"There’s something very important about films about black women and girls being made by black women. It’s a different perspective. It is a reflection as opposed to an interpretation, and I think we get a lot of interpretations about the lives of women that are not coming from women."

"Stereotypes about black female criminality and irresponsibility legitimate the massive disruption that both systems inflict on black families and communities. A popular mythology promoted over centuries portrays black women as unfit to bear and raise children. The sexually licentious Jezebel, the family-demolishing Matriarch, the devious Welfare Queen, the depraved pregnant crack addict accompanied by her equally monstrous crack baby—all paint a picture of a dangerous motherhood that must be regulated and punished. Unmarried black women represent the ultimate irresponsible mothers—women who raises their children without the supervision of a man. These stereotypes do not simply percolate in some disembodied white psyche. They are reinforced and recreated by foster care and prison, which leave the impression that black women are naturally prone to commit crimes and abuse their children. Stereotypes of maternal irresponsibility created and enforced by the child welfare system’s disproportionate supervision of black children help to sustain mass incarceration, and stereotypes of black female criminality help to sustain foster care. As Angela Davis observes, the prison–industrial complex “relies on racialized assumptions of criminality—such as images of black welfare mothers reproducing criminal children—and on racist practices in arrest, conviction, and sentencing patterns.” The joint production of stereotypes in the child welfare and prison systems helps to explain why juvenile justice authorities send black delinquents to juvenile detention while referring white delinquents to informal alternatives for the same offenses. Many officials think that all black children come from female-headed households that are ill equipped to handle a troubled child simply because their mothers are not married. Because they perceive black single mothers as incapable of providing adequate supervision of their children, officials believe they are justified in placing these children under state control."

"Black women do not fare well in the porn industry because the “plum” jobs for porn performers-the contract employment with the two major porn-feature studios, Vivid and Wicked-are reserved mainly for white women. These studios, with their chic image, sophisticated marketing practices, and guarantee of regular work, afford their contract women an income and level of visibility that makes them the envy of the industry. (Jenna Jameson, of course, is held up as the quintessential example of just how far a contract porn star can go.) With surgically enhanced bodies, perfectly coiffed hair, and glamorous makeup, these women act as PR agents for the porn industry, showing up regularly on Howard Stern, E! Entertainment, or in the pages of Maxim. As the porn industry increasingly wiggles its way into pop culture, it is no surprise that it uses mainly white women as the “acceptable” face of porn; their all-American-girl looks seamlessly mesh with the blonde, blue-eyed images that grace screens, celebrity magazines, and billboards across North America.

In porn, women of color are generally relegated to gonzo, a genre that has little glamour, security, or chic status. Here women have few fan club Web sites, do not make it to pop culture, and have to endure body-punishing sex. But while the sex acts are typical gonzo, the way the written text frames the sex is unique as it racializes the bodies and sexual behavior of the performer. In all-white porn, no one ever refers to the man’s penis as “a white cock” or the woman’s vagina as “white pussy,” but introduce a person of color, and suddenly all players have a racialized sexuality, where the race of the performer(s) is described in ways that make women a little “sluttier” and the men more hypermasculinized.

It is this harnessing of gender to race that makes women of color a particularly useful group to exploit in gonzo porn, since gonzo porn works only to the degree that the women in it are debased and dehumanized. As a woman of color, the porn performer embodies two subordinate categories, such as Asian fuckbucket, black ho, or Latina slut. All past and present racist stereotypes are dredged up and thrown in her face while she is being orally, anally, and vaginally penetrated by any number of men. When men (irrespective of race) ejaculate on her face and body, they often make reference to her skin color, and her debased status as a woman is seamlessly melded with, and reinforced by, her supposed debased status as a person of color. In the process, her race and gender become inseparable and her body carries the status of dual subordination."