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The New Yorker's Fear of a Black President

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As someone who wrote “Getting Whitey: Michelle Obama’s Secret Negro Agenda” satirizing the right’s twisted vision of the aspiring black first couple, I understand what New Yorker cartoonist Barry Blitt was trying to accomplish with his now-notorious cover art.  However, he did it poorly, and in doing so, he advanced the point-of-view he tried to satirize instead of deflating it.

In his own defense, Blitt told Huffpo’s Nico  Pitney:

I think the idea that the Obamas are branded as unpatriotic [let alone as terrorists] in certain sectors is preposterous. It seemed to me that depicting the concept would show it as the fear-mongering ridiculousness that it is.

If only Britt had depicted the concept.  Instead, he simply parrots the concept with no context.  He parrots the concept; and parroting is not parody.  For instance, had he depicted a right-wingish figure seeing the regular couple as the Muslim/militants he depicted, he would have achieved his aim. We would have seen the reality, and seen how certain individuals choose to twist it.  Instead, he offers the right-wing narrative with no context whatsoever—thereby reinforcing it.

The kind of double-barreled image true parody would have required is difficult to pull off.  What Blitt provided was comparatively easy.  But it’s hard to believe that the editorial staff of the New Yorker did not see this straight depiction of Obama and his wife as militant/Muslim terrorists for the Red State red meat that it is.  

There seem to be two possibilities.  The first:  they truly find the idea depicted in the image so ridiculous that they couldn’t conceive of anyone taking it seriously.  However, if that were the case, there’d be no need for the satire in the first place.  Attempting to satirize it acknowledges the idea’s prevalence.

The other possibility is that somewhere, deep in the recesses of their upper east and west side white minds, lurks a restive “fear of black.”  To provide such an image without context is to accept its message to some degree.  No similar cartoon would have ever appeared about a white candidate.

Where is the drawing of the left’s vision of John McCain as an adulterous gold digger, with McCain hiding his current wife behind his first wife’s hospital bed curtain?  That analogous image would never appear on a New Yorker cover.  

There was probably no conscious malice here—just laziness and latent “fear of black.”


Comments (28)

No those images of McCain are not satire, they are true. But the images of the Obamas are so far from reality they remain satire.

Repeat they are far from reality, in fact the opposite is true, so what are you so worried about. The cover mocks the Republican smear of the couple.

And you can't see that?

Just as Archie Bunker was supposed to be a satire that many blue collar workers cheered -- because they weren't in on the "joke".

An like President Bush inviting Stephen Colbert to speak at the White House correspondents dinner.

The problem isn't how we see it. How does a wide swath of America see it as the cover gets scanned and sent around the Internets?

We get it, though it is kind of hard not to "get" given the obviousness of the exaggeration. Too bad the rest of America isn't just like us on TPM, huh?

Say this picture goes around the country and certain bad actors use it to underscore the fears many Americans harbor about the Obamas being too "different"...Meanwhile, we all sit back and chortle about how ignorant those silly hicks are.

How fucking smart are we?

Exactly. I think the word "elite" gets used way too often on the left and right.

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There is a big problem with the New Yorker depiction. They have conflated a couple of things that are true with a number of false rumors. The Obamas did do a fist bump, and Senator Obama did wear a traditional costume on his trip to Africa.

When trying to debunk a series of false rumors, is it wise to throw in a couple of factual items? Doesn't that cause a mixed message conflict.

No.

Brilliant response. Care to elaborate?

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the actual "what" of what's wrong here:

1. Set in an Oval Office the revolutionaries have cleared of the desk (because revolutionaries don't do desks, so much as lairs), the self congratulations -- especially at this early, pre-convention stage of the campaign -- ascribes a massive sense of entitlement to the Obamas.

2. Minus the eye contact of the actual fist bump in St. Paul (and adding the arched eyebrows), Angela Davis Obama's expression is transformed from "I love you" to "You're SUCH an evil genius, baby ... and no one ever caught on!"

