White America Has Lost Its Mind

[megachamploo]

question. What does this have to do with black people? I thought this article was about white people lol.

yeah white people will become the minority. That doesn't mean anything for black people or any other race exclusively.

 

[DCAllAfrican]

Originally Posted by Nat Turner

Manglor,

I find it encouraging that you are willing to try and call me out. Why don't you try and take me on in debate of this subject, instead of popping in, attacking, piggy backing on others.

Are you man enough to stand alone?

I know that I am, then have throughout this very thread. I think that you are a coward who likes to pot shot.

Man up, stand on your own two feet.

 

[nat turner]

Whenever someone resorts to name calling, or distracting through an attempt at humor, they are admitting that they have lost the battle.

The Village Voice article was incredibly on point.

 

[je ne sais quoi]

Ummm, what's the verdict on Asians and racism? Can we be racist?
I only ask because I have a party to attend, and I'm not sure which demeanor I should rock.
Please get back to me, thanks.

 

[nat turner]

Originally Posted by Je Ne Sais Quoi

Ummm, what's the verdict on Asians and racism? Can we be racist?
I only ask because I have a party to attend, and I'm not sure which demeanor I should rock.
Please get back to me, thanks.

Do you feel that darker skinned people are inferior to you?

 

[antonlavey]

Originally Posted by Je Ne Sais Quoi

Ummm, what's the verdict on Asians and racism? Can we be racist?
I only ask because I have a party to attend, and I'm not sure which demeanor I should rock.
Please get back to me, thanks.

He thinks Asians can be racist against blacks. But blacks can only be prejudiced against Asian. Son is spitting straight knowledge. It's giving me a migraine.

 

[je ne sais quoi]

Now I'm really confused.
If it helps any, my people were colonially oppressed for more than 300 years by Spanish whites.
Does that exclude me from being racist? Please tell me, "yes".

 

[nat turner]

Originally Posted by AntonLaVey

Originally Posted by Je Ne Sais Quoi

Ummm, what's the verdict on Asians and racism? Can we be racist?
I only ask because I have a party to attend, and I'm not sure which demeanor I should rock.
Please get back to me, thanks.

He thinks Asians can be racist against blacks. But blacks can only be prejudiced against Asian. Son is spitting straight knowledge. It's giving me a migraine.

Speaking of cowards,

Racism was created to prove the inferiority of Black people, correct? So how did it become "racist" if Black people reject that notion, then becoming prejudiced against those who believe this to be true?



  

 

[manglor]

Originally Posted by Nat Turner

Manglor,

I find it encouraging that you are willing to try and call me out. Why don't you try and take me on in debate of this subject, instead of popping in, attacking, piggy backing on others.

Are you man enough to stand alone?

I know that I am, then have throughout this very thread. I think that you are a coward who likes to pot shot.

Man up, stand on your own two feet.

How the hell did i pot shot? I asked you a simple question and you ignored it. Then you call me a coward for no reason whatsoever.

The reason i avoid "debating" you is simply because you don't care. You don't care what anyone else thinks unless they agree with your stance. You don't care what anyone else says unless it supports your viewpoint. You ignore almost ever valid point ever made against you. Why debate with someone who will never change or open their mind regardless of facts or figures or anything anyone else could say? It is pointless. I like debating here sometimes and i openly admit i have had my opinion altered or even reversed many times on NT by people i would have never met anywhere else.

But fine. If you really want me to try then i'll make it really simple.

Years ago on that -other board- where you would spend time between bannings here you posted about how you felt it was ok for blacks to distrust/dislike asians based off of specific factors including how "your black friend"(this was back before you would ever admit you were actually black)was treated at an asian owned/operated shoe store. Some people agreed and some called you racist for it.

My question is simple.

Since the asian population in this country is well below the black population as far as numbers are concerned doesn't THAT make what you said racist? Doesn't that prove by itself black people can be racist? You have a great majority over them so wouldn't that meet your power definition just by pure numbers?

i assume as always you will either ignore my statement/question or simply lie and act as though you never said what we both know very well you did say(and you call ME a coward)but i figure maybe, just maybe since you did ask me to "take you on" that you'll answer truthfully and honestly without being insulting.



  

 

[nat turner]

Originally Posted by Je Ne Sais Quoi

Now I'm really confused.
If it helps any, my people were colonially oppressed for more than 300 years by Spanish whites.
Does that exclude me from being racist? Please tell me, "yes".

Racist theory was created to prove that Whites were superior to all darker races.

Do you feel this to be true?
  

 

[johnnyredstorm]

If a black man hates all white, Asian, Spanish people, and isn't a racist, then what is he?

 

[shaunhillftw49]

Originally Posted by Je Ne Sais Quoi

Now I'm really confused.
If it helps any, my people were colonially oppressed for more than 300 years by Spanish whites.
Does that exclude me from being racist? Please tell me, "yes".

If you're a Filipino mestizo no
[h1]James Dean[/h1]
From Wikipedia, the free encyclopedia

This is the latest accepted revision, accepted on 6 October 2010.

Jump to: navigation,search

This article is about the actor. For other uses, see James Dean (disambiguation).


[table][tr][th=""]James Dean[/th][/tr][tr][td]
as Cal Trask in East of Eden (1955)[/td][/tr][tr][th=""]Born[/th][td]James Byron Dean
February 8, 1931(1931-02-0
Marion, Indiana, U.S.[/td][/tr][tr][th=""]Died[/th][td]September 30, 1955 (aged 24)
Cholame, California, U.S.[/td][/tr][tr][th=""]Other names[/th][td]Jimmy Dean[/td][/tr][tr][th=""]Occupation[/th][td]Actor[/td][/tr][tr][th=""]Years active[/th][td]1951–1955[/td][/tr][/table]
James Byron Dean (February 8, 1931 – September 30, 1955) was an American film actor.[sup][1][/sup] He is a cultural icon best embodied in the title of his most celebrated film, Rebel Without a Cause (1955), in which he starred as troubled Los Angeles teenager Jim Stark. The other two roles that defined his stardom were as loner Cal Trask in East of Eden (1955), and as the surly farmer Jett Rink in Giant (1956). Dean's enduring fame and popularity rests on only these three films, his entire output in a starring role. His death in a car crash at an early age cemented his legendary status.[sup][original research?][/sup]

He was the first actor to receive a posthumous Academy Award nomination for Best Actor and remains the only person to have two posthumous acting nominations. In 1999, the American Film Institute ranked Dean the 18th best male movie star on their AFI's 100 Years…100 Stars list.[sup][2][/sup]
[table][tr][td]
[h2]Contents[/h2] [hide]

• 1 Early life
• 2 Acting career
  • 2.1 East of Eden
  • 2.2 Rebel Without a Cause
  • 2.3 Giant
• 3 Racing career and 'Little Bastard'
• 4 Death
  • 4.1 Memorial
• 5 Personal life
• 6 Legacy
  • 6.1 Iconic status and impact on popular culture
    • 6.1.1 Speculated sexual orientation
    • 6.1.2 The "curse" of "Little Bastard"
• 7 Filmography
  • 7.1 Feature films
• 8 Stage
  • 8.1 Broadway
  • 8.2 Off-Broadway
• 9 Television
• 10 Biographical films
• 11 References
• 12 Further reading
• 13 External links

[/td][/tr][/table][h2][edit] Early life[/h2]
James Dean was born on February 8, 1931, at the Seven Gables apartment house in Marion, Indiana to Winton Dean and Mildred Wilson. Six years after his father had left farming to become a dental technician, James and his family moved to Santa Monica, California. The family spent several years there, and by all accounts young Jimmy was very close to his mother. According to Michael DeAngelis, she was "the only person capable of understanding him".[sup][3][/sup] He was enrolled at Brentwood Public School in the Brentwood neighborhood of Los Angeles until his mother died of cancer when Dean was nine years old.

