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 gullet:

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 disgusting dripstains;

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 mien above;

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 worst: a

violent (phone cord)
Southern (post card, Confederate cross)
Neanderthal (hairy knuckles)
hick (name),

who is

hostile (expression, shadow finger)
uncivilized (clutching fingers)
sloppy (spillstains)
dirty (oilstains)
lazy (paunch)
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 and legal-like.

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 merely accurate.

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 businesses.

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.

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