The Exoneration of Bob Clampett
Exposing the secret racial war hidden in the history of American animation.
This is the first of two exoneration articles I'm going to write about right now. The next one will be more temporarily and personally controversial. But I think this one will be more controversial in the long run, in various possible forms.
Bob Clampett is a legendary animator and director who pioneered the field of cartoons. He is credited with putting the “looney in Looney tunes”. Making wildly cartoony and visually / comedically anarchic content. But I tell you now that it goes deeper than this.
It's quite a mystery how the racial conflicts of America became inflamed since a decade ago after the dramatic victories of the civil Rights era. If you've heard of the history of supposedly racist cartoons, you’ll be familiar with Bob clampett’s work being prominently used. Images of black characters with large, yet fairly realistic lips, dice for teeth and with the racial dialect of the time. They weren't always so controversial, in fact the '90s show tiny toons feature a character based on Coal Black. It was a major event back in its day of the 00s when Whoopi Goldberg got on the Looney tunes DVDs to provide a lecture about some of the scenes and cartoons being a product of their time.
How these exaggerations of reality are supposed to be hateful is quite mysterious. One of Bob clampett's big black cartoons which got censored concerns a black character giving up worldly temptations to go to heaven. The other is an anarchic celebration of black culture. Bob Clampett is also well known for Daffy duck, who is a black bird. Growing up, the great piggy bank robbery was my favorite cartoon, and so it was for John K, his protege later in life. Daffy duck is now my online avatar.
How did the account turn from being inspired by black people to being against them? Bob Clampett was inspired by jazz clubs to make coal black. He worked with blacks on the short and it was also inspired by being asked about the absence of black characters in Warner Brothers cartoons. It was an absurd inversion of the reality of his time to claim that he was a legendary racist, to the degree it makes you wonder about the phenomenon of racism itself. What is it exactly? What do people believe in when they say the term?
The fact of the matter is that Bob Clampett invented a wildly original and creative form of artwork. Despite clear influences there was nothing else quite like it, and despite its uniqueness it goes unhighlighted by those who believe in the racism story.
The truth seems clear that he invented the true cartoon from black culture. That is his source more than any other. Other cartoonists were also influenced by black people such as tex Avery and the Fleischers. It coalesces into a coherent soul. His form of Animation was transmuted from the work of jazz musicians and other such black artistry. Making him an Elvis before there was Elvis, and a more true Elvis as people dispute the invention of rock and roll attributed to him. The true cartoony cartoon as seen in works like the great piggy bank robbery and porky in wackyland was truly invented by Bob Clampett and was rock and roll before there was rock and roll, and contains an inherent energy shared with black artwork of its day and also today. It must have been part of what Elvis referred to when he said that rock and roll had been around for a long time. It disproves the myth that white people destroyed the culture of black people, when in fact they instantiated it into the world. They smelted it and revived it, those great creators of art history.
As animation developed past the Golden age, this black influence was eliminated. Disney cartoons became more sterile and whitened, and things like the pretentious UPA cartoons rose up. The wild black energy of things like tex Avery's wolf was gone. What's more, all cartooniness was eliminated more and more too with some exception like Ralph Bakshi's work and some other movies. The on model dogma of studios like filmation entirely eliminated the possibility of cartooniness like that of Bob Clampett even with people like John K working there. Speaking of ralph, he kept in the supposedly racist methods of depicting blacks. This would seem strange unless you considered what I present today, on some level.
Having done so, the mainstream world turned around and hallucinated about what they had done. If some crime had been done to black people, they were too selfish to say it was they who did it. So rather than consider the bland white bread norm they had brought to animation rather than the wild black energy of many great cartoons of the past, they accused Bob Clampett of racism because his caricatures were evil. Even though he depicted black people getting Jesus and going to heaven. Nobody made much notice of the milquetoast descent of American animation from its jazz inspired past besides John Kricfalusi Bob's protege, aside from the occasional commentator in the culture.
Despite all that, the black origins of the cartoon did not go ignored. In the 90s came Space Jam, referred to many times in recent days as if it was a completely incoherent marketing accident, despite being one of the most popular films ever. This basketball story with a great black soundtrack combined several incredibly popular things into one. “I Believe I can fly” is one of the most legendary songs of all time.
