My Skin is My Sin- Is it time to go underground?(Part 2 of 2)

Ninja1...

I’ve been on social media for over a decade. I have been in contact with black people on WordPress,Youtube and Twitter.  And I’ve had subscribers share my posts on Twitter,Tumblr and Facebook.  I have had some great conversations with black people here in the United States as well as Africa,Canada,London,Brazil and Jamaica.  We have talked about many subjects.  On my blog I have covered black power,black love,black families,African culture,black leaders,black business,survival skills,police brutality,politics,prison population,African history,racism,slavery,interracial marriage,biracial people,conspiracies and of courseEuropean global power. Through my years of research I realize that the government is spying on everyone.  The can track your whereabouts with your cellphone.  The FBI and CIA are also recording all your phone conversations.  And all your text messages are sent to a central database.  They also can hear your conversation at home with Smart TV’s.  They are constantly spying on us everywhere.

Ninja2...

All this unnecessary surveillance has gotten out of control. All of our information is being consumed by the government. We must keep in mind that most of the social media is owned by white people.  YouTube,Instagram,Twitter,Tumblr,Wordpress,Google,Snapchat and Facebook are all owned and controlled by Europeans.  With so much surveillance you can’t really make any moves without them watching you.  Not to mention they can find most people using their email.  At times it feels like you can’t go anywhere without a closed caption camera in your face. There are cameras in banks,schools,hotels,airports,hospitals,restaurants and bars.  We are really living in a prison planet.

And if all this surveillance wasn’t enough people you still have people willingly giving up their personal information.  They have trained us to give up our information voluntarily and can use that information to create a personal database about the person.  The video(above) is an Apple advertisement for the new iPhone X.  It shows that that you can unlock it with facial recognition.  Sounds pretty neat right?  I think it’s a bad idea.  The first iPhones could be unlocked with a password.  Then they had the iPhones that could be unlocked only with a person’s thumbprint.  Now they come out with phones with facial recognition.  It seems to me they are slowly collecting data on everyone.  I also would tell people to beware of these DNA tests that have become popular in the last few years.  Companies like MyHeritage,23andMe,AncestryDNA and Living DNA are not always accurate.  Just be mindful when using them.  I have a funny feeling they are collecting the DNA of people and studying their genes.  Who knows?  They could use your DNA to create a disease that only attacks people with certain DNA strands.

FBI1...

So I just want to know your thoughts.  Do you think we need to go underground?  How can you have a movement without racist government agencies(FBI,CIA) watching your every move?  I know some people who have left Youtube because of all the restrictions.  Then there are others who have stopped blogging at WordPress due to frustration.  Some of our people feel so beat down and they’ve decided to give up.  I get frustrated just like anyone else.  I’ve thought about leaving WordPress and Youtube at times. Trying to wake people up can get very tiring and it starts to wear on you. It’s not that I want to give up it’s just I want some practical solutions. I want our people to be free mentally and physically.  And it seems black people don’t want to change.  Not all…..but too many of us.

Bloggers..

Kemet1...

Do we need our own social media?  I have heard black people mention sites like Blaqspot.com.  And the conscious black dating site Kemet Klique.  I don’t know if they are totally 100% Black operated.  If someone knows please tell me.  I still need to do research on these black social media sites.  But I’m asking all my fellow bloggers.  I know I have a lot of intelligent subscribers.  I know some of you have some great ideas.  So I’m asking Onitaset,Land of Kam,Hung Like Jesus,Negress,Cree,Shelby Courtland,Trojan Pam,Kelley,CC Saunders,Amos Magazine,OriginalBlackWoman,TruthAngel,BlackMyStory,Melanin Man,Lumumba Afrika,Sparks,1TawnyStranger,King Lo the Rastar,Kween Jasira,Malaika Mutere,Sunny Delyte,Clifford Green,M’Bwebe Ishangi,Roshumba Monique,FourthAngelsBowl,Moorbey,Nidotopian Warrior,Universal Jones and Tired Sista for your thoughts.  I’m open to any suggestions.  Should we leave YouTube and WordPress?  If we do,how do we communicate with each other?  Should we do it through email?  I ask because we need our own private spaces to communicate without outside interference. We are all being watched at every turn.   maybe we need to move in silence like ninjas. Any black person on social media that is trying liberate the minds of our people are seen as a threat. They don’t seem to care if you’re a Moor,Pan African,Hebrew Israelite or into Kemetic spirituality. All that matters is you’re trying to inform the black collective and open minds. They draw strength from our confusion.  Confusion is the enemy to revolution. We need some real solutions.  I’m open to hear anything at this point.  I’d love to hear your suggestions.

 

R. Kelly: Sexual Predator or Scapegoat?

Kelly2...

I anticipate that this post will be unpopular. I acknowledge the contention that my assertions will certainly prompt and welcome the scathing comments in the section below. With that being said, I still very must feel that my perspective is worthy of articulation and exposure to those that care to listen.

