In the midst of the Don Imus' tourette-like outburst that has tic-ed off a sizeable portion of the African American community(pardon the pun), I offer this excerpt from my upcoming book, The Awakening of the Meek, in which this section, in my opinion, underscores the mindset that allows such ignornace to exist. - Tungz
"Relevance of Irrelevancy"
--Excerpt from "The Awakening of The Meek" - By Tungz--
“....destroyed your and my past. Destroyed our knowledge of our culture. And by having destroyed it, now we don’t know we have any achievements…any accomplishments. And as long as you can be convinced you never did anything, you can never do anything.” – Detroit Red
From movies about cowboys and Indians, to Tarzan, to war-related movies - including the 9/11 films, Flight 93 and World Trade Center - to even the Christian religion, the Caucasian man has always cast himself as the hero and savior of a world that would otherwise crumble in the hands of its darker, purportedly less civilized inhabitants.
The intent – although sometimes unconscious - is to stigmatize “the brown” in a negative light; incapable of contributing anything morally or intellectually substantial as it relates to the progression or well-being of mankind. In fact, in the latter film, World Trade Center, a supposed “true story”, two of the real-life heroes, both African American men, Jason Thomas and Bruce Reynolds, came forth to reveal the omission of their likenesses from the film, which were conveniently replaced by Caucasian actors.
Likewise, in the movie entitled A Mighty Heart, which chronicles the life of the Caucasian Wall Street Journal reporter who was kidnapped and murdered in Pakistan (Daniel Pearl) in 2002, instead of casting a brown-skinned, curly-haired, woman of mixed ethnicity (Afro-Cuban and Dutch) to portray his heroic widow, Mariane Pearl, the producer instead chose to cast Angelina Jolie, a Caucasian woman. Arguably, there are a number of actresses who would have been more characteristically befitting for the role (i.e. Thandi Newton, Troy Beyer, Rae Dawn Chong, Jennifer Beals, Halle Berry, etc.). However, none were selected; or allegedly, even considered.
Of course, it will be convenient for supporters to site this observation as being petty, nit-picky and frivolous; likely, shifting the focus from the objective blemish to the subjective and moralistic strengths, retorting that the casting of Angelina Jolie was based primarily - or exclusively - on her acting abilities, and the fact that she is a big name in Hollywood.
However, if this is truly the reason, then it can’t be ignored, and in fact begs to question, as to why no big name Caucasian actors were cast to play the villains; the vile Middle Eastern terrorist who arranged and carried out Daniel Pearl’s execution, instead of using real Middle Easterners? Surely Brad Pitt, Tom Cruz, or Keifer Sutherland could have handled these roles with ease and intense believability.
In all likelihood, if this question was offered to the producer, his reasoning will include his desire to keep the movie as realistic and to-the-letter as possible; which all-in-all, would only serve to contradict the move for casting Angelina Jolie in the first place.
The reason for such a paradigm is simple: “Brown” heroes are prohibited unless they are only saving, representing, or liberating “brown” people. Otherwise, a “brown” hero liberating a white victim is viewed as blasphemous and belittling; a subliminal self-admittance of white inferiority and incompetence.
Consequently, brown people killing white people is viewed as terroristic, immoral, and irreverent; while white people killing brown people (i.e. cowboys and Indians, Christopher Columbus, War on Iraq, etc.) is viewed as heroic, valiant, pioneering, and patriotic.
This image, ideology, and illusion that the “good guys wear/are white”, is in all accounts, an intentional attempt to subliminally, and subtly, imbed the perception of incompetence, ineptitude, and limitation into the sub-conscience of “the Brown” as a means of weakening the will, and effectively achieving subjugation, which is then compounded by the concealment of historical, cultural, and personal significance and/or achievement, only to be replaced with those of “inadequacy”, “inferiority” and “imperfection”.
In other words, the objective is to destroy you from the inside out by altering that in which you identify. And in this current consciousness, mankind identifies with that which he/she sees; namely, the perception of himself/herself, as well as those things we believe to be reflections or definitions of who we are (i.e. material things, status, affiliations, jobs, culture, religion, etc.). As a result, these things become the very elements by which we’re managed and controlled (discussed more in the following section entitled, “Control through Culture”).
