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dragoneyes618 · 4 months

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Dear Lorne,

A long time ago, you began your career as a television writer for the Canadian Broadcasting Corporation, before moving to Los Angeles, and eventually getting a shot at producing Saturday Night Live in 1975. It’s important to remember that the odds of becoming as powerful and rich as you have is a longshot at best. A man who has garnered over 60 Emmys, produces several television shows and films, and has turned names like Sandler, Ferrel, Rock, Belushi, Chase, Radner and Murphy into very rich and famous people says something about your power.

But here’s the thing.

Spider-Man warned us that with great power comes great responsibility.

Now don’t get me wrong. No one loves a hard laugh more than me. In fact, for many years, I was the class clown, making jokes and getting laughs, having spent many hours in the principal’s office or detention. Sometimes, I went a bit far but ultimately, I knew where to draw the line. I’m not so sure that you do.

Last week, former Saturday Night Live star Cecily Strong backed out of playing Representative Elise Stefanik on the show because she was “uncomfortable” with the heavily criticized sketch. You know, the one where you mocked Rep. Elise Stefanik, the one person trying to stop blatant hatred of Jews. You could have mocked and castigated Mrs. “It depends on the context” Magill, the clown who couldn’t say a genocide against Jews constitutes bullying or harassment. Now that, Lorne, would have been funny. But don’t take my word for it. There were many people who were shocked at that decision.

Journalist Jake Wallis Simons asserted, “Can’t believe SNL decided to mock those demanding tougher action on Jew-hatred on campus rather than those making excuses for calls for genocide.”

Meghan McCain mentioned that there is a “400% increase in antisemitic hate crime since October 7th and SNL thinks it’s hilarious…This is vile. Vile.” Dr. Sara Yael Hirschhorn noted, “This is really appalling – [NBC] do you think antisemitism is acceptable as the punchline of a joke about American society? This needs to be investigated by the FCC.” Kevin Haggerty wrote, “The disconnect from humor caused by the ‘woke mind virus’ found Saturday Night Live taking heat for a ‘vile’ skit. This is no longer satire. This is propaganda.” The ADL has tracked multiple ‘Weekend Update’ jokes this season that inappropriately using Jews as the punchline.

In fact, a few years ago during the Corona crisis, host Michael Che “joked” about Israel’s coronavirus vaccine rollout: “Israel is reporting that they’ve vaccinated half of their population. I’m going to guess it’s the Jewish half.” The ADL told Fox News that “basing the premise of the joke on factual inaccuracies and playing into an antisemitic trope inspires the mass murder of countless Jews throughout the centuries.”

Lorne, we all appreciate that ratings are key. But you could have found a dozen things to make fun of, yet instead chose to mock someone who is defending your rights. And Lorne, I think we all know that if the victims of these three morally bankrupt school presidents were not Jewish but black, that skit never would have aired. Even Al Sharpton, hardly a close friend of Jews, agreed and commented that if this vitriol was directed toward the black community, buses and protests would immediately line the streets.

The question that begs to be asked is why? Why do you continually choose to satire and mock Jews when you are one yourself?

The NBC office and the Rockefeller walls are not immune to mobs of terrorists like the ones who ran through colleges chanting “death to Jews.” As history has shown us, Hitler didn’t discriminate between the Jews he gassed.

What’s worse, the humor fell flat and opened the door to more haters of Jews. The only people that should have been mocked were the three antisemites in sheep’s clothing. Instead, your writers castigated the one courageous woman who chose to stick up for Jews when practically everyone else remained silent. And she’s not even Jewish.

Rather than mock her, you should thank her for her courage in fighting injustices.

No one is asking you to give up your $500 million empire. No one is asking you to march in Washington or donate to an Israeli cause. Asking you to stop adding fuel to the fire of antisemitism is not a huge ask.

In many ways, G-d chose to place you in a powerful position to help. To make a difference. But perhaps without intending to do so, you hurt a lot of people who take these threats and attacks very seriously. In fact, we have 6 million reasons to take these actions very seriously. You could follow the lead of other powerful individuals, like Arnold Schwarzenegger, David Schwimmer, Steven Spielberg, Patricia Heaton, Debra Messing, Jamie Lee Curtis, Mayim Bialik, Amy Schumer, Jon Voight, Madonna, Adam Sandler, Michael Rapaport, or the countless others who have chosen to stand up against tyranny and hate. Yet, for some reason, you chose the opposite.

Perhaps the most ironic aspect is that you were born on a kibbutz before your parents emigrated to Toronto.

Imagine if they decided to stay on that kibbutz.

Imagine if your whole family was there on October 7.

Ten to one, I’ll bet it wouldn’t depend on context.

#lorne michaels #antisemitism #israel

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otnesse · 1 year

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National Review article: Jane Fonda's Vietnam Actions Were Worse Than You Think by Kyle Smith

NRPLUS

CULTURE

Jane Fonda’s Vietnam Actions Were Worse Than You Think

By KYLE SMITH

March 3, 2021 11:14 AM

A newly restored documentary spotlights her despicable Team Communism cheerleading.

Back around the time Jane Fonda was giving aid and comfort to America’s Communist enemies in North Vietnam, yukking it up with anti-aircraft gunners who shot down our troops — I wonder if there are any laws against that sort of thing — she also headlined an anti-U.S.O. tour. Despising the actual U.S.O. for its policy of giving aid and comfort to American troops, Fonda went on the road with a hippie rebuttal to bolster the chances of the North Vietnamese Stalinists who, after the war turned out the way she wanted it to, forced 300,000 people into prison camps for reeducation. Fonda’s tour was called “F.T.A.,” and in the opening moments of the documentary of the same name, you can see her on stage with her pal and Klute co-star Donald Sutherland screaming out what it stood for: “F*** the Army.”

Filmed in 1971, the film F.T.A. went over like a rat in the punch bowl when it was released in 1972. It was yanked from theaters and most copies were destroyed; seldom has it been seen since. But the Hollywood Foreign Press Association recently decided to spend some of its Golden Globes money on restoring the film so we can all take a look at it with fresh eyes (it is being released in virtual cinemas). So how does Jane Fonda, who was just honored with a lifetime achievement award by the HFPA, look half a century later? Exactly the same: like a brainless simp for Team Communism. Those who tend to dismiss Hollywood stars as merely stupid, not evil, can consider the other side of that.

Fonda, Sutherland, and assorted tuneless musical acts (songs include “My Ass is Mine” and “Nothing Could Be Finer Than to Be in Indochina”) first went on the road in the U.S., performing in countercultural coffee houses. Next they went on a Pacific tour, aiming to attract off-duty anti-war troops they could influence and leverage while putting on shows near military bases in Hawaii, Tokyo, Manila, and Okinawa. In a new intro to the film, Fonda frames herself as simply an ally to the anti-war troops. It’s evident however, that she and her pals were determined to do everything they could, including encouraging crimes, to depress morale and help boost the Communist side.

Fonda says much but knows nothing; we hear her make all sorts of false assertions. In 1971 footage she proclaims, “The American GIs don’t know why they’re here, don’t want to be here, don’t want to be in Vietnam or Japan or the Philippines or Hawaii.” Hang on, should U.S. troops not defend . . . Hawaii? Is Fonda aware that Hawaii is a U.S. state? Fonda seems to think it’s imperialism for the U.S. to support overseas allies at their invitation, and that imperialism starts in Hawaii. (Okinawa was occupied by U.S. troops after the war, but two years before this film was shot the U.S. agreed to cede the island to Japan. American troops remained there at the request of the Japanese government, not out of imperial aggression.)