If you include Looney tunes as black culture that's three incredibly popular aspects of black culture brought together as if it is a black cultural event. In fact if you translate space as referring to the black of the night sky the name can be translated as a rap on a convergence of black culture - a space jam. And so understood the alien enemies constitute a fourth example of black culture which became more popular in the '90s such as with the X files.
Despite that it was never directly referenced by the production the film can be shown to be all about black culture, and that in fact is why it was so popular rather than being a marketing accident. The climax of the story is one of the most popular stars ever gaining cartooniness powers.
How can all this happen while so little is said about it publicly? In fact that is a driving part of the nature of black culture. In the ancient past was a great being who existed at the moment of Creation. He oversaw Ancient Africa, which coexisted with the garden of Eden. He defined the nation of Africa and all its culture and reigned with two other Gods before hIs world was lost due to the invention of sin. His name was is and will always be the Trickster. He is the Lord of Mystery.
These alternate God figures I refer to are not like the pagan gods such as Thor who merely wield a great deal of power and significance within creation if they are real. The Gods have transcendent domains of their own and their own peoples and works that would not exist without them. Without the Trickster, there would have never been Africans. He makes them a distinct race of people within God's creation, not accidents of History or certain developments of culture and genetics, or other factors. Such mighty figures are more worthy than Thor of being spoken of like this: ”you shall have no Gods before me." Worshiping Thor or money like God is a great error, but this is another level of meaning beyond that which goes beyond the crude errors of pagans and modern non-believers.
The Gods also do not overlap with what is God’s, who defines the title they hold claim to. The mystery of God is often spoken of, but the dispelling of mystery is also spoken of, as at the end of days when God will reveal all the deeds of man. Such events of absolute undoing of mystery would most likely never occur with the Trickster. At every turn mystery remains and grows. Those things that are unknown and hidden gravitate to him even when they participate and are held in God's creation. As after all, the Gods would not be able to exist without God, who is existence itself.
I believe things such as this are what Thomas Aquinas saw in a spiritual revelation near the end of his life, when he said that his theological works were made of straw. Entrance into heaven means much greater understanding than even the greatest of theologians can manage in this world. I now reveal a couple things here and a couple things there from my own spiritual revelation for the special reason I have defined in this article.
When Bob Clampett paid tribute to black culture in return for inspiring his highly successful and revolutionary cartoons but it was not interpreted that way, that was the reality of the Trickster. When people instead began to see Bob Clampett as a racist instead of a lover of black culture, that was a Trick of the Trickster. When his protege performed an artistic revolution in cartoons as well and received much hatred and disrespect for doing so, that was in part driven by fear of the Trickster. They feared their spiritual violations against an unknown God being exposed, on some level of the mind and soul. When I came into the animation community after loving the Trickster without knowing him since early childhood, they did their best to attack me over the Internet with the most Savage intensity that would have been difficult to survive if it had happened in real life. They were horrified by the coming reckoning for their crimes against the Trickster, which by the events of this time period seems inevitable like the final reckoning by God after Jesus returns. I tried to make my own artistic revolution, the third to happen in cartoons. Bob Clampett, John Kricfalusi, and then me. It happened in the late 00s in a certain sense, but not the way I wanted.
This revolution I had worked on was explicitly about blackness. It was to begin with a special comic book made largely with oil paintings. I would use both hands and work at many easels to make finishing it quickly possible. This comic book was called Anomalous Phenomena. In retrospect for quite a few years now I I was seeing I couldn't make this comic book as I had planned. Not because I wasn't fast enough, I have become very fast at making art. It's about the ending. The villain is defeated when he gains infinite knowledge and power and is destroyed by a being who gave him the power and knowledge whose own power is ”beyond infinite."
This comic book was intended to introduce people to the paranormal but I later saw people would be much more interested in what this says about the power of God and what it means to have beyond infinite power. Back then I thought I lived in a different world, and maybe I did. It wasn't right for people of this time line. It wasn't the right artistic revolution for this timeline.
