WHO ARE THE REAL CHILDREN OF ISRAEL?
WHO ARE THE REAL CHILDREN OF ISRAEL IS A WEBSITE DEDICATED TO INFORMATION THAT BEARS WITNESS TO TEACHINGS OF THE MOST HONORABLE ELIJAH MUHAMMAD AS TAUGHT BY HIS NATIONAL REPRESENTATIVE AND REPRESENTATIVE OF THE NATION OF ISLAM,OUR BROTHER AND SERVANT TO THE LOST-FOUND NATION OF ISLAM IN THE WEST THE HONORABLE MINISTER LOUIS FARRAKHAN
WHO IS THE COLORED MAN?
THE COLORED MAN IS THE CAUCASIAN (WHITE MAN) OR YACOB'S GRAFTED DEVIL THE SKUNK OF THE PLANET EARTH
THE SKUNK OF THE PLANET EARTH
(A) PSYCHOLOGICAL WARFARE
A WHITE JESUS FOR BLACK SLAVESTHE CURSE OF HAM
SELF HATRED
WILLIE LYNCH
DEVIL
1. A MISCHIEVOUS PERSON
2. A WICKED OR MALEVOLENT PERSON
3. AN OUTSTANDING EXAMPLE OF SOMETHING
DIFFICULT OR BAD
4. ONE WHOSE EVIL NOT ONLY EFFECTS THEMSELVES BUT EFFECTS OTHERS ALSO
SKUNK
1. A PERSON REGARDED AS OBNOXIOUS OR DESPICABLE
2. a. TO CHEAT( SOMEONE) b. TO FAIL TO PAY (AN AMOUNT DUE)
MUSIC ~ PSYCHOLOGICAL WARFARE
RACE: Is Jesus Black
WAS JESUS BLACK
Minister Louis Farrakhan on White Supremacy
Dr.Frances Cress Welsing ~ PSYCHOLOGICAL WARFARE
Conversation with a Caucasian
The psychological dimensions of White Supremacy
The psychological dimensions of White Supremacy
by William P. Muhammad -Guest Columnist- | Jun 7, 2010 - 5:43:25 PMThe CNN news program "Anderson Cooper 360" recently aired a four part series devoted to the subject of race in America. The program, "Black or White: Kids on Race," featured a new study based upon the research of Dr. Kenneth B. Clark's infamous doll test of the 1940s and '50s. »
Reposted from THE FINAL CALL (finalcall.com)
From Hostility to Reverence: 100 Years of African-American Imagery in Games
FROM FARRIS STATE UNIVERISTY
www.ferris.edu/jimcrow/links/games/From Hostility to Reverence:
100 Years of African-American Imagery in Games
Denis Mercier, Ph.D.
Of all the American popular genres using African-American imagery, children's games have been among the most uniformly negative. Only in the last twenty years or so have white game manufacturers softened their depiction of Blacks. And only when Black lobbying has forced the elimination of derogatory racial stereotypes or when Blacks have invented and marketed games themselves, have the images turned from racial satirization to respect. Like other popular media and genres, games communicate through graphics and text, but their messages are further expressed through the thoughts, actions, and strategies required to play them successfully. Because most players of children's games are young and impressionable, the imagery and action in those games may well promote racial stereotyping and prejudice, and reinforce or sanction those same attitudes among adult players. The portrayal of African Americans in games over the past century has undergone an evolution that reflects three distinct eras in American race relations. Board games, first developed in the 1830s, grew in popularity among American middle-class families during the late nineteenth century, at a time when racial prejudice and segregation were on the rise not just in the American South, but also in many of the northern states due to massive immigration from Europe and the migration of southern Blacks to northern cities. Anglo-American fascination with the newcomers, as well as their racial and ethnic prejudices, were reflected throughout popular culture: in music, literature, advertisements, theater, and games. While images of other ethnic groups tended to soften during the first decades of the twentieth century, derogatory African-American imagery, often overtly hostile, was common in American games up to the Second World War. A transitional period, lasting from the mid-1940s to the mid-1960s, saw African- American imagery all but disappear from most genres of American popular culture, including games. The Civil Rights Movement marked the beginning of another era in toy imagery which continues to today in which both Black and white-owned companies have introduced new, more realistic, and often strongly positive images of Black Americans. The Years of HostilityGames of the late 19th and early 20th centuries reflected racial attitudes ranging from the benign to the aggressively violent. Although some of the games of the first period stereotyped African Americans as comical entertainers, many revealed an intense white hostility towards Blacks. This hostility was legitimated, even celebrated, by making it appear as if the Blacks depicted enjoyed the victimization to which the games subjected them. Many target games of the period portrayed the Black targets as smiling broadly. The unspoken message was that Blacks, unlike other people, felt no pain, so players could indulge in and enjoy aggressive assaults because no real pain was inflicted. | |
