1. This may not be the most trustworthy advocate for the President’s favorite Wuhan virus medicine…President Trump’s supporters among the punditry and conservative bloggers briefly celebrated the endorsement of hydroxychloroquine, despite recent studies questioning its effectiveness and safety, by Dr. Stella Immanuel. Support for her was redoubled after her posts were taken down by both Facebook and Twitter as “misinformation.” That’s censorship, of course, and arguably partisan. Immanuel has an opinion. However, her response to the censoring of her posts does not enhance her credibility. She tweeted,
2. I see…he shouldn’t be honored because he was white, right? I have reached the point where I have to conclude that Rep. Ocasio-Cortez just isn’t very bright, and those who support her passionate—but stupid!—pronouncements have a similar basic competence problem. Take this example: AOC complained in a video,
Even when we select figures to tell the stories of colonized places, it is the colonizers and settlers whose stories are told — and virtually no one else. Check out Hawaii’s statue. It’s not Queen Lili’uokalani of Hawaii, the only Queen Regnant of Hawaii, who is immortalized and whose story is told. It is Father Damien. This isn’t to litigate each and every individual statue, but to point out the patterns that have emerged among the totality of them in who we are taught to deify in our nation’s Capitol: virtually all men, all white, and mostly both. This is what patriarchy and white supremacist culture looks like! It’s not radical or crazy to understand the influence white supremacist culture has historically had in our overall culture & how it impacts the present day.
I’ll have to do a full post on the entire “white supremacy” canard, which is basically linguistic game-playing. Culture, everywhere, is primarily determined by the majority. In a majority white population, white people, their habits, preferences, interests and values, have the strongest effect on the culture. Because there are more of the majority than other groups, they also will tend to have the greatest visibility and participation in that area’s history. Framing this rather obvious and universal situation as something sinister is silly as an argument, and evidence of impaired critical thinking skills if one is persuaded by it. Continue reading →
“I would hate to give birth to someone that looks like me, and then, knowing that they’re gonna be hunted or killed.”
—-Black comic and actress Tiffany Haddish, explaining why she hasn’t had children.
Haddish made this astounding statement in an interview with Carmelo Anthony on his YouTube show, “What’s In Your Glass?”, as she explained why she joined a Black Lives Matter protest.
“I’m a little older now and people are always like, “You gonna have some babies? When are you gonna have some babies? You gonna drop some babies?'” she babbled. “There’s a part of me that would like to do that, and I always make up these excuses like, ‘Oh, I need a million dollars in the bank before I do that, I need this, I need that.”
Then after an explanation that indicates that Haddish thinks she is living in the days of the Underground Railroad and her children would be pursued through the swamps by bloodhounds, like Eliza in “Uncle Tom’s Cabin,” she asked, “Like, why would I put someone through that?”
“And white people don’t have to think about that. It’s time to talk about that, and how we have to come together as a community and work as a unit. Maybe we don’t all agree on the same things, but we need to just find some common ground and move forward as human beings not as like, you know,” she concluded, making no sense whatsoever. Continue reading →
Yes, it’s time again for Gene, Debbie and Donald to begin the day with the level of enthusiasm that I wish I could muster. A Jack Russell Terrier would also help.
1. “Nah, there’s no news media bias!”The New York Times costs the Marshalls $80 a week. The last two editions were essentially anti-Trump campaign brochures, front to back. Even the sports sections had gratuitous anti-Trump vibes. The Washington Post is worse than the Times, but it’s much cheaper, being a home town paper. Nonetheless, I feel badly enough paying Jeff Bezos for digital access. At least the Times didn’t smear Catholic school boys because an established Native American propagandist told them to.
Yet these are, really and truly, the best newspapers in the country. Think about that. One close relative of the hard-left persuasion subscribes to no papers, and the holes in her basic knowledge of what’s happening would fill the Albert’s Hall. (She relies on MSNBC.)
Newspapers… can’t live without them, can’t have a functioning democracy any more with them. And progressives still tell me to my face that I’m imagining it: the claim that the news media is partisan and biased is a “conservative conspiracy theory.”
2. Fact check! I saw this “fact check” of Barr’s testimony two days ago in my Times today, knew what was coming, decided I didn’t feel well enough to have my temperature raised, and then commenter Dr. Emilio Lizardo was cruel enough to send me a link and a precis.