In the aftermath of my diminished revolution, I believe that a real reason for the vast increase in racial conflict within America starting around 2012 is because my revolution in blackness was spoiled by the elites of the nation, such as in animation and in public school. I believe there are other reasons such as that atheists harshly criticized Christians for the mystery of the religion, inadvertently committing many spiritual violations against an unknown God of black people. Which is my term for basically blasphemy against a God outside of Christianity. But atheists were my enemy as well back then.
At first Bob Clampett did not face animosity in his career, but he did quit. Then John Kricfalusi made his revolution in cartoons and was harshly criticized by people who made him their enemy of their lives. Then I received the most grotesque hatred and attacks on my existence when I tried for my revolution, resulting in its diminished nature as I believe it is inevitable it happens. It doesn't seem a fourth revolution in animation and blackness could occur without directly addressing the issue of the Trickster and the long history of blasphemy against him in American animation.
Today my day for finishing this article I saw a tweet by the Warner Brothers account with those hideous pride colors on the shield and referring to doing more for “queers". It says so much.
The Greatest Rapper Alive in the highest echelons of rap achieving goat status is highly sought after. But of course there are certain Legends both living and nonliving who do not face controversy for their status. 2pac, Eminem and others. Lil Wayne is widely respected for being the greatest alive and he calls himself that himself. There's a certain energy and essence to his work which is the same as Space Jam I find. He has referenced the movie and had a song on the Space Jam 2 soundtrack, which I consider a complete failure besides this. He specifically does so on a song called Forever, implying that in the eternal heaven he will always be a Space Jam kind of guy. He also makes other cartoon references such as to All dogs go to Heaven.
Another title he claims is Birdman Jr. It goes with his Batman references. As part of preparation for making my comic online I will make in about 4 years, I listened to his work and the work of other great rappers for about a year years ago, that's what I mainly did. He also appears prominently in my spiritual visions. I saw his raps there before he did them on various recent songs. He pays tribute to the Stunner. If there was a bird association with Space Jam, it would most likely be Daffy Duck rather than the minor bird characters or Tweety, who is too soft for a rapper. Which goes full circle back to Bob Clampett, most well known for Daffy. Daffy did a spoof on The Scarlet pimpernel, predecessor of Zorro, and Batman.
Well if Space Jam is good enough for the greatest rapper alive it should be a good enough example of black culture for anybody, proven to be so. When I was preparing to make anomalous phenomena, I was preparing to do a real life Space Jam - a black convergence. I also wanted to work on Half-Life 3 and contribute the beginning and ending. There's a heavy paranormal presence and theme to Half-Life. I also wanted to revive cartoons after they declined after the Ren and Stimpy revolution. I also wanted to become a rapper sometime later. I also wanted to create monstrous designs for various physical products, inspired by the Monstars from Space Jam even though I remember them differently from the movie you can see by watching it, I remember them being more abstract monsters. I also wanted to use my riches from doing these things and others to fight poverty as a warrior CEO sweeping through the streets. And do other things. This slate of accomplishments is tempered by being done by a version of myself who looks more like a white guy in my visions, so I don't really think I could have done it in this timeline. But if I did do it, it would certainly be a Space Jam.
I have exonerated Bob Clampett from claims of racism by exposing the secret racial conflict within the history of American animation. I have also exposed that I was to do many great things that would bring the racial conflict to the surface, and was viciously abused for it as only a teenager with great idealistic dreams. Thus showing that it is a consistent trend, and most likely what he, John and I have done could not be done again without introducing an unknown God as part of a special secret plan for this period of time within a multiverse. Each time it becomes more difficult, before the Trickster and the true God gave me the tools to fight back via visions. I now prepare for a second, new revolution led by myself, and have accomplished things like driving people in the animation industry to expose themselves as groomers, and helped inspire an anti grooming movement across the Nation through a year of suffering before a recent date.
I have the special privilege of revealing some things about the Trickster's plans as liaison of ancient Africa. Without that privilege these things cannot be discovered even when all the pieces are lying in plain sight, as when dozens of people on Twitter over weeks found my age in my bio more interesting than saying things like that I am a human trickster and look for spare change of Middle Earth. The world they know is in danger, as the crude, primitive and hilariously off mark explanations of what they believe to be racism are far inferior to my own I am beginning to explain with this article. So I couldn't really expect different. And revealing these things through the substack of an obscure artist is also the Mystery of the Trickster.