Singer and R&B legend R.Kelly made headlines this week for allegedly assembling a sex cult consisting of underaged girls. These allegations bear a disturbing connection to R. Kelly’s previous trouble with the law, portraying Kelly as a an OJ-like figure–a haughty  recidivist who finagled through the loopholes of the American legal system.
I feel obliged to state that I have no respect for R. Kelly as a man. I do however, respect his talent. I perceive the ‘Pied Piper’ as an enslaved black who used America’s need to hyper sexualize the black man as a means to foment his career. While Kelly defiantly made family friendly songs like “Step in The Name of Love” and inspirational songs like “I Believe I Can Fly” and “The World’s Greatest” most of Kelly’s hits are sexualized slow jams to which I’m sure proved background music to the conception of many post millennials. His sexualized image fueled a career spanning over two decades with a plethora of adoring black female fans.

These fans remained loyal to Kelly even after a video surfaced of the singer issuing a golden shower to a then-fifteen year old girl. The charges were eventually dropped and buried in the past of a musician who was still able to maintain his mogul stature despite dramatic changes in the music industry.
While my argument is not to pardon R. Kelly from blame, it is that he is not the primary cause of the hyper-sexualized black female body that faces violation without consequence. R. Kelly was relieved of any legal responsibility in previous allegations of sexually violating a black female teen simply because the black female body bears no significance to the Western world outside of monetary gain. Consider how quickly the western world kills and incarcerates the black body.  The reason why Kelly was not susceptible to these consequences is not because of his riches, but because his “crimes” served an integral purpose in maintaining white supremacy. Moreover, the world was and is more interested in portraying Kelly and his victim as sexual beasts than to upholding the integrity of those they do not see as a human let alone bearing the presumed innocence of femininity or childhood.
To the western gaze, the hyper sexuality of the young black female body violently seduces Kelly. To this same gaze, Kelly is a sexualized being unable to resist the callings of his bestial urges. Together, these caricatured images of black sexuality function assemble the historical narrative of blacks as primitive and underdeveloped beings worthy of the death and incarceration that befalls them.

Kelly3...

Kelly, a melanated individual who believes his conventional success consummates his transition to whiteness, feels as entitled to young bodies as the white man did and does to young black females. Kelly, is a symbol of what happens when a morally impoverished black youth offsets a journey to acquire physical wealth and not a collective consciousness. As members of an oppressed collective, it is essential that we proceed with consciousness. To proceed without it, is to inevitably mirror our oppressors in thought and action.

There is also a large possibility that this ordeal is entirely fictional, and yet another means to lynch a black man by the rope of hyper sexuality. But the verity of these accusations does little to supersede its societal function. The scenario depicts how the black man and women are commonly pitted against one another and how the black male is villanized for implementing what he was nurtured to idolize—white male ideology.

The teachings of white supremacy are second nature to anyone not possessing a conscious gaze. I read The Bluest Eye by Toni Morrison, a few years back and was mortified at what Pecola’s father does to her on the kitchen floor. I resented Morrison for years, holding her in contempt for depicting the black man as indifferently robbing his child of her innocence.

It took me several strides into consciousness to realize that the father was a man systemized and nurtured to become an animal, a subjugate human who performs the dirty work of his master in his oppressed state. This is not an excuse, as his actions are detestable and hard to read, yet even more difficult to process as a factual fate rendered to so many blacks throughout the diaspora silent in the shame of their systemic violation.

Kelley1...

Kelly symbolically stands in the same image of this fictional black man who encompasses the factual narrative of so many other black males castrated by earthly demons who program the black body to inflict white evil onto their own people.

Kelly’s actions function to lure black women from blackness into the arms of feminism–yet example of society’s dedication to turning racist issues into sexist issues to further the cyclical disenfranchisement of blacks by hurling our struggle into oblivion. A second offense by a black praised for his prodigious talent, serves another blow to our collective identity alongside similar allegations afforded to other black greats like the late Michael Jackson, Bill Cosby, Kobe Bryant, amongst others. These allegations function to fuel white esteem and denigrate black collective worth in staining the black psyche with portraits of themselves that seemingly lack a moral compass.

So, to those quick to compartmentalize a black man as a sexual villain— I would like to redirect your attention to the words of the late and great Malcolm X:

“If you’re not careful, the newspapers will have you hating the people who are being oppressed, and loving the people who are doing the oppressing.”

To what contempt will you hold a system that upholds the systemic soiling of black female bodies?

To reiterate I am in no way excusing Kelly, but evoking a sense of nationalism to assert that we as a collective have been wronged by a system that lures us to incessantly blame ourselves but seldom confront the  true villain and sole benefactor of global racism.

In closing, the power of blackness lies largely in realizing if and when we are being played. So while we may not be playing chess, our systemized state as blacks bears a close resemblance to a king being used to seize the most powerful piece of the game–his queen.

Article by CC Saunders

Dim Your light Dark Girl: Invisibility and Black Femininity

Bria Myles...

