Considering the media firestorm surrounding actor Jussie Smollett being charged and subsequently released for perpetrating a potentially dangerous hate crime hoax, I thought it would be appropriate to weigh in with some race-related reality to give some context.
Jussie Smollett is probably too young to understand how his actions dishonored those who sacrificed in the cause of racial equality over the course of our nation’s existence. In school, I imagine he wasn’t taught anything remotely resembling reality on the subject of history, particularly in this area. Factor in Smollett having been raised in the entertainment industry from childhood, and we can see how unlikely it is that any sense of moral obligation he might have harbored could have survived.
As distasteful as it is for me, I occasionally engage in “media slumming,” meaning that I expose myself to media that I would never watch for enjoyment in order to remain informed as to what’s going on in media venues. I don’t have broadcast television, nor do I participate in the ripoff of cable TV, but I do have streaming services through which I can glean a fairly decent representation of what’s afoot in broadcast TV.
Similar to the inescapability of superfluous homo-erotica, pro-LGBTQ messages and anti-Trump snark pervading TV and films these days, the America-as-an-institutionally-racist-nation message has also taken on new life over the last couple of years. Case in point: In just the last year, I’ve viewed more TV dramas than I can count in which characters bemoan Trayvon Martin, Michael Brown and a host of other real-life black Americans being murdered by racist cops.
Such laments are abject mythology, but when one is in that passive mode of being plugged into the brain-sucker box for entertainment purposes, the ensuing effects can be quite insidious.
I was having a discussion with some people on social media the other day on the topic of how the genres of hip-hop and rap debase black people, particularly black women. I offered that while I certainly concur with this assessment, it’s only a small part of the ongoing campaign of the left – and to some extent, our government – to keep blacks culturally enslaved. This is actually a theory I began developing in my teens, when I saw the music being marketed to blacks becoming less mainstream and increasingly geared toward hedonistic and narcissistic themes. Perhaps I noticed this because I’m a lifelong musician, as opposed to being remarkably intuitive.
I paused bemusedly after having employed the phrase “cultural enslavement.” I don’t know If I coined it then and there, and I don’t need the credit, but it’s bloody brilliant regardless.
Cultural enslavement is essentially what the political left has imposed upon blacks since the Civil Rights Movement. I have written previously about some of the federal government’s efforts to keep blacks on the proverbial plantation as popular sentiment around the existing racial inequities in America began to change; these included FDR and Harry Truman conspiring with unions to use entitlement programs to keep black men from taking union jobs, and of course the deleterious effects entitlement programs have had on black families in general.
It’s been said that prior to the Civil Rights Movement, blacks were probably one of the most socially conservative groups in America. Occasionally, someone will point out how stable black communities and families were prior to this period, when wholesale government intervention into race-related issues and the explosion of entitlement programs took place. This is certainly accurate, despite leftists being quick to offer catty little mincing retorts in these cases: So, are you saying that blacks were better off under Jim Crow and segregation – hmm?
I often proffer the argument that America is not an institutionally racist nation in the sense that black activists and liberals maintain it is. America is indeed an institutionally racist nation, however, in the sense that since the Civil Rights Movement (which I’m using as a temporal landmark, not a cause), blacks’ identity has been dictated by liberal whites and their black lackeys, and this has been actualized largely through the entertainment industry. I went into great detail on this topic in my book, “Negrophilia: From Slave Block to Pedestal – America’s Racial Obsession.”
Of even more significance is the fact that blacks have learned from these media sources how to relate to other racial groups and how other racial groups relate to them. The worldview they adopted as a result has been extremely disadvantageous to them and was predicated upon the desire of influential liberals to influence how blacks relate to just about everything.
More recently, young blacks have been indoctrinated en masse into the sociopathic culture of the lowest-of-the-low in the black community: criminals. In addition to the gratuitous use of profanity, more often than not the themes of rap and hip-hop purveyors are narcissistic in the extreme, antisocial, anti-authority, misogynistic and racist. The attitudes represented within these themes have been adopted by young blacks in the same manner in which young whites assume the attitudes of their music idols.
Unlike Mötley Cruë, however, which promoted the abstract if morally ambiguous “sex, drugs ‘n’ rock ‘n’ roll” lifestyle, in their lyrics, rappers routinely showcase their disdain for authority, multiple baby mamas, dealing drugs and killing people – even police.
The cure? As simplistic as it may sound, like so many of the threats we face from the hard left, it’s going to come down to people waking up to the reality of what’s going on. In the case of black Americans, with so many remaining mired in the orthodoxy of the left and the Democratic Party, I see this as being a particularly difficult if not an extremely unlikely proposition.
Article posted with permission from Erik Rush
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