As with so much of the news media’s fake news and biased analysis, I’d assume that savvy readers can smell the stennch of these things, but maybe not. The good doctor writes,
“This is misleading” – 4 occurrences “This is exaggerated” – 2 occurrences “This is false” – 1 occurrence “This lacks evidence” – 1 occurrence
Nothing like using subjective terminology to demonstrate your objectivity.
Here was my favorite:
What Mr. Barr SAID: “According to statistics compiled by The Washington Post, the number of unarmed Black men killed by police so far this year is eight. The number of unarmed white men killed by police over the same time period is 11. And the overall numbers of police shootings has been decreasing.”
This is misleading. Mr. Barr accurately cited adatabase of police shootingscompiled by The Washington Post. But the raw numbers obscure the pronounced racial disparity in such shootings. (The statement was also an echo of Mr. Trump’s technically accurate, but misleading claim that “more white” Americans are killed by the police than Black Americans.When factoring in population size, Black Americans are killed by the police at more than twice the rate as white Americans, according to the database. Researchhas also shown that in the United States, on average, the probability of being shot by a police officer for someone who is Black and unarmed is higher than for someone who is white and armed.Nationwide, the number of police shootings has remained steady sinceindependent researchersbegan tracking them — declining in major cities, but increasing in suburbs and rural areas.When Representative Cedric L. Richmond, Democrat of Louisiana, took issue with Mr. Barr’s presentation of the data, Mr. Barr responded, “You have to adjust it by, you know, the race of the criminal.” But some research has shown that even when controlling for the demographics of those arrested, there are still racial disparities in the use of police force.
In other words, “misleading” means “contrary to the narrative Democrats and activists want to push.” Got it. Continue reading →
I had a friend who was sure the lyrics were about “ducks in the wind.” Dust, ducks, dusk…whatever. Never liked the song, but it suits my mood after today’s farewell to an old friend, maybe the sweetest person I’ve ever known or ever could know, at Arlington. Here were old friends, many who hadn’t seen each other in many years, standing around, six or more feet apart, trying to talk through masks and to recognize each other.
This is no way to live.
1. I have to say this: At a time when Gilbert and Sullivan is being “cancelled” by the sick combination of hyper-sensitivity to fantasy gender stereotypes and the ignorant belief that “The Mikado” is racist—morons!—I should not be forced to listen to Lifelight’s badly set, forced, incompetent parody of “The Major General’s Song.” I could write better lyrics than that, yes, even about vegetable meat substitutes, with half my brain tied behind my back. There’s no excuse for such lazy, lousy writing, especially for compensation. Was the writer the company CEO’s 12-year-old niece? Gilbert and Sullivan were geniuses; their work shouldn’t be desecrated like that.
2. Shut up, David. David Price, who couldn’t be bothered to play baseball and help relieve the public’s stress for a paltry 10 million dollars, is home and sniping at Major League Baseball for not shutting down after 14 members of the Florida Marlins tested positive for the Wuhan virus. Well, some of his colleagues need their salaries, unlike Price, who has a 150 million or so in the bank unless he has a gambling habit, and baseball, to its credit, is determined to gut it out, much as it did during the 1918 Spanish Flu pandemic. Good. Thank-you.
3. How can anyone take an award seriously that does something like this? On the other hand, it’s comforting that after all these years, the Kennedys are still hyper-partisan, hypocritical, and silly. 2020’s Robert F. Kennedy Human Rights Ripple of Hope Awards, which supposedly honors “changemakers” who are advancing human rights, equality and justice, have been awarded to, among others, Dr. Fauci and Colin Kaepernick. The Kennedys’ game could not be more transparent if they admitted it. Kaepernick, whose questionable contribution to human rights has been kneeling where he shouldn’t and cashing in with Nike, but he’s a walking Black Lives Matter ad, and so it’s a poke in the President’s eye. As for Fauci, the message is that he’s brilliant, so Trump is the reason why the pandemic has raged.
Here are some recent award winners: Obama, Hillary Clinton, Joe Biden, and Nancy Pelosi. Continue reading →
This moment in “Field of Dreams” was how I started off my baseball and culture presentation this week. Ironically, the speech has always irritated me, because of its stagey blocking, and because it is a speech that sounds like a speech, and is essentially right out of the book the film was based on. In the novel, “Shoeless Joe,”,the “Terrence Mann” character played by James Earl Jones was real life (and then, still living) recluse author J.D. Salinger. I dislike the speech, but the scene always moves me, for a personal reason.
