Friday, September 29, 2017

Youtube daily report Sep 29 2017

...till the very end it was a really big long day. I also want to formally thank

Elisa and Raz for putting on such an extraordinary conference. Al and I are

gonna bring it back very specifically to the question of genocide but we are

going to be referencing papers and statements that were made all day that

we've been dying to weigh in on, give an hour (new work together) where we are

shifting the theoretical paradigm for how we even understand genocide from

some sort of event (which we think has never adequately characterized any

genocide ever) to a pathology of socio-political economic practices that

undermined the social vitality of very specific communities. To get back to

something that Al said last night after the opening talk, I really don't

want to forget that genocide is a legal category and yet signifies violence that

exceeds legality. So, in our imaginary genocide is a critical word in our

imaginary. It actually represents the very worst crime that can be done for

which there is no possible justification because it is an attack on a people or

community as such, which lends the notion of genocide that

is the very worst crime. It's really clear...it's important for Alan and I to

emphasize that genocide is not a tragedy which means it is not inevitable.

It is not natural, right? If you think about death as a tragedy or broken heart

as a tragedy and genocide is not random or spontaneous, it is an organized effort

to destroy an entire population marked by race, class, gender, religion, or ability

so in this sense genocide is also not exceptional, but instead realized through

everyday practices that seek (again) to undermine the social vitality of an

entire community. So the reason judgment that we have all developed over the

course of this entire day (that we all have right now), the reason judgment that

we can, in fact, understand state sanctioned violence against black and

brown bodies in the United States as genocide. We all

have that. Reason judgment does not stand up against the collective belief that it

is not genocide and that's what Raz is really upset about right, no matter how

many fantastic analyses we do to show that obviously even using the UN

conventions definition of genocide and as undergrad rappers have literally been

saying for over thirty years, it is very clear that the United States was founded

on genocide and has perpetuated genocide against black and brown bodies through

different kinds of policies. The reason judgment is

rejected by more general belief about genocide in our imaginary, we need to

actually start our work with how we imagine genocide and how the way

that we have imagined genocide in the popular and political imaginary has been

constructed in a very specific way to exclude American racism. So I'll say

a bit about my approach. I think Dr. Skitolsky was framing the

approach that we're taking. Again, thank you for thank everyone for hanging out

with us and allowing philosophers to go at the end. I don't know if you know

what you've gotten yourself into.

So I think one of the things that we're that, we're interested in doing here,

is to not necessarily add to the economy of information but philosophers tend to

ask questions and so everything that we're saying here is to drag out a more

specific set of questions that can be posed against how we think about

genocide, how we think about black lives and anti black violence. My area is in

aesthetics particularly and what we might call something like critical

aesthetics. I mean I think that what's problematic is how the aesthetic

has been left out so in general, we might talk about the aesthetics as being

concerned with questions of beauty, questions of art, et cetera but that's not

exactly what I'm concerned with. I'm concerned with how something appears and

how something fails to appear. how is it that something is made to appear, what

are the conditions under which something is made to appear and allowed to appear,

and what are the conditions under which something is made to disappear. That's

what I mean by critical aesthetics and that's really the sort of the

methodological underpinning of this, is that there's a question about

not just what appears but what's made to appear. There's a question about what's

not just what is left out but what's made to be left out and I'm

particularly interested in the way in which things some things have

become produced as moments of making something appear, and yet they actually

are then produced there are at the same time that they're making something

appear. They're also producing a type of disappearance, for example,

the narrative that would suggest that the history

of anti-black violence in the United States is one monolithic thing

that you can trace from slavery to Jim Crowe to the Civil Rights and then,

popcorn right. There is a sense that that history is a

continuous history of always getting better. Well, as philosophers we have to

say something like, "possibly, possibly but I disagree"

so the violence... because what gets left out of that nice,

neat narrative? The violence of slavery produces the African-American produces

the black experience in one mode as slave but that's not the same as the

violence of Jim Crowe. That's not the same as the violence of post-civil rights and

we have to acknowledge that as we come up against some similar things, as

we come up against residual violence, whose benefit is it to

produce this narrative that tells a nice history of progress when

what we're confronted with is the return of that

same traumatic violence and yet it claims us in very different ways, so

our attention to the aesthetic here is not to trivialize or to

take a luxurious journey through questions that don't frame

exactly what we are allowing ourselves to ask and what we allow ourselves to

challenge. I would just say turn that over to back over to...and as

philosophers is on how discourse (which a lot of other people have referenced

today), discourse does not represent the world. Discourse shapes our worlds so if

you want to change our world, we need to be really critical about the

discourse we use to describe and talk about violence and the main thesis of

Al's very recent book, which I'll be mentioning, is that the way that we

discursively talk about anti-black racism and violence, the way we talk

about the history of civil rights, and the way we memorialize past moments or

racist practices, actually becomes part of what perpetuates genocide in the

United States. There's not a little at stake: there's everything at stake in

examining the discourse we use to talk about racism and violence.

When the Civil Rights Congress (this has been mentioned for two days)...

when the Civil Rights Congress presented their petition against the United States

to the United Nations in 1951, they became the first group ever to attempt

to file a legal charge of genocide after the adoption of the UN Convention

against genocide in 1948. So, this happened. Someone needs to

bring this to the you and this happened in 1951, the very first group ever that

made use of the brand-new United Nations Convention used it to try to sue the

United States for being guilty of genocide against African Americans.

Members of the Civil Rights Congress presented the petition called "We charge

genocide: the crime of government against the Negro people."In UN offices in New

York and Paris, their petition was completely ignored. This is an example of

what philosophers now refer to as an epistemic

injustice or the refusal to grant certain testimonies and/or perspectives,

any epistemic value whatsoever. Further, Raphael Lemkin, who coined the term

genocide and lobbied for the UN Convention, wrote a scathing rejection of

this petition put forward by the Civil Rights Congress in an op-ed in The New

York Times that did not at all refer to the central argument in the text itself.

There has been no substantial concern with this document presented by the

Civil Rights Congress or Lempkin's response to this document. In the field

of Holocaust and genocide studies, we charge genocide as a document (in my view)

has just been dismissed to the ashes of history, so we want to return to this

lapse in reasoning not only as an instance of injustice but as situating a

context through which anti-black practices have been identified as

genocide and yet, because this genocide is situated within the cultural norms of

society that already exists, it disappears as an event. We are concerned

with the inability of the UN to hear the petition or respond to the petition at

the time of its presentation and with Lempkin's refusal to consider the content

of the petition. We are also concerned with the scholarly indifference to this

petition, which excludes it from philosophical and historical

consideration in the field of genocide studies in what way as the field of

genocide studies itself been shaped by this refusal to think about systemic

anti-black racism as a system of genocide. What assumptions have made this

refusal seem obvious and reasonable? We will identify and challenge one

assumption that precludes an interest in the genocidal character of anti-black

racism by promitizing the ontology of genocide as an event of extreme violence

against a targeted population, an event that is always marked apparently by

discreet and (obvious) the beginning and end to the violence

against the population. Construing genocide in terms of an extreme event of

mass violence against a targeted population is consistent with the

politics of a moralization that rests on a Liberatore or teleological view of

history and the history of social justice movements. In his new book, the

"Post-racial limits of Memorialization," Frank Kowski argues that the politics of

the public memorialization of anti-black violence in the United States reinforced

the post-racial discourse (right, like we're over racism) that represents this

violence as a product of the past overcome in the present. Dr. Frank Kowski

recommends a new politics of mourning (collective, political mourning) as counter

resistance to the moral and historical blindness induced by the politics of

memorialization and its optimistic representation of our progression toward

freedom and social equality of all historically oppressed groups for the

act of public mourning interrupts or disrupts the Liberatore reading of

social justice movements to better bear witness to the repetition of racist

oppression and systemic violence in the present. In this text, Frank Kowski

connects the teleological view of human suffering that we suffer less over time

with the perpetual production of unlivable life in the present always

already disavowed as a tragic exception to the norm of a better, less racist

society, so that's the problem is regarding every police murder of a young

black man as an exception to an otherwise justice system. That's why

we need genocide, these aren't tragic exceptions to a better norm and

the notion of genocide pathology can help us better see that and

recognize useless systemic violence as useless systemic violence. And can I add

just a little bit to that? I think one of the interesting things to

consider is that in our discourse, the first things that when we see

something like the killing of Freddie gray, one of the first

things that we do is we post-racialize it. We post-racialize it by saying

"this is horrible,

but at least it's not as bad things used to be" and at that

moment, we post racialized it. I want us to sort of think about that move, that

gesture, to take something that's very present and push it into the past

suddenly as a type of cannibalism I think. I think that it has that

same sort of feature of weaving together or sort of masking over a disgusting

practice in the present and trying to make it seem like it is as if it suddenly

becomes naturalized and notice that when Trayvon Martin's

killer was acquitted, what did Obama do? The first move was to

say, "we must acknowledge that we have come a long way as a country." He

post-racialized the moment suddenly. He post racialized it in such a way that

anything that came after is already seen within this long trajectory of history,

yet it is exactly the same violence, the same practice as

before and that's why the focus on aesthetics is so important here. Frankowski's

association between the aesthetic representation of state

violence (both in the media and through memorialization and the continuity of

that violence) is supported by the cassandra' complex, which he talks about

in his book, and which we can understand as a network of relations and systemic modes

