Monday, August 03, 2020

Pompeo’s so-called ‘clean’ 5G vendor list stinks of McCarthyism

By GT staff reporters Source: Global Times Published: 2020/8/2

US’ efforts to coerce other countries futile: analysts


A staff member tests the speed with a Huawei 5G mobile phone at Huawei 5G
 Innovation and Experience Center in London, Britain, on Jan. 28, 2020. (Xinhua/Han Yan)
A so-called list of "clean" 5G vendors issued by US Secretary of State Mike Pompeo stinks of McCarthyism, said Chinese analysts on Sunday.

Over the weekend, the website of the US Department of State published what it called a list of "5G Clean Networks" with 27 telecom vendors from Europe, Asia and North America.

The "clean" vendors can be trusted, according to the US, because they don't include source equipment from Chinese telecommunication equipment providers such as Huawei and ZTE.

Chinese analysts said the list is the latest step by the US in its continued but failing crackdown on Chinese technology firms, amid an effort by the US to decouple from China in the technological sphere, and a global tech race between the world's two largest economies.

Companies siding with the new type of business McCarthyism in the US risk being listed on China's unreliable entity list, China's legal weapon in-the-making for unreliable foreign companies, experts pointed out.

Ma Jihua, a veteran industry analyst, told the Global Times that aside from South Korea's SK Telecom, the listed 26 vendors are actually a bunch of "juniors" in the world of 5G with "doubtful" technological strengths and rate of deployment.

China is the world's leader in 5G deployment.

China is expected to build more than 600,000 5G base stations by the end of the year, and the shipment of 5G smartphones is projected to reach 180 million units, said an official with the Ministry of Industry and Information Technology in June.

"It could be possible that by the time they complete their so called 'clean' networks, the world could have moved into the 6G era," Ma said on Sunday.

"McCarthyism has long lost its appeal in the world, and the US' desire to revive the ghost of McCarthyism is a statement of its own incapacity to persuade other countries to move against Chinese equipment providers," Ma said.

"Huawei has neither technology holes nor so-called backdoors, let alone the groundless accusations of its data related to the Chinese government, but the US exactly has all those features," said Shen Yi, a professor at the School of International Relations and Public Affairs of Fudan University.

Compared with the large number of IT vendors in the world, the US' selection of 27 telecommunications companies represents only a small portion, indicating that justice and fairness are in the hearts of the majority despite US politicians' enormous efforts to force other countries and companies to take its side, Shen told the Global Times on Sunday.

Shen suggested that if selected IT vendors cut Huawei's orders for no reason and want to remain in the Chinese market, they should feel pain for their poor choices.


Newspaper headline: ‘Clean’ list shows McCarthyism
FROM CHINA "FAIR AND BALANCED"

'Wolf Warrior artist' strives to use new art to spread truth and inspire patriotism


PATRIOTISM IS STALINIST JINGOISM
By Li Lei Source:Global Times Published: 2020/6/18


Wuheqilin checks on a computer graphic painting. Photo: Courtesy of Wuheqilin


With delicate composition, striking details and strong emotion, five editorial posters drawn by Wuheqilin have attracted some half million followers to his account on Sina Weibo, China's Twitter-like social media platform. His political views expressed in his art have led to some netizens dubbing him the "Wolf Worrier artist."

A 2010 graduate from Changchun University in Northeast China's Jilin Province, Wuheqilin is a computer graphic artist who runs his own intellectual property business and works as an art director for two film and television companies in Beijing.

His paintings were released on his personal Sina Weibo account, and received waves of positive comments as well as some dispute on Twitter and other international social media platforms. His recent painting To Breath reflects the ongoing protests against racism in many countries caused by the murder of George Floyd.

The painting was reposted to Twitter, after which one web user commented "Holding up the painting above my head, I feel I am the next one."
 
An editorial poster titled To Breath created by Wuheqilin Photo: Courtesy of Wuheqilin

Shouting truth

Wuheqilin started drawing editorial posters during the anti-extradition issue in Hong Kong in 2019, hoping to disclose the truth about how some Western forces deluded young people in Hong Kong.

His first painting A Pretender God depicts a group of Hong Kong rioters worshipping a Statue of Liberty under the stare of bloodthirsty monsters. Instead of Lady Liberty's torch and tabula ansata, she holds a gasoline bomb and a keyboard.

A Pretender God Photo: Courtesy of Wuheqilin


"With my first painting, I want to tell young people in Hong Kong to open their eyes to see the truth and not be deluded by some fake belief," he said.

"Hong Kong was in a special period in its history with its long-existing problems being magnified, and some Western forces saw it as a good chance to bash China as they spared no efforts to employ their forces and promote the chaos," he told the Global Times.

