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It remains to be seen whether Daily Show host Trevor Noah, the South African comic unexpectedly tapped in 2015 to replace the revered Jon Stewart, will prove adept at wringing satirical humor out of a reality that feels to many like dark satire. While during his early months in the hosting chair some complained that, as an outsider, Noah didn't evince Stewart's impassioned outrage at American political culture, his memoir, the rollicking yet tender Born a Crime: Stories from a South African Childhood, provides solid indication that Noah's is a necessary voice for these times. In addition to that, it's a great read. The book comprises eighteen autobiographical chapters, each prefaced by a short piece explaining a relevant element of South Africa's history of apartheid. Many of the chapters center on his relationship with his fearless and devout black Xhosa mother, who risked a prison term of up to five years by having a child with Noah's white father, a Swiss expat. Noah was indeed "born a crime," and for the first five years of his life, until apartheid fell, he was mostly kept indoors, whether with his mother in her Johannesburg apartment or with his maternal grandmother in her Soweto township, to minimize the risk that the government would take him away. "We had a very Tom and Jerry relationship, me and my mom," writes Noah, a vivid storyteller who fondly recalls epic chases through the neighborhood as his mother sought to punish him for all manner of mischief and as he sought to escape a beating. As he grew fast enough to outrun her, she took to yelling "thief" to get bystanders involved in the pursuit. "In South Africa, nobody gets involved in other people's business, unless it's mob justice, and then everybody wants in," Noah quips. His writing about his mother is loving and bighearted, especially as she becomes involved in an abusive relationship that culminates in a truly shocking outburst of violence that Noah's mother, miraculously, survives. Throughout the memoir, Noah slyly illuminates the absurdities of a society built on racial hierarchy. When the light-skinned child was with his mother's extended family in the township, he was treated as white. Though he was the least well behaved of all the children, he was never beaten by his grandmother as his cousins were. "A black child, you hit them and they stay black," she told his mother. "Trevor, when you hit him he turns blue and green and yellow and red. I've never seen those colors before. I'm scared I'm going to break him. I don't want to kill a white person." While he's somewhat abashed to admit it now, Noah reveled in his special treatment. "My own family basically did what the American justice system does: I was given more lenient treatment than the black kids," he reports. "Growing up the way I did, I learned how easy it is for white people to get comfortable with a system that awards them all the perks." But when Noah's mother, who worked as a secretary, was eventually able to buy a home in the suburbs, Noah went from being "the only white kid in the black township" to being "the only black kid in the white suburb." And although biracial, he was excluded from South Africa's mixed-race "colored" population, an ethnic group that traces its history back to the seventeenth century, to the sexual unions of Dutch colonists and African natives. He didn't quite belong anywhere, and growing up, he had few friends. The book, focusing on Noah's boyhood, doesn't describe his decision to pursue comedy, but one can imagine that a childhood spent as a perpetual outsider, observing group dynamics to determine where he might fit in, has served Noah well in his chosen profession. There were so many times, he recalls, when he "had to be a chameleon, navigate between groups, explain who I was." He survived it (and writes about it) well; expect him, in t

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Conformity is a conviction. Nonconformity is a conviction, too. What the government says must be right, it must be spread, and no dissent shall be possible. If they call that consensus, then to hell with it. Both thoughts of human beings are being used to deny the values of human life and of the higher human capacities. They want to use them and degrade them. If our students come to an international student meeting now, the others will laugh in their faces. Because we are doing what the others (the totalitarians, the Russians) did all along. There was never any doubt about it. Every word they said, was dictated by the government. We laughed at them. We said "you are not free, we are free." "In the United States every fool can make up his mind, and he will tell you so, and you can only say he is a fool. But you cannot say he does not pursue the truth. He is, with one word, a human being and not a machine, or a criminal."
The course itself is a difficult one. It makes only one general metaphysical assumption. The assumption is that man is capable of gaining the freedom to pursue truth. There are people who deny that he is capable of winning that freedom. I do not say that man is free. We are not born free. We are born with the capability to make ourselves free, to institutionalize ourselves in a way that can bring freedom to the earth. And we want it, which means that the academy wants it, and every human feeling wants it. The possibilities for this remain, and we will in this course pursue those possibilities. Man can throw them away. -He may not want them. He can fall down, but he cannot deny that he once had them. Man may not be born free, but he is endowed with a certain set of higher creative faculties, and they distinguish him as the only being in the world of beings who experiences his life (his surroundings, society, nature, the whole of Being) as a world. World consciousness is only in man. 7ad9723583
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To demonstrate that Sam doesn't really love Georgia, Helen embraces Sam, so Georgia throws them both out. Helen points out to Sam that Georgia must be eliminated for them to be happy. The police arrive, and Georgia reveals that it was Helen who called them, so Sam shoots Helen, then the police kill Sam. Helen ultimately dies.