of denial. Such collective practices and modes of denial induce

historical forgetting and moral blindness to the extremity of the

present that emerges from and survived the extreme violence of the past. The

complex is based on the tragic Greek figure of Cassandra, who

offered true prophecies that no one could believe and so suffered from the

violence she predicted. The aesthetic distortion of state violence in the past

and our post-racial representation of state violence in the

present preclude their comparative analysis as symptoms of the same

pathological logic that has always informed the practices, institutions, and

legal implementation of anti-black racism in the United States. Our

inability to think about the past history of anti-black racism (in terms of

how it is operative in the present) also serves to reinforce post-racial

discourse and perpetuate our Cassandra complex. Do you want see something say

something about the Cassandra? I'll say something later. I'm

just coming back in order to compliment a new aesthetics of state violence that

resists the representation of racist oppression as a problem of the past that

has been overcome in the present. We offer a new way to conceive of the

ontology of genocide as pathology rather than event. Drawing on the Cassandra

complex, we can assert that a repetition of practices over time is a system and a

repetition that conceals a dysfunction is a pathology, so I can repeat that we

can assert that a repetition of practices over time is a system and a

repetition that conceals a dysfunction is a pathology. I'm literally just

thinking of the justice system. If you think about the complex of practices

that have always been operative in the justice system that gets called justice,

it conceals the dysfunction in the very process of the system

that is really based on the production of unlivable lives and the distortion of

human life. So, in this way we can conceive of genocide as a pattern of

social, political, economic, aesthetic, and legal practices that produce and sustain

lethal dysfunctions in human behavior, such that entire populations are

targeted for state sanctioned violence on the basis of race, religion, ethnicity,

gender, ability, and/or nationality. Genocide is a pathological pattern

of socio-political practices that have always informed the racist distribution

of power and capital in the United States. In this way, the Cassandra'

complex does not simply designate a pathology of psychology but instead a

pathology of history by which patterns of violence are repeated but represented

such that we do not recognize their continuity and continuous transformation

in social and political institutions and interpersonal relations. Thus, our refusal

to hear the claims made and we charge genocide is both a symptom of this

pathology and to the extent that we refuse to hear its prophecy serves to

reinforce the pathological repetition of genocidal practices against black

Americans. One example that actually has been mentioned today is the fact that

obviously slavery isn't over in the United States. It is very alive and well in

all of our prisons. I don't know why we don't call it slave labor anymore but

I teach at and visit a women's prison near me and I was there once for

a TED talk where they had some of the women who are incarcerated tell their

stories or perform and I was sitting next to a woman (a white woman) and she

asked what I was doing there. I told her. She said, "I care about the women here too- I

own a corporation, we employ the women to make uniforms" and I said, "oh, so you're

supporting slave labor," and she said, "it's not slave labor," and I said "it's not

minimum wage." She said, "well, I would like for it to be... that would be great if it

was but I'm not supporting slave labor." I'm like, "no, this is slavery. You are

benefiting from slave labor," and she couldn't hear the words I was

saying right. So this is exactly what I'm trying to get at, like, yo there wasn't an

event of slavery and then it's over right. Like, slavery is one among a

complex of pathological practices that have always been present and informed

American society and create extremely dysfunctional interpersonal

relationships for all of us. Did you want to say something?

One concern I have is that everybody likes to talk about this

document, "To recharge genocide." Very few people read it and very few people

actually acknowledge its brilliance and the brilliance of its analysis. So one

thing I was going to do was read some passages from it, just show you that the

analysis you all wish was already there has already been done right and it's

shocking to the extent to which it's been ignored. I want to read a little

bit about it and also very few people know how Raphael Lemkin, who is kind of a

hero in genocide studies, had the most obnoxious, racist disavowal of "To recharge

Genocide" in the New York Times so it's gonna read a little bit about that. My

concern is that that sort of historical background, which I think is really

important( especially for this particular conference) but I don't want to take up

too much time because Al's contribution is the really meaty

theoretical work, talking more about the Cassandra' complex and sort of

the wrong way of acknowledging violence creates the seeds for repetition of that

violence. I'll say a little bit of this but maybe I'll cut myself short

or you can interrupt or something like that. So, this is one of the

most powerful passages and it's from the introduction. "To recharge genocide," which

again was written in 1951. I really can't say that enough. "Out of the inhuman black

ghettos of American cities, out of the cotton plantations of the south, comes

this record of mass slayings on the basis of race, of lives deliberately warped and

distorted by the willful creation of conditions, making for premature death,

poverty and disease. It is a record that calls aloud for condemnation for an end

to these terrible injustices that constitute a daily and ever increasing

violation of the United Nations Convention on the Prevention and

Punishment of the crime of genocide." I hear so much underground rap, it's just a

continuing effort to put forward the mission set toward by "We recharge genocide."

I mean, as I've been sitting here like all these lyrics have come back to me

but that entire passage is actually present in a song by Brand Nubian (called

"Claim and I'm a criminal" and he was really... it's amazing song and

he's like, "it's the whole black race that they're fuckin'

with," like straight-up, right? He describes the extra legal conditions of getting

arrested, the humiliation, the conditions of confinement, which are brutality and

torture straight up. It's the whole black rights that they're fuckin with right

the underground rappers have not hesitated to use the word genocide and

so I see underground rap as continuing the project set by the Civil Rights

Congress. "Although the petition references the continuity of genocidal

violence against black Americans from slavery to the present, it focuses its

analyses on the legal discrimination and genocidal violence perpetuated through

the then operative Jim Crowe laws and mass lynching. And yet the descriptions

offered of the methodical state violence perpetrated through legal segregation is

also eerily descriptive of the violence now perpetrated through the U.S.

epidemic of police murders of unarmed African Americans and their mass

incarceration."The following passages could just as easily describe the racist

logic of our criminal justice system as the logic of Jim Crowe laws and lynching.

"The genocide of which we complain is as much a fact as gravity. The whole

world knows of it. The proof is in every day's newspapers in everyone's sight and

hearing in these United States, it's very familiarity disguises its

horror. It is a crime so embedded in law, so explained away by specious rationale,

so hidden by talk of Liberty, that even the conscience of the tender minded is

sometimes dulled. Yet the conscience of mankind cannot be beguiled from its duty

by the pious phrases and the deadly legal euphemisms with which its

perpetrators seek to transform their guilt into high moral purpose." So

law and order is a euphemism for, "let's arrest, attack and kill black bodies." I

think the phrase "the criminal justice system" is nothing but a euphemism.

"The conveners of this petition risked arrest after the presentation to the

United Nations offices in New York and the United States revoked the passport

of William Paterson after he presented this petition to the United Nations

Assembly in Paris. The authors of the document demand recognition of the

distinctly genocidal violence perpetrated by the Jim Crowe laws because

the term has political power and legal implications." We can't say, let's

ditch the word 'genocide' when you can see what a threat it was to United States,

like that means something that the United States was threatened by the

Civil Rights Congress. "The use of the term 'genocide' was necessary for this

group to oppose the pious phrases and deadly legal euphemisms that had masked

the regularity and brutality of state sanctioned violence against African

Americans. For this same reason, Claudia Card appealed to the definition of

genocide in order to explain and condemn the harm of social death that emerged

from the structural discrimination against entire populations in war and in

peace in the legal and medical and academic and domestic areas of human

life to support their case to the United Nations that the United States was

guilty of committing genocide against black Americans. The Civil Rights

Congress cited the then-current conditions of legal discrimination:

lynching, disenfranchisement, police brutality, and systematic systemic

inequalities, and health and the quality of life between white and black

Americans. Imac quite correctly cited article 2 of the convention to argue

that the United States had consistently committed genocide against black

Americans in the sense of - a killing members of the group to be causing

serious bodily or mental harm to members of the group and to see deliberately

inflicting on the group conditions of life calculated to bring about its

physical destruction, in whole or in part." And again, we see all three conditions

present, every single day in the everyday conditions of confinement in US prisons.

"The petition includes hundreds of descriptions

of then-recent cases, in which innocent black Americans (including

children) had been murdered by police brutality, lynchings, and the courts

sentenced to death. It also provides poignant descriptions of the mental

harms suffered by African-American communities from legal discrimination

and their exclusion from both moral consideration and the protection of the

law." So this bold and historic action taken

by the Civil Rights Congress was described in only two short paragraphs

in the New York Times on December 18 1951 under the headline

(think about the headline in the way we aesthetically represent things) "U.S.

accused in UN of Negro genocide." It was two paragraphs covering

this historic... U.S. accusing UN of Negro genocide." "These

two paragraphs that were just described what happened are followed by three

paragraphs that cover the reaction of Raphael Lemkin to their petition. Lemkin

was the Polish Jewish lawyer who coined the term 'genocide' and convinced the UN

to designate genocide as a violation of international law. The article states at

Lumpkin assailed the petition and 'said the accusations were a maneuver to

divert attention from the crimes of genocide committed against Estonians,

Latvians, Lithuanian, Poles and other Soviet subjugated peoples.' Lemkin was

offended that black Americans would make use of the new Genocide Convention to

draw attention to their 'plight' and understand their discrimination on par

with the Nazi genocide." Actually sounds like Holocaust and genocide studies as a

field in general. "Or indeed, for Soviet violence

against Eastern European populations..." I mean that's like every Holocaust

conference, is like how dare you try to understand violence against black

Americans as on par with what the Nazis - how dare you do that?

