Friday, March 13, 2009

The Black Factor vs. White Privilege



According to S. Mary Wills, author of the blog site, The Black Factor, “white
privilege is the polar opposite of The Black Factor. White privilege
is a positive. The Black Factor is a negative” (Wills paragraph
4). White privilege is something that Blacks deal with everyday,
while a white person goes through life without ever questioning their
race. The so-called, white privilege acts as a foil for The Black
Factor- especially in corporate America. White privilege has a
negative connotation as it “allows you to not be truthful to
yourself or others about the reality of preferential treatment”
(Wills paragraph 5). Therefore, being white automatically enables one
of that color to receive preferential treatment over one of another
race and many white people fail to “accept the reality that
there are different sets of rule for different people” (Wills
paragraph 6). Wills argues that failure to acknowledge segregation
rules is the privilege of White privilege. In corporate America, The
Black Factor comes into play; for African Americans, hard work and
intelligence don’t automatically become a catalyst for success.
The Black Factor “prevents many African Americans from becoming
mid-level managers, executive or even entrepreneurs” (Wills
paragraph 10). White privilege is not only seen in corporate
American, but in life in general.


The novel “Native Son,” by Richard Wright, though written in 1940, is very
relative to Will’s blog post. From the very beginning, Wright
clearly portrays Bigger’s hatred for White people because of
White privilege and the fact “they (White folks) never let us
do nothing” (Wright 23). After playing a game of
“white,” in which Bigger and his friend, Gus pretend to
be and talk like white people of high positions (war general, J.P
Morgan, the president) Bigger dwells on the fact that he is Black and
has no privileges- ergo The Black Factor. White folks have the
privilege of never having to think twice about the privilege of
riding an airplane, or starring in a movie, but every time Bigger
thinks about what he can’t have/do due to his race he feels
“like somebody’s poking a red-hot iron down his throat”
(Wright 23). Bigger concludes that it would be almost impossible for
an African American like himself to get an important job and resolves
to robbing a local bakery to make some quick cash. Wills argues that
her point is that the idea of White privilege is an attempt for
racists to get African Americans to give up. Contrary to what Bigger
thinks, Wills, with her optimistic attitude preaches, “Never!
That’s what the racist wants. So, don’t give them that
victory” (Wills paragraph 14). Wills blogs that it’s
important to remember that it’s not always about you and all
the White privileges are often “about other people’s
bullshit and baggage. The Black Factor is their (white people) issue”
(Wills paragraph 15).


The Black Factor is reason alone for Bigger to loathe all White people. He says that
White people live in his stomach and, “every time I think of
‘em, I feel ‘em. It’s like fire”
(Wright 24). Being a white person, I find it extremely difficult to
connect with Bigger. Of course I sympathize with the character, but
to be completely honest, I have never given much thought to the
privileges I receive for my color; that in turn is the
bitter-sweetness of White privilege.


Is there a solution?


I don’t know.
But I do know that The Black Factor can begin to diminish as soon as
White privilege becomes an antiquated term in that both white people
stop being ignorant about racial differences and black people stop
using “White privilege” as an excuse.


Tuesday, March 3, 2009

United States of Tara


After watching an episode of Six Feet Under in english class, and analyzing the closeted-homosexual character of David, it left us wondering: are there character on every television show who a homosexual can identify with? I chose to analyze the new showtime series, United States of Tara...

Meet Tara: one woman with multiple personalities that she calls ‘alters.’ Toni
Collette stars in the new showtime twisted comedy, “United
States of Tara” as a suburban housewife who suffers from
multiple personalities. Her loving dysfunctional family supports it’s
mother/wife, and endures all the madness Tara entails. The question
that lingers is: can a homosexual identify with this new hilarious TV
show.


Keir Gilchrist, who plays Tara’s son, Marshall, is a 14-year-old
homosexual. To catch you up to speed on Marshall’s character:
Marshall is crushing hard on a boy at school who is a Christian jock.
Though it seems they are exchanging flirtatious gestures while
working on an edgy theater project at a church featuring homosexual
AIDS patients suffering in pain “in hell,” it is
difficult to determine weather Marshall’s innocent flirting
will evolve into something more. While not portrayed through any
clichés whatsoever, but through the sidesplitting realistic
plot and character of the openly gay Marshall, many adolescent gay
boys can comfortably relate to this television show. Marshall’s
character is so intriguing because none of the other characters
mention his sexuality unless it is integral to the plot. Despite the
occasional playful and loving insults Marshall’s family throws
at him, his family passes no judgment on his sexuality. It is
refreshing for homosexuals to see one of their kind portrayed in a
comical tone and in an accepting environment.


In the episode I am analyzing Marshall in, the family finds out about
Marshall’s involvement in the conservative Hell House Halloween
production at the church. Kate, Marshall’s older sister assumes
that Marshall is only participating to impress Jason, the Christian
jock and son of the pastor. Max, the dad, keeps Marshall out of
school that day to help him at work that day to help aerate a lawn.
While helping his father, the allergic Marhsall drives into a bees
nest and is stung multiple times. Worried about the ugly appearance
of his face all covered with bee stings, Marshall asks Tara is he can
skip school, but Tara looks deeper into the situation and
supportively says that if Marshall is interested in Jason he must be
a great kid and the only way to know if Jason cares is to show up and
see his reaction. At school while a girl is pointing out the bee
stings on Marshall’s face, Jason comes to his rescue calling
him, “so cute.” Later on at their homosexuals burning in
hell rehearsal, Jason and Marshall continue flirting.


All of the scenes involving Marshall are only a small portion of the
show, but they are tastefully done in a way that really allows for
homosexuals to feel connected to a character. The fact that Marshall
is a main character and his sexuality is portrayed in every episode
sets this show apart from most other shows. “United States of
Tara” really captures the modern day take on homosexuality: it
is gradually becoming more and more accepted. There is no doubt that
this show will encourage some young gay boys to feel more comfortable
with their sexuality.