"Usually they would do it underground, but these Western forces even didn't bother to hide their intentions, and the fierce hostility from the outside world made me furious," he said, adding that the fury mounted in his mind until the protesters started to use violence against the police and innocent citizens.

"I saw a lot of art pieces advocating and praising violence during the event in Hong Kong, and I came up with the idea that I will do what I can to fight back," he said.

After A Pretender God, he published a second drawing Cannon Fodder, which is one of his favorites.

"I want to tell them to stop being so foolish to make yourselves a tool utilized by the Western forces to suppress China," he said.

Cannon Fodder adopts a time lapse and depicts a boy standing in the middle of railway with a train moving toward him. "Whoever sees the painting knows that the little boy will be smashed in the next second, while those standing beside the railway will laugh and open their umbrellas without even a drop of blood splashing on their clothes," he explained.

Cannon Fodder Photo: Courtesy of Wuheqilin


"My fury turned to sadness when I painted Cannon Fodder, and I even shed tears in the middle of the painting," he said.

"No one would like to see such a sad ending. The difference with what is happening in the painting is the fact they can pull the brake before it is too late."

Creating dialogue

Wuheqilin said he was not initially gifted in art. "I started to learn drawing in my junior high school period, and I achieved what I have now thanks to my insistence for so many years," he said.

"It was on one day in 2015 when I first realized who I want to be is not a good painter, but a story-teller using images. And what I love is not drawing, but images," he said, adding that it was at that time he abandoned his training and style to focus on conveying emotions.

Compared with words, information in an image is highly concentrated and can be conveyed to audiences simultaneously. But sometimes words are needed to explain the subtle meaning behind the image, he said.

"I hope my art works could spread to as many people as possible," he said. Therefore, he chose to release the copyright of all of his editorial posters to the public.

In regard to the title of "Wolf Worrier artist," he laughed and said "I kind of like this title because I like the movie Wolf Worrier, and feel honored to have the title."

Wuheqilin said conveying political ideology is one of his responsibilities as an artist. "This is what I am doing, and I hope I can encourage more artists to do something good for our country and people with what we've learned," he said.

White House Plasterer Photo: Courtesy of Wuheqilin

"I think there will be more 'Wolf Worrier artists' in the near future as more people have realized from the COVID-19 epidemic that patriotism is not something shameful. This country is worth loving and needs every one of us to safeguard it," he said.

"What's unwise about the Western world is that their attack would only make Chinese people more united," he added.

He is currently planning a series of editorial posters to be released soon.
Newspaper headline: The power of posters
Lewis Hamilton drawn into Extinction Rebellion campaign that led to four activists being arrested at the British Grand Prix
Extinction Rebellion activists broke into circuit at British Grand Prix on Sunday
Four activists were arrested, with protestors unveiling a banner saying 'Act Now'
The group issued a statement on Sunday in which they quoted Lewis Hamilton
By JONATHAN MCEVOY FOR THE DAILY MAIL

PUBLISHED: 17:30 EDT, 2 August 2020 

Lewis Hamilton was drawn into an Extinction Rebellion campaign that resulted in four activists being arrested at Silverstone on Sunday.

The environmental activists broke into the circuit hours before the British Grand Prix.

As the cars took off for the formation lap, the protestors unveiled a pink banner, reading 'Act Now', behind the start line.


An Extinction Rebellion campaign took place at the British Grand Prix at Silverstone on Sunday

Later, they emerged on the pit straight disguised as marshals.

Extinction Rebellion issued a statement on Sunday night in which they quoted Hamilton as having said: 'Climate change is a serious threat. Every one of us has the responsibility to protect our future and the future of the next generation.'

Hamilton has often voiced concern over the environment, and last month chided people for wearing disposable face masks because they 'end up on the ocean floor'.

Extinction Rebellion, who brought large parts of central London to a standstill last year, said they wanted to 'send a clear message to millions of viewers that the world is way off track to stop climate and ecological emergency.

Activists unveiled a pink banner, which read 'Act Now', behind the start line at Silverstone

Silverstone and Northamptonshire Police said in a joint statement: 'During the race, police were made aware of four people who had been detained by Silverstone security inside the venue perimeter.

'Officers are working closely with Silverstone Circuit and conducting a full investigation. Four people have been arrested and are in police custody.'

Silverstone are reviewing their security measures ahead of next weekend's second half of a double-header, the 70th Anniversary Grand Prix.

Sunday's protest is not the most eye-catching at a British Grand Prix. That came in 2003 when a former Irish priest in an orange skirt ran across the 200mph Hangar Straight, forcing cars to avoid him.