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Sutherland and guests are seen onstage in their F.T.A. show making larkish jokes about “fragging” — suggesting that it’s hilarious when enlisted soldiers shoot their officers. Other dopey songs and skits absurdly refer to U.S. efforts in Southeast Asia as “genocide,” urge soldiers to commit insubordination, and steer them to refuse to fight. One describes the war as secretly being controlled by “the businessmen you’re fighting for,” in an interlude that features Fonda and Co. singing and dancing in top hats while carrying canes. Singers belt out lines such as, “They’ll lock you up in their stockades, yeah they’ll lock you up ‘cause they’re afraid.” The vibe is half puerile Seventies variety-show, half Maoism; the tour could have been called Free to Be . . . Ho and Me. Or maybe Socialist Sesame Street. Several segments, aimed at black troops, make the absurd inference that losing the war will somehow make things better in Harlem (which remained a dire place to live for decades after we lost the war) and there’s a slam-poetry section that contains lines such as, “I can’t exactly tell you what to do/But there’s the armory. The rest is up to you.”

Sutherland solemnly reads from the (Stalinist) writer Dalton Trumbo’s anti-war novel Johnny Got His Gun, Fonda and three other ladies perform a can-can to protest catcalling, and there’s a loving segment on a communist street march in Manila, as well as a bitter one about the A-bomb attack on Hiroshima. (Fonda et al. do not provide an alternate theory of how the U.S should have ended the war that Japan started.) One performance, amusingly, breaks down when pro-war GI’s start making their voices heard and go up on stage to interrupt the action. “Should we ignore them?” Fonda asks Sutherland. “No, no, no, they have to go,” he explains.

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The average starstruck Private Snuffy attending these shows might reasonably have surmised that Jane Fonda and Donald Sutherland wanted him to shoot his superiors, refuse lawful orders, maybe even launch a mutiny. Doing any of these things would, of course, likely lead to a court-martial and imprisonment. Fonda says in the intro, “As I became involved in the GI movement, I started to understand its class significance.” Does she understand the class significance of rich Hollywood actors telling uneducated working-class kids to do stupid things that could ruin their lives? As usual when dealing with Bolshie Bourgies, the only connecting impulse is hatred of America. If American troops have to suffer for what they learn from Hollywood dopes, they’re just collateral damage in the larger war against America.

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KYLE SMITH is a fellow at National Review Institute and National Review’s critic-at-large. @rkylesmith

#Anti-Jane Fonda; Vietnam War; Leftists ruined everything; Wouldn't be surprised if George Lucas supported the garbage Fonda pushed

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rumandtimes · 3 years

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“Bossypants” by Tina Fey: A pre-view

Luigina Cecchina-Tarquina

Assoc. Lifestyle Contributor

When I picked up Tina Fey’s book, I knew little more of her reputation than as a female comedian. I expected a chuckle and some depiction of a woman’s take on the world of hollywood success — I would not have expected to come across a racist book that struggles to relay a single joke while recounting the life of a southern woman’s bygone teenage years, but then, what would one expect from a cast member of “saturday night live”.

For those who are even aware of Saturday Night: Live (SNL), it is common knowledge that Tina Fey, and saturday night live for that matter, are controversial figures in american media. It seems to be a split right down american society: people who find Tina Fey “L-O-L” funny, and people who find her humour unsufferable; people who tolerate the blatant racism of snl and 30rock as “satire,” and those who have had enough of the denigration, minstrels, slurs, and tropes for cheap comedic effect.

I know Tina Fey is a comedian — a clown — and sets out to prick peoples ears and widen people’s eyes. To quote another comedy critic, I do not seek to come off as someone wilfully misunderstanding humour and repeatedly not getting the joke.

Yet the illusion of that decision is for those who do not remember that Bill Murray had a sketch on snl, where he dreamed about “turning from ‘brown’ to ‘white’”, and the more recent habit of snl writers hiring minorities as comedians to attack themselves on the show with slurs, because it would look less objectionable than if the writers denigrated those actors or people themselves. In Tina Fey’s book, she states that “As a Greek,” she would “only date a ‘white’ man, such as a redneck” inexplicably fond of camouflage.

But to quote that same critic again, humour has a goal; It has an audience. When engineered to subvert expectations and play to the common denominator, jokes have a base which they are founded upon. If that baseline for the comedian or writer, like Fey, is a bedrock of deep-seated racism, which the comedian exploits rather than lampoons, it is no longer a humorous observation, but a cheap, racist ploy servicing an already receptive racist base.

Tina Fey saying she would only date in a certain imaginarily-defined group is racist. Full stop.

Fey going on to say she would date even the lowest, “redneck,” in that category, before anyone else in the world is not less racist — as Fey probably expected her statement to be received (by deprecating people of European-descent with ethnic slurs like “redneck” or “hillbilly” or “honche”, rather than solely praising their racist memes) — but it is more racist, as Fey is simultaneously using racism to make fun of her suitors, and again using racism to elevate even them above anyone and everyone else.

Not to “belabour the point,” as Fey would appreciate, or focus on one bad joke: but Fey’s joke is playing to long-festered notions of racism, colonialism, and rogue supremacism, which Fey buys into rather than challenges, where Fey herself puts (1) any “Aryans” above (2) rich Europeans, (3) Greeks above poor Europeans, and (4) poor Europeans above (5) the rest of the living world. It is inane — and stupid — but a strongly held delusion among groups (1) through (5), and probably strongest among groups (2) to (4).

Fey happily plays with this unholy flame of racism, undergirded by genocide in her native South, fuelled by the segregation in Fey’s own high school, and leaving embers of anti-marriage laws across the American East.

That is not to say racism, colonialism, genocide, holocaust, mob rule, political repression, et alia, are not to be joked about — they are the most popular comedic material in the United States (even if only in the United States). But these topics are deadly serious, and not as distant and abstract as we would like them to be.

There is a real possibility, given their frequency and recency, that anyone who read the first edition of Fey’s book, or attended same secondary school, committed a hate crime, using the exact same rhetoric Fey employs as a “joke.” Not only that, Fey never says it is a joke — there is no punchline.

The only reason I give Tina Fey the benefit-of-the-doubt and assume she was not serious about what she said is because the statements where so outrageous and absurd that someone would have to be insane to print them in sincerity, and equally as ungracious to print them even in jest.

Nonetheless, it was never expected to have to wrestle with these issues, which Fey has ill-managed, in a comedy memoir. Maybe if it had to do with Fey’s experiences or personal identity (as “German–Greek”?) it would have a more natural place. That is, if Fey had been the victim of racism, and condemned it, even through humour, that would be expected, cool, and fine. Fey calls herself “Greek,” but only tongue-in-cheek, and it’s apparent she doesn’t speak Greek. Fey calls herself “German,” but only in relation to being American, and it’s apparent she doesn’t speak German.

What we learn is not how Tina Fey suffered racism, but her experience in adopting racism itself. It offends the senses, and anchors the book.

While hardly intended to win over the intellectual crowd, some of Fey’s items over the years cannot be ignored. Conventional culture, and Fey herself, would seem to agree, after the firing of certain snl comedians and the pulling of certain 30rock episodes, that just went too damn far.

This puts Fey in the precarious position of defending her legacy of racist and baiting comedy, and that of her colleagues, as now she has been outed as admitting herself that she has crossed the line on several, several occasions. But does that mean that Fey is accommodated now that she has made a partial apology? Or is that the mere beginning of scrutiny now that critics have gotten their first concrete admission of her failure?

Fey, and many of her cultivation, say such racist things in order to just have meaningless fun, or in order to make fun of the racist. While Fey and the others may consider this to be in good fun, and an inclusive way to overcome racism, at the end of the day you have subtly racist comedians repeating the words of violently racist hate-mongers for the entertainment of an audience often apathetic to the realities of racism. That is to say, with such willingness to commonly, repeatedly, and recklessly embrace such a serious topic, they can miss the mark.