After previewing the picture two weeks prior to its release, the trade paper The Film Daily cautioned theater owners about the "homicidal drama", describing it as "a sexy, suggestive yarn of crime with punishment, strictly for the adult trade."[19] Other reviewers in 1947 also recognized the "yarn" as adult fare, but some still commended various elements of the film. William R. Weaver, the critic for the Motion Picture Herald, watched a final cut of Born to Kill in mid-April at RKO and rated it "Good".[20] He found the film's overall look "painstaking and polished" and Robert Wise's direction successful in maintaining "a steady pace".[20] Weaver did, though, find fault with what he viewed as a distinct imbalance between the motives and actions portrayed in the story. "Produced for melodrama fans," he noted, "[the film] contains enough killing for anybody, but furnishes less than adequate reasons for it."[20]
Although Born to Kill faced multiple problems in 1947 with regard to its reception and distribution, RKO's production had to cope with even worse publicity in 1948, most notably with news coverage of the film's alleged connections to a homicide in Illinois. The case involved 12-year-old Howard Lang, who was charged with using a switchblade and a heavy "chunk of concrete" to kill a seven-year-old boy in Thatcher Woods outside Chicago in October 1947.[37] At the time, Lang was the youngest person ever to be arrested and formally tried for murder in that city.[38] The boy's initial trial, which drew widespread media attention, occurred in February 1948.[37] Lang was convicted of the crime, and on April 20 he was sentenced to 22 years in the state penitentiary.[39]
Human immunodeficiency virus (HIV) is the virus that is responsible for causing acquired immune deficiency syndrome (AIDS). The virus destroys or impairs cells of the immune system and progressively destroys the body's ability to fight infections and certain cancers. In adults and adolescents, HIV is most commonly spread by sexual contact with an infected partner. In the U.S., nearly all HIV infections in children under the age of 13 are from vertical transmission, which means the virus is passed to the child when they are in their mother's womb or as they pass through the birth canal, or through breastfeeding. Before 1985, a small group of children were infected with the virus by contaminated blood products. Routine screening of blood products began in 1985. Not every child born to an HIV-infected mother will acquire the virus.
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In Reno, the cold-hearted Helen Brent (Claire Trevor) has just divorced from her husband and returns to the boarding house owned by Mrs. Kraft (Esther Howard) to pay her expenses and say goodbye to her and to Mrs. Kraft neighbor and best friend Laury Palmer (Isabel Jewell) since she intends to return to San Francisco early in the morning. Helen goes to a casino to celebrate her divorce and glances at the gambler Sam Wild (Lawrence Tierney) and Laury also goes to the casino with her boyfriend Danny Jaden (Tony Barrett). When Laury sees Sam, she sneaks with Danny since she had dated the gambler. Late night, Danny and Laury go to her house and Sam is waiting for them and kills the couple in the kitchen.Meanwhile, Helen sees Laury's dog on the street and brings it to the house. When she sees the bodies in the kitchen, she does not report to the police and heads to the train station, where she meets Sam. They travel together and Sam lodges in the Terrace Hotel. When Sam visits Helen, he leans that she lives in the mansion of her foster sister, the millionaire Georgia Staples (Audrey Long) and is the fiancée of the wealthy Fred Grover (Phillip Terry). The gold-digger Sam seduces Georgia and sooner they get married, but the calculating Helen feels horny for Sam. Meanwhile Mrs. Kraft hires the smart and sleazy private eyes Matthew Albert Arnett (Walter Slezak) to investigate the murder of her friend Laury. "Born to Kill" is a film-noir that tells the story of a cold, greedy and calculating woman that feels desire for a ruthless killer. Claire Trevor performs an ambitious woman that is an iceberg and plans to marry for money with a good man that controls her bad instincts and sees her world collapsing when she meets the amoral killer Sam Wild. Marty 'Mart' Waterman (Elisha Cook Jr.) has a strange friendship with Sam and the fact that they share a double bad in the low-budget hotel may give a hint that they have a homosexual relationship. Walter Slezak has also a great performance in the role of a sleazy character. My vote is seven.Title (Brazil): "Nascido para Matar" ("Born to Kill")
