Posted by: Loran Blood | August 14, 2013

The news today that the legal case against Paula Dean was thrown out of court comes as somewhat of a surprise, and coming on the heels of the exoneration of George Zimmerman in the Trayvon Martin shooting, actually requires that I indulge myself in a few moments of hope for our culture, beleaguered and embattled as it is by forces dedicated to moving it from a rule of law-based, conctractual society to a status-based feudal society in which it is not what one can do, contribute, or provide that is important, but who one is, who one knows, and the depth of one’s enmeshment within the apparatus of state power.

As Arnold Ahlert has just written in an article for

Judge Moore refused to play along. He dismissed Lisa Jackson’s claim that she had suffered from racially offensive talk and employment practices allegedly aimed at black workers at Uncle Bubba’s Seafood and Oyster House. Moore also didn’t buy Jackson’s charge that such prejudices were “more personally offensive” to her because her nieces are biracial. The judge then explained that letting Jackson’s claim continue would “serve to conscript federal courts as human-resources departments that are responsible for imposing and monitoring a federally created standard for harmony in the workplace.”

All well and good, and a rare gem in a political atmosphere centered so deeply in identity politics and the twin cults of public victimhood and throughtcrime litigation.  The race industry, however, has not really lost its bid to destroy Paula Dean, as her career, now subject to a permanent moral ban in the public imagination and to the shunning of the politically correct corporate world (yes, dear reader, corporate America is no natural bastion of conservative/libertarian ideas and values), may recover to some extent, but will never be the same.

Its a fascinating thing to have seen over the years as the so-called “N word” has become the only true expression of legitimate profanity within American popular culture, and become subject to actual media censorship above and beyond masking it in alternative idiom.

While the most vicious and vulgar terms of abuse, depreciation, and profanity long ago became common in the pop culture, and particularly in American cinema (and much of which is now commonplace on prime time television), the “N word” has achieved the status of a classic taboo; an evil word of power that cannot be spoken lest the cows cease giving milk and the crops wither.  The taking of the Lord’s name in vain, blasphemous and offensive to all serious Christians, expressed in a number of colorful ways, has long been common in film and can be found with ease on various prime time television dramas, as can countless vulgar, juvenile references to the female or male anatomy, which, for a number of TV sitcoms borders on obsession.

Only the “F word” remains outside the bounds of propriety in prime time, and this will doubtless soon become just another boundary crossed by the masters of the transgressive in the entertainment world, but the “N word” will remain the-word-that-must-not-be-spoken; something that seals the heavens and brings plagues of locusts and frogs.

Now, one must not get me wrong here.  This term is an ugly, offensive term long used to cast black people into a lower order of human being, and it should not be used, such use being a sign, properly, of a debased and petty soul.

This having been said, the term itself lives on, and lives in popular splendor within the inner city underclass and Hip-Hop culture within which it enjoys equal popularity with a number of other terms that one might wish to classify as equally unacceptable, if not more so (the ubiquitous “MF word,” for example).  Gangsta rap and Hip-Hop music abound with it, as with other terms, used by both whites and blacks of a similar mental cast of mind to express themselves in various pop cultural venues.

The ‘N’ word carries special powers, however, and is now virtually the only term of which I’m aware that cannot be uttered in public without looks of horror and the covering of one’s children’s ears — except by a certain class of people.

So feudalesque has our politically cleansed society become that there is now even an entire book out detailing the proper usage, boundaries, and parameters within which the “N word” can be used but which, outside of the magic circle, expose the careless sorcerer to grave dangers.

In the neo-feudal society sought by the Left, Paula Dean could have spent her entire career openly, loudly, and consistently impugning and attacking conservatives, libertarians, Christians, and religious conservatives at will, and using any number of vulgar and intemperate slurs to do so.  The most savage attacks on Israel and its Jewish inhabitants — a common occurrence throughout much of American academia — would have earned her nothing if not a slap on the wrist from some lone conservative outpost within the culture and perhaps even awards and praise from the hip and smart people who decide what is hip and smart.

Something about the “N word” seems to produce a visceral reaction like no other similar words that have been applied at various times to Latin Americans, Jews, Italians, the Irish, and various Asian peoples in America.

Indeed, we now live in a political, media, and academic environment in which conservatives/libertarians can be, with face straight, termed “fascists,” and Israel can be equated with Nazism, while a common term of abuse aimed at American blacks in a bygone era by what was, for all intents, a feudal society based in caste relationships, long discredited and rejected by the overwhelming majority of white Americans, cannot be uttered without threatening the undoing of the cosmos.

The ‘N’ word is the only word I can think of that is not, even in R rated films featuring the most colorful and creative language of abuse and human degradation, as well as explicit depictions of human degradation, allowed expression by an entertainment culture that normally glories in its ability to “push the envelop” and mercilessly assault the sensibilities and values of the traditional American civitas and which “thug” culture artists do on a consistent basis, using this term in profusion.

Actually, this post really isn’t so much about the gross double standards of the race industry and its associated ideology, an ideology that permeates Hollywood, the music business, academia, education, and government, although it certainly is that.   What its really about is that a society in which there are different sets of laws, standards, expectations, and special exemptions for different classes or groups of citizens, and in which status, not the content of one’s character, determines how laws are applied and standards understood, and even if one is subject to the same laws and standards as other citizens at all, is no longer either a free or a rule of law governed society.


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