Crazy Driver Clip Art Free California State Clip Art

The Sapphire Caricature portrays black women as rude, loud, malicious, stubborn, and overbearing.¹ This is the Angry Blackness Woman (ABW) popularized in the movie theater and on boob tube. She is tart-tongued and emasculating, one hand on a hip and the other pointing and jabbing (or artillery akimbo), violently and rhythmically rocking her head, mocking African American men for offenses ranging from being unemployed to sexually pursuing white women. She is a shrill nagger with irrational states of acrimony and indignation and is frequently mean-spirited and abusive. Although African American men are her master targets, she has venom for anyone who insults or disrespects her. The Sapphire's desire to dominate and her hyper-sensitivity to injustices brand her a perpetual complainer, just she does not criticize to improve things; rather, she criticizes because she is unendingly bitter and wishes that unhappiness on others. The Sapphire Caricature is a harsh portrayal of African American women, merely information technology is more that; it is a social command machinery that is employed to punish black women who violate the societal norms that encourage them to exist passive, servile, non-threatening, and unseen.

Sapphire Stevens

From the 1800s through the mid-1900s, black women were oft portrayed in popular civilisation as "Sassy Mammies" who ran their own homes with fe fists, including berating black husbands and children. These women were allowed, at to the lowest degree symbolically, to defy some racial norms. During the Jim Crow period, when real blacks were oftentimes beaten, jailed, or killed for arguing with whites, fictional Mammies were allowed to pretend-chastise whites, including men. Their sassiness was supposed to indicate that they were accepted as members of the white family, and credence of that sassiness unsaid that slavery and segregation were not overly oppressive. A well-known example of a Sassy Mammy was Hattie McDaniel, a blackness actress who played feisty, quick-tempered mammies in many movies, including Judge Priest (Wurtzel & Ford, 1934), Music is Magic (Stone & Marshall, 1935), The Little Colonel (DeSylva & Butler, 1935), Alice Adams (Berman & Stevens, 1935), Saratoga (Hyman & Conway, 1937), The Mad Miss Manton (Wolfson & Jason, 1938), and Gone With the Current of air (Selznick & Fleming, 1939). In these roles she was sassy (borderline impertinent) simply ever loyal. She was not a threat to the existing social club.

It was not until the Amos 'north' Andy radio bear witness that the characterization of African American women equally domineering, aggressive, and emasculating shrews became popularly associated with the proper name Sapphire. The show was conceived by Freeman Gosden and Charles Correll, two white actors who portrayed the characters Amos Jones and Andy Chocolate-brown by mimicking and mocking blackness behavior and dialect. At its best, Amos 'n' Andy was a situational one-act; at its worse, it was an auditory minstrel show.² The show, with a more often than not-white cast, aired on the radio from 1928 to 1960, with intermittent interruptions. The television version of the show, with network television's first all-black cast, aired on CBS from 1951-53, with syndicated reruns from 1954 to 1966. It was removed, in large part, through the efforts of the National Association for the Advancement of Colored People and the ceremonious rights movement. Both equally a radio show3 and television show, Amos 'north' Andy was extremely popular, and this was unfortunate for African Americans because it popularized racial caricatures of blacks. Americans learned that blacks were comical, non as actors but as a race.

Amos 'n Andytold stories nearly the everyday foibles of the members of the Mystic Knights of the Bounding main, a blackness congenial lodge. The lead characters were Amos Jones, a Harlem taxi driver and his gullible friend, Andy Brown. Starring in a nontitle atomic number 82 office was the grapheme George "Kingfish" Stevens, the leader of the lodge. Many of the stories revolved around Kingfish, a become-rich-quick schemer and a con artist who avoided work, and, when possible, took financial advantage of the ignorance and naivete of Andy and others (see, for example, the episode Kingfish Sells a Lot). Kingfish was the prototypical Coon, a lazy, easily confused, chronically unemployed, financially inept buffoon given to malapropisms. Kingfish was married to Sapphire Stevens who regularly berated him as a failure.

