Do African-American Farmers Support Kavanaugh For Supreme Court?

BFAA President Thomas Burrell and COGIC Bishop David A. Hall Sr. were on a mission at the American Farm Bureau Federation’s Convention in Nashville. (Photo: Patricia Rogers)

By Lee Eric Smith
Special to the NNPA

Black farmers are throwing their full support behind Judge Brett Kavanaugh, President Donald Trump’s nominee for U.S. Supreme Court.

Black farmers also believe Kavanaugh would be a disaster for black America — including black farmers.

And if you’re confused after reading those two sentences, it’s because where black farmers stand on Kavanaugh’s nomination depends on who you ask — and which organization of black farmers they represent.

In mid-August, the Black Farmers and Agriculturalists Association (BFAA) sent a glowing letter to the U.S. Senate Judiciary Committee, encouraging them to approve Kavanaugh’s nomination — based on Kavanaugh’s favorable ruling in a BFAA matter in October 2017.

“Kavanaugh rendered a decision in favor of Black farmers on the merits of the evidence… (He) was prepared, attentive and had command of the facts,” said BFAA president Thomas Burrell, in a letter to Sen. Chuck Grassley on BFAA letterhead. “If confirmed, these are traits that Judge Brett Kavanaugh would bring to the bench as an Associate Justice.”

The problem with that statement is that the Memphis-based BFAA isn’t the only organization representing black farmers. And the National Black Farmers Association (NBFA) couldn’t be more opposed to Kavanaugh’s nomination, said president John W. Boyd, Jr.

“We’re absolutely opposed to it,” Boyd told The New Tri-State Defender. “He would be bad for African-American farmers. Bad for African-Americans. Bad for this country.”

Decisions, Decisions

In a TSD interview, Burrell said BFAA’s support of Kavanaugh was rooted in a USDA program aiming to compensate discrimination against women and Latino farmers. Those who believe they’d been discriminated against needed to file a claim with claims administrator Epiq Systems to be considered for a cash reward.

But Burrell said that by announcing a claims process that seemed to exclude African-American men, the USDA had violated Title VI of the 1964 Civil Rights Act.

In part, Title VI reads: “Programs that receive Federal funds cannot distinguish among individuals on the basis of race, color or national origin, either directly or indirectly, in the types, quantity, quality or timeliness of program services, aids or benefits that they provide or the manner in which they provide them.”

While verifying claimant eligibility, Epiq told hopeful claimants that African-American men were not eligible for the program — which led BFAA to sue USDA for discrimination, since Epiq was acting on behalf of a federal agency.

The lawsuit, “Boyland v. USDA,” suffered a blow when a federal judge ruled that the USDA had not violated the plaintiff’s civil rights. BFAA, on behalf of Boyland and other plaintiffs, appealed the case to the U.S. Court of Appeals. The USDA filed a motion of summary affirmation — in essence asking the court to accept the lower court’s ruling without hearing arguments.

However, the Court of Appeals — including current Supreme Court nominee Kavanaugh — ruled against summary affirmation in October 2017. The BFAA and Boyland case will get another day in court.

“When we found out that President Trump was nominating Judge Kavanaugh, we thought it would be fitting, his politics notwithstanding, that we had some duty to show that this person upheld the rights of black farmers and their heirs,” Burrell said.

“In a Supreme Court Justice, we should be looking for evidence that someone has a proclivity for upholding the Constitution,” Burrell continued. “That should be the measuring stick regardless of whether a judge is Democrat or Republican, white or black. If race were a motivating factor for this judge, then he would have ruled against us in this case. What better proof is there that he will uphold the Constitution?”

The OTHER Black Farmers

However, Boyd, who leads the Virginia-based NBFA, is firmly opposed to Kavanaugh on the Supreme Court. “I read the emails released by Sen. Cory Booker,” Boyd said. “I don’t think Kavanaugh would be a good fit for America.”

And while Boyd wouldn’t name any specific people or organizations, he lamented that misinformation about black farmer lawsuits is giving families false hope that a government check is on the way.

“The Black Farmers case is closed and settled,” said Boyd, referring to the famous Pigford ruling of 2010. “I know there were some farmers who didn’t file in time, or it was determined that they weren’t eligible, and I’m sorry about that. I really am.  But there’s just a lot of bad information out there.

“There’s no pot of money that will compensate African-American farmers,” Boyd continued. “President Obama settled all of that already. I was there.”

Boyd reiterated that the Boyland lawsuit is not only completely different from the Pigford case, the USDA program under fire in the Boyland suit is designed to compensate women and Latino farmers and was never intended to redress discrimination against black farmers.

“We take calls all day long from people who believe there’s money,” Boyd said. “We believe the parties involved have a responsibility to give accurate information. There are a lot of confused elderly African-Americans out here who believe there’s money out there to tap and it’s just not true. There’s no pot of money that will compensate the African-American farmer.”

The two organizations have a contentious relationship, if not a confrontational one.

Boyd and the NBFA fear that farmers are being solicited to pay dues to participate in the Boyland case — with no shot at a USDA payout. Meanwhile, the BFAA refuses to give up the fight, and alleges that the NBFA is at least partially financed by the USDA.

“They can say the case is settled all they want,” said Bishop David Allen Hall, a COGIC leader who serves as ecumenical advisor to BFAA. “Unlike NBFA, the federal government is not paying BFAA. We shoulder the cost of legal fees, the lawyers — our members pay their dues and that’s what we use them for.”

Hall said that he and Burrell will return to Washington for court on Oct. 1. That’s when the Boyland suit will be presented before a “merits panel” which will decide if the suit proceeds, and if so, what possible payouts may be. And as for BFAA’s endorsement of Kavanaugh …

“We’ve looked at his integrity and he seemed to be ruling in these cases according to law,” Hall said. “He seems to have an air of fairness. Obviously, we don’t want anyone who will hurt the nation.

