Mythical Perfection of Eurocentric Beauty

Charlize Theron...

I remember years ago I heard two white men discussing beautiful women.  It was at a former job and they were talking about the prettiest women in Hollywood.  One of them said actress Scarlett Johansson was the hottest.  The other one said he thought actress Megan Fox or Charlize Theron were the prettiest.  And they went back and forth naming actresses like Jennifer Lawrence,Liv Tyler and Natalie Portman. They never mentioned any black women in their discussion.  And why should they?  They’re white men so they are discussing what they find attractive.  It’s only natural for  a man to find his own more attractive than other races.  But I do find it interesting that many times in Hollywood they will give a white woman attention for physical attributes usually associated with black women.  When they talk about women with the most beautiful lips they bring up women like Brigitte Bardot,Sophia Loren or Angelina Jolie.  I don’t get what all the hype is about.  There are countless black women that have beautiful full lips. I see black women on the street everyday that have better lips than Angelina Jolie.  This is one of the reasons you have white women getting lip injections so much today.  They want lips that are pouty and full.  The kind of lips you want to kiss. These white people know deep down that full lips are more attractive than thin lips.  The white media always wants to uplift the beauty of white women at every turn.  That’s one of the reasons I think their beauty is very overrated.

Jennifer Lopez....

The media also loves to praise non-black women for having nice butts.  This has always been a fascinating phenomenon to me.  We all know that white women are known for having flat asses.  When I was high school it was rare to see a white woman with some curvaceous thighs and nice butt.  But ever since actress/singer Jennifer Lopez became big back in 2000..it’s all they talk about.  Jennifer Lopez and rapper Iggy Azalea even did a song called Booty a few years ago.  How can you have a song about booty without black women???  It’s obvious they want to promote any non-black woman  with black women attributes.  That’s why even though Lopez is Puerto Rican she’s still not  a black woman.  I doubt that Iggy’s butt is real.  And she’s already admitted to breast augmentation. Iggy is a plastic rapping bimbo.   And not a very good rapper at that.  And Armenian no-talent socialite Kim Kardashian has also been praised for having a big butt.  I personally don’t think the her butt is real.  Kardashian and her fame whore sisters are the reason many white women are getting butt implants and Brazilian butt lifts.  The big butt craze has gotten so out of hand even some black women are getting them.  Which I never understood.  Many black women already have nice butts.  But this shows how powerful the media has become.  It’s sad when black women feel they need to compete with something that most of them have naturally.

Bustle Era...

European beauty has always seemed manufactured to me.  It seems like white women have always copied black beauty but denigrate it at the same time.  Back in 1870 there was the Victorian Bustle dress era(pic above).  This dress was very popular with white women. They say it was popular at ballrooms because of the expensive laces and multitude of fabrics.  But the real reason was because the dresses made it look like they had a huge back side.  It made them look more like a woman that had some curves.  And keep this in mind that this was dress popular during slavery.  Most likely their white slave owning husbands were lusting after their African female slaves.  Many of these white women were jealous because their men were sneaking into the slave quarters at night.  So they were resentful of African women and their naturally superior bodies.

Megan Fox....

When I did a google search for “most beautiful women”,I kept seeing the same handful of names. Names like Blake Lively,Jennifer Aniston,Nicole Kidman,Charlize Theron,Megan Fox,Kate Upton,Naomi Watts,Scarlett Johansson and Kim Kardashian.  I was quite surprised that as I researched these “beautiful” women I realized so many of them have had plastic surgery.  There are not too many natural beauties in Hollywood or the music industry.    The pic(above) is of actress Megan Fox and it’s obvious she’s had quite a bit of work done to her face.

Marilyn Monroe....

What about the “classic beauties” like Marilyn Monroe?  Monroe is an iconic film star.  Many regard her as the symbol of white female perfection.  It has been well documented that Monroe had surgery done to her chin and a nose job as well. Well I guess no one is perfect right?

Nicole Kidman....

This is actress Nicole Kidman.  I never found this woman attractive at all.  Her sickly pale skin never turned me on.  She wasn’t even attractive when she was young.  And it looks like she got some lip injections too.  Is she going for that “full lips” look like a black woman has?