3. Besides Barack's pursed lips -- which have turned into code in the MSM for this arrogant (read: "uppity") black man -- the most damning element in this illustration, by far, is Obama's eye. The furtiveness lends the perfect Machiavellian effect, and the fact it's directed our way suggests we should really know better what this guy is up to.

4. Of course, the gun, the ammo clip, the cammo pants and the crossed legs (like crossed fingers) suggest what an angry, war-like creature Michelle is.

5. It's not just that Old Glory is on fire ("thank Allah I can finally toss that damn pin!"), the crumpled flag at floor level is reminiscent of the flag good old Bill Ayers was stepping on.

Various campaign images in the traditional media echo more extreme right-wing hate imagery -- conveying Obama as a man with a covert, anti-American agenda, or a deliberate and calculated mastermind, or a closet Muslim and Islamic Manchurian candidate. In hitting the trifecta here, many will argue this illustration is simply a satiric representation of the sophomoric attacks being tossed at Obama from far right field.

If that's all there was to it, though, than why do I sense Rove is chortling tonight?

The reason -- besides the fact that the New Yorker demographic is a pretty narrow one -- is that visually-based racial, religious and character-based framing does carry cognitive weight across a spectrum of higher- and lower-level reasoning, and, more than anything, it gains strength and veracity through repetition.

So, forget about "don't think of an elephant." Try not thinking about the guy's name in the turban-thing without not thinking about his brother's name in the portrait behind him

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Holy fucking shit! Vicissitudes totally plagiarized from BAGnewsNotes!

I'm sure you meant to say vicissitudes erred in his use of HTML tags and then, vacated the site before noticing the error. Right?

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Thanks, I just know that readytoblowgasket, is perfect name for that poster.

heck, if I wanted to plagirize something it would be for profit, not some posts on a blog commentary thread.

And one of Michael Shaw's commenters picked up on Michelle's afro turning "NEW" into "NFW."

Excellent points, I totally agree. The actual subject of the satire, those who are perpetuating or believing the stereotypes, aren't present. What is present is the Obamas embodying the stereotypes so it looks like they are making fun of the Obamas themselves instead of those who are stereotyping them or spreading false rumors.

No; "it looks like they are making fun of" the 5% of Know-Nothing American voters who will decide this election -- as they always do -- on the basis of caricature.

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This is the email I sent to the New Yorker and to Barry Blitt. (Who actually responded to my email. Kundos to him for being a decent guy. I actually kinda feel bad for him. Kinda.

"You know I understand that this may have been an attempt at satire but I defy you to point out any other New Yorker cover that portrayed a presidential candidate and his wife, as anti-American terrorists. I find this offensive on so many levels its actually given me a headache. First as an American, the level of disrespect in that image in stunning. An American Flag burning in the fireplace. Never mind that we have troops in harms way that are literally dying for what that flag represents, just the idea that the editors would find that acceptable is appalling. Then you have Sen. Obama dressed in the tribal garb from the photo that was used to perpetuate the lie that he is a Muslim. And what did Michelle Obama do to offend your magazine so much that you would show her with an assault rifle slug across her back? Then there are those things that offend me deeply as an African-American. I thought the days of print media portray ling blacks with exaggerated lips and noses were over. It seems I was wrong. Here we are in the latter half of the first decade of the 21st century and the bigoted imagery of the 19th century is still considered, by some at your magazine, an appropriate way to portray minorities. My god you even have Mrs. Obama's hair in an Afro. Why not go whole hog and stick a Black Power Fist shaped, afro pick in it while you are at it. I take you also mean for the fist bump he did with his wife to represent a 'terrorist fist jab'. I'm 41 yrs old and for the most part had been fortunate to see imagery of this kind in history books or as a part of a museum display on prejudice. Now I get to see it every time I walk past a newsstand or in a bookstore. And of course the far right will have this on every hate filled website and viral video as proof that even a respected Magazine like The New Yorker thinks Obama and his wife are terrorist.