After my first semester of teaching I was invited to meet with the department chair, a frumpy, middle aged- white woman who treated me like white retailers have my entire life–as if my presence depreciated the value of the company. She arrived over thirty minutes late for my meeting, a fact she would casually disregard when pushing me out of her office not even ten minutes later. Her actions stated that I did not belong, despite the fake and almost nervous smile worn as an effort to melt my stoic expression. In those ten minutes she’d gloat about what she considered “bad” student reviews— an attempt to break me down into a negro in need of a fictive white brilliance to step into the role of woman. This was the same woman who failed to provide me with the room number for my class and made it so that I received my first check shortly before midterms. I was invisible until something seemingly negative surfaced, then my black female body became a canvass for white shame, a means to bludgeon me until my  posture slouched in defeat. For white functionality is solely rooted in black inferiority, no matter how hard the white body must work to make their fictive superiority a reality.

The contemporary black female body exists in the shadow of her ancestors, only seen in instances of negativity, because to acknowledge her in her beauty and brilliance is to threaten the false esteem of her oppressors. Sadly, the same is true for the melanated individuals referenced interchangeably with those black in body and mind.  In conversations or simply in the presence of melanated folk, the black woman is ignored if not overtly deficient in one way or another.

In Black Looks, scholar and cultural critic bell hooks says the following of black female visibility:

Objectified in a manner similar to the block female slaves who stood on auction blocks while owners and overseers described their important, salable parts, the black woman whose naked bodies were displayed for whites out social function had no presence. They were reduced to mere spectacles. Their body parts were offered as evidence to support racist notions that black people were more a kin to animals than other humans (hooks 62).

Just like the Saartje Baartmans of the past, the black female body remains a dismembered presence that only becomes visible to prove white superiority. The black woman is commonly shoved, reached over and ignored in quotidian activities from riding the train to grocery shopping. However, if wearing a garment where her protruding backside is visible, or her breasts or legs are exposed, she assumes the hyper visibility of her ancestors cast along the auction block, dismembered by the white male gaze and itemized for white male consumption.

I write this post in hopes of enlightening the black female and even black males to embedded expectations that subconsciously recruit us as soldiers of white supremacy. Namely, many blacks have also grown comfortable with caricatures blackness and downcast their own for failing to embody the necessary imperfection to seem normal in our western setting. This imperfection is commonly conceptualized in labeling the black female body a “bitch” or “whore.”

Black bitch....

The Black “Bitch”

A student called me a bitch for the first time this semester. I’m actually pretty sure I, like my sisters throughout the diaspora,  have been called worse, but this was the first time a student had rendered an expletive to my face. Following hurling the expletive my way, the student proceeded to talk over me until storming out the classroom and reporting to the dean.

The cause of the altercation you ask? I simply asked the student a question.

Like clockwork the dean shows up a few minutes later asking to see me. An act that festered the very authority challenged by my student. After dismissing my class I went to visit this middle-aged white women with a foreign accent, short haircut and slightly abrasive attitude. She asked me what happens and becomes overtly agitated when I disclose that the student called me a bitch. She then rolls her eyes, sighs and asks me to prepare a written statement. Although I had been disrespected twice that morning, once by the student and again when the director came to remove me from the class like a misbehaved student, it was me who had burdened her. In producing a response to the query she asked me, I cast this poor woman as the victim  because she would now have to draft some paperwork.

“You have to be very careful how you address these students.”

I nodded indifferently.

“Be careful.” she said, with her eyes locking intensely with mine, embedding a slew of words she wished to say but could not.

The exchange was a vindictive display of power by a being disinterested in both my and my student’s well being. All the director saw was money. So instead of engaging my comfort in returning a student who blatantly disrespected me, my other students, and most importantly herself, it was without discussion that she would return to the class.To the director I was salt thrown in the would of a battered ego. I, like countless other black bodies cast throughout the diaspora, had become too visible in a space solely desiring my invisibility. To lure students into an invidious state, is to insult the white bodies who wish to be the sole source to evoke green from a black a gaze.

This is an unexpected example of black females being asked to be less of themselves to not fester insecurity in their counterparts, who must remain subjugated for whites domination.

Similar are the conversations that surround the black female body and romance. The black female body is commonly compartmentalized as “intimidating” if failing to exist as the a caricature, or controlling image like the mammy, jezebel, sapphire or tragic mulatto.

The strong black Woman is too independent to appease the male ego. The angry black Women too abrasive for the masculine pride. The beautiful woman is too high maintenance and too tenable, the educated woman too intellectually elevated to have her feet planted firmly on the ground.  The black woman can seemingly not win when it comes to possessing attributes that extinguish a caricatured identity and propel her into a state of hyper-visibility.

Just as the directors sought to admonish with the words “be careful” the black woman is often issued a similar warning in being told to re evaluate how she carries herself. She is to exist to make others seem bigger in comparison to her smallness. To other blacks she is to encourage them to aim low and garner some attribute of a subjugated being.

The black body, if not dwarfed by the ax of white supremacy is nurtured to bend in order to fit through doorways–rather than build their own structure to which she can strut through in her prodigious state. The only thing the black Women is, is too stereotyped. If too pretty, too smart or too successful the white and other persons of colors typically aim to discount blackness with other races or ethnicities to eschew diversifying their perspective on black people.

