The popular saying that “Karma is a bitch” is an efficient way of stating that what we put out into the universe, positive or negative, will invariably make its way back to us in unexpected and unusual ways; many within the white community have been affected by this rule, however, they fail to acknowledge it. However you should not fret regarding this predicament, because, as always, there is a cadre of African-Americans who have proven apologetic and even dismissive in regards to the evil that whites have historically done to persons of African descent. The latest to bend over and assume the position is none other than Fox News correspondent and reformed video vixen Stacey Dash.
Although I am certain that Stacey Dash has some semblance of a formal “education”, there is no doubt that those efforts to educate herself have extinguished the firestorm of historical, cultural, and political illiteracy that appears each and every time she opens her mouth. Unfortunately for those who listen to her bird-brain attempts at political commentary, Dash’s intellectual inadequacies have proven to be quite contagious.
So I was saddened, yet not shocked by Mrs. Dash’s assertion that “We (African-Americans) have to make up our minds. Either we want to have segregation or integration, and if we don’t want segregation, then we have to get rid of channels like BET and the BET Awards and the Image Awards, where you’re only awarded if you’re black. If it were the other way around, we’d be up in arms. It’s a double standard. There shouldn’t be a black history month. We’re Americans, period.”
I find it interesting that apologetic Negroes like Dash who do their dastardly best to defend whites fail to take whites to task for their well-known pattern of monopolizing each and every resource — political, cultural, social, and natural — that they can lay a claim to.
If provided an opportunity to speak to Mrs. Dash or any other Negro apologist spewing similar ilk regarding the existence of entities such as BET (which is ironically owned by whites), Miss Black America, The Wiz, Black History Month, and Historically Black Colleges and Universities, I would remind them that the catalyst behind the formation of such entities is found in the refusal of whites to include African-Americans in their American historical and cultural traditions.
In many ways it is hilarious that Stacey Dash’s historical illiteracy is sufficient enough for her to have chosen the aforementioned matters to defend her white benefactors upon. A mere perusal of American history would have displayed to Mrs. Dash that American cultural events such as the Miss America pageant began in 1921, however, no African-Americans were included in the competition until Cheryl Browne represented Iowa in 1970; of course, it was not until 1984, 63 years after the first pageant that Vanessa Williams became the first Black woman to win the Miss America pageant. Similarly, MTV, which began August 1, 1984, did not put a Black artist’s video in its regular rotation until two years later with Michael Jackson’s Billie Jean.
I am likewise not shocked that Mrs. Dash singled out her own people in regards to a call for them to abandon Black History Month, as if its existence compromises their American citizenship. Do not the same fears exist for the following groups who have annual celebrations?
- Polish-Americans History Month — October
- Hispanic-American History Month — September 15 – October 15
- German-American Heritage Month — October
- Italian-American Heritage Month — October
- Native-American Heritage Month — November
- Women’s History Month — March
- Irish-American History Month — March
- Scottish-American History Month — April
- Asian & Pacific Islander Month — May
- Jewish-American Heritage Month — May
- Caribbean-American Heritage Month — June
I will not waste my time highlighting who was responsible for such lily-white cultural events. Most certainly Black singers, dancers, actors, and beauty contestants are not to blame. It is foolish to know this historic record of racial bias and then turn around and not only place the onus upon African-Americans to decide if they want to integrate or separate, but also demand that they abandon the very cultural traditions that have allowed them to celebrate their own as they are no longer needed. Mrs. Dash, where is a similar demand for white ethnic groups who celebrate their own?
Stacy Dash is in desperate need of a serious course over American racial matters that would hopefully highlight that it was whites’ repudiation of all things Black, at least when they were in the public sphere, which left a segregated Black community with no recourse other than to begin their own cultural traditions.
Ironically, one of the clearest examples is found in the fact that every performance (stage and screen) of L. Frank Baum’s, The Wizard of Oz was performed by an all-white cast. Now it goes without saying that Baum’s fictional story did not include African-Americans. Black artists responded to this omission by creating their own version that not only served an audience that The Wizard of Oz omitted, but also provided employment opportunities for Black artists while helping Black theater companies stay financially solvent.
It is time that Negro apologists understood that we agree that whites have every right to demand the presence of people who look like them on both the stage and screen, particularly when they are exposing their children to cultural events. However, we simply ask for the same consideration.
The irony of this entire situation is that the impetus behind the vast majority of African-American cultural events and expressions were born out of white prejudice, discrimination, segregation, and racism. We must not forget that the Negro leagues were created because of white baseball players and owners refusal to allow Black players to participate.
So for those Negro apologists such as Stacey Dash who are currently crying ‘reverse racism’ because of the existence of African-American cultural events, I must share with them that such productions were historically mandated by your white benefactors, yet created by brilliant Black artists who chose to ‘ease on down the road’ versus the only option whites offered which was sitting on the sidelines.
James Thomas Jones III
© Manhood, Race and Culture, 2016.