Extinction Rebellion issued a statement on Sunday quoting six-time world champion Lewis Hamilton, who has often used his platform to voice concern over the environment

The sport was also targeted by Greenpeace activists at Belgium in 2013 over title sponsor Shell's oil exploration in the Arctic. Formula One launched a sustainability plan last year, setting out how the sport can be net carbon-neutral by 2030.

Meanwhile, all F1 personnel will have to live within their Covid 'bubbles' ahead of this coming Sunday's race or submit themselves to a fresh test before returning to Silverstone.

So far only one driver, Sergio Perez of Racing Point, has tested positive. Given the requirement for 10 days of self-isolation upon a positive test for the virus, it is touch and go whether he will be eligible for inclusion at the weekend.

His positive test was only made public on Thursday of last week.
Meet the African goddess at the center of BeyoncĂ©’s Black Is King

The divine imagery in BeyoncĂ©’s new visual album goes all the way back to Lemonade.

Beyoncé reads a book titled Black Gods and Kings in Black Is King, because she likes to be clear. Disney+

“I am BeyoncĂ© Giselle Knowles-Carter,” sings BeyoncĂ© in “Mood 4 Eva,” one of the tracks on her just-released visual album Black Is King. But that’s not all she is: “I am the Nala, sister of Naruba, Osun, Queen Sheba, I am the mother.”

Some of those names are self-explanatory. BeyoncĂ© is Nala because she played Nala in last year’s Lion King remake, for which Black Is King is a companion piece. But by calling out Osun, BeyoncĂ© is once again positioning herself with the Yoruba deity Osun, or more commonly Oshun, and making explicit the visual parallels she draws between herself and Oshun throughout the film.

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Black is King is BeyoncĂ©’s stunning ode to African glory

Oshun’s not BeyoncĂ©’s first alter ego. Early in her solo career, BeyoncĂ© introduced audiences to an identity she called Sasha Fierce, whom she described as “the fun, more sensual, more aggressive, more outspoken side and more glamorous side that comes out when I’m working and when I’m on the stage.” After releasing an album titled I Am … Sasha Fierce in 2008, BeyoncĂ© officially killed her alter ego off in 2010, saying, “I’ve grown, and now I’m able to merge the two.”

But lately, Beyoncé has seemed interested in playing with a new and different persona. She incorporated Oshun imagery into her 2016 visual album Lemonade, and she has returned again and again to Oshun iconography in photo essays and videos since then.

Here’s an overview of BeyoncĂ©’s Oshun connection and what makes Oshun such a powerful fit for Queen Bey.

Oshun is a goddess of love and beauty. BeyoncĂ©’s been identifying with her for years.
The Yoruba oshira Oshun. Shutterstock/Horus2017

In the Yoruba cosmology of southwestern Nigeria and Benin, Oshun is the goddess, or orisha, of love, sensuality, and femininity. She is a river goddess, and one of her attributes is to bring forth sweet and fertile waters. Oshun is a mother: Her waters were central to the creation of humanity, and she looks after small children before they can speak. She’s also associated with wealth and is said to love shiny things. She’s often represented draped in yellow.

“Oshun exudes sensuality and all the qualities associated with fresh, flowing river water,” wrote Oshun follower Valerie Mesa for Vice in 2018. “Her sparkling charisma can light up a room, and her lush womanly figure suggests fertility and eroticism. Oshun’s favorite thing to eat is honey, and her contagious laugh can either put you under her spell or send shivers down your spine.” And Oshun, who is said to be jealous, can be vengeful when she is crossed: “Oshun is as sweet as honey,” Mesa writes, “but her honey can also turn sour.”
BeyoncĂ© is reborn as Oshun in 2016’s Lemonade. HBO

In Lemonade (not so coincidentally, a form of sweet water), BeyoncĂ© spends a long interlude submerged in a dreamlike state underwater. As “Hold Up” starts playing, she pushes open a set of doors and emerges in a great flood of water, dressed in a flowing yellow gown, and starts to wreak her vengeance on her cheating man. This moment, Africana studies professor Amy Yeboah told PBS in 2016, is “her emergence as an orisha.” It’s the point where BeyoncĂ© is reborn as Oshun.
Beyoncé as Oshun in her 2017 maternity announcement. Beyoncé

In 2017, BeyoncĂ© returned to Oshun imagery in a photo essay announcing that she was pregnant with twins. The maternity announcement was laced with goddess imagery pulling from different religious traditions, so that at some points in the shoot, BeyoncĂ© is recognizably the Virgin Mary, and in others, she’s Venus. But she also drapes herself in yellow and submerges herself in sparkling water, becoming Oshun once again.
Beyoncé channels various divinities, including Oshun, at the 2017 Grammys. Getty

At the 2017 Grammys, BeyoncĂ© continued to play with divine imagery from different traditions. In her performance of Lemonade’s “Love Drought” and “Sandcastles,” she donned a beaded gold gown and headdress and yellow silk, and as she posed with her dancers, she became variously Mary, Jesus, Venus, the Hindu goddess Kali, and — once again — Oshun.