I can't begin to fully express my disgust with this cover. You've managed to find yet another way to offend African Americans and Muslims. But I guess your staff doesn't think we are part of your readership so its OK. No we're just the ones who will have to bite our tongues and sit in silence while white co-workers have a good laugh at our expense. "

His response:
"Please. This image was meant to hold up to ridicule the hideous innuendo [on Fox and
elsewhere] about Obama. [does the image not appear totally ridiculous and preposterous?]"

My reply:
"I thank you for responding however I suggest you look at which way this is tacking. The comments are telling.

http://www.politico.com/blogs/jonathanmartin/0708/Ya_cant_make_it_up.html

http://www.huffingtonpost.com/2008/07/13/yikes-controversial-emnew_n_112429.html"

His Next reply:
"Yeah, believe me, I know, I'm getting lots of mail and it's all of a piece.

I'd rather not read the comments you sent. I get the picture; it's distressing."


So as you can pretty much see He really didn't think his artwork would draw this kind of ire.

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If he was trying to satirize or parody the riDICUlousness of Fox news..then why wasn't the entire picture instead of a TV with Fox's logo?

Better yet, why were the Obama's sitting in front of the TV at home on their sofa watching it and denouncing it or saying that is why we don't do fox news?

The artist knows full well that a picture is worth a thousand words...so he should know that we GET it!

This is his real true subliminal view and he wanted to perpetuate the fearmongering of the Obama's as 'not our kind'...they aren't 'one of us'...he hyped their sheer 'otherness' as being a political campaign to dupe the masses when in reality they intend to burn America (flag in fireplace aka 'burnbabyburn') to the ground in the name of Al-Q their mentor framed above the mantle.

That guy is a dumbass if he couldn't grasp what he was doing or just as racist as what he depicted.

To put it more simply: If you have to explain satire then it didn't work.

I wonder if he bothered to show this to anyone who doesn't work at the New Yorker - say a black friend or two at a minimum.

This whole thing could have been avoided with half-an-ounce of common sense. Which leads me to believe they knew exactly what was coming and were happy to ride out the press coverage, good and bad.

Glad I never bought this magazine that way I don't have to bother canceling.

In my opinion, the culprit here is the editor, and if I were his corporate boss, he would be clearing off his desk today.
That probably won't take very long, as its surface will not be a repository for much actual work (except for a strategically overloaded out-box, which is, as only his secretary knows, actually the in-box). Rather, it will be adorned only with a few photographs (angled so that the peons can be properly impressed). One photo will be of himself, one hand casually cupping a drink (free) with his other arm draped casually around the shoulder of someone famous (whom he met for five minutes at a press party). And the other photo will be of himself, dressed as the rugged outdoorsman he is not, either at "his" (shared) house in the country, or in the Hamptons, or on the Vineyard, or, when all else fails, somewhere recognizably foreign and posh (foreign junkets being paid for by the magazine).
The rest of the desk surface will be clear, so that he can lean forward, his arms propped up by his elbows and his overlapped hands nesting under his chin as he issues curt, if oblique instructions to junior editors and writers, his steely eyes (he imagines) clearly visible over his reading glasses. Otherwise, he needs a clear desk surface for propping up his feet while, late in the afternoon, he explains the magazine business and its promotional ladder to starry-eyed interns (selected for parental connections, or for naivite and gender preference).

He is not a man who has time to agonize over every little detail; he must delegate "what he can" (martyred sigh here).

He will, however, spend a considerable amount of time studying the proposed cover. This is important, as a tear sheet of it -- along with a tear sheet of the masthead that bears his name -- must be mounted and framed and hung with its fellows above the long credenza behind him. This takes time and a gift for visualization: the colors must be just right to provide the proper amount of contrast with those it will hang beside; and, with his impeccable eye, he has rejected a few possibilities already.

