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Blackness, Fatness, & the Great Replacement at Target

[1]1,609 words

Whoa Nellie! Stop for a moment. Ask yourself three questions about this photo I recently encountered.

Where did I see it?

Why for God sake  would anyone put such an inviting target (no pun intended) for ridicule in a conspicuous public place for passersby to . . . well . . . “reflect” upon?

Who put it there?

Where did I see it? In Target recently in Dayton, Ohio. In the store, I was walking as fast as possible through the women’s lingerie aisle on my way to the pharmacy counter when I looked at the wall and came to a screeching halt. At 16 stones with a BMI of around 35 was this young Aunt Jamima in a pair of tight jeans doing a bad job of trying not to look like a beached whale. So it couldn’t be missed; this apparition of allurement was displayed at a dimension of about five-by-four feet as if to say: “Hey, look at me!” The whole disturbing experience gave additional shades of meaning to “great” in the “Great Replacement Theory.”

Why was this corpulent creature stuffed like a sausage into pants and induced to pose, sprawled out in a grotesque parody of a sexy pinup girl [2]?

Target’s product models are part of the Great Replacement’s strategy. With the photo, we see an instance of the ‘Great Reimaging” of white Americans by black and brown people in advertising, marketing, public relations, and mass-media. Replacing white people isn’t simply a matter of their physical replacement with people of other races; the images of “whiteness” have to be extinguished as well.

An image is supposed to bear some similitude to the thing it images, to point you toward what is the real thing behind the image. In advertising, what you see on the printed page or screen is supposed to resemble the product you pay to get. If it fails, you usually have some recourse. False adverting is a form of dishonesty for which there is accountability, but the image-makers who collude with the ruling class gave up on honesty a long time ago and are never held accountable.

The point of replacing white images with black ones in advertising and marketing is to reimage for popular consumption a “reality” absent of white people, one with black and brown people who display the wholesomeness and affability of middle-class white people — people deemed to be no longer cool. These images present a distorted picture of American society that is center-stage and esteem-boosting for blacks while dismissing the presence of whites. In some cases there is a mimicking — “appropriation,” if you will — of well-recognized white tropes (e.g. Susan Hayward [3]) that produce unintented, comic outcomes such as that of the heavyset young woman above.

The failure to reflect social reality in the imaging, however, has yet to provoke a white backlash that punishes the seller by not buying the products advertised. Not holding him accountable means that the Great Reimaging continues at warp speed.

Whether in print [4], billboards [5], or electronic form — university websites [6], sales ads [7], TV commercials [8],  Internet pop-ups, military recruitment websites [9] — white images of white people are being replaced by blacks. Since the manufactured martyrdom of George Floyd, it has become conspicuous and blatant; but they keep pushing the envelope and we are approaching the summit of the Orwellian inversion of reality: war is peace, ugly is beautiful, fat is fitness.

At the risk of belaboring the obvious: This is a very big deal. Think of the racial Great Reimaging as the “good cop” piece of the “good cop/bad cop” modus operandi of the racketeers who operate under the slogan: “Diversity is our strength.”

We all know who the diversity bad cops are.  At the top of the heap, the professional, race-grievance hustlers — e.g. Al Sharpton, Ibram X. Kendi,  Robin DiAngelo — the angry, black scolds and the white lady, guilt-shaming maestros who threaten, cajole, and terrorize their “suspects” with expulsion from polite society (including employment, education, career, etc.) if they don’t confess to the crime of “whiteness.”

[10]

You can buy Stephen Paul Foster’s new novel When Harry Met Sally here. [11]

Barack Obama evolved from race-healer, at the beginning of his first term, to bad cop in his second term. For those with a short memory: Obama turned ultra-bad cop, Attorney General Eric Holder and a gang of his knuckle-crushers from the Justice Department, loose on the police department in Ferguson, Missouri. That power play was intended to prove the “Hands up, don’t shoot” fiction that police officer Darren Wilson murdered “gentle giant” Michael Brown, who had just come from robbing a convience store and was assaulting Wilson. Amazingly enough, even with the full-court press from the feds, the effort failed. But, with the second go-around seven years later in Minneapolis and the defenestration of Trump, all the diversity bad cops from the government, the mainstream media, and the criminal justice [sic] system rallied around the ghost of career violent criminal George Floyd and brought about the courtroom lynching of white cop Derrek Chauvin.

