Merian Caldwell Cooper was an american aviator, screenwriter, film
producer and director. His most famous film was 1933's 'King Kong'.
Cooper started his film career by doing documentaries for Paramount Pictures and from the years of 1933 to 1935, he was head of production for RKO Radio Pictures. The film King Kong which he co-wrote, co-directed and appeared in, was said to be very technically innovative for its time. But the film's real innovation, was how it spoke directly to the bigoted, white fascists who've been ever-present in this country, since Merian and his people got here.
For those who've never seen this crap flick, this film, and it's many incarnations, are about the abduction of a white woman by a colossal ape that's been captured from some tropical island. Somehow, this ape escapes his captors and is completely smitten with some white woman he sees. He scales a large building with this inbred of a woman in his clutches, and is shot down by white men in airplanes.
Now let me tell ya' what this film is really about; King Kong is the cautionary tell to white supremacists about the Black man mating with white women. This is basically the tale of whitey's fear of being bred out of existence, via the Black man. And being that the average white man feels sexually and physically weaker than a Black man, they use their technology, i.e. their airplanes, which are a metaphor for their 'weapons' technology (guns, bazookas, tanks, armed policeman, biological weapons like HIV, AIDS, Ebola, etc.), and how they will ultimately have to use these, to kill off Black men.
Now, let's fast forward from 1933 to 2005; the latest iteration of
this silly flick has actress Naomi Watts cast as the white woman in the white
dress (The first pic in my header is of her). And for some reason, whitey won't
let movies like this one and 'Tarzan' die. I'll speak about the bigoted legacy
of the Tarzan movies and TV shows in another post. But if you want further
clarification of whitey's real intention with 'King Kong'; all we have to do is
look at the 'Vanity Fair' cover with Lebron James on it with some dim-witted,
white wench in his arm (pictured above).
Now, since people of every ethnic group grew tired of seeing this dumb-founded flick, white fascists needed to put a different spin on the King Kong mythos.
Enter the movie, ‘Taken’…
This movie was released in 2008, and this flick tells the story of a sweet-as-pie white girl, being abducted by swarthy asians and Black Africans. This girl is then sold into prostitution, until her white father, who just happens to be a retired CIA agent, rescues her.
This was much more palatable to a contemporary mainstream audience. And this film spawned two sequels.
Now, I remember when I was in my pre-teens and would watch old Black-and-white monster movies. Without fail in these films, they'd always show a white woman running from the monster and falling down. Then she’d stay in a prone position, screaming with her arms raised in front of her, before the monster killed her.
Myself and my friends would always laugh at this dim-witted white woman and yell at the screen for her to get up and run.
We never realized we were watching one of the greatest weapons of psychological warfare known to mankind. Let me explain why...
We all know how white women have been touted as the epitome of feminine beauty because of their facial features; but what these monster movies did was show the vulnerability of white women. And this quality, is ultimately what made her epitomize the modern archetype of feminine beauty. The white man was saying that white women are the exquisitely fragile flowers of this earth, and they needed rescuing by men. And this speaks right to the heart of what every man is looking for in a woman; someone who's delicate, soft-spoken and demure...someone who's peaceful and non-judgmental, like I spoke about in previous posts. These traits are the ultimate aphrodisiac for any man.
Now, I also remember the 'Salt 'n' Pepa' song, 'Independent funk', that came out in 1990; this was the decade where 'feminism' was being further mainstreamed for Black women. This was also what I called the 'I don't need no man mantra' period. See, this was the zenith of the white fascist campaign to portray Black women as hard, abrasive and completely argumentative. They propagandized the Black woman as being a female who ultimately wanted to be left alone. So while they portrayed their own women as docile and genuinely domestic, they portrayed Black women as belligerent single-mothers. And this was the message being sent to Black men. Mind you, this is straight out of the 'Willie Lynch letter' which says, white fascists have to separate the Black woman from the Black man.
Now, one of the main ways white fascists popularized this myth about the Black woman, and continue to, is through TV shows; and I'd like to detail how they've done this over the course of decades and generations, through three particular sit-coms.
The TV sit-com (short for situation-comedy, for the uninitiated), 'Sanford and Son', aired on NBC from January 14th, 1972 to March 25th, 1977. Now, this show told the story of Fred G. Sanford, who owned a junkyard in Watts, California, with his son Lamont. And it was adapted from the british TV show, 'Steptoe and Son'.