Unable to care for his son, Winton Dean sent James to live with Winton's sister Ortense and her husband Marcus Winslow on a farm in Fairmount, Indiana, where he was raised in a Quaker background. Dean sought the counsel and friendship of Methodist pastor Rev. James DeWeerd. DeWeerd seemed to have had a formative influence upon Dean, especially upon his future interests in bullfighting, car racing, and the theater. According to Billy J. Harbin, "Dean had an intimate relationship with his pastor... which began in his senior year of high school and endured for many years."[sup][4][/sup] In high school, Dean's overall performance was mediocre. However, he was a popular school athlete, having successfully played on the baseball and basketball teams and studied drama and competed in forensics through the Indiana High School Forensic Association. After graduating from Fairmount High School on May 16, 1949, Dean moved back to California with his beagle, Max, to live with his father and stepmother. He enrolled in Santa Monica College (SMC) and majored in pre-law. Dean transferred to UCLA[sup][5][/sup] and changed his major to drama, which resulted in estrangement from his father. He pledged the Sigma Nu fraternity but was never initiated. While at UCLA, he beat out 350 actors to land the role of Malcolm in Macbeth. At that time, he also began acting with James Whitmore's acting workshop. In January 1951, he dropped out of UCLA to pursue a full-time career as an actor.[sup][6][/sup]
[h2][edit] Acting career[/h2]
Dean's first television appearance was in a Pepsi Cola television commercial.[sup][7][/sup] He quit college to act full time and was cast as John the Beloved Disciple in Hill Number One, an Easter television special, and three walk-on roles in movies, Fixed Bayonets!, Sailor Beware, and Has Anybody Seen My Gal? His only speaking part was in Sailor Beware, a Paramount comedy starring Dean Martin and Jerry Lewis; Dean played a boxing trainer. While struggling to get jobs in Hollywood, Dean also worked as a parking lot attendant at CBS Studios, during which time he met Rogers Brackett, a radio director for an advertising agency, who offered Dean professional help and guidance in his chosen career, as well as a place to stay.[sup][8][/sup][sup][9][/sup]

In October 1951, following actor James Whitmore's and his mentor Rogers Brackett's advice, Dean moved to New York City. In New York he worked as a stunt tester for the game show Beat the Clock. He also appeared in episodes of several CBS television series, The Web, Studio One, and Lux Video Theatre, before gaining admission to the legendary Actors Studio to study Method acting under Lee Strasberg. Proud of this accomplishment, Dean referred to the Studio in a 1952 letter to his family as "The greatest school of the theater. It houses great people like Marlon Brando, Julie Harris, Arthur Kennedy, Mildred Dunnock. ... Very few get into it ... It is the best thing that can happen to an actor. I am one of the youngest to belong."[sup][8][/sup]

Dean's career picked up and he performed in further episodes of such early 1950s television shows as Kraft Television Theatre, Robert Montgomery Presents, Danger, and General Electric Theater. One early role, for the CBS series Omnibus the episode "Glory in the Flower" saw Dean portraying the same type of disaffected youth he would later immortalize in Rebel Without a Cause. (This summer 1953 program was also notable for featuring the song "Crazy Man, Crazy", one of the first dramatic TV programs to feature rock and roll music.) Positive reviews for Dean's 1954 theatrical role as "Bachir", a pandering North African houseboy, in an adaptation of André Gide's book The Immoralist, led to calls from Hollywood.[sup][1[/sup]
[h3][edit] East of Eden[/h3]
Main article: East of Eden (film)

In 1953, director Elia Kazan was looking for a substantive actor to play the emotionally complex role of 'Cal Trask', for screenwriter Paul Osborn's adaptation of John Steinbeck's 1952 novel East of Eden. The lengthy novel had dealt with the story of the Trask and Hamilton families over the course of three generations, focusing especially on the lives of the latter two generations in Salinas Valley, California from the mid-1800s through the 1910s.

In contrast, the film chose to deal predominantly with the character of Cal Trask; initially seeming more aloof and emotionally troubled than his twin brother Aron... yet quickly seen to be more worldly, aware, business savvy, and even sagacious than their pious and constantly disapproving father (played by Raymond Massey) seeking to invent vegetable refrigeration, and estranged mother, whom Cal discovers is a brothel-keeping 'madame' (Jo Van Fleet). Elia Kazan said of Cal before casting, "I wanted a Brando for the role." Osborn suggested Dean who then met with Steinbeck; the future Nobel laureate did not personally like the bold youth, but thought him perfect for the part. Kazan set about putting the wheels in motion to cast the relatively unknown young actor in the role; on April 8, 1954, Dean left New York City and headed for Los Angeles to begin shooting.[sup][11][/sup][sup][12][/sup][sup][13][/sup]

Dean's performance in the film foreshadowed his role as Jim Stark in Rebel Without A Cause. Both characters are angst-ridden protagonists and misunderstood outcasts, desperately craving approval from a father figure.

Much of Dean's performance in the film is unscripted, including his dance in the bean field and his curled up, fetal-like posturing while riding on top of a train-car (after searching out his mother in a nearby town). The most famous improvisation during the film was when Cal's father rejects his gift of $5,000 (offered in reparation for his father's business loss). Instead of running away from his father as the script called for, Dean instinctively turned to Massey and, crying, embraced him. This cut and Massey's shocked reaction were kept in the film by Kazan.

At the 1955 Academy Awards, Dean received a posthumous nomination for Best Actor in a Leading Role for his performance in East of Eden, the first official posthumous acting nomination in Academy Awards history. (Jeanne Eagels was unofficially nominated for Best Actress in 1929, when the rules for selection of the winner were different.)
[h3][edit] Rebel Without a Cause[/h3]
Main article: Rebel Without a Cause



Dean in the trailer for the film Rebel Without a Cause

Dean quickly followed up his role in Eden with a starring role in Rebel Without a Cause, a film that would prove to be hugely popular among teenagers. The film is often cited as an accurate representation of teenage angst.[sup][citation needed][/sup] It co-starred teen actors Natalie Wood, Sal Mineo, and Dennis Hopper and was directed by Nicholas Ray.
[h3][edit] Giant[/h3]
Main article: Giant (film)

Giant, which was posthumously released in 1956, saw Dean play a supporting role to Elizabeth Taylor and Rock Hudson. This was due to his desire to avoid being typecast as Jim Stark and Cal Trask. In the film, he plays Jett, an oil rich Texan. His role was notable in that, in order to portray an older version of his character in one scene, Dean dyed his hair gray and shaved some of it off to give himself a receding hairline.