This is so puzzling because (as Elisa pointed out like very well this

morning), "his work had consistently provided a very expansive notion of

genocide. They did not reduce it to mass murder but instead recognized multiple

ways to destroy entire populations, in whole or in part.

Two years after the petition was presented," two years after Lempkin

couldn't let it go, "he then wrote an op-ed in The New York Times." Two years

afterwards. "Here is his title of his op-ed: 'Nature of genocide: Confusion with

Discrimination against Individuals Seen." Confusion with discrimination against

individual seen. That's why you have to keep saying, it's the whole black race

that they're fucking with. Do you see what I'm saying? We're not talking about

individuals. "Although he never mentions the Civil Rights Congress, he directs his

remarks against the opponents of the Genocide Convention." So he calls his

Civil Rights Congress, "the opponents of the Genocide Convention, or those who

appeal in order to name the system of racial oppression in the United States."

In Lempkin's title, "he denies the substance of the charges and we charge

genocide for he denies that discrimination against individual black

Americans (despite the continuous history of slavery and police brutality and

lynchings) could ever be interpreted as genocide."

"Instead, he callously (so callously) dismisses the right to compare racist

discrimination with genocidal violence," even though clearly in Nazi Germany,

you cannot just like separate racist discrimination from genocide or

violence. That's what he does in his op-ed and he just misses the "mental

anguish suffered from widespread poverty, lynchings, and police brutality as

nothing more than being frightened." And this is his exact quote, Raphael Lemkin.

"The opponents of the Genocide Convention have been asking literally, can one be

guilty of genocide when one frightens a negro?" And no one's read this and no

one in our field ever talks about this. We still lionize Lempkin as the most

important person ever. It's

unreal that he wrote this! "The opponents of the Genocide

Convention have been asking literally, can one be guilty of genocide when one

frightens a negro? Obviously not because fear alone cannot be considered as

serious mental harm, as meant by the authors of the convention. The act is not

directed against the Negro population of the country and by no stretch of

imagination can one discover in the United States an intent or plan to

exterminate the Negro population, which is increasing in conditions of evident

prosperity and progress in their petition to the United States the Civil

Rights Congress repeatedly emphasized that the American genocide against black

Americans had always been motivated by the desire for capital and power," as has

every genocide in the history of nations. So part of the epistemic injustice of

separating slavery and genocide is due to bad history in Holocaust Studies,

which previously had claimed the Holocaust is somehow different because

here, the Jews were being destroyed just because they were Jews and there was no

overriding instrumental desire for capital or power. That older view has

been completely destroyed by a newer generation of more Marxist minded

scholars (historical scholars) who understand capital and power

were part of the intent. But there is no pure intent to ever destroy people. It's

always a desire for capital and power but my point is that even before the new

sexy historians have been doing this in Holocaust Studies, Civil Rights Congress

said it in 1951. They said very clearly in the document: "all genocide is

motivated in part by desire for capital and power." And olympians are like, what

reason could America have? I can't imagine a reason why America would

want to destroy the negro?And yet, "Lemkin claims that by

no stretch of imagination can one possibly discover any intent in the

regular state sanctioned murder and exploitation of black Americans and this

legal system of discrimination that served to preserve it still serves to

preserve the status quo of white economic supremacy. Lempkin's willfully

naive perspective suggests that his inability to see and imagine black

Americans as victims of genocide has more to do with his own racist dismissal

of their plate than with any rational assessment of the extensive petition

presented by the Civil Rights Congress for he dismisses

a very real terror under which black Americans live by presenting it as a

problem affecting certain nervous individuals rather than an existential

threat that emerges from their extreme everyday vulnerability to state

sanctioned violence and death." Do you want to add something? Yes,

can we go back to Lempkin's first sentence again? Yes read it, you got it.

Want me to reread it? Just the first sentence. "The opponents of

the Genocide Convention have been asking literally, can one be guilty of genocide

when one frightens a negro?" I want to take off from there and

have us just think about what's going on at the level of

representation. A representation cannot cannot simply be... it is not just a

benign sort of thing. It's not just a record of what appears but what's

made to appear and here I think is a pretty clear record of how anti-black

violence in the United States has always had to pass a

certain threshold before it even gets to the level of representation. So when my

other obsessions (as Immanuel Kant would say, love/hate sort of obsession), you know, one

of the good things about Immanuel Kant was that he

says that a representation is not just about what hits your senses. It's

an act of consciousness, so it's an activity by which I pull together, what I

am sensing and represent it to myself. So socially,

representations have a very peculiar place because there are not simply

records of what's there but they are constructions and in many ways

values that are put into the domain of appearance.

So what Lempkin is representing to himself or what

this formal relationship is representing as fear is a

gross distortion of the situation, yes, but let's look at what is being

represented as a distortion. In 1934.,

Claude Neal was described in several newspapers as being... his lynching was

described in several newspapers (the publication was so popular that it was then

reprinted and sent around the country) and here's an excerpt of

that account: "First they cut off his penis. He was made

to eat it. Then they cut off his testicles and made him eat

them and say he liked it. Then they sliced his sides and stomach

with knives and every now and then someone would cut off a finger or a toe.

Red-hot irons were used on the nigger to burn him from top to bottom. From time to

time during the torture, a rope would be tied around Neal's neck and he would be

pulled over a limb and held there until he was almost choked to

death when he would automatically be let down and the torture

begun all over again. Neal's body was tied to the rear of an automobile and

dragged over the highway to the Kennedy home.

Here, a mob estimated to number somewhere between 3,000 and 7,000 people from

7/11 states was excitedly waiting his arrival. A woman

came out of the Kennedy house and drove a butcher knife into his heart. Then the

crowd came by and some kicked him and some drove their cars over him. What

remained of the body was brought to the mob to Mariana

where it is now hanging from a tree on the northeast corner of the courthouse.

Photographers say that they will soon have pictures of the body for sale at

fifteen cents. Each fingers and toes from Neal's body are freely exhibited on this

street corners here."

The story became a representation of the

extraordinary violence at the national level but Neal's case was not distinctly

extraordinary, nor was it extraordinarily remarkable. Between 1877 and 1950, the

equal justice initiative has reported that nearly 3,959 lynchings

happened. This is more than what was estimated before that report came

out but I just want us to remember that those are recorded lynchings,

lynchings that were recorded as lynchings and that were successful

and so the thing that we have to think about when we think about the

representation of lynching is yes, there is extraordinary violence

but at what point does the violence become something that outstrips

our imagination? The term itself, lynching, is something that indicates an

extra juridical violence that exceeds the continuum of murder. It

exceeds the continuum of violence and harassment.

That's what Lempkin described as a type of fear and it's also when we think

about the history of lynching, we often will represent it as various events that

have beginnings and ends but not... In its excessiveness, lynchings were a form of

formal ritual. The script of Neal's lynching that

followed is a pretty normal one, of the genitalia being cut off. We can see this

again in the the documentary of the "Untold story of Emmett Till." The

genitalia being cut off and put into the mouth, the multiple sites of death and

particularly the public allottee of the specter of black torture.

These are the formal elements and they

exceed the actual event itself and remain with the

culture long afterwards and there's a necessity, the ending part right? The

ending part is necessary... that there's a necessary distribution of the body...

there's a necessary distribution of the torturer, there's a necessary

reproduction of the image over and over again - not to traumatize or even address

anything that Neal could have done, but to traumatize. As Dr. Skitolskyso

pointed out, to traumatize the whole entire black race.

First, I want to say that I also brought

my attention to contemporary forms or transmissions of lynching, like this is

also not a thing of the past. You should think (and this all

brought this to my attention), whenever a police officer does murder a

young black man, it then gets recorded . That's how it makes

news and it's called like a Jif or something.

Okay, that's what it's called.

Well you have to think about what's being done here when the .gif of a black

man being shot is being circulated, seeing and racing all over again.

Here we can see is that lynching isn't over, it's like a contemporary

manifestation of it.

