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Reblogged from seattlish  399 notes

The problem, it seems, is actually the blinders—the inability to engage meaningfully in the conversation. According to the white fragility model, because white folks have the choice to move through the world not thinking about race very often, our race-thinking muscles atrophy and we (unless we consciously do some hard work thinking about these things) can collapse under the slightest weight when it comes to talking about it. We start to sputter, and get defensive, and become angrily dismissive instead of staying calm and talking it out in a sensible way.


Brendan Kiley’s piece on the Slog is a really good summarization of the whole Mikado/racist theater situation and the unbelievably problematic response. 

Seattle is a city with a race problem — and white liberals denying it isn’t making it go away. 

It’s like we’ve said before — even if you don’t see it as offensive, that doesn’t mean it didn’t offend someone, thus making it offensive. 

Our motto, with this and all situations like it: Just say you’re sorry and try to learn something, rather than doing mental backflips trying to rationalize why someone else’s offense at your action was the wrong response. 

ALSO — and here is a sentence I never thought I’d ever, ever type — go read the Yelp reviews. For the first time possibly ever in the history of that godforsaken website, they’re actually really insightful. 

(via seattlish)
Reblogged from fyeahlilbit3point0  2,994 notes

This is cultural bias in effect. General (generally white) audiences never question why characters are white and blond. If a character could be white, that’s usually justification enough. Whiteness as default becomes logical and comfortable. Only non-whiteness requires an explanation.
Indeed, if a character is not white, some people will cry out that their racial identity is the product of political agenda-driven tampering. If a character is white, the same people will comfortably assume that he or she came out of the box like that.
It should be noted that we’re not even talking about the broad US census category of “white”, which covers people whose families hail from Europe, North Africa or the Middle East — including many people with tan, olive or ruddy skin.
In comics, whiteness is predominantly represented by the pale pink complexions of Northern Europeans — the color once problematically referred to as “Flesh” on Crayola crayons, until Crayola changed it to “Peach” in 1962. Real world white comes in many shades, but in comics all white people seem to trend towards hex color #FFCFAB. (Individual colorists may of course bring more nuance to their work, but how many white superheroes can you name who are consistently portrayed with bronze or olive-toned skin?)
Superhero comics don’t actually favor whiteness; they favor a subset of whiteness that borders on Aryan idealism. We ought to regard that as uncomfortably fetishistic, because it’s an aesthetic that the industry has chosen.
All fiction is manufactured. Authors make their worlds and choose what goes in them. It is always possible to contrive a fictional justification for a character looking whichever way the author wants, up to and including finding a way to make a white person the hero in a story about, say, feudal Japan, or ancient Egypt, or Persia during the Islamic Golden Age. A white hero is not the most likely scenario, but it’s always a possible scenario, so in that way it always becomes justified.
The decision to cast Michael B. Jordan as the Human Torch has been called out by message board posters as evidence of an agenda at work — but white heroes in these non-white settings are rarely called out as similar evidence of an agenda. It’s all artifice, it’s all contrived. Fiction exists in service to an author’s design. All fiction serves an agenda, whether it’s articulated or not.

By Andrew Wheeler, Radioactive Blackness And Anglo-Saxon Aliens: Achieving Superhero Diversity Through Race-Changing” (via fyeahlilbit3point0)
Reblogged from endsequence  3,032 notes
    Anonymous asked
    Is it more appropriate to use the term "white" or "caucasian"? I've seen reasons why both terms are bad, so is "white" the lesser of two evils?



    Totally honest explanation:

    In the US, white people like to use Caucasian instead of white because it sounds more neutral and scientific and it makes them less uncomfortable to think that they belong to a race, because they’re not used to racialization (they think of themselves as the default, and everybody else as racialized).

    A lot of POC will also use Caucasian simply because we know that white people don’t like to be called white. So we might use the word white ourselves, but if a white person is around, and we need to be polite to them, we’ll use Caucasian so they don’t get mad, but we think it’s kind of silly.

    Unfortunately, the word Caucasian is super inaccurate. There are a lot of people in the actual real Caucasus region many of whom have only tenuous white privilege in the US, especially Muslims. So using the word Caucasian to mean “white as determined in the US” leads to a lot of confusion for everyone. Honestly, though, because of our education system, most people who use the word “Caucasian” in the US are only dimly aware of foreign countries and don’t even know that a region called “the Caucasus” even exists. 

    There’s nothing wrong with using the word “white,” other than the fact that it makes many white people uncomfortable to be called white. It’s the simplest and most neutral word we have available in a limited toolkit. “Caucasian” as a racial descriptor is potentially racism-reinforcing and always inaccurate.

Reblogged from angrywocunited  3,168 notes


Post-racial America, guise.
It’s interesting. The media portrays white people as the “neutral” model that is supposed to allow anyone of any race feel like they can identify with that person, the character they play, what they’re selling, etc. BUT when the situation is reversed, looks like this white person can’t do it. I’m sure he’s not alone. The continued “othering” of black people.
What’s kind of funny is that his twitter profile says 

• Growing positively one step at a time •

Wonder there would be any growth from this? Prob not.

"I’m not racist but.."



Post-racial America, guise.

It’s interesting. The media portrays white people as the “neutral” model that is supposed to allow anyone of any race feel like they can identify with that person, the character they play, what they’re selling, etc. BUT when the situation is reversed, looks like this white person can’t do it. I’m sure he’s not alone. The continued “othering” of black people.