Seemingly a lifetime ago I worked as a customer service representative. I worked alongside a beautiful sun kissed woman, labeled difficult and unprofessional. She was helpful in teaching me the ropes and aiding me with difficult customers. The issue was not that she was difficult, or unprofessional, but that she refused to be invisible in instances of overt racism.  I recall an incident where a white “businessman” yelled at us to complete his task because “he had things to do.” He had dropped his item and demanded that I get on my knees in a dress to obtain his item. My coworker came to my defense and we were both reprimanded in consequence. To our oppressors were were not wronged, but in the wrong for refusing the demands of an oppressor. Where oppressors see green, the conscious gaze sees racism.

Beyonce and Rihanna.....jpg

The whore

The black female that escapes being labeled the bitch (or in addition to this label), is often compartmentalizes as a sexualized object. This is not to say that the black female body fully escapes the negative connotation as a difficult being, but that the white gaze conceptualizes her sexually. This may sound complimentary to those who falsely equate a sexual gaze to an appreciation of beauty. A sexualized gaze means black female bodies are seen in correspondence to sex, i.e. concubines or asexual beans. Beyonce, Rihanna, etc, are black women who maintain relevancy because they are seen as sexualized objects. All the hype surrounding Beyonce’s fertility, or Rihanna’a latest partner, both reflect a fascination with black female genitalia. This fascination also functions in the reverse. Black female bodies lacking conventional attributes that would deem them overtly sexual, become demonized. Examples are Serena Williams, Wendy Williams, Gabourey Sidibie, etc, women who because of unconventional features are deemed beasts by the true beasts of the western world. Whether hyper sexual, de-sexualized or a bitch, the black female body continues to surface as a female subjugate by her white male oppressors.

As a female subjugate, the western gaze validates not only murdering or incarcerating  the black female body, but resigning her to invisibility by default. By subjugating the black female body to a womanless being, the western gaze seeks to dim the light on a ethereal presence who shines in her sun kissed state– a state withheld from the white  experience.

The dark girl is continually required to dim her light to ensure the comfort of the world around her. If  the dark girl  fails to bow her head in the face of racism she is a “bitch” and “difficult,”  If the dark girl’s sensuality proves impossible to ignore in the western terrain, or she bears multiple children in the face of white female infertility she’s a whore, or welfare mother who’s untamable sexuality bills the white collar world. She is not to shine her light too brightly.  We are the stage, not the performer, the words not the song, the pedestal not the recipient.

To shrink to western expectation is to forfeit the “stand out” quality that is the black woman. White supremacy is quite similar to how the western world has been nurtured to conceptualize the moonlight– whiteness that illuminates along darkness. Without the dark sky the moon and the stars do not glow. Rather than be a beacon for those who glow against our background, it’s time that the black collective become entranced by our own glow.

Dark women are the true light of the western world. We are the moon, the sun, and the stars. Moreover, we need not look out the window to see the glow of the moon, we must simply look within.

Don’t dim your light black girl. Shine.

Black Power. ❤

Article by CC Saunders

Why I will not be seeing Wonder Woman

Black Wonder Woman....jpg

I almost did it. I selected a theatre and even looked up showtimes. As I began to mentally assemble my outfit and rework my schedule to accommodate viewing the film, I realized that I was all too familiar with this story.

Wonder Woman is yet another page in the consistent white female narrative designed to portray white beauty intertwined with an earthly anglicism. I need not see this film to know that it will portray the white Woman as the catalyst for all things good in a “bad” world.

Contrary to the ideally nurtured in the western world, the bad is seldom blatant. Both the individual and the collective have a fair chance at combatting that which they can see. The true “bad” in the world lies in Wonder Woman-like figures, whose embedded message seeks to uplift through depicting the very exclusivity that dominates the western hemisphere.

Wonder Women debuts in a climate that veils this exclusivity with the implication of “change.” Seemingly every film and television series has adopted the feminist agenda, avidly if not aggressively, feeding this fictive utopia to the masses. The film exists to promote feminism as the cure to all worldly evils, omitting of course that feminism is a worldly evil. Clad in a form-fitting costume with long and silky dark hair, Wonder Woman encompasses the conventional sexiness of a blonde with the rarity of a red head to project feminism as the height of femininity. Wonder Woman is a dark haired, dark- eyed white Woman–the pseudo “every woman” in seeming to encompass lightness and darkness simultaneously. What the casual gaze may fail to see, is that Wonder Woman resembles her target audience, and encompasses all her acquired audience wishes to become.  Her dark hair provides a strategic contrast to her fair skin, painting the “Wonder” of wonder woman as encompassing the figurative light to societal conflict or darkness.

The wonder in Wonder Woman is that she embodies the antidote to all the world’s problems. She’s Helen of Troy mixed with Hilary Clinton–a savior to white women but a mortal enemy to the woman of a darker hue.

Cinderella.....

