Ronda Rousey might have just outed herself as a socialist, and what are you going to do about it punk?
In an interview with Maxim Magazine, Rousey said that she was pulling for Vermont Senator Bernie Sanders to be the next president.
“I’m voting for Bernie Sanders, because he doesn’t take any corporate money,” Rousey said to Maxim. “I don’t think politicians should be allowed to take money for their campaigns from outside interests.”
But just because Rousey, the current UFC world bantamweight champion supports Sanders, don’t expect her to be there for Hillary if she wins the primary.
Rousey said that she is not a fan of Clinton and that she would only support Sanders or a third party candidate.
“I voted for Roseanne last time,” Rousey told Maxim. “Mostly I went in to vote for all the state and local things. I was so unimpressed with the whole presidential campaign that I picked whatever third party I saw, and I saw Roseanne and thought, ‘That’s awesome.’ But I’m really pulling for Sanders this time. I hope it works out.”
Sanders also picked up the endorsement of well known civil rights activist and author Cornell West, who is planning to stump for the candidate in Iowa this weekend.
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About the AuthorRich Robinson is the CEO and publisher of Rise News. He is also a journalist and a native of Miami. Robinson graduated from the University of Alabama and can be followed on Twitter @RichRobMiami.
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By Staff Report
Update: 1:53 PM EST
A 16 year old boy had been leading police on a wild two county chase for the past hour in South Florida.
The chase finally came to an end at around 1:50 PM EST after the suspect was arrested in Miami Gardens.
The chase began in Southern Miami-Dade County after the boy allegedly stole a Chevy Suburban.
More to come.
Video from WSVN Channel 7 in Miami.
Cover Photo Credit: Traffic Camera/ WSVN (Screenshot)Post Views: 222
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By Mariam Ansar
Last week’s MTV Video Music Awards will likely be remembered as a hot-bed of drama, social issues, and controversy, spurned by the likes of Miley Cyrus, Nicki Minaj, and Kanye West. The slightest mention of the awards show is enough to disturb the silence in any room. This is the effect of popular culture at its finest.
But, there is one music video which can be distinguished as emblematic of the whole controversy, released during the award show and drawing attention to the reflective nature of said popular culture: it is fuelled by the cues of our society and what we deem to be acceptable. Or, in this case, what can not be deemed acceptable.
The plot-line of Taylor Swift’s ‘Wildest Dreams’ is easy to understand: intended to complement the sorrowful lamentations of a doomed relationship, Sunday night was witness to a dark-haired Swift posing sadly as the star of a 1950s Hollywood film against a backdrop of what can only be described as the most colonial of images of Africa.
With Scott Eastwood as the object of her affection, her relentless glances at him are not enough to provide the pair with a happy ending and so, the glamour is for nought and the drive into the sunset is non-existent. So too, as many of us have picked up on, is the presence of non-white Africans.
Reductionist at best, Swift’s ‘Africa’ is stereotypically conveyed with all the patronising ignorance of someone imagining what would constitute as The Exotic Land of Africa, a colonial illustration leaving out the knowledge of it being a continent, complex, rich in many histories, and therefore difficult to package and sell so neatly. Still, it did not stop Swift’s creative team from trying.
So Taylor Swift’s Wildest Dreams video was filmed in “Africa” but what country? Also, why does it only contain animals and white ppl #Taylor
— Lena Olson (@LeynuhPawp) August 31, 2015
From the depiction of rolling grasslands, wild animals in migration patterns, dry dust flying as Swift kisses her co-star in her throwback hunter outfit, the video enables the audience to see all of these things as mere accessories.
The romanticism of this history is a clumsy, heavy-handed act which calls to attention an out-dated racial hierarchy and is scarily reminiscent of colonial attitudes
They are ambiguously, stereotypically ‘African’ enough to contribute to not only the myth of Africa, more at home in a historically out-dated periodical, and ambiguously, stereotypically ‘African’ enough to warrant more attention on Swift and her lover. It would be easy to make the argument that indeed, she is the star and this is her music video. But what must be recognised is the fact that the spot-light is on a truly horrifying image: Swift’s Africa features white people, complicit in acting the role of colonial settlers under the facade of the creation of a film.
Watch The Video:
— Sydney Murray (@sydmurray) September 1, 2015
The romanticism of this history is a clumsy, heavy-handed act which calls to attention an out-dated racial hierarchy and is scarily reminiscent of colonial attitudes: ‘Africa’ can be groomed to fit an image the white person deems acceptable, can be plundered for its beauty whilst the locals remain invisible, and can become the mythical image of exoticism anyone fed on racist stereotypes sees it as.
The video casts a hazy, rose-tinted glow to the white imperialist presence in the African continent, romanticising it so that Swift does achieve that old Hollywood ’50s colonialist film vibe she’s looking for
“Africa is big: fifty-four countries, 900 million people who are too busy starving and dying and warring and emigrating to read your book. The continent is full of deserts, jungles, highlands, savannahs and many other things, but your reader doesn’t care about all that, so keep your descriptions romantic and evocative and unparticular.”
