The Demonization of Earl
by K. Tarkington
The following is what academic earwigs like to call a "deconstruction." It concerns the
symbology and coded meanings of a "DigitalDNA" Motorola ad appearing on page 143 of
Business Week in the November 16, 1998, issue, which depicts a White male auto mechanic
named Earl. It will be shown that Earl, (and his female counterpart Wanda), has been made
into an American stereotype and target of socially approved hate and abuse, as countenanced
by the Jew-controlled media.
The copy at the bottom of the full-page Jewish hate ad reads, "Who'd of [sic] thought that
an electronic chip inside your car could help you avoid curbs, other cars, and best of all,
Earl in repair." Above it a hairy-knuckled man, the aforementioned Earl, ponders the
viewer with a look that suggests when he opens with What can I do you for?, he means it.
To the extent he's not lazy and hostile, he's looking to cheat you. The way their grammar
teachers cheated the copywriters.
All the indices of the redneck are present and accounted for, right down to the auburned
1) the paunchy, middle-aged White male;
2) the super-hairy knuckles on his folded hand -- sort of a reverse Playboy move; instead
of airbrushing blemishes away, the Motorola artists seem to have brushed hair in;
3) the sweaty baldness;
4) the oil-stained forearms, the grease nicely set off by the longjohns sticking out of
his rolled-up serviceman's sleeves;
5) the Confederate cross -- semi-disguised as an auto-part drawing just below a post card
reading Gulf Coast...;
6) a second hand, the thick, un-nimble fingers of which are with difficulty trying to
forge purchase on a nice white coffee cup; except
7) the cup, nice and white though it began the workday, is covered with not one but two
8) beneath his label, Earl's shirt-pocket shadows form a cloth arrow pointing due South,
towards Hell, which may explain the beads on Earl's forehead;
9) just below the arrow, a long think middle-finger shirt-shadow seconds the Fuck-you-if-I-can't-take-you
10) light switches in off position next to his head;
11) a pay phone to his left boasts a metallic noose awaiting a Negro neck.
There you have him, the man America's been trained to hate and laugh at; gets rewarded to
hate and laugh at; doesn't get sued for hating and laughing at; has learned is obligatory
to hate and laugh at. A White man. The White man. You.... The ur-Pale, here at his
violent (phone cord)
Southern (post card, Confederate cross)
Neanderthal (hairy knuckles)
hostile (expression, shadow finger)
uncivilized (clutching fingers)
guilty (pate beads, arrow pointing to Hades)
stupid (light switches)
racist (phone cord twisted like noose).
A pale, stale shlub from the sticks of yesteryear -- what? Still here? -- not like the
hip, cool latte-colored futurists envisioned by the pitchmen for the Nip sand scratchers,
the silicon-shaving, sushi-eating, yellownecked magi inside our Lexi helping us avoid Earl.
Not take him out or take him on but avoid him, because if we don't, stupid, violent, sloppy,
nasty, guilty Earl will take us. Yeah, that dumb old redneck will get the better of us
unless the clever sons of Pearl can work a techno-safe harbor evasion.
Question: the ad implies we'd have to go to Earl anyway, even knowing beforehand he's
going to screw us. The White man is on some level necessary, even though we hate him. Or
is that why we Jews/coloreds hate him? There's the class aspect, too. Earl is literally,
by the photo, a stained blue-collar man, not someone we want to associate with, us cool
jazz-listening, pierced eyebrow-getting lattesspressaccino drinking Negress-dating pasta-eating
Frisco-living techno-professionals. Icky, icky Earl. He's so dumb and crude -- yet I'm
afraid: no other word. Earl's big and thick and I'm a stickman -- might could be Earl
could take me physically as well as fiscally. (Deliverance, anybody?). Earl might could
know his way around them North Georgia woods. God save me Lexus break down on the wrong
road. Oh dear, where's Burt Reynolds when you need him?
The tables have turned. The transition is complete. The redneck has become the nigger.
And Earl and his counterpart Wanda are the new Amos 'n' Andy. Earl and Wanda are officially
approved stereotypes representing media hatred of the Southerner and the White man in
general. And we are all invited to share in and embrace that hatred, all socially approved
I imagine a different place and time. A different company. A different ad team, with a
different project. A trade journal for airport executives. A new chip that runs the software
behind the camera security systems outside the gates. A chip that, best of all, helps you
avoid relying on Earl. But this is no pasty Earl, this Earl was reddened by the sun
thousands of years ago, not this afternoon. Almost like blackened redfish. He's wearing a
coppish blue, with an important-looking badge. This Earl isn't greasy, and he isn't
looking at you. He's looking sideways at Tamika and LaTawnya, grinning a white-toothed
grin, not paying attention, on perpetual mental Miller Time -- missing the swarthy raghead
pulling a missile in a wagon through your colored-managed terrorist Ellis-Island portal.
