12:14 PM
Sunday, November 12, 2017
Taking A Knee For South African Farmers
Mr Midnight Movie is helping bring awareness to the slain farmers in South Africa. This is a problem that has remained off of the media's radar for too long!
Wednesday, November 8, 2017
Narcissistic Personality Disorder In The Black Community
This article (from 11/2011) claims concludes that 97% of African American men suffer from narcissistic personality disorder. This is based on the field work of two experts interviewed by the article's author, Deborrah.
READ IT HERE
READ IT HERE
Thursday, September 28, 2017
CHEESENIBBLE
Rephrasing a comment or joke previously made during a conversation receiving attention and credibility in the process.
Joe, in his monotone voice, told us what happened last night, but Jesse cheesenibbled when he retold what the sequence of events in a hilarious way which made everyone laugh.
by Mr. Midnight Movie August 26, 2017
Saturday, August 26, 2017
Spreaker and Blogtalkradio Merger Is A Big Deal
+
It seems like none of the big media news outlets care to discuss the huge Spreaker / Blogtalkradio merger. The coverage is so minute I know several fellow podcasters who don't believe this story isn't fake news. Podcasters who know recognize each of the players has great aspects and each has a few crappy aspects so the prospect of the merger represents an overall boost to the quality of the podcasts that can be produced. Maybe this story doesn't mean much to anyone but podcasters, for now, but we're talking about 50,000 podcasts! Podcast host Art19 is a part of the merger and has raised $7.5 million that will go a long way to ramp up the infrastructure. Anyway, read the press release and see for yourself:
NEW YORK (PRWEB) August 22, 2017Spreaker & BlogTalkRadio announced today that their respective Boards have approved a merger of the two companies that promises to create the leading technology platform for podcast creation and monetization. The combined entity is comprised of more than 50,000 podcasts, millions of listeners globally, and a proprietary suite of creation and monetization technologies that enable podcasters to manage each step of the creation, distribution and commercialization process with an easy to use, all in one solution.Francesco Baschieri, co-founder and CEO of Spreaker, who will serve as President of the combined company, said, “We’re combining Spreaker’s best-in-class mobile and web content management system and creation tools with BlogTalkRadio’s first-to-market monetization platform. The merged company operates at massive scale delivering unique value to independent hosts, podcast networks, and larger mainstream publishers alike.”Baschieri added, “BlogTalkRadio recently released its ‘big data’ audience data solution, Cortex. Through the combination of this technology platform with Spreaker’s sophisticated mobile apps and creation tools, we can deliver the ‘holy grail’ to the podcasting industry -- targeted buys enriched by analytics and audience data that provide extremely high accuracy and transparency to advertisers, while also providing rich feedback loops for content creators to improve their content. This tightly-coupled capability, supported by Spreaker’s existing promotional deals and distribution channels with the likes of iHeartRadio, iTunes and Sonos, will make our company an instant leader in the space.”In connection with the merger, shareholders from each of Spreaker and BlogTalkRadio will be making investments in support of the combined company’s growth plan, which will be rolled out over the next several months. Terms of the transaction were not disclosed.Team members from both companies will be participating on panels and exhibitions at the industry’s largest event, the Podcast Movement (#PM17), in Los Angeles, CA, from August 23-25.Contact:Hal Bringman
hal@nvpr.com
310-210-8011
Friday, August 18, 2017
Keeping Up With White Guilt News
This is not FAKE NEWS, but they are just stories we are pulling off the internet. Take them for what they are worth, and that's not a ton, but there are some articles that help our culture define what white guilt means.
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Legends of Tomorrow: Sara Will Be Motivated By Guilt in Season 3
Season 3 of The CW series Legends of Tomorrow will explore a new character arc with Sara Lance, the White Canary, as the character struggles with ...
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Biracial Singer Halsey Speaks About Passing For White, Says She 'Feels Black'
Halsey was born to a white mother and a black father in New Jersey. ... "White guilt is funny, but this is a really hard time for white allies," she said.
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White woman, reject racism
It wasn't long before the colour-blind cavalry of “good white people” showed up. With Lady Gaga ... White guilt is only useful in so far as it's enlivening.
