Liberating the minds of Black Children-Bobby E. Wright

Black image....

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
are receiving.”

Are White people our psychological parents?

Diff'rent Strokes

I remember when I was younger there was the sitcom Different Strokes(1978-1986).  It starred Gary Coleman,Todd Bridges,Conrad Bain and Dana Plato.  Coleman and Bridges played two black brothers from Harlem. When their mother passed away they were adopted by white wealthy businessman Phillip Drummond. Even back then they were giving us the “white savior” propaganda. Hollywood is known for giving us this type of garbage.

webster

Different Strokes was a huge success in the eighties. So of course Hollywood tried to duplicate it again.  They created the show Webster(1983-1989).  The show starred child actor Emmanuel Lewis. The plot was about a little black boy who lost his parents in a car crash.  They even used the same plot as Different Strokes.  They couldn’t even be creative and come up with a different storyline.  Don’t be fooled by these shows.  They were not just sweet and innocent sitcoms.  They had an agenda. It’s obvious these sitcoms were geared towards black people.  They were designed to make us believe that whites are our saviors and we should look to them for guidance and acceptance. They want us to forget that they lynched us,raped us and enslaved us for hundreds of years and was never paid back even after we were “freed”. During slavery we lost our language,customs and cultural identity.  We were treated less then humans.  Dogs get more respect than black people. Which is why sitcoms like this are so dangerous.  It makes us believe the fallacy that our oppressors are our friends. Now we emulate Europeans in every way.  Television and films have a way of altering black consciousness. We speak English or Spanish,dress like them,wear the same clothes they do and eat the same food.  This puts European in a parental  position. And after years of social engineering they have become our psychological parents. When black men dress and talk like white men he is imitating a white man. If he thinks black women are ugly and worthless he is imitating a white man. If he beats up black women he’s imitating white men. When a black woman wears a blonde weave and blue contacts she’s imitating a white woman. When a black woman feels all black men are useless losers she has the mind of a white woman. It reminds me of a quote by the great Pan African/psychologist Amos Wilson once said.  Wilson said that every one has a biological father and psychological father.  Wilson also mentioned that even when black men get involved with crime he is imitating his criminal white father.

Amos Wilson summed it up best:

“As long as the “black man” is involved in “black-on-black violence and crime” (unwarranted internal conflict: “gang turf battles,” “civil wars” and otherwise), he, then, will not have time to engage in what must be his true mission: THE OVERTHROW OF EUROPEAN DOMINATION! As I’ve often said, our attention must be diverted . As I said, once in a psychology class, why do so many “black men” kill other “black men?” Is because they have not yet decided to kill white men. THAT IS THE ULTIMATE TRUTH! THAT IS THE ULTIMATE TRUTH! The cowardly black man has not yet decided to really deal with his true enemy! And, he displaces his frustration and his cowardice upon his own people. He attacks and uses his own, and he abuses his women and uses his children, and terrorizes his community (nation). He is great and bold to take out a gun (his army) to blow away another black man’s brain , but he has yet to take up the gun (use his army) and blow out the brain of his true enemy (stop alien exploitation, domination, encroachment, etc.).

He would march around the world and shoot some other man, but he won’t take up the arms against his true enemy. He can only, then, prove his “boldness” by an attack on his own, and by the destruction of his own. I do not see a common black criminal as a revolutionary. Because the common black criminal  have the same motivation as the white ruling and middle classes. The white ruling and middle classes got a BMW, he wants a BMW. So if it means selling poison to our children, he sells poison to our children. If it means terrorizing the African community (robbing the coffers of African nations) to get the BMW (white/alien men’s status symbols), he’s going to do it. In other words, he approaches his world thieving, killing, etc., the same way his psychological father approaches the world: thieving, killing, etc. Everywhere this white man has stepped in the world there have been thieving, killing, etc.

The black criminal  is but an imitator of his “psychological white father”. Therefore, we have “black-on-black crime and violence,” and “black-on-black crime and violence” is a necessity (assures politico-socioeconomic destabilization) for European power. It’s not the intention for whites to remove crime in the African community (end internal conflicts in African nations), it is their intentions to contain crime to the African community. You talk about the corruption of the police: it’s easy to corrupt a police man/woman when he/she is guarding a people that they do not care about (identify with). And when the corruption of those people he/she is guarding ultimately…MAINTAINS THE POWER POSITION!