Cooper started his film career by doing documentaries for Paramount Pictures and from the years of 1933 to 1935, he was head of production for RKO Radio Pictures. The film King Kong which he co-wrote, co-directed and appeared in, was said to be very technically innovative for its time. But the film's real innovation, was how it spoke directly to the bigoted, white fascists who've been ever-present in this country, since Merian and his people got here.
For those who've never seen this crap flick, this film, and it's many incarnations, are about the abduction of a white woman by a colossal ape that's been captured from some tropical island. Somehow, this ape escapes his captors and is completely smitten with some white woman he sees. He scales a large building with this inbred of a woman in his clutches, and is shot down by white men in airplanes.
Now let me tell ya' what this film is really about; King Kong is the cautionary tell to white supremacists about the Black man mating with white women. This is basically the tale of whitey's fear of being bred out of existence, via the Black man. And being that the average white man feels sexually and physically weaker than a Black man, they use their technology, i.e. their airplanes, which are a metaphor for their 'weapons' technology (guns, bazookas, tanks, armed policeman, biological weapons like HIV, AIDS, Ebola, etc.), and how they will ultimately have to use these, to kill off Black men.
Now, let's fast forward from 1933 to 2005; the latest iteration of
this silly flick has actress Naomi Watts cast as the white woman in the white
dress (The first pic in my header is of her). And for some reason, whitey won't
let movies like this one and 'Tarzan' die. I'll speak about the bigoted legacy
of the Tarzan movies and TV shows in another post. But if you want further
clarification of whitey's real intention with 'King Kong'; all we have to do is
look at the 'Vanity Fair' cover with Lebron James on it with some dim-witted,
white wench in his arm (pictured above).Now, since people of every ethnic group grew tired of seeing this dumb-founded flick, white fascists needed to put a different spin on the King Kong mythos.
Enter the movie, ‘Taken’…
This movie was released in 2008, and this flick tells the story of a sweet-as-pie white girl, being abducted by swarthy asians and Black Africans. This girl is then sold into prostitution, until her white father, who just happens to be a retired CIA agent, rescues her.
This was much more palatable to a contemporary mainstream audience. And this film spawned two sequels.
Now, I remember when I was in my pre-teens and would watch old Black-and-white monster movies. Without fail in these films, they'd always show a white woman running from the monster and falling down. Then she’d stay in a prone position, screaming with her arms raised in front of her, before the monster killed her.
Myself and my friends would always laugh at this dim-witted white woman and yell at the screen for her to get up and run.
We never realized we were watching one of the greatest weapons of psychological warfare known to mankind. Let me explain why...
We all know how white women have been touted as the epitome of feminine beauty because of their facial features; but what these monster movies did was show the vulnerability of white women. And this quality, is ultimately what made her epitomize the modern archetype of feminine beauty. The white man was saying that white women are the exquisitely fragile flowers of this earth, and they needed rescuing by men. And this speaks right to the heart of what every man is looking for in a woman; someone who's delicate, soft-spoken and demure...someone who's peaceful and non-judgmental, like I spoke about in previous posts. These traits are the ultimate aphrodisiac for any man.
Now, I also remember the 'Salt 'n' Pepa' song, 'Independent funk', that came out in 1990; this was the decade where 'feminism' was being further mainstreamed for Black women. This was also what I called the 'I don't need no man mantra' period. See, this was the zenith of the white fascist campaign to portray Black women as hard, abrasive and completely argumentative. They propagandized the Black woman as being a female who ultimately wanted to be left alone. So while they portrayed their own women as docile and genuinely domestic, they portrayed Black women as belligerent single-mothers. And this was the message being sent to Black men. Mind you, this is straight out of the 'Willie Lynch letter' which says, white fascists have to separate the Black woman from the Black man.
Now, one of the main ways white fascists popularized this myth about the Black woman, and continue to, is through TV shows; and I'd like to detail how they've done this over the course of decades and generations, through three particular sit-coms.
The TV sit-com (short for situation-comedy, for the uninitiated), 'Sanford and Son', aired on NBC from January 14th, 1972 to March 25th, 1977. Now, this show told the story of Fred G. Sanford, who owned a junkyard in Watts, California, with his son Lamont. And it was adapted from the british TV show, 'Steptoe and Son'.
Now, what's acknowledged during the show is Fred's wife, Elizabeth,
has passed away, and Lamont is single. So right off the bat, we see two
generations of Black men without Black women. Also, during the course of
several shows, we see Fred and Lamont dating various Black women, but somehow,
this never results in any kind of relationship; but the woman they seem to
always come in contact with, is none other than the inimitable LaWanda Page,
a.k.a. Aunt Esther.