Lawrence Tierney is one cold and scary son of a gun in this film. In many ways, this amoral and detached performance was highly reminiscent of Richard Baseshart's in HE WALKED BY NIGHT, though Tierney was more unpredictable and tended to snap rather easily. Both men lacked the usual leading man charisma or the larger than life gangster style of the likes of Cagney or Bogart--and this was a real plus because the killer seemed much more realistic and menacing. Both men thought nothing of murder.Now if all this wicked and amoral menace wasn't enough, the film combined his strong performance by an equally awful character played by Claire Trevor. At first, she doesn't seem so bad, but later she reveals herself to be an ugly and greedy opportunist. While not violent like Tierney, she was certainly an excellent femme fatale and was pretty wicked to the core. Combining her character with Tierney's was an excellent choice.The film didn't feature some of the amazing trademark camera-work, though it's dialog was pure Noir--with lots of violence, snappy comebacks and sparkling as well as steamy dialog. While there are no cops in the film until the end and there are no gangsters, the film has the elements required to please fans of the genre. A top-notch film, though a bit on the unpleasant side for those who are not lovers of Film Noir.
Hard to Kill is a 1990 American action thriller film directed by Bruce Malmuth, starring Steven Seagal, Kelly LeBrock, William Sadler and Frederick Coffin. Seagal's second film after Above the Law, it features him as Mason Storm, a detective who falls into a coma after being shot during a fire-fight that killed his wife. Reawakening seven years later, Storm embarks on a journey to avenge the death of his wife, and expose the co

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21LvG Born in Blackness: Africa, Africans, and the Making of the Modern World, 1471 to the Second World War Full
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Traditional accounts of the making of the modern world afford a place of primacy to European history. Some credit the fifteenth-century Age of Discovery and the maritime connection it established between West and East; others the accidental unearthing of the “New World.” Still others point to the development of the scientific method, or the spread of Judeo-Christian beliefs; and so on, ad infinitum. The history of Africa, by contrast, has long been relegated to the remote outskirts of our global story. What if, instead, we put Africa and Africans at the very center of our thinking about the origins of modernity?In a sweeping narrative spanning more than six centuries, Howard W. French does just that, for Born in Blackness vitally reframes the story of medieval and emerging Africa, demonstrating how the economic ascendancy of Europe, the anchoring of democracy in the West, and the fulfillment of so-called Enlightenment ideals all grew out of Europe’s dehumanizing engagement with the “dark” continent. In fact, French reveals, the first impetus for the Age of Discovery was not—as we are so often told, even today—Europe’s yearning for ties with Asia, but rather its centuries-old desire to forge a trade in gold with legendarily rich Black societies sequestered away in the heart of West Africa.Creating a historical narrative that begins with the commencement of commercial relations between Portugal and Africa in the fifteenth century and ends with the onset of World War II, Born in Blackness interweaves precise historical detail with poignant, personal reportage. In so doing, it dramatically retrieves the lives of major African historical figures, from the unimaginably rich medieval emperors who traded with the Near East and beyond, to the Kongo sovereigns who heroically battled seventeenth-century European powers, to the ex-slaves who liberated Haitians from bondage and profoundly altered the course of American history.While French cogently demonstrates the centrality of Africa to the rise of the modern world, Born in Blackness becomes, at the same time, a far more significant narrative, one that reveals a long-concealed history of trivialization and, more often, elision in depictions of African history throughout the last five hundred years. As French shows, the achievements of sovereign African nations and their now-far-flung peoples have time and again been etiolated and deliberately erased from modern history. As the West ascended, their stories—siloed and piecemeal—were swept into secluded corners, thus setting the stage for the hagiographic “rise of the West” theories that have endured to this day.“Capacious and compelling” (Laurent Dubois), Born in Blackness is epic history on the grand scale. In the lofty tradition of bold, revisionist narratives, it reframes the story of gold and tobacco, sugar and cotton—and of the greatest “commodity” of them all, the twelve million people who were brought in chains from Africa to the “New World,” whose reclaimed lives shed a harsh light on our present world."
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