Giant would be Dean's last film. At the end of the film, Dean is supposed to make a drunken speech at a banquet; this is nicknamed the 'Last Supper' because it was the last scene before his sudden death. Dean mumbled so much that the scene had to later be re-recorded by his co-stars because Dean had died before the film was edited.

At the 1956 Academy Awards, Dean received his second posthumous Best Actor Academy Award nomination for his role in Giant.
[h2][edit] Racing career and 'Little Bastard'[/h2]
When Dean got the part in East of Eden, he bought himself a red race-prepared MG TD and shortly afterwards, a white Ford Country Squire Woodie station wagon. Dean upgraded his MG to a 1954 Porsche 356 Speedster, which he raced. Dean came in second in the Palm Springs Road Races in March 1955 after a driver was disqualified; he came in third in May 1955 at Bakersfield and was running fourth at the Santa Monica Road Races later that month, until he retired with an engine failure.

During filming of Rebel Without a Cause, Dean traded the 356 Speedster in for one of only 90 Porsche 550 Spyders. He was contractually barred from racing during the filming of Giant, but with that out of the way, he was free to compete again. The Porsche was in fact a stopgap for Dean, as delivery of a superior Lotus Mk. X was delayed and he needed a car to compete at the races in Salinas, California.

Dean's 550 was customized by George Barris, who would go on to design the Batmobile. Dean's Porsche was numbered 130 at the front, side and back. The car had a tartan on the seating and two red stripes at the rear of its wheelwell. The car was given the nickname 'Little Bastard' by Bill Hickman, his language coach on Giant. Dean asked custom car painter and pin striper Dean Jeffries to paint Little Bastard on the car.[sup][14][/sup] When Dean introduced himself to Alec Guinness outside a restaurant, he asked him to take a look at the Spyder. Guinness thought the car appeared 'sinister' and told Dean: 'If you get in that car, you will be found dead in it by this time next week.' This encounter took place on September 23, 1955, seven days before Dean's death.[sup][15][/sup][sup][16][/sup]
[h2][edit] Death[/h2]
On September 30, 1955, Dean and his mechanic Rolf Wütherich set off from Competition Motors, where they had prepared his Porsche 550 Spyder that morning for a sports car race at Salinas, California. Dean originally intended to trailer the Porsche to the meeting point at Salinas, behind his new Ford Country Squire station wagon, crewed by Hickman and photographer Sanford Roth, who was planning a photo story of Dean at the races. At the last minute, Dean drove the Spyder, having decided he needed more time to familiarize himself with the car. At 3:30 p.m., Dean was ticketed in Mettler Station, Kern County, for driving 65 mph (105 km/h) in a 55 mph (89 km/h) zone. The driver of the Ford was ticketed for driving 20 mph (32 km/h) over the limit, as the speed limit for all vehicles towing a trailer was 45 mph (72 km/h). Later, having left the Ford far behind, they stopped at Blackwells Corner in Lost Hills for fuel and met up with fellow racer Lance Reventlow.

Dean was driving west on U.S. Route 466 (later State Route 46) near Cholame, California when a black-and-white 1950 Ford Custom Tudor coupe, driven from the opposite direction by 23-year-old Cal Poly student Donald Turnupseed, moved to take the fork onto State Route 41 and crossed into Dean's lane. The two cars hit almost head on. According to a story in the October 1, 2005 edition of the Los Angeles Times,[sup][17][/sup]California Highway Patrol officer Ron Nelson and his partner had been finishing a coffee break in Paso Robles when they were called to the scene of the accident, where they saw an unconscious but heavily breathing Dean being placed into an ambulance. Wütherich had been thrown from the car, but survived with a broken jaw and other injuries. Dean was taken to Paso Robles War Memorial Hospital, where he was pronounced dead on arrival at 5:59 p.m. by the attending emergency room physician. His last known words, uttered right before impact, were said to have been: "That guy's gotta stop... He'll see us."[sup][18][/sup]



Junction of highways 46 and 41 as it looks today

According to the postmortem report, it is believed that Dean's head struck the front grill of the other car. This impact and the accompanying crash resulted in Dean suffering a broken neck, plus multiple fractures of the jaw, arms and legs, as well as massive internal injuries. He is believed to have died around ten minutes after the crash upon examination in the ambulance. For years, there were rumors a photographer friend, traveling to the race in another car, took photos of Dean trapped in the car dead or dying. Such photos never surfaced in public.

Contrary to reports of Dean's speeding, which persisted decades after his death, Nelson said "the wreckage and the position of Dean's body indicated his speed was more like 55 mph (88 km/h)."[sup][17][/sup] Turnupseed received a gashed forehead and bruised nose and was not cited by police for the accident. He was interviewed by the Tulare Advance-Register newspaper immediately following the crash, saying that he had not seen Dean's car approaching, but after that, refused to ever again speak publicly about the accident. He went on to own and operate an electrical contracting business and died of lung cancer in 1995.[sup][19][/sup] Wütherich died in a road accident in Germany in 1981 after surviving several suicide attempts.

While completing Giant, and to promote Rebel Without a Cause, Dean filmed a short interview with actor Gig Young for an episode of Warner Bros. Presents[sup][2[/sup] in which Dean, instead of saying the popular phrase "The life you save may be your own" instead ad-libbed "The life you might save might be mine." [sic][sup][21][/sup] Dean's sudden death prompted the studio to re-film the section, and the piece was never aired—though in the past several sources have referred to the footage, mistakenly identifying it as a public service announcement. (The segment can, however, be viewed on both the 2001 VHS and 2005 DVD editions of Rebel Without a Cause).
[h3][edit] Memorial[/h3]


James Dean Memorial in Cholame. Dean died about 900 yards east of this tree.

James Dean is buried in Park Cemetery in Fairmount, Indiana. In 1977, a Dean memorial was built in Cholame, California. The stylized sculpture is composed of concrete and stainless steel around a tree of heaven growing in front of the Cholame post office. The sculpture was made in Japan and transported to Cholame, accompanied by the project's benefactor, Seita Ohnishi. Ohnishi chose the site after examining the location of the accident, now little more than a few road signs and flashing yellow signals. The original intersection where the accident occurred is now a pasture and the two roadways were realigned to make the intersection safer. In September, 2005, the intersection of Highways 41 and 46 in Cholame (San Luis Obispo county) was dedicated as the James Dean Memorial Highway as part of the commemoration of the 50th anniversary of his death. (Maps of the intersection

35°44′5″N 120°17′4″W / 35.73472°N 120.28444°W / 35.73472; -120.28444)

There are a few photos of Dean on the wall of Jack Ranch Cafe in Cholame, however there is no memorial.