Kingfish represented the worst in racial stereotyping; in that location was little redemptive about the grapheme. His ignorance was highlighted past his nonsensical misuse of words, for example, ""I deny the accusation, Your Honor, and I resents the alligator," or "I'se regusted." Kingfish was not a good thinker or speaker. Even worse, he was a crook without scruples. He was as well lazy to piece of work and not above exploiting his wife and friends.

In other words, he was a telly embodiment of some of the unforgiving ideas that many Americans had almost black men. Other characters, including Lightnin,' a Stepin Fetchit-like character on the show, had jobs and were honest, merely Kingfish'south worthlessness justified Sapphire's harsh critique of his life. It must be noted, that Sapphire Stevens directed her cloy at her husband; hers was not the generalized anger that is today associated with angry black women.

Later Sapphires in Situational Comedies

Sue Jewell (1993), a sociologist, opined that the Sapphire image necessitates the presence of an African American man; "It is the African American male that represents the signal of contention, in an ongoing verbal dual between Sapphire and the African American male ... (His) lack of integrity and use of cunning and trickery provides her with an opportunity to emasculate him through her use of verbal put downs" (p. 45). In the all-black or mostly-blackness situational comedies that accept appeared on television from the 1970s to the present, the Sapphire is a stock character. Similar Sapphire Stevens, she demeans and belittles lazy, ignorant, or otherwise flawed blackness male characters.

Blacks on television have been overrepresented in situational comedies and underrepresented in dramatic series; one problem with this imbalance is that blacks in situational comedies are portrayed in racially stereotypical ways in gild to get laughs. Canned laughter prompts the television audience to laugh as the aroused blackness woman, the Sapphire, insults and mocks black males.

Aunt Esther (also called Aunt Anderson) was a Sapphire graphic symbol on the idiot box situational comedy Sanford and Son, which premiered on NBC in 1972, with a terminal episode in 1977, and is still running in syndication. She was the Bible-swinging, angry nemesis and sister-in-police of the main character, Fred. Theirs was a love-generally detest human relationship. Fred would phone call Aunt Esther ugly and she would call him a "fish-eyed fool," an "old sucka," or a "beady-eyed heathen." Then, they would threaten to hitting each other. Aunt Esther dominated her husband Woodrow, a mild-mannered alcoholic. In this latter human relationship, you accept the thought of the ambitious black woman dominating a weak, morally defective black human being.

The situational comedy Good Times aired betwixt 1974 and 1979 on the CBS tv network. The testify followed the life of the Evans family in a Chicago housing project modeled on the infamous Cabrini-Green projects. This was one of the first times that a poor family had been highlighted in a weekly television series. Episodes of Practiced Times dealt with the Evans' attempts to survive despite living in suffocating poverty. There were several racial caricatures on the prove, nigh notably the son, James Evans Jr. (also called J.J.), who devolved into a Coon-like minstrel. Later the first season the episodes increasingly focused on J.J.'s stereotypically buffoonish behavior. Esther Rolle, the actress who played the role of Florida Evans, the mother, expressed her dislike for J.J.'southward graphic symbol in a 1975 interview with Ebony magazine: "He'due south 18 and he doesn't piece of work. He can't read or write. He doesn't retrieve. The show didn't first out to exist that...Little by petty-with the help of the creative person, I suppose, considering they couldn't practise that to me -- they take made J.J. more stupid and enlarged the role. Negative images accept been slipped in on us through the grapheme of the oldest child."("Bad Times" 1975) In black-themed situational comedies when there is a Coon grapheme there is ofttimes a Sapphire character to mock him. In Adept Times a character that bantered with and mocked J.J. was his sister, Thelma. A clearer example of a Sapphire, yet, was the neighbor, Willona Woods, though she rarely targeted J.J. Instead, Willona belittled Nathan Bookman, the overweight superintendent, and she put down a series of worthless boyfriends, an ex-hubby, politicians, and other men with questionable morals and work ethics.