“....destroyed your and my past. Destroyed our knowledge of our culture. And by having destroyed it, now we don’t know we have any achievements…any accomplishments. And as long as you can be convinced you never did anything, you can never do anything.” – Detroit Red
From movies about cowboys and Indians, to Tarzan, to war-related movies - including the 9/11 films, Flight 93 and World Trade Center - to even the Christian religion, the Caucasian man has always cast himself as the hero and savior of a world that would otherwise crumble in the hands of its darker, purportedly less civilized inhabitants.
The intent – although sometimes unconscious - is to stigmatize “the brown” in a negative light; incapable of contributing anything morally or intellectually substantial as it relates to the progression or well-being of mankind. In fact, in the latter film, World Trade Center, a supposed “true story”, two of the real-life heroes, both African American men, Jason Thomas and Bruce Reynolds, came forth to reveal the omission of their likenesses from the film, which were conveniently replaced by Caucasian actors.
Likewise, in the movie entitled A Mighty Heart, which chronicles the life of the Caucasian Wall Street Journal reporter who was kidnapped and murdered in Pakistan (Daniel Pearl) in 2002, instead of casting a brown-skinned, curly-haired, woman of mixed ethnicity (Afro-Cuban and Dutch) to portray his heroic widow, Mariane Pearl, the producer instead chose to cast Angelina Jolie, a Caucasian woman. Arguably, there are a number of actresses who would have been more characteristically befitting for the role (i.e. Thandi Newton, Troy Beyer, Rae Dawn Chong, Jennifer Beals, Halle Berry, etc.). However, none were selected; or allegedly, even considered.
Of course, it will be convenient for supporters to site this observation as being petty, nit-picky and frivolous; likely, shifting the focus from the objective blemish to the subjective and moralistic strengths, retorting that the casting of Angelina Jolie was based primarily - or exclusively - on her acting abilities, and the fact that she is a big name in Hollywood.
However, if this is truly the reason, then it can’t be ignored, and in fact begs to question, as to why no big name Caucasian actors were cast to play the villains; the vile Middle Eastern terrorist who arranged and carried out Daniel Pearl’s execution, instead of using real Middle Easterners? Surely Brad Pitt, Tom Cruz, or Keifer Sutherland could have handled these roles with ease and intense believability.
In all likelihood, if this question was offered to the producer, his reasoning will include his desire to keep the movie as realistic and to-the-letter as possible; which all-in-all, would only serve to contradict the move for casting Angelina Jolie in the first place.
The reason for such a paradigm is simple: “Brown” heroes are prohibited unless they are only saving, representing, or liberating “brown” people. Otherwise, a “brown” hero liberating a white victim is viewed as blasphemous and belittling; a subliminal self-admittance of white inferiority and incompetence.
Consequently, brown people killing white people is viewed as terroristic, immoral, and irreverent; while white people killing brown people (i.e. cowboys and Indians, Christopher Columbus, War on Iraq, etc.) is viewed as heroic, valiant, pioneering, and patriotic.
This image, ideology, and illusion that the “good guys wear/are white”, is in all accounts, an intentional attempt to subliminally, and subtly, imbed the perception of incompetence, ineptitude, and limitation into the sub-conscience of “the Brown” as a means of weakening the will, and effectively achieving subjugation, which is then compounded by the concealment of historical, cultural, and personal significance and/or achievement, only to be replaced with those of “inadequacy”, “inferiority” and “imperfection”.
In other words, the objective is to destroy you from the inside out by altering that in which you identify. And in this current consciousness, mankind identifies with that which he/she sees; namely, the perception of himself/herself, as well as those things we believe to be reflections or definitions of who we are (i.e. material things, status, affiliations, jobs, culture, religion, etc.). As a result, these things become the very elements by which we’re managed and controlled (discussed more in the following section entitled, “Control through Culture”).
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