So one of the things I think to consider is that

if lynching has this sort of formal aspect of it,

it's got to be public. It's got to be a redistributor. What have we done

away with? We've done away with the necessity of being present to the

killing and when we repost (whether or not we are reposting to

increase social consciousness or whether we are reposting out of some sick fetish

right), the repost itself puts us in the same

formal relationship as though the practice of lynching. So what I want

to encourage us to think about is not to focus so much on the gratuitous

violence that is represented, that detaches our sensibility

from it. A lot of times in our political imaginary, think about

lynchings is happening at them in the middle of night by a few bad apples that

have gotten too drunk at the gas station and have nothing to do and that's not

true. It's not true that most lynchings happen

that way. Most lynchings happened in public. They were planned a week or so in

advance. There was a picnic and carnivalesque

like atmosphere. Children were brought, music was played, cotton candy

distributed... so there's a way that the publicity of it is

necessary. We don't have those festivals anymore in that particular way

but in social space, when we repost something, are we participating in the

practice of lynching without the actual interaction? Without it, so its aesthetics

has shifted, yet our formal relationship remains the same. It means that we have

to draw a lot more questions about our practices I think. I guess the last

thing that Al has always made me realize about lynching is that we think about it

so little and we reconcile it as an event that's over, so we don't think

about how creepy that psychosexual investment is in watching black bodies

tortured. Where did that go? It didn't go anywhere. It's not like over,

so the psychosexual investment in watching black body suffer is now in

prisons so I don't know how to explain the excessive, unnecessary

gratuitous amount of violence inflicted on our prisoner population outside of

that sort of psychosexual investment in watching black bodies suffer but

transfer to the prison (and this is again, we mean like the event here it's hiding

and making us forget more than recognize or reckon with) so it is our view (Al and mine)

that the representation of genocide as an event

(with the discrete beginning, middle, and end) also serves as an epistemic

injustice, an injustice on the level of knowledge that prevents the

recognition of systemic oppression against a marginalized population as

genocidal and so it also serves to normalize the infliction of gratuitous

violence and social death on targeted populations

as mere discrimination that lacks the terror of a real genocide. The ontology

of the event as an extraordinary phenomenon that is collectively

recognized as such will always fail to represent or detect the genocide of

logics that are operative in the everyday practices that perpetuate and

normalized state sanctioned violence against black and brown bodies. It was

really wild for me when I started visiting prison after studying the

Holocaust for like 15 years. But I wasn't saying anything. I

haven't heard women say their... it's just like, how is this America? What the

fuck? Does everybody know what's going on in here? And I was like, what the fuck?

This is the concentration camp. I had no idea.

People who would describe what you see in the camps and they

wouldn't be believed. It's really unimaginable what

happens in the prison system and to reconcile that with American

democracy (of course there's no reconciliation necessarily because America

is genocidal) so the notions of the singular, the unique, and the

unprecedented all presuppose the ontology of the event as the basis for

the phenomenon that we call genocide or the coordinated effort to destroy an

entire population. These notions inform the field of comparative genocide

that aims to compare discrete, singular events of genocide that act as ruptures

in the political and social order. For this reason, the ontology of genocide as

event in this field has perpetuated our moral blindness to the continuity and

extremity of anti-black racism in the United States. So we argue - just a shift

of paradigm to a pathology - to better represent the temporarlity of genocidal

violence and detect the genocidal patterns of anti-black racism in the

United States. We think that... if we assume this new paradigm, we can better

recognize the genocidal nature of historically distinct phenomena (lynching

and mass incarceration) that do not represent events that begin and end so

much as distinct expressions of a continuous pattern of pathological state

sanctioned violence inflicted on African Americans as a

group. So the stakes are so high when you realize what genocide means as a

legal category because once you make the case that the prison system is a system

of genocide, there's no reforming that shit. You just have to abolish it.

You have to raze it to the ground and it gets so frustrating. People are like, well,

what else could we do? We have so much poverty of our moral

imagination that we can't think how to pursue justice other than inflicting

massive amounts of pain on lawbreakers or suspected lawbreakers. It

doesn't even matter what comes next, you just have to destroy the system of

concentration camps that poses as a criminal justice system in our country.

So you can't have an abolitionist movement

without the word genocide. It just doesn't work because then you're always

going to get into the neoliberal asking for reform and this is what frustrates

me with Michelle Alexander and the new Jim Crowe and that whole take on it,

which is that the problem isn't solved by reducing the number of black men in

prison. You're still talking about genocide, a la conditions of confinement

so even if there were less black men in prison it would still need to be

abolished. It would still be genocide. I don't like how the liberal

media is really focused on the word 'mass incarceration,' as if the problem with our

system is that there are just too many people in there. No, the problem is that

it's a sight of torture. It's not just so that there are too many people in

there that we keep and that's like to forget to represent in a way that

we forget the perpetuation of genocidal practices in this space, which is then

hidden from view. So to go back to thinking about

the ontology of the event, I want us to think a little. I

want to think with you a bit more about how lynching (not as a

representation) but as a framework or a form of practice frustrates or

this quite a bit. As the description of Neal's lynching attests,

the history of lynching has been characterized within

the discursive practices of the event and ontologizef as I passed from which no

trace has been left. This refers to the aesthetic claims of

erasure within our cultural, political present. Yet, erasure as in the changing

of sign names, is only one type of aesthetic erasure and it does not get at

how the aesthetic sentiments and practices continue despite this erasure,

the ratio of the traces. Indeed, the practice of lynching was

decidedly not something contained in the event, in the relations between

communities, or even in the historical closure of their horizon. Rather they

remain in the way terror texturizes the sensibility toward places and

peoples then and now and (maybe more importantly) in the way that sensibility

is cut off and seen only within a diasporic horizon that can never be

fully recognized as an event of the present. Interestingly enough, we

say that the lynching is not a present phenomenon. So let's do a I disagrees.

I disagree with the way in which lynching is often situated in

our language as something comparable to murder. It is not on the continuum of

murder and I think that it's imperative for us to refuse this

equation. I disagree with the way in

which lynching has become something that we somehow know how and what. It's

representation contains... I think we should be a lot more skeptical of when

we think that when something is categorized immediately not as a repetition of

lynching. I disagree with the way in which we think about lynching as an

individual or unique thing that only a few bad apples perform here and there. I

disagree with all of this and I think that what we need to see in all of these

various ways in which lynching is allowed to appear is

something much more pathological at work. Let's go back to this Cassandra complex.

I was gonna say one more thing and then go right into

Cassandra. I just want to say why this notion of

pathology is helpful, why this shift of paradigm... why we like this

notion of pathology to describe the nature and process of genocide. We should

think of genocide as a pathology or a complex of ways that informs a diseased

form of human life. It is through this pathological habit that individuals or

collectives attack the basic needs and capacities of entire communities. At the

same time that all communities suffer from a certain distortion of culture

that is contingent upon a particular set of conditions. And when I mean all

communities, I mean when I'm in the prison, I feel really bad for

correctional officers. They're like unbelievably fucked up. What they have

normalized for themselves. I don't... it's not like those who wield the power

.or in a good position, it's not like they're not also suffering from a

seriously pathological way of thinking and acting. So by framing genocide

as a pathology, we decline to situate the event as either inevitable or as natural

but rather as something difficult to discern and isolate from the larger

toxic conditions in our social environment, such as an economic system

based on monopoly capitalism, the lack of general access to decent healthcare, the

epidemic of child rape, and systemic state sanctioned violence against women,

immigrants, and people of color. The new field of epigenetics (which I'm now

actually getting obsessed with) is also helpful to better understand the

continuity of genocidal logics and assaults based on the capacity of our

genes to be altered by cultural experiences of trauma, such that the

children of traumatized parents are more susceptible to post-traumatic stress

disorder and the children of perpetrators are now thought to be more

susceptible to rage and violence against the perceived other. So this new field of

epigenetics is actually revealing that the wounds of genocide affected genetic

information pass to succeeding generations

and so, overturning the entire history of how, we've understood genetics . It's

not raw material that's delivered to succeeding generations unaffected by

what happens in history. Literally, the genetic information that we pass or the

dispositions that someone might inherit are affected by

what happens in history and in culture. But that means, if you think about

epigenetics and our notion of pathology, here the model of pathology is both

metaphor and a very literal way to understand the continuity of genocidal

practices over time that precede and survive any particular event of mass

violence. So let us refuse to take up the issue of

genocidal violence for the purposes of convenience to those who are living. It

is far too easy to speak of each event as isolated or as its own pattern but

this puts in place a practice of distortion whereby we forget in what we

remember. First, let us think about anti-black violence as always being

excessive. It's excessive to our political imaginary. It's not that we

haven't gotten the representations right, but that our political imaginary has

been formed in such a way that anti-black violence as actual violence

exceeds it. Second, anti-black violence is a practice that maintains a specter of

social death, of the rupture of vitality of the forecasts of a complete

annihilation. Third, anti-black violence is constantly a practice that is being

articulated within a sphere through memory, through rituals, through a type of

divert diversion and at the same time, it is a sphere of disarticulation. For

knowledge will not get us out of this, adding to the sphere of knowledge will

not disrupt our pathological relationship to anti-black

violence. Knowledge can only forecast that at some point,

we will reconcile ourselves to that path but again, I don't agree. I want us

to take up for a moment the position that we don't agree with the politics

implied by a reconciliation. The Cassandra complex... I started working

with the figure of Cassandra because what's

interesting about Cassandra (and Melissa has also got me to rethink a lot about

the Cassandra complex within the context of genocide) because Cassandra was the

prophetess to Apollo and at the fall of Troy, she sees that Troy is going

to fall and that she sees her own death. This is like the worst for the Greeks,

to know that you will die and not be able to do anything about it. So

she's tortured but what's curious about Cassandra is that she doesn't really

tell people about the future. She tells them about the past.

