American Popular Culture as an Intrument of Racial Oppression Essay Example

privilege associated with examining American history, which is often overlooked by white people. Jensen argues that society plays a crucial role in determining our social position, stating that "we are shaped both by our own aspirations and the opportunities granted to us by society." As a result, white Americans are rarely viewed as threatening and are typically seen as safe or non-threatening. Jensen also highlights his personal experiences, noting that when he applies for universities, jobs, or apartments, he does not appear intimidating because those assessing him are usually white like himself.

According to Jensen, white Americans are seen as reflections of themselves and benefit from this advantage in a racist world. This perception shapes the national psyche towards them. Jensen also highlights the privilege he enjoys as a white person, being able to walk into a store without being perceived as likely to steal something. This privilege is not extended to Black men who face misrepresentation in the media. Hutchinson's article, "The Criminalization of Black Men," laments that despite crime statistics showing that it is actually white men who should be feared, Black men are constantly viewed as dangerous. Hutchinson presents statistics such as white males committing 54% of violent crimes, being 80% of America's drug users and abusers, and being responsible for the majority of serial and mass murders. It is astonishing that Black men continue to be criminalized while white men benefit from white privilege, which portrays them as safe, trustworthy, and harmless. LeNoir attempts to explain this misrepresentation phenomenon in his article, "Image Distortion Disorder."

According to LeNoir, the American media has created a national crisis based on race by distorting images and

causing fear among white people towards people of color, specifically black males (LeNoir, 325). LeNoir attributes this misrepresentation to the media and notes that the portrayal of African Americans as criminals and buffoons has led to the success of police programs and sitcoms like Cops and America’s Most Wanted (LeNoir, 326). He agrees with Hutchinson that these images perpetuated by the media are completely false, stating that people of color pose little social, economic, or physical risk (LeNoir, 326). Furthermore, LeNoir argues that there are no opportunities to show people of color in a positive light, which hinders any attempt to bring people together (LeNoir, 326).

The media has successfully created a widespread atmosphere of fear regarding African Americans. LeNoir argues that the continuous depiction of people of color as criminals and unintelligent can eventually result in these stereotypes becoming deeply embedded in the minds of our children (LeNoir, 327). Interestingly, even individuals from minority communities internalize this collective mindset. In M. Carl Holmen's poem "Mr. Z," the narrative revolves around a Black man who embraces the white viewpoint of his society and spends his entire life attempting to detach himself from his cultural background and assimilate into mainstream America.

According to Holman, individuals such as Mr.Z, who do not have an Anglo-Saxon background, often feel the need to conform in order to be accepted by society. This pressure frequently leads to a self-hatred among those who deviate from American norms. Holman also mentions Mr.Z's wife, who has forsaken her Jewish heritage but still has blue eyes. The misrepresentation of non-Anglo-Saxons by the media is a longstanding problem that dates back to the discovery of America.

Ross argues

in "Black Male Perp: Interview with the Boogeyman" that America's most pernicious legacy is the tragedy of misidentity (Ross, 405). He acknowledges that America's history is not simply racist but that racism is ingrained in its history. Since the "discovery" of America, white settlers have systematically oppressed and deprived other groups of their cultures and heritage, imposing assimilation and subjugating people based on their race. The American Indians were the first victims of this treatment. The European colonizers enslaved and subjugated the American Indians, along with employing various other methods to eradicate their culture. In "Let's Spread the 'Fun' Around: The Issues of Sports Team Names and Mascots," Ward Churchill argues that while less obvious, the degradation of Native Americans still persists in mainstream American practices.

The application of Indian culture to American sports teams is a way of completely disrespecting many Indian cultures. According to Churchill, using native names, images, and symbols as sports team mascots is a virulently racist practice. Naming teams the Braves, Chiefs, or Redskins and performing things like the "tomahawk chop" demonstrate a lack of respect for Native cultures. The American media, including television networks and major newspapers, have perpetuated the misuse and misrepresentation of American Indian culture by dismissing Indian discomfort as "no big deal" and insisting it is just "good, clean fun." This perpetuates the centuries-old European sentiment towards American Indians that continues to hurt and degrade their people and cultures. Similarly, Asian Americans have also faced racial discrimination, as seen in the twentieth century internment of Japanese-American citizens.

In Jeanne Wakatsuki Houston’s “Shikata Ga Nai,” she recounts the Japanese internment during WWII, emphasizing how American newspapers and radios perpetuated

the idea of Japanese people as a threat to American society. Houston remembers being forcibly removed from her home on Terminal Island when the navy decided to evacuate the entire Japanese community residing there. The reason behind these evictions was the perceived danger of having so many Orientals living in close proximity to the Long Beach Naval station on the opposite end of the island, even though most of them were American-born. Reflecting on that time, Houston expresses sorrow over the resurgence of a century-old anti-Oriental sentiment on the west coast, which was even more malicious than before.

This text highlights the existence of anti-Orientalism in the national psyche of America, despite the significant contributions made by people from the Orient throughout history. While many are familiar with the Japanese internment and subsequent acknowledgment of the American government's racist actions, fewer have been educated on the long-standing contributions of Asians in America, dating back earlier than commonly known. In his work "Margins as Mainstream," Gary Okihiro sheds light on these contributions. He emphasizes how Chinese American men played a pivotal role in constructing the transcontinental railroad, which helped connect the nation. Okihiro also mentions their significant involvement in American agriculture, mentioning their involvement in draining lowlands, reclaiming fertile land, and establishing horticultural techniques essential for the growth of truck crops. Additionally, he highlights their formation of effective grower and marketing cooperatives.