Jennifer Aniston...

This is film actress Jennifer Aniston.  I never got the hype about this hideous looking creature.  She clearly ahs gotten a nose job.  And she is not aging well at all.

Blake Lively....

This is film actress Blake Lively.  I’ve heard a lot of white boys say she is the hottest thing since sliced bread.  Which is a good analogy because she is plain as a piece of white bread.  She does nothing for me.  She looks rather plain to me.  Wouldn’t look twice at her on the street.

Scarlett Johansson....

This is actress Scarlett Johansson.  She is mentioned a lot in fashion magazines. They fawn over her all the time.  Some have even compared her to Marilyn Monroe.  They act like she’s the epitome of white beauty. But as you can see a “natural beauty” she is not.

Kim K....

Now if we’re discussing fake plastic women..you can’t leave out Kim Kardashian right?  I know a lot brain dead black men like this no-talent whore but I’m not one of them.  They like her because she sleeps with a lot of black men.  It’s amazing that a woman can do a sex tape and make the cover of high fashion magazines. Only a non-black woman could pull that off.  But Kim has a fake ass as you can see from this picture.  And most likely fake breasts as well.  She’s just a high class whore. Real men who have standards and taste know this.

Bo Derek....

But all this cultural appropriation is nothing new.  It’s been gong on for many years. Even back in the day actress Bo Derek(above) was in the film 10(1979).  In the film she wore braids with beads in her hair.  She’s given a lot of credit for popularizing what we all know is known African hair style.

Kylie Jenner....

And just a few years ago socialite/model/television personality  Kylie Jenner caused an uproar on social media when  she posted a selfie wearing cornrows.  Jenner is not much different than her older attention whore sister Kim Kardashian.  They all seem to love stealing from black culture and have created a $450 million net worth from being wannabe black women.  I have news for these no-talent media women.  Just because you have sex with black men and date them exclusively does NOT make you honorary black women.

Pretty Ladies2....

To put it bluntly…I think white women are seriously overrated.  There are black women that are overweight but so are white women.  When a black woman eats healthy and stays fit…no other race can touch her.  Black women age ten times better than white women and other races as well.  That’s due tot he benefit of melanin. I’ve even had white women tell me personally that they wished they aged as well as black women.  They are secretly envious of the black woman’s body,hair and beautiful skin tone.  The only reason white women are held as the standard is because we live in a white dominated society. Using whiteness as the standard of beauty is just another manifestation of white supremacy. When white women are elevated to the superior position all other races that deviate from that standard and are considered unappealing or unattractive.  Black women should embrace their natural hair and complexion.  There is no need to try to look like European women.  They are too busy trying to imitate black women anyway. A sad imitation at that.   Sistas have an unique beauty all their own.  I leave you with a  poem from  Jennifer Asiedu.  It’s titled About My Black.

“My black is flawless
I’ve never been this proud before
My skin never felt so good
Was I not used to it?
I can’t remember when I loved this shade so much
My color is dark and lovely.
It sings with a rhythmic melody of beauty.

My black is loud
It yelled at this pale-faced lady the other day
She tried to demean my black
And just as quickly as she did
My black screamed back.
My skin roared with elegance
Reminding you it is not afraid anymore

My black is loved
I rubbed it down tenderly today
Making sure to touch every inch.
Ever so gently it glistened and radiated
My black shimmers and still catches attention.
It’s been kissed and hugged
Yet still selfishly wants more

My black is hopeful
I’ve had a freedom that was honestly free
I’ve lived in a time when my black was OK.”

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

Get Out- Interracial/Horror Film(Hidden truths)

get-out-poster

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.

get-out3

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

 

Tales of Buffoonery: Episode 1


This is a new feature on my blog. I will put up videos and pictures of things that show how much anti-blackness is alive in black people. As a result of white supremacy our people still suffer from self hatred. This video is proof positive. This is from the daytime talk show,The Talk. Comedian Sheryl Underwood says that afro hair is nasty. This is pure self hatred. And to say this on national television in front of a bunch of non black people is disgraceful! She should be ashamed of herself! She has since apologized for the comments. She claims she didn’t mean it. Yeah right. The damage is already done. Watch the video and judge for yourself.