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Man suspected of posting racist flyers cited by police
The fliers, which included an obscenity, railed against "white guilt" and listed a white supremacist website. The posters were removed, and the man ...
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The far-left strikes another blow against free speech
Indeed, this week, Goldy gave a compelling defense of her viewpoints. "I do not bathe in tears of white guilt, that doesn't make me a white supremacist.
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Hey Nazis: Stop Crying, You've Already Been Replaced
To the Nazis and white supremacists who marched in Charlottesville ... I no longer feel "white guilt" for having worked hard to become a fair-minded, ...
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President Trump's 'White Blindness'
Still, many white Americans rejected the notion of white guilt for those past crimes and rallied to Ronald Reagan's crude caricatures about “welfare ...
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US university cancels 'Today Charlottesville, Tomorrow Texas A&M' Sept 11 event
The September 11 event will be focused on protesting “the liberal agenda of White Guilt and white genocide that is taught at most all universities in ...
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The NFL's National Anthem problem: A (not so) radical solution
In addition, I have no white guilt. I just don't. I am sorry, but my ancestors did not own slaves and they did not fight for the South in the Civil War, so I ...
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Saturday, August 12, 2017
Possible 2017 White Guilt Movie Of The Year is DETROIT
All the signs were there, and the violent beat-down film has made an early move to the lead for possible white guilt film of the year. Of course official announcements of the voters will be announced at our 2017 MMM and JP Film Critics Awards late late in the year.
To date, neither MMM or JP has even seen this udder piece of junk, but we do reckon watching this film will only finalize our current position so no rush.
This article supports this early thrust to the top for the film DETROIT:
The movie “Detroit” attempts to capture the eponymous riot of 1967.
“Detroit” shows how the past is present or as novelist William Faulkner has said “In fact, it’s not even past” in terms of the killing of unarmed African-American males and the unflinching impunity bestowed to police officers by focusing on the brutal confrontation at the Algiers Motel the evening of the riot.
While summer flicks are known fondly as “popcorn movie season” the film “Detroit” is difficult to digest.
The dynamic duo – filmmaker Kathryn Bigelow and screenwriter Mark Boal – who brought us the 2008 Oscar winning action-filled war film “The Hurt Locker” has once again collaborated in transforming a real life event into high art with “Detroit.” However, with raw depictions of street violence, inexplicable scenes of an aggregation of law enforcement – Detroit police, Michigan state troopers, national guardsmen, and private guards – descending on the Algiers Motel, and the constant images of the racial tropes, ” Detroit,” critics have rightly stated, is “disappointingly one-dimensional” and “unnuanced.”
More vocal critics have posed this question: Who was the film’s intended viewing audience?
“Detroit” is “a movie for white people. For some white viewers, Bigelow’s film may invoke horror, even righteous anger. But with a white audience so firmly at its core, the images of violence in the film, designed to be visceral, in your face, and to inspire outrage and disbelief, inspired nothing in me but pessimism and spiritual exhaustion. The violence isn’t shocking. It’s just sadly familiar, and that isn’t interesting or illuminating to me as a black viewer in 2017,” Huffington Post senior culture writer Zeba Blay stated.
I, too, was spent after viewing the film. My spouse left the theater shaking and crying, conveying how demoralized she felt. Reverend Emmett Price, my co-commentator on our weekly Monday segment “ALL REVVED UP” on WGBH Boston Public Radio stated, “It was two hours and 23 minutes of the muting, maiming, torturing and murder of black bodies. That’s the movie.”
Because both Bigelow and Boal are white queries abound about cultural appropriation and exploitation, asking whether white artists can sensitively and appropriately depict black pain and oppression.
Bigelow, knowing she didn’t have the cultural heft, asked herself that question, too. “I’m white, am I the right person to do it? I thought, ‘Am I the perfect person to tell this story? No’,” she told Variety. “However, I’m able to tell this story, and it’s been 50 years since it’s been told.”