Throughout America's history, Asian Americans have played a pivotal role. Their contributions include aiding in the construction of the transcontinental railroad and driving the agricultural revolution. Unfortunately, these significant labor efforts have often been overshadowed by portrayals of Asians as victims in U.S. history textbooks and

classrooms.

In these educational materials, Asian Americans are depicted as victims during events such as the anti-Chinese movement in the 19th century and their unjust internment in concentration camps during the 20th century, where they were labeled "Americans betrayed." These victim-centric depictions have perpetuated oppression against Asian Americans within American society.

If Asian Americans had been portrayed instead as strong contributors to America's growth, it is possible that mainstream acceptance would have come more readily. Regrettably, this portrayal of them as victims continues to persist.

Furthermore, despite their contributions and desire to benefit from America's promises, Asian Americans have faced difficulties assimilating into American society. They have repeatedly sought inclusion within American society but have consistently encountered rejection and exclusion.

Jack Foley argues that false imagery and a national psyche prevalent among white America not only generate fear towards Asians and other groups but also hinder people of color from assimilating. Foley further suggests that assimilation into American society does not guarantee respect for one's own culture; on the contrary, it often leads to cultural erasure.

Foley argues that individuals with lighter skin, such as Italians or Irish, initially face exclusion and discrimination but eventually assimilate at the expense of their cultural backgrounds. In his essay "Multiculturalism and the Media," Foley critiques a 1990 comic strip published in the San Francisco Chronicle. The comic strip depicts Montoni's Pizza, an Italian-owned establishment, where the owner is portrayed as ignorant about Italian artists Donatello, Raphael, and Michelangelo. This portrayal not only presents him as unintelligent but also highlights how living in America has caused him to lose touch with his Italian heritage. According to Foley, Montoni represents an Italian American who has

become disconnected from the greatness of the Italian tradition.

According to Foley (367), the strip portrays the experience of being Italian in America. Despite assimilating and being accepted as American, the protagonist loses his Italian heritage. It is worth noting that Italian heritage has a glorious past and has greatly influenced America. Montoni, a character in a comic strip, serves as entertainment for Americans and is intended to make people laugh. However, he also represents the American tradition of using cultural differences for comedic purposes, dating back to the nineteenth century. Foley raises valid questions about why we find humor in characters like Chico Marx who perpetuated stereotypes of Italian immigrants. Similarly, why do we not view Montoni as a harmful stereotype? Additionally, why do we fail to recognize the tactic of discrediting living individuals by associating them with great figures from the past? These questions prompt reflection on the necessity of Holman's portrayal of Mr.

Z, an African American man, feeling the need to relinquish his rich African heritage in order to gain acceptance in America raises questions about why people of color allow themselves to be subjected to ridicule and mockery. This issue directly addresses the prevalence of racist imagery in the American media. Marlon Riggs' documentary "Ethnic Notions" thoroughly explores the history of misrepresentation and false portrayals that have been pervasive in various forms of American entertainment. By showcasing numerous examples, "Ethnic Notions" exposes the exploitation of people of color who were used merely as objects for the white American audience to observe. Consequently, African American culture was unfairly reduced to harmful stereotypes, depicting them as ignorant "darkies" who were content with playing in

the mud. These stereotypes were further exploited by white performers who donned ragged clothing, dark theatrical makeup, and exaggerated "Black" facial features such as overly prominent lips, all for the amusement of white spectators.

These acts were highly sought after, leading to a profitable business. Eventually, black men began donning the costumes and demeaning themselves for the amusement of white audiences. American cinema, which emerged later, glorified this disgraceful practice of profiting from the degradation and dehumanization of Black people. In fact, “The Birth of a Nation”, considered one of America’s most revered early masterpieces, depicted members of the Ku Klux Klan in a heroic light as they saved white Americans from criminalized black men portrayed by white actors. The documentary “Ethnic Notions” reveals that in the early days of American cinema, white actors frequently portrayed non-white characters. This obvious misrepresentation of different cultures persisted into the twentieth-century. Nash Candelaria’s recollection in “The Day the Cisco Kid Shot John Wayne” highlights how he and his friends fell into the trap of believing these false representations. They were fans of Zorro, believing him to be superior to Gene Autry but still acknowledging him as a fraudulent Spaniard while indigenous people and those of mixed race were minor characters.

The media in America, whether it be through newspapers, films, or radio, has perpetuated stereotypes of various ethnic groups and profited from overt racism. The history of America is filled with racism, with non-white immigrants often being overlooked in textbooks and rarely presented in a positive light. The media and popular culture have always played a role in oppressing non-white minorities and perpetuating harmful stereotypes. It is crucial to acknowledge

that America has grappled with this issue since its inception but has yet to address it.

Americans are being infiltrated by false images that create a national psyche and cultural crisis. This crisis affects not only non-whites but also white people who suffer from the implications of racism, preventing unity. It raises questions about why mainstream, white-American popular culture defines ethnic groups and how they are portrayed. Minorities should have a say in how they are perceived, and all Americans, especially minorities, should reject racialized images presented by the media. These false images are overtly racist, showing little progress in America's treatment of cultural differences and race since its "discovery".