What’s kind of funny is that his twitter profile says 

• Growing positively one step at a time •

Wonder there would be any growth from this? Prob not.

"I’m not racist but.."

    smallswingshoes asked
    I was curious if you'd ever heard about the term "P.I.G.S."? It was a term used not too long ago by the U.S. government (from what I remember from class years ago; I might get details wrong) and it stood for "Polish Italian/Irish Greek Slovak." They were all groups of people who weren't considered white at the time. I found it interesting at the time because it distinctly occurred to me that many of the lines we draw are arbitrary bullshit. Your thoughts?


    The definition of “whiteness” in the United States has shifted over time in order to—you guessed it—protect the interests of people who benefit from “whiteness.”  Two noticeable expansions of the concept of [white] American-ness are the inclusion of poor white people after the Civil War and the inclusion of Irish/Catholic/Italian/Eastern Europeans, etc. after the Civil Rights Movement.   (Hmmmmmm…..)   The book How the Irish Became White is one of the more famous books on this topic.  

    Critical race theorists like to use the term “differential racialization” to label this phenomena.   They also note that race is a social construct:  ”categories that society invents, manipulates, or retires when convenient. ”

     Critical writers in law, as well as social science, have drawn attention to the ways the dominant society racializes different minority groups at different times, in response to shifting needs such as the labor market. At one period, for example, society may have had little use for blacks, but much need for Mexican or Japanese agricultural workers. At another time, the Japanese, including citizens of long standing, may have been in intense disfavor and removed to war relocation camps, while society cultivated other groups of color for jobs in war industry or as cannon fodder on the front. Popular images and stereotypes of various minority groups shift over time, as well. In one era, a group of color may be depicted as happy‑go‑lucky, simpleminded, and content to serve white folks. A little later, when conditions change, that very same group may appear in cartoons, movies, and other cultural scripts as menacing, brutish, and out of control, requiring close monitoring and repression.  (Delgado & Stefancic)

Reblogged from skeptictanks  14,246 notes

"Open Casting" does not exist


In my screenwriting class this week, my instructor explained that if you do not signify a race or ethnicity, your character will be assumed to be white. There will be no clarification, no one will ask you to explain, the director and casting agent will create a whites-only casting call for auditions.

This obviously isn’t news. We know that the default for Hollywood is white even though mathematically, according to the demographics of California and the entire world, this is laughably illogical. 

I asked him how you signify that you want open casting in your script for any race or ethnicity because you want the best actor for the character.

He didn’t understand and started talking about words like “eurasian” in the descriptive lines following your character’s introduction.

I explained that I wasn’t asking about how to denote racial ambiguity (which is another favorite of Hollywood), rather an actual open casting call that wasn’t limited to white and white passing people.

He said he had never come across this.

Never, in his entire decade+ career, had he ever come across an open casting call. 

So when people say shit like, “oh well maybe they just got the best actor for the role!”, they deserve to have their faces slammed into the nearest available surface.

Usually race/ethnicity are not specified but racially coded types (eg.  ”Girl Next Door”) are sent out.  Sometimes the casting people/writers don’t realize that these tropes are racially coded.

"PLEASE SUBMIT ALL ETHNICITIES" and "ALL ETHNICITIES WELCOME PLEASE SUBMIT" are sometimes used to advertise for roles that are open to seeing everyone.

The problem is that even when roles state that they want to see “all ethnicities” there’s been enough times where productions have said this and not meant it (or said this and cast a disproportionate amount of white actors anyway) that many agents and actors are jaded and no longer trust these casting calls.

Reblogged from omgbunnyz  8,210 notes

Where, for example, did the term Caucasian come from? Although many take it to be ‘real’ and don’t think about its racist connotations, the term has racist origins. It was developed in the late eighteenth century by a German anthropologist, Johann Blumenbach. He developed a racial classification scheme that put people from the Russian Caucasus at the top of the racial hierarchy because he thought that Caucasians were the most beautiful and sophisticated people; darker people were put on the bottom of the list: Asians, Africans, Polynesians, and Native Americans (Hannaford 1996). It is amazing when you think about it that this term remains with us, with few questioning its racist origin and connotations.


Margaret L. Andersen and Patricia Hill Collins, “Systems of Power and Inequality” (via wretchedoftheearth)

This is why I don’t say “caucasian” anymore.

(via lady-brown)

Also the category was pretty much a tool for the US government to keep POC from becoming citizens and supporting white supremacy.

(via omgbunnyz)

Reblogged from partiallythere  738 notes







reasons why everything about game of thrones is beyond repair

There’s so much I want to say, but I’m on my phone and typing is hard.


see this shit right here?

THIS is the shit we’re talking about.

Stay terrible, show.  

Protip:  ask for “ethnic” people for characters with names, too.

Excuse me, but what the fuck do they even mean by “ethnic” men? EVERYONE HAS AN ETHNICITY, RIGHT?!

    peaceloveandafropuffs asked
    I followed your link to mediatheage. They summarized your video as "Mike Le, founder of the media consumer organisation Racebending, talks about why the issue of Western actors playing Asian roles is so problematic." Do you find it problematic that they imply with their wording that White is synonymous with Western?


    Heck yes it’s problematic.

    (Sometimes, I think people are scared to say the word “white”—maybe because then it acknowledges that white privilege exists?)