The dates and hours of Dean's birth and death are etched into the sculpture, along with a handwritten description by Dean's close friend, screenwriter William Bast, of one of Dean's favorite lines from Antoine de Saint Exupéry's The Little Prince—"What is essential is invisible to the eye."



Dean's grave in his hometown, Fairmount, Indiana
[h2][edit] Personal life[/h2]
William Bast was one of Dean's closest friends, a fact acknowledged by Dean's family.[sup][22][/sup] Dean's first biographer (1956),[sup][23][/sup] Bast was his roommate at UCLA and later in New York, and knew Dean throughout the last five years of his life. Some time after Dean's death, he stated that he and Dean had been lovers.[sup][24][/sup]

Early within Dean's career, after he signed his contract with Warner Brothers, their public relations department began generating stories about Dean's liaisons with a variety of young actresses who were mostly drawn from the clientele of Dean's Hollywood agent, **** Clayton. Studio press releases also grouped "Dean together with two other actors, Rock Hudson and Tab Hunter, identifying each of the men as an 'eligible bachelor' who has not yet found the time to commit to a single woman: 'They say their film rehearsals are in conflict with their marriage rehearsals.'"[sup][25][/sup]

Shortly before filming began on East of Eden (film), Dean befriended horse trainer Monty Roberts. Roberts introduced Dean to the area and the two became close friends. Dean had planned to meet with Roberts shortly after the race on September 30 to discuss plans for the construction of a ranch, which would be owned by Dean but managed by Roberts. Roberts and his wife were the first people to learn of Dean's death through a telephone call placed by Dean's mechanic, Rolf Wütherich, immediately following the incident, in which Wütherich mumbled through a broken jaw that Dean had died. Roberts and his family did not attend Dean's funeral because, although the two considered themselves 'brothers', their friendship was unknown to Dean's family.[sup][26][/sup]

Dean's best remembered relationship is that undertaken with a young Italian actress Pier Angeli, whom he met while Angeli was shooting The Silver Chalice on an adjoining Warner lot, and with whom he exchanged items of jewelry as love tokens.[sup][27][/sup] Angeli's mother was reported to have disapproved of the relationship because Dean was not Roman Catholic. In his autobiography, East of Eden director Elia Kazan, while dismissing the notion that Dean could possibly have had any success with women, paradoxically alluded to Dean and Angeli's "romance", claiming that he had heard them loudly making love in Dean's dressing room. For a very short time the story of a Dean-Angeli love affair was even promoted by Dean himself, who fed it to various gossip columnists and to his co-star, Julie Harris, who in interviews has reported that Dean told her about being madly in love with Angeli. However, in early October 1954, Angeli unexpectedly announced her engagement to Italian-American singer Vic Damone, to Dean's expressed irritation.[sup][28][/sup] Angeli married Damone the following month, and gossip columnists reported that Dean, or someone dressed like him, watched the wedding from across the road on a motorcycle. However, when Bast questioned him about the reports, Dean denied that he would have done anything so "dumb" ...and Bast, like Paul Alexander, believes the relationship was a mere publicity stunt.[sup][29][/sup][sup][3[/sup] Pier Angeli only talked once about the relationship in her later life in an interview, giving vivid descriptions of romantic meetings at the beach that read like wishful fantasies,[sup][31][/sup] as Bast claims them to be.[sup][32][/sup]

Actress Liz Sheridan claims that she and Dean had a short affair in New York. In her memoir detailing this, she also states that Dean was having a sexual involvement with Rogers Brackett, and describes her negative response to this situation.[sup][33][/sup] However, again Bast is skeptical whether this was a true love affair and claims Dean and Sheridan didn't spend much time together.[sup][8][/sup]

Dean avoided the draft by registering as a homosexual, then classified by the US government as a mental disorder. When questioned about his orientation, he is reported to have said, "Well, I'm certainly not going through life with one hand tied behind my back."[sup][34][/sup]
[h2][edit] Legacy[/h2][h3][edit] Iconic status and impact on popular culture[/h3]
American teenagers at the time of Dean's major films identified with Dean and the roles he played, especially in Rebel Without A Cause: the typical teenager, caught where no one, not even his peers, can understand him. Joe Hyams says that Dean was "one of the rare stars, like Rock Hudson and Montgomery Clift, whom both men and women find sexy." According to Marjorie Garber, this quality is "the undefinable extra something that makes a star."[sup][35][/sup] Dean's iconic appeal has been attributed to the public's need for someone to stand up for the disenfranchised young of the era,[sup][36][/sup] and to the air of androgyny[sup][37][/sup] that he projected onscreen. Dean's "loving tenderness towards the besotted Sal Mineo in Rebel Without a Cause continues to touch and excite gay audiences by its honesty. The Gay Times Readers' Awards cited him as the male gay icon of all time."[sup][38][/sup]

Dean is mentioned or featured in various songs, which include titles such as "James Dean" by That Handsome Devil, "James Dean" by the Eagles, "A Young Man is Gone" by The Beach Boys, "American Boy" by Chris Isaak, "Mr. James Dean" by Hilary Duff, "Speechless" by Lady GaGa, "Allure" by Jay-Z, "James Dean (I Wanna Know)" by Daniel Bedingfield, "Rock On" by David Essex, "American Pie" by Don McLean, "Peach Trees" by Rufus Wainwright, "We Didn't Start The Fire" by Billy Joel, "Daddy's Speeding" by Suede, "Electrolite" by R.E.M., "Flip-Top Box" by Self, "Walk on the Wild Side" by Lou Reed, "Bla bla bla" (Blah Blah Blah) by Perfect, "Rockstar" by Nickelback, "Girl on TV" by LFO,[sup][39][/sup] "Hello my hate" by Black Veil Brides and "Chciałbym umrzeć jak James Dean" (lit. I Wish to Die Like James Dean) by Partia. In addition, he is often noted within television shows, films, books and novels. In an episode of Degrassi: The Next Generation, the character Liberty likens the rebellious, anti-social Sean Cameron to James Dean. On the sitcom Happy Days, Fonzie has a picture of Dean in his closet next to his mirror. A picture of Dean also appears on Rizzo's wall in the film Grease. On American version of #@%$$ as Folk, the main character Brian Kinney mentions James Dean together with Cobain and Hendrix, saying "They're all legends. They'll always be young, and they will always be beautiful". In the alternate history book Homeward Bound by Harry Turtledove, Dean is stated to have not died in a car crash and made several more films, including a film called Rescuing Private Ranfall, based on Saving Private Ryan.

Dean's estate still earns about $5,000,000 per year, according to Forbes Magazine.[sup][4[/sup]
[h4][edit] Speculated sexual orientation[/h4]
Today, Dean is often considered an icon because of his "experimental" take on life, which included his ambivalent sexuality.[sup][38][/sup] There have been several accounts of Dean's sexual relationships with both men and women.

