Greg Reese at Antelope Valley News has written about the early radiation experiments conducted in 1927 on black children at Lyles Station, Indiana. These hideous experiments are part of a largely unexamined legacy of illegal human experimentation, much of it conducted on African-Americans, and other minorities, and also on prisoners.
A 2009 documentary tells the story of one of these children, now deceased, Vertus Hardiman. These experiments took off Hardiman’s scalp… literally. But Hardiman wasn’t the only victim, nor the Lyles Station experiments the last. As Reese tells it:
One cannot help but be repulsed by the cruelty of such procedures, especially their application to young children, but this was not an isolated case. Similar research occurred in 1951 on a much larger scale has been uncovered in the then-fledgling state of Israel. Like the Lyles Station incident, where all the affected children were Black, racial overtones abounded since fair-skinned Ashkenazi Jews of European origin administered radiation to upwards of 100,000 Sephardic Jewish children who were refugees from Morocco.
Space Traders Movie—— Aliens demand all Black people in America and in return untold wealth.
“Bastards of the Party”
Surrounded by death and the brutal lifestyle that feeds it, a Los Angeles gangbanger explores the history of Southern California street gangs from the 1950s through the 1990s in an attempt to fully understand his existence.
Currently watching on Netflix.
Also available to watch here.
Django Unchained and the Expendability of Black Bodies in Cinema
I should preface this by saying I enjoy reading. writing, and watching material about Black histories. There is no history of Black peoples that has not been marred by white colonialism and the devastating violence that comes with it. I am no stranger to imagining, describing, or viewing these brutalities.
Even so, I was not prepared for the toll that director Quentin Tarantino’s Christmas release, Django Unchained, would take on me. I walked into the theater feeling hesitant but cautiously optimistic, excited if for no other reason than to see Kerry Washingto and Jamie Foxx act opposite one another. I left 2 hours and 45 minutes later feeling jittery, unsettled, and overwhelmed by emotions I hadn’t experienced consciously in ages.
To be perfectly fair, the film is breathtaking from a cinematographic perspective. Tarantino is an artist, and his eye for camera work is impeccable. He is by no means afraid to take risks, and this resonates with audiences; it is no accident that he has acquired so large a following.
The work has alreay been applauded as groundbreaking; Tarantino has been referred to as “bold,” “daring,” and “edgy” for having the tenacity to write and direct a thriller loosely based on the antebellum South and reveling in depictions of violence primarily against Black people. If I may be blunt, however, I do not believe the risks Tarantino takes in Django are his to negotiate. In “post-racial” America—where Black bodies are disproportionally targeted by hate crimes, police brutality, the prison-industrial complex, dishonest housing and banking practices, and numerous other institutional forms of violence—there is nothing novel about a white director choosing to regale audiences with the coordinated murder of Black people.
[spoilers and descriptions of graphic violence under the cut]
Suspected Racist, Quentin Tarantino, refuses to answers interviewer’s questions about the relationship between one enjoying violence in his films and enjoying it in real life. A large reason Tarantino’s work is so celebrated, in addition to the pornographic display of violence, is the overt Racism (White Supremacy) ever-present in his work. Another observation, is that I suspect the indignant posture Tarantino takes in this interview is in large part based on the interviewer’s racial classification.
Below is a written excerpt of the interview shown above.
KGM: Why are you so sure that there’s no link between enjoying movie violence and enjoying real violence?”
Tarantino: “Don’t ask me a question like that. I’m not biting. I refuse your question.”
Tarantino: “Because I refuse your question. I’m not your slave and you’re not my master. You can’t make me dance to your tune. I’m not a monkey.”
KGM: “I can’t make you answer anything. I’m asking you an interesting question.”
Tarantino: “And I’m saying that I refuse.”
Tarantino is a Racist Suspect and these films reflect the White Supremacists’ most virulent ideas regarding black people under the guise of entertainment. The White Supremacist/Racist dialogues provide a means for which Tarantino et. al. can further mistreat black people on the basis of color or factors related to color. I see no redeeming value in any of it.
Nothing is just entertainment, folks. Remember that and you’ll be less likely to pay for your own mistreatment and degradation.
Official Video Description:
Hopefully, this montage will aid black and non-white people’s understanding of White Supremacy/Racism. It’s not about whether Django Unchained is a Racist film. It’s about a body of work that shows a consistent, self evident pattern.
There’s a reason Tarantino’s film are praised and released on major holidays. His cinema reinforces core White Supremacist values. Check out my film review of Pulp Fiction for more details: http://racism-notes.blogspot.com/2009/05/pulp-fiction-gooks-slopes-niggers-ju…
Invest if you find the material to be constructive:
Invest in The COWS - http://tiny.cc/ledjb
This is a whole lotta truth. I’m just gonna add, another detrimental aspect of this narrative is that it affects how teachers and prospective teachers view themselves in a classroom. The public school teaching force is overwhelmingly made out of middle class white people, primarily white women, when the student body is nothing of the sort, so the narrative ends up being played out by teachers who think it could really work this way, and when they fail, b/c this shit is structural, it leads to a lot of blaming of the students. I’m just gonna drop links to a book here
The book is Black Students, Middle Class Teachers and he spends a couple chapters talking about this gap between the teacher’s world and the students. Though he does lean a bit heavy on the religion for me.
wow these movies are actually worse than i thought