“But going strictly on the merits of our case, he ruled that there had been discrimination,” Hall continued. “Why would I notgive the man a chance?”

In Conversation: John Edmonds and Mickalene Thomas

Artist John Edmonds, who dedicates his practice to documenting the richness of blackness in journalistic, artistic, and inherently spiritual ways, is set to launch his new book, Higher.

Higher is a retrospective 100-plus page, beautifully assembled, full-color monograph covering the first 10 years of his work as a photographer. It will launch at the New York Art Book Fair hosted by Printed Matter tomorrow, September 20; Edmonds will appear at the fair during a signing hosted by Capricious, the book’s publisher, the following day at 4pm. Additionally, Edmonds will host a talk and book signing at the National Portrait Gallery in Washington D.C. on September 23.

Included among the photos are texts by Dr. Aaron Rosen and Durga Chew-Bose, and a conversation with renowned fellow artist, contemporary painter Mickalene Thomas. The duo candidly discusses everything from taking the time to illuminate the varying facets of blackness through art, to how Edmonds finds his subjects and his use of light to capture their inner glow, to curation of the self in the digital age.

What is also apparent in that conversation is — despite their generational gap — how much Edmonds and Thomas admire one another as peers. On the other hand, their shared moment is representative of a lineage of Black artists sharing truth and mentorship among each other — of seeing each other. In these interactions and reflections of each other’s work, the continuation of their art-making practice is ensured, which enriches the legacy of Black artists upholding Black art and the Black experiences captured therein.

Read on for an exclusive excerpt of their chat, and get a first look at a selection of Edmonds’ recent work featured in Higher.

The Angel, 2018

Courtesy of John Edmonds/Capricious

Mickalene Thomas: Thinking about light as a construct, as color, light as a tool, and light as almost a spirit — what I’m attracted to while looking at your work is not necessarily the black bodies you’re presenting, but the situation that is introduced through your light source, because you’re mainly working with natural light in all of your work. That’s a very precise, very calculated decision on your part: not to bring in anything superficial/artificial to influence the space or body. It’s as if you’re saying to the viewer “black skin is as it is, here we are, there are no false layers, there is no mask.” I think that your light source is your power.

John Edmonds: Absolutely. When you mention light, I also think about time. When I had my show at Deli Gallery, you came and did a walk through, and one thing we ended up talking about was the way in which I use natural light, because there is something so laconic about the moment of using light that is available. And because it’s light that can’t be recreated ever again, there’s this very unique thing that happens in each image with the way the figure is illuminated.

Untitled (Du-Rag 6), 2017

Courtesy of John Edmonds/Capricious

MT: And it’s having the instinct to capture an exact moment, there’s so much beauty in allowing the viewer to be placed in a particular space and time. When it comes to photography, we’re always trying to portray or tell the narrative of a particular or precise moment. When we think about time, we’re often considering it in terms of its speed. But it is the slowing down part, allowing the space of time, like in your work, that operates as a poetic license: it conjures a particular ephemeral feeling and invites viewers to be with you in that very moment.

JE: The idea of presence.

MT: Yes, and that makes the work capable of presenting the black body in its entirety, right? And then you present other aspects of blackness that maybe people haven’t experienced. The idea of softening the du-rag, making it sensual and angelic. It becomes a symbol, and with it all of its connotations and stereotypes. Its signifiers are shifted and flipped. It’s now looked at in a completely different way, as to personify or illuminate blackness as a religious icon or a religious painting would — the way you utilize the light, the color, the form of the head and your method of shooting it. To me, that elegance and that precise and strategic creative eye is phenomenal.

JE: Oh thank you, thank you. For me the images have a glow, almost, coming from within, it’s as if the light on the subject is coming from an internal source.

tête de femme (Head of a Woman), 2018

Courtesy of John Edmonds/Capricious

MT: It’s internal, absolutely. They’re Renaissance paintings when you think of that glow that is in renaissance art where they portray some figures as almost godly beings.

JE: Absolutely. I love the idea of the divine. Scouting and finding models is a very big part of my process. When I see someone on the street or train that I’m really interested in, there’s an x-factor, there’s something ineffable, that this person is also bringing to me. It’s a converging of the spirits in this really beautiful way.

JE: Within the idea of truth I straddle journalistic and fine art image making. For me the truth is in the subjectivity, and it’s in what the viewer brings to the image…and that’s all indicative of one’s experience. In my photographs, my subjects become icons, and they’re like our mirrors. Again, this idea of the meeting or converging of spirits: the model is bringing something to me and I’m bringing something to them and in that, there’s this real synergizing that becomes really beautiful in this moment. I also like the idea of synergy because it’s established through the act of picture making — guess that’s where the artifice comes in. Even when I’m photographing a stranger, there is this idea of fantasy that becomes — even if we have no relationship — a civil contract of photography.

MT: Yeah, that’s exciting. It will be great to see the evolution of how you’re seeing or working with your subjects. How do you approach people that you don’t know?

JE: Well often if I’m in public, there’s usually a little hesitancy, but I try to make eye contact and I’ll nod or I’ll smile. If it’s reciprocated, then I feel invited to be able to say hello, to introduce myself, talk about who I am as an artist and to ask them if they’d be interested in sitting for me at some point. I like to think that when it really works, that it’s very organic…

Untitled (New Haven), 2015

Courtesy of John Edmonds/Capricious

MT: …and it’s natural — if it’s meant to happen then it will definitely happen. I’m always curious about the photographer’s position today, of your generation — there’s a generation between us — with everyone feeling like they’re a photographer taking tons of photos using multiple devices, the selfies, social media, posting photos on Instagram. It’s a new day with new models, methodologies, modes of construct with individuals constructing and reconstructing themselves…

JE: …curating this idea of themselves as well.

