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Essay Slavery: Affecting Every Party Involved
White slavery in colonial america
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“I’m Not Black, I’m Kanye: Kanye West wants freedom - white freedom” by Ta-Nehisi Coates depicts racial issues that are more however, affected by the idea of “whiteness”. Coates writes that modern day gods such as Michael Jackson and Kanye West are drawn to whiteness. The article also talks about the idea of self-hatred, among with loss of the person you were before fame. For example, he states that Michael Jackson was losing his roots. Changing his appearance; running from something that was once apart of him, and cutting all ties. “...erasing himself, so that we would forget that he has once been Africa beautiful and Africa brown…” (Coates 1) The author implies that the African American community gazes upon the “King of Pop”, he who “mediated gang wars… zombie king... tapped his foot and stones turned to light.” (Coates 1) If he is not comfortable in his own flesh and skin, then are we (African Americans) cursed …show more content…
(Coates 2) He suggest that they are both similar due to their non existent “word-filter” and “white freedom”, which allows them to speak and hold no repercussions. Namely, Kanye stating that slavery was a choice and Trump’s political views. The author states, “West lending his imprimatur, as well as his Twitter platform of some 28 million people, to the racist rhetoric of the conservative movement.” (Coates 7) Kanye was endorsing a man not based on his support for his (Trump) policy, but because he (Trump) represented “whiteness”. As said before, West has influence over many people, especially those of young age. Coates believes that this will cause negative influence to those who follow him and spread racism and self hatred. This will in turn cause many African Americans to chase after “whiteness”, losing themselves and the
In his opinion, life in the white community is like a dream, since there were no discrimination, no oppression, no threats for violence etc. He expressed the idea that it was impossible for the white people to give up this dream and they would do whatever necessary to defend it. “The problem with the police is not that they are fascist pigs but that our country is ruled by majoritarian pigs.” Coates believed that the root to all the unfortunate events were because of the country’s leadership. America had benefitted from slavery and many other policies that were discriminating against African Americans, yet the leaders failed to recognise the contributions they had made for this
I was so interested in the truth that I suspended my assumptions about West as I pursued more information through research, giving me an objective lens. It truly rattled me to have been so wrong in my assumptions, it felt weird to know that because of something I didn’t know, I had believed something. It genuinely shook my self-confidence. I really prided myself on my knowledge of Hip-Hop, I thought I knew all the classic albums, how could I have overlooked this one for so long? So, jolted by this sting of self embarrassment, I searched further, I wanted to know what else I had been oblivious to. It became increasingly clearer to me that there were two completely opposite views about Kanye, the more popular view: he’s a worthless egotistical pop star, who’s created nothing of value, and, as I was shocked to learn over time, the informed view, and the truth, that he was and is one the most influential artists of the 21’st
Kanye Omari West, rapper, producer, professional celebrity, and with an ego to match, has forced himself into the limelight of the music industry. Kanye West has made a lasting impression on all of those around him, whether it be a good one or bad. With seven full length albums, a multimillion record label company, and a successful fashion business all under his belt, it’s fair to say that Kanye has done his fair share of creating. Over the last twelve years Kanye went from a young Chicago kid just trying to get his flows off, to one of the most decorated musicians of all time. With over 20 Grammy’s and 3 of his albums ending up on the Rolling stones “500 greatest albums of all time”. He has continuously created, entertained, and spoken his mind for years. Whether it be “George Bush does not care about black people” or “Taylor imma let you finish, but Beyoncé had
The Black Power Mixtape 1967-1975 is a documentary film, directed by Goran Hugo Olsson with footage compiled by multiple Swedish filmmakers and journalists. The film provides an alternate and compelling view of America during the Black Power Movement—from 1967-1975. All the footage is from 1967-1975 and features iconic black figures, such as Stokely Carmichael, Angela Davis, Huey P. Newton, Eldridge Cleaver and other activists, artists, and leaders pivotal to the movement. Commentary is provided by black figures from the past and present. The film documents a plethora of issues associated with the Black Power Movement including the anti-Vietnam war efforts, the Black Panther Party, and the War or Drugs—and features the aforementioned black
The Black Power Mixtape 1967-1975 (2011) is a 1 hour and 40 minute documentary that observes the black power movement in American history. This film is directed by Swedish director Goran Hugo Olson and has detailed footage that was shot during the 1960s and 1970s by Swedish journalists. The footage largely focuses on the black power movements. The film allows viewers to not only grasp a better understanding of this movement but allows us to understand why this movement appealed to Swedish journalists. The Black Power Mixtape: 1967-1975 includes vintage interviews with Stokely Carmichael, Bobby Seale, Angela Davis, Huey P. Newton, and other prominent leaders during the Black Power Movement. The documentary also contains contemporary audio interviews and commentaries from various entertainers, artists, activists, and scholars, including but not limited to: Harry Belafonte, Talib Kweli, Melvin Van Peebles, Erykah Badu, Abiodun Oyewele, and Questlove from The Roots.