The impulse may be that racism is so at the heart of American culture and popular life that it is expected that a pop culture figure embrace it (similar to why comedians talk so much of ornery subjects such as politics), and that they should not be taken seriously as comedic plays on the feelings of the populace.

However, comedy is nothing if it does not play to the sentiments of the crowd, and the cover of the clown mask is a poor excuse for crude thinking. In Fey’s apology for racist comedy sketches on her show 30rock, she echoed a previous comedians apology, David Letterman, when she said that intent is less important than perception when that perception causes innocent people pain. In Letterman’s statement (on a different subject), Letterman also says it is not about intent but perception that forced his apology and goes so far to say that if you must explain a joke, it wasn’t that funny anyway, so there is no sense in defending it.

Elizabeth Xenakes Fey, or Tina, has been a supporter of progressive movements in the country, but it should not be overstated to what extent, nor should the virtue of this support be overstated. Fey’s famous endorsements of Barack Obama versus John McCain, and of Hilary Clinton versus Donald Trump, and moreover her critical statements of Sarah Palin’s alliance to both McCain and Trump, have been definitive to her identity as a good liberal and progressive person who supports women’s advancements.

Yet, so too did the majority or Americans. It is not a controversial stance to support the candidate that won the popular vote of a national election — and, sadly, many racist people, both aware and unwitting, also vote for so-called “progressive” candidates for different reasons, despite their problematic stances. That is to say, being a Democrat is not exculpatory of anything. It should also be noted that Fey endorsed Clinton over Obama in the primary, and refused to endorse Bernie Sanders (or Clinton) in the next primary, and Fey describes herself and her works as “neutral,” rather than progressive.

Fey’s most famous work in comedy, the impersonation of Sarah Palin wasn’t as scathing as one might expect of a true critic, but was in many cases humanising, and even flattering. Fey was not kind in undermining the Tea Party spokesperson, but Palin was made out to be an odd yet loveable figure, rather than a contemptible one: she was written off. As Fey’s alter ego said herself, ‘it would be egotistical for saturday night live (or anyone else) to believe that a couple of jokes swung the 2008 election.’

Tina Fey has many hard questions to answer for racist depictions in her sketches, television series, and book — and it is not so easy a dodge to say that she once ‘made fun of Sarah Palin.’ Another reviewer stated, “I don’t think Fey comes off as a bad person, I just don’t think she’s funny.” Tina Fey doesn’t come off as a good person, or a bad person, but just presents as an ordinary person, and whether you find Tina Fey (or mor importantly, any of her jokes) funny is a personal and indeterminable matter.

I watched a few of Fey’s “world-famous” skits for this review, and I admit I did mistake Sarah Palin for Fey in their cross-over cameo skit; And the moment I laughed the hardest (in fact the only moment I laughed through the skits) was during the VP Debate Sketch with her fellow southerner, Jason Sudeikis, where “Biden” repeatedly attacked Scranton, Pennsylvania as “the worst place on Earth” — so again, people react to comedy in an unpredictable way, as a basis of personal experience. I don’t think all of Fey’s jokes make it, yet no one can singularly define anything as “funny,” or not, but I do see her as a professional on screen. I don’t give a pass however on bad interest jokes, especially on the mere basis of not liking Donald Trump (who, remember, is also a television celebrity who has worked in comedy, and made jokes that were blatantly racist — and sexist).

Entering Fey’s book, “Bossypants”, with this pre-review (re-preview?) in mind, it introduces to me that this memoir may turn to places unexpected, and that just because it is a celebrity-text does not mean it will be a simple, casual, or homey, ride.

#Book Review #Bossypants #Greek Culture #Sarah Palin #Tina Fey

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engmjr419 · 3 years

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The White Man: Identity as Opposition in 19th century America

Take up the White Man's burden-- Send forth the best ye breed-- Go bind your sons to exile To serve your captives' need; To wait in heavy harness, On fluttered folk and wild-- Your new-caught, sullen peoples, Half-devil and half-child.

- The first stanza of The White Mans Burden by Rudyard Kipling from 1899.

1899’s “The White Man’s Burden!” by William H. Walker. The figures of Uncle Sam and Kaiser Wilhelm being carried on backs of subjugated people in the Philippines, India, and Africa. These figures have always been depicted as Caucasian, literal figures of white peoples. This and a series of illustrations are based off a famous poem by a Britain in reaction to American takeover of the Philippines, presenting the White Mans Burden as a thankless but necessary job in “civilizing” the savage, “Half demon half child” people. Source.

It is odd, as a white person, to hear news of a White Power movement growing in America, specifically among young white men in the right side of the political spectrum. I can’t help but ask, when was power taken from white people? We’ve always been the majority in America, dominating popular culture to a problematic extent. We’ve also dominated education, populate the highest priced residential areas, and make up the richest people in the world (though that is changing in all aspects). So, it’s strange to have watched people protest in Charlottesville with dollar store tiki torches, The president advocate for extreme immigration control, and that same president by advised by a major white nationalist advocate (Who likely influenced the prior decision). I ask again, why do whites need more power? To reference the poem above, does the white man carry a burden?

As American society begins to grip with its past, full of racism, colonialism, exoticism, and taking advantages of minorities, we see this sudden push back from this group of people who advocate for “white power”, more specifically, to defend this “white power”. Throughout their debates, we find references to “white genocide”, through immigration, racial based science, and eugenics, along with linking minorities (specifically the colored minorities) to higher rates of crime (Clark). They participate in this “othering” of “non-white” races, which finds an uncomfortable connection within the very history they (and society as a whole) debate with.

1960s Century propaganda for the Democratic party, illustrating the Democratic party as the respectful, hardworking White Man and the Republican Party as this cartoonish mockery of “the Negro” as a “Carpet-Bagger” (a term for traveling swindlers). Several similar posters can be found, with the same slogan. It should be stated that this is before the Democratic and Republican platforms switched platforms with each other around the early 20th century. Source.

As American began to find itself in the 19th century, meaning its identity along with the fact the nation had only recently been created, we find the identity of the “White” individual being emboldened by the othering of those races they considered “savage”. The figure of the white man is presented as this master of the nature, this excellent survivalist, who at the same time astounds audiences with his charisma and charm, all the while civilizing the wild world of the American West. It’s outlined by Minstrel Shows, Public displays of “History” like Buffalo Bills Wild West Show and to a lesser extent those of P.T. Barnum, and the depictions of both the white man and the Native American that find themselves in 19th century culture. To illustrate this plainly, look at “The White Mans Burden!” once again, the white man is carried forward only under the mistreatment of the Colored while at the same time this action being called his “burden”.

At the same time all this is happening, this identity allows other marginalized people, particularly the Irish, to integrate into society more easily. The identity of “the White”, in place of nationality, gets solidified in the 19th century as an aspect of being American by “othering” the savage, the minority.

An 1899 Lithographed Advertisement for William H. West’s Big Minstrel Jubilee, Carrol Johnson is depicted in his natural state and In black face. Notice the clear difference in how he carries himself between the two depictions. Source.

In the beginning of the era, we see both at the same time minstrel shows and minstrelsy in itself become immensely popular (oddly enough among the Northern states) and the westward expansion of America happen leading to Native American displays like Barnum’s and Buffalo Bills Wild West Shows (along with Medicine Shows offshoot). Both participate in the same type of “othering”, the colored (or rather those masquerading as the colored) as a show, a display for the white audiences to look at and place themselves in opposition to.