Modernity, 2018

Courtesy of John Edmonds/Capricious

MT: Yes — how does that sit with you? How do you feel about the direction of photography? You’re still analog versus the immediacy of digital in an age where everything is right now. What I admire and appreciate about your practice and process is the sense of slowing down, of being in a very quiet space within the chaos, a breath of fresh air…I’m not sure if I’m asking a question or trying to find my own answers…

JE: I think that there has to be this embracing of the advancement of technology and the way things change. However, what I believe is very poignant about a lot of the work is that, as you said, it does ask you to really slow down and to be present. I’ve always felt the power of my work is the dialogue it provokes, and when I was making Du-Rags (2017) or Hoods (2016), or even the earlier pictures from the Immaculate series in DC, the desire was, as the maker, to want these young men to be there with me. My favorite thing about art is that the work doesn’t lie. These men are there because they want to be and I’m there because I want to be. Again, there’s this converging of spirits, it’s almost like we know each other in the universe, you know? [laughs] And I think that’s really beautiful…

Pre-order Higher by John Edmonds, here, via Capricious.

Photos courtesy of John Edmonds/Capricious

RankTribe™ Black Business Directory News – Arts & Entertainment

Gillum for Governor Announces General Election Campaign Leadership

Gillum for Governor Announces General Election Campaign Leadership

Andrew Gillum

Tallahassee – Today, the Gillum for Governor Campaign announced its general election campaign leadership and senior staff, and Campaign Manager Brandon Davis made the following statement:

“The enthusiasm and activism of so many Floridians over the last two weeks has been inspiring, and this campaign isn’t letting up for a moment — we are going to take our message to every corner of the state. I’m proud of this team’s grit, toughness and determination to fight for Mayor Gillum and his policies that put Floridians first — good paying jobs, affordable health care, investing in our children, and common sense gun safety reform.”

  • Brandon Davis, Campaign Manager

Brandon is a partner at GPSImpact who has been a top advisor to Mayor Gillum since November 2017 joined the campaign full-time as Campaign Manager. Brandon is a leading progressive strategist who brings broad experience in political advocacy, organizing and management to the campaign.

In 2016, Davis served as Chief of Staff at the Democratic National Committee and previously served nearly a decade in senior leadership positions at the Service Employees International Union.

Gillum for Governor Senior Strategic Advisors
  •  Scott Arceneaux  

Scott Arceneaux is a veteran of Florida and southern politics who has advised Mayor Gillum since the launch of his campaign for mayor. From 2009 to 2017 he served as Executive Director of the Florida Democratic Party, a position he also held with the Louisiana Democratic Party from 2001 to 2004.

  • Sharon Lettman-Hicks  

Sharon is a longtime advisor to Mayor Gillum and a nationally recognized political strategist, and like Mayor Gillum, a proud FAMU alum. Sharon serves as CEO of the National Black Justice Coalition, and previously served in senior leadership roles at People For the American Way Foundation. In 2014, President Barack Obama named her to the President’s Advisory Commission on Educational Excellence for African Americans.

  • Sean Pittman

Sean Pittman is the Senior Partner and Chief Executive Officer of Pittman Law Group. A longtime advisor to Mayor Gillum, Pittman’s nationally respected law firm represents a diverse client list of individuals, local governments, small businesses and Fortune 500 companies. Sean is currently President and Chairman of the Orange Bowl Committee.

Gillum for Governor Senior Staff
  • Cesar Fernandez, Deputy Campaign Manager for Political

    Cesar spent the last 4 years working on the Public Policy team at Uber. Prior to that, he served as Political Director for Governor Charlie Crist’s 2014 bid and managed Mayor Rick Kriseman’s 2013 campaign.

  • Joshua Karp, Deputy Campaign Manager for Communications

    Joshua has run communications for Rep. Patrick Murphy’s 2016 U.S. Senate campaign, the Florida Democratic Party, Rep. Lois Frankel, and most recently the super-PAC American Bridge 21st Century.

  • Zach Learner, Deputy Campaign Manager for Operations

    Zach managed Chris King’s gubernatorial campaign, served as director of voter protection for Hillary Clinton’s 2016 presidential campaign in Florida and served on both Obama presidential campaigns.

  • Roxey Nelson, Deputy Campaign Manager for Organizing  

Roxey Nelson is a longtime grassroots organizer in Florida, most recently serving as Florida Director of Politics and Strategic Campaigns at SEIU 1199, which represents more than 25,000 health care workers in Florida.

  • Carlie Waibel, Deputy Communications Director

    Carlie served on Hillary Clinton’s 2016 campaign in Florida, Charlie Crist’s 2014 governor’s campaign, for Senator Bill Nelson, and previously managed public affairs for Uber in New England.

Gillum for Governor Consulting Team  

Jon Adrabi, Senior Advisor

A longtime Florida strategist and fundraiser, Jon most recently served as the Deputy National Finance Director for Hillary Clinton’s presidential campaign overseeing all finance operations in Southeastern United States.

Karen Andre, Senior Advisor

Karen is an attorney and a veteran of Florida and national politics, having served on President Obama’s 2012 campaign in Florida, on the 57th Presidential Inaugural Committee, and as a presidential appointee in the Obama administration.

John Anzalone, Anzalone Liszt Grove Research, Polling

John has over twenty-five years of polling experience and has polled for the presidential campaigns of both Barack Obama (2008 & 2012) and Hillary Clinton (2016) and his strong ties to Florida include polling for the campaigns of Rep. Gwen Graham (2014 & 2018) and Charlie Crist (2014).