In situational comedies with a primarily black cast, the blackness male does not have to exist lazy, thick-witted, or financially unsuccessful for him to exist taunted by a Sapphire character. The Jeffersons, which aired from 1975 to 1985, focused on an upper-middle class family that had climbed up from the working class -- in the show's theme song there is the line, "We finally got a piece of the pie." George and Louise Jefferson were making so much money from their dry-cleaning businesses that they hired a housekeeper, Florence Johnston. Her relationship with George was frequently antagonistic and the back-talking, wisecracking, housekeeper approximated a Sapphire. She ofttimes teased George about his curt stature, balding head, and decisions.

Some other example of a Sapphire was the character Pamela (Pam) James, who appeared on Martin, a situational one-act that aired from 1992 to 1997 on Fox. Pam was a badmouthed, wisecracking friend/foe of the lead character, Martin. Tichina Arnold, the actress who played Pam, plays Rochelle, a dominating, ambitious matriarch in the situational comedy, Everybody Hates Chris, which ran from 2005 to 2009, and is all the same aired on cable television. Arnold has mastered the role of the angry, black woman.

Angry Black Women with Guns

The picture genre called blaxploitation emerged in the early on 1970s. These movies, which targeted urban black audiences, exchanged i set of racial caricatures -- Mammy, Tom, Uncle, Picanninny -- for a new gear up of equally offensive racial caricatures -- Bucks (sexual practice-crazed deviants) Brutes, (pimps, hit-men, and dope peddlers), and Nats (Whites-haters). One old extravaganza, the Jezebel, was revamped. The portrayal of African American women every bit hyper-sexual temptresses was equally old every bit American slavery, but during the blaxploitation period the Jezebel caricature and the Sapphire extravaganza merged into a hybrid: angry "whores" fighting injustice. Black actresses such every bit Pam Grier built careers starring in blaxploitation movies. Their characters resembled those of the blackness male superheroes: they were physically attractive and ambitious rebels, willing and able to use their bodies, brains, and guns to gain revenge against corrupt officials, drug dealers, and trigger-happy criminals. Their anger was non focused solely, or primarily, at black men; rather, information technology was focused at injustice and the perpetuators of injustice.

In the film Coffy (Papazian & Colina, 1973), Pam Grier (Coffy) plays a nurse past day and vigilante by night who conducts a vicious one-adult female state of war on organized law-breaking. In the film, she pretends to be a "strung out whore" to get revenge on the drug dealers who got her lilliputian sis hooked on heroin. Coffy lures the culprits dorsum to their room where she graphically shoots one in the head and gives the other a fatal dose of heroin. The remainder of the movie finds Coffy using guns and her body to punish King George, a flamboyant pimp, the sadistic mobster Arturo Vitroni, and every Mafioso and crooked cop who crosses her path.

Sapphire in the 21st Century

Today, the Sapphire is one of the dominant portrayals of black woman. This is evident by the words of Cal Thomas, a commentator for Flim-flam Telly: "Look at the paradigm of angry black women on television. Politically you have Maxine Waters of California, liberal Democrat. She's always angry every time she gets on tv. Cynthia McKinney, some other aroused black woman. And who are the black women you meet on the local news at night in cities all over the country. They're usually angry about something. They've had a son who has been shot in a drive-by shooting. They are angry at Bush-league. And then you don't really have a profile of not-angry black women, of whom at that place are quite a few."("Transcript: Play a trick on", 2008) Thomas, absolutely an untrained sociologist, expressed what many Americans see and internalize, namely, images of Sapphires: angry at black men, white men, white women, the federal government, racism, maybe life itself. Thomas, shortly later making his statements about black women, agreed with a co-panelist that Oprah Winfrey is not angry.

