I have no doubt that the standoff in Ferguson -- the demand for change -- goes this deep. I also have no doubt that tear gas won't pacify the protesters and replace their anger with fear of authority. Neither will all the military hardware the Defense Department can supply.
Think you have a pretty good idea of what's going on in Ferguson, Missouri? You may not, even if you've been watching a lot of cable news. Especially if you've been watching a lot of cable news. If the media's job is to give viewers and readers an accurate and full idea of what's really going on, we have to acknowledge that there is a long way to go. Of course, Ferguson is not an isolated case. But it is a chance for those of us in the media to expand our understanding of our role in covering the news. At HuffPost we are certainly covering the violence and the underlying racial tensions, but we are also committed to telling the "untold story" (as our splash put it on Tuesday) -- of compassion, ingenuity, kindness, trust, collaboration and community.
If you also believe that most Black families in the United States have talked about Ferguson, what does it say about the rest of us if we have not?
The politics of respectability in the black community may not only hinder us from acting and engaging in the constructive protest, lobbying and collective action needed to create a more just society, as it has with respect to the Ferguson protests, but it may also prevent us from simply being and living freely.
My preferring not to have intercourse might be less about a distaste for the actual act (or pain, or boredom) than it is about the way in which too many guys approach it, not just as the endgame but as the only way to truly score.
It's time for Missouri's right-wingers to leave the nineteenth century behind. It is time for all Missourians -- indeed, time for all Americans -- to start building a more just and equitable world, one free of institutional racism and yawning racial disparities.
Aggressively punitive and extreme drug policies are steeped in racism. Inherent in the response to drug law enforcement is a biased approach and stark double standards in the perceived threat of drug use by marginalized people.
The nation's focus on the killing of 18-year-old Michael Brown in Ferguson, Missouri confers yet another opportunity for deeper racial understanding, but like other (too many other) teachable moments arising from the tragic loss of young black life, the opportunity is fleeting and frail.
The point is that black American life and white American life stay rigidly separated at absolutely key moments of human communication. Do some people feel they are "better" than some other people? Or maybe it's not that at all. Does it, in fact, cut far deeper?
Improving policing in departments with entrenched cultures has proven a challenging endeavor. Departmental culture plays a defining role in how police officers conduct their work, and it flows from the top, or, as they say, rots from the head.
It's up to elected officials in Ferguson and communities across the country, and to the people who live in them, to address the deep-seated societal problems that fueled the explosion of outrage following the Brown shooting.
Tank Burt is no stranger to the intimacy of the unsaid. As a director she's been honing her craft with shorts like Skateboard, Skateboard, a coming-of-age story told virtually without dialogue, and now she's made her feature debut as an actress.
Venting is easy and natural in these circumstances; restraint is hard. By rational, reasoned response we can block the next senseless killing and break the age-old pattern that has become ordinary in our country.
Long before Brown's parents had to think about burying him, Brown felt the weight of the social death black men experience that readies too many of us for our actual deaths.
Even a slacker can be debt-free. Here's how.
We know all too well the proximate causes of the rage in Ferguson but there are other much deeper socio-economic causes as well, namely the way the school systems, the economy, and particularly the labor market are structured so as to exclude cruelly so many from the American Dream.
I am still trying to deconstruct why the Ferguson community's outpouring of grief, loss and anger was met with such an impersonal, aggressive and unrelenting show of militarized police use of force uncharacteristic of peacetime policing.
A possible interpretation of the theme song and the show being is that you have to be grateful for the good times (the positives) in order to see your way through the remaining challenges.
For some actors, stardom comes either on their very first film, which may have been in a blockbuster, or in a lead role. For others, fame comes gradually, after some growing pains and paying their dues in the business.
After appearing in small roles on sitcoms and films, such as 'Jarhead,' 'Stomp The Yard,' and 'This Christmas,' actor Laz Alonso finally got his big break when Spike Lee cast him opposite Michael Ealy and Derek Luke in the war film, 'Miracle at St. Anna.'