So Agamemnon comes and takes Cassandra as prize when he shows back up at the

house of Atreus. He's coming, he's greeted by the course and he's greeted by

great advices by some people and he's greeted by his wife Clytemnestra and

she takes him out of his carriage. She sees

Cassandra and the first thing that she says to Cassandra is she says she tries

to ask her if she understands her and Cassandra refuses to say anything. She

refuses. She's remained silent and then Cladamenstra, thinking that she

doesn't understand Greek, she says "take care of this barbarian,

treat her nicely when she comes into the house." As soon as Clements was gone,

Cassandra addresses though the people who are remaining the course and she

says this this house is the house of murder.

It smells like an open grave to me, it smells like an open grave to me. What

is she referring to? She's referring to a maybe the future right but,

definitely the feast of deities, which happens before Agamemnon leaves,

where the house of Atreus is cursed by a

rival who cooks children and

feeds them to Atreus, I believe. And so she says the cycle of

violence here. The cycle of violence is marked in this house, it smells like an

open grave to me. This is the house of horrible things, this is the house of

murder and the course responds by saying, "we don't know what she's

talking about." Now this is not possible.

They were structured in such a way that they immediately (when

confronted with what was apparent to them), they immediately turned

away from it and said I don't understand. This is not a

representation for me. It's not exactly the same as a denial and I want us to

think about the language of pathology here, it isn't exactly the same

as a denial... it's i a way in which we position ourselves formally

to something that is our content and yet we don't acknowledge it. We don't

recognize it. It doesn't get into the circuit of representation and that's

the complex part of it. When Cassandra goes into the house, she is of

course murdered but she's told them everything about their violence. If

she was in the United States, we could imagine her like the voice looking out

out from his tower and looking at the American society and the European

society looking at World War one and saying exactly what the boy said at this

site: "this is not 'you've gone mad' but rather, this seeming

terrible is the real soul of white culture, back of all culture, stripped

invisible today. This is where the world has arrived, these dark and awful depths

and not the shining and effort-able heights of which it is boasted." Therefore,

I would like to suggest that using this Cassandra

complex as a way of thinking about how and in what way anti-black violence is a

practice of genocide reframes the violence as a practice and is not about

denial. It is not about denial, it is not a matter of a lack of knowledge. It

denotes the practice of violence normalized without putting its own

practices into question. The fact that Cassandra's pathway to justice is

silenced means that it has never been tried. The fact that she has only

death never accounted for in the tragedy means that

it is still an option but this option only exists

against the restructuring of the state. If we can learn to

see that, the cassandra complex is not just a way of

understanding our pathology but a way of re-positioning our questions and

questioning what we take up as normative in the present. I think that there

is a way that we need to for the first time (again and again) and

counter that pathological relationship prevention in our context could only

mean maintenance, just as reconciliation can only mean a reproduction. The

question of mourning that I wanted to pose in my book and that I want

to pose to us is a question of reframing our political agency in ways that does

not rid itself of the reckoning with the practices of violence anymore than it

works toward a reinterpretation of what prevention reconciliation or recognition

may mean it is in this sense. It is present for us only in this sense.

Thank you.

For more infomation >> The Corporate Body - Duration: 1:02:13.

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Eating ice cream of brother and sister - [RabbitPlay] - Duration: 5:06.

Eating ice cream of brother and sister - [RabbitPlay]

For more infomation >> Eating ice cream of brother and sister - [RabbitPlay] - Duration: 5:06.

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Breaking: Courts Have Brutal Message for Protesting NFL Players | Top Stories Today - Duration: 3:06.

Ever since the national anthem protests began in the NFL, we've heard the term "free

speech" and references to the First Amendment bandied about in sports reports about as often

as talk of play action or the fade route — with a lot less understanding.

"Jeff Sessions Defends Free Speech And Donald Trump's NFL Attacks In The Same Breath,"

read one Huffington Post headline.

"Free Speech Isn't Selective," the title of a U.S. News and World Report piece that

criticized the president read.

For everyone who's used this argument, the First Amendment protects people from suffering

any consequence of speaking their mind.

(Provided, of course, what's on their mind is sufficiently liberal.)

In this line of thought, the idea that NFL players could be fired for refusing to stand

for the anthem — what President Trump was recommending — is totally incompatible with

the First Amendment.

For the left, free speech equals consequence-free speech (again, as long as its liberal).

Unfortunately for them, the courts disagree.

"There is no federal law protecting against discrimination or retaliation for political

activity" in the private sector, Workplace Fairness senior adviser Paula Brantner told

TheWrap.

"A lot of people think they have First Amendment rights, but those only apply to government

employees."

The poster boy for this is James Damore, the man behind the Google manifesto that claimed

the company was too politically correct, particularly on issues of gender.

Even though Google tried to play it off that they supported "free speech" outside of

the workplace, he was still fired.

"First, let me say that we strongly support the right of Googlers to express themselves,

and much of what was in that memo is fair to debate, regardless of whether a vast majority

of Googlers disagree with it," Google Chief Executive Sundar Pichai said in a memo, according

to MarketWatch.

"However, portions of the memo violate our Code of Conduct and cross the line by advancing

harmful gender stereotypes in our workplace."

Thus, if your code of conduct prohibits certain forms of speech, employers can pretty much

fire you at will.

It's brutal, but it's true.

And California, where Damore worked, is one of the few states that protects employees

for political speech away from the workplace.

That's not even in question with the NFL protests, though.

They're not just happening at the workplace, they're happening right on the field — as

part of a ceremony almost every American understands.

The players have literally no legal recourse if an owner decides to fire them for kneeling

during the anthem, no court is so infested with kangaroos that it would even give them

a chance.

The NFL has shown no impetus to fire players who disrespect the anthem as of yet.

If there's enough of a backlash, however, that could change.

And there's nothing that "free speech" will be able to do for them.

What do you think should happen to the anthem-protesting players?

Scroll down to comment below and don't forget to subscribe top stories today.

For more infomation >> Breaking: Courts Have Brutal Message for Protesting NFL Players | Top Stories Today - Duration: 3:06.

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Đua xe tranh cup bàn thờ mở rộng - Duration: 1:49.

For more infomation >> Đua xe tranh cup bàn thờ mở rộng - Duration: 1:49.

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Teens in South Korea

For more infomation >> Teens in South Korea

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Why I broke the rule of survival for black Americans - Duration: 3:34.

For more infomation >> Why I broke the rule of survival for black Americans - Duration: 3:34.

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MoDOT working to fix 3 bridges along I-470 - Duration: 0:57.

For more infomation >> MoDOT working to fix 3 bridges along I-470 - Duration: 0:57.

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Upcoming bridge replacement in Exeter will close I-95 North - Duration: 2:09.

For more infomation >> Upcoming bridge replacement in Exeter will close I-95 North - Duration: 2:09.

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Citroën C3 1.4I EXCLUSIVE Vol Automaat Clima . - Duration: 0:59.

For more infomation >> Citroën C3 1.4I EXCLUSIVE Vol Automaat Clima . - Duration: 0:59.

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Channel Trailer - Duration: 2:45.

What is this?

(It's a camera)

How do you turn it on?

(It is on)

Oh, really? Hi

(Okay, focus. You only have around 3 minuets to explain what your channel is about)

Okay

(Go!)

Okay, so, my name is Celeste

and my hobby is turning YouTubers and Musers dark

Y'know, evil. I love to edit

For example:

I also like to draw

I'm not very good at vlogs

I tend to go onto the more....negative side of things in them.

That's the reason why I quit YouTube and want to still quit YouTube to be honest

The criticism man, I just can't take it.

Yeah...sorry about that

But hopefully things won't stay that way anymore because of this very video

Now one of the most redicilous things that anyone has ever done to me

Is thought that I was the real Antisepticeye

Cause I'm not. Clearly I'm not

I just like cosplaying as him, making edits of him, and just love him all together

So that's why my name and banner is...Antisepticeye

Cause it's zalgo text and only À̸͉̼̆̊̇ͅn̵̡̪͍̥̤̘̿t̴̩͙̗̯͙̉ͅi̵̟̜̎ uses zalgo text

So if you don't like it

Feel free to go be triggered somewhere else

Oh, and one last thing before I go

I am a furry

My fursona is a Dutch Angel Dragon known as: Emerald

She has no tail and a dark side

who doesn't really have a name yet, they're just known as: Dark Emerald

She also has a brother! A Dribling

(Dragon sibling)

That she met at comic con

Her reaction was adorable! Check it out

And that's about it for my channel

I hope you learned something about it, and..yeah...

If you still have no idea what my channel's about

or what I like to do for hobbies and shiz

then just go check out my videos and find out for yourself

I hope you all have a great day, and..yeah

Cya!

F̵u̴c̵k̷i̷n̶g̸ ̷c̵i̵r̵c̵l̴e̷s̸!̴

I̶'̴m̵ ̵t̵i̷r̴e̵d̴ ̶o̵f̵ ̸i̸t̴!̶ ̶(̶I̴'̸m̷ ̵t̴i̴r̴e̸d̸-̴)̷

M̶o̸c̸k̸i̴n̴g̵ ̴m̶e̵ ̶w̴i̷t̷h̴ ̶y̴o̶u̸r̷ ̶'̴g̵l̵i̵t̴c̴h̴ ̷b̴i̵t̸c̶h̷'̶

For more infomation >> Channel Trailer - Duration: 2:45.