The portrayal of black women equally angry Sapphires permeates this culture. A Google search of Angry Black Women or ABW volition demonstrate how pervasive this caricature has become. She lives in about movies with an all-black or predominantly black cast. For example, there is Terri, cussing and insulting the "manhood" of black men in Barbershop (Brownish, Teitel, Tillman & Story, 2002) and its sequel, Barbershop 2 (Gartner, Teitel, Tillman & Sullivan, 2004). There is the augmentative Angela in Why Did I Get Married (Cannon & Perry, 2007). There is clip art of an aroused black woman at world wide web.clipartof.com/details/clipart/16467.html. The clip art description reads, "Royalty-free people clipart motion-picture show paradigm of an angry african american woman in a purple dress and heels, standing with her arms crossed and tapping her foot with a stern expression on her face. She could be mad at her child, a colleague or husband." In that location are stock pictures of angry black women, such as those at www.inmagine.com/bld108/bld108498-photo. At that place are books devoted to angry black women, for instance, The Aroused Black Adult female's Guide to Life (Millner, Burt-Murray, & Miller, 2004), and Web sites such as http://angryblackbitch.blogspot.com/where you can buy Angry Black Bitch cups, shirts, pillows, tile coasters, aprons, mouse pads, and Teddy Bears. At that place is even a pseudo-malady called, "Aroused Blackness Woman Syndrome."

The tabloid talk shows that became popular in the 1990s: The Jerry Springer Show, The Jenny Jones Bear witness, The Maury Povich Show, and The Ricki Lake Testify, helped reinforce the racial stereotypes of African Americans, including the stereotype of black women as angry, castrating shrews. Past the early 2000s, the "Trash Talk" shows had receded in popularity, in part because of the emergence of so-called "Reality Shows." Again, these shows served as vehicles for African American women to be portrayed equally Sapphires. Vanessa Due east. Jones, from the Boston World, wrote of the Sapphire: "Yous run into elements of her in Alicia Calaway of "Survivor: All-Stars," who indulged in a temperamental bout of finger wagging during an argument in 2001's "Survivor: The Australian Outback." Coral Smith, who rules with an atomic number 26 tongue on MTV's "Existent World/Route Rules Challenge: The Inferno," browbeat i female bandage mate then badly a week ago that she challenged Smith to a fight. So there'south Omarosa Manigault-Stallworth of "The Amateur," who rode the angry-black-woman stereotype to the covers of People and TV Guide magazines even as she made young man African-American businesswomen wince."(Jones, 2004) Omarosa Manigault-Stallworth gained a cracking bargain of national disdain and celebrity as a contestant on The Apprentice, Donald Trump's reality testify. Manigault-Stallworth, who is virtually always referred to past the single proper noun Omarosa, was portrayed (and intentionally acted) equally a cantankerous between a Jezebel -- a hypersexual flirt and seductress -- and a biting, ambitious Sapphire. Lorien Olive (2008), a political blogger, theorized on how white people saw Omarosa: "At least among white people, she was interpreted in various ways every bit conniving, lazy, selfish, a sham, overly-ambitious, uppity, ungrateful, and paranoid. I gauge I was e'er less interested in whether Omarosa was actually any of those things or whether it was but an result of the distortion of the editing of reality television. I was more than interested in the fact that Omarosa seemed to correspond something bigger in the eyes of many white people. Her abiding accusations of racism directed toward her young man contestants and the fact that she wore her alienation and distrust of her team-mates on her sleeve opened upwards a whole earth of racial speculation and ridicule. I would say argue, merely in all of my net travels, I oasis't found much of anyone who wanted to go out on a limb for Omarosa. The fact that and then many white people felt justified in their hatred for Omarosa (a hatred that could exist passed of as a benign over-investment in a guilty pleasance: a reality Idiot box series) is telling. She became the symbol of everything that went incorrect in the post-Civil Rights Era: paranoid "contrary racism"; the ungrateful and undeserving product of affirmative action; the "uppity" Black person who puts on airs; the cute, hyper-sexualized Black woman who pulled the wool over the powerful white man's eyes." Olive side by side makes a connection that many others are making on Internet sites, namely, that Outset Lady Michelle Obama is the new Omarosa: a biting, selfish, uppity, ungrateful, overly-aggressive Sapphire. One of the derisive nicknames for Michelle Obama is "Omarosa Obama." This demonstrates how the Sapphire caricature has broadened from an emasculating hater of black men to a biting woman who hates anyone who displeases her.

