Amoeblog

Mighty White of You: Juxtaposing Cowboys & Aliens and Attack the Block

Posted by Charles Reece, September 12, 2011 09:06am | Post a Comment
What follows is a slightly altered version of a two-part series of posts I recently wrote, now combined as my entry for Pussy Goes Grrr's Juxtaposition Blogathon

juxtaposition blogathon

In the realm of categories, black is always marked as a color [...], and is always particularizing; whereas white is not anything really, not an identity, not a particularizing quality, because it is everything -- white is no color because it is all colors. This property of whiteness, to be everything and nothing, is the source of its representational power.
-- p. 127, Richard Dyer's "White" from The Matter of Images


Reading Dyer's above quoted essay reminded me of the classic Saturday Night Live skit where Eddie Murphy went undercover as a white man to discover what whiteness is really like. He receives a free newspaper, gets cash from a bank without any credit and, once the city bus is free of minorities, the whites have a party. Instead of whiteness being the default or normative position from which every other ethnicity is otherness, Murphy's blackness is the norm and whiteness is seen as excess.

A less ironic and more recent example of what Dyer's getting at is the colorizing of Marvel's superheroes: Nick Fury is black in the films and Ultimate line; the Ultimate version of Peter Parker was killed off and replaced by a half black, half latino kid named Miles Morales; Kingpin was played by a black man in the Daredevil film; and more controversial among the Aryan supremacists was the decision to make the Norse god Heimdall black in the Thor film. The difference here between whiteness and otherness is that Peter Parker isn't first marked as white, second as Spider-Man, but Miles Morales is foremost a mixed ethnicity and secondly a superpowered human. If he were to live with his aunt at a near poverty level, that would be part of his ethnic narrative, whereas it's not really a part of Peter's being white. For Peter, those are qualities which merely help the audience sympathize with his struggle as an individual (they aren't anything but dramatic attributes within a particular narrative). The white narrative, through its dominance, seen as normative, is hidden, only revealed by contrast with what falls outside, or underneath.

Continue reading...

Mighty White of You: Cowboys & Aliens (2011)

Posted by Charles Reece, August 29, 2011 02:49am | Post a Comment
In the realm of categories, black is always marked as a color [...], and is always particularizing; whereas white is not anything really, not an identity, not a particularizing quality, because it is everything -- white is no color because it is all colors. This property of whiteness, to be everything and nothing, is the source of its representational power.
-- p. 127, Richard Dyer's "White" from The Matter of Images


Reading Dyer's above quoted essay reminded me of the classic Saturday Night Live skit where Eddie Murphy went undercover as a white man to discover what whiteness is really like. He receives a free newspaper, gets cash from a bank without any credit and, once the city bus is free of minorities, the whites have a party. Instead of whiteness being the default or normative position from which every other ethnicity is otherness, Murphy's blackness is the norm and whiteness is seen as excess.

A less ironic and more recent example of what Dyer's getting at is the colorizing of Marvel's superheroes: Nick Fury is black in the films and Ultimate line; the Ultimate version of Peter Parker was killed off and replaced by a half black, half latino kid named Miles Morales; Kingpin was played by a black man in the Daredevil film; and more controversial among the Aryan supremacists was the decision to make the Norse god Heimdall black in the Thor film. The difference here between whiteness and otherness is that Peter Parker isn't first marked as white, second as Spider-Man, but Miles Morales is foremost a mixed ethnicity and secondly a superpowered human. If he were to live with his aunt at a near poverty level, that would be part of his ethnic narrative, whereas it's not really a part of Peter's being white. For Peter, those are qualities which merely help the audience sympathize with his struggle as an individual (they aren't anything but dramatic attributes within a particular narrative). The white narrative, through its dominance, seen as normative, is hidden, only revealed by contrast with what falls outside, or underneath.

Continue reading...

You're My Love Song in the Flowers - Little India for Asian Pacific American Heritage Month

Posted by Eric Brightwell, May 20, 2011 05:00pm | Post a Comment
LITTLE INDIA

Little India Plaza

Little India is a small neighborhood within Artesia centered on Pioneer Blvd. However, since the population of Artesia surrounding Little India is more Mexican, Filipino and Chinese (not to mention home to smaller but significant number of Koreans and Vietnamese), the city council and mayor rather lamely compromised, officially designating it the "International and Cultural Shopping District." Catchy, huh? That silliness suggests a fundamental misunderstanding of what a designated ethnic enclave is... that is, a community that retains a cultural distinction from the larger community. Oh well, everyone knows it as Little India, whether it's official or not.

EARLY ARTESIA - DAIRYLAND

Artesia, named after the area's artesian wells, was primarily developed in the 1920s and '30s by mostly Portuguese and Dutch dairy farmers. Later came Dutch-colonized Indonesians. The character of Southeast Los Angeles became increasingly suburban after World War II and most of the homes in the immediate area date from the mid 1940s to the early '50s.

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Way Out West

Posted by Mr. Chadwick, July 15, 2009 10:55am | Post a Comment
keef harley band halfbreed lplakeside rough riders lp coverJenks "Tex" Carmen the ole indian lp cover
cielito lindo norteno lp coverjulie and carol at carnegie hall lp coveryour squaw is on the warpath lp cover loretta lynn
sonny rollins way out west lp coverjames brown soul syndrome lp coverbo diddley is a gunslinger lp cover
jorge negrete el charro inolvidable lp coverantonio aguilar corridos lp coverlos compadres de apodaca lp cover
temptations bare back lp coverbilly thunderkloud and the chieftones off the reservation lp covergospel music for the soul lp cover
the seeds lp covertommy garrett el hombre lp cover the illusion if it's so lp cover
old mexico lp covermanuel nunez sangre de mexicano lp coverserenata azteca lp cover