Ebonee Davis

Ebonee...

Model Ebonee Davis is one of the biggest rising stars in the fashion industry. She’s starred in massive Calvin Klein campaigns, graced the pages of Sports Illustrated: Swimsuit Edition, walked in countless shows and been featured in countless magazine spreads.

But it wasn’t exactly an easy journey to success, nor does she find her career perfect now. In a powerful, must-watch TED Talk, the 23-year-old model detailed the pervasive racism she’s experienced in the industry, concluding with an uplifting screed on Black Girl Magic.

Davis starts out by describing how she began relaxing her hair at the age of four, convinced by the media and the world at large that what she already had wasn’t beautiful. “To be born Black in America is to be born into a world that makes you feel inferior before you can even take your first step,” she said. “It is to be under constant spiritual and mental attack.”

She detailed moving to New York from Seattle as a teenager to model, where people in the industry frequently asked “where she was from.” She told them she was from Seattle.

“I figured that once I got a contract, the industry would open up for me,” Davis said. “But at every turn, I was met with resistance. I had white agents with no knowledge of Black hair care run their fingers through my hair and tell me things like, ‘We already have a girl with your look.’ Translation: All Black girls look the same.”

She was hurt by agents telling her, “We just don’t know what to do with you.” Her face was “painted grey” by makeup artists, stylists burned and pulled out her hair to the point where she “had to start over,” and she was discouraged from wearing her hair natural (she did it anyway).

“I was told not to work for publications like Essence and Ebony magazines, because if I got labeled an ‘urban model,’ the fashion industry would close its doors to me,” she said. She appeared in the March issue of Essence. Her career is bigger than ever.

Despite everything she’s gone through, Davis continues to rise in the industry, and due to her fame and success, she has a powerful platform to speak out about inclusion (she does not want to be the one Black model, checking some kind of box, but rather see representation across the board).

“Despite the great injustices we face as Black women, we can, and have, and will rise out of the ashes, and become examples of resilience, drive, and excellence,” she said. “I like to call this Black Girl Magic. And with this magic we are creating our own publications, we are creating our own television shows. We are creating our own narrative.”

Ebonee Davis1......png

Black Storytellers: Should they have a Black spouse?

I saw this trailer about a month ago.   It’s for a six-part mini-series called Guerrilla on Showtime.  It’s about an interracial couple who are activists in London during the 1970’s.  It kind of  reminds me of the Black Panthers or Black Liberation Army movements.  It stars actor Babou Ceesay and actress Freida Pinto. Actor Idris Elba also is in the series. But I thought it was strange that the film had Indian actress Freida Pinto has the lead actress.  And I saw virtually no black women in the trailer.  Black women have been fighting against racism and sexism since forever.  Is this the erasure of black women? And even if there are some black women in it…why is the lead female an Indian?  I guess some will say that it’s to show that Indian people struggle with racism as well.  But why can’t we ever show black men and women working together against their oppression?  Why can’t we see many more films of black men and women loving each other? What are we  supposed to take from films like this?  That it’s better to fight racism and oppression if you’re having sex with a  non-black person.  This is utter nonsense! And we can no longer fall for this trap. Black unity and black love  is the answer.

Freida Pinto...

Who needs Assata Shakur? Yaa Asantewaa is not needed either.  Freida Pinto will lead black people to freedom!  She is the savior for black people! This would be funny if it wasn’t so sad.

John Ridley....

So after seeing the trailer I wanted to see who was the creator of this series.  I found out that the executive producer is John Ridley. Ridley is a screenwriter,novelist and director. He won an Academy award for his screenplay of 12 Years a Slave. He also is the producer of the show American Crime.  The picture(above) is of Ridley and his Asian wife Gayle.  His wife isn’t black so is this why he didn’t cast a black woman as the lead in his new series?  And why are all these men without black wives telling black stories?  And he’s not the only one. I have noticed black actors,directors and producers telling black stories without black wives.

Steve McQueen.....