Kevin Cate, CATECOMM, Paid Media

Kevin is a veteran of Florida politics and media consultant for some of the largest corporations, associations, and campaigns in the country. Kevin has been an advisor to Gillum since his 2014 campaign for mayor, a race on which he also produced the television ads. Senior Gillum staffer Geoff Burgan will be joining CATECOMM as a senior communications consultant to the Gillum campaign.

Mattis Goldman, Three Point Media, Paid Media

Mattis has served as a key strategist for a wide range of successful campaigns, creating winning advertising for the DGA, the DCCC, governors, senators and attorney generals, including Florida’s current attorney general race.

Jim Kottmeyer, GPSImpact, Digital

Jim Kottmeyer is a veteran of dozens of campaigns, specializing in large grassroots and issue advocacy organizing. GPSImpact is a nationally recognized digital strategy firm known for crafting integrated solutions for races across the country.

Doug Thornell, SKDKnickerbocker, Communications

Doug develops and manages strategic communications, crisis management, and earned and paid media campaigns for political committees and candidates, progressive organizations, civil rights groups and Fortune 100 companies. He has served as senior advisor to the Democratic National Committee, senior advisor to Sen. Chris Van Hollen, lead spokesman for the Democratic Congressional Campaign Committee, senior aide at the Democratic Senatorial Campaign Committee,  traveling press secretary for Gov. Howard Dean’s presidential campaign, and communications director for the Congressional Black Caucus.

Ed Peavy, Mission Control, Direct Mail

Ed is a twenty-year veteran of Democratic campaigns who has been with the Gillum campaign since its launch. His experience includes Hillary Clinton’s 2016 campaign, as well as successfully guiding and advising senators, governors, and members of Congress,  including Rep. Patrick Murphy (2014 & 2016) and Amb. Nancy Soderberg.

Christian Ulvert, Edge Communications, Spanish-Language Media

Christian is the founder and president of EDGE Communications, a leading Florida public affairs firm. Previously, Christian served the Florida House of Representatives as communications director and policy advisor to House Democratic Leader Dan Gelber during his two-year leadership term.

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Nvidia GeForce RTX 2080 Ti Founder’s Edition Review


The new king of 4K gaming.

Be sure to visit IGN Tech for all the latest comprehensive hands-on reviews and best-of roundups. Note that if you click on one of these links to buy the product, IGN may get a share of the sale. For more, read our Terms of Use.

Like clockwork, Nvidia has announced a new architecture for its GPUs, and it’s debuting it in a range of Founder’s Edition graphics cards that feature an all-new design befitting a new direction for the company. While the RTX 2080 could be considered the standard card in the 20XX-series lineup, the RTX 2080 Ti is the top dog in terms of raw performance (and its unusually high $1,200 price tag). All of the new GPUs from Nvidia feature specialized “Turing” hardware that will allow them to eventually offer features like real-time ray tracing and artificial intelligence-powered super sampling, so there’s more to this GPU than just sheer horsepower. I’ve spent the past week putting it through its paces, so let’s dive in.

RTX 2080 Ti – Design and Features

Just as Nvidia’s previous GPU architecture, Pascal, provided a significant performance boost over its Maxwell predecessor, the new Turing architecture in the 20-series cards take things even further, but not in the way we’ve come to expect based on previous launches. Instead of simply offering more performance, Turing offers entirely new features never before seen in a GPU. Though we’ve already covered the potential of ray tracing previously, both with articles and hands-on gaming, the other big innovation with Turing is called Deep Learning Super Sampling, or DLSS. This technology uses a neural network to allow Nvidia to essentially feed game images to the network, which it then uses to learn how to recreate the images for either better image quality, or faster performance.

DLSS is handled by Turing’s Tensor cores, so The result is less rendering load placed on the GPU, which allows for increased performance. Again, this technology isn’t ready for prime time as of launch, unfortunately. But the implications are profound, assuming Nvidia can get enough developers on board. As of this writing, 25 games have announced upcoming compatibility with DLSS.

The first RTX 2080 Ti I’m taking a look at is the Founder’s Edition, which is a first-party card released by Nvidia. As usual, the Founder’s Edition cards tend to carry a slightly higher price tag than “partner” cards, but demand has made them equivalent for now. Much like the RTX 2080, the RTX 2080 Ti does feature some design improvements from the 10-series Founder’s Edition.

First, there’s dual fans and a full-length vapor chamber, which is obviously a better setup than the previous single-fan, “blower” style cooler. Nvidia also has encased the entire card in an aluminum shroud, which looks very sleek and clean. The RTX 2080 Ti has expanded I/O connections, including three DisplayPort 1.4, an HDMI 2.0b port, and a VirtualLink USB Type-C connector. The latter is increasingly important if you’re using VR headsets.

RTX 2080 Ti – Specs

The RTX 2080 Ti is built on the Turing TU102 GPU and includes 4,352 CUDA cores; an almost 20% increase over the GTX 1080 Ti Founder’s Edition. There’s 11GB of all-new GDDR6 memory, and the GPU boost clock has increased slightly from 1582 MHz on the 1080 Ti to 1635MHz. Nvidia claims the Turing TU102 chip in the 2080 Ti, with its 18.2 billion transistors, is the most powerful GPU ever placed in a GeForce graphics card, and as I’ll discuss later in my benchmarks, that claim seems to hold up. For context this chip has about five billion more transistors than the RTX 2080, so it’s a massive chip indeed, and makes the price seem a bit more reasonable when you consider its size. Though it’s not named Titan, it easily could have been.

