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Gore’s Carbon Swap: A Crying Shame! A brief encounter with subliminal sexism and racism in a political cartoon By Arthur J. Graham
In this Easter week in the year of our transgression, 2007, for political gratification, we lavish romance in a bed of subliminal messages, capturing the funky spell of a vulgar brawl in nostrils already filled with shitty stenches! So be it. Father forgives us if we know not what we do.
The “Gore’s Carbon Swap” political “ad” cartoon came to our attention via a Lyndon LaRouche email in March, 2007. My first reaction was utter disgust; then out of a sense of duty, or rather anguish to present an Image Coverage here, we fall into the tradition with continuities telling of its “other” implied, racist images and symbolism.
Political target “Gore” is caught with “pants up—pants down” over the issue of “global warming,” morally implying that the “best—worst” of the man is for naught. But CLICK HERE to “visually—virtually” ascend and descend deeper into the subliminal “arts and sciences” of doublespeak, “sexist—racist” propaganda that is depicted in this particular “ad” cartoon.
Discrete Silence: The 78th Academy Awards & Commentary by Arthur J. Graham (Donations Requested & Welcomed)
In 1992, with perceived innuendo, BRUCE DAVIS bluffed his way out of an opportunity to receive the Los Angeles NAACP Coffee Report on behalf of the Academy and in the interest of all us “pundits.” Instead of seizing the moment, Davis cowered down the Coffee Report into “discrete silence” with the typical though regrettable, condescending, White Supremacy Mentality, as the profiling letter in this article reveals. Here then is the “arts and sciences” dunce entrenched in high office, a recipe for natural, “box office” disaster.
A Paradigm Shift for Media Literacy Arthur Graham’s tetranalysis™ indicates a paradigm shift for decoding hidden messages in the media. As a critical and creative construct, it presents new terms and methods for deconstructing “subliminal racism” (Graham 1972) that is embedded in the controlling Western mythology called “white supremacy.”
CIPHER: JHPWGMHSECJRFJDW This is a grand tour of all things seen and unseen, “de big convention,” the mystical association of ideas leading to the inventions of African American literary ancestors—Jupiter Hammon, Phyllis Wheatley, George Moses Horton, Samuel Eli Cornish, John Russwurm, Footah Jallo and David Walker. This tour shall end on a compounded note for worldwide reparations for the enslavement of Africans throughout the Diaspora.
This essay is prelude to a forthcoming, extended monograph based upon Graham’s Subliminal Racism Essays, 2005, an introduction to “negro ciphers” in mythology, establishing the basis of four functional divisions for devising subliminal, mystical theology, and for imposing identity formation on “the black other.”
CO-OPTING SANKOFA Image Coverage 1995 Revisited 2007 SANKOFA: A Historical Inquiry by cameraman Lynn L. Smith, 1995 Today, we invite a comparison of Gerima’s “Sankofa” to Spike Lee’s “Malcolm X” that was released in 1992. In both movies the exercising of “artistic control” tends to follow-the-fashion of European inspired and instructed, “Craft Conventions.”
As an “Image Analysts” trainee, the late Lynn L. Smith became cognizant of subliminal themes and myth patterns that were usually not written in the shooting script but dictated, accordingly, by “craft-union” techniques and by conventions of The Academy of Motion Pictures “arts and sciences” which are demonstrative of favoritism to white, story-line “heroism” and are embedded in plot and theme—especially as “color-coded” costumes, climate conditions, props, animals, set decorations, and skin color symbolism.
