Joe Scarborough Is A Glib White Guy With A Corporation Stuck Up His Ass

6 Apr

Video Games Dont Cause Violence - Violence Leads to ViolenceLet’s talk about violence.

Campbell Brown appeared on today’s Morning Joe to promote her campaign against violence in entertainment media.  But while she made some solid suggestions, it was Joe Scarborough who took matters a quantum leap further, calling Quentin Tarantino “a pornographer of violence.”

JOE SCARBOROUGH:  What would be a lot more effective if if arbiters of what is culturally acceptable would start treating people like Quentin Tarantino like the pornographer that he is. Here’s a guy right after Newton that was as unbelievably insensitive as anybody in the NRA. The things he said afterwards: just as insensitive. And yet, this man was the toast of Hollywood. Despite the graphic violence in all of his movies including the last on, that again was just praised to high heavens. He is a pornographer of violence. He has made hundreds of millions of dollars for people in Hollywood by being a pornographer of violence, by coarsening America’s culture, by bloodying America’s culture. and yet he is still praised. When are we culturally going to start calling out people like this?

No, real violence. I’m talking about “stop and frisk”.

In 2011, 88 percent of all stops and frisks did not result in an arrest or a summons being given. Blacks and Latinos made up 84 percent of all those stopped, although they make up respectively 23 and 29 percent of New York City’s total population. Furthermore, NYPD officers are more likely to use physical force against Blacks and Latinos during stops; in 2011, the NYPD used force against Blacks 76,483 times, and only 9,765 times against Whites.

Any policy based solely on subjective bias is a bad policy. Officers’ definitions of “reasonable suspicion” vary widely, so this law gives individuals the power to stop and frisk according to their own biases. In a New York Times study that analyzes the Stop and Frisk policy between 2006-2010, the cited reasons for NYPD stops varied from “furtive movement” (44.1% of all stops), “fits description” (16.7%), and “Other” (20.2%) – all of which are reasons which are very general and subjective.

While other statistics show that the majority of stops and frisks occur in communities with the most violent crime rates, such as Brownsville in Brooklyn, the practice creates more friction, mistrust, and fear of authority (specifically the NYPD) than it actually stops crime. These same communities that are being targeted by the stop and frisk policy are the most disenfranchised, the ones with the least economic resources, and those who are already scarred by systematic racial profiling and major incidents of police brutality. Needless to say, there is an abundant amount of literature and various studies that link poverty and crime and could help provide the foundation for a better, alternative policy.

Over the past 10 years, the number of violent crimes reported in New York City dropped nearly 20%. Despite this information, Stop and Frisk rates continue to grow rapidly. According to NYCLU data there was a 14% increase in stops and frisks between 2010-2011, which is striking compared to the increase in 2009-2010 of 3.4%.

The Good Kind of ViolenceShow me a movie that even tries to represent the reality of violence in America! It can’t, because the accumulated experience of millions of real Americans everyday cannot be depicted in a two-hour flick. But, one shot of John Wayne or hooded riders limned against a full moon can warp a white boy’s dreams. Does Scarborough’s sainted section of “Hollywood” cater to white racists with caricatures of non-whites who scare white folk?

Scarborough represents one sector of corporate media attacking another, asking the public not to patronize movies and buy video games, so that another company can step in to make a John Wayne clone for younger bigots, or devise a kinder, gentler video game where white guys have a “good” reason to kill “others”.

This is the question I always have whenever filmmakers practice racism by appropriating stories from/inventing stories about POC: if this is a fantasy, if this is creative fiction, then why is racial oppression an inevitable and nonnegotiable reality? It seems the facts of white supremacy must remain true to life when any number of ridiculous things—a German bounty hunter disguising himself as a dentist, or a white woman writing the memoirs of Black maids—are unlimited in their fabrication. These fantasies are about good white people who grant some form of freedom to unusually talented characters of color, lending more attention to the Great Emancipator Complex than to well-developed and substantive roles for POC. As long as audiences are somewhat comforted by this, and equally entertained, one of the most gruesome tragedies in human history can be easily converted into a disgraceful and campy bloodbath. It is a filmmaker’s “right” to do so.

I like those film-makers who post their violent videos on Twitter and Facebook – you know, the ones beseeching white cops to leave them alone and preaching to the choir of “other-ed” victims.


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