Aside from their weakness to cold, the Beam Burst which uses SR388's mysterious Aeion energy can harm Metroids that have grown past their larval form. Several entries in the series have also demonstrated that massive explosions capable of annihilating entire areas can destroy the creatures, but their high damage output makes them unconventional and inconvenient as they can cause unwanted casualties. Another highly dangerous method to killing them requires an individual to be swallowed alive by a sufficiently large Metroid to bypass the translucent membrane's protection, followed by detonating a few Bombs directly on the nucleus; to date, only Samus Aran has accomplished this and exclusively on Queen Metroids. In addition, a Metroid can theoretically be killed even by its prey, the X Parasites, should the latter combine enough genes from extremely powerful creatures they had infected.[note 1]
NARRATOR: Political debate manipulated public fears about the so-called "black menace." Old stereotypes were adapted to the new politics. Increasingly blacks were identified as brutes. VOICE-OVER: The states and people that favor this equality and amalgamation of the white and black races God will exterminate. A man cannot commit so great an offense against his race, against his country, against his God, as to give his daughter in marriage to a Negro, a beast. NARRATOR: This climate of racial hysteria was seen in every aspect of popular culture. FREDRICKSON: The best example of this was the writings of Thomas Dixon, in his novel The Clansman, which then later became a hit Broadway play, and finally was adapted as the most successful of early American pictures in "Birth of a Nation." NARRATOR: Described by President Woodrow Wilson as "history writ in lightning" … Birth of a Nation captured on film the classic caricature of blacks following Reconstruction. Here Emancipation was viewed as a tragic mistake: it had ended slavery and let loose blacks' wildest passions. Brute Negroes, played by whites in blackface, pursued white virgins. These images were guaranteed to incite racial violence. But more: they justified it. PETERS: Earlier we wouldn't have gotten an image of a brute Negro… because this wouldn't have helped in the defense of slavery. Uh to suggest earlier too much that they were people who were very rebellious would've suggested that the blacks wanted to be free. The image that they needed was that blacks were docile in antebellum times. During Reconstruction the black is a challenge to the political system and they have to not only then try to justify uh maybe a reason for going back to slavery, but they are also justifying their reasons for killing the blacks. Because they are saying that the blacks are an offense to civilization. CHRISTIAN: These beings must be controlled is what the mythology is telling us. And at the same time in a very clever way because the planters also wanted to soothe people, wanted to make sure that they believed that their society could continue. They harken back to the good ol' days, and the good ol' days when everybody's happy, the happy darky. Um, a way of saying let's go back to those times, remember those good ol' times when - SONG: POOR OLD NED Oh there was an old darkie And they called him Uncle Ned But he died long ago, long ago. And he had no wool In the top of his head In the place where the wool ought to grow. So lay down de shovel and de hoe And hang up de fiddle and de bow. No more hard work for Poor Old Ned. He's gone where the good darkies go… FREDRICKSON: The older generation were still the faithful retainers of the slave era, and the newer generation, however, was out of control - the blacks who had grown up in the period since the Civil War had never known the domesticating influence of slavery. CHRISTIAN: So you have this two-pronged attack on blacks. On one hand they're reduced to servile, harmless singing darkys of the good ol' times before the Civil War, what we really want to go back to. And you have an attack on supposedly what they've become now, vicious, brutal, um aggressive, violent. NARRATOR: America at the turn of the century experienced unprecedented race-hatred. Violence, Jim Crow segregation, mob terror became acceptable methods of social control. And always, to justify such atrocity, was the excuse of the animalistic, black brute. Brute caricatures of black children - or "pickaninnies" as they were once called - showed them as victims. Victims who evoked - not sympathy - but the feeling that blacks were subhuman. TURNER: They're always on the river, in the uh, on the ground, in a tree, partially clad, dirty, their hair unkempt. This suggests that there was a need to imagine black children as animal-like, as savage. If you do that, if you make that step and say that these children are really like little furry animals then it's much easier to rationalize and justify the threat that's embodied in having an alligator pursuing the child. VOICE-OVER: SEVEN LITTLE NIGGERS (poem) Seven little niggers playing with bricks, One was it most all de time, Den de was but six. Six little niggers fooling 'round de hive… NARRATOR: One by one black children disappeared, targets of comic violence. The symbolism in these images was revealing. VOICE-OVER: SEVEN LITTLE