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Público·89 miembros

Boys Big Black Gay

wow p41, that was some hate your spewed there. I agree that redneck white people should all be eliminated from the breeding pool, but your generalization of white people and soldiers is akin to a redneck's generalization of blacks.

boys big black gay

But interesting the 50's and 60's. Alter boys were probably being molested in the Catholic churches...and makes you wonder if MLK might have known it was going on..but never stood up for it.

how about this racist. just 50 years ago racist rednecks were water hosing blacks on the street because they wanted to vote. If MLK was a womanizer, so what? you are a racist pig who probably enjoyed watching blacks get brutalized by rednecks.

Religion, is the something more wrong then that in the know universe? only a barely functioning sub-human with a IQ in the single digit will beleive in such a ridiculous concept. There seem to be a unlimited supply of that..... the results are sometime horrible like Islam and never good (catholic abusing boys). Religion, in any form or shape, has yet to commit a single good deed. Since it was created for contol mass of simpletons.

Wow, you are the most ignorant person that I have talked to in a long time! You have NEVER picked up a biology text book apparently! WE DID NOT FREAKING COME FROM APES, WE EVOLVED FROM A COMMON ANCESTOR! And I have no idea where you are getting your sources, EVERY SINGLE CREDIBLE SCIENTIST UNDERSTANDS EVOLUTION! EVOLUTION IS A FACT! Read a biology textbook and learn some science before you want to ever argue with the big boys!

The signings of Barnes by Liverpool in the late 1980's, then of Daniel Amokachi by Everton in the "buy a World Cup player, any player" frenzy of 1994, "cleared" the clubs, and their fans, of the racism charges. In the eyes of such myopic institutions as the Football Association and the media, that is. What really makes racism unacceptable is big black geezers suggesting that you have offended them in a menacing fashion. When racists feel safe, they still express their hatred. A guy sitting near me at Highbury once vented his frustration at perceived time-wasting by Amokachi as he was substituted by calling him a "Jigaboo", for example.

Jack Straw was expressing this view when he recently declared that same-sex couples would be second-best as parents to the nuclear family. Since "gays" are all in Old Compton Street bitching over cappuccino (lesbians don't rate a mention, as they are all at home with their monogamous, asexual lover and the cats), we can't be on the football pitch or in the stands, can we? This means that unlike black people we can be discounted, and the establishment's preferred response to racism - ignore it and it will go away, attack it and you'll only encourage them - can be applied to homophobia.

It's difficult to say definitely why the level of homophobia has blown up now - the Le Saux storm began at Highbury in January 1998. Certainly the perceived gay-friendliness of the government, aggravated by its failure to actually take any effective measures, might be a factor. The tabloid hate campaigns, focused around the "heroic" battle of Baroness Young and the Bishops against the "all-powerful gay lobby", established the lie that "gay sex" and "gay lessons" were going to be imposed on "our kids". This could be part of the backlash, like the Soho bomb. The two bombs which preceded Soho were certainly part of a wider backlash to the gains made by the black community as the result of the Macpherson Enquiry into Stephen Lawrence's murder.

There is no gay equivalent of the big intimidating black guy who's part of the Firm taking exception to racist remarks. Without fear, challenging prejudice and hatred becomes a lecture, becomes a "middle class" restriction on your "freedom". I've toyed with the idea of saying many things - "you're just jealous 'cos the missus wouldn't wear the strap-on last night!"; "I take it up the arse, and I object to being likened to Graeme Le Saux!"; etc. There is a remote possibility of being killed by someone who's come to football to take out all their frustrations on anyone different, but mostly it just wouldn't work.

The authorities and the media could make a big difference if they built on the good work they have done with anti-racist initiatives outside the stadia. However, the government has demonstrated in relation to hate crimes that it considers equating homophobia with racism as devaluing the latter, "diluting the anti-racist message" is how they put it. Presumably they also deplore the fact that the nailbombers' evidently greater hatred of queers than of black and Asian people "diluted [their] racist message".

Part of the reason for this differential treatment is that black and ethnic minority people have had to argue, lobby and riot for more than 20 years to get from lipservice to the Macpherson Enquiry. Homophobia does not equate easily with racism, it is more like anti-Semitism, but the crucial difference in government attitudes is down to insufficient pressure to force them to act. We are too socially and politically diverse, and too many of us are invisible, to be able to assert that kind of sustained pressure.