Powering the previously mentioned DLSS and ray tracing functionality are two new sectors in the Turing architecture, with 68 RT cores and 544 Tensor cores. Obviously, neither of those are comparable with the GTX 1080 Ti, but for comparisons sake, the standard RTX 2080 features 46 RT cores and 368 Tensor cores. How much that difference impacts ray tracing or DLSS performance, I have no idea at this point. But it stands to reason the RTX 2080 Ti will have the edge.

The thermal design power, or how much average maximum power the GPU will draw while running applications, for the RTX 2080 Ti is set at 260 watts, just a 10w increase over the GTX 1080 Ti. Accordingly, this card is features two 8-pin power connectors. As you’ll see in the benchmarks below, technical jargon aside, the RTX 2080 Ti is just an absolute monster of a graphics card. Where the higher-end 10-series cards were specced to near 60fps in 4K resolutions, and the standard RTX 2080 finally makes that dream come true, and the RTX 2080 Ti pushes most modern games past the 60Hz mark even at ultra settings.

RTX 2080 Ti – Benchmarks

I spent some time—a lot of time, actually—putting the RTX 2080 Ti through its paces in both real-world and synthetic benchmarks. I ran all the tests on a hand-built system that was used for the Pascal GPUs, and it consists of a Skylake Core i7-7700K CPU, 8GB of DDR4 memory, an Asus Z270 Prime motherboard, Intel SSD, and EVGA PSU. I tested this card (and all others) at 3840 x 2160, 2560 x 1440, and 1920 x 1080 resolutions with all games and benchmarks set to their highest graphical settings, but without anti-aliasing activated. You can see the results in these charts below:

Clearly, the RTX 2080 Ti is at the head of the pack in almost every single test, at every single resolution. When compared to the GTX 1080 Ti, this card decimates its predecessor in regards to pure 4K speed. By and large, the RTX 2080 Ti performed around 25 to 35 percent faster, and in some cases—Monster Hunter: World, for example—as much as 58 percent faster. The only game where this card fell under 60fps in 3840 x 2160 was Shadow of the Tomb Raider, and it was close enough to almost be a moot point. Moreover, with just the slightest bit of settings tweaking, achieving rates well above 60fps is quite easy.

Those ratios stayed fairly consistent in regards to 2560 x 1440 resolutions, but the span between quad HD and 1080p resolutions was much narrower in most real-world gaming scenarios. I can’t give a fully technical explanation of why beyond my assumption that some CPU bottlenecking is taking place.

Of course, when compared to a Zotac GTX 1070 Ti, the span between 4K refresh rates is kind of incredible. In most cases, the RTX 2080 Ti is 100 percent faster. Yes, the 1070 Ti was already a lower-rated card, but the jump between Pascal and Turing is well on display with pretty much anything thrown at the RTX 2080 Ti. I’ll be taking a look at more third-party cards soon, but for the time being, if you’re the type of person who’s interested in a Founder’s Edition, the RTX 2080 Ti is a monster.

I did run into a couple technical issues while using the RTX 2080 Ti. While running Far Cry 5 benchmark, the system would crash completely to reboot after the initial loading screen. This happened every time I attempted to run the game with this card. Also, while running PlayerUnknown’s Battlegrounds, there were large black artifacts on the screen when entering or just after exiting a building. I could not recreate this issue with any other card on the bench, with the exception of a Zotac 2080 Ti, so it’s possible it’s due to the pre-release drivers.

Final Thoughts

I haven’t attempted to do any overclocking with the RTX 2080 Ti at this point, purely due to time constraints. I’ll be taking a further look at this card in the near future with even more expanded real-world gaming benchmarks. I can tell you though that in my testing under full load the RTX 2080 Ti reached a max temperature of 77C and a boost clock of 1875MHz. As was the case with the RTX 2080 Founder’s Edition, and frankly its first-party predecessors, this card ran a bit warmer than I would have liked, but not so hot that it caused me any concern. Overall 77 degrees is very decent considering the amount of power on tap here.

Finally, though this card is clearly the most powerful GPU available today, it’s as future proof as you can get with ray tracing and DLSS support arriving in the future, but we don’t know how that will all shake out. It’s disappointing not being able to take a deeper look at those features right now as the card is launching, but even excluding those technological advances, the RTX 2080 Ti is just an incredibly beefy graphics card. As I mentioned earlier, if you want blazing fast 4K GAMING, this GPU is the best game in town. But price is a serious factor in this equation, and the RTX 2080 Ti is, to put it bluntly, just ridiculously expensive at this point. When a card costs more than plenty of people spend on an entire rig, that’s an issue. At some point, you have to ask yourself if the bump in performance is enough to justify a $400 or more increase from the RTX 2080 (which still includes ray tracing and DLSS, too).

Purchasing Guide

The GeForce RTX 2080 Ti Founder’s Edition has an MSRP of $1,199 and is now available, but good luck finding one as it looks like they are all sold out. However, we put together a guide of where you can theoretically order one, and your best bet is to get one with a pre-built system. Barring that, you can sign up on Nvidia’s website and it’ll notify you when more are in stock.

The Verdict

The RTX 2080 Ti Founder’s Edition is easily one of the most powerful consumer graphics cards ever made, and it’s priced accordingly as well. Nvidia’s Turing architecture raises the bar for 4K gaming, and that’s even before you take into account whatever benefit may arrive from real-time ray tracing or AI learning in the future. All in all, this GPU is future-proof, exceedingly powerful, and the current holy grail for PC gaming.

RankTribe™ Black Business Directory News – Arts & Entertainment

Art and soul: Bklyn Museum celebrates art of the Black Power movement

Photo by Alexandra Simon

Unite: Sculptor Elizabeth Catlett’s 1968 piece “Black Unity” is on display at the Brooklyn Museum’s exhibit “Soul of a Nation” until Feb. 3.

By Alexandra Simon

Brooklyn Daily

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It’s black and it’s beautiful.