As Terrance Mann stands, giving his speech, the ghostly players of the past silently assemble behind him in Ray Kinsella’s (Kevin Costner, of course) magic corn field. One of the players behind him has been identified in the film as Smokey Joe Wood, a 30 game winner with the World Champion 1912 Boston Red Sox. Just a few years before the film was made, I had been in the Fenway Park grandstands as Smoky Joe, feeble, in his mid-nineties and in a wheel chair shortly before his death, barely threw out—more like dropped—the first pitch at a Red Sox Old Timer’s game, to a standing ovation. And here he was, in that corn field, but young and vital again.
Gets me every time….
1. Ethics query: is it ethical to perform “Piggies”? I just caught an old concert clip in which George Harrison and Eric Clapton performed the obnoxious pseudo-Marxist ditty “Piggies” (from the White Album) to thunderous applause.
[Notice of correction: I originally wrote that “Piggies” was a Lennon composition. All these years I assumed it was, heavy-handed and juvenile politics that it was. I am stunned that the song was George Harrison’s doing; I thought better of him.]
This was well after the Manson murders: I had never heard anyone perform the song in decades. Admittedly, it is just moral luck that a madman seized upon the White Album Beatles songs as his inspiration to mastermind the slaughters of Sharon Tate, her unborn child, and her house guests, as well as supermarket executive Leno LaBianca and his wife Rosemary the following night. However, “Piggies” was the one song referenced directly in both murders. It is not inconceivable that if the White Album had omitted that song—no great loss, either–at least the LaBianca murders might not have taken place. I know I can’t hear the song without picturing carnage, and it seems to me singing the song is like a celebration of Manson’s work. I wouldn’t ban it; I don’t believe in banning anything. I just think it’s bad taste to play it or perform it.
Is that inconsistent with my objection to “canceling” “Dixie,” “My Mammy,” “Rockabye Your Baby with a Dixie Melody,” “When Johnny Comes Marching Home,” “Oh Susanna!” and other songs that are redolent of the Old South? I would argue that those songs have the virtue of being great tunes and important cultural touchpoints…in other words, works of musical art that justify themselves. “Piggies,” in contrast, is musical junk, like about 20% of the White Album filler. Continue reading →
I missed Herb Stempel’s death last month. If you aren’t 95 years old or didn’t see Robert Redford’s “Quiz Show,” that name probably doesn’t ring a bell, but Herb was a seminal figure in American popular culture ethics, and his story raises issues still unsettled today.
On the evening of December 5, 1956, Stempel, a City College student from Queens, was in his eighth week on the highly-rated NBC quiz show “Twenty-One.” He had won a total of $49,500, but the producers decided that his trivia-obsessed nerd persona (deliberately played up by the show, which instructed Stempel how to look especially dorky) was wearing thin. It was decided that his handsome, Columbia University professor challenger Charles Van Doren should end Herb’s reign as champion, so Stempel was ordered to “take a dive.” Despite Stempel’s protests, he was forced to whiff on the question, “What movie won the Academy Award for best picture in 1955?,” an especially bitter pill because Stempel not only knew the answer, the winning film, “Marty,”was his favorite movie. Those who knew Stempel were shocked that he would answer, “On the Waterfront,.”
Van Doren went on to become the most celebrated quiz-show contestant of all time—yes, even more so than Jeopardy’s Ken Jennings [Not “Jenkins” as I wrote here originally. Ken Jenkins is an actor, and he jumped into my head without being invited.] He was on the cover of Time magazine and received bags of fan mail and endorsement offers. Then Stempel, in part humiliated by the question he was forced to botch, in part out of jealousy, and maybe with a smidgen of public spiritedness, decided to become the prime witness as a federal investigation exposed the corrupt quiz show culture, telling the news media, prosecutors and congressional investigators that “Twenty One,” (and probably the other popular shows like “The $64,000 Question,” “Tic Tac Dough’) was a fraud on the American public.
Van Doren was disgraced. Stempel styled himself as a whistleblower and a hero. He assisted in the production of Redford’s 1994 Oscar-nominated movie “Quiz Show,” and also in a 1992 documentary for the PBS series “American Experience.” After the film revived interest in the quiz-show scandal, Stempel gave lectures and made radio and television appearances.