Michele Obama equally Sapphire

Sociologists frequently speak of how dominant groups praise a beliefs when done by its members, but criticize a minority group for demonstrating that behavior. To use sociological jargon, this is an example of an in-group virtue condign an out-group vice. According to the blogger abagond (2008), "Where white women are said to be 'independent,' blackness women are said to be 'emasculating,' robbing their men of their sense of manhood. Where white women are said to be standing upwards for themselves, black women are seen as wanting a fight. And then on. The aforementioned actions are read differently." Existence an articulate foe of injustice may exist seen as a praise-worthy trait among whites; yet, black women with similar traits may be seen equally bitter, selfish complainers.

Michelle Obama challenges the scripts that many Americans take for African American women. She is the antithesis of the Mammy caricature. The traditional portrayal of Mammy looked something similar this: an obedient, loyal domestic retainer, who cared more than for the family members of her employer than she did for her own family; overweight and desexualized; and, most important to the portrait: not a threat to the social order. Michelle Obama is a Harvard-trained attorney, a careful mother, physically bonny, and she critiques and challenges the civilisation. She also does non fit the Jezebel paradigm or its modern variant: the butt-shaking Hoogie Mama -- though FOX News tried to imply this when they referred to her in text equally Senator Obama's "Baby Mama." Michelle Obama is not a Tragic Mulatto; she is a night-skinned woman actively involved in civil rights and community activism. The then-called Tragic Mulatto was ashamed of her African heritage; Michelle Obama embraces her African American heritage and expresses her dissatisfaction with racial injustice.

So, if she does non fit one of the three dominant historical caricatures of African American women, what imagery is left? Ideally, she would be judged on her individual traits and not as a 1-dimensional stereotype; however, there is little ideal well-nigh patterns of race relations in this land. Racial stereotyping, also frequently, is a user-friendly mode to pigeonhole others into categories that brand sense to us. Instead of allowing Michelle Obama to be primal to a new cultural narrative of blackness women (and the black family) there is a growing trend to view Michelle Obama'south words and behaviors as examples of the black adult female as Sapphire. When she said, while speaking at a Milwaukee, Wisconsin political rally, "for the first fourth dimension in my developed life I am proud of my country because it feels like promise is finally making a comeback," she was accused of being an unpatriotic, ungrateful, and aroused radical. In this portrait, she is more Pam Grier (sans the gun and the hypersexuality) than Sapphire Stevens; her supposed bitterness and hatred are directed toward her country -- and implicitly its white citizens -- and not toward black men. Finally, there was a label to stick to her. Co-ordinate to Erin Aubry Kaplan (2008), a announcer and blogger:> "It's worth noting how Michelle was admired equally long as she filled the prescription of a successful black adult female on paper -- college grad, married to an equally successful black human, a working but circumspect mother, financially secure, immaculately turned out. But equally shortly every bit she began revealing herself equally a person and airing her views a bit, she began shape-shifting in the public eye into another kind of black woman birthday: aroused, obstinate, mouthy -- a stereotypical harpy lurking in all black women that a friend of mine calls 'Serpentina.' The consternation about Michelle suggested an quondam racist sentiment that you can take the girl out of the ghetto, simply you tin can never have the ghetto out of the girl." Sean Hannity, Neb O'Reilly, Rush Limbaugh, Laura Ingraham and other conservative talkshow hosts rushed to paint her as the ultimate aroused black woman, and they wondered aloud what she had to exist angry about. Not all the lambasting came from white Americans. Mychal Massie (2008), chairman of the National Leadership Network of Blackness Conservatives-Project 21 -- a bourgeois black think tank, said: "I find it reprehensible that those like herself and her husband, being devoid of credible positions, are able but to arraign America and castigate its citizens. And that is exactly what Michelle Obama did -- with one sentence, she attacked every American, regardless of party affiliation when she uttered those profane words...Many Americans contribute to the Obamas' improvident lifestyle. From those who clean their floors to those who sweep their sidewalks. Her comments reveal ingratitude and were an insult to millions of hardworking Americans and legal immigrants who capeesh the freedom and opportunity America offers. This land has made it possible for Michelle Obama to enjoy every privilege she and her family enjoy. Compared to the eloquent grace of Jackie Kennedy, Nancy Reagan, Barbara Bush and yes, even Rosalind Carter, she portrays herself as but another angry blackness harridan who spits in the face up of the nation that made her rich, famous and prestigious." Primal to these "critiques" of Michelle Obama is the couched argument that a person who is a successful attorney and ambassador living in a dainty home has forfeited the right to talk virtually injustice and inequality. This argument is short-sighted and flawed. It implies that only poor people have the right to express concerns most poverty, merely the sick and diseased have a right to mutter virtually inadequate health care, merely a victim of crime has the right to complain nigh high crime rates, and so forth. The day that the privileged in this country -- and that includes Sean Hannity, Nib O'Reilly, Rush Limbaugh, Laura Ingraham, Mychal Massie, and Michelle Obama -- are as disgusted with injustice and equality equally is the poor black or chocolate-brown or white unmarried mother in Detroit, Michigan, is the day this state takes a living stride toward realizing its potential as the "urban center on the top of the hill." Critiquing America is not the same as antisocial America.

