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Racial Slurring - Which devil made Don Imus do it?

[ Posted On: 2007-04-20 ]

One of the most racist implications that I have encountered is that of the postmodern theorists' "Otherness and Difference" which implies that "there is no meaningful connection between black experience and critical thinking about aesthetics or culture." The theorists censor and restrict literary and critical writings of African Americans yet they lift bands and accept with open arms their music-music used to manipulate and control the representation of Black culture. Editors, publishers, and entertainment moguls join forces with postmodern theorists and white supremacist thinkers. United, they box in Black artists and debilitate creativity by totally influencing the type of works that they can produce and receive recognition for.

The field is open for African Americans to produce literary works, but those that are getting the most recognition are writings that distort the moral foundation of black culture, the black female, and the black family.

One example is Bruce Jackson's "Growing up Free in America." Though he is justifiably speaking as an angry Black man and in his own voice, the impression he gives about the Black family is as disgusting as the vulgarity he uses to describe it.

What is referred to as "Ghetto Fiction" is at the top of the heap. The Black urban experience- pimps, prostitutes, pushers, junkies, blood soaked landscapes, thugs, gangs, psychosis and neurosis is glorified in book reviews that blatantly make the following kinds of statements: 1) "Old School Books take the brutality and ruin of the urban black landscape and transform them into art." 2) "This is a cultural service of the highest orders."

It is necessary for all literary artists to have a critical voice. There are many aspects to a culture and all should be represented. However, to glorify one aspect in a way that implies representation of the whole culture is profane.

Jervey Tervalon, an award-winning poet, screenwriter, and dramatist gave comments addressing this issue in a former interview, "Ghetto fiction represents the real need for black folks to see themselves in the world. Fiction is an inexpensive way to accomplish this. Hollywood takes the black audience for granted and won't green light projects, so there you go. The reality is that Ghetto Fiction serves a diverse audience, some of who are first time readers of fiction. Hopefully that audience will continue to grow as will the writers."

In terms of music, Rap has taken a high profile. Bell Hook's stated, "It is no accident that "rap" has usurped the primary position of rhythm and blues music among young Black folks as the most desired sound or that it began as a form of "testimony" for the underclass. It has enabled underclass Black youth to develop a critical voice, as a group of young Black men told me, a "common literacy. Rap projects a critical voice, explaining, demanding, urging."

Young rap artists do have the right to be heard. The world should know of the injustices heaped upon many of the Black youth. They also have the right to articulate in their own manner. No one has the right, however to imply that the "Ebonics" used in rap lyrics is Black dialect. By definition, the use of the word "Ebonics" is absurd.

It means black sounds. What in God's name is black sound? There are four traditional sub-fields that deal with the structural components of human language: 1) Morphology – the study of words and building words, 2) Phonology – the study of sounds and patterns, 3) Syntax – the study of sentence structure and phrases, and 4) Semantics – the study of meaning and reference. Where in Linguistics is it indicated that there is a color study of phonemes? There is Black English, which by linguistic standards is language. In addition, it is spoken by people of African or black complexioned descent-thus the implied "Black" English. Ebonics, however, consists mostly of ever changing slang. Slang, by no standard is considered language or dialect. There are various types of rap music, but the types of lyrics that are topping the charts consist of Ebonics, vulgarity and insult.

To fill the airwaves with references to women as bitches and whores is an assault on women everywhere. Specifically referring to Black women as such, slashes into the womb of black culture and aborts its future.

Richard Yarborough, Associate Professor of African American Literature, and Culture –UCLA, and recipient of a Distinguished Teaching award had these following comments, "Rap has the greatest power to shape impressions. Rap, unlike Ghetto Fiction is mainstreamed towards white children because they have the income. In terms of fiction, one type of fiction does not push the other out of the way. It is hard for white writers also. Black writers are challenged because there is no market for serious writing; therefore, it is hard to find an audience. Additionally, some black writers do not want to write serious literature. In contrast, you will not find Ghetto Fiction in Borders Book stores, but you will find Rap in the mainstream."

And what are some of the most popular rap lyrics? The ones that call Black women whores, those that imply that Black women have sex organs for brains, and others that use references to a Black woman's anatomy as a canvas for any vile thought, word, or action. We have to be realistic here, these are Black artists who are creating and performing the lyrics and music. When you compare what they say (that reaches across the globe) to what Don Imus said, you have to wonder which is the vilest. Considering the source, the Black female is suffering perpetually at the hands of, not the white man, but her own son, husband, brother or father.

So which devil made Imus do it? The entertainment industry who turns a deaf ear and finances a new kind of genocide (death by lyrics) or the Black Rapper who spews filth, like acid, and corrodes the foundation of his own race?

I do not support or excuse what Imus said. However, let's face it; he said what many people think about the Back female- because they are influenced to think that way. The ironic thing is that negative Rap has stretched across the globe and along with it, its cultural nuances that include the popular term, "Ho" for the Black female.

A warning: the culture which dominates also assimilates and the terms "Ho and B***ch" referring to women, are being assimilated into teenage vernacular worldwide. There are signs of assimilation evident in the collagen lips and surgically enhanced hips, and the wearing of dreds and po' boy fashions. Our youth across the globe are gyrating with African movement to music whose lyrics are nihilistic. My fear is that not only the Black woman will be referred to as "ho" but women across the world will share that yoke. If creativity is bastardized and altered to diminish a culture that is intricately woven within a larger culture, then eventually everyone is destroyed.

Don Imus is a wake-up call and firing him has as much effect as placing a band-aid on cancer.

Article Source: http://www.afroarticles.com/article-dashboard

About The Author: Alia Curtis -- is a teacher of the English Language and a writer. She developed and taught a creative writing course for High school and Jr. High school students from the underserved community of Hunter's Point and presently does Business Marketing Writing & Editingn. Visit here website at: www.aliaedits.com/

| View Profile & All Articles By: Alia Curtis |

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