This is director Steve McQueen.  McQueen grew up in London. He’s good friends with John Ridley because he directed 12 Years a Slave.  This picture(above) is McQueen and his Dutch wife Bianca.

David Oyelowo...

Actor David Oyelowo is another black British man.  He has been in films like The Butler,The Help,A United Kingdom and Jack Reacher. He even played Martin Luther King in the film Selma. Should this man be playing black historical figures?  This is a picture of him and his white wife Jessica.

Get Out poster....

Jordan Peele....

Actor/filmmaker Jordan Peele got a lot of praise for his horror film Get Out.  It broke box office records making over $160 million.  Some say it was a great horror film.  Some say it was a film that had a much more deep psychological meaning to it.  It definitely had a lot of subliminal messages regarding racsim,occultism and organ harvesting.  But some may not know that he’s biracial.  Peele has a white mother.  And his wife Chelsea is a Zionist Jew.  So even though he told some truths in the film Get Out..will expose it all? Will he tell black people everything that racists whites are doing in Hollywood?  Is wife is a Jew so I know he has some insider information.  But the question is…who is he loyal to?

Underground...

John Legend...

The television drama Underground takes place during slavery.  It has been getting good reviews from critics.  One of the executive producers is singer/songwriter John Legend. He will even play Frederick Douglass in an upcoming episode. His wife is model Chrissy  Teigen.  Her mother is Thai and father is white.  That makes her a hapa. If you don’t know what that is go look it up.

Nate Parker....

Of course we can’t forget actor/director Nate Parker. Parker directed the controversial slave rebellion film The Birth of a Nation.  The film had some good elements and some truth in it.  But it was mostly controversial because back when he was in college Parker was accused of raping a white woman. He claims he was innocent and that people should support the film.  I’ve seen him in interviews and he seems intelligent and articulate. But he can’t be too smart because if that white woman caused him so much grief why did he go and marry a white woman.  What sense does that make??? Some negroes never learn. Anyway this is a picture of him and his ugly ass wife Sarah.Sunken Place....

I bring up this issue because I wonder can they be trusted. Can they accurately tell the black experience?  Can they express our pain and struggle?  Can they express the truth about our oppressors if they’re married to them?  Can they be about black love but not married to black women?  These are the questions that come to my mind. But I think they hire these type of men because they know they’re not about black empowerment. They will always be intellectually dishonest about the black experience.  They know that since they have non-black wives they have already been compromised. The interracial element just adds more confusion to the black psyche. We must be careful watching anything by these men. These films have a way of  distorting black consciousness. And keeping us stuck in the “sunken place”.

Housing Projects:Human Experiments on Black Self Destruction

In 2004, white people looked back on the history of western psychology and proposed a list of “Forty Studies that Changed Psychology.” Joined by papers from freud, pavlov, milgram and skinner, calhoun’s “Population Density and Social Pathology” (1962) captured the white imagination with hundreds of citations and many references in pop culture including novels, comic books and films. It’s impact on Black life is unquestionable; yet despite its Black impact or white popularity, you’d be hard pressed to find a Black person cognizant of its content. Fortunately, the reading man is a ready man, and not only can a reader find the research, a reader can even find several summaries:

[Observations made of rats which were supplied with unlimited food but limited space {in high-rises no less} showed that:] Dominant males became aggressive, some moving in groups, attacking females and the young. Mating behaviors were disrupted. Some became exclusively homosexual. Others became pansexual and hypersexual, attempting to mount any rat they encountered. Mothers neglected their infants, first failing to construct proper nests, and then carelessly abandoning and even attacking their pups. In certain sections of the pens, infant mortality rose as high as 96%, the dead cannibalized by adults. Subordinate animals withdrew psychologically, surviving in a physical sense but at an immense psychological cost. They were the majority in the late phases of growth, existing as a vacant, huddled mass in the centre of the pens. Unable to breed, the population plummeted and did not recover. The crowded rodents had lost the ability to co-exist harmoniously, even after the population numbers once again fell to low levels. At a certain density, they had ceased to act like rats and mice, and the change was permanent.

