Day” to: Ron Paul, Rand Paul, Paul Ryan, Marco Rubio, Mitt Romney, Chris Christie, Lindsey Graham & John McCain.
Suspect used racial slur before striking fellow passenger’s son
FEBRUARY 15–After demanding that the mother of a crying toddler “shut that nigger baby up,” a male passenger allegedly slapped the 19-month-old across the face as a flight prepared to land in Atlanta last Friday evening, The Smoking Gun has learned.
In an interview, Hundley denied striking the toddler or using a racial slur, though he did acknowledge that he “asked the mother to quiet the child.” Hundley, who said he was traveling to Atlanta to visit a hospitalized relative, described himself as “distraught” on the flight, during which he said he consumed a single alcoholic drink.
As detailed by FBI Agent Daron Cheney, Hundley was traveling to Atlanta from Minneapolis in seat 28A on the MD-90 twin-engine jet. He was seated next to Jessica Bennett, who shared seat 28B with her son Jonah.
Bennett, 33, told investigators that the “aircraft was in final descent” to Hartsfield-Jackson International Airport when her child “started to cry due to the altitude change.” Bennett added that she “was trying to get [her son] to stop crying, but he continued.”
At this point, Bennett recalled, Hundley used the racial epithet as he told her to shut the child up. He then allegedly “turned around and slapped” the toddler in the face “with an open hand, which caused the juvenile victim to scream even louder.” The slap, Bennett said, “caused a scratch below [the child’s] right eye.”
After Hundley hit the child, Agent Cheney reported, Bennett received assistance from several other passengers, including Todd Wooten, who was in seat 16C. Wooten told agents that he “heard derogatory language coming from the rear of the aircraft” and got up to investigate. “According to Mr. Wooten,” Cheney noted, “he saw Joe Rickey Hundley strike” the toddler.
Bennett told TSG that she believed Hundley was intoxicated when he boarded the plane, adding that he “reeked of alcohol” and was “stumbling around wasted.” Bennett, who was traveling to a family funeral, said that Hundley drank several double vodkas during the two-hour flight and complained to her that her adopted son, seen at left, was too big to be a “lap baby.” Bennett’s Facebook profile photo shows her holding Jonah when he was a baby.
Hundley was charged this week with simple assault, according to a criminal complaint filed in federal court in Atlanta. If convicted of the misdemeanor count, he faces a maximum of one year in prison.
According to Virginia state court records, Hundley was arrested in 2007 following a fight with his girlfriend. Initially charged with simple assault, carrying a concealed weapon, and public intoxication, Hundley subsequently pleaded guilty to the misdemeanor assault rap. Hundley told TSG that the weapon he allegedly brandished was a wine corkscrew.
Ok, you know where I’m going with this. Had this racist caucasian cracka slapped MY child, I would have chocked his ass OUT on this plane and I would probably have gotten life….cause he would have died.
Lorraine Hansberry was the youngest of four children of Carl Augustus Hansberry, a successful real estate broker, and Nannie Louise Perry. In 1938, her father bought a house in the Washington Park Subdivision of the South Side of Chicago, violating a restrictive covenant and incurring the wrath of many neighbors. The latter’s legal efforts to force the Hansberrys out culminated in the U.S. Supreme Court‘s 1940 decision in Hansberry v. Lee holding the restrictive covenant in the case contestable, though not inherently invalid.
Hansberry attended the University of Wisconsin–Madison, but found college uninspiring and left in 1950 to pursue her career as a writer in New York City, where she attended The New School. She worked on the staff of the black newspaper Freedom under the auspices of Paul Robeson, and worked with W. E. B. DuBois, whose office was in the same building. A Raisin in the Sun was written at this time, and was a huge success. It was the first play written by an African-American woman to be produced on Broadway. Aged 29, she became the youngest American playwright and only the fifth woman to receive the New York Drama Critics Circle Award for Best Play. While many of her other writings were published in her lifetime – essays, articles, and the text for the SNCC book The Movement, the only other play given a contemporary production was The Sign in Sidney Brustein’s Window.
In 1961, Hansberry was set to replace Vinnette Carroll as the director of the musical, Kicks and Co, after its try-out at Chicago’s McCormick Place. It was written by Oscar Brown, Jr. and featured an interracial cast including Lonnie Sattin, Nichelle Nichols, Vi Velasco, Al Freeman, Jr., Zabeth Wilde and Burgess Meredith in the title role of Mr. Kicks. A satire involving miscegenation, the $400,000 production was co-produced by her husband Robert Nemiroff; despite a warm reception in Chicago, the show never made it to Broadway.