In other words, he cashed in. I see nothing admirable about Herb Stempel, though he is typical of many, perhaps most, whistle-blowers.
He testified that before his first appearance on “Twenty One,” the producer asked, “How would you like to win $25,000?” “Who wouldn’t?’” Stempel said he replied. Before each show, Stempel was given the questions and correct answers. He was coached to bite his lip, mop his brow, stammer, sigh, and act as if every question to which he had already been provided the answer might be the one to defeat him. He signed a false statement that he had not been coached and that he had lost to Van Doren, who was also provided answers, fairly. In exchange, Stempel was promised future paid television appearances. It was when the network reneged on those promises that Stempel blew his whistle and let the public and law enforcement know that the quiz shows were fixed.
They didn’t recover until quite recently, with shows like “Deal or No Deal?” and “Who Wants to be a Millionaire?” having success on prime time. Before that, the format was mostly relegated to daytime television. It’s strange, though. The appeal of shows like “Twenty One” was the same as the appeal of today’s competition reality shows, like “Survivor” and “The Amazing Race”: the illusion that audiences were watching real people dealing with a genuine challenge. The ethical line between a contestant faking that he isn’t sure of an answer to a question in order to ratchet up the suspense, and a reality show contestant following a scripted plot is vanishingly thin. Various levels of fraud exist in most of these programs.
I even believed that Paul Lynde was so clever he came up with those hilarious answers on “The Hollywood Squares” spontaneously.
1 .Another shoe drops: The Boston Red Sox announced that they would “support” any players who chose to kneel during the National Anthem when The Strangest Baseball Season since World War II, when teams fielded 16-year-old infielders and one-armed outfielders, commences tomorrow. The announcement was no surprise, and this team in particular had little choice.
Boston’s AL team is forever viewed with suspicion on race issues because it was the last major league team to break the color line, and because it passed on opportunities to sign some of the early black stars. Last season a visiting player claimed to hear a racist slur hurled his way from the Fenway Park bleachers, and the Red Sox management has been ostentatiously “woke,” cancelling Tom Yawkey from the Fenway environs though the team owes its existence to the long-time owner’s beneficence. He was rumored to be a racist, however, and that was enough to justify erasing his name (except from his initials in Morse Code on the scoreboard).
2. Bad service only matters for drug stores, apparently. State regulators in Oklahoma cited and fined CVS for conditions found at four of its pharmacies, including inadequate staffing and errors made in filling prescriptions. Staffing just about everywhere is unfriendly to consumers—indeed, most stores were understaffed even before the lockdown, now half-lockdown while the teachers extort the country.
Our local CVS, where I have many ethics adventures, now has minimal staff, including in the pharmacy, because there are so few customers lately. Hilariously, the store’s auto-scan checkout option is one of the features that requires staff: the damn things don’t work half the time, or a staffer has to lead some confused senior through the process.
3. Unfortunately, it’s more difficult than ever to believe sexual harassment allegations. #MeToo so egregiously overplayed its hand and has been so schizophrenic in its standards that I have to look at any high-profile allegations as potentially motivated by politics. In an action that must have been well underway before the Washington Redskins suddenly caved and agreed to change the team’s name (yet another poll, a new one, has indicated that the vast majority of football fans and Native Americans have no problem with “Redskins”), 15 female ex-employees told The Washington Post that they were sexually harassed while working for the organization. Shortly thereafter, a Fox News staffer and periodic on-air guest filed suit in federal court alleging they had been harassed or raped by Ed Henry, the Fox News reporter who was fired for “willful sexual misconduct in the workplace,” The suit also alleges harassment by Tucker Carlson and Sean Hannity, the latter perpetually on “the resistance’s” hit list and the target of boycotts, and Carlson recently becoming a force as a pundit. Therefore he must be destroyed.
Do I find it hard to believe that the Redskins, or any NFL team, has a culture hostile to female employees? No. Do I think that Fox News has effectively banished its pervasive workplace sexism and misogyny since the forced exits of the late Roger Ailes and Bill O’Reilly? Absolutely not. Do I think weaponizing sexual harassment allegations has become a predictable and unethical tactic on the Left, (See: Mathews, Chris) thus making the timing of both of these sets of complants suspicious?