How does her proverb, "for the start time in my adult life I am proud of my country considering it feels like hope is finally making a comeback," validate Massie's claim that Michelle Obama is "some other black harridan?" A harridan is a "scolding (even savage) erstwhile woman" ("Harridan", n.d.). Calling someone a harridan for expressing an stance is an ad hominem argument that tries to dismiss the substance of their opinion. Members of society who limited unpopular opinions are often dismissed with personal attacks.

Conclusion

Newt Gingrich and the Republican Party rode the anger of white men into political dominance in 1994. What were they aroused about? Affirmative activity? Multiculturalism? Liberalism? Few people, especially members of the ascendant group, questioned whether white men had the right to be angry. After Senator Hillary Clinton lost her bid for the 2008 Democratic Presidential nomination, a great deal of media attending was given to Angry White Women, and so aroused they threatened to vote for the Republican candidate. Some of their anger was fueled past disappointment; that happens in every political campaign. Others were aroused because Senator Clinton's campaign symbolized, for them, the struggles and promise of being women in this culture. Some were angry about the sexist slurs, both thinly-veiled and obvious and gross, that were directed against Senator Clinton. These angry white women had many reasons to be angry, simply the betoken here is that their right to be aroused was rarely questioned. However, when a stiff-minded, loftier profile black woman expresses even a hint of displeasure at injustice in this culture she is treated like a non-patriotic, ungrateful Sapphire. The black woman who expresses anything short of a patriotism that borders on chauvinism is condemned.

With people of colour, in this case black women, at that place is a trend for labels to become enduring stereotypes. The Sapphire portrayal has been around for as long as black women have dared to critique their lives and treatment. Sojourner Truth was seen and treated as a Sapphire, as were Ida Bell Wells-Barnett, Fannie Lou Hamer, Ella Josephine Baker, Shirley Chisholm, Anita Hill, Alice Walker, Rita Dove, and bell hooks. Just the Sapphire label has not been restricted to abolitionists, anti-lynching crusaders, ceremonious rights activists, politicians, and blackness feminists/womanists. Black women executives who vocalism disapproval at company policies run the risk of being seen as Sapphires, especially when the policies involve race and race relations. Young African American women who prove displeasure at existence treated as potential thieves when they shop are treated as Sapphires. The black woman who expresses bitterness or rage about her mistreatment in intimate relationships is often seen as a Sapphire; indeed, blackness women who limited whatever dissatisfaction and displeasure, especially if they express the discontentment with passion, are seen and treated as Sapphires. The Sapphire proper name is slur, insult, and a characterization designed to silence dissent and critique.

&copy Dr. David Pilgrim, Professor of Sociology
Ferris Land University
August, 2008
Edited 2012

---

^ane In Yarbrough, Chiliad. with Bennett, C. (2000), the authors employ these words to draw the Sapphire, "evil, bitchy, stubborn and hateful."