Which brings us to the matter of the “good cop” and the answer to the third question: Who put the fat, black lady poster on the wall at Target?  The “brains” behind “Fat-&-Black is sooo Sexy” is most likely Target’s Board Chairman and CEO, Brian Cornell [12], a skinny, 64-year-old white guy with the bland face and anodyne smile of a television game-show host. Compared to Sharpton or Kendi, he looks harmless enough.

Brian, you might say, is a quintessential “good cop” in the diversity-inclusion world. According to Target’s corporate website [13]:

Brian was named the 2022 “Visionary” by the National Retail Federation. In recent years, Yahoo Finance named Target the Company of the Year, and CNN named Brian the Top CEO of the Year.

With Yahoo and CNN gushing over Brian and Target — a bit like Myer Lansky endorsing Al Capone — you can confidently wager that Wokeness is the top priority of its bosses. But in case there is any doubt about CEO Brian’s “diversity” creds, from the Target website:

A career-long advocate of diversity and inclusion in corporate leadership, Brian is a board member for Catalyst and served on the Council for the Smithsonian’s National Museum of African American History and Culture. The Network of Executive Women honored Brian with the William J. Grize Gender Diversity Award [14], and he also received the Yale Legend in Leadership Award.

This summary tells you all you need to know about Brian’s priorities as a businessman — who is the “whom” to be targeted for punishment in Lenin’s succinct “who whom [15]” power relationship formula.

Here is a shot over the bow from the Catalyst website, where Brian is a board member:

Now, corporate leaders have an unprecedented opportunity and challenge: to reimagine the workplace so that it is truly inclusive [“truly,” as in always in the future]. Those who don’t participate [not an option for self-preservation] in The Great Reimagining [16] [not yet dubbed a “Right-wing conspiracy theory”] will lose out on talent and may find themselves left behind [as in the unemployment lines]. Only through more equitable and inclusive workplaces [brought about by high-paid “diversity” commissars] can we truly make work work for women — and for everyone.

Click on the Catalyst website [17] for an image that is worth a thousand words. Front and center is a thirty-something black woman with “the hair” and that arms-crossed, tight-lipped, sullen look of your typical Diversity-Inclusion-Equity (DIE) Vice President on the verge of descending on a bunch white males shanghaied for a “let’s have at it” round of sensitivity training — aka a struggle session.

The Yale Legend in Leadership Award is also worthy of comment. Previous winners [18], beside Cornell, are: Albert Bourla, Chairman & CEO, Pfizer; Alex Gorsky, Chairman & CEO, Johnson & Johnson; and Dr. Anthony Fauci, Director of the National Institute of Allergy and Infectious Diseases — a veritable triumvirate of corporate-government corruption, collusion, and coercion.

The Legend in Leadership Award [as described by the loftiest abstractions the spin doctors who compose for the Yale website can muster — alliteration run amok] uniquely celebrates established CEOs who offer inspiring legacies of contributing creativity, character, and commercial impact across cultures, industries, countries, and continents. Nominees are offered by peers and confirmed by Yale academicians.

“Confirmed by Yale academicians”?  After you peel away the skin on this onion, what it really gets down to is: The Yale School of Management gets oodles of cash from the people they reward with bogus leadership awards.

The gathering of all these players together in their pursuit of diversity, such as those mentioned above from the corporations, Non-Governmental Organizations, universities, and the mass media got me to thinking about lines from Ezra Pound’s “Hell Canto,” XV: “[T]he back-scratchers in a great circle, complaining of insufficient attention, the search without end, counterclaim for the missing scratch . . .”

Brian Cornell is one of the “back-scratchers” in the “great circle.” He works as a “good cop” on the “Great Reimaging” side of the Great Replacement. Target has enormous economic power. It operates 1,931 stores throughout the United States. It is ranked number 37 on the 2020 Fortune 500 list of the largest U.S. corporations by total revenue [19] with 400,000 employees.  As CEO, Cornell is a member of the clique of woke capitalists that, as the Catalyst website (above) put it, “reimagine the workplace so that it is truly inclusive.” This “reimagining,” however, is most “exclusive” in what deviations it permits from the carefully-guarded boundaries of the “social justice” ideology. The Kendis and DiAngelos have been turned loose on whites with the rubber hoses.

The woke captains of commerce and industry are the “kinder-gentler” members of the team who pretend to care about the people who they are screwing. They run the propaganda machinery, sell the fictions and, with their wealth, shield themselves from the miseries of the mess they are making.

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