In Black Is King, BeyoncĂ© ditches any Western references. Black Is King is a love letter to the African diaspora, and while BeyoncĂ© is, as always, representing herself as a goddess in this album, she’s specifically and solely the Yoruba goddess Oshun. She wears Oshun’s yellow and shining beads and cowrie shells; she emerges from the sweet water; she surrounds herself with flowers of fertility; she watches over children. She makes her connection to the goddess as explicit as possible: “I am Osun,” she sings.

In associating herself with Oshun, BeyoncĂ© is highlighting certain key parts of her image. She’s always been an untouchable goddess, and she’s always been sexy, but now she is maintaining that her beauty is divine and so is her motherhood, and that they are inextricably linked. She’s connecting herself to a cosmology in which beauty and love and prosperity all come from the same source, and she’s naming herself as that source.
Beyoncé as Oshun in Black Is King. Parkwood Entertainment

And she is very firmly, pointedly saying that none of these wonderful things — love, beauty, divinity, prosperity — have to come from the West. They have a source in Africa. Throughout all of Black is King, BeyoncĂ© is putting that source at the center of her work.

We always knew she was a goddess. Now she’s telling us exactly which one she is.

How some Black Americans are finding solace in African spirituality

Between the pandemic and protests, practitioners of African religions are welcoming the community and liberation their traditions can bring.

By Nylah Burton Jul 31, 2020


Porsche Little, a Brooklyn-based artist, diviner, and aborisha — or someone who serves the Orisha, a group of spirits central to the Yoruba and other African Diaspora religions — says that she has received a huge increase in requests for divinations and readings throughout the pandemic  .
https://www.instagram.com/p/CBlk-9tjEMP/?utm_source=ig_embed



“There’s so much happening right now in the world to everyone, and I know for certain that all of this is happening for a reason,” she says. “A lot of people are stuck in the house and can’t really make sense of their lives, but that’s what I’m here for.”


Little says when she counsels people in her community these days, they specifically want to talk about challenges arising from this tumultuous time we’re living in. Between a terrifying pandemic, a major racial reckoning, an existential crisis that climate change presents, and a government that fails to address any of these things, some Black people are turning to African and Black Diaspora traditions as a means of comfort, community, healing, and liberation.

“With the pandemic and the anxiety and the fear and all of those emotions that all of us are dealing with right now … in the beginning my spiritual practice helped keep me connected and grounded. It helped me understand this moment in the larger context,” says Akissi Britton, an assistant professor of Africana Studies at Rutgers University and LucumĂ­ priestess for 36 years.

The Black Diaspora has been through centuries of struggle, resistance, and joy since being scattered from our original homelands. And through it all, many of us have connected with those original practices — food, family structures, languages — as a way of healing and building community with each other. The same goes for African and Black Diasporic spirituality, like the Yoruba, LucumĂ­, and SanterĂ­a traditions; many practitioners of these religions offer a different type of healing, one that is removed from traditionally Westernized versions, which generally stress individualism and independence. African traditions, instead, are reliant upon collectivism, strong communities, and healthy interdependence.

Most of these traditions revolve around Orisha (sometimes referred to as Orisa, or Ă’rìṣà in the Yoruba language, or Orixá in Latin America), a group of spirits from the Yoruba religion that provide guidance. Yoruba and other practitioners are often connected to one Orisha, usually called their guardian — like Oshun, the goddess of love, fertility, and success, and BabalĂş-Aye, Orisha of healing, including against airborne diseases that can cause epidemics. People who seek practitioners like Little are looking for guidance, which comes from rituals that invoke the Orisha, like baths or offerings and sometimes the reading of tarot cards. Sessions and ceremonies are often private and individualized.

Britton says that growing up in the Afro-Cuban LucumĂ­ religion, which is derived from the Yoruba tradition, gave her a fulfilling sense of self. “I am not separated from my Orisa, from my ancestors, from the spirits, as well as from my community,” she says. “When my sense of self is much broader and attached to other things, I don’t feel so isolated. I don’t feel so alone, like I’m trying to figure it out on my own.”

Britton spiritually counsels others, but she encourages them to seek therapy if they can, too; LucumĂ­ priestesses are not necessarily trained therapists, psychiatrists, and psychologists. Britton has sought out therapy for herself, and says that it works well with her spiritual practice. Often in therapy, she says, “I have gotten information that my ancestors and Orisa have given to me, which is just confirmation.”