²Here is an example from the episode, 1930. I'se Regusted [Radio serial episode]. In Amos 'northward' Andy. Victor 22393. https://www.youtube.com/sentinel?v=H_yIba70Xz4&feature=related (episode starts at approximately the 2:00 minute mark).

ⁱⁱⁱ The peak of the show's popularity was 1930-31, when it attracted an audition of between 30 and forty one thousand thousand people a night, 6 nights a week -- representing an astounding a third of the entire population of the United States.

References

Abagond (2008, March 7). The Sapphire stereotype. Abagond. Retrieved from http://abagond.wordpress.com/2008/03/07/the-sapphire-stereotype/.

Bad times on the Good Times ready. (1975, September). Ebony.

Berman, P. S. (Producer), & Stevens, Thousand. (Director). (1935). Alice Adams. [Motility picture]. United States: RKO Radio Pictures.

Chocolate-brown, M., Teitel, R., & Tillman, K. Jr. (Producers), & Story, T. (Manager). (2002). Barbershop [Motion picture]. United States: Metro-Goldwyn-Mayer.

Cannon, R., & Perry, T. (Producers), & Perry, T. (Director). (2007). Why did I get married? [Motion picture]. The states; Lions Gate Films.

DeSylva, B. G. (Producer), & Butler, D. (Manager). (1935). The little Colonel [Motion picture]. United states of america: Fox Film Corporation.

Gartner, A., Teitel, R., & Tillman, Chiliad. Jr. (Producers), & Sullivan, M. R. (Managing director). (2004). Barbershop 2: Back in business [Motion moving picture]. U.s.a.: Metro-Goldwyn-Mayer.

Harridan. (n.d.). In The free dictionary. Retrieved from http://www.thefreedictionary.com/harridan.

Hyman, B. H. (Producer), & Conway, J. (Manager). (1937). Saratoga [Motion picture]. Usa: Metro-Goldwyn-Mayer.

Jewell, K. S. (1993). From mammy to Miss America and across: Cultural images and the shaping of Usa social policy. New York, NY: Routledge.

Jones, V. East. (2004, April 20). The angry black woman: Tart-tongued or driven and no-nonsense, she is a stereotype that amuses some and offends others. The Boston Globe. Retrieved from http://www.boston.com/news/globe/living/articles/2004/04/twenty/the_angry_black_woman (fee required).

Kaplan, E.A. (2008, June 24). Who's afraid of Michelle Obama? Salon. Retrieved from http://www.salon.com/mwt/feature/2008/06/24/michelle_obama/index.html.

Massie, Thousand. (2008, February 26). Michelle Obama: Angry black harridan. WND commentary. Retrieved from http://www.worldnetdaily.com/index.php?fa=PAGE.view&pageId=57312.

Millner, D., Burt-Murray, A., & Miller, M. (2004). The angry black woman's guide to life. New York, NY: Plume.

Olive, L. (2008, April 15). Omarosa Obama: Sapphire lives. Roadkill politics: A white working class perspective on politics.

Papazian, R. (Producer), & Colina, J. (Director). (1973). Coffy [Movement picture]. The states: American International Pictures.

Selznick, D. O. (Producer), & Fleming, Five. (Director). (1939). Gone with the wind [Movement picture]. Usa: Selznick International Pictures.

Stone, J. (Associate Producer), & Marshall, G. (Director). (1935). Music is magic [Motility picture show]. United States: Fox Film Corporation.

Transcript: 'Flim-flam News Watch'. (2008, June 14). Retrieved from http://www.foxnews.com/story/0,2933,367601,00.html.

Wolfson, P. J. (Associate Producer), & Jason, L. (Director). (1938). The mad Miss Manton [Motion flick]. The states: RKO Radio Pictures. Wurtzel, S. M. (Producer), & Ford, J. (Director). (1934). Judge Priest [Motility picture]. United States: Fox Film Corporation.

Yarbrough, M. with Bennett, C. (2000). Cassandra and the 'Sistahs': The peculiar treatment of African American women in the myth of women as liars. Journal of Gender, Race and Justice, Leap 2000, 626-657.

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