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Citroën C2 1.4I VTR, CRUISE CONTROL, STUURBEKRACHTIGING, ELEK-RAMEN, CENT-VERGRENDELING, RADIO-CD, - Duration: 0:54.

For more infomation >> Citroën C2 1.4I VTR, CRUISE CONTROL, STUURBEKRACHTIGING, ELEK-RAMEN, CENT-VERGRENDELING, RADIO-CD, - Duration: 0:54.

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Subaru XV 2.0i Luxury Plus AWD AUTOMAAT! 1e eigenaar! dealer onderhouden! navigatie! - Duration: 0:54.

For more infomation >> Subaru XV 2.0i Luxury Plus AWD AUTOMAAT! 1e eigenaar! dealer onderhouden! navigatie! - Duration: 0:54.

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Azealia Banks Slid into Nicki Minaj's DM's Because of 'Catty Sh*t' - Duration: 2:27.

Hey guys for Complex News, I'm Natasha Martinez.

//// Azealia Banks has had it with her own antics.

The singer has been on one when it comes to criticizing other female artists, always putting

in her two cents on how they've done something wrong despite their success.

But in a shocking turn of events, Azealia has owned up to one of her biggest rivals:

Nicki Minaj.

On Thursday night, Azealia decided to share her thoughts on how she believes she's handled

her relationship with Nicki.

She first posted a photo of a liked tweet from Nicki's profile with a caption that read:

"As a snobby art school girl I can admit having thrown loads of unnecessary jabs at @nickiminaj

, but one thing I've never been is a liar.

If ANYONE is going to be heralded as the face of female rap for this generation it's Nicki,

and if ANYONE deserves a number one record AND her very long overdue Grammy win, it's

Nicki."

To take it a step further, Azealia dropped into Nicki's DM's with a lengthy apology and

praise for Minaj's work in the industry.

Azealia shared screenshots of the thread and captioned it with, "Not gonna lie, I cried

a bit when she responded."

(highlight caption)

Not sure why though, because Nicki's response wasn't as receptive as you might have thought

given Azealia's heartfelt message.

Banks wrote:

"I want to apologize for whatever catty sh*t I've said to and or about you in the past.

I really do enjoy your artistry and think you're so intelligent and clever...Now that

I'm growing up I'm realizing a lot about what it means to be a strong woman and you've showed

nothing but strength and perseverance from day one."

Azealia even addressed her decision to work with Nicki's ex Safaree Samuels and said that

it was because of pressure the industry puts on female rappers.

She said it was not out of spite and that she actually grew to respect Nicki's work

more after working with Safaree.

She summed up her message with:

You have my word, that from here on out, I will never say any negative or catty things

about you ever again.

And Nicki responded by saying:

"You're very talented & very smart.

Focus on what really matters from now on."

For the sake of letting the beef lay to rest, let's assume Nicki's response was not the

equivalent of just writing 'K' when someone sends you an emotional text. (last post in

the post) It's just good to see Azealia show some maturity, and applaud other women's success

instead of tearing them down.

Hopefully, the next female artist she'll applaud is Cardi B. Banks recently called Cardi a

'poor man's Nicki' in a series of since deleted tweets.

Cardi clapped back with video of Banks fully enjoying Cardi's No. 1 hit "Bodak Yellow".

//// That's your news for now, for more of today's trending stories subscribe to Complex

on YouTube.

For Complex News, I'm Natasha Martinez.

For more infomation >> Azealia Banks Slid into Nicki Minaj's DM's Because of 'Catty Sh*t' - Duration: 2:27.

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FENTY Beauty Match Stix TRIO in LIGHT Shade & How to USE Fenty Match Sticks - Duration: 8:26.

I think...

I think...

I got these Match Stix to work for me!

*Intro Music for AEHM artistry*

What up guys?!

Ashley Elizabeth here with AEHM artistry.

Today I'm going to show you how I got this

Matchstix trio in the shade Light to work for me.

If you watch my Instagram stories or snapchat

then you know that I have had quite the battle with these

Fenta Beauty matchsticks.

Basically what I cannot do, is I cannot just swipe them

on and blend because you know what?

They blend to nothing!

And that is with a brush or with a Beauty Blender.

I can't, I can't swipe it right on.

And I was thinking that contour shade, which is called Amber, felt like it was too light of a

color. It wasn't dark enough...

And then the shade Linen, which is the highlight &

concealer stick, felt like it was not light ENOUGH.

So, it was a weird balance.

The Starstruck highlighter, with the shimmer in it, was kind of separating on my

pores. You can't put it directly on the foundation or else it will just mush it

around. It is terrible, yuck!

And I tried it with several different foundations.

I probably tried it about three or four times. And yesterday I think I found the

golden ticket because this makeup ain't gonna beat me no, no, no!

Maybe if you have it, and you're struggling with it, you can get it to work for you too.

I really feel like this is a light natural contour.

That is great for those "girls [& boys] on the go",

for moms on the go, that don't have a lot of time to blend and blend

and brush and brush because this technique will get it done lickety-split.

First I prep my skin properly starting with my moisturizers

and then I go in with the primer that they make. It's really really nice.

And then I go with their foundation.

What I love about that, even though I have dry skin, is I don't

have to set it with powder.

So I put this foundation on just a few minutes ago and

it's already dried down and it doesn't move and it doesn't shift.

If I add powder on top of it, it is SuperDuper matte. It's too much for

my dry skin. So, if you have dry skin,

just know those tips. Moisturize ahead of time,

I love their primer and the foundation, don't touch it with

powder after just let it sit, except a little bit of contour powder if you want.

Now, right over the foundations done, I go in with my matchsticks. Like I said at

the beginning, do not swipe it straight on because I find that...number one, it

does drag the product no matter what foundation I use underneath and number

two, it blends out to nothing. And it's like nothing's even there and it's just

like what the heck?

So what I do, is I use my Beauty Blender

and I swipe it right on just one side.

And then I go into the hollows of my

cheeks and I just start blending it out.

And the color payoff is so much better this way.

Than the other way, you would think.

I totally thought this would be a good swipe on stick and blend out and I could

just go on with my day, but no.

That proved to be fatal.

And you could just

build up the color or you can do a very light.

And I actually learned this, I need

to find the comment that I found, I was watching somebody's [first impression video]

and some commenter said "you know you're supposed to apply that with the foundation brush right?".

Like, straightaway and then swipe it on.

Like, put the fountain, put it on the

foundation brush and then swipe it on.

And then I thought, "you know it would be

even better my Beauty Blender!". And so I ran upstairs, no joke, and I went and I

tried this

And I was like "yes, finally!"

So I need to find that commenter and thank them!

Because I was about ready to run to Sephora and return this because I was so

mad at it! Like, I was so mad.

Which is ridiculous. But if you watch my snaps you

know I tried it to so many different ways. So many different ways, guys.

And this is so much nicer.

Just warm up the face.

And then it's not separating my

foundation or anything like what was happening before.

And I'm just tapping the product on.

Now I will say, there is one way that I do like swiping this on...

and I actually like swiping on for the nose contour. Because it blends out to

nothing. It's not so harsh.

See it like it blends out too like

almost nothing. That's why I like applying it to a sponge, but like I said

for the cream contour for the nose, I like it blending out to almost nothing.

Because I just want it to a hint.

I just listened to somebody that said

"contouring the nose too heavy is like somebody with a bad toupee".

Which its like, you ain't fooling anybody, we all know! But you know what?

I like a little contour on the nose but I want to keep it very minimal, for sure.

Alright, so that was the Amber stick in the matchstix trio.

Now for the highlight type of shade

that's more of a highlight / concealer.

Ifound adds very light coverage.

It doesn't really conceal all that much.

So let's just use it as kind of like a highlighter.

I'm using a new Beauty Blender, so I don't mix the contour shade

in there. If you don't have the luxury of having 14 million Beauty blenders like I

do, then just use the other side of the beauty blender from the beginning.

And make sure your Beauty blenders are damp, of course.

Cut that the line a little bit further.

If you want to blend it. You can blend the two together, if you want a

more soft look.

You can definitely cater it to the look

that you are going for.

And then I very, very lightly put it under the eyes.

If I do too much it will 100% crease in my fine lines.

I noticed it's really good for

cutting that shadow line.

Then I flip the Beauty Blender around, just

make sure to the two really melt together.

And that's with the matchstick trio

shade in Linen from the light set.

Alright, and the last step that we're gonna

go in with is the Starstruck highlight stick.

This one I notice I can either

warm it with my finger and very, very gently Pat it or I can go in with my

little Beauty Blender, that is the concealing one, or again you can go with

your regular Beauty Blender if you have a clean side. Or just use your finger.

But again, take it right off the product and then just very, very lightly

tap it right on.

And it's very subtle, so this isn't for that, like, super blinding highlight.

But on a day that I want to be more natural,

"natural"...

this is nice.

I'll do the finger way on the other side.

A little more concentrated but with the finger

you have to make sure you're not moving the product around too much.