The Brooklyn Museum’s latest — and largest — exhibit focuses on the work of black artists at the peak of the Black Power movement. “Soul of a Nation: Art in the Age of Black Power, 1963–1983,” on display until Feb. 3, features more than 150 paintings, photos, sculptures, and other forms of art produced during a significant era of black American history, said the show’s assistant curator.

“The exhibit looks at ways in which artists responded to the political moment — or did not, and the ways in which they innovated with material related to black identity,” said Ashley James.

Each room of the two-floor exhibit covers artists from a particular city or region in the United States, since movements in different areas channeled the time period in a different ways.

“There is a broad scope and a diverse range of black artists, and what they were doing during one of the most revolutionary times in American history,” she added.

For example, the Chicago-based artist collective AfriCobra painted colorful, positive portrayals of popular black figures, including Malcolm X, Angela Davis, and spiritual deities. And Kamoigne — a photography collective from Harlem — recorded everyday black life in New York.

The exhibit’s most blatantly political piece of art is a door meant to visualize the assassination of former Black Panther Fred Hampton, who was killed by Chicago police officers during a controversial raid at his apartment in 1969. In response, artist Dana Chandler brought to life “Fred Hampton’s Door II,” a bullet-riddled door with a stamp of government approval.

“That’s a really powerful work, and he used an actual door for greater emotional impact because it represents a piece of history that points to a war, and the height of the movement in action,” said James.

Another notable piece is Betye Saar’s sculpture “The Liberation of Aunt Jemima,” which reclaims the stereotypical advertising figure and arms her with a shotgun. Saar and other artists sought to create empowering art that combated harmful portrayals, said James.

When people think of the Black Power era, they rarely think of art, but it was a key part of the movement, said James, as artist sought to express things they could not put into words.

“I don’t separate the art from the activism because in a sense, a lot of these artists were left to intersect the political ramifications of the time into their work,” said James. “This exhibit shows that there’s this sense of urgency in every single artist in it. I want people to see how these artists were working at the absolute top of their capacity under pressure to create work.”

“Soul of a Nation” at Brooklyn Museum [200 Eastern Pkwy. at Washington Avenue in Prospect heights, (718) 638–5000,]. Open Wed, Fri–Sun, 11 am–6 pm; Thu, 11 am–10 pm. $16 suggested donation.

Posted 12:00 am, September 19, 2018

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Larry Hogan has commanding 22-point lead over Ben Jealous in new poll

September 19 at 12:01 AM

Maryland Gov. Larry Hogan holds a commanding 22-point lead over Democratic challenger Ben Jealous in a new poll that suggests the Republican is consolidating substantial support from groups that traditionally back Democrats in the deep-blue state.

The Goucher Poll, released early Wednesday morning, found likely voters favor Hogan over Jealous by a margin of 54 percent to 32 percent. Undecided voters have dwindled to just 9 percent of the electorate, the poll found, meaning Jealous must win the lion’s share of persuadable voters and bank on dramatically heightened Democratic turnout to have a shot on Election Day.

In addition to Hogan securing his Republican base by large margins, the poll found he had the support of 38 percent of Maryland Democrats, who outnumber GOP voters in the state by more than 2 to 1.

Even though most voters support the issues on which Jealous has campaigned — a $15-an-hour minimum wage, boosting education spending, and Medicare-for-all — they trust Hogan more on education, the economy and health care, the poll found.

“They like the issues, but they haven’t connected them to Jealous,” said Mileah Kromer, director of the Sarah T. Hughes Field Politics Center at Goucher College in Towson, Md., which surveyed 472 likely voters from Sept. 11 to Sept. 16. “It’s clear that Ben Jealous needs to introduce himself to Marylanders.”

While Hogan and the Republican Governors Association have spent more than $2 million in a sustained advertising blitz in Maryland since June, Jealous launched his first television ad Monday, with a modest buy in the Baltimore market. The Goucher poll — the latest to show Hogan with a double-digit lead in the race — was completed the previous day.

Maryland Gov. Larry Hogan (R) (Brian Witte/AP)

A quarter of voters identified the economy and jobs as the most important issue that would determine whom they picked in the governor’s race — more than any other topic. That bodes well for Hogan, since likely voters said they thought he would handle economic development and job creation better than Jealous by 66 percent to 23 percent.

If elected, Jealous — a progressive political newcomer who previously headed the NAACP — would be the first African American governor in Maryland, a state with the largest proportion of black residents outside the Deep South.

The poll found that while Jealous holds a 14-percentage-point advantage among black voters, about 35 percent of those voters plan to vote for Hogan. That’s more than twice the proportion of the black vote Hogan won during his upset win in 2014.

Hogan’s opponent at the time, then-Lt. Gov. Anthony G. Brown, had a campaign widely panned by Democrats and pundits as suffering from an “enthusiasm gap” that drove down Democratic turnout. Nonetheless, Brown — who also is African American — received 79 percent of the black vote, according to a post-election poll conducted by The Washington Post and the University of Maryland.

“African Americans could get [Jealous] into the governor’s mansion, but his message isn’t resonating,” said Sandy Pruitt, a Democrat who is co-founder of the Prince George’s County nonprofit group People for Change.

Maryland Democratic gubernatorial nominee Ben Jealous (Patrick Semansky/AP)

During a meeting this month of the South County Democratic Club, Pruitt, who is African American, surveyed a Jealous flier that promised Medicare-for-all, debt-free college and the creation of green jobs. She said voters in Prince George’s are more interested in help recovering from the foreclosure crisis or keeping seniors in their homes.

“It doesn’t seem to me like he would be a big advocate for black communities,” Pruitt said.