Death
After a battle with pancreatic cancer she died on January 12, 1965, aged 34. Hansberry was prescient about many of the increasingly troubling conditions in the world, and worked to remedy them with literature. Baldwin believed “it is not at all farfetched to suspect that what she saw contributed to the strain which killed her, for the effort to which Lorraine was dedicated is more than enough to kill a man.” Hansberry’s funeral was held in Harlem on January 15, 1965. Paul Robeson gave her eulogy. The presiding reverend, Eugene Callender, recited messages from James Baldwin and the Reverend Martin Luther King, Jr. which read: “Her creative ability and her profound grasp of the deep social issues confronting the world today will remain an inspiration to generations yet unborn.” She is buried at Asbury United Methodist Church Cemetery inCroton-on-Hudson, New York.
Other works
The Sign in Sidney Brustein’s Window ran for 101 performances on Broadway and closed the night she died. Her ex-husband Robert Nemiroff became the executor for several unfinished manuscripts. He added minor changes to complete the play Les Blancs, which Julius Lester termed her best work, and he adapted many of her writings into the play To Be Young, Gifted and Black, which was the longest-running Off Broadway play of the 1968-1969 season. It appeared in book form the following year under the title, To Be Young, Gifted and Black: Lorraine Hansberry in Her Own Words. She left behind an unfinished novel and several other plays, including The Drinking Gourd and What Use Are Flowers?, with a range of content, from slavery to a post apocalyptic future.
Raisin, a musical based on A Raisin in the Sun, opened in New York in 1973, winning the Tony Award for Best Musical, with the book by Nemiroff, music by Judd Woldin, and lyrics by Robert Britten. A Raisin in the Sun was revived on Broadway in 2004 and received a Tony Award nomination for Best Revival of a Play. The cast included Sean “P Diddy” Combs as Walter Lee Younger Jr., Phylicia Rashad (Tony Award winner for Best Actress) and Audra McDonald (Tony Award winner for Best Featured Actress). It was produced for television in 2008 with the same cast, garnering two NAACP Image awards.
Legacy
Hansberry contributed to the understanding of abortion, discrimination, and Africa. She joined the Daughters of Bilitis and contributed letters to their magazine, The Ladder, in 1957 that addressed feminism and homophobia. Her lesbian identity was exposed in the articles she wrote for the magazine, but she wrote under the initials L.H. for fear of discrimination against a black lesbian.
In San Francisco, The Lorraine Hansberry Theatre, which specializes in original stagings and revivals of African-American theatre, is named in her honor. Singer and pianist Nina Simone, who was a close friend of Hansberry, used the title of her unfinished play to write a civil rights-themed song “To Be Young, Gifted and Black” together with Weldon Irvine. The single reached the top 10 of the R&B charts. A studio recording by Simone was released as a single and the first live recording on October 26, 1969 was captured on Black Gold (1970).
If you are young gifted and black this song should really empower and inspire you to reach higher heights. Donny sings from his soul. When this world gets me down I put on some Donny and get inspired to keep moving forward. Enjoy it folk.
“To Be Young, Gifted and Black” was first sung by Nina Simone and recorded on her 1970 album Black Gold. The song was written by African-American composer, Weldon Irvine, in remembrance of Simone’s friend, Lorraine Hansberry, a “young, gifted and Black” author and playwright. Hansberry’s A Raisin in the Sun was the first play written by an African-American woman to be produced (1959) on Broadway. Her last play, To Be Young, Gifted and Black, was produced in 1969, five years after she transitioned on January 12, 1965 at a mere 34 years old.
The song “Young, Gifted and Black”, sung by Simone, was considered a Civil Rights anthem. Born Eunice Kathleen Waymon on February 21, 1933 in Tryon, North Carolina, Simone was christened the “High Priestess of Soul” by her fans. Simone herself was “young gifted and Black”, considered a child prodigy playing the piano as a four-year-old and studying classical music at the Juilliard School of Music in New York (1951) when she was in her last year of high school.
Simone won an international following during the 1960s Civil Rights movement with several protest songs including “Why (The King of Love Is Dead)”, a tribute to civil rights leader Reverend Dr. Martin Luther King, Jr., which she wrote the day King was assassinated and “Mississippi Goddam”, a tune about the plight of African-Americans, which she wrote and recorded after four African-American girls were killed when a White man bombed an African American church in Birmingham, Alabama.