Western childhood functions similar to this film, painting the white Woman as Wonder Woman in far less attractive variants. From the abundant white female school teachers, to the tooth fairy, Mrs. Claus, every princess from Cinderella to Snow White, the white female body is a consistent figure of humanity to the western gaze.  These figures function to embed into the black female psyche what “Superman” and “Batman” seek to implement into the general western psyche–that if you are white, anything is possible.

But as the young girl who reads these stories, attends these schools and watches these figures on television grows up, the fantasy of Wonder Woman vanishes into reality.  Instead the harsh world eventually prompts the once naive black body to wonder what was ever wonderful about these pristine figures of their childhood. Although portrayed as the hero in fictive and real scenarios, the white woman is gradually unveiled as an inevitable villain to the black female body.

So, as a black woman, I know this film functions as erasure. I know this film functions to seduce me into a amnesiac state where I falsely separate white female action and intention from white male supremacists. From the white women who chase our black men than scream rape when it goes sour, or objectify our wealthy black men as cash registers, or reduce the quotidian black man to his genitals, to the white women who abrasively target black women at work, back to the very white women who tormented the black female slaves—this movie functions to force the black psyche to accept a white hero, despite centuries of white female villainy.

White heroes, whether male, female, trans, or what have you, are never capable of saving anyone but themselves. For healing is incompatible to the autocrat, who decorates their lives with the blood of the oppressed.

Wonder Woman

Therefore, the true wonder woman will never occupy a leading role in mainstream film. She probably will never make six figures and is unlikely to rouse a shallow gaze on the street.

The true wonder woman has probably yet to arrive home from her twelve-hour work-day, her twenty-four hour job as a mother, or full- time victim of white supremacy. The true Wonder Woman sleeps at night with a six-figure debt heavy on her conscious from daring to dream outside of the confines of systemic oppression. She walks through a neighborhood of businesses owned by any and everyone but those who look like her. She faces ridicule for her skin tone, her nose, and curvy body and faces countless queries if her beauty or attributes are deemed outside the scope of blackness.  The true wonder woman is literally and figuratively raped, never respected, or rewarded. She is frozen in time, pieces of her flesh still floating throughout the Atlantic Ocean, or concealed in an unmarked grave beneath a skyscraper. She is dismembered by a system who uses her limbs to assemble their privilege and writes their laws in her blood.

She is the unspoken gospel of this poached land—the original statue of liberty—the feminine mold to which every race, ethnicity, and creed stealthy covets.

The Wonder Woman film exists to place the “wonder” into the woman concept. As a being excluded from this concept, I replace wonder with “black.” For the black woman does not need wonder, she is wonder. Furthermore, members of the black female collective need not go to the movies to view this fictive wonder woman—they must simply look in the mirror.

Article by CC Saunders

N*ggerizing the Contemporary Black Body,Bill Maher uses the N word

Bill Maher1...

It happened for the first time when I was seventeen.

I was interning for a local politician in Fresh Meadows, Queens. The environment was a predominately white office perched in an affluent neighborhood. My parents were over-protective and would not let me go onto the street and hand out literature, so most of my time was spent handling office duties—and as I would learn, engaging office politics.

One day while inserting data, a young white man rehashed an event that happened at Howard Beach. Rather than give an overview of the event, he decided to recite a racially charged graffiti act verbatim. The epithet read “f*ck all you n*ggers.” After reciting these words, he looked straight into my face, seemingly searching for something that I refused to acknowledge by returning his piercing gaze.

A similar event would occur years later in an interaction with a racial psychopath I mistook for a friend. Similar to my first experience, my pseudo friend expressed outrage in the use of a racial epithet, yet took it upon herself to repeat her uncle’s use of the word n*gger.  Like the previous incident, she too stared in my face as she uttered the term, a gaze I saw in my peripheral because I had refused her longing gaze. This same friend would go on to show me her white boyfriend dressed in blackface for Halloween. We have since lost touch, her face dissipated into a grudging appreciation for presenting a necessary evil to awaken my consciousness.

These particular incidents illustrate the antiracist efforts implemented by whites uncomfortable with black presence, working to transfer their discomfort onto the oppressed black body. This transfer is never painless. Rather it reflects the evil deemed necessary to maintain a fictive whiteness. The black body has historically been used a canvass for western anxiety, making the n word a common painting drawn on the black body to appease the demands of a white supremacist hierarchy.

Despite having the opposite effect, these incidents overtly functioned to distance the individual white body from their racist collective– an impossible, and disingenuous feat given the racial climate that defines America. It is this racial climate that predisposes any antiracist effort to inevitably help not hinder white supremacy.

Flash forward to this past semester. The setting is a writing course at a private university in New York City. To introduce a unit on critical queries I play Jadakiss’s “Why?” I am sure to play the clean version because as a black female on a journey to conscious, I have no place for expletives in my life let alone my classroom. Yet despite my efforts, when prompted to respond to a question in the song, a white female student stated “Why N*ggas can’t get no job?” despite the version played in class that stated “Why brothers can’t get no job?”

To which I responded “what did you say?”
She then proceeded to repeat the sentence and epithet. Every student in the class looked down. But, the worst is yet to come. When confronted about her word use she became combative and argumentative. This is the issue with the n word.