Wala Blegay, a volunteer with Our Revolution Maryland and a strong Jealous supporter who attended the meeting to speak on his behalf, said she frequently hears similar concerns. While knocking on doors in the predominantly African American town of Forestville, she said, many residents told her that “Hogan’s TV ads are working.”

“There is little knowledge of who Ben is at this point, and they think he’s going to raise their taxes,” Blegay said.

Hogan and the RGA have aired ads statewide portraying Jealous’s proposals for universal health care and expanded pre­kindergarten as too costly for the state. Jealous and his allies have yet to respond on the airwaves.

Todd Eberly, a political scientist at St. Mary’s College, said the poll’s findings may make it harder for Jealous to persuade outside groups to spend money on his candidacy and help combat Hogan’s $9 million cash advantage.

“Larry Hogan is in an incredibly strong position for reelection, and Ben Jealous has a lot of ground to close in the next [few] weeks,” Eberly said.

Jealous has struggled to generate support from some of the state’s mainstream Democratic leaders, including Montgomery County Executive Isiah Leggett. Leggett said in July that he was concerned about the impact of Jealous’s proposals on residents of the affluent county and wanted to discuss that and other issues before deciding whether to endorse him. Leggett met with Jealous last week and said Tuesday that they plan to meet again next month. He did not respond to questions about whether Jealous would get his support.

Some Democrats who might be inclined to vote for Jealous say they’ve yet to find a reason to do so.

“Hogan seems to be doing a pretty good job,” said Barrington Fair, a Silver Spring resident. He said he usually looks for a candidate focused on “those who need the help most,” but he knows too little about Jealous to make a judgment on his campaign.

The many Democrats willing to cross party lines for Hogan do not appear likely to do so for other Republicans on the ballot. Both Attorney General Brian E. Frosh (D) and Sen. Benjamin L. Cardin (D) are leading their Republican challengers by more than 30 percentage points.

Jennifer Barrios, Rachel Chason and Arelis R. Hernández contributed to this report.

Best and worst Emmy moments

Did you hear the one about the Emmys’ being super diverse this year?

The 70th Primetime Emmy Awards, which ran Monday night on NBC, opened not with hosts Michael Che and Colin Jost, but with a parade of beloved performers, including Kenan Thompson, Kate McKinnon and Ricky Martin, doing an awkwardly self-deprecating musical bit about Hollywood’s commitment to inclusion called “We Solved It.” From that point, the word “diversity” (or “diverse”) lingered like a trending hashtag, hammered home by one person after another seemingly every few minutes.

It was the running theme of the night, while curiously the discussion around #MeToo at the first Emmys ceremony since The New York Times’ Harvey Weinstein story broke last year was noticeably muted. This was especially glaring in light of the recent downfall of former CBS chief executive Les Moonves, long one of the most powerful men in television, who stepped down earlier this month after multiple allegations of sexual misconduct. (Moonves has denied the accusations.)

Here are some of the most memorable moments from the Emmy Awards.

The “SNL”-ification of the Emmys

NBC turned over this year’s telecast to Lorne Michaels and the ceremony at times felt like a glammed-up installment of “Saturday Night Live,” with a heavy dose of the show’s past and present stars. As with most episodes of “SNL,” the results were decidedly mixed. Performers like Thompson and Leslie Jones enlivened the evening, but several bits, like a running gag featuring Maya Rudolph and Fred Armisen as inept Emmy experts, fell flat.

As the hosts, Jost and Che reprised the give and take of their “Weekend Update” segments on “SNL,” cracking wise about subjects like Ronan Farrow, Roseanne Barr and the death of traditional television.

“Our network NBC has the most nominations of any broadcast network,” Che said. “Which is kind of like being the sexiest person on life support.”

But if the writing and bits were hit and miss at best, “SNL” got the last laugh. It won the award for the best variety sketch show for the second year in a row.

“Mrs. Maisel” dominates comedy

With the perennial winner “Veep” out of the running this year, the Emmy Awards were guaranteed to crown a new top comedy. But the competition seemed like an even split between FX’s whimsically avant-garde “Atlanta” and Amazon’s period charmer “The Marvelous Mrs. Maisel.”

In the end, it wasn’t close. “Mrs. Maisel” dominated the category, taking home five awards, the most of any program. The haul included the top award as well as best comic actress for Rachel Brosnahan and best comedy writing and directing for the creator, Amy Sherman-Palladino. When Alex Borstein was announced in the supporting actress category, she ascended the stage in delightfully dramatic fashion.

The Fonz finally wins

Henry Winkler deserved the biggest thumbs up of all Monday night. More than 40 years after his first Emmy nomination, he finally took home a statuette.

“Oh, my god. Oh, my god. Oh, my god!” said an ecstatic Winkler, 72, who’d leapt onto the stage to accept his award for outstanding supporting actor in a comedy series, bringing the audience to its feet. He played Gene Cousineau on HBO’s dark comedy “Barry.”

“I wrote this 43 years ago,” he said of his acceptance speech. Winkler was first nominated in 1976 for his role as Arthur Fonzarelli, who exemplified midcentury American cool in a black leather jacket, on “Happy Days.”

“I can’t stop yet,” Winkler said as his allotted speech time wound down. “My wife, Stacey, oh, my god. My cast and crew, and the kids! Kids! Jed, Zoe and Max, you can go to bed now! Daddy won!”

“The reparation Emmys”

It has become commonplace for award shows to highlight the exclusion of minorities with a knowing wink at how far things have (sort of) come and the Emmys were no different. In addition to the opening musical number, Che appeared in a pretaped bit in which he handed out “reparation Emmys” to veteran black performers who have been overlooked by the voting academy.