William Bast, one of Dean's closest friends,[sup][22][/sup] was Dean's first biographer (1956).[sup][41][/sup] He recently published a revealing update of his first book, in which, after years of successfully dodging the question as to whether he and Dean were sexually involved,[sup][42][/sup][sup][43][/sup] he finally stated that they were.[sup][24][/sup] In this second book, Bast describes the difficult circumstances of their involvement and also deals frankly with some of Dean's other reported homosexual relationships, notably the actor's friendship with Rogers Brackett, the influential producer of radio dramas who encouraged Dean in his career and provided him with useful professional contacts.[sup][44][/sup]

Bast identifies a potentially bipolar depression in Dean's erratic behavior and mood swings.[sup][45][/sup] In his description of their relationship, Dean emerges as a character very much torn apart between wanting to reach out (to Bast) and needing protection against possible rejections or wanting to hide any supposed weakness. According to John Howlett, Dean was also probably suffering from dyslexia, which furthered his intellectual insecurity.[sup][46][/sup] Shortly before his death, Dean also gave away his pet kitten Marcus, saying: "I figured, I might go out some night and just never come home."[sup][47][/sup] Bast also repeatedly observed Dean's heavy use of alcohol and drugs during the filming of Rebel Without a Cause.[sup][48][/sup]

Journalist Joe Hyams suggests that any homosexual activity Dean might have been involved in appears to have been strictly "for trade", as a means of advancing his career. Val Holley notes that, according to Hollywood biographer Lawrence J. Quirk, gay Hollywood columnist Mike Connolly "would put the make on the most prominent young actors, including Robert Francis, Guy Madison, Anthony Perkins, Nick Adams and James Dean."[sup][49][/sup] However, the "trade only" notion is debated by Bast[sup][24][/sup] and other Dean biographers.[sup][5[/sup] Aside from Bast's account of his own relationship with Dean, Dean's fellow biker and "Night Watch" member John Gilmore claims he and Dean "experimented" with homosexual acts on one occasion in New York, and it is difficult to see how Dean, then already in his twenties, would have viewed this as a "trade" means of advancing his career.[sup][51][/sup]

Screenwriter Gavin Lambert, himself homosexual and part of the Hollywood gay circles of the 1950s and 1960s, described Dean as being homosexual. Rebel director Nicholas Ray is on record as saying that Dean was homosexual.[sup][52][/sup] Additionally, William Bast and biographer Paul Alexander conclude that Dean was homosexual, while John Howlett concludes that Dean was "certainly bisexual".[sup][29][/sup][sup][53][/sup][sup][54][/sup] George Perry's biography reduces these aspects of Dean's sexuality to "experimentation".[sup][55][/sup] Still, Hyams and Paul Alexander also claim that Dean's relationship with pastor De Weerd had a sexual aspect, too.[sup][29][/sup][sup][56][/sup] Bast also shows that Dean had knowledge of gay bars and customs.[sup][57][/sup] Consequently, Robert Aldrich and Garry Wotherspoon's book Who's Who in Contemporary Gay and Lesbian History: From World War II to the Present Day (2001) includes an entry on James Dean.
[h4][edit] The "curse" of "Little Bastard"[/h4]
Since Dean's death, a "legend" has arisen that his Porsche 550 Spyder was "cursed" and supposedly injured or killed several others in the years following his death.

One version of the tale goes as follows:

The famous car customizer George Barris bought the wreck for $2,500, only to have it slip off its trailer and break a mechanic's leg. Soon afterwards, Barris sold the engine and drive-train, respectively, to physicians Troy McHenry and William Eschrid. While racing against each other, the former would be killed instantly when his vehicle spun out of control and crashed into a tree, while the latter would be seriously injured when his vehicle rolled over while going into a curve. Barris later sold two tires, which malfunctioned as well. The tires, which were unharmed in Dean's accident, blew up simultaneously causing the buyer's automobile to go off the road. Subsequently, two young would-be thieves were injured while attempting to steal parts from the car. When one tried to steal the steering wheel from the Porsche, his arm was ripped open on a piece of jagged metal. Later, another man was injured while trying to steal the bloodstained front seat. This would be the final straw for Barris, who decided to store "Little Bastard" away, but was quickly persuaded by the California Highway Patrol (CHP) to lend the wrecked car to a highway safety exhibit.

The first exhibit from the CHP featuring the car ended unsuccessfully, as the garage storing the Spyder went up in flames, destroying everything except the car itself, which suffered almost no damage whatsoever from the fire. The second display, at a Sacramento high school, ended when the car fell, breaking a student's hip. "Little Bastard" caused problems while being transported several times. On the way to Salinas, the truck containing the vehicle lost control, causing the driver to fall out, only to be crushed by the Porsche after it fell off the back. On two separate occasions, once on a freeway and again in Oregon, the car came off other trucks, although no injuries were reported, another vehicle's windshield was shattered in Oregon. Its last use in a CHP exhibit was in 1959. In 1960, when being returned to George Barris in Los Angeles, California, the car mysteriously vanished. It has not been seen since.[sup][58][/sup][sup][59][/sup]


While it has proven impossible thus far to confirm or deny all the claims in this legend, it suffers from several clear factual errors. Barris was not the initial purchaser of the wrecked 550. Rather the doctors Troy McHenry and William Eschrid, both 550 Spyder owners, purchased the car directly from the insurance company. They removed the drivetrain, steering and other mechanical components to use as spares in their cars, then sold the shell to George Barris.[sup][6[/sup] William Eschrid used the engine in his Lotus race car.[sup][61][/sup] Troy McHenry was killed at a race at Pomona 1956 when the Pitman arm in his 550's steering failed; however this was not one of the "cursed" parts fitted to his 550.

Historic Auto Attractions in Roscoe, Illinois has claimed to have the last known piece of Dean's Spyder (a small chunk a few square inches in size). However this is untrue, as several other large parts are known to exist. The passenger door was on display at the Volo Auto Museum.[sup][62][/sup] The engine (#90059) is reported to still be in the possession of the son of the late Dr. Eschrich. Lastly the restored transaxle–gearbox assembly of the Porsche (#10046) is known to be in the possession of car collector Jack Styles.[sup][63][/sup]
[h2][edit] Filmography[/h2][h3][edit] Feature films[/h3][table][tr][th=""]Year[/th][th=""]Film[/th][th=""]Role[/th][th=""]Notes[/th][/tr][tr][td]1951[/td][td]Fixed Bayonets![/td][td]Doggie[/td][td](uncredited)[/td][/tr][tr][td]1952[/td][td]Sailor Beware[/td][td]Boxing opponent's second[/td][td](uncredited)[/td][/tr][tr][td]Has Anybody Seen My Gal?[/td][td]Youth at soda fountain[/td][td](uncredited)[/td][/tr][tr][td]1953[/td][td]Trouble Along the Way[/td][td]Extra[/td][td](uncredited)[/td][/tr][tr][td]1955[/td][td]East of Eden[/td][td]Cal Trask[/td][td]Nominated – Academy Award for Best Actor
Nominated – BAFTA Award for Best Foreign Actor
Jussi Award for Best Foreign Actor[/td][/tr][tr][td]Rebel Without a Cause[/td][td]Jim Stark[/td][td]
Nominated – BAFTA Award for Best Foreign Actor[/td][/tr][tr][td]1956[/td][td]Giant[/td][td]Jett Rink[/td][td]Golden Globe Special Achievement Award for Best Dramatic Actor
Nominated – Academy Award for Best A[/td][/tr][/table]

 

[bostonthreeparty]

Originally Posted by Nat Turner

Originally Posted by ScarsOrScabs

My issue with this is that I could just as easily find and article that is essentially based on opinion and discussing how black people CAN be racist. You posted an article from a website which, on its front page, discusses "Justin Bieber's next step in world domination."

