Monday, January 9, 2017
HEATHER Mac DONALD - A WINDOW INTO A DEPRAVED CULTURE - BLACK AMERICA'S VIOLENCE, HATE, RACISM AND SELF-DESTRUCTION
June 20, 2018
The left says that certain kinds of bigotry are okay. Racism isn't always wrong. There's hate that punches up and hate that punches down. Punching up is the essence of intersectionality.
Like this latest hate crime.
A black woman declared her disdain for "white people" before pummeling two white passengers on board a moving Ride On bus, Gaithersburg Police said.
Kimberly Jordan, 24, of Silver Spring, is charged with racial harassment, obstructing and second-degree assault due to her alleged offensive and physically painful antics.
Jordan allegedly began to stare at two white passengers and then murmured, "I hate white people." A short while later, Jordan, who weighs 250 pounds, reportedly stood up and clocked the female white passenger in the face. The male white passenger attempted to defend his friend, but got smacked in the face as well, police state.
The male victim suffered a "long" cut to this nose while the female victim had a number of scratches on her palms, likely defensive wounds.
There's the usual profile.
According to court documents, Jordan was unemployed and lived with her grandmother at the time of her arrest. She has a lengthy arrest record for charges like theft, burglary, destruction of property, assault and domestic violence.
So how long until Jordan becomes a contributor to The Root?
Violet racism is created equal through its sheer reality. Physically attacking someone has the same impact regardless of race. And yet the left vocally denies the existence of black racism. And denies its end results. This isn't an aberration. We've seen Black Lives Matter racial harassment and violence. We've seen the murder of police officers in New York and Dallas. But this is a more everyday kind of violence. And anyone who has spent enough time riding the New York City subway system has encountered this kind of behavior already. It's just a form of racial that no one is allowed to talk about.
But if we're going to have that national dialogue, that needs to change.
On Monday, an eyewitness video obtained by TMZ circulated on social media, showing Jahseh Onfroy, better known as the artist XXXTentacion, slumped in the driver’s seat of his black BMW outside of a motorcycle dealership in Deerfield Beach, Florida. The Broward County Sheriff’s Office confirmed that Onfroy had been shot in broad daylight. He was confirmed dead at a local hospital a short while later. The killers made off with a Louis Vuitton bag. (On Wednesday night a twenty-two-year-old suspect was arrested and charged with first-degree murder.)
Onfroy lived his short life chaotically, violently. And his jagged confessional music, which enraptured millions, sprang nakedly from that violence. Usually, when musicians die as young and as tragically as Onfroy, they are the subject of hagiography. We lament the beauty gone, think forlornly of the future art the cruel present has stolen. The death of Onfroy and that of Lil Peep, in November of last year, are alarming signs of the recklessness governing the new-money life styles of certain young Internet celebrities, who are the inheritors of America’s dangerous crises of mental health, drug abuse, and masculinity. But reflecting on Onfroy’s legacy also requires a frank confrontation with the malignity he inflicted.
Onfroy was born in Plantation, Florida, in 1998, and raised in Broward County, primarily by his grandmother. His mother was a teen-ager when she had him, and she drifted in and out of his life, bringing lavish gifts and leaving sizable voids. Onfroy said, in an interview with the podcast “No Jumper,” in 2016, that he would instigate fights in grade school as a ploy to get her attention. In a recent interview with the Miami New Times, he told the reporter Tarpley Hittthat his mother once gave him permission to retaliate against a female classmate who was hitting him as a form of juvenile flirtation. In response, he “slapped the shit out of her and kneed her.” Onfroy said that his mom was surprised; she “realized how seriously I took her.” Later, he would get her name—Cleopatra—tattooed on his chest.
Onfroy spent his late childhood and adolescence in and out of juvenile-detention centers, for charges ranging from robbery to assault. He spent the rest of his time in the basements and studios of friends, where he assembled the scraps and fragments of his psyche into paeans to disaffection, to his depression, to Xanax and the numbing it brought, and to women, whom he viewed as devourers of his soul. (“Only time I feel pain, when I’m feelin’ love.”) He started uploading music to SoundCloud, in 2013. His early songs were howls, his rapping agile but his voice cracked; the production was bruised and unpolished. Onfroy seemed to add to his catalogue impulsively. By the time of his death, he’d made loosies, mixtapes, a smattering of features, and two albums, including “?,” which débuted at No. 1 on the Billboard charts.