The minstrel show started, preceded by what were called “Ethiopian delineation” which stole black culture, around 1828 with Thomas D. “Daddy” Rice creating the character of “Jim Crow” (which was based off a young, disabled black stable hand of the same name). Typically, it consisted of a white man or men, with their faces blackened by shoe polish, performing a series of skits, comical speeches, musical renditions of slave songs in mock dialect, playing instruments, and “Negro” humor (Toll).

It boomed in the entertainment hungry, blossoming cities of the 1820s, “Working-class whites flocked to minstrel shows, where they could define their whiteness against the drama of blackness” (Browden 50). To quote Robert C. Toll of the American Heritage Magazine, “The “Jim Crow” song and dance, observed writer Y. S. Nathanson in 1855, “touched a chord in the American heart which had never before vibrated.” It brought black culture to white Americans.” It at the same time allowed white Americans to other the black figure, positioning themselves as the “civil” White opposition to the cartoony, caricature the minstrel show performers showed. It presented the black figure to an audience, that would have little true interaction with them:

The Northern white public before the Civil War generally knew little about black people. But it knew that it did not welcome blacks as equals and that it did enjoy watching minstrels portray the “oddities, peculiarities, eccentricities, and comicalities of that Sable Genus of Humanity.” With their ludicrous dialects, grotesque make-up, bizarre behavior, and simplistic caricatures, minstrels portrayed blacks as totally inferior. Minstrels created two sets of contrasting stereotypes—the happy, frolicking plantation darkies and the foolish, inept urban fools (Toll).

Both stereotypes that these Minstrel shows presented, neither the truth of these people, were more digestible and thus, more easily universally “othered” as inferior. “Whiteness is defined in opposition to blackness, which becomes performative and ridiculous”, the two become polar opposites to each other (Browden 49). One is seen as the civilized race, the clear White, and the other is seen as the lazy, silly black.

In this opposition of the White and the Black, we oddly find this integration going on at the same time of separation of race. During this time, Irish Immigrants would be in the same niches of African Americans, being compared and put on the same unequal level as them.

However, these shows of race offered immigrants “the chance to develop an identity that downplayed their own “foreign” ethnicity and offered them an opportunity for a common, Americanized identity in opposition to blackness” Simply put, Minstrelsy as a whole “made a contribution to a sense of popular whiteness among workers across lines of Ethnicity, religion, and skill” (Browder 50). It created this highly specifically American white identity (Some could say it becomes the American identity itself), that enabled the immigrant to integrate themselves more easily into the new America as it lined its sights on skin tone rather than nationality.

Yet, this came at the price of denying Black Americans the same courtesy, as Minstrelsy refused to work in both directions. The White could mock the black by becoming them temporarily, however the Black were ridiculed. The White American could act Black, however the Black American could not “act white”, as it was put for the White was seen as the norm, the goal.

A group of Native Americans (assumed Sac, Fox, and Iowa personages) Barnum had perform at his American Museum to perform dances and “war-like” reenactments. He is recorded as calling them “a lazy, shiftless set of brutes” Source.

I would be remised to talk about popular displays of race and entertainment (along with arguments of authenticity) without talking about P.T. Barnum and his American Museum. He displayed various African Americans as freaks, like Joice Heth or “What Is It?” who was malformed African American man presented as the link between man and ape, although he wouldn’t allow African Americans into his museums until the 1860s (Browder 56). He offered a similar role Minstrelsy offered to the white audiences, a chance to create White identity in opposition to Blacks he presented as “freaks” and “oddities”. Additionally, Barnum, before Buffalo Bills Wild West Shows would come onto the scene, displayed Native Americans at his museum, presented simply as themselves which was enough to create opposition to the population that would have little interaction with Indians in a non-performance, spectacle based space.

In 1843, he had those Native Americans pictured above perform at his museum for his audiences. He stated, “These wild Indians seemed to consider their dances as realities” referring to the Indian performers refusal to understand the “performative nature of their lives” (Browder 57). Later that same yet, he would present to 24,000 spectators in New Jersey a “Grand Buffalo Hunt” where a “white man dressed as an Indian chased a herd of yearling buffaloes across the Hoboken race course” (57). In this instance, “the national drama of westward expansion was reduced to a child-sized joke”, as Laura Browder puts it.

Later in 1863, He would group up the most popular Indian chiefs in the country in one area, from their peace conference with President Lincoln. One of those chiefs was Yellow Buffalo, famous for his battles, “During the show, Barnum would make a great pretense of saying respectful and admiring things about him, put his around him and so forth….while his patter (which Yellow Buffalo couldn’t understand because he didn’t speak English) described all of his blood-curdling atrocities” (Stewart).

Finally, by 1884, He would present the “Grand Ethological Congress of Nations” (after his days of Museums and into his Circuses), “in which he presented all the known world’s “uncivilized races” and “savage and barbarous tribes”, including a group of North American Sioux people amongst the Zulus, Polynesians and Australian Aborigines” (Stewart). Needless to say, Barnum pictured American Indians as the popular culture did, savage.

He presents these displays of Native Americans as he did his Black American displays, as oddities that find themselves outside of the White, “civilized” society. These “performances” offered yet another chance for the White populace, including immigrants, to define themselves by their Whiteness. “Many immigrants first saw Indians at the museum; it was here that they might affirm themselves as Americans viewing the vanquished subjects of their newly adopted nation” (Browder 57). They hold themselves in opposition to the “wild Indians” and African Americans (Depicted as semi human or mystically old). Barnum offers a in between for Minstrelsy and Buffalo Bill’s Wild West shows, this performance of exaggerated caricature of both Black Americans and Native Americans while at the same time trying to perform in this authentic, historical context.

A poster for Buffalo Bill’s Wild West (and Congress of Rough Riders of the World). The description reads “Representing various tribes, Characters and Peculiarities of the wily dusky warriors in scenes from actual life giving their weird ward dances and picturesque style of horsemanship”. The American Indians are characterized as this odd mixture of earthy colors, in these wild and savage positions as they attack a wagon train (based on a real life event) reflecting cultural thought of the Indian as a war-seeking people. The Whites are depicted as innocent, or respectful like Buffalo Bill, sitting on his horse evenly in comparison to the “rough rider” way (which even the horses seem scared of). Source.

In the same vein, Buffalo Bills Wild West Shows (and later Medicine Shows after these shows lose popularity) depicted the American Indian as another opposite to the “White” identity (Although not entirely on the surface level). Buffalo Bills Wild West Shows began in the early 1880s, when these displays of Indians and Buffalo Hunts had become acts of nationalistic, solemn pride rather than the comical acts of Minstrelsy and Barnum’s displays (though it almost replaced Minstrelsy to a point). Buffalo Bill, his real name being William Fredrick Cody, authenticated these shows as being historical in nature, in truth they were recent enough that the lines between reality and history became thin enough to affect eachother (Browder 58).

These shows of “historical events” would present various acts, “The show's constantly changing format consisted of several exhibitions and competitions involving activities such as riding, hunting, shooting, and dancing” along with reenactments of famous battles or particular events, such as the famous “Attack on Settler’s Cabin” where Indians “played” themselves (in this odd act of authenticity against the cultural thought of the Native American) while “white performers would defend a homestead of women and children from native raiders” (White 35-36). These shows started more basic, with basic shooting demonstrations of Annie Oakley, but as the shows became more popular they became more violent, more “loud”, “As one reporter wrote "[t]he more there was of banging pistols and scurrying Indians, the better apparently the spectators liked it" (36).