In essence, the government-funded calhoun correlated population density with social pathologies and since then Black people have been herded into population dense housing projects and riddled with identical social pathologies: street gangs, confused mating, neglectful mothers, child abandonment, high mortality, withdrawn individuals, no harmony, permanent corruption, kwk. The name ‘projects’ isn’t coincidental and its targeting of Black people isn’t accidental. For instance, on the surface, in the united states of america, the Housing Act of 1968 prohibited the use of high-rise developments for families with children (unlikely given how many children are in high-rises today.) The real legislation in that law was Section 235 which gave white people a means to get out and live in the suburbs, effectively leaving Black people behind to the full wrath of the experiments. And it worked. white people lived in the suburbs and Black people lived in the projects. What we know as white-flight is just ‘when the project begins’ and what we know as ‘gentrification’ is ‘when the project ends.’   rats1

Of course, the casual reader may have been mislead into thinking research on rats has no bearing on human beings; however, despite the applicability of the research, the intention of the researcher to apply it to people, the u.s. government funding the research, or the impact of the research on architecture, psychology and science in general–the fact remains that not only do Black people live in ‘Projects’ and white people as early as 1573 correlated dense urban living with ‘rascall and vile sort of men’ (see baret j.); but the more salient fact is that white people have countless studies on Black people and white people control Black environments. Certainly, Black people have a short list of studies on whites, most of which use white studies on white people and few of which are significantly read by Black people; but it’s very similar to the lab rats boldly writing books on their white researchers. Are they truly studying or reiterating? And when they publish with the researchers, is that not more study information for them?

Now, that Black people are studied by whites is undeniable. If you want to learn a fact about Black people, the quickest means is, unfortunately, going to whites. What’s more white people are all very quick on Black facts and statistics; much more so than Black people are of white facts and statistics. However, why white people study Black people isn’t self-evident. I won’t waste much time on conjecture: some will say for sexual accessibility, to financially exploit, to kill us off, to study themselves, because only one Race can be on top, all of the above or none of the above–who knows? The truth is that Black people are in different labs that white people constructed, whether you are in the hood, the prison, the suburbs, the gated community or the white neighborhood. And white people collectively put you there for collective study. What for? Only whites know. What’s more important is for Black people to acquaint themselves with the research and even moreso the smartest solutions out of this predicament.

projects2

For instance, it’s self-evident that if social decay is a result of a lack of space, the solution to the Black problem is emigration. In other words, if the excess rats left the laboratory, the remaining society would have thrived. However, in the rat situation and the Black situation, the whites limited his subject’s individual mobility. The classic example is that Black people wish to move out of the hood all the time; but those who are successful in that transition often find themselves priced out of their destination and returning poorer than ever. Why? Because whether you are in the hood or in the suburbs you are a part of the experiment and if, for instance, the researchers in the suburbs want you back in the hood, he need only make a call and you’re back in room 14. Am I lying?

Further, it’s worth noting that in calhoun’s research, he would observe that the mice became territorial and violent toward one another. But to make it easy for him to verify that the mice were territorial he would mark a handful of mice with different colors. Another scientist then commented that despite how mice are color blind he may have created the territories by assigning different colors, in which calhoun noted that it was possible, especially since the mice could possibly smell the difference between the marks. However, he also lended the idea that although the colors were used on the mice, many mice were uncolored but were as territorial notwithstanding. Anyone in the hood can tell you that different projects (territories/turfs) are represented by different gangs who wear different labels which are oftentimes colors [i.e. neighbors in the same building would rarely be gang rivals]. Not everyone in the building wears the label–but in order for whites to easily study them, many gang affiliates do. Two prominent gang colors — blue and red — have been in Black projects since 1969 and 1972, respectively; very shortly after the 1968 Housing Act and for nearly 50-years! And the flags/bandanas that gangs associate with are manufactured and distributed by, you guessed it, white people–the researchers.

