THE VISION: 

 

Focus On The Creative
is a platform directed toward the exploration, celebration and promotion of creative thinking, creative problem solving, the creative arts and the creative path to independence.

Tru FireElectric has vision for creating positively to touch the heart, spirit, mind and soul of us all. Something like how *The Sun* works, which is what her name "Tru FireElectric" pays homage.

Walk in the Light.

THE CREATIVE PATH. RACE-ISM.

There was once a fight for "civil rights" among humans and those the humans considered "apes". There were "gangs" forming on every side, murderers and peace makers alike. Taking sides regarding how people are characterized was definitely critical at the time because a clear line had been drawn. Upon analyzing the different views regarding content of character and attitude of people, mental projections manifested themselves as race-ism which became a collective burden for everyone. Some focused on color as a factor to consider in the development of relations among "whites and blacks" and no matter the view, everyone eye balled the future. What we focus on today creates the world we see tomorrow. How we imagine ourselves matters. Control the images. Check it out for yourself. The Peace Maker/So You Wanna Be A Gangster by Tru FireElectric https://soundcloud.com/tru-fireelectric/the-peace-maker-so-you-wanna-be-a-gangster

Check out the following excerpts regarding the power of characterization: The character of Kong, according to the race reading, independently acts as a semiotic representation of the white man’s perception of black men. The film’s narrative takes us to Africa, asks the audience to embark on an adventure to a land so lost to the modern world that its inhabitants exist side by side with dinosaurs, which Brian McKay argues to be the most “obvious symbol for the perceived primitive nature of Africa and Blacks” (McKay, 2005) The gorilla that they bring back from that island may now be an icon of popular culture in himself, but before King Kong was released there was another image of popular social consciousness that he was associated with, which were the disturbingly dehumanizing cartoons of black people as monkeys popularized by Collins and Tinsley. Snead argues that these images were “a willed misreading of Linean classification and Darwinian evolution [that] helped buttress an older European conception […] that blacks and apes, kindred denizens of the ‘jungle’ are phylogenetically closer […] than blacks and whites.” (Snead, 1994: 20) Certainly, these images allowed the mainstream white audience to continue to psychologically distance themselves from black people, to perceive them as other. This is enhanced even further by Kong’s anthropomorphic behavior in the film. He walks on two legs, has basic emotions of lustand jealousy, and – as seen when he detaches the manacles from his feet – has basic human intelligence. It is this conduct that ultimately removes him from the identity of ape, and closer to black man/ape hybrid popularized by conservative cartoons. In photo: Justin Beiber

Excerpt continued: The reading of Kong as the black man in the United States is indicative of the growing tensions between the white man and the black man in culture and society through the first 30 years of the 20th century. America was still in the midst of segregation - the Jim Crow laws that mandated this legal racism had been in place since 1876, and would only be abolished in 1965. D.W Griffiths’ The Birth of a Nation had become the most profitable film of all time when it was released in 1915, but its deeply racist message and support of the Ku Klux Klan had led to the KKK expanding their membership all the way through the 1920’s. The Black Tuesday stock market crash of 1929 had resulted in the Depression, and with black people being “traditionally last hired, first fired” (Rosen, 1975) hunger and racial tensions escalated dramatically in the early 1930’s. Kong, as the ape from Africa who acts like a man, therefore becomes something far more threatening. By removing the image of the ape from the ‘harmless’ context of cartoons and placing it in the far more sinister scene of Kong destroying the subway car, the film “demonstrates the very real fear of the destruction of White hegemony by the savage Black. [It] tells us that once the Black is integrated into White society, the order of things will crumble” (McKay, 2005) Kong, in this sense, becomes a product of the West’s discussion of that which was colonialised, which was foreign, and which was not white. via http://raceandkingkong.blogspot.com/

Vogue magazine put a black man on the cover for the first time in their 116 year history, but a lot of people couldn’t ignore the fact that they made LeBron look like King Kong. via http://madamenoire.com/417008/worst-magazine-covers/7/ "KING KONG AIN'T GOT SHIT ON ME" Carl Denham’s introductory speech here highlights the uncomfortable parallels this film draws with the US slave trade, and the ensuing years of civil tension between black and white Americans. Released 35 years before the end of segregation and the passing of the Civil Rights Act, the film offers up a disturbing portrait of the dominant white racial ideologies of the time, implying that the idea of America (as represented by Manhattan’s iconic topography) would be destroyed if the black man were given total freedom. Review here:

BUT, if "all men are created equal" what happens when men keep redefining the meaning of "man"? Which includes prides and prejudices, mood swings and all sorts of tings because men's attitudes, feelings and representations of themselves change too.

#KingKongAintGotShitOnMe #ImWinnin either way! #OhWhatADay In video, King Kong scene from the movie, TRAINING DAY:

What will the "villain" do when the cards are stacked "against" him/her???

Death of Love, relationships, career, spirit, motivation, inspiration, introspection, peace and Self identity is waiting right around the corner. Which way do you go?

Discrimination against blacks linked to dehumanization, study finds

Crude historical depictions of African Americans as ape-like may have disappeared from mainstream U.S. culture, but research presented in a new paper by psychologists at Stanford, Pennsylvania State University and the University of California-Berkeley reveals that many Americans subconsciously associate blacks with apes.

In addition, the findings show that society is more likely to condone violence against black criminal suspects as a result of its broader inability to accept African Americans as fully human, according to the researchers.

Co-author Jennifer Eberhardt, a Stanford associate professor of psychology who is black, said she was shocked by the results, particularly since they involved subjects born after Jim Crow and the civil rights movement. Scientific racism in the United States was graphically promoted in a mid-19th-century book by Josiah C. Nott and George Robins Gliddon titled Types of Mankind, which used misleading illustrations to suggest that "Negroes" ranked between "Greeks" and chimpanzees. Although such grotesque characterizations of African Americans have largely disappeared from mainstream U.S. society, Eberhardt noted that science education could be partly responsible for reinforcing the view that blacks are less evolved than whites. An iconic 1970 illustration, "March of Progress," published in the Time-Life book Early Man, depicts evolution beginning with a chimpanzee and ending with a white man. "It's a legacy of our past that the endpoint of evolution is a white man," Eberhardt said. "I don't think it's intentional, but when people learn about human evolution, they walk away with a notion that people of African descent are closer to apes than people of European descent. When people think of a civilized person, a white man comes to mind." via http://news.stanford.edu/pr/2008/pr-eber-021308.html

Tru FireElectric, Focus On The Creative

#ism #racism #civilrights #kingkong #raciallyquestionablemoments #controltheimages #selfidentity #gangster #gangsta #tooshort #soyouwanttobeagangster #allmenarecreatedequal

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