While these shows were no where near the level of mockery and caricature the likes of Minstrelsy was to the native populations (along with other minorities later allowed to perform), it still portrays a divide and opposites between White and Colored peoples. It is the fantastical version of the Wild West History, that the easterners likely would have never interacted with other than through other people (who would likely be White). The Wild West became Buffalo Bill to eastern audiences and American Indians became walking advertisements for the show (along with being used later in Medicine Shows as mascots for authenticity). Joy Kasson says, In her book overlooking the entirety of Buffalo Bill’s Wild West:

“In its crude form as a dime novel or melodrama, and in its more sophisticated form in the animated outdoor drama, this Wild West story reached for the power of myth. And to attain this mythic level, it required an enemy, a counter-force against which the hero displayed his virtues. American Indians were consistently cast in this role” (161).

The white actors would be displayed as strong, skilled, outdoors men, holding shooting shows, rounding buffalo, acting as the heroes in historical reenactments saving captured women, and defeating those the popular culture considers “savage”. Meanwhile, the American Indian actors, being primarily from the Ogalala Sioux, would be presented doing war-dances, only participating in specifically “Indian” activities, and the fallen in fake battles.

While Buffalo Bill might not have meant the view of them to be so, excuse the phrase, Black and White, it would easily be digested that way in the eyes of spectators. “Stage actors can walk away from the parts they play, but the Wild West confounded distinctions between “reality” and “representation”, and just as Cody was considered a “real” hero because of his dramatic enactments, the American Indians in his company were identified with the villainous roles they played in the show” (Kasson 162). After all, the white man cannot be the loser to the audience of whites, it simply wouldn’t be satisfying.

Kathy White displays this definition of identity through opposition along with the division the White and the Colored have in these shows:

Riding exhibitions and competitions played a key role, although winning and losing depended on the day because competitions were debatably rigged; one Chicago Tribune article boasted that the American cowboy always beat "them all" (Indians, Mexicans, and other foreign performers that were later invited into the show).

Indeed, the definition of identity is often sought in its opposite. What is "right" is what is "not wrong" and in this case, what was "civilized" was supposedly that which was "not savage." One way to be delineated as "not savage" and, therefore, "civilized" was to have a relationship with technology. Correspondingly, Warren notes that the most technological feature of the show, the shooting competition, always saw white Americans victorious over Indians and Mexicans (36).

Through this “othering” of Native Americans as lesser, inferior to the White performers, it creates this affirmation of the “White” identity as higher. Granted, Kathy White also lays out points where Indians were often praised for their strength, their dexterity, ability to ride, and unique customs, however those are all put in opposition to the White, nevertheless. Of course, the Wild West is more complex than it is presented, however the history of it is written by the White victors, and the identity of the “White” is cemented by opposition.

The cover of a Phonoscope produced by Walt Disney in France titled “La Ballade De Davy Crockett”, depicting Davy Crockett fighting a Native American. The figure of Davy Crockett has become ingrained into America history as a true American icon, to the point a racoon tail cap can be directly tied to him without any other context. Source.

To summarize the cultural image (and ideal) of the White American, we can look no further than Davy Crockett. This performance of whiteness, which exists majorly in opposition to non-whiteness, becomes somewhat tangled together with the performance of being American. From his beginnings as a popular icon in the 1830s, Davy Crocket employed “a combination of autobiography and melodramatic performance to craft an image of himself as an archetypical American, one whose stature depended in part on his ability to keep blacks and Indians in their places” as Laura Browden states. She captures an odd element that repeats in these narratives of the frontier, specifically in context of the White Man, this mixture of Historical context and fantastical exaggeration of prowess. Browden continues, “Crockett’s version of Americanness emerged in opposition to the other; his national identity came not from ancestry, blood, or essence but from his ability to conquer the land and its original inhabitants” (51). Crockett creates this uniquely White American image, that summarizes what Minstrelsy, Barnum’s displays, and Buffalo Bills Wild West Show all demonstrate below the surface.

To expand on this, it is no coincidence we see Crockett also align himself with people like General Andrew Jackson, who owned more than one hundred slaves, “bought with money gained from speculation on land from Native Americans, built his political reputation on his role as an Indian Fighter” (51). The identity of the White American comes from this violent, oppositional force built on this image of the wilderness taming man, who at the same time tings on animalistic qualities (primarily that of raw, brutal strength) that are accepted simply because of his skin tone.

He presents as the white primitive, compared better to the Indian barbarians and the Black savages. Crockett’s status as a white American “was set off against a background of inferior others”, boasting about boiling Indians for medicine for his pet bear, being able to swallow “a nigger whole without choking if you butter his head and pin his ears back”, along with describing Mexicans and Cubans “as “degenerate outlaws,” Indians as “red niggers”, and African Americans as “ape-like caricatures of humanity” (Calling back to the Barnum display of “What is It?) (52). Davy Crockett created, paraded, and summarizes these concepts of Whiteness and Americanness as one null category, and that Identity existing only in opposition above others.

“Buffalo Bill’s Duel with Yellow Hand” by James W. Buel from Heros of the Plains, or, Lives and Wonderful Adventures of Wild Bill, Buffalo Bill ... and Other Celebrated Indian Fighters ... Including a True and Thrilling History of Gen. Custer's Famous "Last Fight" from 1881. Buffalo Bill is seen the victor of his 1876 duel with Hay-o-wei of the Cheyenne, he reenacts this event in his shows later. He holds the scalped hair and feathers of Hay-o-wei, an odd allusion to a practice Native Americans did. Source.

The identity of the White American in the 19th century mostly thrives in Opposition to other races, of skill, of morality, of humanity, and of civility. The theatrical tradition of Minstrelsy, The Displays of P.T. Barnum of both blacks and Native Americans, along with Buffalo Bill’s Wild West Show all participate in this othering, intentional or not, of race ignoring nationality and blood. While it offers Immigrants an easier integration into American society, it also participates in this unkindness towards the “colored” peoples. Black Americans are depicted as lazy, frolicking slaves or foolish urbanites all the while their culture is stolen and commodified for the White identity to laugh at. Native Americans have their culture commodified as well, used as entertainment and exoticism-focused exhibits, along with having to reenact brutal battles and deaths where they are always the victim. Davy Crockett stands as the figure of ideal White Americanness in opposition to all these stereotypes, this strong, nature conquering frontier man with condoned animalistic traits mixed with this racial oppression of the most American people and Blacks.

A photo of a sign displayed at a Trump Rally being reported on Fox News, reading “Coming for Blacks & Indians First: Welcome to the New World Order”. This “New World Order” is uncomfortably mirroring Antebellum Age America, zeroing in on the most oppressed races in the era (Not to downplay the oppression all other “non-white” races received). Source.

This growing White Power movement in America finds itself uncomfortably close to the 19th century’s ideals of the White American. Perhaps it is no coincidence though. Is the power the White frontier man had the “White Power” they to reclaim? This perceived strength and domination over the land and its natural people, all the while being seen as the most skilled, civilized, and powerful race all at the same time? Perhaps, moreso, as the percentages of races in America begins to balance more, they begin to see these fears of losing more power, that is more influence over culture than the “power” they already perceived they lost during the 20th and 21st century (perhaps by the movement to remove Antebellum age statues of Slaveowners). I state again, as a white individual, what power have white people lost that isn’t one that we didn’t deserve? If coming to terms with our mixed, racism-tinged past is a loss of power then, it is a loss of power in exchange for further equality.

Browder, Laura. “Staged Ethnicities: Laying the Groundwork for Ethnic Impersonator Autobiographies.” Slippery Characters : Ethnic Impersonators and American Identities, The University of North Carolina Press, 2000, Pgs. 50-51, 56-58.