Is it an issue that white people use the n word? Yes. But this is not racism. It seems an essential component of oppression to preoccupy the oppressed with branches of racism and not the roots. Take for example the often unpleasant white and foreign businessmen that dominate black communities throughout America. Is it a problem that they are often unpleasant? Yes. Is this racist? No.

It is racist that the white and non-black foreigner monopolizes black economy—taking our money out of our communities. It is racist that the American system is designed to prevent black business ownership. Racism is the systemic action and language seen in the Constitution and Declaration of Independence. It is the societal hierarchy white people observe in every aspect of western culture. Using the n word is yet another means for white people to assume their acquired hierarchy over black bodies. This student used the n word in the classroom of a black female instructor and fought for the right to use a racially offensive term–that’s racism. Bill Maher illustrated a similar dynamic in his use of the n-word Friday evening.

Bill Maher welcomed guest Senator Ben Sasse on his HBO show “Real Time” in which the pair joked about the fields of Nebraska. When invited to “work the fields” by Sasse, Maher responded “I’m a house n*gger” to a reserved laughter from his audience, to which he expressed his gratitude.

Was Maher wrong for using the n word? Yes. But this was far from the first racist comment Maher has made and won’t be the last. It seems his sexual fetish for black Women serves as a means to validate his racial insensitivity to those foolish enough to believe that having sex with blacks makes forgives their racist tendencies. The very house slaves that he references were both products and victims of the white slave masters, and it is this ignored context that composes the core issue here.

The historical trajectory of black bodies in this country is not funny. The means for initial western wealth, who received cyclical disenfranchisement in exchange for centuries of labor, is hardly a laughing matter, at least for those robbed. In using the n word, the white person induces a collective amnesia that when retrieved portrays the retriever as “living in the past” or “playing the race card.”

Blacks have yet to receive reparations or even inclusion into canonical history for providing the greatest sacrifice for this country, so it seems a fractional effort for the western world to retire an epithet used to verbally subjugate the black body.

So why can’t the word be laid to rest?

The answer is simple, it bears too much power.

Many will say that “n*gger” is “just a word” and blacks put “too much emphasis” on this word. But it was never blacks who put too much emphasis on a term foreign to their indigenous tongue. This was never our word, rather the word is conjured from white creation solely to conceptualize black denigration. Yes, it’s an issue that blacks use the word. But until the black collective maintains power in economics, media, employment and housing , they lack the ability to be racist. Furthermore, it is not the black collective who have issues getting over themselves, it is the white collective that expresses difficulty “getting over” their fictive placement on a stolen land.

The abducted African remains the foundation for western wealth, and their significance much like the emaciated and overworked bodies have dissolved into the stolen American soil. Yet instead of sprouting seeds of progress, this soil breeds a continued oppression of black bodies. This oppression is perhaps most evident in the western words implication that colloquial or comedic use of the term “n*gger” symbolizes racial progress.

Thus, in waiting for the term’s retirement, the black collective anticipates the impossible–for the white world to take a small step to relinquish their systemic power. The term was implemented as a means to maintain a position above the black body, and whites continue to use the term publicly for the same reasons. Maher, could have easily, and I’m sure he and the majority of whites do, used the n word off camera. The decision to do so publicly was because he could. Similarly, in my provided examples, each white individual used this racial epithet in a public place, drunk off a systemic white power that conceives every public space as subject to white domination.

The sadistic white mind— historically inebriated off power—assumes the height of racial psychopathy in staring into the black collective and calling them what every stolen opportunity, every stolen dollar, and every drowned, whipped, lynched, burned and raped ancestor symbolizes in past and present America.

Interestingly, this gaze into the black eye, is a central component of my two earlier examples. Notably, both acts seemed centered on not just saying the word to a black person, but staring them in the eye as they did so. I align said behavior with the traditional racial psychopath who looked blacks in the eye as they raped them, who looked as black flesh was chewed by dogs, who watched the life leave a black body during public lynchings. Namely, my mind thinks of the late Claude Neal and the white eyes that watched his flesh be torn from his body and jammed down his throat in a torture murder that lasted several hours. Let us not forget the white gazes that purchased the mutilated portraits of black bodies, and those who purchased black limbs ripped from their bodies in mob attacks.

White desire to induce and see pain illustrates white assemblage as contingent on black dismemberment—substantiating the white collective as what Dr. Bobby Wright labeled a racial psychopath who performs evil with no conscious.

Maher does a similar act in staring down the contemporary pain of the black collective, and mocking the very institution that proved a platform for his lucrative whiteness and conventional success. His ability to stare into the collective gaze of the black collective and use a term that  jests the narrative of the abducted African violates the black body in the same manner as a lynching or rape.

Using the n-word is a socially accepted means to verbally assault the black body. The word does not function with the simplicity of an article, or the certainty of a noun. For the “n*gger” is no person, place or thing, it is an action. In a 2007 essay for The Atlantic entitle N*ggerization, Cornel West defines “n*ggerization” as the following:

N*ggerization is neither simply the dishonoring and devaluing of black people nor solely the economic exploitation and political disenfranchisement of them. It is also the wholesale attempt to impede democratization—to turn potential citizens into intimidated, fearful, and helpless subjects.