Football is the working class sport, and its culture reflects that of the working class in Britain, from which the players, coaches and fans still overwhelmingly come. This means that middle class and "gay" cultures are as alien to it as the greater sophistication of the equally proletarian overseas players. Difference is perceived as a threat, and xenophobia directed towards French players in particular is on the increase even as the integration of (British) black players helps racism decline. The same mindset which sees Graeme Le Saux as a "poof" because he reads the Guardian, sees Emmanuel Petit as a "shit, French bastard".

The majority of people who acknowledge our same-sex desires are working class, and many of us have our own problems with (middle class) "gay" culture, and the commercial scene. Soho queens and football hooligans might both agree that sport is not for nancy boys, but if you're working class and queer football is part of your culture, and maybe of your social life too. Our dilemma is whether to pretend that our gay and working class lives are separate, or to try and integrate the two and develop a distinctive expression of our gay lives in a working class context.

Some of the peripheral interests of the football fan take on a different slant if you're gay, too. I remember being disappointed when Javier Zanetti transferred to Internazionale from Banfield in Argentina, because Inter's black-and-blue stripes didn't go well with his complexion! Me and a gay mate who supports Barcelona had some fun at an Arsenal vs. Liverpool game speculating about "ecru" - the alleged colour of Liverpool's away shirts - and what name "designers" might call the off-tangerine colour of their goalkeeper's shirt. Since we lost 2-1, I was relieved I remembered where we were and stopped myself kissing him goodnight outside the ground - maybe, but not after a home defeat! Far too dangerous.

The Replay itself was on the same night as the first episode of "Queer as hype", but being a real fan who supports my local team, I didn't have to rush through the gleeful crowds ("Would you like to start again!") with a cry of "let me through, I've got a controversial gay drama to watch!". Two more Tuesday nights combined footie with QAF. And a woman I see on the train who I thought looked likely turned up at an away game screening with two teenage boys and another woman who looked even more likely.

This is the image on the poster of Pressure, a 1975 film by the Trinidadian director Horace Ové - the film that is widely acknowledged to constitute the birth of black British cinema. This and other equally emblematic works, such as Menelik Shabazz'sBurning an Illusion, Isaac Julien's Looking for Langston and Saul Dibb's recent hit Bullet Boy, are all being shown at the National Film Theatre's ongoing Black World season. The season provides an opportunity to reflect on "Black British Cinema" - to consider what such a thing might be, where it came from, and what it has to say about Britain now. Because, over the last three decades, from Ové's Pressure to Amma Asante's A Way of Life, black British cinema has transformed the way it looks, the way it sounds and and the way it feels.

But where did it come from? A good starting point is Perry Henzell's iconic 1972 Jamaican movie The Harder They Come. Arguably, this fast-moving "rocksteady" cowboy caper provided the first meaningful cinema-going experience for Caribbean immigrants and their UK-born offspring, because it gave them a chance to see something of their culture on screen. Britons of African descent may point to the great Senegalese film-maker Sembene Ousmane as their talisman but his oeuvre has always been strictly art-house. The point about The Harder They Come is that it earned its popular-cultural resonance through its celebration of reggae, Jamaica's indigenous music and prime cultural export. The film's star was Jimmy Cliff, a man possibly cooler than Clint Eastwood (he's definitely a better singer). But Cliff was black Kingston, not black London - his story was a "back-home" narrative. Horace Ové tackled that very problem of identity head-on in Pressure (1975). A number of films - such as 1959's Sapphire (1959) A Taste of Honey (1961) and Leo the Last (1969) - had brought the troubled existence of black immigrants in Britain to the big screen, but Pressure showed that blacks were British.

And yet they were also foreign. The story of the struggles of Tony, a young black school-leaver, Pressure also illustrated that young Londoners of Trinidadian parentage such as Tony didn't belong. Racist employers and boot-camp coppers saw to that. Alongside Herbert Norville's Tony, Ladbroke Grove and Portobello Road are the inanimate co-stars of Pressure. They are relentlessly dreary places, rainy and grey, as yet unreached by 21st-century Notting Hill chic. This erstwhile ghetto - the route of Carnival - was a major flashpoint in the Seventies because of the tension between the establishment and local black residents, an enmity that Pressure graphically captures. 041b061a72

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