NIGGERS Five little niggers playing dere was war, Boom went the canon Den dey was four… TURNER: The material objects tell us that there was still a segment of the population at large that was very uncomfortable with the black presence in the New World and needed to express its need to get rid of them. Artistically rendering away, of removing blacks from the New World, so that there's nothing left. VOICE-OVER: SEVEN LITTLE NIGGERS One little nigger in the scorchin' sun, Soon dey was de smell of smoke, And den dey was none. NARRATOR: As America crossed into the twentieth century, these images were inherited by vaudeville and motion pictures. The forms were new, but the content was unchanged. In the minstrel tradition, black roles in film were still played by whites in blackface. When blacks finally began to play themselves, they faced a tragic dilemma. SLOAN: By the time blacks came to the minstrel stage, they had to perform in blackface. And so you had black men darkening their already dark skin, with soot. And widening their mouths and and portraying themselves. Rubin Crowder was a blackman from the Mid-West, who by the time he came to the minstrel stage had to take an Irish name. Because most minstrels were Irishmen performing black characters. Uh what you have here is a weird warping of the American fabric. You know, when a black man takes an Irish name, then impersonates the impersonator impersonating himself. MOSS: So anybody who wanted to, who was black and wanted to get in the theater would do it like Pick and Pat, or Molasses and January … do what they do. Don't come telling me you can do Paul Lawrence Dunbar's poetry, or Georgie Douglas Johnson's poetry, no, nobody wants that. Give me a coon song. And one of these jokes. SLOAN: These black actors perceived the minstrel show as a doorway, a doorway out of hunger, a doorway out of the south, a doorway to other opportunities… So we have an irony, or a Catch 22 as the saying goes, where we have an evolution of people into a theatrical workforce, at the same time that we have a perpetuation of a stereotype. SONG: LAUGHING COON I am the happy laughing coon Ha ha ha ha ha! Go down in de valley And look for the moon Ha ha ha ha ha… NARRATOR: Against the broad spectrum of time-worn caricatures, the reality of black life in the early 1900s was undergoing dramatic change. In growing numbers, blacks were moving from the country to the city, from the South to the North. Emancipation has disrupted the social order of the South; now black migration and competition for jobs threatened the status quo of the North. Racial hostilities began to brew. New caricatures of the urban Coon emerged, reflecting the perceived threat of an expanding black labor force. SONG: DARKTOWN IS OUT TONIGHT Darktown is out tonight Darktown is out tonight… Yeow! Lay your money where mouth is. Come on 'n shoot! Yeow! Darktown is out tonight Darktown is out tonight Darktown is out - Wait a minute! Wait a minute! Where'd you get them red bones at? What kinda dice is 'dese? Don't start no argument now. Cop, cop. Beat it, beat it. NARRATOR: Dice, gambling, and a penchant for razor blades became trademarks of these urban caricatures. SONG: DARKTOWN IS OUT TONIGHT So fetch out your blazers Bring out your razors Darktown is out tonight! NARRATOR: It was a variation on the old theme: blacks could be childishly entertaining and at once vicious brutes. The difference was in the instruments of amusement and violence. SONG: RAZORS IN THIS WAR "I don't suppose for a minute that any of coons is got a razor!" "Oh, no, no!" (crowd) "He ha ha ha. By the way, Cap'n can I j'in the army, too?" "Certainly, why - report with James." "Well if I j'in the army, can we use our razors in dis war?" "Dat's it, dat's it, Cap'n, can we use our razors?" "Well, I don't know. I'll have to see about it. Gidde-yap." (Music)If they let us use our razors in this war, We'd certainly cut de Germans to de core… - Indeed we will - We ain't no advertisers But there'll be no doggone Kaisers If they let us use our razors in dis war! LEVINE: I think World War I was a watershed for blacks… they they had been told for so long, that if they played the game by the rules, that if they showed the white society what they're all about… if they uh made it up the hill by their own boot straps the society would say hey, welcome, join. NARRATOR: But the service and self-esteem of black war veterans was undercut with caricature. Symbolically these images reinforced white supremacy by fitting blacks within acceptable roles as servants and entertainers. The reality of black servicemen who now bore arms and demanded the freedom and opportunity at home they'd fought for abroad - this reality inflamed many whites. Race riots swept the North each summer from 1919 to 1921. It was a period of overt and casual racism. LEVINE: It was perfectly polite for whites in the North, educated college types, to write in high-toned journals like Harper's and The Atlantic and Scribner's to use words like nigger, and coon, and darky. SONGS: Eenee, Meenee, Minee Mo Catch a nigger by the toe If he won't work, Then let him go. Goo-dum, goo-dee, goo-deedle deedle deedle
grow comic 3 an inconvenient growth.zip
DOWNLOAD: https://jinyurl.com/2vF2XY
2ff7e9595c
Comments