To use the word “nIgger” is an attempt to “n*ggerize,” to subject the black body to a verbal bludgeoning that ties the contemporary black body to a tree beside the ghosts of their ancestors, bare-backed and anticipating the physical wrath of white supremacy designed to force the black mind to mentally acquiesce to inferiority.

Therefore, it goes without saying that Maher’s apology is as insufficient as it is insincere. It also goes without saying that Maher should lose his job. Although it is doubtful that he was every deserving of such visibility anyhow.  Nevertheless, whether fired or not, Maher’s fate will not stop racism. Who knows, Maher may have a clause in his contract that promises a huge payout if fired. He is also at the end of his career, and in addition to being a white man in America, it is guaranteed that Maher will not suffer, because earth is not hell for whites. Thus, it is not his job that the conscious community desires Maher to lose, it is his privilege.

Will the heat of hell change the setting? No, just as firing Maher will not end black suffering. If Maher does get fired the firing will function to imply that the world has “come a long way,” despite occurring in a world where Bill O’Reilly can get fired for “sexual misconduct” but cops are not fired for murdering black men, women or children.

It will also serve as the foregrounds for firing blacks who saying things like “white people,” “pass the crackers” or even “white privilege.” As an oppressed group, we must be sure not to misconstrue what appears to be an opportunity for progress for what it is—an opportunity. Nothing in America has been said or done for the sole purpose of helping blacks, and America proceeds cyclically not linear.

Welfare, affirmative action, diversity initiatives, financial aid, etc all function to aid whites, despite seeming to provide opportunities to the disenfranchised. Moreover, in accordance with the historical trajectory of a country established on the spilled blood of those labeled “other,” the white world will find a way to turn n-word, a source of collective black pain, into a gain for whites.

Article by CC Saunders

Get Out- Interracial/Horror Film(Hidden truths)

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Jordan Peele’s directorial debut Get Out proves a fascinating engagement with the racial truths of the contemporary world. The film centers on interracial couple Chris and Rose who are traveling to meet Rose’s parents in a New York City Suburb.

Prior to their visit, Chris asks Rose if she told her parents that he is black. Rose makes a mockery of this query, a query that encompasses the film’s many acts of foreshadow and dramatic irony. Get Out proceeds to illustrate that it is Chris’ blackness that makes him Rose’s prey. The couple’s visit to meet Rose’s parents proves a sick and calculated effort to abduct black bodies and re-appropriate them as a means to enhance the lives of a white counterpart. In short, the film’s resonance lies not in the images themselves but what lies beneath.

1.White Liberal

One of the most demonstrative illustrations in the film is its portrayal of the “white liberal.” Rose, Chris’s girlfriend not only dates a black man but defends him in the face of overt discrimination. Chris is racially profiled by a police officer on the way to meet Rose’s parents. The policeman asks Chris for his identification, to which they receive Rose’s wrath. After the incident, she states that she won’t let anyone “F%ck with her man.” But little does Chris know, Rose is merely protecting Chris the object and not Chris the person. This objectification becomes clear in the silent auction that takes place in Rose’s parent’s garden. What they disguise as “Bingo” is an auction where interested white buyers place bids for the black body Rose brings home. So questions like “Is it better?” referencing black male sexual performance, is the query of a prospective buyer desiring a worthy investment.

Rose portrays a physical embodiment to the phrase “every shut eye ain’t sleep and every goodbye ain’t gone.” An assumed ally can very well bear oppressive feelings towards a marginalized body. Assumed allies often veil self-interest in seemingly supportive gestures. Namely, Rose does not verbalize her prejudices yet is not any different or better than her parents or their “garden party” guests.

2. The Poisonous Apple

Get Out depicts Chris, a black man,  as an Eve-like figure and Rose, a white woman, as the poisonous apple that exploits his vulnerabilities and renders a series of irreversible consequences. The film intertwines physical hypnosis to induce black acquiescence to a  new identity. Rose acts as a form of hypnosis in her pursuit and pseudo-love for the black male. In seeking to consummate white acceptance and assimilation in his romantic relations with white women,  the black male body enters a vulnerable state exploited by his “prize.” Thus, Rose uses her external appeal to sink her thorns deep into the black male psyche. Just as their love seems to bloom, it is not Rose who dies, but her black lover–illustrating the measure of a rose’s beauty is the ability to distract admirers from its thorns sinking into their flesh.

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3. Science and black experimentation

The Armitage family abducts blacks, hypnotizes them, and uses the black body to improve white quality of life. The procedure leaves a small portion of the black brain but replaces the majority with a white brain. Thus, the black person becomes “a passenger” in his own body. This procedure seems synonymous to the abduction of African bodies and displacing them onto indigenous soil. This displacement renders the black body a passenger in the western experience as each generation proves more distant relationship to their African origins. While the African brain may not be physically extracted, it becomes westernized so that descendants of abducted Africans feel more American than African–making the black body a commuter in their own oppression.