The target games found in traveling carnival shows, seashore resorts and fairgrounds throughout the nation were among the most racially aggressive of all popular games. One popular carnival game which featured names like "Dump the Nigger," "African Dip," or "Coon Dip" did not require directly hitting a Black person, but hitting the target device attached to a delicately balanced plank upon which a Black person sat. The target, if hit squarely, caused the sitter to be dumped into the tank below. An even more brutal cousin to "African Dip" was "Hit the Coon" or "African Dodger," also popular at resorts, fairs, and festivals. A painted canvas of a scene, usually a cotton plantation, had a hole through which a Black man stuck his head and tried to get out of the way of the ball. Small prizes were awarded for a direct hit. In 1878 the C.W.F. Dare Company of New York offered painted "Negro Head Canvases" and "Negro Heads" made of wood since live targets were not always easy to come by. Some operators provided human targets with protective wooden helmets covered with curly hair. Eventually such games grated against public sensibilities and were declared illegal. Other target games of the era came in a wide variety of forms [Color Plate 1]. A ring-toss called "Garden Aunt Sally" featured a mammy figure smoking a pipe. "The Game of Sambo," a standup target game produced by Parker Brothers in the early 1900s, had targets which were meant to be comic caricatures of African- American faces. "Bean-Em," was a beanbag game with Black figures as targets, and there were two ball-toss games: "Hit Me Hard," in which balls were thrown through the mouth of an incongruously mirthful and "cute" boy-child with an enormous smile, and "Chuck," in which two players attempted to toss discs shaped like watermelons into an open mouth. Bagatelle games, the precursor of pinball, were another form of target game. Made of wood, with lithographed paper overlay and nail "pins," most games were designed to be used with marbles as balls. The "Gropper On. M. Co." of Brooklyn, New York made one featuring good luck charms (lucky stars, horseshoes, etc.) and "Rastus" and "Rufus," two "dandy dudes" eyeing each other suspiciously while preparing to shoot dice. (Another character on the game board, "Eruption," is apparently a stereotyped Irishman). Under "latest novelty games," the 1914 Butler Brothers Catalog listed two target games in which racial aggression and sadism were blatantly obvious. The "Little Darky Shooting Gallery" with its "three comic cardboard targets," one of which was a heavy-set Black woman, came complete with "spring gun and vacuum rubber tipped arrows for $1.95 a dozen." "Darky Ten Pins" featured "ten 6-1/2 inch heavy cardboard litho coons on wood bases," each smiling and holding enormous watermelons. Numerous other companies made and distributed variations of bowling games. Two of the better known ones were "Jim Crow Ten Pins" with smiling minstrel-type figures, and "Zulu Tribe" ten pins with minstrel faces and exotic costumes.(1) Parker Brothers, one of the few major manufacturers to market bowling sets, issued "Sambo Five Pins" in the early 1920s. The inside of the box tells a story which begins, "Sambo was a good ole Southern Darky..." | |