In her 1992 autobiography, I Put a Spell on You, Simone describes her feelings at the moment she heard of the bombing of the church and her decision to write a song to express those feelings: “I was sitting there in my den on September 15 when news came over the radio that somebody had thrown dynamite into the 16th Street Baptist Church in Birmingham, Alabama while Black children were attending a Bible study class. Four of them had been killed. Later that day in the rioting which followed, Birmingham police shot another Black kid and a White mob pulled a young Black man off his bicycle and beat him to death out in the street.
“It was more than I could take and I sat struck dumb in my den like St. Paul on the road to Damascus: all the truths that I had denied to myself for so long rose up and slapped my face. I suddenly realised what it was to be Black in America in 1963 – it came as a rush of fury, hatred and determination. I sat down at my piano. An hour later I came out of my apartment with the sheet music for ‘Mississippi Goddam’ in my hand. It was my first civil rights song and it came out of me quicker than I could write it down. I knew then that I would dedicate myself to the struggle for Black justice, freedom and equality under the law for as long as it took, until all our battles were won.”
Although Simone was known as the “High Priestess of Soul”, her repertoire included African songs, blues, gospel, jazz and pop music. In spite of her popularity internationally she suffered racism in her homeland and to escape it and the White supremacist culture of America, she fled the U.S. to live in distant places including Barbados, Liberia, Paris, Switzerland and the Netherlands before moving to Bouc-Bel-Air, near Aix-en-Provence in the south of France, where she transitioned on April 21, 2003.
Her work has been sampled by younger African-American artists including Talib Kweli who sampled “Sinnerman” on his 2002 released “Get By” and Timbaland on his 2007 released “Oh Timbaland.” Simone’s song, “Don’t Let Me Be Misunderstood”, was sampled by Devo Springsteen on “Misunderstood” from Common’s 2007 album Finding Forever and by producers Rodnae and Mousa for the song “Don’t Get It” on Lil Wayne’s 2008 album The Carter III. The song “See-Line Woman” was sampled by Kanye West for “Bad News” on his album 808s and Heartbreak.
The sampling of Simone’s songs by members of the younger generation may not be protest songs but Weldon Irvine who wrote “Young, Gifted and Black” for Simone a generation ago kept the protest song genre alive for another generation. Irvine produced “The Amadou Project: The Price of Freedom” ensuring that Black music in the 21st century can continue to raise the issues that affect our community.
In reaction to the news of the acquittal of the four New York policemen who had killed unarmed African immigrant Amadou Diallo (firing 41 times), Irvine produced “The Amadou Project”, a collection of songs dedicated to Diallo in 2002. The 24-track presentation includes offerings from Q-Tip, Talib Kweli and Mos Def rhyming on the song “Make It All Better”. This is reminiscent of Simone’s reaction to the 1963 bombing of the 16th Street Baptist Church and the killing of the four African-American children which led to the writing of “Mississippi Goddam”.
The compilation of songs on the Amadou Project is just one reminder that there are now billions of our young people who are “young, gifted and Black.”
The murder of unarmed African-American teen, Trayvon Martin, on February 26 is a reminder that even in the 21st century we still have a long way to go to ensure justice is served when members of our community are injured or killed.
To be young, gifted and Black is still “where it’s at!”
The school is renowned for it’s quality education. While visiting with students, parents, and administrators, Obama gave a speech where he praised the value of early education. This is all common-sense stuff except to those pushing starve-the-beast austerity type measures that hurt the underprivileged and disenfranchised.
The highlight of the trip, though, was the right reaching an all time low… by shouting racial epithets outside of an elementary school!
It’s apparent to everyone by now that the so-called Tea Party will protest anything that Obama supports. Education for young child? Protest! So perhaps it wasn’t surprising that a sizable crowd formed in protest. The signs featured are the usual hodge-podge of illiteracy and ignorance. However, what happened at the end of the engagement is what should really turn your stomach.
As Obama was prepared to leave, the protesters, riled up by a speaker with a megaphone, began to shout epithets at our Commander-in-Chief.
Never mind that there were children there, being exposed to the hate, bigotry and ignorance that the American right has to offer. The administrators scrambled to shoo the children away, though undoubtedly some had heard the hurtful words that they were shouting.