Alright, that is with the matchstick trio Starstruck shade

in the Light set.

You guys can see up close a little bit.

Now overall, is

this something that you absolutely need to have in your makeup stash?

I'm not still a hundred percent like, yeah totally.

What I really like this for:

is somebody that's on the go, that wants something done really quick and

still give a little bit more polished look and some definition. Who doesn't

have time to completely blend and blend and blend. Just do not go in with it just

straight on. But if it works, and if it does that well for you, that's awesome.

Tell me what foundation you paired with it because it didn't work for me.

But I really liked it this Beautyblender way.

Let me know in the comments below

if you feel like trying this.

There are some other highlight sticks out there that

got me sailing!

Like the [Fenty Beauty] Confetti, I think would just be awesome!

And you know what

I love most about these is? They're magnetic and I can add a million!

Alright, thank you guys so much for watching!

I hope this information helped

you decide if you want to get the Fenty Beauty Matchstix trio, and this

particular one was in this shade Light.

And if you already have it, let me know

if you try this and if this is what works better for you, if you're having

challenges.

I kind of felt like I was a little bit alone and like everybody was

neutral.

I didn't feel like anybody was raving about it, but I didn't feel like

anybody was saying that it wasn't good.

And I was like....

this is not good, what the ...

Know what? I made it work and I love it now and it's great for those days that

I'm on the go.

Before you guys fall down the rabbit hole which is YouTube

Make sure you hit that SUBSCRIBE button, please!

Every view, share, like and subscriber helps!

Don't forget to find me on social media.

I think my absolute favorite has been Twitter, but I am starting to do

Instagram live stories. So if you want more content go visit me there.

Alright, you guys have a great lovely day! XOXO

For more infomation >> FENTY Beauty Match Stix TRIO in LIGHT Shade & How to USE Fenty Match Sticks - Duration: 8:26.

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That Feeling When... - Duration: 1:28.

*Okay before I start this video, I just wanted to say that:*

*This is how I'm going to be doing my videos from now on.*

*I might do some better animations like a series, (Webseries)

...but I haven't decided yet.*

*So let's get to the video!*

-Yo everyone.

-Have you ever had that feeling when someone has a crush on you...?

-No, not like that!

-But when you sliide into their DMs

-And they say, "Hey."

-So you say, "Yo."

-Then they cut to the chase and say, "Who do you like?"

-So then you say, "You tell me first."

-So they say, "Okay; I like you."

-Now you just sit there and think: "wow."

-But wait, could she have told someone Else?

-Probably Not...?

-That's Exactly Where You're Wrong.

-So there's a "System of The Secrets." (That I made up.)

-One person tells another person...

-And that person tells another...

-Then that person tells another...

-Then that person tells another...

Then Everyone Knows!

*Kids screaming "YAY!"*

-N-No this is not good.

*People Saying Aww...*

-Okay so it's the next day...

-And you're minding your own beeswax

-So you find a seat and someone says,

"You should sit next to your giiirllfriend!"

*Deep Breath*

-You're so original aren't you?

(If anyone from my school is watching this: I'm not naming names in this video, so don't be triggered.)

(If you enjoyed subscribe for future content)

(And donate to my patreon, to have your name shown here!)

(Bye Bye!)

For more infomation >> That Feeling When... - Duration: 1:28.

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日本語のビデオブログ#9 - 本当に久しぶり - Duration: 4:35.

For more infomation >> 日本語のビデオブログ#9 - 本当に久しぶり - Duration: 4:35.

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[Live] Call of Duty: WWII PC Beta ◉ Grind is ON ◉ Playing with PS4 controller - Duration: 4:53:05.

For more infomation >> [Live] Call of Duty: WWII PC Beta ◉ Grind is ON ◉ Playing with PS4 controller - Duration: 4:53:05.

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So THIS happened at our final campervan build inspection... - Duration: 2:55.

Hello everyone, it's Lucy with Campingcarjoa.

Today, we are here to get our final inspection.

We rushed over here this morning.

All these people are waiting to get inspections.

So we're waiting now.

I don't know what will happen.

I'm so nervous.

We've been really anticipating this day.

Whether or not Tubi passes

Or if she fails the inspection

we'll know pretty soon now.

I'm so nervous!

I feel like my heart is going to explode.

Okay then.

You see the results

in less than 60 seconds.

We're waiting now.

They're doing the inspection now.

I'm freaking out.

Whether Tubi passes or not...

we have to wait for this to finish.

I'm really sweating!

The car in front is also getting inspected.

Okay guys

The inspection is finished.

The results...

They found some probems.

So we failed!

Just joking! :)

Tubi is officially a camping car!

Really

When they attached this sticker

I really

thought about all work we did these past months.

The work on Tubi.

What can I say..

The memories came rushing back.

We had some challenges in this build.

And at times it was difficult.

From this morning I was so stressed.

But we really passed!

Now we'll pay for the camping car property tax.

So I can feel confident driving around.

Guys, we did it!

For more infomation >> So THIS happened at our final campervan build inspection... - Duration: 2:55.

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harrasser how many fucking hits - Duration: 0:49.

1

2

3

4

5

4 AP hits (SOME OF THEM IN THE BACK)

(and yes I know the engineer repaired a bit)

(and no I didn't hit the engineer instead of the Harasser)

(because otherwise he'd be fucking dead)

For more infomation >> harrasser how many fucking hits - Duration: 0:49.

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NEW TV SHOWS - All new tv shows - July 2017 - Nerd Rabugento - Duration: 19:40.

For more infomation >> NEW TV SHOWS - All new tv shows - July 2017 - Nerd Rabugento - Duration: 19:40.

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Will Tummy tuck make my middle areas smaller-Dr.Hourglass - Duration: 6:02.

Hi, this is Dr. Hourglass, and welcome to another video in our channel Superhourglass.

Today we are going to discuss: Will a tummy tuck make my middle area smaller?

In this channel, we will discuss everything you need to know for you to get the hourglass shape

you've always wanted.

Welcome back!

The tummy tuck is used to make the abdomen firmer and flatter by removing the excess skin

and fat tissue and strengthening the muscles on the abdominal wall.

This way we create a more supple and strong abdominal profile.

The surgical technique involves the removal of skin and fat tissue through a transversal incision

in the supra pubic area that can be extended from one hip to the other.

The length of the incision is variable depending on the quantity of tissue to be removed.

So after a traditional tummy tuck, the patient will be left with a smoother abdomen that

is flatter and muscle diastasis and umbilical hernia are corrected if it was present.

But when we talk about the small middle area, we also talk about the flanks and the waist.

These are not affected during the tummy tuck procedure.

When the patient's goal is to get a smaller middle area, I almost always recommend liposuction

and fat transfer to the hips, or what we call the hourglass tummy tuck.

Liposuction is beneficial because it will help us eliminate the adipose deposits on the flanks

and also reduce the thickness of the fat layer on the abdomen.

You might be asking why we need fat transfer if you want a smaller middle area.

Usually, when my patients talk about a small midriff, they are actually referring to the hourglass curves

a waist smaller compared to the dimensions of the shoulders and hips.

Without these curves, a smaller waist would be much less appealing.

This is why I use the fat harvested through liposuction to re-inject it on the hips to create

the beautiful curves all women want.

The traditional tummy tuck procedure doesn't work on the middle area.

You can undergo the procedure and still have a square shape, which is not very well defined waist.

The only procedure that can help you get a smaller middle area and an impressive visual effect

is the hourglass tummy tuck that combines the surgical methods of liposuction, abdominoplasty

and fat transfer to the hips.

In this video we discuss: Will a tummy tuck make my middle area smaller?

In the next video we will discuss: Herbal medications to avoid before surgery.

Remember to comment below, share this video, like this video, and subscribe to our channel

for more information, here at the Super hourglass channel, only on YouTube.

Also, you can log on to our website,

for more information about your procedure and to see amazing surgical results.

If you have a question please post it below and we'll be happy to answer it.

Maybe we will make a video about it.

Remember to log on to our Hourglass TV for more information about your surgical procedures.

On Monday we have Bootyman for everything related to buttock enhancement procedures.

Tuesdays: Wonder Breasts where we discuss topics related to cosmetic breast surgery.

Wednesdays we have Star Bodies. If you want to have a star body log on to our Hourglass TV.

Thursdays: Hourglass OR you're going to see me doing live surgeries with before and after pictures.

Also Shoddy where we discuss cases that require cosmetic surgical revision.

And Friday SuperHourGlass for topics related to have that Hourglass figure that you want.

And finally live broadcast surgeries every day of the week on Facebook live, Periscope and SnapChat.

All these and more in the Hourglass TV!

For more infomation >> Will Tummy tuck make my middle areas smaller-Dr.Hourglass - Duration: 6:02.

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Eating ice cream of brother and sister - [RabbitPlay] - Duration: 5:06.

Eating ice cream of brother and sister - [RabbitPlay]

For more infomation >> Eating ice cream of brother and sister - [RabbitPlay] - Duration: 5:06.

-------------------------------------------

SpongeBob SquarePants - 'Krabby Patty Jingle' (Instrumental + Lyrics) - Duration: 1:25.

