. . . about Looney Tunes director Friz Freleng's Profile-in-Courage-worthy response to Thomas Alva Edison's 1905 offering, THE WATERMELON PATCH, which had shocked Friz when it was screened by his racist third grade teacher. (If you do not want to trust my account of Edison Manufacturing Co.'s PATCH, it is readily available to see for yourself in its 10 minute, 42 second original entirety on YouTube; PATCH is so egregious in its suggestion of a "Final Solution" for American Blacks that President Obama PERMANENTLY banned Edison's light bulbs under a guilt-by-association clause which even Leader Trump does not dare to reverse.) PATCH opens with eight Black men crawling in a field to filch melons until chased toward their rural community center by a pair of White Skeletons; the scene then shifts to that cabin, in which other Blacks are gyrating with NO sense of rhythm, including the two Gay Dudes Twerking, and the musician strumming a Racist Banjo. When the melon thieves arrive, one of them "serves" this treat by dropping it to shatter on the floor, whereupon there's a lingering Edison group shot with 16 Blacks of all ages posed in rows as they sloppily slurp up the melon pieces. Just then five Whites--including former KKK Democratic Sen. Robert Byrd--run up to the cabin, nailing all exits closed and blocking the chimney, so that these Black men, women an children will be asphyxiated (no doubt inspiring Hitler's initial plan to off all the Jews by driving them around in the back of trucks into which the exhaust was vented; however, this diverted too much gasoline from Adolf's Blitzkrieg, causing Der Fuhrer to go to Plan Xyklon-B).
CLEAN PASTURES, on the other hand, celebrates the Black Culture of the 1930s by portraying an Urban Population with a good command of Jazz, Rhythm, and sophisticated musical instruments such as the trumpets and pianos favored by Beethoven rather than the Racist Banjo popularized by Southern Crackers such as that plagiarist Stephen Foster. Know-Nothings have been ragging on Mr. Freleng for decades, just because the Racist Ted Turner and his infamous spouse Hanoi Jane (the deplorable pair behind the Atlanta "Braves" Tomahawk-Chopping Politically Incorrect Fad) got smashed on six pitchers of mint juleps on their Verandah one night and randomly Red-Lined CLEAN PASTURES and several other of Friz's film offerings. But now YOU know the rest of the story (and hopefully will make the Real Racists pay by putting any future payments of "Edison Bills" into escrow until a Judicial Referee settles the question of Reparations on which the Edison miscreants are trying to block payment).
CLEAN PASTURES, on the other hand, celebrates the Black Culture of the 1930s by portraying an Urban Population with a good command of Jazz, Rhythm, and sophisticated musical instruments such as the trumpets and pianos favored by Beethoven rather than the Racist Banjo popularized by Southern Crackers such as that plagiarist Stephen Foster. Know-Nothings have been ragging on Mr. Freleng for decades, just because the Racist Ted Turner and his infamous spouse Hanoi Jane (the deplorable pair behind the Atlanta "Braves" Tomahawk-Chopping Politically Incorrect Fad) got smashed on six pitchers of mint juleps on their Verandah one night and randomly Red-Lined CLEAN PASTURES and several other of Friz's film offerings. But now YOU know the rest of the story (and hopefully will make the Real Racists pay by putting any future payments of "Edison Bills" into escrow until a Judicial Referee settles the question of Reparations on which the Edison miscreants are trying to block payment).