Jo, a former student of Britton’s and an Afro-Boricua artist and community organizer, says that the LucumĂ­ religion offered her healing after a tumultuous relationship with both race and religion as a child. Growing up with a white mother and in the Christian church, Jo had little connection to her father’s Puerto Rican family. Still, she was always drawn to the beauty of the complex cultural practices in the Boricua community.

Early in her life, Jo says, she didn’t receive much affection from the people who were “supposed to love” her, and instead she experienced a lot of pain. She completely rejected Christianity and religion altogether, until she found strength and healing in LucumĂ­. Although she didn’t come to LucumĂ­ until adulthood, she feels much of it has always been with her.

“In some weird way, I always felt protected,” she says. “My angels and ancestors have always been the ones to bring me that feeling. As an adult, I was led right back to the same innate practices I believed in when I was young. I reconnected with the voices and knowings I had turned away from for so long. And it changed my life.”
The liberation in connecting with African spirituality

For practitioners of African spirituality, healing often comes in the form of liberation and resistance. These traditions are made even more pressing considering the centuries-long attempts by European slave owners, colonists, and neo-colonists to suppress and demonize these religions. And now, in a time when America’s racist foundation has been pushed to the foreground, seeking solace in this connection feels especially poignant.

During slavery, Christianity was used to justify the horrific practice. As such, the enslaved were often forbidden from practicing their indigenous religions, and other religions like Islam. Even in places like Cuba, Brazil, Haiti, and Trinidad, European colonists and slave masters attempted to obliterate the humanity and autonomy of enslaved Africans, Britton says. Many in the Black Diaspora embraced Christianity, finding a different sort of liberation in a religion meant to oppress them — a radical tradition that continues today, especially in the African American Episcopal Church (AME).

However, as a form of resistance, other enslaved Africans syncretized their indigenous religions with Christianity, creating traditions like SanterĂ­a, Vodun, and Hoodoo. For instance, the word SanterĂ­a means “honor to saints,” and the religion is infused with the Spanish Catholicism that was indoctrinated into enslaved Africans early on. In fact, some practitioners correspond Orishas with Catholic saints — Eleguá, associated with roads and paths, corresponds with Saint Anthony, the patron saint of travelers and lost things — while others believed in removing the Catholic component altogether, as they saw the European influences as antithetical to goals of decolonization and autonomy.

But syncretizing practices wasn’t a matter of happenstance. “[Africans’] ingenuity, their creativity, their brilliance allowed them to maintain certain practices from home while masking them in the practices that Europeans insisted upon,” Britton says. SanterĂ­a was “the masking behind the saints … that in itself is a liberation practice,” she says.

Britton points out that the Haitian Revolution — the only successful slave revolt and an event that led to the creation of the first free Black republic — while not specifically LucumĂ­, was “the coming together of Africans, different ethnic groups too, that had a ceremony that inspired and gave strength for the revolution that made it.”

“Africans and their descendants [have] refused to allow Europeans slave masters and colonialists to dictate their full humanity,” Britton says. “This gave them a very strong sense of identity, inspiration, spiritual grounding that was liberatory in the sense that it allowed them to think differently and understand themselves differently than the dominant models do.”

Little, who is studying Ifá and LucumĂ­ traditions, says honoring Orisha and her ancestors helps her connect with her past before enslavement and colonization. She has been following the path to become an initiated priestess, which is mostly focused on immersing oneself in community as they guide you, something that can feel like coming home for so many Black people. “I spent a lot of my life wondering who I was, and where I came from, but now I don’t question that. It has truly reconnected me with not only my roots but with people that I’ve known from past lives,” she says. “There’s a certain power that comes with remembering where you came from.”

Because of the oppression people in the Black Diaspora faced, however, stigma against African spirituality exists today. The Roman Catholic Church has often viewed these practices as akin to demon worship. I know in my own family, some people see these practices as evil or dangerous. Others embrace it.

Little says that we should interrogate those ingrained beliefs and where they come from, particularly relating to Christianity and other religions closely related to “conquest, murder, homophobia, sexism, and slavery amongst so many other forms of violence.” For Little, it’s worth questioning why some in the diaspora have been taught that African religion, which she says “connects you with your personal power, identity and lineage,” is evil. She suggests that “people need to decolonize their own minds and then see what serves them best.”

Ruqaiyyah Beatty, who grew up practicing Christianity, Islam, and other other African religions, is a now practitioner of Ifá, a Yoruba religion and system of divination. She says that through her practice, she was able to find healing through connection. “I was able to connect to Nigeria, it gave me a global network of spirituality, divine guidance, family, and love, and I was able to create and sustain a great relationship to god,” she says.