With good intentions (and I convey that without sarcasm) as a way to leverage her white privilege Bigelow wanted to expose today’s indiscriminate death sentence black men (Michael Brown, Tamir Rice, Trayvon Martin, Philando Castile, etc.) encounter too often with white cops that’s hauntingly similar to what black males encountered with white law enforcement officers five decades ago in the 1967 riot. Bigelow’s high hopes was that the film would spark our country’s needed dialogue on race; therefore, emphatically stating to The New York Times, that ”to do nothing was not an answer.”
Bigelow felt given her filmmaking crops and a top-notch all white crew with one renowned black consultant (Detroiter and scholar Michael Eric Dyson) she was equipped to tell the story.
Sadly, she wasn’t. The balance between depicting the horrors of racism without valorizing or demeaning black trauma was eclipsed in “Detroit”, inviting an avalanche of African-American movie and cultural critics to chime in.
New York Times critic John Eligon, for example, stated that “Bigelow found herself engaging in another basic journalistic practice: immersing herself in unfamiliar lives and experiences, and trying to make sense of them.”
It’s too simplistic to say that stories of people of color should only be the province of people of color. Wasn’t a similar polemic once expressed about Shakespearean plays having only white actors back in the day?
Bigelow’s problem, for me, is that she didn’t tell a good story, because she did not have the complete history of the riot, but told the story, nonetheless.
Perhaps, had Bigelow had access to John Hersey’s book The Algiers Motel Incident – which has police records, series of interviews from survivors, witnesses and families of the slain men – she might have presented a better narrative.
Instead, Bigelow did what she does best – an auteur-driven film – displaying her vast cinematic skills to obfuscate her lack of knowledge and absence of a plausible narrative arc.
With graphic images of white barbaric cruelty inflicted on black bodies, the main character is -unquestionably – violence. The emotional arc of “Detroit” being black helplessness, the film evokes anger rather than thought, political action, and coalition building in this era of “Black Lives Matter.” Bigelow not only fails at Screenplay 101 she tanked her efforts to make a difference.
How much of Bigelow’s passion to tell the story of the 1967 Detroit riot – especially in the way she did – was out of white privilege, white guilt, arrogance, or ignorance, I’ll leave it up to the viewer to decide.
To date, neither MMM or JP has even seen this udder piece of junk, but we do reckon watching this film will only finalize our current position so no rush.
This article supports this early thrust to the top for the film DETROIT:
The film ‘Detroit’ has good intentions. We all know how that tends to work out.
Fifty years ago this summer an urban rebellion took place. 159 riots erupted in African-American cities across the country. The civil unrest took place in cities like New York, Atlanta, Chicago, Birmingham, and Boston. The worst riots that summer were in Newark, New Jersey and Detroit, Michigan.
The movie “Detroit” attempts to capture the eponymous riot of 1967.
“Detroit” shows how the past is present or as novelist William Faulkner has said “In fact, it’s not even past” in terms of the killing of unarmed African-American males and the unflinching impunity bestowed to police officers by focusing on the brutal confrontation at the Algiers Motel the evening of the riot.
While summer flicks are known fondly as “popcorn movie season” the film “Detroit” is difficult to digest.
The dynamic duo – filmmaker Kathryn Bigelow and screenwriter Mark Boal – who brought us the 2008 Oscar winning action-filled war film “The Hurt Locker” has once again collaborated in transforming a real life event into high art with “Detroit.” However, with raw depictions of street violence, inexplicable scenes of an aggregation of law enforcement – Detroit police, Michigan state troopers, national guardsmen, and private guards – descending on the Algiers Motel, and the constant images of the racial tropes, ” Detroit,” critics have rightly stated, is “disappointingly one-dimensional” and “unnuanced.”
More vocal critics have posed this question: Who was the film’s intended viewing audience?
“Detroit” is “a movie for white people. For some white viewers, Bigelow’s film may invoke horror, even righteous anger. But with a white audience so firmly at its core, the images of violence in the film, designed to be visceral, in your face, and to inspire outrage and disbelief, inspired nothing in me but pessimism and spiritual exhaustion. The violence isn’t shocking. It’s just sadly familiar, and that isn’t interesting or illuminating to me as a black viewer in 2017,” Huffington Post senior culture writer Zeba Blay stated.
