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MSP_POD_NLP

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it's not about holding office. when i first started the book-
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it's not a book so much about public policy, although public policy shows up.
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but the other critical thing that happened, the... what i think is maybe the turning point moment in what has now affected-
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we looked at them and did not see citizens, we saw refugees.
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then it becomes, this book is, i decided that for as bad as the resource disparities are, that before i could get there-
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i needed to back up and think about what it means to be misrecognized, to not be seen.
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but i'm interested in the fact that in a democracy, and this democracy in particular-
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right of the culture of dissemblance, which i thought was very interesting, created by blacks to conceal their authentic selves.
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it can resonate back, oh that's right, that's right-
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white guys sitting at a table somewhere, casting down aspersions on black women. they are-
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and as soon as he says lynching, and black audiences never want to believe this-
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we're with the person being lynched, right? it's a trope, it's widely available. so what could anita hill have called-
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please call 800-529-57-
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... docile, no family of her own. now the actual women who were actual domestic servants were victimized by sexual harassment, by rape, by abuse-
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i think the most powerful, she is everywhere-
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before marketing even existed as a concept when they were first-
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the actual, and the world's fair was all about the creation of a new consumption-
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the stereotype of the strong black woman, and it's discussed at length its own chapter, but it comes up over and over and over again through the remainder of the book and--
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but the fact is when it is an imperative, when, if you are not super strong at all moments-
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most interesting chapters, i thought, was the chapter on a notion that i really had never thought about, but it's called shaming. can you talk a little about shaming?
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yeah. so this is just quickly back to that fictive kinship idea that if the success of unrelated fictive, kin harriet tubman, venus williams, right? if their-
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successes can reflect positively on me, then those crooked images-
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shame is, if you think about the whole notion of a black pride movement-
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still unable to have an authentic space to talk about and to demand for ourselves-
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i'm saddened, upset, not surprised, but still appalled by america's callousness.
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right? as i watched in horror, this is america. it's the america i've always known existed. the america i've witnessed daily. and it's the-
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what is often required to move through the stages of denial, defensiveness, guilt, and shame and to making a solid commitment of any racial injustice.
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i empathize with people of color. i unders-.
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right! and then everyone said, 'oh, maybe we do have a race problem.'.
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walking down the street, walking into the bank, going to look for a house-
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i grew up in a household hearing racial slurs where my mom would correct my father and say-
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my first exposure to what i think of as outright racism came from my grandmother-
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we had driven to visit her in pennsylvania-
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pretty traditionally. if you had five black men together at any given time, there was a cop.
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i wake up every single morning of my life and think i am a black person. and i th-
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because i have understood more and more the thousand little cuts of everyday living for people.
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we would go into a store together.
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once, i got stopped for speeding outside town in the... there was a mexican-american.
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girl with me and i didn't get a ticket.
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and the cop walked back to his car and i said.
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skokie is where the kkk meets every year and has a rally. they arrest people just for the crime of driving while black and i have to be very careful when i drive through a city like that.
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the p word is not used very regularly.
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it's like compartmentalization at its worst that-.
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10 white people in the state of louisiana vote for someone they know to be-.
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it's, it's deeply disturbing. it's y-.
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you can, you can hardly bear to look at the history, it's unbearable. so why would i even bother?
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what's the point? i know it's horrible.
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i wish it hadn't happened. what else am i supposed to do?
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that's another stage in white identity development. you want to blame your own group. it's a way of-.
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i had very much had the feeling of, but i'm not racist and i've never done anything to hurt anyone, and therefore...
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my early religious upbringing actually developed in this kind of consciousness around wanting to serve. so, it's pretty much coming from-
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how can i help promote change and equality for african-americans and for all people of color?
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and he just turned to me and he said...
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.. and i had a couple of feelings there.
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and i felt sad because i felt like there wasn't really a way for me to help.
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i want to be part of his group.
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but in order to create a system or systemic, institutionalized privilege, you have to have prejudice plus the power to-.
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and i remembered reading those essays with astonishment.
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i don't see how they can say that about us.
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i said "maybe" and then i said "yes", and i asked myself.
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had swum up, most of them in the middle of the night and if i didn't flick on a light and write them down.
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they'd be gone by morning. because i didn't want to know them, they were messing up my view of myself as a person who had earned.
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everything i had.the pain is about understanding how.
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very deep racism is and how deeply, deeply embedded in our system.
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it is.but i think what's hard is for those people whose families came from russia, in 1968-.
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families, who didn't grow up in the south and people who came from those families, who in fact were good.
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good things, that it's very difficult to understand how we benefit.
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our whiteness.david wellman's definition of racism.
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and my students read to that point and then they stop.
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they can't look beyond to the system.
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i get frustrated with the people who, when we've talked and talked and talked about white privilege, turn around and say "well, what about black privilege?".
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when i talk about [inaudible 00:03:56] race. that the goal is not to take people of color and move them.
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how many years of discrimination are we trying to overturn? and you've only given it 40 years.
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they're making a mountain out of a molehill, they're exaggerating, they're hypersensitive.
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this wasn't in the room until you brought it up, right? race was not a problem until the black person says it or the latinos.
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it's very challenging. people get really threatened by the notion that they have a privilege.
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it makes them feel guilty and they want to feel good, and i want to say "i'm a good person.".
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he then proceeded to say "i think that anybody can make it in this country if they try hard enough, we all stand on our own two feet, blah, blah, blah, this is the greatest country on earth.".
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at the end of his soliloquy about how racism isn't really all that bad.
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the room at the faces of people of color who had just expressed to him what their truth was, and i simply asked him.
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it would mean if these people in the room know their reality better than you know their reality.
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there is enlightenment and that the pain is always worth it.
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other white privileged people acknowledge it and become conscious of it and.
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not in a guilt producing way.
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but in a way that really helps them see that they're part of a system that teaches them to be this way.
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and how do you overcome this kind of teaching moment?
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because that's what i am and i'm here. and, but it conveys a responsibility.
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next on making contact, a program connecting people, vital ideas and important information
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[crosstalk 00:00:55] 13, the space had been empty for years and while housing prices in the bay area have pushed more people into unpermitted rentals.
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dozens of artists moved into this 84 thousand.
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story vertical village with projects all over the building.like a stained glass or filmmaking or silkscreen printing or music studio and-
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in the first floor, there was actually a computer lab, one of the very-
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somewhere else across town, you'd be paying to rent.
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an average of around $400 a person to live and work there adjusted for inflation. he says he cou-
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is made up for say by the renters.
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they're in an old american can company factory that takes up a whole city block. they began with practically nothing.
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but there was no walls, so it was unbelievable.
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in other spaces. but project [inaudible 00:01:59] had an ace up their sleeve, an advantage that few artists spaces had then, or now, they own the building.
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three very smart people hadn't said, forget about leasing it, let's buy it.
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but the city was pretty amazing back then. it was very elastic. we were in conversation-
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