Posted on 09/15/2012 5:51:53 PM PDT by EveningStar
A new political Bakshi short.
(Excerpt) Read more at youtube.com ...
Alleged animator Ralph Bakshi made this cartoon short to attack Mitt Romney. But if this cartoon about a slow-witted, jive-talkin', cotton-pickin', big-lipped and barefoot black had been made by a conservative, how loud to you think the screams of "RACISM!" would be?Hope n' Change Cartoons
Went on You Tube and flagged it to the sites attention. This sort of bigoted hate speech has no place on their site.
Let see how the Left likes being subject to the same standards they want to impose on us
Just nuts. This guy's brains are fried.
Good idea. We ought to organize mass “flaggings” like freeping polls.
Thanks EveningStar.
This guy’s a pornographer. Allah would want him beheaded.
Bakshi’s a friggin’ loon. Besides that, I thought he was dead.
From the man who brought you COONSKIN, which was promptly withdrawn from circulation.
http://www.imdb.com/title/tt0071361/
Yeah, I had this guy figured out from way back when he did "Wizards". He's one of those hard lefties (like Jared Loughner) whose world view is an incoherent patchwork of incongruous rationalizations. His thought process, such as it is, is driven by a very simple Nazi/anti-Nazi narrative formula. He thinks the whole political spectrum is black and white, either Nazi-like or not in comparison with himself as a previously defined non-Nazi. For example, he is very anti-Christian because he thinks that Christians are politically aligned with Nazis. His reasoning is that the Church failed to somehow thwart the Nazi rise to power in a nominally Christian country -- therefore "Nazi"! By this same standard he also gives himself a pass on his disgustingly racist caricature of the American Black. After all, Nazis were racist and he has been previously established (in his mind) as THE anti-Nazi, and so not possibly a racist.
He also imagines people of dissimilar political beliefs to be already guilty of any imaginable crime (he is imaginative) and therefore sees himself as being justified in taking any seemingly proportionate recourse. Fortunately, his only real power seems to be his ability to distribute really awful animated art. Were he younger and more capable of violence he would likely be have been flagged by now.
Michele Malkin repeatedly has her video blog posts on youtube pulled down as “offensive” from liberal complaints.
Coonskin is on DVD as Streetfight.
Also, the hipster liberals at Austin’s Alamo Drafthouse called out Ralph Bakshi’s racial depictions of black people in Coonskin and took offense:
http://cybermonkeydeathsquad.com/rants/ralph-bakshi-at-alamo-drafthouse-01182009/
Minutes later, Lars prompted Mr. Bakshi to put the film STREETFIGHT into context before it started, to which Mr. Bakshi responded, “what do you mean?” Lars expounded with “you know, because of the nature of the film, it might be good to explain about how it was back then”, “since we’ve defeated racism..” Mr. Bakshi was visibly upset by this. RB: “How dare you call me racist! Have you ever lived with a black person? You want controversy? You think you’re cool or something?..if you want to know what the times were like, watch the film. Fuck you, I’m gone.” He then dropped the mic, got up from his chair, left the stage and heading up the aisle to the exit he turned and added, “where do you get off asking me that? I told you before not to spin this that way. Thanks for dragging me to Austin to be embarrassed, motherfucker, don’t expect me to come back.” Now, this may seem like a harsh response to a harmless statement, but anyone paying attention heard him clearly say “..we talked about this before..” so there was obviously a line crossed that Mr. Bakshi was sensitive to. Being the pit-bull that I am, I immediately shot out of the theater following him outside to talk more.
Mexomorph: Mr. Bakshi, thank you for pouring your heart into your films. Please don’t leave thinking he represents all of your fans in Austin.
Ralph Bakshi: Do you think I was too harsh? Was I out of line?
M: I can’t say you were – it’s your life in those films. Perhaps he wasn’t aware of how you’d react.
RB: I told him not to talk about me that way before I came down here.
M: Does this kind of thing happen a lot?
RB: It’s been going on for years…it’s jackoffs like him that want to stir up controversy that gave me a bad reputation when the film was released back then. Everyone knows I don’t explain my art, I just create it.”
M: I understand. You shouldn’t have to justify your vision of the way things were.
RB: That guy really made me mad, I coulda knocked him out for that.
M: Please consider coming back tomorrow for those of us who want to see you and talk to you, don’t hold his actions against the rest of us.
B: I really wanted to watch the movie, it’s one of my favorites. I might be back tomorrow.
M: I hope so – it would be good to see you here.
B: Alright, well, I’ll see you tomorrow.
Then there’s also this blogger’s take (who apparently was present at the same Alamo Drafthouse screening).
http://www.oxfordamerican.org/articles/2012/jun/05/miss-scene-ralph-bakshi/
Coonskin isn’t my favorite Bakshi, but it’s the one I return to the most. It’s both a mock-exploitation film made in the heyday of the blaxploitation era and a comic subversion of the minstrelsy-saturated Uncle Remus tales (remember, the same ones in Disney’s long-hidden Song of the South?). The main characters are still rural blacks, Brother Rabbit (voiced by Philip Michael Thomas, later of Miami Vice fame), Preacher Fox (voiced by Charles Gordone), and Brother Bear (voiced by the inimitable Barry White), but after they get caught up in a shootout at their brothel, the trio flees to the big city, specifically Harlem, to try to make a go of things and wait out the heat.
They all expect Harlem to be a black person’s paradise, but bear in mind, this is the 1970s, and they’re confronted instead by extreme poverty, drug addiction, even black community leaders gleefully swindling each other, not to mention the mafiosos who also do their part to take advantage of the urban black population. Of course, it’s a more complex socio-economic situation than that, which also somehow comes through. It’s an uncomfortable experience because, in keeping with exploitation film and minstrel traditions, the voiceovers are caricatures and the skin color is deeply black, like the shoe polish formerly used in blackface portrayals. There’s even a visual representation of America, embodied in an enormous, buxom, white-skinned blonde-haired blue-eyed woman in a star-spangled costume seducing and sexually abusing a black man. It’s an admittedly over-the-top metaphor, but the point of animation is to be surreal and exaggerated, and Bakshi’s provocateur’s soul is completely unafraid of showing you what he believes to be true about the black condition in America.
You may wonder what gives Bakshi the right to take on the mantle of racism, and the most obvious explanation is that he’s a Krymchak-born Jew, the child of Holocaust survivors. He can recall the atmosphere of fear, prejudice, and very real danger his parents fled. That, combined with formative years growing up between Brownsville, Brooklyn and in the mostly black neighborhood of Foggy Bottom, outside of D.C., gave Bakshi access to cultures also capable of being shunned. At least, this is my understanding based on what he mentioned in the few competent responses to questions I witnessed that evening. He never did quite account for why he wanted to make a film that focused on race in a wholly American way.
Who cares?
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