I, too, was spent after viewing the film. My spouse left the theater shaking and crying, conveying how demoralized she felt. Reverend Emmett Price, my co-commentator on our weekly Monday segment “ALL REVVED UP” on WGBH Boston Public Radio stated, “It was two hours and 23 minutes of the muting, maiming, torturing and murder of black bodies. That’s the movie.”
Because both Bigelow and Boal are white queries abound about cultural appropriation and exploitation, asking whether white artists can sensitively and appropriately depict black pain and oppression.
Bigelow, knowing she didn’t have the cultural heft, asked herself that question, too. “I’m white, am I the right person to do it? I thought, ‘Am I the perfect person to tell this story? No’,” she told Variety. “However, I’m able to tell this story, and it’s been 50 years since it’s been told.”
With good intentions (and I convey that without sarcasm) as a way to leverage her white privilege Bigelow wanted to expose today’s indiscriminate death sentence black men (Michael Brown, Tamir Rice, Trayvon Martin, Philando Castile, etc.) encounter too often with white cops that’s hauntingly similar to what black males encountered with white law enforcement officers five decades ago in the 1967 riot. Bigelow’s high hopes was that the film would spark our country’s needed dialogue on race; therefore, emphatically stating to The New York Times, that ”to do nothing was not an answer.”
Bigelow felt given her filmmaking crops and a top-notch all white crew with one renowned black consultant (Detroiter and scholar Michael Eric Dyson) she was equipped to tell the story.
Sadly, she wasn’t. The balance between depicting the horrors of racism without valorizing or demeaning black trauma was eclipsed in “Detroit”, inviting an avalanche of African-American movie and cultural critics to chime in.
New York Times critic John Eligon, for example, stated that “Bigelow found herself engaging in another basic journalistic practice: immersing herself in unfamiliar lives and experiences, and trying to make sense of them.”
It’s too simplistic to say that stories of people of color should only be the province of people of color. Wasn’t a similar polemic once expressed about Shakespearean plays having only white actors back in the day?
Bigelow’s problem, for me, is that she didn’t tell a good story, because she did not have the complete history of the riot, but told the story, nonetheless.
Perhaps, had Bigelow had access to John Hersey’s book The Algiers Motel Incident – which has police records, series of interviews from survivors, witnesses and families of the slain men – she might have presented a better narrative.
Instead, Bigelow did what she does best – an auteur-driven film – displaying her vast cinematic skills to obfuscate her lack of knowledge and absence of a plausible narrative arc.
With graphic images of white barbaric cruelty inflicted on black bodies, the main character is -unquestionably – violence. The emotional arc of “Detroit” being black helplessness, the film evokes anger rather than thought, political action, and coalition building in this era of “Black Lives Matter.” Bigelow not only fails at Screenplay 101 she tanked her efforts to make a difference.
How much of Bigelow’s passion to tell the story of the 1967 Detroit riot – especially in the way she did – was out of white privilege, white guilt, arrogance, or ignorance, I’ll leave it up to the viewer to decide.
Tuesday, August 1, 2017
Entering Midnight - Season 6 Coming Soon!
It's 12 o'clock somewhere. Mr Midnight Movie and Jewish Producer are prepping for Season 6 - White Guilt? Do NOT get caught with your pants down so to not miss any of the action. The boys have been testing new playing fields so expect some surprises this season, podcasts won't only be on Spreaker, but live feeds on Twitter and Youtube are to be expected.
Mr Midnight Movie, Inflammatory Talk, Bad Parent Tuesdays, Kill Procrastination, and a whole lot more are coming your way! More info coming but you can always check out the latest Spreaker links on the sidebar here on this webpage, or just check around for links wherever they may appear.
Mr Midnight Movie, Inflammatory Talk, Bad Parent Tuesdays, Kill Procrastination, and a whole lot more are coming your way! More info coming but you can always check out the latest Spreaker links on the sidebar here on this webpage, or just check around for links wherever they may appear.
Monday, July 31, 2017
The Merit of Meritocracy
The Merit of the Meritocracy: The Merit of the Meritocracy, Socialism is the opposite of the meritocracy. Socialism steals individual freedom. Socialism is the fiction that you can have freedom without responsibility. That is why socialism inevitably failS, problem of whiteness, Social justice... read more