For those looking to get involved with African spiritual traditions, Britton stresses that research is key. She suggests reading books by independent scholar John Mason, who wrote Black Gods — Orisa Studies in the New World, which discusses 13 Orisha, including their symbols, personal characteristics, philosophical values, animal familiars, and feast days.

She also says it’s important to enter these spaces from a place of respect, seeking mentorship and accountability, and above all, community. “You cannot do this by yourself,” she stresses. The best way to guard against misinformation, Britton says, is to go slow, research, and talk to people.

While African spirituality can keep us connected during a time that can feel especially isolating, Little says, it can also keep us empowered. “I just want people to know that although there is a higher power, remember that you have power as well. I want us all collectively to start using our intuitions ... and to question everything.”

Nylah Burton is a Denver-based writer. She covers mental health, social justice, and identity. You can follow her on Twitter.

The NYPD unit that snatched a protester off the street has been accosting people for years

The plainclothes NYPD Warrant Squad that “kidnapped” a Black Lives Matter protester, explained.

Black Lives Matter protesters in Bay Ridge, Brooklyn, on July 12, 2020.
 Erik McGregor/LightRocket via Getty Images

A silver minivan had been driving just ahead of a group of Black Lives Matter protesters in Manhattan Tuesday night when it came to a sudden stop. Five men in plain T-shirts and cargo shorts came pouring out of the vehicle and grabbed a young woman in the crowd off of her skateboard. They then violently placed her into the van, driving off, leaving surrounding protesters confused and upset about what just happened.
To some observers, it looked like a kidnapping; in video clips, protesters are seen surging forward, trying to intervene. Then, immediately, a group of about a dozen uniformed police on bikes circle the van to push people away.
The men in the van, it turns out, were plainclothes officers from the New York Police Department’s Warrant Squad, and they were detaining a young woman who was later identified as Nikki Stone, an 18-year-old homeless trans girl. An NYPD spokesperson, Sergeant Jessica McRorie, told Vox, “The NYPD had probable cause to arrest her for five previous crimes,” which included allegations of vandalizing police cameras with stickers and paint around City Hall Park in Manhattan.
The NYPD said that while officers were detaining Stone, protesters assaulted them by throwing rocks and bottles. But video of the incident shows only one bottle rolling around on the ground in the aftermath. Protesters who witnessed the incident disputed the police narrative.
“None of that happened whatsoever,” Clara Kraebber, a 20-year-old Oxford student told Gothamist. “We literally turned the corner and were met with a line of police who attacked us without warning.”
The incident left many asking why a violent police abduction was necessary over alleged vandalism. It has also prompted new questions about police abuse in the wake of federal officers in Portland, Oregon, similarly snatching protesters off the street.
Several prominent New York City elected officials decried Stone’s arrest on Twitter. Rep. Alexandria Ocasio-Cortez (D-NY) tweeted, “There is no excuse for snatching women off the street and throwing them in unmarked vans.” House Judiciary Chair Rep. Jerry Nadler (D-NY) also shared video of the Tuesday arrest on Twitter, calling it “terrifying” and “unacceptable” while demanding an explanation.
New York City Council member Carlina Rivera, who tweeted the following morning that Stone had been released from police custody, said that she would be exploring legislation to change the NYPD’s use of plainclothes officers in unmarked cars making arrests. A GoFundMe to assist Stone, whose nickname is “Stickers,” has raised over $42,000 as of Friday morning to help her find housing.
However, the unit that made the arrest — the NYPD Warrant Squad — was not created as some new policing tactic in the wake of the Black Lives Matter protests that have swept the nation in recent months. It’s a shadowy group of plainclothes officers who have been detaining persons of interest in the city for decades. Until Tuesday night’s arrest, many New Yorkers were unaware of the squad’s existence, and yet taking suspects into unmarked vehicles — especially in Black and brown communities — has been a longtime tactic of the squad, legal experts and advocates say.

