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.

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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!

European Antics: Episode 10(Period blood leggings)

Love the Blood...

Check out these leggings!   I think this is pretty gross! They are period stained leggings.  These leggings are meant to celebrate a woman’s menstrual cycle.  The leggings were being  advertised by the American apparel company Poprageous.  But you can rest easy.  Upon doing more research it was apparently an April Fools day prank by the company.  Well in my opinion,prank or not it’s still pretty disgusting.  And what type of demented mind what create such a thing.  If you assumed it was an European..you  would be correct.

European Antics: Episode 8( Beauty and the Beast)

The Beast...

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.

Get Out- Interracial/Horror Film(Hidden truths)

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

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

1.White Liberal

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

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

2. The Poisonous Apple

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

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3. Science and black experimentation

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

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

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

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

Film Review Get Out

4. The unassumed intellect

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

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

The Final Verdict

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

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

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

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

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

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

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

Article by C.C. Saunders

 

Paris Jackson: Culturally Black vs Genetically Black

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The woman on the current cover of Rolling Stone is Paris Jackson. She is the daughter of the late music icon Michael Jackson. In the cover story Paris says that she knows for sure her father was killed.  That may or may not be true but that’s a story for another time.  This post is about the fact that Paris says in the interview that she considers herself a black woman.  Of course social media went crazy over this story. In the interview she says:

“He is my father. He will always be my father,” she said. “He never wasn’t, and he never will not be. People that knew him really … say they see him in me, that it’s almost scary.”

She even expounded a bit more, saying that because of the “Smooth Criminal” singer’s instilling words, she considers herself a Black woman.

“I consider myself Black. [Dad] would look me in the eyes and he’d point his finger at me and he’d be like, ‘You’re Black. Be proud of your roots,'” she said. “And I’d be like, ‘OK, he’s my dad. Why would he lie to me?’ So I just believe what he told me. ‘Cause, to my knowledge, he’s never lied to me.”

Despite what her father told her, she said the outside world still sees her as white: “Most people that don’t know me call me white,” she said. “I’ve got light skin and, especially since I’ve had my hair blond, I look like I was born in Finland or something.”

Let me be clear,Paris is NOT a black woman. Anyone with eyesight can see that. I don’t give a damn  what her father told her.  She looks purely European to me. From a biological standpoint,she is more European than anything else. I personally believe that Paris and her two siblings are not biologically related to Michael Jackson.  I think Michael used the sperm from a white man to impregnate Debbie Rowe because he didn’t want  his  children to look even  half black.  I went to school with plenty biracial kids and most don’t look like this woman.  Let’s be honest here,Michael Jackson was a very gifted singer/dancer.  I can’t take that away from him.  But he had serious self-hate issues.  I think Jackson hated himself so much he didn’t want to see a reflection of his blackness.  I still can’t believe he married that ugly white woman Debbie Rowe. That woman is hideous! But that shows his self hatred(anti-blackness) was really deep.  I saw black people on YouTube arguing in defense of Paris saying she was at least “culturally black”.  I have heard this term many times before.  I knew a white girl in high school that was adopted by a black couple.  She listen to rap music and dressed in hip hop clothing.  She told me she liked soul food,dated only black boys and spoke in a certain “black vernacular”. So many would say she is culturally black. So some may put Paris Jackson in that category.  But Paris and the white girl I knew in high school are still not black women.

EXCLUSIVE: Never-before-seen pictures of Michael Jackson and his children

Some like to say that being black is a mindset.  But I disagree. You either have African genes are you do not.  You have melanin or you don’t.  It’s that simple. This type of mentality diminishes the black experience and insults our ancestors. We are blessed to have African DNA in us.  And we have to get away from worshipping whiteness and being ashamed of blackness.  This is the mental illness many of us suffer from.  Many of us can’t appreciate our blackness unless it’s close to whiteness. That’s why some us have interracial sex so we can have mixed babies.  And then say “Isn’t this a beautiful black child?” This is why you have black fools saying “Paris should be allowed to call herself black.”  This is an insult to authentic black people.  It’s an insult to dark brown,dark skinned blacks with African textured hair.  Paris has none of the physical traits of a black person. If she does have any African genes she must be about 0.000001 % black.

paris-and-katherine

This picture(above) is Paris with her brothers Michael Jackson Jr and Prince.  They are pictured with their grandmother Katherine Jackson.  These children may have been raised around black people but that doesn’t make them black people.  And we as black people have to stop giving everyone a pass.  We must stop making blackness all inclusive.  It makes us look stupid. They are making a mockery of our beautiful blackness.  It’s because many of us don’t have the courage to create a definition of what is an African person.  By allowing people like Paris to be considered is  black is an insult  to our intelligence. Paris or anyone that looks like her is not black. Michael Jackson told her to “be proud of your roots”.  He must’ve meant her European roots.

Message about the Women’s March-Shemeka Michelle

 

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