I find it interesting that earlier you referred to a dictionary definition of "inherent" in order to attempt to prove your point in regards to the differences between racism and prejudice, but refuse to refer to a dictionary for the definition of racism, instead you choose something that is convenient to you because it may be what you were taught or just want you've chosen to believe.

racism

rac·ism
noun \ˈr

 

[nat turner]

Originally Posted by Manglor

Originally Posted by Nat Turner

Manglor,

I find it encouraging that you are willing to try and call me out. Why don't you try and take me on in debate of this subject, instead of popping in, attacking, piggy backing on others.

Are you man enough to stand alone?

I know that I am, then have throughout this very thread. I think that you are a coward who likes to pot shot.

Man up, stand on your own two feet.

How the hell did i pot shot? I asked you a simple question and you ignored it. Then you call me a coward for no reason whatsoever.

The reason i avoid "debating" you is simply because you don't care. You don't care what anyone else thinks unless they agree with your stance. You don't care what anyone else says unless it supports your viewpoint. You ignore almost ever valid point ever made against you. Why debate with someone who will never change or open their mind regardless of facts or figures or anything anyone else could say? It is pointless. I like debating here sometimes and i openly admit i have had my opinion altered or even reversed many times on NT by people i would have never met anywhere else.

But fine. If you really want me to try then i'll make it really simple.

Years ago on that -other board- where you would spend time between bannings here you posted about how you felt it was ok for blacks to distrust/dislike asians based off of specific factors including how "your black friend"(this was back before you would ever admit you were actually black)was treated at an asian owned/operated shoe store. Some people agreed and some called you racist for it.

My question is simple.

Since the asian population in this country is well below the black population as far as numbers are concerned doesn't THAT make what you said racist? Doesn't that prove by itself black people can be racist? You have a great majority over them so wouldn't that meet your power definition just by pure numbers?

i assume as always you will either ignore my statement/question or simply lie and act as though you never said what we both know very well you did say(and you call ME a coward)but i figure maybe, just maybe since you did ask me to "take you on" that you'll answer truthfully and honestly without being insulting.



  

First off, you are a damned liar. I don't even know what this other place is that you are talking about.

Secondly, I have responded to every post I could here on this thread, I haven't ignored anything.

Thirdly, that is the problem. many here make attacks against me, instead of dealing with the context of what is stated.

All I have stated, then continually state, is that Black people cannot be racist.

With you piggy backing, pot shotting, you are grouping, then not man enough to stand alone.

Now, to deal with the body of your text, dealing with an Asian store owner, nobody should be discriminated against due to their race, gender, nor ethnicity, nor sexual orientation.

It is all wrong. But all discrimination is NOT racism. 

Do you understand that? 

  

 

[bijald0331]

Shield nickel
From Wikipedia, the free encyclopedia
Shield nickel
United States
Value0.05 U.S. dollar
Mass 5.000 g (0.1615 troy oz)
Diameter 20.50 mm (0.8077 in)
EdgePlain
Composition75% copper
25% nickel
Years of minting1866–1883
Obverse

DesignShield representing the United States
DesignerJames B. Longacre
Design date1866
Reverse

DesignDenomination surrounded by stars, separated by rays
DesignerJames B. Longacre
Design date1866
The Shield nickel was the first United States five-cent piece to be made out of copper-nickel, the same alloy of which American nickels are struck today. Designed by James B. Longacre, the coin was issued from 1866 until 1883, when it was replaced by the Liberty Head nickel.
Silver half dimes had been struck from the early days of the United States Mint in the late 18th century. Those disappeared from circulation, along with most other coins, in the economic turmoil of the Civil War. In 1864, the Mint successfully introduced low-denomination coins, whose intrinsic worth did not approach their face value. Industrialist Joseph Wharton advocated coins containing nickel—a metal in which he had significant financial interests. When the Mint proposed a copper-nickel five-cent piece, Congress required that the coin be heavier than the Mint had suggested, allowing Wharton to sell more of the metal to the government.
Longacre's design was based on his two-cent pieces, and symbolizes the strength of a unified America. The nickel proved difficult to strike, and the reverse, or "tails", design was modified in 1867. Even so, production difficulties continued, causing many minor varieties which are collected today. Minting of the Shield nickel for circulation was suspended in 1876 for a period of over two years, and it was struck in only small quantities until 1882. The following year, the coin was replaced by Charles E. Barber's Liberty head design.
Contents [hide]
1 Background and authorization
2 Design and production
2.1 Varieties
3 Replacement
4 Mintages
5 See also
6 References
7 Bibliography
8 External links
[edit]Background and authorization