It's to be an Obama cover, alluding to the fears unsophisticated people harbor about them. And he is annoyed, because he has had to reject two mock-ups already: one depicting the Obamas, dressed like the Kennedys, giving a tour of the White House to a group of white men, dressed as Muslims, and white women, dressed as militant activists -- well, that one didn't work at all, as it took too much time to work out the symbolism and, anyway, it was too busy and the colors were too drab. And he's had to reject a second, subtler contender -- a classic Norman Rockwell set-up depicting an African American couple with two children, walking a dog in the White House Rose Garden because -- well, what the hell did that really have to do with terrorism?And the colors, though brighter than the first one, were simply all wrong, although for the life of him he couldn't say why..

So, if he was going to make lunch at the Palm, it really had to be the satiric cartoon one, which because its imagery was over the top, really said it all without too much thinking, and the colors were just right for the line-up.... There, a decision made. It isn't easy, he thought, resentfully. They're lucky I'm able to make these decisions, without all that angst that some editors put themselves through, sometimes with the rest of the staff -- those losers who thought a concensus decision was always better. Hah! On his way out, he would tell his secretary to confirm with the cartoonist that his image was a go....

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Jesus, what an earnest, humorless bunch. "Why didn't the New Yorker remove any subtelty from the cover by hitting us over the head with the meaning behind it?" For Christ's sake, the whole world isn't about the Obama campaign. The New Yorker has absolutely no reason to change their cover because it might get e-mailed around and misinterpreted. What fucking planet are you people on? If Obama's elected, he's going to be criticized and parodied every day. You are all going to get ulcers.

And guess what, ultramagnetic? A lot of blacks do have bigger lips than many whites. That's not an insult. Caricatures exaggerate the most obvious features of someone's face. But in this case, the artist should walk on eggshells so he doesn't "offend" anyone?

The New Yorker recently had a very funny cover of Ahmadinejad in a men's room stall, with someone's foot reaching over to tap his foot, a la Larry Craig. But of course I took it to mean that Ahmadinejad's gay, because New Yorker covers are meant to be taken literally. They really should have run a big banner across the cover explaining the joke. That really helps the humor.

Funny how you all have this ability to become outraged at the drop of a hat, until Obama does something like the FISA vote, or reneging on his public financing pledge. Then it time for the excuse making. Hypocrites.

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I can't wait for the NYers take on McCain.

I expect them to use all kinds of slanderous rumors equivalent to the ones used against Obama.

They'll do it, right? They don't fear the GOP backlash, right? Their corporate overlords won't mind, right?

NYer = Total hypocrites

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Talk is cheap.

I want to see the NYer give equally viscious "satire" to McCain.

If they don't, they prove they aqre typical backstabbing GOP-ass-kissing so-called "liberal" media. They kind that just loved to savage Clinton over Lewinsky but has cowered for the last 8 years under Bush.

I suppose some would think that Jonathan Swift's essay on turning Irish children in commodities for literal consumption was intended seriously. Perhaps he should have stated explicitly that the essay was being written from the perspective of a wealthy English investor so that people could understand that Swift was not, in fact, selling child chops from the back of a wagon. I saw the cover of the New Yorker and understood what they intended. It contained so many elements of farce--right down to the bumping fists--that only the naive could have missed the point. Perhaps we should focus our energies and passions on real issues and real outrages. There is no shortage of real discussions that could be taking place on TPM that have been shunted aside by troll alerts and misplaced outrage.

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Is that how you drew your cover illustration? He drew it the way he drew it and your suggestions as to how he should have drawn it are just damned silly.

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Evidently Blitt overestimated the intelligence of the audience.

Blit missed the line between freedom of speech and the responsibility to not shout "fire" in a crowded theater.

But there will only be a fire if everyone keeps whining about the New Yorker cover.

So drop it.

Sorry, Britt.

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