Clark, Simon. “How White Supremacy Returned to Mainstream Politics.” July 1, 2020. Center for American Progress, https://www.americanprogress.org/issues/security/reports/2020/07/01/482414/white-supremacy-returned-mainstream-politics/

Kasson, Joy K. “American Indian Performers In The Wild West” Buffalo Bill’s Wild West: Celebrity, Memory, and Popular History, Hill and Wang, 2000, Pgs. 161-162

Stewart, Donald Travis. “P.T. Barnum and the Indians.” November 18, 2013. Travalanche, https://travsd.wordpress.com/2013/11/18/p-t-barnum-and-the-indians/

Toll, Robert C. “Blackface: the Sad History of Minstrel Shows.” Edited with Introduction by Edwin S. Grosvenor, American Heritage Magazine, Volume 64: Iss. 1, 2019 (Republish of a 1978 Article). https://www.americanheritage.com/blackface-sad-history-minstrel-shows

White, Kathyrn. “"Through Their Eyes": Buffalo Bill's Wild West as a Drawing Table for American Identity.” Constructing the Past, Illinois Wesleyan University, Volume 7: Iss. 1, Article 8, 2006, Pgs. 35-36. https://digitalcommons.iwu.edu/cgi/viewcontent.cgi?article=1079&context=constructing

#Buffalo Bill #Native American

0 notes

askfuseandro · 6 years

Text

Save me. (open/drabbleish)

How long had..has it been? days? weeks? months? years, prehaps? The merc captain had lost all sense of time as he sat in a isolated cell, hands and feet shackled as he sat on the cell floor.

So many crimes he'd been accused of..mass genocide on a planetary scale, mass uprisings, murder on multiple degrees. Fuck..Being a mercenary had its cons.

The once energetic and cocky merc was now a mere shadow of himself, Quiet and brooding as he shifted slightly, dirty and burised feet scuffing the concrete floor in the movement to get comfortable that never came as he let out a soundless sigh, his stomach grumbles faintly with hunger as he glances over in the darkness where the door to his cell was at.

a brusied hand reaches up to scratch at his now beard and chin, the captain now looking more like a mountain man during his stay in the Imperial prison, he would reach up and brush long locks of blue hair from his eyes, how they changed.. Once wild and bright, now they where dull and tired.

They where trying to break him, as if the beatings and tortures werent bad enough, they had separated him from everyone else and he had come to a quick realization he -needed- contact with others.

This..This silence..It was horrible, almost on the level of being frightening, as the merc had done all he could to keep some sort of noise in the room, he had sung alot of songs he knew, recited skits from shows he had watched (The guards would never forget the Parrot Sketch from Month Python.)

a sense of hopeless had been growing in him for a long while now, Why hadnt he'd been resuced yet..? where was Ro and the Roughencks..? would he ever get out? he once tired to warp out of the room but that went horribly wrong as the room electrocuted him in response, he'd even tried to break out a few times when the guards came to feed him but that ended up horribly as well, once he was beaten till he couldnt moved and another time..well..he couldnt quite remember but either way, he was broken and found any hope of escape, squashed.

"Someone..Save me.."

#kinda back #yep yep..#drabble/open #catching up on where fuse is at

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yaapp1-blog · 7 years

Text

Primary Prevention: getting at the root causes of relationship violence

Dan and I present the Jake and Caroline skit to thousands of high school students each year. It’s an incredible gift to hold conversations with you all about healthy relationship behaviors, and how to be a supportive friend to someone in an unsafe relationship.

But I hope it’s not the end of the conversation. While Jake and Caroline can make people more aware, eliminating violent relationships takes more than one presentation. I’m so glad we get to validate people already on-board with our message, and give survivors more language to speak about their own experiences. But if someone pushes back against our presentation or our messages, I wonder if they leave class feeling resentful, and even more set in their ways. That’s concerning to me, because I want to call people into our work, not push them away.

If you ask 100 people if they believe domestic violence is a good thing, very few people will seriously tell you “yes.” But ask those same people if they would vote for a female president, be comfortable with being supervised by a female boss, or be supportive of a man in their life staying home and being the primary caregiver to his children, I believe those numbers would start to shift. Many adults claim to accept gay and trans* identities, but struggle to accept the sexuality or gender identity of their own child when it differs from social “norms.”

Eliminating sexual assault and domestic violence means dismantling the rigid gender roles from which a significant portion of violence (male on female, and homophobic hate crimes) comes. That means we must expand the definitions of manhood, womanhood, and personhood to include a wide array of diverse characteristics—not just what we “expect” of one another.

I believe the origin of violence stems from objectification and dehumanization. So often, this process begins as a “joke;” something subtle that the speaker can defend as “just humor.” However, these jokes contribute to an environment where some people are valued over others. The moment we begin to believe, whether consciously or unconsciously, that the person in front of us is not as fully human as we are, any action becomes permissible. We can do anything to that individual or group, because they are “less than” us. This thinking leads to discrimination in all its forms, harassment, and bias, which, when unchecked, can transform into physical assault, sexual assault, even slavery and genocide. Yikes.

Prevention, then, is as much about relearning to see one another as fully human, worthy of love, respect, care, and belonging as it is about raising awareness of societal ills.

How can young people take part in this social change? Here are some ideas:

Model healthy relationships in your own life with family members, friends, and partners. Know that it’s okay to set boundaries with people who are not willing to have this type of relationship with you.

Learn about conflict management skill and practice these tools in your daily life.

Mentor a younger person. If you are close in age, your advice will be listened to in a different way than advice from a parent or teacher. This young person could be a sibling or neighbor, but they could also be a person you are matched with through a formal program like Big Brothers, Big Sisters.

Read, listen, and watch media created by people who belong to groups that are often underrepresented. For myself, reading stories that explore parts of the world that I’ve never known have helped me grow. If you’re looking for a book list, We Need Diverse Books is a great place to start: http://weneeddiversebooks.org

Petition your school to bring in programming from the Violence Prevention Network, a collective (of which YAAPP is a part) dedicated to creating safe, welcoming schools for all in Cumberland County. The most effective prevention plans have regular, consistent doses of education throughout a student’s life—work with the network to develop a comprehensive plan for your school district. Many of the organizations in VPN provide programming that is free within Cumberland County. Learn more at: http://violencepreventionnetwork.org

Photo credit: www.kidsmatter.edu.au

There is so much to continue to do to eliminate violence in our world, and the involvement of youth is a key piece in getting social change to stick. If you would like to be involved in our youth activist group, Voices of Change, please email [email protected].

#prevention #violence prevention #change the world #be the change

0 notes

destinyc1020 · 5 months

Note

"i think he made bad decision" I mean I wouldnt diminish the harm that he did with that joke. I dont think hes a bad person but he is ignorant, and is lacking in self awareness and kinda actually dehumanized an ongoing situation that has lasted for 75+ years.

Yea, that's basically what I meant Anon.

I don't think he's a horrible person. He didn't even write the joke!

But him agreeing to that skit was very very very VERY insensitive, ignorant, and just a horrible decision on his part imo. 😤

I think we've all agreed to that. 🤷🏾‍♀️

But to put him on the same level as someone who's actually carrying out those crimes of genocide, or even as a WRITER of that SNL joke in the first place, is just kind of extreme imo.

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brandonwayneb · 1 year

Text

Grabble, beg an Arabic Arab,

Grabble, Gravel, Stone Yard

Gravel, Judge Wooden Mallet.

Hazmat Murders, “Tan Til Eyes”

“bowl of onion stew swet lodge log cabin, cabin fever sweet candy cane Ron Hall War, Ron Howard, white supremacy, global genocides”

“white hebrew, murders arabs, to say GRAVEL STONE”

Arabic Bone Rib Cages

Wooden Teeth Genocide Lawn Mowers

“Rod Stewart”

“Ron Howard”

Mass Genocide, ‘murder co op’

"Hidden white FAN FACE PALM crimes"

"Ceiling fans blood blades"

"Lawn Mower blood blades"

Ice Skate Shit Shop Indian Irish,

Red Skin Blood Baths,

Hot Sona Spa,

Sweat Shop Hog Lodge,

Wooden Wine Cabins

Death at 3

death at 5

death at "sick cell sickle cell"

white supremacy death casting global genocide patterns.