Longacre's two-cent piece; its design was the basis for the Shield nickel.
Five-cent pieces had been struck by the United States Mint since 1792; they were the first coins struck by Mint authorities.[1] These half dimes (originally spelled "half dismes"), were struck in silver. The alloy used was originally .892 silver with the remainder copper; the silver portion was increased, beginning in 1837, to .900.[2]
The Civil War caused most American coins to vanish from circulation, with the gap filled by such means as merchant tokens, encased postage stamps, and United States fractional currency, issued in denomination as low as three cents. Although specie (gold or silver coins) was hoarded or exported, the copper-nickel cent, then the only base metal denomination being struck, also vanished.[3] In 1864, Congress began the process of restoring coins to circulation by abolishing the three-cent note and authorizing bronze cents and two-cent pieces, with low intrinsic values, to be struck.[4] These new coins initially proved popular, though the two-cent piece soon faded from circulation. On March 3, 1865, Congress passed legislation authorizing the Mint to strike three-cent pieces of 75% copper and 25% nickel.[4]
In 1864, Congress had authorized a third series of fractional currency notes. The five-cent note was to bear a portrait of "Clark", but Congress was appalled when the issue came out not bearing a portrait of William Clark, the explorer, but Spencer Clark, head of the Currency Bureau. According to numismatic historian Walter Breen, Congress's "immediate infuriated response was to pass a law retiring the 5¢ denomination, and another to forbid portrayal of any living person on federal coins or currency."[5] Clark only kept his job because of the personal intervention of Treasury Secretary Salmon P. Chase.[5]
Mint Director James Pollock had been opposed to striking coins containing nickel, but in view of the initial success of the copper-nickel three-cent piece, he became an advocate of striking five-cent pieces in the same metal. In his 1865 report, Pollock wrote, "From this nickel alloy, a coin for the denomination of five cents, and which would be a popular substitute for the five cent note, could easily be made ... [The five cent coin should be struck in base metal] only until the resumption of specie payments ... in time of peace ... coins of inferior alloy should not be permitted to take the place permanently of silver in the coinage of pieces above the denomination of three cents."[6]
Industrialist Joseph Wharton had a near-monopoly on the mining of nickel in the United States, and sought to promote its use in coinage.[7] He was also highly influential in Congress. His friends there, though they had failed to obtain the metal's use for the two-cent piece, had been more successful with the three-cent coin.[8] Pollock prepared a bill authorizing a five-cent coin of the same alloy as the three-cent piece, and a total weight not to exceed 60 grains (3.9 g). At the committee stage in the House of Representatives, the weight was amended to 77.19 grains (5.00 g), ostensibly to make the weight equal to five grams in the metric system[9] but more likely so that Wharton could sell more nickel.[6] The new coin would now be heavy in proportion to the three-cent copper-nickel coin. The bill passed without debate on May 16, 1866.[6] The new copper-nickel coin was legal tender for up to one dollar, and would be paid out by the Treasury in exchange for coin of the United States, excluding the half cent, cent and two-cent. It was redeemable in lots of $100 for banknotes. Fractional currency in denominations of less than ten cents was withdrawn.[1[11]
[edit]Design and production



Modified reverse of the Shield nickel, used from 1867–1883
Since coinage was to begin immediately, it was necessary for the Mint's chief engraver, James B. Longacre to prepare a design as quickly as possible.[12] With the five cent authorization bill pending in Congress, Longacre had produced patterns as early as late 1865.[13] Longacre produced pattern coins, one with a shield similar to the design he had prepared for the two-cent piece.[12] Longacre altered the two-cent design by shifting the location of the two arrows in the design, removed the scroll on which "In God We Trust" had been inscribed (the first time that motto had appeared on a U.S. coin), and added a cross, apparently intending a pattee to the top of the shield.[14] Another pattern depicted Washington, while another showed the recently assassinated president, Abraham Lincoln. Reverse designs proposed by Longacre included one with a number 5 within a circle of thirteen stars, each separated from the next by rays. Another reverse design featured the numeral within a wreath.[12] Treasury Secretary Hugh McCulloch, acting on Pollock's recommendation, selected the shield design for the obverse, or "heads" side, and the stars and rays design for the reverse. Pollock did not show McCulloch the Lincoln design, believing it would not be well-received in the South.[14]


Pattern coin for nickel, 1866, with Washington head obverse and wreath reverse
According to numismatic author Q. David Bowers, Longacre's obverse design is "one of the most patriotic motifs in American coinage".[15] Longacre's design focused on the shield, or escutcheon as a defensive weapon, symbolizing strength and self-protection through unity. The upper part of the shield, or "chief", symbolizes Congress, while the 13 vertical stripes, or "paleways" symbolize the states; consequently the entire escutcheon symbolizes the strength of the federal government through the unity of the states.[16] The crossed arrows, whose ends are visible near the bottom of the shield, symbolize nonaggression, but imply readiness against attack. The laurel branches, taken from Greek tradition, symbolize victory.[16] In heraldic engraving, vertical lines represent red, clear areas white and horizontal lines blue, thus the escutcheon is colored red, white and blue and is meant to evoke the American flag. Bowers does not consider the reverse design an artistic work, but one which is purely mechanical, obtained by punching characters and devices into a steel hub.[15]
The new coins proved difficult to produce; due to the hardness of the planchet, the coins were not of high quality and the life of the striking dies was brief. The design of the coins was widely criticized, with Wharton describing the shield design as suggesting "a tombstone surmounted by a cross and overhung by weeping willows."[17] The American Journal of Numismatics described it as "the ugliest of all known coins".[17] More seriously, the reverse design reminded many of the "stars and bars" motif of the defeated Confederate States.[11] The rays were eliminated from the design in early 1867, in the hopes of eliminating some of the production problems.[18] The transition to the new design was to occur on February 1, 1867, but it is likely the mint used up the remaining dies with the old design in the interest of economy.[19] The design change created confusion among the population, with many people assuming one design or the other was a counterfeit, and the Mint considered abandoning the shield design entirely.[12]


James Barton Longacre
Seeking alternatives to the difficult-to-work copper-nickel alloy, in June 1867 Longacre proposed that the five-cent piece be struck in aluminum. The new Mint director, Henry Linderman, objected to the proposal, stating that the price and supply of aluminum were as yet uncertain, and that the metal was too expensive to use in a minor coin. Numismatic historian Don Taxay, in his history of the United States Mint and its coins, noted that Linderman had proposed legislation increasing the proportion of nickel in the alloy to a third despite having earlier opposed the use of nickel in coins. Taxay suggested that Linderman was most likely influenced by Wharton and the metal's other advocates.[2
By late 1869, enough nickels, as the coin came to be called, had been produced to meet the needs of commerce, and production dropped off.[21] The new coins tended to accumulate in the hands of merchants beyond the legal tender limit, but banks refused to accept them beyond the one-dollar maximum. Storeowners were forced to discount the coins to brokers.[11] Postmasters, compelled by law to accept the coins, found that the Treasury would not accept them as deposits except in lots of $100, in accordance with the authorizing statute.[22] In 1871, Congress alleviated the problem by passing legislation allowing the Treasury to redeem unlimited quantities of nickels and other low-denomination coins when presented in lots of not less than $20.[11] It would not be until 1933, long after the shield design passed from the scene, that the nickel was made legal tender without limit.[21]
The Mint Act of 1873 ended the production of the half dime.[23] Despite the abolition, the silver pieces continued to circulate in the West, where silver or gold coins were preferred, and the nickel was disliked, throughout the remainder of the 19th century.[11] The act also gave the Mint Director the authority to suspend production of any denomination if additional coins were not needed. Improved economic conditions, combined with low silver prices, brought large quantities of hoarded silver coinage, including half dimes, into circulation beginning in April 1876.[24] In late 1876, production of the Shield nickel was halted under the 1873 act.[25] No Shield nickels were struck in 1877 or 1878, excepting proof specimens for collectors.[11] As the Treasury had a large stock of nickels in storage, only small numbers were struck over the next few years; full-scale production began again on December 12, 1881. The 1880 nickel, with only 16,000 pieces struck for circulation, remains the rarest non-proof Shield nickel today.[26]
[edit]Varieties


