Race in the Mayor's Race
Bill Thompson is the only black candidate in the mayor’s race.
This Sunday morning, he did more to call attention to this fact than he has thus far in the campaign.
Mr. Thompson–still troubled by the shooting death of 17-year-old Trayvon Martin and the July 13 not guilty verdict for the shooter, George Zimmerman–took to a Brooklyn church to give a grandiose speech on race relations in New York City and the nation writ-large, as well as how the country should proceed moving forward.
A week after the jury reached a not guilty verdict in the murder trial of George Zimmerman, a mixture of anger, despair and resilience permeated the scorching air outside of the NYPD headquarters on Saturday, where protesters had assembled on behalf of slain 17-year-old Trayvon Martin.
Reverend Al Sharpton was at the helm of the proceedings, which brought together superstars Beyoncé and Jay Z, a slew of mayoral candidates and Mr. Martin’s mother, Sabrina Fulton, who has been dubbed the “matron of the movement.”
I moved to Boston after college to find my birthfather. My sole black parent, who, I’d been told, used to spend a lot of time hanging around the Berklee School of Music—not as a student, or a teacher, or any kind of staff member, just as a guy who loved jazz music, could play the Read More
“Trayvon did not have to die,” they chanted. “We don’t know the reason why.”
A crowd of thousands demanded justice for Trayvon Martin as the group marched en masse from Union Square to Times Square yesterday. Angry over George Zimmerman’s acquittal on all charges in the shooting death of the Florida teen, the protesters decried what they described as a starkly unjust ruling. The march culminated in a “shut down, sit down” protest in Times Square around 9.30 p.m.
Saturday Night Live
The presence of Tina Brown atop the Newsweek masthead has been nowhere more evident than on the cover of the magazine itself, from S & M to a very dead (and very photoshopped) Princess Diana. Love or despise Tina Brown’s cover-work, they’ve made people talk.
Surely, though, there have been more than a canceled ideas from that wellspring of manufactured, marketed scandal-making that didn’t pan out for whatever reason.
And today, we learn about one of those firsthand.
How good was Eli Manning on Saturday Night Live this weekend? Better than we expected, right? In general, we don’t hold up much hope for sports celebrities making it through an entire show without fumbling over the teleprompter while the imminent smell of fear wafts out of our flat screen, and yet Lorne Michaels seems determined to keep bringing them back. (Which reminds us: Charles Barkley, please don’t return next season!)
But the younger Manning brother was actually pretty good: what he lacked in verbal dexterity, he made up for in physical comedy. (We loved the video game/Tebowing sketch for this very reason.)
However, it wasn’t any of the sketches, or even Tanning Mom on Weekend Update that had us grabbing our remote to rewind again and again…it was the Fox & Friends cold open with Fred Armisen as Rupert Murdoch. Were you able to catch the Trayvon Martin references hiding in the “corrections” part of the credits?
NBC fired the producer of the deceptively edited call from George Zimmerman to 911 on Thursday. NBC News would not name the long-time Miami-based producer, citing “internal company matters” to the New York Times. The firing followed NBC’s review of the Today Show segment about the Feb. 26, 2012 shooting of Trayvon Martin. The report aired March 27 and featured audio from George Zimmerman’s 911 call edited in a manner that seemed to point to a distinctly racist motivation for the shooting. However, as Brian Stelter reported late Friday for the Times:
What’s the saying? March goes in like a lion, out like a lamb? Whoever coined that turn of phrase must have been talking about frozen mutton: we’ll be leaving March in some of the coldest weather we’ve felt all year.
As the adult world continues stoking the senseless battle royale of the presidential primary season, the youth-entertainment complex has briefly overtaken the news cycle. Everyone not living in their own life-or-death competitive isolation dome knows by now that this past weekend ushered in the blockbuster movie adaptation of the first installment of The Hunger Games, Suzanne Collins’ dystopian teen scifi trilogy about children compelled to destroy each other for the amusement of the jaded, power-mad political leaders of the future. The basic plot of the Collins franchise is by now well-known: In the authoritarian North America of the third millennium—rechristened Panem—this ritual sacrifice of the young serves to tamp down any impulses of mass rebellion, and the games’ sole surviving winner is bought off with a life of ease, fame, and prestige.
But no sooner had the great Hunger Games colossus alighted at the multiplex—with a box-office take of $155 million over its first weekend—than a sober retinue of adults began clambering to impose their own agendas on the strange new teen spectacle unspooling in their midst.