And what is Aunt Esther like? Belligerent, abrasive and
confrontational. So while we're laughing at Aunt Esther calling Fred a
'fish-eyed fool' and Fred calling her everything but a child of God;
subconsciously, the Black Diaspora gets the message that this is what Black
male and female relationships are predisposed to be. Across generations.
Now, the TV show, 'The Jeffersons', came at this message from a
different angle. This show aired on CBS from January 18th, 1975
until July 2nd, 1985 and is one of the longest running sit-coms in
american TV history. This is the story of George and Louise (Whezzy) Jefferson,
and their climb up the socio-economic ladder resulting in their ownership of a luxury apartment in New
York City. Mind you, this show features a loving Black couple, but white
fascists created two relationships to counter this. The first one was in the
Jefferson's own home, this being George's contentious relationship with their
maid, Florence. Even though George was her employer, she had little to no
respect for him; they bickered constantly, and this just reinforces the rift
that white fascists want to keep alive in Black relationships. The second, was
the marriage of the Jefferson's friends, the Willis'. Helen Willis, the late
Roxy Roker, Lenny Kravitz's mother, is married to the white (Uncle) Tom Willis.
And this couple speaks volumes to the subconscious minds of the Black audience
it was created for. It says to Black men, that more than likely, any Black
woman will probably date and marry a white man over you, even if you do have
money. And it says to Black women, that your goal in life, if you want to live
an upper-scale and affluent lifestyle, is to marry a white man.
The 'Martin' TV show, aired from August 27th, 1992 until
May 1st, 1997. This sit-com told the story of Martin Payne, a disc jockey with a
girlfriend named Gina Waters played by Tisha Campbell-Martin. Martin works for
the fictional radio station WZUP and later for local Public-access television
station Channel 51. Now, Martin, is basically a gainfully-employed brotha, who
has aspirations of moving up the ladder career-wise; and who's he in a
relationship with? The ultra light-skinned, curly haired, bi-ethnic looking
Black girl, Gina. And who is Martin always arguing with? Gina's dark-skinned
girlfriend, Pam. This says to Black men, in a not-so-subtle way, that if you're
gonna' commit to any Black woman, she shouldn't be darker-skinned. And what
white fascists who green-lit this show are ultimately saying is, 'pure-bred',
or pure-bred looking Black men and women shouldn't be together, 'cause this
pairing is bound to lead to an unhappy courtship, dating and married life.
And of
course, they do this 'cause they don't want Black men and women producing more
pure-bred Black children, that will grow up having the greatest potential to
breed white people out of existence.
Now,
combine these messages with the ones we get in movies like King Kong and Taken,
and the self-hating tenets we're taught in american schools; is it any wonder
why Black men and women have such a hard time being in relationships with each
other.
And like
I've said in the past, no other ethnic group gets the level of self-hating
conditioning that the Black Diaspora does. None.
Now,
when I've said in the past that the most revolutionary act a Black man and
woman can commit is falling in love with each other, that wasn't hyperbole; and
these TV show examples are but a few reasons why.
So
here's the real question, if we see that everything in this white fascist
social order is diametrically opposed to Black women and men being together,
what are we gonna' do about it?
What
are YOU gonna' do about it?
The only solution is us ridding ourselves of our self-hatred; like Malcolm said, by any means necessary.
So whether you rid yourself of this by chanting, meditation, visualization, etc....
I say, just do what works best for you!
The only solution is us ridding ourselves of our self-hatred; like Malcolm said, by any means necessary.
So whether you rid yourself of this by chanting, meditation, visualization, etc....
I say, just do what works best for you!
'Cause
this revolution won't start with hundreds, thousands or millions of Black
folk...it'll start with YOU!
So,
let's all get to work!
Later...
MontUHURU Mimia
P.S.
My mention of Gina, played by Tisha Campbell in the TV series 'Martin', made me think of a post that a lot of viewers of this Blog seemed to like; that post was titled, 'The cult of the curly-haired, light-skinned, bi-ethnic looking Black girl'; and you can check it out here.
P.P.S.
If you'd like to see the other six parts of this series, you can do that here: Part 1 Part 2 Part 3 Part 4 Part 5 Part 6
Later...
MontUHURU Mimia
P.S.
My mention of Gina, played by Tisha Campbell in the TV series 'Martin', made me think of a post that a lot of viewers of this Blog seemed to like; that post was titled, 'The cult of the curly-haired, light-skinned, bi-ethnic looking Black girl'; and you can check it out here.
P.P.S.
If you'd like to see the other six parts of this series, you can do that here: Part 1 Part 2 Part 3 Part 4 Part 5 Part 6
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