Riley examines the artistic definition of selling out too, showing it as the other side of the same coin. “Sorry to Bother You” introduces white voice as a direct response to the white gaze. Cash is not successful in his job because he doesn’t sound white enough to the customer on the other end and thus must disguise his voice to close a sale.
Flickering Myth even claimed as much already. As UC Berkeley students and employees march on Sproul Plaza asking for fair contract negotiation and activists around the country raise their voices against the “hailing” power of police brutality, “Sorry to Bother You” reminds its audience that one cannot oppose the system while working along the tenets of that system.
The Black man then becomes alienated from his own identity and begins to mull in self-hate for indulging a group of people who have branded him as inferior. But here, white voice is not an abstracted notion. (That was before our joints started giving out and we realized how expensive health insurance is.). Baugh would call landlords to inquire about available housing whilst using three different dialects: Standard American English, Chicano English and African American Vernacular English. This paradox — that a Black individual succeeds because he disavows his own Blackness — is the second step of Fanon’s racial objectification: being for others. The fixation within such a harmful cycle is the last stage of Fanon’s racial objectification. Generation Xers railed against it, or so we were informed in movies like “Reality Bites.” If you had talent, the worst thing you could do for your soul was allow some corporate entity to claim and corrupt it in exchange for filthy lucre. We see this in an orgiastic party scene that purposefully shows the two men as surrounded and under siege, as if they're trapped in some sinister game of “Where’s Waldo?” Aiding in this is Hardwick’s costume; Mr. _____ wears a bowler hat and an eyepatch, like some Bond villain’s right-hand man, making him easy to find in a sea of white party goers. Sergio is on the verge of losing his house, so it behooves Cash to not only find a job, but one that will keep him sheltered. But it also carries social penalties. As an off-color and unfunny social commentary aimed at degrading African Americans? Cassius ends up in a negative feedback loop; he is incessantly forced to use white voice more and more as he moves up the corporate ladder. In the middle of the film, after his promotion, Cassius goes on the television program “I, Got the S#*@ Kicked Out of Me!” The show itself a metaphor for perpetualized racism and self-inflicted violence — it is not, after all, called “, Kicked the S#*@ Out of Me.” The promoted Cassius got “it,” it being the key to success in white America, but he also. The professor introduced the term after conducting a study based upon the practices of the housing market and moved forward by further studying legal proceedings, employment opportunities and education.
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