Is Bismark a herring?*
4. More things now as predictable as they are indefensible. The University of Southern California’s School of Cinematic Arts will remove its John Wayne exhibit as part of the school’s efforts to address “systemic racism” in society with obnoxious, shallow and foolish gestures.
The Duke graduated from USC, of course (he was raised in Iowa), and the justification for his dishonoring was an admittedly dumb interview he gave Playboy in 1971, where he was obviously (to me, anyway, at the time) trolling a liberal and hostile magazine by saying exactly the kinds of things the Wayne haters expected him to say. (I always assumed he was drunk during that interview.) This move by USC was expected—California, universities: you know, morons. As Spiked noted, Wayne’s importance to the culture and the history of film by virtue of his on-screen portrayals should not be diminished by any interview the actor did.
As an actor and a director,Wayne was careful to portray characters who respected blacks and other minorities as human beings. In “The Cowboys,” for example, he is routinely reprimanded and shown up by his black cook, played by the great Rosco Lee Browne. In many movies, like “McClintock!,” “Hondo” and “Fort Apache,” he demonstrated sympathy and respect for Native Americans; Wayne also prominently featured Chinese-American actor H.W. Gim in his films whenever feasible from 1942 on, notably as his landlord Chin Lee in “True Grit.”
If his character was a racist, Wayne didn’t hesitate to represent racism negatively, as when he opposed his black ranch hand (Woody Strode) learning to read in “The Man Who Shot Liberty Valence” because Wayne’s character is hostage to archaic traditions, or when he seems determined to murder his white niece (Natalie Wood) because she has lived with Native Americans and presumably had sex with a chief.
All of John Wayne’s wives were also Mexican, meaning that his four children are “Persons of Color.”
Never mind. Wayne’s legacy and hold on the culture is unbreakable. Just last week I stumbled about four of his films on cable. They’ll get Mt. Rushmore before they shoot down the Duke. [Pointer: Pennagain]
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*Cultural literacy bonus points for identifying the source.
Yeah, I knew it was probably coming, and I even should have been able to guess the team and the manager, but nonetheless, this is nauseating. I assume the craven response from Major League Baseball in the coming days and weeks will be even more nauseating. Great. Welcome back, baseball!
San Francisco Giants manager Gabe Kapler led several coaches and team members as they did a Kaepernick during the National Anthem before their first exhibition game in the Bay Area Monday. And I had just finished my Smithsonian presentation that night explaining why baseball has been a vital unifying influence in communities and the nation throughout its nearly 200 year history. How ironic.
Rookie manager Kapler, coaches Antoan Richardson and Justin Viele joined players Mike Yastrzemski (Yes, Yaz’s grandson), Austin Slater, and Jaylin Davis in taking a knee, according to NBC Bay Area. Shortstop Brandon Crawford stood between Richardson and Davis, who are both black, and placed his hands on their shoulders in an apparent sign of support.
Although the Giants did not announce before the game against the Oakland A’s at Oakland Coliseum that some members would kneel, Kapler said he had informed the team of his plans. Then he blathered out his explanation, which while considerably more coherent than what Colin Kaepenick said after the first time he imposed his political views on his team, the game, and spectators were offensive nonetheless.
None of those cardboard cut-out people in the stands would go on the record later, but reportedly they were not pleased.
Here’s Gabe:
“I wanted to share what my plans were and I did that because I wanted them to know that I wasn’t pleased with the way our country has handled police brutality. I told them that I wanted to amplify their voices and I wanted to amplify the voice of the Black community and marginalized communities as well. I told them that I wanted to use my platform to demonstrate my dissatisfaction with the way we’ve handled racism in our country. I wanted to demonstrate my dissatisfaction with our clear systemic racism in our country. And I wanted them to know that they got to make their own decisions and we would respect and support those decisions. I wanted them to feel safe in speaking up, and so we had these kinds of discussions for the last several days and will continue to have them.”
Asked if he and other Giants would continue kneeling, Kapler said, “We’re going to have 60 chances during the regular season to make the same decision that we made today, to either stand or kneel or do something different.”
I recently perked some interest here in a comment when I mentioned how my dad, who taught various forms of weapon use while a trainer in the Infantry, railed at every example of a “Mexican stand-off” represented in a movie or TV show. “First one to shoot wins, or both quickly realize that there’s a mistake, and put down the guns,” he said. I was inspired by the Netflix Western “The Ballad of Lefty Brown,” which is very good, but the writer really liked Mexican stand-offs.