Interestingly, upon first meeting, Chris and Rose disclose that they hit a deer on their way up. In response, Rose’s father remarks that they “did a service” by hitting and ultimately killing the deer. It is this same ideology that prompts the white conservative to seek out black bodies to dismember for their own personal benefit. In their minds, the Armitage family does a service to blacks abducted for their procedure, as their procedure affords the black body a purpose believed to not exist outside of serving whites. Prior to preparing Chris for the procedure, Mr. Armitage asks him “What is your purpose, Chris?” To pose this question prior to their intended procedure suggests that their use of his body incites a purpose otherwise non-existent.

It is this same ideology that prompted white doctors and scientists to use black bodies to test out medical procedures. Henrietta Lacks’ doctor felt entitled to the contents of her vagina, so much so that he did not even consult her next of kin prior to abducting her cells. The pearl-like substances that killed her would acquire purpose in the lives Lacks would come to save following her death. Thus, just as the Armitage family deems the black body purposeful in servicing whites,  Henrietta Lacks’ story similarly illustrates the black body as purposeful solely when appropriated for western motives.

Slavery and the contemporary world implement a similar ideology as the most celebrated black figures: athletes, entertainers, and actresses all serve whites. Thus, the television, radio and even the education system all act as an informal hypnosis implemented as a means to control black bodies and place them on a dead end path to white servitude.

Film Review Get Out

4. The unassumed intellect

Get Out channels Charles Chestnut’s “The Goophered Grapevine” and “Dave’s Neckliss” in illustrating the unassumed intellect in Chris’ TSA friend, Rod Williams. For those unfamiliar with Chestnut or these stories, a prevalent style of Chestnut is to implement a character who due to their vernacular speech prompts most to assume that he is intellectually deficient. The unassumed intellect uses these preconceived notions to his advantage and deceives his “intelligent” counterparts by the story’s conclusion.

Similarly, Williams provides comedic relief to audiences in his delivery. Yet the dramatic irony evokes laughter from some and frustration from others as audiences know that Williams is the sole party in the film that knows the truth. This depiction functions positively, as it evokes a caricatured black image as a means to exploit presumed western conceptualizing of black intellect. In a perfect world, caricatured imaging of blacks would disappear completely. However, it is an act of advancement to include stereotypes in a way that prompts contemplation, or that performs in a way to challenge western predilection for the compartmentalized black body.

The Final Verdict

The most resounding part of the film for me is when the black male body reappropriated as the Artimage grandfather, snaps out of his hypnosis and not only shoots Rose but shoots himself. This depiction illustrates black detachment from a controlled identity as a necessary component to disabling mental enslavement. Furthermore,  blacks not only have to rid themselves from physical obstacles but the part of ourselves that encompasses these harmful ideologies.

My least favorite component of the film was the means in which the hypnotized black body reverts back to semi-consciousness. Although the black body is held hostage by a white brain, it a flash or white light that snaps them back into consciousness. Thus, although it is a black man who physically saves himself from his pending imprisonment–it is a stroke of white light that enables his escape.

Thus, while seemingly a cautionary tale to interracial dating, or to the black body trusting whites in any capacity–the film evokes a white savior in representation rather than form. At surface level, the film seems to evoke the separatist ideology implemented by civil rights leaders like the late Malcolm X. However, the authorship of said movie makes this close reading impossible to take seriously. For this reason, Get Out reminds me a lot of Birth of Nation.

After viewing both Birth of a Nation and Get Out, I left the theater somewhat content. These feelings faded almost instantaneously as I realized that these movies while depicting the complexities of the historical and contemporary black experience can only resonate but so deeply. Namely, both Peele and Parker write and produce movies that should be revolutionary, but are not.

Jordan Peele and Nate Parker both conclude their films in the same manner. Specifically,   Birth of a Nation and Get Out end with all central white characters are murdered by blacks. While fatalities at the hands of blacks substantiate black bestiality, it also functions to depict white bodies as factors that must be eliminated to free blacks from an oppressive state. Like Birth of a Nation, Get Out is authored and directed by a black male married to a white woman. This dynamic casts said black authors as significantly less harmful and least likely to actually eliminate the white demographic because to do so would be to not only murder their wives but the mother of their children. Furthermore, with their interracial unions, the black male writer and director assumes a non-threatening stance in which the murder of fictive white characters seems an artistic choice rather than a means to uplift the black collective.

While the western world attaches a taboo labeling to interracial unions, these unions function favorably to foment white supremacy. The strongest black leaders are strong not because of what they say but because of what they do. Thus, these films are noteworthy, not revolutionary, as it is not enough to implement images that suggest an ideology disconnected from the thought and action of the author.

Writer and producer Jordan Peele also complicates the ability to take Get Out seriously with his comedic background. Thus, his depiction of a white family who abducts blacks and uses their bodies for their own benefit—becomes a well-executed joke rather than reflective of a past and present horror not limited to a New York City suburb.

Article by C.C. Saunders