[music playing]

MR. KRABS: [singing] You eat me Krusty products,

every one you see-- from the Krabby Pat-A

to the Krabby Pat-Z. Well, this here little ditty's

a walk down memory lane to stimulate

the money-spending center of your brain.

PATRICK: [stupid laugh] [yells]

[crash]

PATRICK: [groans]

MR. KRABS: [singing] You love me double patties

and the triple patties fun.

Me favorite's the patty-free patty made cheap.

It's just a bun.

You bought the Hatty Patty to cover your lack of hair.

You tried the Briefy Patty when you needed underwear.

Buy some, buy some, buy some Krabby Patties.

Buy some, buy some, buy some Krabby Patties.

Maybe the Paddy Patty, painted up so nice.

You'll like me newest patty more, it's frozen up in ice.

[microwave ding]

MR. KRABS: [singing] With frozen Krabby Patties in your freezer

aisle, you can make your own right at home, pantless

all the while.

Buy some, buy some, frozen Krabby Patties.

Buy some, buy some frozen Krabby Patties!

[laughs] [normal] Buy some frozen

Krabby Patties with your money because I want it right now!

For more infomation >> SpongeBob SquarePants - 'Krabby Patty Jingle' (Instrumental + Lyrics) - Duration: 1:25.

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손혜원 남편 정건해 직업과 사상 전향(?) - Duration: 12:57.

For more infomation >> 손혜원 남편 정건해 직업과 사상 전향(?) - Duration: 12:57.

-------------------------------------------

손혜원 문재인 김종인 관계와 입장 - Duration: 9:18.

For more infomation >> 손혜원 문재인 김종인 관계와 입장 - Duration: 9:18.

-------------------------------------------

Pirates of the Caribbean

For more infomation >> Pirates of the Caribbean

-------------------------------------------

"mãe!", o filme mais controverso do ano? Hora de comemorar: 50 vídeos do Ingresse na Arte! - Duration: 3:54.

For more infomation >> "mãe!", o filme mais controverso do ano? Hora de comemorar: 50 vídeos do Ingresse na Arte! - Duration: 3:54.

-------------------------------------------

NEW TV SHOWS - All new tv shows - July 2017 - Nerd Rabugento - Duration: 19:40.

For more infomation >> NEW TV SHOWS - All new tv shows - July 2017 - Nerd Rabugento - Duration: 19:40.

-------------------------------------------

How to Make a Natural Enamel Remover? See How to Remove Acetone Free Enamel! - Duration: 4:49.

Use nail polish can be a great way keep nails and beautiful hands.

By choosing to use nail polish should consider chemicals that accompany it,

especially those used to remove the nail polish.

The nail polish remover is definitely a quick and easy way to remove

nail enamel.

However, the conventional nail polish remover it's safe?

The answer is simple: no.

Many nail polish removers contain toxic chemicals such as formaldehyde,

toluene and phthalates.

These chemicals have been found long ago in nail polish remover

nail and can cause problems such as cancer, asthma and problems with the reproductive system.

No wonder that the smell of a studio nail is so intense.

Another ingredient that is very common in remover varnish is acetone.

Acetone is dangerous because it is flammable It is powerful enough to dissolve

plastic.

This power when in acetone concentrated contact with the body can cause reproductive harm

and toxicological in the organs.

Bearing in mind this silent danger We passed without even realizing it, this

Article brings a recipe how to make a remover natural nails and how to take without enamel

acetone.

How to make your own nail polish remover natural nail?

ingredients: 1/3 cup organic apple vinegar

3 drops of grapefruit essential oil 3 drops of essential oil of sweet orange

7 drops of essential oil of lemon 1/3 cup isopropyl alcohol

How to make

First, start by pouring a cup organic apple cider vinegar in a bowl

little.

Apple cider vinegar is great for several reasons.

It is antibacterial and antifungal, which helps to prevent the growth of bacteria in

nail.

Then add acids essential oils.

grapefruit oils, sweet orange and lemon are all acids.

It is the acid helps to remove the glaze nails.

Moreover, they also contain other attributes.

The essential oil of grapefruit and orange sweet are natural antimicrobials, for example.

The lemon essential oil is great too, it increases the prevention of bacteria,

offering nutritious vitamin C to the skin.

The essential lemon oil contains d-limonene which is an antioxidant that helps keep

healthy nails to remove the enamel.

Finally, add the isopropyl alcohol and mix all ingredients well.

Isopropyl alcohol is a substance Natural consisting of ethanol or ethyl alcohol,

but it should be used topically, ie can not be consumed.

After mixing all the ingredients, just apply the natural enamel remover.

See how to use it: Now you made your natural enamel remover, it's time to try it.

Dip a cotton ball in the solution and start rubbing it on the nails.

You can also soak the nails in the solution for about 20 seconds, then use a ball

cotton to clean.

When finished, wash your hands with water warm and mild soap, apply moisturizer

the hands and nails, as the acidity can dry them a bit.

You can also use coconut oil help moisturize by and nails.

Store the remaining product in a small bottle or container.

Now that you know how to take enamel without acetone, simply spotter revenue

natural enamel and take care of your nails more healthy for your skin.

For more infomation >> How to Make a Natural Enamel Remover? See How to Remove Acetone Free Enamel! - Duration: 4:49.

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SANK x NAKOR - CAUSALIDAD 👹 (VIDEOCLIP) *INSANO JUICIO* - Duration: 4:31.

For more infomation >> SANK x NAKOR - CAUSALIDAD 👹 (VIDEOCLIP) *INSANO JUICIO* - Duration: 4:31.

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Vaza Na Internet os Salários do Atores da Globo Atualizados em 2017 💵 Quanto Ganha um Ator? - Duration: 3:59.

For more infomation >> Vaza Na Internet os Salários do Atores da Globo Atualizados em 2017 💵 Quanto Ganha um Ator? - Duration: 3:59.

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Benção das Alianças | Aleluia Cantada (Hallelujah Shrek) Coral Orquestra Solista de Casamento - Duration: 3:44.

For more infomation >> Benção das Alianças | Aleluia Cantada (Hallelujah Shrek) Coral Orquestra Solista de Casamento - Duration: 3:44.

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A vida da única família brasileira na Coreia do Norte - Duration: 13:11.

For more infomation >> A vida da única família brasileira na Coreia do Norte - Duration: 13:11.

-------------------------------------------

TOP 5 Reasons to have barebottom tank - Duration: 4:16.

This is practical aquarism, where we put in action all that we have learned in

marine hobby

A great Brazilian aquarist has launched the challenge in one of your lives, why have an aquarium

barebottom.

I like now I already have experience in the subject and using the experiment of other great aquarists

international organizations such as FishofHex which one of the most extraordinary barebottom aquariums

of YouTube, I will formulate the answer to this challenge.

Let us then go to arguments in defense of the school barebottom

1 Aesthetics, as you can see in the beautiful photos of the Roberto Denadai aquariums, which

in his personal blog, the aesthetics of the barebottom is different, high tech, bold,

Modern.

Nothing fancy and without ostentation, minimalist, many aquarists like this aesthetic and

they embrace her.

For those who do not like it, they are not have no substrate.

2 By my research and logic, get ULNS, ultra low nutrient system is easier

and much cheaper without the substrate.

The reason is simple, we point out strong bombs to pull out all the debris, throw them

to the sump and where they are filtered by shark bag, and then captured by the

skimmer

The export mechanism is maximal, effective It is inexpensive because it is not necessary to use reactors.

3 It avoids to the maximum the shielding of the phosphate, after all without the limestone substrate only

to fix the phosphate, except that with strong circulation, the detritus does not settle

nitrate and phosphate will not be processed. and precipitated in the sump.

And as the rocks will be suspended we will not have the risk of no accumulation of hydrogen sulfide,

it's safe.

4 Certain SPS that require very low levels phosphates and nitrates require a system of

ULNS, is notorious for some advanced aquarists that it is impossible to have certain complex SPS

with the use of an ATS without skimmer, since the nutrient level in the water is too high

for them.

5 The major advantage of barebottom lies in the export of nutrients that is derived from

the strong movement of the water, impossible in aquarium with substrate since the substrate

would be ripped off if there were.

Those who practice this type of assembly will suspend their rocks in supports, as is

we do in aquariums of frag's, that is, aquariums of coral reproduction has no substrate

for this very reason.

As a disadvantage, I can say that if applied everything just the aquarium will have difficulty

to keep certain species that need organic matter, beings that are buried in the

most would not adapt to this type of aquarium is the case of Jawfish.

It is also notorious in most of these aquariums the reduced number of copepods, which

some can be a disadvantage.

I like these animals I adapted a system hybrid where I reproduce the copepods soon

below the rocks in a shaded area and protected from predators.

For all these characteristics, the barebottom is one of the most used by aquarists who

ULNS and all these data can be easily searched in barebottom bible

the central reef topic that has the most posts and discussions on this topic

with a detailed explanation of all that in this video only that, over a number of

years.

You are not required to have this kind of aquarium is totally optional as well as

have substrate as well.

No one is required to have substrate in the aquarium I am proof of this because my aquarium

has no substrate and alkaline reserve is always above 8 and PH 8.3 stable.

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