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.
Those who have loved and dated across the color line have to negotiate the realities of race in our society, and by extension, its impact on their relationships. For many, this is done through explicit conversations. For others, these dialogues come implicitly, through gestures, and taken for granted shared assumptions.
Contrary to popular notions, BDSM is not about abuse. It’s consensual and trusting and people refer to it as “play” (as in “I want to play with you”). The point of BDSM is not sexual intercourse. In fact, when Williams recalls her first experience as a masochist seven years ago, she says she met her partner, a white man, at a bar and “fell in love at first sight.” They made their way back to his hotel. “For the first time I felt someone could see who I really was.” And that was someone who found it erotic to be a submissive to her partner.
In recent years, Williams has added another element to her repertoire as a masochist. She’s begun to engage in what is called “race play” or “racial play”—that is getting aroused by intentionally using racial epithets like the word “nigger” or racist scenarios like a slave auction.
Race play is being enjoyed in the privacy of bedrooms and publicly at BDSM parties, and it’s far from just black and white. It also includes “playing out” Nazi interrogations of Jews or Latino-on-black racism, and the players can be of any racial background and paired up in a number of ways (including a black man calling his black girlfriend a “nigger bitch”). White master seeking black slave, however, seems the more popular of the combinations.
I could not engage is such types of role-playing. My personal politics would not allow it; my libido would not respond.
That is my choice. I do not deny others their pleasure.
However, as someone interested in the relationship between race, politics, and racial ideologies, I am fascinated by how individuals negotiate white supremacy and Power.
Vi Johnson, the black matriarch of BDSM, has presented on race play at kinky conferences and she believes the appeal is different for each person. “When you’re being sexually stimulated, you’re not thinking that what’s stimulating you is a racist image, ” she says. “You’re just getting turned on.”
So, for some, she says, race play is about playing with authority and for others, it might be humiliation.
Well-known sexuality and SM educator Midori, who is Japanese and German, often presents her theory that humiliation in BDSM is linked to self-esteem. Take the woman who likes it when her boyfriend calls her a “slut,” Midori says. Perhaps the woman internalized the idea that “good girls don’t,” but she enjoys her sexuality. Because the boyfriend sees her in all her complexity, Midori says, when he calls her a slut, “he is freeing her of the social expectations of having to be modest.”
That’s different than having some stranger (and jerk) calling you a slut. The stranger doesn’t see the full woman. It’s similar with race play, Midori says. By focusing, for example, on a black man’s body, while he’s bound as a slave, she’s bolstering his own perception of himself as strong and powerful…
Her workshop demonstrations have included full auction scenes mimicking those of the Old South. In them, she is the plantation mistress inspecting a black man for “purchase.” He’s in shackles and “I slap him on his face and push him down on the ground, make him lick my shoes,” she says, emphasizing that she only does the demonstration after the “psychological” talk.
Here a white “slave owning” master offers some insight on race play and “plantation retreats”:
My major kink-interest is in chattel slave-ownership in today’s world but following the historical models of 8,000 years of historical slave-ownership tradition (from Greek-Roman through modern day)…along with everything that might relate to it (which sometimes can go pretty far into the realm of BDSM activities, depending on the partner). I’m very knowlegble in the field of historical slavery.
Some of my other non-kink interests include history and philosophy, classic cars, music, science, singing and writing lyrics, architecture, comparative culture, language, reading and counseling..
I get a lot of questions about “Plantation Retreat”…so here are some basic facts:
My goal in creating and hosting Plantation Retreat is to provide a safe and welcoming, private place (and opportunity) for White Masters and plantation slaves/niggers to meet and explore their mutual fantasies. I get a lot of questions and answer many individual questions. To simplify things…here is some general basic information:
The gathering lasts for up to 2 weeks this year, with the main gathering around the 4th of July…folks can stay as long or as short a time as they want (some stay even longer). Masters can stay at the compound here or in a hotel if they want to (as can any personal slaves that they bring with them or any other slave that is ordered to do so).
Slaves arriving on their own stay here and are considered (and protected) as property of the plantation or my personal property.
Slaves sign up for a specific length of service. Slaves can specify what their limits are or that they will serve in any way the Master/guests desire. Sex is not required, but depends on individual choice (as do other activities). Most Masters desire to use slaves sexually in addition to normal domestic services. Some slaves are used only for hard labor. A slave’s assignments and duties are based on its experience and ability-level (some require whipping or punishment). Masters have their own king or queen bed (up to 5 available); slaves sleep where they are told to sleep (unless they are ordered into a Master’s bed and allowed to sleep there). Normally a slave sleeps at the foot of a Master’s bed, but some can be chained or caged elsewhere.
The minimum requirement for slaves is that they be obedient and respectful of all Masters and work to give the Masters and enjoyable time. This can be anything from preparing and serving drinks and meals, doing housework or yard work, to providing sexual relief on demand, to hard labor in the compound (depending on the slave’s previously-stated limitations). Slaves should expect Masters to be totally comfortable and free in using humiliating or degrading racist speech in referring to or speaking to mud-slaves. It’s not all punishment and misery for slaves…there is plenty of time for camaraderie and playful fun also. Some slaves even form a brotherly bond with the other slaves that serve with them. Masters also form lasting bonds and friendships based on their mutual interests and sharing slaves.
It’s just a small friendly gathering of White Masters at my house/compound….being served by mud-slaves as might have been in a modern version of slave-days. one might call it a situation of consensual non-consent/slavery. Slaves can set their limits and the time they will be in service as slaves in advance…. and also what they expect to learn and experience from the experience. The more that a slave lets me know about itself in advance, the better I can guide its growth from the experience.
Backstage racism mates with BDSM, the eroticization of the black body, and finds a place online through a variant of cyber-racism. Amazing. We do in fact live in interesting times.
The Disney film Beauty and the Beast is coming out soon. There’s a lot of hype about this film. I remember seeing the cartoon back in 1991. I always got the feeling it was a film covertly about bestiality. Or at the very least a film about worshipping Satan(Beast). But I thought I would give you my own version of Beauty and the Beast. This video is by Whitney Wisconsin. This white cave woman goes into sexual details about all the different breeds of dogs she has screwed. This creature is a depraved savage! She suffers from a serious mental illness. Or maybe not. Maybe she is completely sane. Which means this is normal behavior in her mind. And she has no shame talking about sex with animals. Just more European antics. Check out the video if you can stomach it.
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