LaTawnya has a pick in her hair and a Sony Discman playing Snoop... Two obese Black women,
one skinny black guy, Earl, fully automated airport security system. Caption: Who'd have
thought that an electronic chip inside your security system could help you eliminate crowd
congestion, international terrorism, and best of all, Earl in security?
One of the racist stereotypes in these two Earl ads is "racist" and one is a real ad.
Unfortunately it's the same one. Which is which? Consider the two Earls. One is a
ludicrous caricature, and one is "racist" satire. One is a published ad. One is
unthinkable. One is demonstrably bigoted, lovingly, painstakingly detailed. The other is
The demonization of Earl is a thread running through all popular culture in 2000. And
it's truly odd how often the stick figure or stereotype or stock character of the
(Southern or rural) White male is named Earl. And his wife is named Wanda. The Dixie
Chicks had a recent hit with the song Goodbye, Earl, about the murder of a wife-beater by
his abused wife Wanda. Again we see that coupling. And just the other day I was watching
an old episode of Caroline in the City. She and her morose assistant are out
driving when they get stranded in the country. They are put up awaiting car repairs by a
couple named -- you guessed it -- Earl and Wanda. They aren't necessarily depicted as
hateful, but they are always depicted as "the other" -- something essentially strange and
different from you and me who are normal people who want to act and dress and talk like
niggers even if our cuticle retains its pallor.
I saw a profile of the Dixie Chicks in which they professed amazement that God hadn't
struck them down dead for such a daring and unusual song as Goodbye, Earl, which
courageously broached the taboo subjects of spousal abuse and lighthearted, murderous
female bonding and empowerment. They were amazed the song got on the record. Amazed it
got airplay. Amazed people liked it. Amazing. They dared to record a country song
blaming a man for beating his wife, and praising her for tongue-in-cheekily murdering him.
That's rebellion, breaking the mold, out-of-the-box thinking. The best orthodoxies have
false outlets to satisfy fake rebels. Fake rebellion sells like hotcakes in the society of
the Consumer King. Everyman a rebel.
Here are a couple quotations from Alan Dershowitz' book, The Vanishing Jew:
The literate American mind has come in some measure to think Jewishly, to respond Jewishly.
Today this influence is even more apparent, as individual Jews dominate television, film,
book publishing, newspapers, magazine advertising, public relations and other opinion-shaping
This is what is going on here with the Dixie chicks and others of their ilk. The Jews
have trained them to hate the same things, and to laugh at and ridicule the same things,
and to see as rebellious or brave or independent or admirable the same things. Whatever a
lib Jew looks down on -- deadbeat Dads, Arab terrorists, gun-owners -- everyone in the
Jew-influenced industries comes to see as the real problems. And anyone who addresses
these issues in the terms Jews think fitting is seen as a hero, brave and daring. And
praised and even awarded for describing himself that way.
There is nothing less daring in 2000 than writing, say, a country song taking on the "issue"
of wife-abuse. It would be much more daring to write a song in which the woman was the
guilty party. Or to write a song celebrating rather than denigrating Earl. But it never
happens. And that's in country music, which is probably less changed and inherently less
amenable to Jewish influence than most cultural sectors. But then country music, like what
passes for conservatism, has gotten awfully squishy lately. We see the same liberal
lockstep there that we do everywhere else. Alan Jackson and George Strait record a song
talking about the murderers down on music row in Nashville who have killed traditional
country by streamlining it of its old instruments and non-pop, non-uplifting elements. The
beer without the tear -- and make that a lite with a twist while you're at it. And they
win an award for the song. What's the difference between Nashville and Hollywood? Just
like Robert Altman's The Player, a story about the interaction of characteristic
Hollywood types, in the end these singers and actors and celebrities are engaged in one big
self-patting, and you look from man to pig to singer to songwriter to screenwriter to actor
and after a while it's hard to tell one from another.
Earl is the old-style, traditional male and country we've left behind, now good for
nothing more than a few late-night horror-movie shivers. He's a reminder of all that was
bad about the Dark Ages from which the Jewish knights rescued us with their "civil rights"
and feminism and thousand other destructive "liberations." The Southern White man is
perhaps the friendliest, gentlemanliest, most civilized and courtly type America ever
produced, and his passing and our spitting on him while he lies dying do indeed indicate
just how Jewish we've all become. True rebellion and true risk-taking lie, in part, in
pointing that out, but don't expect the Chicks and Motorola minions and Jewish Caroline
sitcom writers to figure it out. No, the demonization of Earl is here to stay, at least
until his descendants choose otherwise.