He describes the sensation of “measuring one’s soul by the tape of a world that looks on in amused contempt and pity” (2). West tackles double- consciousness in a lot of his songs, but more so I “Gorgeous” and “Power”. He does have slight elements in “Monster”, however. In “Gorgeous”, West is straight-forward in his approach, voicing his frustrations about appearing to fit in with the majority of popular artists (namely the white ones), yet when he does something stereotypically black he gets massive media attention and is berated for his actions. It is even in his clothes: if he is wearing the right clothing he is accepted, but is automatically perceived as ghetto when he is wearing sneakers and a white t-shirt. “As long as I’m in Polo’s smiling they think they got me/But they would try to crack me if they ever see a black me” (Lyrics On Demand). In “Power”, he discusses issues with fame and general concept of power, as well as being a minority with limited options. He talks about how education is limited and that minority children are eventually doomed to prison. “The system broken, the schools closed, the prison’s open” (Lyrics On Demand). His lyrics speak of how the world around him in controlled by the majority, and how minorities are forced to conform to the standards of the rest of the world. In “Monster”, the biggest hint at double- consciousness is the inclusion of Justin Vernon of Bon Iver, a white indie folk musician. Vernon’s appearance on such a quintessential rap track is impressive and jaw-dropping considering these types of songs (posse cuts”) are notorious for featuring all- black artists. His presence plays to the double-consciousness West expresses, by mixing black and white artists together for
Upon the ethos he has built, he appeals to logo by sharing more facts from worldwide history about the white people. X sets off with the fact that although the available history is excessively “whitened” (para. 19), genetically, the origin of humankind is still believed to be black. Under this condition, Malcolm X is “shocked” by the “total horror” of slavery, and “monstrous crime, the sin and blood” (para. 27) the white men has done. This use of pathos renders a view of a vulnerable black man who has suffered from the white’s injustice. He attaches this view with vivid yet miserable anecdotal imagery of black women “tied up and flogged with whips,” babies “being dragged off” (para. 28). His condemning diction creates a haughty and haunting attitude of convicts: “the fugitive slave catchers, evil white men,” (para. 28) are “like devils, pillaging and raping and bleeding and draining” (para. 29) colored people in the world. These facts lead to his perception of contradictions: these “religious” (para. 31) but “cannibalistic” (para. 33) people, who have taken advantage of “Chinese-invented gunpowder” to “[declare] war upon [Chinese] who objects to be narcotized” (para. 34) and later treat Chinese as dogs (para. 37). These facts emotionally and logically prove X’s anger and inhumane white people in the
The black man is hence for white culture the “the burden of original sin” (Fanon 168). Racism in this way is essentially a kind of defense reaction, which, in a way, explains why racism so powerfully enforces and reaffirms relations of separation and distance – the white man wants as much distance
As Kendrick entered the stage shackled to his black comrades with a soulful saxophone playing in the background, it is obvious that the imagery of imprisonment was a commentary on incarceration in America and its similarities with slavery. By amplifying this modern twist on slavery, Kendrick provokes American viewers to reflect on the struggles that black Americans still go through today. At the start of his performance he goes on to rap “I’m African-American — I’m African” as if he was correcting himself. This isn’t surprising as black identity is hard to establish in a country that implicitly detests you, but explicitly fetishizes your culture. Stuart Hall discusses this in his text when he states, “’the primitive is a modern problem, a crisis in cultural identity’…the modernist construction of primitivism, the fetishistic recognition and disavowal of the primitive difference” (Hall 125). There is no wonder why Kendrick, like many African-Americans, finds comfort in placing his identity with the mother land rather than his true country of origin. How can the black multitude stand in solidarity with a country who will continuously praise black culture but refuse to recognize the black struggle? Kendrick Lamar then conjures imagery of Africa, where he danced and rapped in front of a raging bonfire, one of the most powerful imagery included in his entire performance. One can interpret