Among the ranks of the SoundCloud rap generation, there are pranksters, heartthrobs, and dilettantes, but Onfroy clawed to the surface as the genre’s wretched bard. He stalked the shadows of metal and emo and punk rock, and fleeced rap of its devotion to materialism, focussing instead, obsessively, on existential crisis. There wasn’t a dark thought that he kept hidden. He unleashed a tremulous bombardment of pessimism, occasionally interrupted by feral gestures of overwhelming helplessness. “Here is my pain and thoughts put into words. I put my all into this, in the hopes that it will help cure or at least numb your depression,” he speaks, on the introduction to his first album, “17.” He peddled the seductive notion that depression is license to hurt people, perhaps because it was his own personal justification. He wrote ditties threatening suicide if a partner left him, which I would hear blasting from cars on my block. Throughout his music, there are presages to an early death.
Onfroy purposefully collapsed the real-life pain he wrought on others into his artistic persona. The art for “Look At Me!,” a breakout single, featured one of his mugshots. It climbed the charts while he was in jail on charges of false imprisonment, witness tampering, and the assault and battery of a pregnant woman, his former girlfriend. (When she established a GoFundMe campaign for an operation to fix her broken orbital socket, people calling themselves XXXTentacion fans targeted her until the Web site temporarily shut it down.) To promote his music on “No Jumper,” Onfroy bragged about beating a gay peer at a detention center until they were both covered in blood. XXXTentacion lived his art, which some would call a mark of authenticity. He was admired by J. Cole and advocated for by Kendrick Lamar, whose label, TDE, threatened to remove its music from Spotify when the service briefly stopped promoting XXXTentacion on its playlists as part of its policy against hateful conduct. Many artists have memorialized him in recent days, including Kanye West, whose own new album, “Ye,” includes disturbing musings (“I thought about killing you”) that sound influenced by XXXTentacion. Onfroy’s victims are sacrifices, the thinking goes, on the pyre of raw art. The immaturity is part and parcel of the genius. The only unforgivable thing would be to be a hypocrite.
In remembrances of Onfroy in recent days, some have argued that, however grossly misguided his behavior, he provided his listeners with invaluable solace and understanding. Even that is a simplification. He could be strangely encouraging, uploading inspirational homilies to fans he knew were struggling with issues of mental health, which his followers have clung to in the days since his death. (“If I’m gonna die or ever be a sacrifice, I want to make sure that my life made at least five million kids happy,” he said in an Instagram Live video posted late last year.) But he could also be despotic. At the Rolling Loud Festival in California, in 2017, he beat one fan with a microphone. On Instagram, he taunted people who challenged him about domestic violence. Last year, in an episode of particularly cruel chicanery, he uploaded a video in which he appeared to be hanging himself from a tree, sparking an online panic. His fans, sometimes out of ignorance, but most often, I think, out of desperation, loved him. They propped him up, voting him to the XXL Freshman List of 2017.
I’ve counted myself lucky to have grown up before XXXTentacion’s vicious ironies, knowing that as a teen-ager I may well have been enthralled by his lazy groans on tracks like “Moonlight.” But how much better did the teen idols of older generations really treat us? Music fandom is a passion that discourages rational thinking, and some artists take advantage of that. The fans do the rest. (On Tuesday, Onfroy’s former girlfriend posted a message on Instagram saying that she had been driven out of a vigil for him in Florida.) I am not sure that it is fruitful to patrol how people will remember XXXTentacion. If Onfroy is made a saint, he will join a pantheon that is plenty confused already. If people stomp on his name, I understand. Last October, he’d signed a new deal for a reported six million dollars. He died on the brink of something. We just don’t know what.
GHETTO BLACK AMERICANS ARE THE MOST VIOLENT SUBCULTURE IN THE WORLD!
From time to time, the media tell the truth about issues that have a racial edge, usually by accident. Such was the case in February of this year, when a local TV news crew visited a largely black St. Louis neighborhood to follow up on a hit-and-run incident.
A speeding car had struck two ten-year-old boys and kept on going. Local people were outraged. School principal Stella Erondu told the reporter, "It's just like the wild, wild west. Anyone can do whatever, drive however they want on these streets." Other neighbors echoed her comments.
The reporter on the scene had no reason to doubt the neighbors. While he was there monitoring the intersection in question, an estimated 50 percent of the drivers blew right through the stop sign.
Back at the studio, the news anchor expressed shock at the "blatant disregard for children, the laws, everything in this neighborhood." He called the situation "unbelievable." It may have been unbelievable in the anchor's neighborhood, but in urban St. Louis, reckless driving is something of a norm.
If these local news people were willing to shed some light on a serious problem, their betters at the Washington Post prefer to keep their readers in the dark. A recent Post article that focused on St. Louis led with the perfectly useless headline "Pedestrian deaths soar nationally as SUV use increases."
The reporter made the case that pedestrian deaths nationwide were up 46 percent from 2009 and attributed the increase to there being more SUVs on the road. This correlation explained close to nothing. From 2006 to 2013, as SUVs increased in number, pedestrian deaths declined, as did overall auto fatalities, the latter by 25 percent.