I have a couple of sources at the engagement and I am working to get more information. To my knowledge, no one was arrested, though several people were trespassed off of the property. As I hear from the school coordinator and a friend who attended the event, I will update this diary with more information.
Thank you Mr. Nathaniel Patterson (cause leader), for this information.
Makes you wonder what type of nation we live in where the citizens disrespect the leader of said nation because he has a skin tone darker than their own.
Makes me wonder even more, why the main (lame) street (sewer) media (jokes of journalism) didn’t have this story lead it’s evening newscast?
Amazing to me that caucasian racist trash, can fix their mouths, full of broken teeth and chewing tobacco, to yell nigger at the man who makes it possible for them to live in their trailers, get computers from Rent-A-Center, and enjoy a dinner of Possum Stew every other Tuesday.
“I just walked in the door after seeing the movie. I highly recommend it. I will be buying the dvd when it comes out so I can see it whenever I want to. I appreciate your assessment…it’s right on target.
The word nigger was appropriate and the over play on the word was intentional because that’s all they called slaves back in the day…nigger this and nigger that. Fetch me some water, nigger. All the way through to today, the word nigger is still used in white circles. Yeah, you better believe that because it’s true. And the way blacks are STILL being treated says if they aren’t saying it, they’re thinking it. But as you said, Jueseppi, it’s only a word.
And I am more concerned about the racism still going on, more blacks in prison than whites for petty crimes in comparison, difficulty getting a job, inability to get loans, and getting loans at higher rates of interest. There’s a modern day slavery going on and it’s in high gear. On and on it goes.
While this was fiction, art imitates life. This was the first movie to show in this way the brutal whipping of slaves, dogs eating slaves, throwing slaves in holes for punishment like animals, cutting off slave penises, burning slaves like cattle, letting them fight to the brutal kill like pit bulls, and uncle toms (played perfectly by Samuel L.).
That is the message that should stay with viewers more than anything else: the gross, ungodly, horrendous horrors endured by the slaves for hundreds of years. I’ve seen whites laugh at blacks for fear of water and dogs. You saw why blacks are afraid of dogs. Did you know whites fed black babies to alligators to lure the gators on land so they could kill them for their skins?
Tarantino’s brilliant movie did what Tim Wise and many authorities on racism could not do: he showed in the most shocking fashion what slavery and racism has done to African Americans and brings to mind the dynamics of fears, hate, anger and psychological trauma that has been done to these people and the nation. When you consider that racism is alive and thriving today, it’s as if slavery never went away and the wounds have never healed.
It also shows the legacy of lust for blood, domination, cruelty, power and more in certain whites, and how that filters throughout society and molds a consciousness from the very rich at the top, to the poorest of poor at the bottom. Our society today STILL is affected by that sick consciousness, and we see it played out every single day in politics, media, employers, family, churches, everywhere. When Django blew up that house of horrors at the end of the movie, I could not help but wish we could do the same with controlling faction of this nation.
As I walked out of the theater tonight, I listened to hear what viewers were thinking. One white man told his family, “I’ll never seen another Tarantino movie again. Too much blood for me!”
I could only wonder how many westerns he’s seen over the years with Indians getting killed, how many Clint Eastwood and Bruce Willis movies he’s seen and sat through all the blood and killing.
This movie’s time has come.”
Thank you CADESERTVOICE for your honest assessment of Django Unchained, and how it relates to America’s racist ideology today.
This sentence from your comment says it all for me….”As I walked out of the theater tonight, I listened to hear what viewers were thinking. One white man told his family, “I’ll never seen another Tarantino movie again. Too much blood for me!”
This caucasian is actually saying the movie shamed his racist ass into facing his own racist beliefs head on, he was forced to look into the mirror of self hatred and acknowledge his very own deep seated fears of evil wrong doing by his race and culture, against fellow human beings of the human race. He looked into the abyss of his soul & heart and hated what he saw.
I too saw the movie this afternoon….I’m a matinée man, films today just cost way too much to go see them after the sun goes down.
You are absofuckinlutely correct CADESERTVOICE…Django Unchained is a film whose time has come.
Quentin Tarantino had the balls to make Django Unchained, Thank you Mr. Tarantino.
Spike Lee had the balls to criticize Django Unchained.
RT @CosimaZehring: @MrMilitantNegro At least you seem to channel your anger into being productive. I just seethe. Hopefully, you give your …Still A MilitantNegro 10 hours ago
Jueseppi B.