Through the decades, there have been different types of social issues that affect many people. “The personal is political” was a popular feminist cry originating from civil rights movements of the 1960s, called attention to daily lives in order to see greater social issues on our society. This quote can relate back to many social issues that still occur till this day that many people are opposed of. One of the major social issues that still exist today, for example, is discrimination against colored people. In Javon Johnson’s poem, “Cuz He’s Black,” he discusses how discrimination affects many people, especially little kids because they are growing up fearing people who are supposed to protect us. Johnson effectively uses similes, dialogue
In Ta-Nehasi Coates’s “Letter to my Son”, Coates addresses the overwhelming inequalities between African American culture and Caucasian culture in America. The state of diversity and equity in society is grim for a period of time. Every race constitutes individuals. The more close-mindedness is perpetuated, the more likely the majority of society will fall back into racist tendencies and acceptance of ethnic presumptions. Coates knows the hardship black population endured that white population will never understand. Coates subvert conventional discourse about the idea of supremacy by indicating intellectual delegitimacy; white people are smarter and degeneralizing bodies; to unlock the painful truths of America. Giving it a deeper connotation to depict those who is
Few people yield the influence and inspiration to be able to make an impact on their industry and have it be consumed by the masses. In the music industry, it seems as though most artists consider themselves with authority when they release a chart-topping project. Kanye West, winner of 21 Grammys and top artist collaborator, doesn’t stop at platinum records and record-breaking sales. With an overbearing confidence and constant media coverage, he is relentless in pushing the boundaries and makes himself known for something far beyond the title of “Rapper.” While constantly regarded as an egotistical tyrant, Kanye is conscious of the self-destructive ideologies that many consume; as expressed thoughtfully in his music.
The ideology of Malcolm X had a significant impact on Black intellectuals in the Black Arts Movement. X proposed a “cultural revolution which will provide the means for restoring our identity that we might rejoin our brothers and sisters on the African continent, culturally, psychologically, economically, and share with them the sweet fruits of freedom from oppressed and independence of racist governments” (Alexander, Trauma and Collective Identity, 123). The movement explored the inferiority of black life and culture in the United States and hoped to exhibit ethos through poetry, music, and
Fans of hip hop admire Eminem for his bluntness towards the harsh realities of life and his acknowledgement of criticism against his personality. Contrary to the norm in gangsta culture, Eminem directs the spotlight on his first-hand adverse experiences throughout his childhood and development into adulthood. Although he has written songs about his rise to glory, boasting about his possessions is certainly not included in those lyrics. A major source of his credibility resides with his superior handling of unfavourable judgement. As critics discredit his rising popularity with the help of institutional racism, he admits this fact on one of his tracks, stating that “if I was black, I would’ve sold half”.
Whiteness then, becomes the normative natural within society. In Richard Dyer’s, “White,” he acknowledges the meaning beyond the colour within a social connotation and symbolic meaning. White is often symbolized as purity, health, cleanliness, all in which can become part of the cultural construction of whiteness as a race (Dyer, 1). Similar to the colour of black, it is often seen as sinful, unstable, evil etc. According to a 2008 survey on models in New York Fashion week, based on the documentary we saw that, six percent of the models are black, six percent are Asian, one percent are Latina and eighty-seven percent are white (St. Philps, 2010).