Portrayal of Black Women in Media
The urban legend of Willie Lynch according to some, was and is a fake. However, fake or not, whomever it was that first put that information out into the public realm did touch a raw nerve amongst members of the African family. In the Willie Lynch letter, we gleam the essence of how the devil in tight leggings used criminality and terrorism to manufacture the Knee-grow out of an African. Numerous documentations, slave narratives, first hand accounts by none slaves (which gives them more authenticity I guess) and films have described the various methods used to commit or attempt to commit genocide on African peoples in America Inc.
Amongst the issues African people have had to contend with, is the division between the Male and female. Since people are the base of any cultural imperative, creating a dysfunctional relationship amongst the people has to start with breaking the accord between the African male and female, who together enforces and re-enforces the concept of culture, community, and our story of our existence.
Breaking the horse and the hue-man
The various ways to “break” a horse can all be effective, but some ways have unwelcome side-effects, such as influencing the disposition, much like rearing a child with dominance instead of positive communication can make for a violent or submissive adult.
“You can buck ’em out, snub ’em up, sack ’em out, throw ’em down, desensitize them, dominate them into submission, use tack-less training, or any of the other systems offered by professional trainers. However, any method that might lead to injury or pain or discomfort can be costly in time or money as well as physical and emotional well-being for horse and/or rider. Other methods also require timing and knowledge that inexperienced people simply do not have. The bottom line should be safety for horse and rider, and maximum comfortableness for both.”
This is the essence of what the Willie Lynch letter described as the most ideal for manufacturing a knee-grow. This link details further, the Willie Lynch design for handling a knee-grow and is the basis for how the African male and female act and relate to each other today, and how the female specifically acts and reacts to the world around her. This link is very important because in it one can see where the separation begins. Reading further should bring clarity to our over standing of the methods and means of designing and manufacturing the knee-grow.
African people trying to access the “new” media is the latest path we’ve used for self expression that unfortunately ends up making us look like parodies of our selves. African woman yearn so much to fit into the Anglo-Saxons ideals of beauty and success that they manifest, as a form of “liberation expressions” for African woman, the same neurotic behaviour we accuse Anglo-Saxon females of indulging in. The differences are the Anglo-Saxon female’s neurosis is codified within their cultural and social expressions and worldview, while the African woman codifies her neurosis from a foreign cultural platform. This foreign platform with no African foundation, denies the African female the necessary cushion to fall back on when her neurosis is in need of treatment.
Sex and the female images
For the longest time National Geography’s pictorials of indigenous women, bare breasted or naked, except for a strip of cloth over the pubis, has been the average Western (primarily Anglo-Saxon) male’s introduction to non western peoples. Anglo-Saxon women, in seeking to wrestle back their femininity from their paternalist sexual oppressors, misunderstand the “naturalness” of these indigenous women and mislabel it as sexual freedom. In their eyes, they should be allowed to express their freedom to be scantily clad or naked will these Neanderthal brutes can admire her feminine sexuality without touching her uninvitingly, accept her without wanting to clutch at her and respect her without conditions.
This is where the neurosis of the Anglo-Saxon women plays its most dangerous role. On one hand there is a brutish, paternalistic system, based on millennium long belief that the woman is a tool for sexual gratification or breeding. She is then easily cast aside when his interest in her wanes, primarily has she gets older, or another young female comes along. On the other hand, we have the female, desirous, of being wanted by her companion, wanting to be respected by him as much more than a breeder or a sex object, who uses her body FIRST, to entice and compel her man to respect her and treasure her. She gladly spreads her legs and shows her ass in literary magazines like Playboy, Hustler and the appropriately named swine. She exposes her neediness in many forms, primarily as willing sexual objects, yet decries the lack of respect she receives as a thinking intellectual human being.
African women, who grew up worshipping the many attributes and ways of the Anglo-Saxon female, see them doing little or no wrong as they embark on what Einstein says is “doing the same thing over and over and expecting a different result. The African female strives to emulate the Anglo-Saxon female in everything she does. This includes using sex and the availability of sex to get attention, get a “good catch”, to give a head, to get ahead economically or socially.
A part of the learned mainstream American culture is sexism and misogyny. Even though the Caucasian male is the most sexist and misogynistic of his kind, he is savvy enough to dress his anti-female hatred in art. Whether it be visual, performing or literary, his control of the medium of expression, information and education, makes him the source of all that is, considered desirable.
Due to our Ma’afa, creating a new breed of people called the knee-grow, we have a tempered plate on which Willie Lynches metaphorical sons have dragged the African women from her perch as roundly developed being, complementary to her opposite and more importantly …knowing herself from a African specific perspective.
A cursory view of images of beauty standards will show examples such as this. The African female after being conditioned by the Willie Lynch methodology, then becomes a scarred victim, emotionally wounded and susceptible to influences from outside herself. This includes the parody of manhood that the African male had become. The African woman is taught to bare her burden silently, to accept her inferior position, while expected to be the backbone of the family, taking care of the children, while her man is out in the cold world foraging for “bread”. The African woman had become that broken horse, unable to resist the influence of a tamed existence, and despite the odd “wild cards” such as Harriet, Mary McLeod Bethune, etc., by the time the late 20th century rolled around, she had become a pliable “material”, to be molded by a succession of outside influences and ready to be “mounted” by who ever wants to.
The numerous influences include the feminist movement, the black power movement, the civil rights movement, affirmative action, welfare, capitalism running amok and religion. The media was and still is the greatest purveyor of negative influence over the African community world wide, none more significant than the so called “standard of beauty” portrayed in this medium. The standard of beauty is more than just an image per say, but an emotional roller coaster of cultural denial and self-rejection that continues the devastating effect of Willie Lynch’s fabled design.