The alarming tactics of the NYPD Warrant Squad

The NYPD Warrant Squad is a remnant of the department’s expansion into counterterrorism in the wake of 9/11 under then-Mayor Rudy Giuliani. These days, however, according to several people with knowledge of the squad’s tactics, it focuses less on counterterrorism and more on rounding up persons of interest for the department.
Like in the incident seen in the video of Stone, officers from the squad (or, perhaps more accurately, squads) typically operate in plainclothes, with nothing identifying them as police, and utilize unmarked vehicles. At its inception, the squad was meant to be a tactical unit to apprehend the city’s most dangerous wanted criminals. Appearing in plainclothes added to the element of surprise when taking on a potentially armed and wanted suspect. (An NYPD spokesperson did not respond to Vox’s request for comment regarding the purpose and actions of the squad.)
Nearly every precinct in the city has its own warrant squad, which is typically part of a precinct’s detective squad, Jennvine Wong, a staff attorney for the Cop Accountability Project at the Legal Aid Society, told Vox. Over the past 15 years, the Warrant Squad, along with the NYPD’s anti-crime unit, has developed a reputation in the city’s Black and brown neighborhoods for using plainclothes and unmarked vehicles to disappear or accost people off the street. The anti-crime unit’s reputation was so bad that in June NYPD Commissioner Dermot Shea disbanded it, reassigning officers to other units. And both units’ secretive tactics are so common that some lower-income neighborhoods have developed a nickname for these officers: “jump-out boys.”
“Jump-out boys is a term that describes undercover non-identifiable cops,” said writer and criminal justice organizer Josmar Trujillo, who lives in Spanish Harlem in Manhattan. “But you know that they’re cops [by] the cars that they drive and what they look like, usually with the cargo shorts and the Under Armour and the steroid arms. They just jump out on people.”
According to Trujillo, the squad has strayed far from its original purpose. “The problem with the Warrant Squad is that oftentimes they’re framed as catching really dangerous people,” he told Vox. “But most of the warrants in New York City historically have been for low-level misdemeanor [crimes] and under.”
Several years ago, the city revealed that the NYPD had over a million open warrants. With so many open warrants, the police couldn’t possibly arrest everyone; Trujillo said officers would therefore sometimes round people up just to meet an arrest quota.
After years of speculation from critics of the police, in 2015 the New York Daily News reported that Staten Island officers were in fact given arrest quotas to meet. A 2015 Vice report detailed how the Warrant Squad frequently raids homeless shelters, seemingly to meet those quotas, waiting until the middle of the night when potential detainees must be inside the facility for the night or they lose their spot.
“You’re disoriented and angry,” Jonathan Allen, who sometimes stayed in the city’s Wards Island shelter, told Vice at the time about his experience with the squad. “You’re asking, ‘What’s going on?’ Then they crush you into the vans like sardines.”
Maryanne Kaishian, senior policy counsel and staff attorney at Brooklyn Defender Services, told Vox that defense attorneys would often meet with clients and ask about how they were detained, and the response is that the “jump-out boys” appeared suddenly and physically pulled them into an unmarked car. And they don’t even necessarily need a judge-signed warrant to do so.
“Often what happens is people are arrested on mechanisms called [Investigation Cards or I-Cards]. This is not an arrest warrant. It is not signed by a judge,” Kaishian said. I-Cards are issued for persons of interest to investigators, she said, but they also present an opportunity for police to detain people and get around the hassle of getting a judge to sign off on a legitimate warrant.
“It’s an internal piece of information that’s shared amongst the members of the NYPD describing the person to be arrested and saying that another cop has probable cause to make the arrest, which then they argue confers probable cause to any officer that might encounter that person,” Kaishian said.
But Wong wasn’t sure how often the squad picks up people based on I-Cards. “The Warrant Squad should only be effectuating arrest if there’s actually a warrant,” she said. “So it could be a bench warrant from criminal court or an arrest warrant. They almost never have an arrest warrant. It’s usually just for bench warrants.”
Bench warrants are issued if a person misses a court date without an excuse, while an arrest warrant is signed by a judge and allows police to arrest and detain a suspect accused of a specific crime. (An NYPD spokesperson also did not respond to a question from Vox over whether they had a warrant for Stone’s arrest or whether the officers detained her based on an I-Card.)
There are the protocols for the Warrant Squad’s arrests that are shaky, criminal justice reform advocates say, and then there are the tactics. The prospect of plainclothes officers roaming the city and disappearing people off the street without potential judicial oversight raises serious constitutional issues.
The squad’s lack of clear, observable identifiers may help them capture unsuspecting persons of interest, but a sudden, potentially violently arrest is often disproportionate to the crime they are wanted for. And any physical reaction to what amounts to a kidnapping can draw charges of resisting arrest or assaulting an officer.
“When a person is accosted by surprise, they have a natural reaction. Someone will run, they’ll fight, they’ll yank their arms away from someone who’s trying to pull them into a car,” said Kaishian. “These acts were often charged as resisting arrest or obstructions of governmental administration. So in addition to the charge for the warrant or the I-Card that was issued, even if they caught the wrong person, the person that they grabbed would be subjected to additional charges simply for responding to that terrifying situation.”