"Loot Shun"

"White Sex Kitchens"

"White Casting War Rafts At Death Cast Podcast Radio Episodes TIDAL WAVES."

white genocide casting global death canvassing

Cash Money

Clown Cop Money 💵

KAAAA CHING

CHICKEN CHECK BLING BLING

DINNER BELLS

TRIANGLE COUNTRYSIDE DINGLE DONGS.

Documents, BAY BAY white docks.

Helicopter Dicks.

“henrew Duck”

“WHITE HE BREW”

“White Hebrew, HEN DEN BREW”

“HENBREW” HENCE…

Geese Pen Chins

PENTCH BRAIN PENIS

WHITE WEE NEE.

WHITE TEA NEST

White Coo Ops Genocide Camps

American Space Needles Seattle Washington,

SEA SALT SEATTLE

ALT OP.

CORPSE BOT

CORPSE ROBOT CORPORATE RAT ROBOTS, RALLY COUPON TICKET WHITE SEA PAPER, RECEIPT JERKY JOCKEY HORSE :)

White Hebrew

White Roman

SEA SEA RECEIPT COOP

SEA AT ALL

SEAT A TALL

SEAT STALL DEATH HALL

SEAT SEATTLE MICRO BEAT

BEATLE DEATH DRILLS

SEAT SEA SEATTLE NEEDLES

CASH SPACECRAFT WHITE GENOCIDES....

BLEACH BROWN BLEACHER SCHOOL Homicide, homeschooling, fake wood lodge, pooling

CABIN WINE POOL

HOMEWORK HOMEMADE

CORN BREAD PAPERWORK

RON POLE, CORN HOLE

Bleacher, Brown Nose

Mustard Gas Stations, Suicide Bombers,

White "micro pod quadra DOM Win Dixie Dock Bay Cast"

white chicken brew

white he brew

white roman

white boston markets

white box stand genocide

Keep yourself PERPLEXED SAFER

KEEP LEEP YOURSELF TO SAFETY

HOP AND A SKIP.

Over genocide culprits

culling pits

hospital skits

hazmat micro zippers

duck duck goose,

goose neck

goose bump

pumpkin dump

Genocide white houses casting “hebrew and roman”

titan and gladiators sex bolsters

BOLD STERS,

FALSE COMPLIMENTS.

SUB SEX SETS

SEX STAGE

GENOCIDE STAGE

Hostage STAY still

Hostage STAND off

Hostage Hazmat Murders

Hazmat Reverse Allegations

Carmen Electra

Xmen Psyloche

Xmen Cyclops

Cyber Sex Copy Cat Cops

Fall CUM PLYWOOD CUSTOMER

Fall Customers

Fall Quad Cum Circle Jerky Horse Stone Keys

Red Skin Jerky

Furniture Decor

Circle Jury Jerky House Horse Stone Jockey Short Key

Mod key

Mid Key

Mod Lodge Key

Wooden Spoon.

Spear Harpoon.

Sky Wales.

“MICRO TWINE”

“GRETCHEN WRESTLING WRETCHES”

“WRESTLING WITCHES”

“RAFFLE RALLY QUAD PUN RECEIPT RE SEA PAPER TICKETS”

Paper Shop

Paper Towel Heads

Micro Organisms

“Gretchen Gray Hair Twine”

Gretchen,

Bitch Wet Check.

WET CHECK

BED CHECK

Bitch Wreck Shop.

BITS AND BYTES.

Bits, Bytes, Terra, Bugs, MURDER MODELS,

MURDER MODS

MURDER QUADS

GENETIC GENOCIDE

Homicide ATM 🏧 CASH MACHINE

Homocide GYM

“HOMO IDEA”

“HOMOSEXUAL IDEAS”

HOLD MY PSY,

GENOCIDE MASS WAR CRIMES

Murder Valley

Murder Mallard Mall War

GAS LIGHT ODD DUCKY

GAS LIGHT OFF FUCK KEY

FUCK KEY

MOD KEY

DOM KEY

WIN DIXIE

Vad EYE KKK rants.

Blow Out Cans.

Cannon Ball

MODEL DOM

MODERN DOM

ROBOT HEBREW

ROBOT ROMAN

American Mass Genocide Coverts.

Towels and Shoe Laces

Shower, Hot Hotels and Hotdogs

White Hebrew

White Roman

Cash Ops

Payment Robot Corpse Necromancer Cops

Necrosis Nerc Caught Ticks

Narc Narrow Minded Cotton Cots

NERD HAX

WHITE GENOCIDE PUBLIC AIRS

KISS AIRPORTS FIND IN BARBIES PEDEL SHOES

BARBIE WITH AIRPLANE PANCAKE SHIP CAR SHOES

say.

“TA”

and stare eyes 👀 at STARE AT TALKS

STARE AT TALKS

“HIGH TA”

“LOW TA”

“EVER TA”

TALL VICTORY.

TALLEST TELLEST

TELE VEST

TELE PUBLIC AIRS

Ever TA

Ever “TA”

ROYAL KEEP TAKES

ROYAL KEEP SAKES

“hot cheetah yellow death tolls”

“hot cheetos hot cheetahs cat scratch stretch death stories, maxi loot, maxi loop, maximum axe wood body shop murders.”

“hot sheet, sim money genocide crimes high man low man, circle blood sea water reef coral reef cheetah cheerleader model holes”

“yellow cheetah bowls, indian bow and arrows”

“sex women names Boe” “bow bow”

VICTORY WOMEN, NOT GENOCIDE KITTENS

“TEN PUT SHIN HEN COCK DEATH PEN COCK GENOCIDE QUAD DOCKS”

“yellow cheetah white super sea death rhymes genocide crimes.”

“pink tooth”

“pinky winky, tooth pinky finger.”

‎الاستيلاء ، التسول عربي عربي ،

‎ إمساك ، حصى ، ستون يارد

‎ الحصى ، القاضي الخشبي المطرقة.

Hazmat Murders ، "Tan Til Eyes"

‎ "وعاء من حساء البصل ، مقصورة خشبية للنزل ، حمى المقصورة ، حلوى حلوى قصب رون هول وور ، رون هوارد ، التفوق الأبيض ، الإبادة الجماعية العالمية"

‎ "العبرية البيضاء ، تقتل العرب ، على حد قول غرافيل ستون"

‎ أقفاص أضلاع العظام العربية

‎ الإبادة الجماعية للأسنان الخشبية جزازات العشب

‎ "رود ستيوارت"

‎ "رون هوارد"

‎ الإبادة الجماعية ، "القتل التعاوني"

‎ "جرائم نخيل الوجه المخفية البيضاء"

‎ "شفرات دماء مراوح السقف"

‎ "شفرات الدم جزازة العشب"

‎ متجر الجليد سكيت شيت الهندي الأيرلندي ،

‎ حمامات الدم الجلد الأحمر ،

‎ هوت سونا سبا ،

‎ سويت شوب هوج لودج ،

‎ كبائن النبيذ الخشبية

‎ الموت عند 3

‎ الموت في الخامسة

‎ الموت في "الخلية المنجلية المريضة"

‎ موت التفوق الأبيض يلقي بأنماط الإبادة الجماعية العالمية.

‎ "نهب شون"

‎ مطابخ الجنس البيضاء

"White Casting War Rafts at Death Cast Podcast Radio Episodes TIDAL WAVES."