Jaleel White (“Family Matters”), Marla Gibbs (nominated five times for her role as Florence on “The Jeffersons”), Tichina Arnold (“Martin,” “Everybody Hates Chris”) and Kadeem Hardison (“A Different World”) were among the famous faces who happily accepted Che’s acknowledgment of their impressive careers.

The catch: The co-host “stole” the statues from four-time winner Bill Cosby. But Cosby’s wins did not actually have anything to do with those performers not having their own awards. Rather, these actors remain unsung by Emmy voters because of a system that has largely overlooked black artists for decades.

Even if that part of the sketch felt forced, it was nice to see the performers get some recognition. And Che is absolutely right: When it comes to sitcom actors, Arnold is, “pound for pound,” one of the best.

‘The Americans’ gets a going-away present

Going into the Emmy Awards, fans of “The Americans” could be forgiven for indulging in some quixotic wishful thinking: Might the great FX spy series, virtually ignored by the Emmys throughout its run, claim the top drama award for its final season?

The answer was no — “Game of Thrones” won again. But “The Americans” did score awards for Matthew Rhys, for best actor in a drama, and the creators Joe Weisberg and Joel Fields, for drama writing. It was a nice send-off for one of the best shows of the past decade, one that almost made up for Keri Russell’s being denied best actress honors for the past six seasons. Almost.

A director wins, then pops the question

In a mostly ho-hum ceremony, Glenn Weiss delivered a moment that left many in attendance slack-jawed and applauding. He proposed to his girlfriend on live television after winning an award. Weiss, who has now amassed more than a dozen Emmys, won for outstanding directing for a variety special for his work on the most recent Oscars telecast.

He started his speech paying tribute to his mother, who he said had passed away two weeks ago. “Mom always believed in finding the sunshine in things, and she adored my girlfriend, Jan,” Weiss said.

Weiss was referring to Jan Svendsen, the chief creative officer at Charity Network, and added: “You wonder why I don’t like to call you my girlfriend? Because I want to call you my wife.”

Svendsen’s jaw dropped and she said yes before Weiss had even popped the question. The crowd cheered as Svendsen walked to the stage. Once she arrived, Weiss told her, “This is the ring that my dad put on my mom’s finger 67 years ago.”

He knelt and said, “Will you marry me?”

She, of course, said yes (again), and the two walked offstage with an Emmy and a lifetime partnership.

RankTribe™ Black Business Directory News – Arts & Entertainment

DNC chairman Tom Perez: ‘We’re fighting for our democracy’

Tom Perez, chair of the Democratic National Committee. (Justin Lane/EPA-EFE/REX/Shutterstock)
Opinion writer

September 18 at 6:01 AM

“Cape Up” is Jonathan’s weekly podcast talking to key figures behind the news and our culture. Subscribe on Apple Podcasts, Stitcher and anywhere else you listen to podcasts.

“We can win everywhere if we organize everywhere.”

When Tom Perez was elected chair of the Democratic National Committee 17 months ago, there were doubts that he would be able to say something so confident. The bitter infighting between supporters of Hillary Clinton, the party’s presidential nominee, and Sen. Bernie Sanders (I-Vt.), whose followers charged the system was rigged against him, was bad enough. Clinton’s stunning loss to President Trump only compounded the demoralization among Democrats.

But that was then.

Successful elections of Democratic governors in Virginia and New Jersey, and a Democratic senator in Alabama for the first time in more than 30 years, have validated Perez’s priorities since he took over the party in February 2017. “We’ve made real progress. Forty-three elections that we’ve helped to flip from red to blue in places all over the country. We’ve become a 57-state and -territory party again. We’re competing everywhere,” Perez told me in the latest episode of “Cape Up.” “Virginia and New Jersey taught us that we could win again, and Alabama taught us that we could win everywhere.”


For more conversations like this, subscribe to “Cape Up” on Apple Podcasts, Stitcher and anywhere else you listen to podcasts.

“We wanted to make a very strong statement to African American voters that we will never again take them for granted,” Perez said about the DNC’s involvement in Sen. Doug Jones’s win in Alabama. And when I asked Perez about the tension within the party between those who say Democrats must redouble their efforts to win back the white working class and those who say the party must focus on its African American base, he said, “It’s a false choice. We have to do both and then some.” He then pointed to Rep. Conor Lamb’s special-election victory in Pennsylvania’s 18th congressional district.

“That was a really important race because those were Obama-Obama-Trump voters — some people would call them Reagan Democrats,” Perez explained. “They came home, and they came home because Conor was talking about core FDR issues. He was talking about health care. He was talking about the right to form a union. He was talking about pension security.”

Perez added that Democrats win “when we lead with our values and develop authentic relationships.”

Listen to the podcast to hear Perez explain the new rules on superdelegates that he says will rebuild trust within the party. “I think people lost faith in the DNC,” he said. “We lost a lot of elections, and we did it in a way that made people feel like the process wasn’t fair.”

Hear him bemoan the demise of the Republican Party: “The party of Lincoln is dead, and it’s been replaced by the party of Trump,” Perez noted. “What is most unconscionable about our current moment in our nation’s journey to form a more perfect union is the appalling silence and capitulation of Republicans on so many issues.”

When it comes to the November midterm elections, Perez is clear-eyed. “We’re fighting for our democracy,” he told me. “This is, I believe, the most important election of our lifetime.”

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Read more: 

Jonathan Capehart: The biggest threat to democracy that nobody is talking about

Jonathan Capehart: HRC president Chad Griffin declares, ‘We are going to get our country back’

SELMA And The Role Of Lowndes County

… where Selma is located, African-Americans in Lowndes were … voting rights protections for African Americans. The Voting Rights Act … wall of Jericho called racism, fortified by Jim … Court correspondent for AANIC (African-American News & Information … RankTribe™ Black Business Directory News