Black images in target games overtly demonstrated white hostility against African Americans. Yet Black images had been featured since the 1840s in a less violent genre of game-the card game. A relatively non-derogatory image of a Black servant appeared in the popular card game "Dr. Busby" (1843). "Old Maid," one of the most popular card games ever and the first to be learned by generations of American children, featured a veritable encyclopedia of derogatory stereotypes such as the Black characters "Lily White," "Jazzbo Jackson," and "Melon Moe" [Color Plate 16]. "The Game of Ten Little Niggers," introduced by Parker Brothers in 1895, was a variation of Old Maid that featured Black characters exclusively. The deck contained a pair of each of the ten "Little Niggers" plus one oddball to get "stuck" with. The Fireside Game Company of Cincinnati, Ohio, introduced "In Dixie Land," a similar game, two years later. This featured black-and-white photos of different "Southern characters," many of which appeared in postcards. Jigsaw puzzles, initially limited to geographical subjects, came to the United States from England in the 1870s. Soon manufacturers introduced other subject matter, including Black stereotypes which appealed to the American middle-class market. In 1874, the McLoughlin Brothers of New York manufactured a puzzle called "Chopped Up Niggers." Although the puzzle's images of Blacks were more sympathetic than many of the period, the blatant sadism of the name is clear. Around 1905 J.R. Brundage, Inc. "Things Unusual" of New York brought out a line of jigsaw puzzles, one showing Black men dancing madly in formal evening clothes entitled "Woozy Jig." | |
Many of the images of African Americans in card games and puzzles stereotyped Blacks as comical [Color Plate 17]. That stereotype was especially prevalent in mechanical games. In 1912 the page of "Popular Games of all Kinds" in the Sears, Roebuck and Co. catalog featured a game from "Timi-Tipp" of Germany:
Easing Into TransitionA growing population of Blacks in northern cities resulting from the great migration of southern Blacks after the First World War gradually developed the leadership and organization necessary to fight for civil rights and combat derogatory racial stereotypes. In response, during the 1920s, white manufacturers began to tone down the broadest, most overdrawn Black caricatures. By the 1930s, manufacturers had by and large ceased to design new games which portrayed Blacks as "targets," and many of the "older" designs were produced in dwindling numbers. Although bowling games remained popular throughout the 1930s, the pins portrayed not just Blacks, but other "amusing" characters.(2) In the Russel Manufacturing Company's "Goof Race and Ten Pins," three "goofs," a soldier, a clown, and a watermelon-eating Black figure, could be made either to "race" down an incline or to line up to be bowled over. | |
Board games of the 1930s reflecting this decline in violent racial undercurrents included "Snake Eyes," a craps-like game by Selchow and Righter of New York, featuring Black faces with "roly-boly" eyes on its cover. Various "--Amos 'n' Andy" games and puzzles were used as promotions by the Pepsodent Companv. the radio program's sponsor at the time.(3) Although these games contained no physical violence or hostility, they continued to trivialize Blacks and deny them dignity. Trends towards improved depiction of Blacks in games during this period did not exclude the appearance of games containing old stereotypes. Currents of popular culture flow in many directions simultaneously. As late as 1928 the "African Dip" was still being advertised in various amusement catalogs, among them The Billboard of June 16:
In 1940, All-Metals Products Co. of Wyandotte, Michigan marketed a "Sambo Target" for use with their toy pistol set. A gap-toothed, bug-eyed young Sambo was the centerpiece of a brightly lithographed, metal target board. | |
As in the previous decade, broad caricature was more prevalent than overt violence in the 1940s. A "Pickaninny Jackpot" board and punchboard game featured cards portraying stereotyped Black children holding up watermelons with the "jackpot" figures printed on the melons. These images perpetuated the pickaninny- watermelon stereotype that persisted since antebellum times. In 1945, a game called "The Adventures of Little Black Sambo" used graphics heavily influenced by the illustrations in contemporary editions of the children's book: an African "native" with minstrel-like features and no hair [Color Plate 14]. A "Deluxe" Old Maid game of the late forties by Playtime House of Rochester, New York, featured "Mamie (sic) Pamby" as pair number 13. "Mamie" was the archetypal Mammy. Although in the early 1950s Selchow and Righter reissued "Snake Eyes" without changing the graphics, as the decade progressed, and the political and economic clout of African Americans grew, Blacks ceased to be the literal and figurative targets of abuse and ridicule. As in nearly every other genre of popular culture, images of Blacks disappeared entirely from games during the turbulent civil rights years. Images of African Americans simply became too "controversial" for the culture-makers to treat in overtly derogatory--or any other--ways. Post-Civil Rights: | |
