The vision of the left, full of envy and resentment, takes its worst toll on those at the bottom - whether black or white - who find in that paranoid vision an excuse for counterproductive and ultimately self-destructive attitudes and behavior.
Liberals have been driven to the desperate expedient of attributing . . .social pathology in today's ghettos to 'a legacy of slavery' even though black children grew up with two parents more often under slavery than today.
The welfare state has done to Black Americans what slavery (and Jim Crow and racism) could not have done. . .break up the black family. Today, just slightly over 30 percent of black kids live in two-parent families. Historically, from the 1870s on. . . 75-90 percent of black kids lived in two-parent families.
If the Democrats have their way, African Americans will continue to feel oppressed, despised and handicapped into the indefinite future. All progress will be downplayed and every setback amplified. In this way, Democrats can continue to rely on lopsided black support at the polls.
The greatest danger to the liberal vision are facts about the consequences of liberalism itself and the laws, policies, and ways of life that the left has spawned. That the black family, which survived centuries of slavery and generations of discrimination, has disintegrated in the wake of the liberal welfare states is only one example.
I went to work one morning, and outside my door was Cindy Crawford in a black bra, and I thought that very clearly the building is making progress in integrating itself into various layers of our culture.
The central idea in The Black Swan is that: rare events cannot be estimated from empirical observation since they are rare.
Something that is appealing is wars are terrible and ugly and hard and each conflict is different, but of every conflict I've ever gone to, I've also seen people being extraordinary in a good sense. It's not just a black and white extreme situation that pushes people to extremes and they do crazy bad stuff. You also see crazy brave stuff. You see humanity in a different light.
My film (Black Venus) had been very emotionally draining and difficult because I had identified so much with the lead character, Saartjie Baartman.
I got into DJ'ing because I started to listen to New York radio a lot. Obviously, I knew the stuff everybody knew, like Beastie Boys and Public Enemy, but I heard "Who Got the Props" by Black Moon, and I went up to this kid in my school with the Walkman on and was like, "What is this? You must tell me how I can get this now." Because there was no Shazam or googling lyrics.
That's partly the success of my work-the ability to have a young black girl walk into the Brooklyn Museum and see paintings she recognizes not because of their art or historical influence but because of their inflection, in terms of colors, their specificity and presence.
I was really sporty and loved singing. I started off doing musical theater. I left university to go to drama school. So I was a bit of a black sheep.
Not only do we have the handsomest voice cast out there, along with the very lovely Black Widow, we also have an incredible voice cast, in terms of being able to handle the drama, the fun, the excitement and the promise that Marvel brings to every single one of our projects, which is epic adventure on the human spirit.
If you go to a network and say, "I wanna do prison stories about black women and Latino women and old women," you're not gonna make a sale. But, if you've got this blonde girl going to prison, you can get in there, and then you can tell all the stories. I just thought it was a terrific gateway drug into all the things I wanted to get into.
Even during the casting process, the pools of talent are so deep when you have a call for Latin women or black women or a middle-aged woman because they never get their shot. There's so much talent there.
What I'm really focused on is the majesty of the best films I see are films that don't panhandle for an extra laugh later, but actually deliver the goods. And when the screen goes black, you go, Yes.
The physicality was important to me. Because the film has Shane Black's dialogue, and [Robert] Downey's delivery, and you look at [Jon] Favreau, Don Cheadle and Gwyneth [Paltrow], it is this heightened level with a comedic aspect to it. Everything is grounded in reality, but it plays a little heightened.
So the world is much more correlated than we give credit to. And so we see more of what Nassim Taleb calls "black swan events" - rare events happen more often than they should because the world is more correlated.
Those on the left who scream about income gaps choose to focus on the success of those at the top rather than the failures of those at the bottom. They conveniently ignore that liberals are the ones who have pushed the moral relativisim and welfare-state dependence that has destroyed black families over the last 60 years. And it is these same liberals who fight to keep low-income kids in failing public schools and fight efforts to get school choice.
What helped me get the part was that I turned it down. When I read the script, Venus was just a black guy who came in wearing a big coat and a hat and making jive talk. I'd been up for so many of those! I'd had enough of caricatures, what white writers conceive blacks to be. I told the producer I wasn't interested in doing anything like that for three or four years. He said that it was just a pilot, that Venus would be given a human dimension and would be quiet off-the-air. I wanted that input. I thought that side was as important as the comic side. For 'WKRP,' too much of either would be bad.
This is a concept that western culture has forgotten : everything is one! The idea of dichotomy is deeply wrong and nothing is better than a great symbol of China, the Tao, the wheel of yin and yang that represents life. The universe is the harmony of opposites, because there is no water without fire, there is no female with no male, there is no night without day, there is no sun without the moon ... there is no good without evil! This symbol is perfect since the white and black are embracing each other; inside the white there is a black point and inside the black there is a white point.
Black-Scholes is a know-nothing system. If you know nothing about value - only price - then Black-Scholes is a pretty good guess at what a 90-day option might be worth. But the minute you get into longer periods of time, it's crazy to get into Black-Scholes. For example, at Costco we issued stock options with strike prices of $30 and $60, and Black-Scholes valued the $60 ones higher. This is insane.
Black-Scholes works for short-term options, but if it's a long-term option and you think you know something [about the underlying asset], it's insane to use Black-Scholes.
I have a black belt in chutzpah. I was born with it. Some people, like some of the women I know, have a black belt in spending. They were born with that. But what they gave me was a black belt in chutzpah.
Every woman's wardrobe should include black.
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