1873 "closed 3" variety


1873 "open 3" variety
The Shield nickel series has yielded a large number of varieties. Howard Spindel, a leading expert on Shield nickels, notes that Shield nickel dies produced far fewer coins than other coin dies, as the dies wore out so fast that the Mint was continually under great pressure to produce new ones. According to Spindel, many dies were hastily and carelessly produced, producing numerous minor varieties.[27]
Bowers points to the 1868 nickel as "a playground for repunching [repunched dates], errors, and the like".[27] Specialists have found more than sixty different doubled die varieties, caused by misalignment when the heated die was repeatedly pressed against the hub to transfer the design. There are several different kinds of repunched dates, including a variety in which the numeral "1" is much smaller than usually found on the Shield nickel.[28]
As with many denominations of United States coins, there are two major varieties of the 1873 piece. The initial variety, known as the "close 3" or "closed 3" was struck first. These coins led to a complaint by the chief coiner, A. Loudon Snowden, to Pollock, who was again director of the Mint. Snowden stated that the numeral "3" in the date too closely resembled an "8". The Mint prepared new date punches, in which the arms of the 3 did not curl around toward the center, creating the second variety, the "open 3".[29]
The final year of production saw an overdate, 1883/2, with a visible "2" under or near the digit "3". This variety was caused by the use of 1882-dated dies which were not destroyed at the end of the year, but were instead repunched with a four-digit logotype, "1883". Five different dies are known to have been so reused, and Bowers estimates a mintage of 118,975 pieces. Spindel estimates that only 0.2%–0.3% of the pieces have survived to the present.[3
[edit]Replacement

The 1867 redesign of the reverse had not solved the problems of short die life and poor striking;[31] with a view to a redesign, pattern coins were struck in 1868 and 1871,[32] but the Shield nickel remained in production.[31] Charles E. Barber became chief engraver in 1880, and the following year was asked to produce uniform designs for the nickel, the three-cent piece, and a proposed copper-nickel cent. While the redesign of the two lower denominations did not occur, in 1882, Barber's design for the nickel, with a Liberty head on the obverse and the Roman numeral "V" on the reverse, was approved. The following year the Barber design replaced the Shield nickel.[33] Shield nickels dated 1883 had already been coined by the time the Barber design was ready, and Mint officials desired to discourage speculation. Accordingly, they kept the shield design in production for several months side by side with what became known as the Liberty Head nickel. Almost a million and a half Shield nickels were struck in 1883.[34] Coinage of the Shield nickel was ended on June 26, 1883.[35]
[edit]Mintages

YearProofsCirculation strikes
1866600+14,742,500[36]
1867 with rays25+2,019,000
1867 without rays600+28,890,500
1868600+28,817,000
1869600+16,395,000
18701,000+4,806,000
1871960+561,000
1872950+6,036,000
1873 closed 31,100+436,050 (est.)
1873 open 304,113,950 (est.)
1874700+3,538,000
1875700+2,097,000
18761,150+2,530,000
1877 proof only510+0
1878 proof only2,3500
18793,20025,900
18803,95516,000
18813,57568,800
18823,10011,472,900
18835,4191,451,500
Shield nickel proof mintages from before 1878 are modern estimates and may vary—for example, Bowers estimates 800–1,200 for the 1866 piece, while Peters estimates 375+.[37] The issue is complicated by the fact that restrikes were made of proofs, sometimes years after the inscribed date. Mint officials, despite what Bowers terms "official denials (a.k.a. lies)", reused dies which had supposedly been destroyed to strike pieces for favored collectors or dealers. This practice led to incongruous pieces, with a dated obverse mated with a reverse not placed in use until years later.[38]
All pieces struck at the Philadelphia mint, without mintmark.[39][/hide]

 

[bostonthreeparty]

double

 

[Betonblck]

Wow, so ya'll are going to just troll the thread by posting random nonsense just because you don't agree with the OP.

 

[breakyaneck3000]

Originally Posted by Nat Turner

high iz blak n emrika, i haz hate yuu. i haz wrightzzz hehehe i laf at u too... hehehe

 

[nat turner]

Originally Posted by JohnnyRedStorm

If a black man hates all white, Asian, Spanish people, and isn't a racist, then what is he?

How is being spanish a race?


  

 

[antonlavey]

Nat Turner wrote:

---

Originally Posted by AntonLaVey

Originally Posted by Je Ne Sais Quoi

Ummm, what's the verdict on Asians and racism? Can we be racist?
I only ask because I have a party to attend, and I'm not sure which demeanor I should rock.
Please get back to me, thanks.

He thinks Asians can be racist against blacks. But blacks can only be prejudiced against Asian. Son is spitting straight knowledge. It's giving me a migraine.

Speaking of cowards,

Racism was created to prove the inferiority of Black people, correct? So how did it become "racist" if Black people reject that notion, then becoming prejudiced against those who believe this to be true?

 

[nat turner]

Originally Posted by cguy610

Wow, so ya'll are going to just troll the thread by posting random nonsense just because you don't agree with the OP.

They are simply proving the article, then anyone else on this site who has agreed with me, to be correct. They've lost the debate, then cannot handle it.

  

 

[breakyaneck3000]

Originally Posted by Nat Turner

Originally Posted by JohnnyRedStorm

If a black man hates all white, Asian, Spanish people, and isn't a racist, then what is he?

How is being spanish a race?


  

how is being black a race?  i thought you had to go fast to win?  why slow down?

 

[nat turner]

Originally Posted by Breakyaneck3000

Originally Posted by Nat Turner

Originally Posted by JohnnyRedStorm

If a black man hates all white, Asian, Spanish people, and isn't a racist, then what is he?

How is being spanish a race?


  

how is being black a race?  i thought you had to go fast to win?  why slow down?

Ask the white people who created the term.

 

[bostonthreeparty]

Originally Posted by BostonThreeParty

Originally Posted by Nat Turner

Originally Posted by ScarsOrScabs

My issue with this is that I could just as easily find and article that is essentially based on opinion and discussing how black people CAN be racist. You posted an article from a website which, on its front page, discusses "Justin Bieber's next step in world domination."

I find it interesting that earlier you referred to a dictionary definition of "inherent" in order to attempt to prove your point in regards to the differences between racism and prejudice, but refuse to refer to a dictionary for the definition of racism, instead you choose something that is convenient to you because it may be what you were taught or just want you've chosen to believe.

racism

rac·ism
noun \ˈr

 

[bostonthreeparty]

Originally Posted by BostonThreeParty

Originally Posted by Nat Turner

Originally Posted by ScarsOrScabs

My issue with this is that I could just as easily find and article that is essentially based on opinion and discussing how black people CAN be racist. You posted an article from a website which, on its front page, discusses "Justin Bieber's next step in world domination."

I find it interesting that earlier you referred to a dictionary definition of "inherent" in order to attempt to prove your point in regards to the differences between racism and prejudice, but refuse to refer to a dictionary for the definition of racism, instead you choose something that is convenient to you because it may be what you were taught or just want you've chosen to believe.

racism

rac·ism
noun \ˈr