African Americans remained invisible in the game genre long after they achieved de jure the equality of their rights. Mainstream game makers such as Selchow and Righter, Milton Bradley and Parker Brothers slowly integrated Black characters, issues and accomplishments into their offerings as they revised games or created new ones. This study, despite much effort, has yet to discover any attempt by mainstream manufacturers to market "Black editions" of established games to the growing African-American market. As the Black consumer, game-playing market grew, it demanded games that encouraged Black pride [Color Plate 15]. For the most part, Black entrepreneurs alone met this demand. www.ferris.edu/jimcrow/links/games/ FROM FARRIS STATE UNIVERISTY |
A Girl Like Me by Director Kiri Davis
A Girl Like Me
A Girl Like Me
by Director Kiri DavisColor is more than skin deep for young Black women struggling to define themselves and award winning young Director Kiri Davis illustrates this reality in her short film, A Girl... »
THE CURSE OF HAM OR A WICKED LIE
Willie Lynch: The Making Of A Slave
Willie Lynch letter: The Making of a Slave
by FinalCall.com News | May 22, 2009 - 12:45:37 PMThis speech was delivered by Willie Lynch on the bank of the James River in the colony of Virginia in 1712. Lynch was a British slave owner in the West Indies. He was invited to the colony of Virginia in 1712 to teach his methods to slave owners there. »
WILLIE LYNCH ~ Dr. Cindy Trimm
Letter of Willie Lynch,1712, Jamestown, Virginia
Is The Black Race Cursed
TRUTH VS FALSEHOOD
TRUTH VS FALSEHOOD
**WHITE PEOPLE ARE GENETICALLY SUPERIOR TO BLACK PEOPLE**
**WHITE PEOPLE ARE THE ORIGINAL PEOPLE OF THE EARTH**
**BLACK PEOPLE ARE BLACK BECAUSE OF THE CRUSE OF HAM**
**JESUS WAS WHITE**
TRUTH VS FALSEHOOD
TRUTH VS FALSEHOOD
What is Albinism?
Albinism occurs when one of several genetic defects makes the body unable to produce or distribute melanin, a natural substance that gives color to your hair, skin, and iris of the eye.
The enzyme produced by the TYR gene, called tyrosinase, is required for the synthesis of melanin pigment. A mutation in the TYR gene causes the most common form of albinism. People with albinism have either a partial or complete lack of pigment, or coloring, in their eyes, skin or hair.
**THE MEDICAL BREAKDOWN OF ALBINISM**
DISEASE: H00168 OCULOUTANEOUS ALBINISM (OCA)
GENETIC DISEASE
Homo sapiens (human): 7299 tyrosinase (oculocutaneous albinism IA) (EC:1.14.18.1)
Disease
H00168 Oculocutaneous albinism (OCA) |
FROM KEGG: Kyoto Encyclopedia of Genes and Genomes
GENETIC DISEASE
TRUTH VS FALSEHOOD
TRUTH VS FALSEHOOD
The Jewish Origin of the Curse of Ham
Jewish Origin of the Curse of Ham: The Hon. Min Louis Farrakhan dealt extensively with the Jewish origins of the Curse of Ham (or "Hamitic Myth") in his 2004 address entitled "Synagogue of Satan." We must understand that the very beginnings of racism and white supremacy are tied to this ingenious Jewish tall tale which has created so much mischief and caused the shedding of so much blood. It can be shown to be at the root in the justification of the slave trade and the displacement and murder of the American Indians.
www.blacksandjews.com
OURSTORY-NOT-HISTORY
A MUST VISIT WEBSITE
A MUST VISIT WEBSITE
MELANIN AND PINEAL GLAND PAGE
http://www.ourstory-not-history.com/stories4.html
HOME PAGE
http://www.ourstory-not-history.com/index.html
JESUS
Revelation 1:14, 15 - His head and hair were white like wool, as white as snow, and His eyes like a flame of fire; His feet were like fine brass, as if refined in a furnace, and His voice as the sound of many waters;
Daniel 7:9 - I beheld till the thrones were cast down, and the Ancient of days did sit, whose garment was white as snow, and the hair of his head like the pure wool: his throne was like the fiery flame, and his wheels as burning fire.
Solomon's declaration, I am black, but comely, O ye daughters of Jerusalem' (Sol, I, 5), is often cited as referring to Christ.