While the film didn't do big numbers at the box office, it was enough for Alonso to be seen in a bigger spotlight than his previous gigs.
As opposed to actors who entered the field through comedy or sports, the 36 year-old came through the finance world, when he left his job as an investment banker to take on a new challenge.
"Acting was always a part of my long-term plan, but my short-term plan was to become an investment banker, make a couple million bucks, and then finance my acting career that way," he told BlackVoices.com yesterday. "I won't have to sleep in my car and do all kinds of odd jobs. Once I was in the workforce and I was actually working on Wall Street I realized I wasn't going to be a millionaire in my first two years on Wall Street. That's just a ridiculous way of thinking, but at the time it sounded like a brilliant plan."
"Once I realized that was not going to be the case, instead of going to grad school and getting my MBA, which is what most investment bankers have to do as part of their career path, I chose to pursue art," he continued.
Within two years, former BET host turned movie star's fame would reach farther than he thought when director James Cameron cast him in the 2009 Oscar nominated film 'Avatar,' which ended up being the biggest grossing film of all-time.
After briefly appearing with Queen Latifah in 2010's 'Just Wright,' Alonso's game has reached a new level with an upcoming lead role in 'Jumping the Broom,' co-starring Paula Patton and Angela Bassett.
If that wasn't enough, hej ust completed another lead role on A&E Network's original scripted drama series, 'Breakout Kings,' which premieres March 13 and follows an unconventional partnership between the U.S. Marshals' office and a group of convicts as they work to catch fugitives on the run.
Also cast in the show are Domenick Lombardozzi, Malcolm Goodwin, Jimmi Simpson, Serinda Swan, and Brooke Nevin.
While his roles in films are getting bigger with wider exposure, the Washington D. C native didn't want to let a good opportunity pass by him.
"First and foremost I love this character. When I met with Nick Santora, one of the creators of the show, he really wanted to write him as Clint Eastwood-ish. The one cop in a town full of bad people, but he can get the job done, and that attracted me a tremendous amount. The fact that in order to do good things this guy may have to break a few rules is appealing. This show explored that a little bit. It's not a picture-perfect world that we live in on this show, and we're not a picture-perfect team, we mess up. We don't necessarily like each other the majority of the time. I think it's a really true portrayal of real life, it's not cookie cutter, but we figured it out somehow."
After playing a criminal in 'Fast and Furious,' the role of veteran U.S. Marshals Charlie Duchamp gives Alonso the chance to work on the "right side of the law."
"I would describe my character as the moral core of the group. You've got these guys and girls that are criminals who now have the opportunity to do the right thing but we still encourage them to think like criminals, because it's that very thought process that helps us catch people that are even worse than they are. Then you've got my partner Ray, played by Domenick Lombardozzi, who has a pretty dark past of his own. Even though he's a member of the law, he isn't the most upstanding member of law enforcement. My job is to keep the wheels turning without things falling apart, and with each episode it becomes harder and harder for me to do."
Along with the TV series, Alonso's quite aware of the the balance he has to maintain when it comes time to not only promote this show, but his upcoming film projects.
"Balance is definitely the biggest challenge," he said. "You definitely wear a lot of hats. Now I'm wearing the promotion hat where I'm promoting everything I've been working on.
"You got 'Breakout Kings' that premieres this Sunday on A&E at 10pm. Just a month-and-a-half later, Mother's Day Weekend, I have 'Jumping the Broom,' which is going to be in theaters everywhere. The work doesn't end. This is probably as long hours as being on set shooting, but I love it. I don't consider acting work 'cause I love it so much. There's a saying, 'If you love what you do you'll never work a day in your life again.' I really believe that. Even this part of the business is fun. I get to interact with fans, and I really get to feel that support that's so necessary for actors to get from their fanbase. I get to give back, interact, be acceptable, hear their opinions and respond. We do that a lot with this particular show on A&E ... People who love cop shows and crime shows are going to get more than what they usually get from procedural dramas."