These “kidnapping” tactics have been used for years, but often out of sight of white people

The practice of law enforcement officers snatching protesters off the street most recently gained widespread attention earlier this month in Portland, Oregon. Over the course of several days of intense protests, federal agents were caught on camera “disappearing” protesters into unmarked vans before whisking them away to detention.
To be released by federal agents, ProPublica reported Tuesday, protesters were forced to sign an order which stated they were not allowed to engage in further protests.
The practice was widely denounced by Democratic elected officials across the country — including by New York City Mayor Bill de Blasio, who first won office in 2014 promising criminal justice reform.
But when faced with his own police department using the very same “secret police” tactics in his own city, de Blasio waffled. “I think it was the wrong time and the wrong place to effectuate that arrest,” he said of Stone’s arrest at a press conference Wednesday. “Anything that even slightly suggests that is, to me, troubling and it’s the kind of thing we don’t want to see in this city. ... This is not Portland.”
The mayor promised to discuss the arrest with Dermot Shea, the NYPD commissioner, but also said he would not push to discipline the officers involved. However, the Stone incident was not a one-off and the Warrant Squad’s tactics have been used for decades in the city’s Black and brown neighborhoods. It’s only now, after a white woman was grabbed on camera in midtown Manhattan, that more people have taken notice of the squad.
“People have created the space for you now to question the validity of policing at a more fundamental level,” Trujillo said. “If the NYPD is willing to do this to someone who’s participating in an organized demonstration, what do you think that they’ve been doing for years when no one’s been looking in housing projects in the Bronx? If you’re outraged over the things you’re seeing on video right now, that’s just like a fraction of it.”
But creating systemic change within the NYPD has proven difficult through the years. Often, “reform” has simply meant changing the name of a historically abusive unit which can then just continue on until the public discovers it again and calls for more reform. A report by the Intercept in June detailed the NYPD’s “shell game” of disbanding units only to replicate them later with a new name.
“You can say ‘abolish the Warrant Squad’ or disband it, kind of like the anti-crime unit was disbanded,” Trujillo said. But he also points out that before the anti-crime unit became notorious for brutal tactics, the city’s street crime unit was operating in a similar way. The street crime unit was disbanded in 2002 while it was tied up in litigation over the Amadou Diallo shooting, a 23-year-old immigrant who was shot 41 times by NYPD officers in 1999, only to be recreated again within the anti-crime unit.
The issue is these units — and their tactics — are baked into the city’s legal system. When de Blasio or Shea decline to discipline officers, it’s tacit approval for abuses of power, reform advocates say. When district attorneys decline to prosecute abusive officers, it only reinforces the NYPD’s impunity.
In other words, there’s plenty of political blame to go around. “This isn’t just Portland inspired,” Eliza Orlins, a candidate for Manhattan district attorney and a career public defender, told Vox. “This is something that has been going on for years and that’s because the Manhattan DA Cy Vance has let the cops run wild without any accountability.” (Vance’s office didn’t immediately respond to a request for comment from Vox.)
Wong agrees that prosecutors in the city are complicit with condoning abusive police tactics. “While there may be individual prosecutors who take their ethical obligations very seriously about disclosing everything you need to know about officers and these kind of tactics, my overwhelming experience with this office is that their prosecutors are going to hide that information for as long as possible,” she said. “They are going to, in a way, be willfully ignorant about it so they have plausible deniability.”
This is why many reform advocates are calling for defunding the police, or at least reimagining what the police does. And it’s clear to Trujillo that abolishing police units cannot be a one-time deal; it has to be a long-term process to make sure that police and prosecutors don’t just reinvent the wheel when everyone stops paying attention.
“It’s important to have baseline demands [like abolishing the Warrant Squad], but it’s also important to keep challenging ourselves,” he said. We need to “make sure that, if the police are trying to be two steps ahead of us, we have to be three steps ahead of them.”

The most notorious act of protest for women’s suffrage

In 1913, suffragette Emily Davison disrupted a major horse race in the name of winning British women the vote.


By Coleman Lowndes Jul 27, 2020,

British suffragettes in the early 20th century used spectacle and drama to draw attention to their fight to win women the vote. They delivered public speeches, marched, displayed colorful banners, and got thrown in jail, all in an effort to pressure legislators to extend suffrage to women.

But after a violent clash with police in November 1910 — a day known as “Black Friday” — their tactics changed. They began committing random acts of property damage, smashing windows, setting fire to buildings, and even destroying fine art on public display.

The most radical act of destruction came in 1913, when militant suffragette Emily Wilding Davison threw herself under King George V’s racehorse at the Epsom Derby. She died of her injuries and became a suffragette martyr.

Davison’s funeral procession ultimately ended up being one of the largest (and last) major demonstrations by the British suffragettes. World War I interrupted their protests, and women over 30 won the vote in 1918, when the war ended.

Watch the video above to learn more about the suffragette movement. You can find this video and all of Vox’s videos on YouTube. And if you’re interested in supporting our video journalism, you can become a member of the Vox Video Lab on YouTube.