It’s easily said, not so easily done, that Black people should disassociate entirely from territorialism. However, it behooves us to condemn without understanding. In the mice situation, the limit of space also meant the limit of roles; in human terms, the limit of space also means the limit of employment. As in, without predators or diseases, the mice lived longer lives and occupied their social roles longer than nature would permit, so a lot of younger mice would reach the age for social roles and be without any. One impact of this was to destroy the mice’s mating, just the same as an unemployed Black man isn’t as attractive to a Black woman as a gainfully employed Black man or, by design [often and unfortunately], a well-to-do white man. Again, a cursory study of the hood–a prominent project being done to us–is that near every local employable opportunity is taken by eurasians; from the stores we shop down to the police force [The police are not only there to kill us, but also to take our jobs!] The few jobs Black people find in the hood are custodial, transportational and more often than not menial; and many of those employees are aged and not going to give those jobs up. So you have countless young Black people without employment yet under normal circumstances it would not be horrible. For instance, if a hiring factory were nearby, hood employment would be solved [Note to Reader: Build a Black Factory {computers, phones, cars, soap, hair products, frozen foods, kwk}]–or if plentiful arable land was nearby, hood employment would be solved. But there are no hiring factories and not enough arable land near hoods. This is by design.

projects1

Further, the researchers decided to test what impact they can have on Black people if they offered Black people employment as drug dealers and gave them guns, movies, music videos and comic books which reflected how to effectively make a living violently drug dealing. Note: anyone can tell you that Black people do not import drugs into the united states and Black people do not manufacture guns in the united states, but somehow Black people have possession of large quantities of drugs and guns in the united states and its usually the ones with drugs who have the most guns–and those guns are never pointed at the researchers. Anyone can tell you this. It’s easy to suggest Black people should sell their drugs to white people or point their guns at white people; but the experiment is always being perfected. Today, white people mis-educate Black people in schools. They know, in fact, that most Black people only have an 8th-grade education, to this day. They know Black people will drop-off/drop-out in High School because High School is geared toward College and few Black people (particularly males) aren’t intimidated by College when they are being failed left and right. They designed it and we are the lab rats, falling hook-line-and-sinker. In fact, white people know that this article I am writing is above the 8th-grade level so he knows many Black people would not only pass up reading it but will also be unable to grasp fully what is being written. The cracker is laughing. He designed his system to have minimal flaws.

So what in the world can you do? I personally organized a handful of Brothers and Sisters to go into the hoods (where our population is most dense) and endeavor to radicalize the Black population there. Whether it is making them cognizant of the experiments, informing them on how to organize economically, or giving them self-knowledge above and beyond the 8th-grade, that is what I do aside from these writings. And it’s resisted by Black people! It’s thankless work. I’m even resisted by the Black men and women I organized! Only a handful are 100% committed. So the white man sees yours truly, Onitaset Kumat, petitioning certain communities and he’s laughing. The cracker even nods at me. He looks at me and says, without saying, “Nigger, we would have given you any position your Nigger-ass wanted. You individually are smarter than most of us. In another time, we would look up to you, like we looked up to Kmt, Kush, Timbuktu, Olmec, etc. You are a special Nigger, why you wasting your time on those other Niggers?” But personally, I’m just not with abetting the crackers’ agenda. And it’s upon Black readers and leaders to take the same stance. This white man mis-organized Black communities to be self-destructive. Countless Black people, like the lab rats, are turned against themselves while ignoring the impact that the researchers are having. You’ll have your crowd of Black women saying Black men ain’t it; or Black men saying Black women ain’t it; or Black people keeping white secrets (particularly sex secrets–you know who you are! [read “Pieces of a Puzzle: The One Thing Black Females Will Not Talk About” by Reneathia Tate); or Black people serving white people cheaply. But until Black people wake up to the experiments and work toward undoing it, they will be at the mercy of a sadistic and savage people. Black people today are sexually accessible to whites, servile to whites, working for whites, subjugated by whites, mis-educated by whites, mislead by whites, deprived of maturity by whites, reporting all of their information to whites, requiring permission for basic things by whites, being fed and clothed by whites, studied and experimented on by whites; and these white people make sure of it everyday.

Black man and Black woman, you are in a Project. Call it the hood, call it Prison, call it the suburbs, call it a neighborhood, call it Earth, you are in a Project. The solution has always been what it always was: Maroon and Build For Self. I said it for over five-years and ancestors willing, I’ll keep saying it for another one-hundred years. You must break free of white people: then and only then will you be free. Know yourself, know your enemy, and be the rare African who is 100% committed to our liberation. That rare African is our most valuable asset.

Article written by Onitaset Kumat

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