Entertainment mediums show sex videos and mainstream movies, transmit, promote, and perpetuate negative images of African women as sex objects. Today’s music videos exhibit dancing women wearing bikinis, flashing their body parts to the cameras. These images are shown accompanied by vulgar lyrics that routinely suggest that women are not worth anything more than money. Hollyweird’s depiction of African women range from some of the most vile, cartoonish images of yesterday, to some of the nastiest, cartoonish images we see today. The African women is promoted as being only good for giving up sex, described as whores and good enough to be the consorts of a pimp, power brokers or broke down ghetto queens. The image of the African woman is now glorified as that of prostitutes, while violence is permitted against them. Halle Barry, a talented actress, recently won an Oscar for spreading her legs for the very same rapist Caucasian male, who murdered her husband, yet somebody like Angela Bassett couldn’t win one for her powerful performance as Tina Turner, one of many powerful performances in a brilliant career.
How many of you were aware that knee-grow men and women lobbied the porn industry to include them prominently in that industry?. Claiming that they are being discriminated against through exclusion. Imagine that! Porn was created by Caucasian males to satisfy their less than animal urges and we are pissed when we are not included. This is equity misguided. Today the knee-grow woman proudly shows of her labia in medium such as the now tame sex magazine, to the more raunchy, internet porn. In fact a mjority of pornography involving knee-grows, are that of Caucasian men performing all manner of sexual degrading acts on knee-grow women. You even have this phenomina where groups of Caucasian males would travel aaround the country, stopping young females and offering them cash, to suck them or have sex with them on video. They have whole productions where different teams of knee-grow and caucasian males, separately pay knee-grow females to whore for cash.
The broken in woman grows at odds with her man, chastising him for a variety of real and imagined reasons, being lazy and good for nothing, all the while her sons and daughters are taking lessons on how a woman is “supposed” to act.
Tired Black Man
Many broken in African women seeking to pick up the pieces of their shattered femininity, becomes a target for the vultures in the feminism movement. They are trained to verbally or psychologically abuse men and call it being strong. When the knee-grow male and female hears “submit to your nature”, both hear a different thing. The male hears “act like a dog”, the female hears, “ submit physically and emotionally to a man”.
Due to the damage done to her psyche, the knee-grow woman had developed a warped understanding of relationhips and the type of relationships healthy enough to assist her in her peronal goals. It is a woman’s nature to be attracted to the image of a strong powerfull male. It is submiting to her nature to want to be taken carer pf protected by the male. It is her naturre to want to nurture and support him. However the lack of cultural transition to adult as a child forces the young females to develop her own understanding of what strong and powerful should be. There’s an old joke , where the woman asked the man, why doesn’t he love her anymore? When he asked why she would say that? She would reply, “well you don’t beat me anymore”, is indicative of the sickness infecting our souls. When young women, fantasize about wanting a thug, looking for thug love and having a thug as her man, she has distorted that need to be protected by a strong powerfull male.
Allowing herself to be objectified is never a sign of a “strong” woman, neither is acting like the stereotypical “bitch”, man hater or substitue male. The latter two seems to be promoted in the homosexual or business community. From a purely psychological point of view, a man will feel justified in committing physical or psychological violence against women he has objectified. The fact that many of these women co-sign the prevailing attitude in, Hollywood and society in general, embolden these misogynistic louts to continue degrading women. Some of these women co-sign the prevailing attitude by willingly allow themselves to be used as video girls, silver screen ho’s and, as is more popular now, internet ho’s. Dance clubs, back stages of concerts and around the locker room, are flooded with women who express their willingness to do anything sexually with a man to get drinks, money, jewelry, or just to feel privileged and wanted by someone famous.
These types of behaviours have been past down to today’s generation after the breaking in process, during the MAAFA, when African woman were forced to spread their legs, willingly or unwillingly for slave masters and overseers for their animalistic pleasures, and the enslave male for breeding. African women were sometimes used as breeding instruments to produce more human property, and at other times forced to give sex to pay for food, the safety of her children, or to be treated less harshly on a day to day basis. They were “paying” with their bodies as a survival strategy.
Out of this emerged the stereotype of our women as promiscuous and oversexed, and this shaped our women’s sexual morality and the belief by other ethnic groups of our sexual morality. Some started to look at themselves as society viewed them, and some accepted that they had no control over their own bodies. When trying to fit into the Caucasian society, after the Ma’afa and take on ascribed Aglo-Saxon gender roles. Some knee-grow men wanted the knee-grow women to have a subordinate role in the home while some women wanted men to be the sole economic providers and use their sexual power to receive economic gain from men. They have been, for the most part, unable to meet each other’s expectations. This is why as a youth worker I see young men acting passive while learning to manipulate women by offering money and power to them.
I’ve heard of the metal girls syndrom, where many knee-grow males learning to value economic resources and used these resources as a way to manipulate and control women. In addition, some women learn to negotiate with their bodies for things that they wanted. In order to gain access to these things and to get the love and attention from men that they want, some women felt they must cater to the exploitative images of what men want and think women should be.
Many women define their own worth on what they can do for and get from a man. Some women were willing to take risks with their bodies, minds and hearts hoping to raise their socio-economic status and gain security for their children’s future, and they have learned to use their sexuality to do this. In the end this is the result of of the “Willie Lynch” design for the African enslavement by creating the phenomina we call the knee-grow.