Swift is not a stranger to the romantic, the evocative, and the unparticular. In fact, these qualities seem to be a staple of her song-writing style, and yet, within the context of the ‘Wildest Dreams’ video, these are not qualities which can be dismissed as simply indicative of her personality.
The video casts a hazy, rose-tinted glow to the white imperialist presence in the African continent, romanticising it so that Swift does achieve that old Hollywood ’50s colonialist film vibe she’s looking for: ‘Wildest Dreams’ can easily be recognised as an example of Western media providing a propagandistic image of the exotic frontier playground, sitting comfortably alongside John Huston’s The African Queen and Sydney Pollack’s Out of Africa in these efforts. It is an achieved goal Swift has every reason to not be proud of.
The video is deceptively portrayed as simply detailing a complicated love-affair. As Zak Cheney-Rice concisely explained for Mic:
“It is remarkable that the insidious nature of the African colonial fantasy is so seamlessly glossed over. This matters. When a pop culture product reaches as many people as a Taylor Swift video does, the images it presents have implications beyond their immediate purview.”
Cheney-Rice has every reason to be wary of Swift’s creative products in light of her influence as one of the world’s biggest female popstars, and especially so when said creative products are as disastrously constructed as ‘Wildest Dreams’.
When it comes to influence, it is a by-product of fame which must be handled with responsibility.
It is exactly this which is lacking in this music video, and while director Joseph Kahn may be comfortable to shirk this one must recognise the importance of contentious, important historical landmarks, like the African continent having to suffer under European colonialism, being treated with more respect and awareness and less lazy nonchalance.
Ultimately, it is the fact that these attitudes surfaced so casually in our modern age omitting the truth of Africa’s history and the Black African presence, whether intentionally or not, in the place of romantic fantasy which deserves to be called to attention.
In this case, Swift’s love-story stopped short of occurring between her protagonists and began to cast back to a part of history which needs no affection. It is this which is truly distressing about ‘Wildest Dreams.’
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My Facebook feed is littered with posts, articles, and opinions of my liberal friends posting about the overwhelming science that supports that climate change is real, and that the deniers need to look at the proof.
However, many of these same friends will turn around and post article after article on why GMOs are terrible for you and how they harm your body.
But where’s the actual science that supports that?
Seems like a problematic double standard.
The vast majority of scientific research points to the fact that GMOs are not harmful to the human body nor the environment.
In fact, the National Academy of Sciences just released a report of a review of hundreds of research articles, testimonies, and questions about the safety of GMOs.
So where is the disconnect – and why do so many liberals acknowledge the majority of scientists that support climate change, but not the majority that supports that GMOs are not bad for you?
If you look at political demographics, you see that 70% of Democrats trust scientists to research climate change, while only 15% of Republicans support that.
Alternatively, 56% of Democrats believe that GMOs are unsafe to eat, while 51% of Republicans say the same – with only 43% of Democrats and 38% of Republicans saying that they are safe to eat.
When you examine the perception of GMOs in the United States, you’ll see many arguments against GMOs – from the “evils” of the Monsanto Chemical company, to people boycotting and protesting Roundup Ready crops.
This opposition stems from scientific research that is full of fraudulent misinformation, and they don’t examine the good that GMOs are able to accomplish, like the papaya crop success in Hawaii ten years ago, or the fact that scientists are trying to modify cows to produce less methane gas to, ya know, reduce the amount of greenhouse gases in the atmosphere.
The latter bit would help combat climate change in a real way.
Now, personally, I identify as a liberal, and I am 110% for questioning scientific research and letting new discoveries and inventions be properly vetted before being released into the public.
But at some point, the line needs to be drawn.
And to my liberal friends – I only have one message: Get. It. Together.
If we’re going to promote and support the majority of science that says climate change is a reality, then let’s stay constant and support the majority that says GMOs are not bad for you.
If we’re going to fight to save this planet from drastic climate and environmental change, then support the people who are actually trying to do that.
You want to make sure that the projected 9.7 billion people on this world in 2050 are going to have food?
Then let’s support the scientists who are trying to feed people.
Let’s support the science and the research that is going towards trying to make food more affordable, more nutritious, more accessible, and more easily grown.
The population of the world isn’t going to magically go stagnant or go down, and if you didn’t know, growing food is hard.
We are able to feed 155 people per farmer currently.
In 1960, that number was 25.8.
If y’all want to be able to affordably eat within the next 50 years, if you want to help feed those less fortunate than you, and if you want to protect our planet, then start supporting and trusting the scientists who know what they’re doing.
If we’re going to say we support science and validated research, then hold up that promise and start supporting all the validated science, not just the ones you want to.
RISE NEWS is a grassroots journalism news organization that is working to change the way young people become informed and engaged in the world. You can write for us.
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