Last week a friend of mine asked me what I thought about the ” Do it for The D” challenge. I wasn’t sure what he was talking about. He said it’s a rap challenge that had went viral all over social media. It is where you do a rap and talk what you what do to get penis from a man. There are also an alternative version in which men rap about what they would do get vagina from a woman. I find this pretty sick and disgusting! Look how far we’ve sunk as a people. You have rappers and black actors doing this stupid ass challenge. Hip hop used to be about educating our people with knowledge. The golden era(1980-90) of hip hop had artists like Public Enemy,X Clan,KRS ONE,Brand Nubian,The Jungle Brothers,A Tribe Called Quest and Queen Latifah. At least they were either Afrocentric,pro-black and had conscious lyrics. But ever since the mid-nineties it has hit an all time low. I remember a few years back Nas dropped a Cd called Hip Hop is Dead. I think he may be right. Now the culture is just operating on the lowest frequency. Now they have children talking about shooting each other,acting like gangsters and being promiscuous. This is nothing but mentacide. It is the destruction of the black mind. And it’s being done intentionally.
And the video(above) shows celebrities like Issa Rae,Regina Hall,Keke Palmer,rapper Tyga,T-Boz, Gabrielle Union and Sanaa Lathan doing the challenge. It was really disappointing to see Union and Lathan stooping to this garbage. I have always thought they were beautiful and talented actresses. They should know better than to do such a degenrate sexual challenge like this. But the worst had to be Erykah Badu. She and comedian Michael Blackson did the challenge. I understand that Blackson is a silly ass comedian that you can’t take seriously. But Erykah?? I thought she was supposed to be this deeply spiritual,conscious,holistic Afrocentric woman. This woman is 46 years old with three children. Is this what she wants her children to see?? Do they want to see their mother doing a “dick challenge”? This is a new low for Erykah. She makes good music but she’s not truly conscious in my opinion. And these other celebrities should know better as well. They should lead by example. But the truth is they believe that ghetto ass hoodrat culture is authentic black culture. They think they’re “keeping it real”. In a sense they are…keeping it REAL ignorant! These celebrities are paid puppets. They go along whatever their rich white masters tell them to do. As long as they’re getting paid they don’t care if they’re putting out negative stereotypes or contributing to black mentacide. Are we niggas and hoodrats? Do we want our black boys to view manhood as how many women you can sleep with? Do we want black girls to see themselves as ghetto hoodrats? I would think not. And videos like this show that celebs have no social responsibility. And we have to protect our children from this madness. It’s up to us to show a positive examples to our young ones. This so-called challenge is deplorable in my opinion.
I love this video(above) by Goalden Chyld. This rapper flipped this disgusting challenge on it’s head. He did a positive and uplifting video entitled ” For the People Challenge”. Now others are doing positive videos as well. I salute this brother! I hope this type of thing catches on. But deep down I know it wont be as popular as the “do it for The D” videos. This proves to me that black people have a serious mental illness. We have been taught accept disgusting and over the top sexual themes as “authentic blackness”. This type of mentality needs to change. We got to do better.
Over the years I’ve seen black people who were full of self hatred make a big change. Some gain black consciousness through books or films. But one thing I’ve noticed is that black people who really change their consciousness is that their lifestyle changes as well. As well as their opinions and world view. Here’s a short list of some of the things I went through during the elevation of my own consciousness. And things I’ve seen in others. Feel free to list any things that come to your mind in the comment section.
1.Many begin to have a stronger cultural pride. They may even change the way they dress or learn an African dialect. They start to talk about black power and black unity a lot more.
2. Many times their eating habits will change. As they gather more information on a holistic health they will stop eating at fast food restaurants and eat more fruits and vegetables. They eat organic food over GMO poison.
3.They will start to develop a thirst for knowledge. They will want to learn as much as possible about black history,black heroes and all the great African civilizations. Knowledge of self becomes very important.
4. After learning their true history they may become upset from the lies they were told by the “public fool system”. They realize(real eyes) they have been manipulated. After doing extensive research they have become “awaken” and can see through the lies and propaganda from the racist media and Hollywood.
5. After much studying they learn to appreciate the beauty and power of their melanin. They realized they are blessed to have sun-kissed skin and black genetics run through their veins.
6.They no longer hate their natural African textured hair. They now know their hair acts as an antenna. They know they have 9 Ether cosmic hair while other races have fur.
7. Interracial marriage(swirling) begins to look strange to their eyes. After realizing black power and unity are crucial….interracial couples look foreign to them. They see that many of their people suffer from mentacide and don’t realize they are destroying themselves by mating with other races.
8. As their consciousness grows so does their maturity level. They stop acting like little boys and girls and act like responsible men and women. They desire to have meaningful loving connections with black people. No more one night stands and casual flings. Whores(male or female) are not truly conscious beings.
9. They begin to study herbal medicine. They realize that hospitals aren’t in the business of curing people. They now know that herbal immunity is better than deadly vaccines. And that hospitals are disease management.
10. They know that Black Love,black unity and self respect is of utmost importance. They also realize that black people are the true standard of beauty and we are the original people of the planet. And the black man and woman need each other in this physical,spiritual and psychological war!
We must be about the business of liberating the minds of Black
children. In order for that to occur, the minds of all Blacks who
interact with them must also be liberated. There is no other way.
It is relatively easy to educate Black children, even about their
Africanity. But, it is extremely difficult to reinforce the
education. Therefore, even sitting in the same classroom, white
children will be ‘educated’ and Black children will be ‘trained.’
The white child will be taught how to rule and the Black child
trained to be ruled. ‘Training’ is defined as teaching a group what
to think rather than how to think, making them dependent rather than
assisting in developing skills which could be used for independent
activity, rewarding behavior that operates against their group’s
interest, promoting individual rather than group achievement, and
instilling negative self-concepts and low self-esteem. The opposite
of the above mentacidal process (training) is education in which the
learning process becomes a liberating force.
Black independent schools are important not only for how they
teach but for what is taught. Their purpose of instilling within
Black children an ‘Afrikan Worldview’ is the most important activity
those children will ever experience. Black parents whose children
are not in independent schools should at a minimum expose them to a
well-structured supplemental Black educational program. Some of the
most dangerous Blacks in the world are many of those brothers and
sisters who finished graduate school ‘with honors’ and yet operate
against the interest of Blacks because of their eurocentric
orientation. The writer does not mean to imply that Blacks should
not attempt to achieve high levels of ‘training’ in white
institutions, but should be aware that it is not ‘education’ they
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.
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.
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.
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