‎ الإبادة الجماعية للبيض تلقي تصويت الموت العالمي

‎ قيمة نقدية

‎ مهرج شرطي المال 💵

KAAAA CHING

‎ بلينغ تشيك الدجاج

‎ أجراس العشاء

‎ المثلث على الجانب القطري الدنغلي دونغ.

‎ المستندات ، BAY BAY الأحواض البيضاء.

‎ هليكوبتر ديكس.

‎ "هنرو داك"

‎ "أبيض هو يشرب"

‎ "العبرية البيضاء ، HEN DEN BREW"

‎ "هينبرو" هنس ...

‎ ذقون قلم الاوز

PENTCH BRAIN PENIS

‎ ني وي وايت.

‎ عش الشاي الأبيض

‎ معسكرات عمليات الإبادة الجماعية White Coo Ops

‎ أمريكان سبيس نيدلز سياتل واشنطن ،

‎ ملح البحر

ALT OP.

‎ بوت كوربس

CORPSE ROBOT CORPORATE RAT ROBOTS ، RALLY COUPON TICKET WHITE SEA PAPER ، RECEIPT JERKY JOCKEY HORSE :)

‎ عبري أبيض

‎ روماني أبيض

‎ تعاونية استلام البحر في البحر

‎ البحر على الإطلاق

‎ مقعد طويل

‎ قاعة الموت في كشك مقعد

‎ مقعد SEATTLE MICRO BEAT

‎ خوض تدريبات الموت

‎ إبر مقعد البحر

‎ مبيدات الحبيبات البيضاء النقدية ...

BLEACH BROWN BLEACHER SCHOOL جريمة قتل ، تعليم منزلي ، كوخ خشبي مزيف ، تجميع

‎ بركة نبيذ كابينة

‎ المنزل

‎ ورق خبز الذرة

‎ رون بول ، ثقب الذرة

‎ مبيض الأنف البني

‎ محطات غاز الخردل ، الانتحاريون ،

‎ الأبيض "جراب صغير كوادرا DOM Win Dixie Dock Bay Cast"

‎ شراب الدجاج الأبيض

‎ أبيض هو الشراب

‎ روماني أبيض

‎ أسواق بوسطن البيضاء

‎ صندوق أبيض يقف الإبادة الجماعية

‎ حافظ على نفسك أكثر أمانًا

‎ حافظ على سلامتك

‎ أمل وتخطي.

‎ على مرتكبي الإبادة الجماعية

‎ حفر الاعدام

‎ التمثيليات في المستشفى

‎ السحابات الصغيرة الخطرة

‎ بطة بطة اوزة،

‎ رقبة الإوزة

‎ عثرة الإوزة

‎ تفريغ اليقطين

‎ الإبادة الجماعية في البيوت البيضاء "العبرية والرومانية"

‎ تيتان و المصارعون يعززون الجنس

‎ ستير جريئة ،

‎ المكملات الكاذبة.

‎ مجموعات الجنس الفرعية

‎ مرحلة الجنس

‎ مرحلة الإبادة

‎ الرهينة لا يزال

‎ الرهينة تقف قبالة

‎ قتل الرهينة حازمت

‎ مزاعم عكسية من Hazmat

‎ كارمن الكترا

Xmen Psyloche

Xmen العملاق

‎ رجال الشرطة نسخة الجنس عبر الإنترنت

‎ سقوط CUM الزبون الخشب الرقائقي

‎ عملاء الخريف

‎ سقوط رباعية نائب الرئيس دائرة متشنج مفاتيح حجر الحصان

‎ أحمر الجلد متشنج

‎ ديكور أثاث

‎ دائرة لجنة التحكيم جيركي هاوس هورس ستون ستون جوكي مفتاح قصير

‎ مفتاح التعديل

‎ منتصف مفتاح

‎ مود لودج مفتاح

‎ ملعقة خشبية.

‎ رمح هاربون.

‎ سكاي ويلز.

"MICRO TWINE"

‎ "كلمات المصارعة الجريتشن"

‎ "ساحرات المصارعة"

"RAFFLE RALLY QUAD PUN RECEIPT RE SEA PAPER TICKETS"

‎ أوراق مالية

‎ رؤوس المناشف الورقية

‎ الكائنات الدقيقة

‎ "غريتشن غراي خيوط الشعر"

‎ جريتشن ،

‎ فحص الكلبة الرطب.

‎ فحص مبلل

‎ فحص السرير

‎ متجر حطام الكلبة.

‎ بت وبايت.

‎ بت ، بايت ، تيرا ، البق ، نماذج القتل ،

MODS القتل

‎ القتل الرباعي

‎ الإبادة الجينية

‎ جرائم القتل ATM 🏧 CASH MACHINE

Homocide GYM

"HOMO IDEA"

‎ "الأفكار المثلية الجنسية"

‎ امسك نفسي ،

‎ الإبادة الجماعية جرائم الحرب الجماعية

‎ وادي القتل

‎ قتل حرب مالارد مول

‎ ضوء الغاز ODD DUCKY

‎ ضوء قبالة مفتاح اللعنة

‎ مفتاح اللعنة

‎ مفتاح MOD

‎ مفتاح دوم

WIN DIXIE

Vad EYE KKK الصدق.

‎ تفجير العلب.

‎ مدفع الكرة

‎ نموذج DOM

DOM الحديث

‎ روبوت هيبرو

‎ روبوت رومان

‎ أغطية الإبادة الجماعية الأمريكية.

‎ المناشف وأربطة الأحذية

‎ الدش والفنادق الساخنة والهوت دوغ

‎ عبري أبيض

‎ روماني أبيض

‎ العمليات النقدية

‎ دفع رجال شرطة مستحضر الأرواح جثة روبوت

‎ اشتعلت النخر نيرك القراد

‎ أسرة قطنية ضيقة الأفق

‎ نيرد هاكس

‎ الهواء الأبيض الإبادة الجماعية

‎ العثور على المطارات في KISS في أحذية BARBIES PEDEL

‎ باربي مع حذاء سيارة بطائرة من طراز بانكيك

‎ قل.

‎ "تا"

‎ وتحدق في عينيك في STARE AT TALKS

‎ تحدق في المحادثات

‎ "عالية تا"

"LOW TA"

"EVER TA"

‎ انتصار طويل.

‎ أخطر

TELE VEST

‎ الهواء العام الاتصالات

‎ من أي وقت مضى تا

‎ من أي وقت مضى "TA"

‎ يأخذ الملكي الاحتفاظ

‎ رويال كييب سايكس

‎ "عدد القتلى الأصفر الحار من الفهد"

‎ "الفهود الساخنة الفهود الساخنة القط خدش قصص الموت تمتد ، نهب ماكسي ، حلقة ماكسي ، الحد الأقصى جرائم القتل متجر الخشب الفأس."

‎ "ورقة ساخنة ، جرائم الإبادة الجماعية للمال ، رجل مرتفع ، رجل منخفض ، دائرة الدم في مياه البحر والشعاب المرجانية والشعاب المرجانية الفهد نموذج الفتحات"

‎ "أطباق الفهد الصفراء والقوس والأسهم الهندية"

‎ "جنس النساء أسماء Boe" "القوس القوس"

‎ النساء الانتصارات ، لا يقتلون القطط

"TEN PUT SHIN HEN COCK DEATH PEN COCK GENOCIDE QUAD DOCKS"

‎ "الفهد الأصفر الأبيض سوبر البحر قوافي الموت جرائم الإبادة الجماعية."

‎ "الأسنان الوردية"

‎ "الخنصر الخنصر ، إصبع الخنصر الأسنان."

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