Another example is the old, dusty street showdowns Westerns have featured for a hundred years. They just didn’t happen, except for a few anomalies. One of them occurred this date in 1865, when Wild Bill Hickok faced off in the Springfield, Missouri city square against a former Confederate soldier named Davis Tutt in a dispute over a watch. Wild Bill won—his skill with a pistol was no myth—but the dime novel writers used the episode and Hickok’s colorful persona to create the impression back East that Wild West gun fighters were having quick draw showdowns daily. In fact, the Hickok-Tuttle affair was the first one documented.
The classic western showdown, also called a walkdown, was far rarer than drunken men shooting at each other spontaneously, ambushes and sneak attacks. The showdowns aren’t even as common in the movies as some people think who should know better. One article on the History Channel site talks about showdowns “like in ‘High Noon.'” Despite the title, there is no classic showdown in “High Noon.” And once he stopped making two-reelers as a B-movie star, John Wayne’s characters were never in any “middle of the street” duels either. Continue reading →
In an essay in The Body, an HIV-AIDS community website, Abdul-Aliy A Muhammad argues that it is unethical and exploitive for writers to use the disease as a plot point in TV shows and movies. His argument is pitched at black writers particularly. (In case you are not familiar with the term he uses, the “down low” refers to apparently heterosexual black men who secretly have sex with males.) He argues in part,
Last week’s episode of the popular show on the Oprah Winfrey Network (OWN), Greenleaf, provided a storyline that’s become all too familiar—the disclosure of HIV status as a spicy and scandalous plot twist.
…During this season, at the end of episode three, a shocking reveal happens: AJ was raped in prison, and the person who raped him transmitted HIV to him. AJ is now suffering from HIV disease and finally tells Grace. That’s how the episode ends. As an HIV-positive Black person, my heart sank, because again, the failure to hold any nuance with HIV emerged, 16 years after the “down low” and HIV plot twists of the early 2000s. It’s as if we’re frozen in time.
… I want to say this to the writers and producers of Greenleaf, and other Black creatives: HIV is not a plot twist device. HIV is not a caricature, and HIV is not predatory. Yes, there are the very real stories of people contracting HIV after being raped, and yes, there are some people who are not fully open to their partners and who may have transmitted HIV. But the narrative of HIV as a hidden monster and prison rape are not what drive the epidemic in Black communities.
…[T]here have been many harmful representations of HIV stories in the media. Let’s start with Tyler Perry’s 2010 film…For Colored Girls Who Have Considered Suicide / When the Rainbow is Enuf. In his film adaptation, Janet Jackson’s character, “Lady in Red,” is married to a man named Carl Bradmore…His character is struggling with sexual desire and can be seen cruising for other men in the film, and ultimately there is a scene where oral sex is performed in a car. Hardwick’s character Carl Bradmore is in a BMW under a bridge and gets head from another Black man.
…Throughout the film, Lady in Red has a scarf tied around her neck, and toward the end, the scarf is red. She coughs frequently and drinks tea, ostensibly to soothe her throat. The drama erupts toward the end of the film, when they are both sitting on a bed and not facing each other. She says something to the effect of, “You can keep your sorry and your HIV”—which is saved as a grand reveal, to provide shock and melodrama to the story. Shange’s original play includes no “down low” men, and it was written before HIV, so these aspects were specifically added by Perry.
I watched this film in shock…. My mother was a Tyler Perry fan; she thought his desire to (and practice of) giving leading roles to Black actors was something to celebrate. I on the other hand felt… here again is another media representation of the [down low] monster as a viral operative to drive the drama of the plot, and to both titillate and disgust. There is data that suggests that Black people aren’t doing anything behaviorally different than white people when it comes to intimacy or other vulnerable ways to become HIV positive. The difference in disproportionate infections comes from anti-Black racism that discourages trust of systems and incarcerates and criminalizes Black people. Our vulnerability is undergirded by the lack of infrastructures of care and the breakdown of food systems in the hood and in the rural South.
Until we truly consider the truth about HIV and not the easily propagated myths, we are doing more harm to our communities and aren’t standing in solidarity with HIV-positive Black people…. Isn’t it time for TV and film catch up and stop with the same tired use of HIV as plot twist or cautionary tale.Continue reading →
Ethics Alarms 