Pedestrian fatalities did not start spiking until 2015. In that year, they increased 9 percent from the prior year. In 2016, they increased 12 percent over the total in 2015. The 2017 numbers were almost identical to those of 2016.
As it happens, pedestrian fatalities track closely with homicides. This may not be a coincidence. From 2006 to 2014, homicides nationwide declined steadily save for a minor blip in 2012. This trend resulted in 3,000 fewer murders in 2014 than in 2006.
After August 2014, the trend abruptly reversed itself. In 2015, murders rose at their fastest pace in a quarter-century. In 2016, America experienced 17,250 murders, 3,086 more than in 2014. In sum, from 2014 to 2016, homicides increased 21 percent, and pedestrian traffic deaths increased 22 percent.
There appears to have been a precipitating event, certainly for homicides. In August 2014, Officer Darren Wilson shot and killed Michael Brown in the streets of Ferguson, Missouri. A furor ensued, particularly in the St. Louis area, where Ferguson is located. The police pulled back to protect themselves from physical harm and legal jeopardy, and the thugs moved in to fill the void left behind.
Not surprisingly, the so-called "Ferguson effect" has had its most dramatic impact on Missouri. In 2013, there were 120 murders in St. Louis. In 2015, post-Ferguson, there were 188. In 2017, there were 205, a 71-percent increase from 2013. Kansas City went from 76 homicides in 2014 to 149 in 2017, a 96-percent increase.
The Ferguson effect appears to have influenced driving habits as well, especially after the release of Attorney General Eric Holder's "scathing" March 2015 report. Unable to nail Wilson for the shooting, Holder called out the whole Ferguson Police Department for its "implicit and explicit racism."
Holder cited as evidence the fact that blacks accounted for 85 percent of traffic stops in a city that was 67 percent black. Local and national media latched on to this story and did not limit their criticism to Ferguson. Cops throughout the state, if not the nation, got the message.
Years earlier, New Jersey trooper union vice president Dave Jones spoke to the effect of these a priori condemnations on the police psyche. "There's a tremendous demoralizing effect of being guilty until proven innocent," said Jones after his fellow troopers came under scrutiny from the Clinton Justice Department. "Anyone you interact with can claim you've made a race-based stop, and you spend years defending yourself."
The St. Louis numbers seem to confirm Jones's concern. In 2015, as homicides were soaring in the city, so were pedestrian deaths. They increased from 5 to 21 in just one year and have eased only a little in the years since. Just as with homicides, blacks are more likely to be the victims of a fatal pedestrian encounter than are members of other races. Nationwide, they are 87 percent more likely to be killed in pedestrian accidents than whites.
The release early this month of the annual report on vehicle stops by the Missouri attorney general's office will only make life more dangerous for black pedestrians. The AP's Jim Salter hit all the predictably false notes in his write up on the report.
"Nearly four years after protests in Ferguson raised concerns about racial profiling of blacks in Missouri," Salter wrote, "a report from the state attorney general shows that African-American drivers are 85 percent more likely to be pulled over than whites – the highest percentage in the 18 years the state has compiled data."
Salter talked about the "disparity index" with a willfully ignorant NAACP rep straight out of central casting. "Quite frankly, it's really deplorable," said John Gaskin of St. Louis. "It's why we've ended up in a situation where people are talking about travel advisories and African-American groups are less likely to come and do business in our state."
A look at the actual report, however, suggests that the perceived disparity is much more likely to be a result of black driving habits than police biases. Yes, statistically, blacks were 85 percent more likely to be stopped than whites.
What the media did not report, however, is that blacks were 129 percent more likely to be stopped than Hispanics, 224 percent more likely to be stopped than Asians, and 400 percent more likely to be stopped than American Indians.
The possibility that different ethnic groups have, in general, different driving habits should not have come as news to those paid to report the news. In 2002, the New Jersey attorney general commissioned a study to determine driving habits by race. The study found that 25 percent of those driving 15 or more miles above the speed limit on the New Jersey Turnpike were black despite the fact that they made up only 16 percent of the drivers. The disparity was even higher at higher speeds.
As Heather Mac Donald reported in a much discussed City Journal article, "[b]lack drivers speed twice as much as white drivers, and speed at reckless levels even more." In fact, blacks were stopped less by troopers than their driving habits might have predicted.
The New Jersey study was the most authoritative one ever done on the subject. The study should have put an end to the incendiary articles that scorch America's police departments every time a new traffic stop report is released, but it obviously has not.
Instead, the media ask their audiences to ignore all inconvenient statistics, all logic about police motives, and even the fatal consequences to black pedestrians for no better reason than to perpetuate the myth that law enforcement practices are "deplorable." Cops have heard that word before, and that is one reason why Donald Trump is president.
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