Monday, 12 October 2015

Guess Who’s Coming to Dinner


Subtle appreciation of White middle-class bigotry

Sly looks from a White cab driver, when the central couple kiss, begins this journey into white racial paranoia and self-repressive blackness. It gleefully exposes the self-serving hypocrisy of allegedly well-meaning White liberals and their Negrophobic obsession with skin color.

Essentially a romantic manifesto about the never-ending and endemic struggles of White liberals to come-to-terms with and whitewash the White supremacism of their own culture - from which they, too, benefit. The script also struggles with the issue of institutional White racism and wisely decides to leave that to the audience's imagination since, if you do not know what the characters are referring to, then this movie is clearly not for you since you obviously do not come from around here.

The basic theme is Social Acceptance versus Happiness: Race politics being precisely the same today, despite the optimism shown here, as it was then. The film humorously confronts White supremacy as an institutionalized condition of White culture, yet there is an unacknowledged problem the White-written screenplay tellingly creates for itself.

Sidney POITIER’s character is so perfect, that any objection to him marrying a White woman must be racist. But why would such an accomplished Black man marry a White nobody?

It is because Whites believe the only equality possible between the two is that a Black person must work hard to overcome the limitations of being a Negro, in order to match the innate and already-achieved perfection of any White - no matter the White’s actual lack of personal achievements? And, moreover, that such a relationship is of political benefit to the Black, but of little utility to the White.

That the Black character here is actually superior - in many ways - to all of the Whites shown is ignored since it would mean a) that a Black can best a White; &, b) that the Black man here is actually slumming in a culture that is beneath him.

Yet, despite this hypocritical White-liberal whining, this is a well-cast movie all-round, with Katherine HEPBURN and Spencer TRACY convincing as the real couple they actually were - and funnily-written by William Rose.

Thursday, 27 August 2015

Political Correctness


White Whine for Beginners

Hypocritically disregarding their own political correctness (PC) in telling others what to think without supporting rights or logical justification, this is the usual White whine about alleged inferiors getting rights Whites exclusively covet for themselves.

‘Our country’ is, of course, a Whites-only political formation: Whites will never use the word ‘our’ to include People Of Color (POC).

If PC is an attack on White free speech, why are so many Whites free to condemn it? The White fear is that they will be penalized for speaking freely, as if this kind of punishment were somehow new for this kind of speech and as if Whites had a right to consequenceless actions when all acts imply the risk of censure.

Whites resent being penalized for the free speech they have traditionally punished others for invoking - and are really only taking here about free speech for Whites. (When, for example, Whites are attacked for being racist, one quickly sees how much commitment Whites have to the free speech of others in their attempts to shut down the attack.)

Whites blaming Marxism for their own penchant for PC is a typical White intellectual dodge in trying to hide the inherently-PC nature of all White cultures - the PC belief that Whites are genetically-superior to everyone else - and that this is to be believed by all, come what may and evidence to the contrary.

The author does not say what the ‘cohesive elements of our [White] society’ actually are. They do not exist, of course - except for the shared PC belief that Whites are superior to everyone else. This helps Whites evade the issue that White culture will always be repressive and illiberal. He denies the existence of activities like racism, sexism & classism by suggesting that civil rights for POC has done ‘untold damage to ‘our [White] society’ by giving freedoms to unnamed ethnic groups (eg, POC) whom he obviously believes should not have them.

The author makes further unsubstantiated claims about British education being liberal, when Blacks have been systematically-encouraged not to take it up. His claim the UK police are not institutionally-racist proves he has never been abused or harassed by White police officers simply for being Black. And is a claim made despite the wealth of evidence that Whites, as such, are just as institutionally racist.

The usual resentful White supremacist claptrap about Travelers and undocumented migrants is well to the fore in the form of statements not supported by evidence. He is resentful that White humor, typically racist, has been neutered; clearly indicating his approval of such racism and his belief that free speech includes the ability to deliberately offend, hurt & abuse others, for no particular reason, when this is something few Whites would countenance for an instant. Whites will not tolerate jokes about terrorists as Whites board planes since it is White lives that are threatened, but they will tolerate plenty of jokes about POC receiving state welfare benefits. He does not clearly define what (the fiction) ‘not real abuse’ is especially when compared to ‘real abuse’ - which he thinks does not exist in his Nazi fantasy land. He even claims there is such a thing as ‘true racism’ - what would untrue racism be like, one wonders? He implies that he is a racist, just not a ‘true’ one - and that feminists attack ‘men as rapists’. As white males imagine they are emasculated by feminism, Whites imagine they are no longer able to engage in Manifest Destiny because of anti-racism. LIke all racists, pedophiles & rapists, he simply wishes to peddle his nonsense without being punished for it.

The ultimate resentment here is that if those whom Whites consider non-people, with no rights Whites need to respect, get everything Whites get, then Whites will have lost something they can never get back, rather than the full rights and responsibilities of being fully human which Whites, for 500 years, have run away from. Whites will have lost the pseudo-Edenic childhood world where they could do as they please - without consequences - and are now forced to face the real world of adult responsibilities and pleasures. Whites accept the extra rights given them by White supremacy without complaint, yet refuse to accept the necessary responsibility for the victims of that White supremacy, nor the inevitable White guilt the very existence of such victims cause - except by whinging to their hearts’ content about not being able to bully people they do not like, legally.

Whites refuse to see that economics is the basis of everything - not their needy emotions - and that focusing on wealth-creation is the only way to create, protect and progress any culture wishing to remain viable.

Thursday, 13 August 2015

Bardwell’s Justification


Bardwell’s Justification

Summary: Critique of “Bardwell’s Justification”.

Interesting case of White wishful-thinking and mental retardation in which the proprietorial claim of a non-existent White duty-of-care toward Black people is used as an excuse to racially abuse them! In his world, impairing the life-chances of Black people is not racism, it is both normal and sane. He never has any concern for the children of White couples, after all, since he is perfectly well-aware if the White supremacy he supports that they will benefit from.

His jsutification is the usual circular and self-serving argument that because Whites are racist - and intend alwats to be so - that Black people need to learn their place or be discrininated aginast: Nothing for Blacks to do but do what Whites tell them - or else suffer the consequnces of not accepting an alleged White largesse based upon the philosophy of White superiority as the ridiculous attempt of a numerical minority (Caucasians) to bolster their own short-comings at the expense of everyone else.

As if White supremacy were as economically-good for Blacks as it is for Whites. As if Whites creating the problem of their refusal to accept anyone else gave Whites the right to pretend to solve this self-created problem by actively perpetuating it; appearing to care for Black people when Whites are really negatoively-discriminating against them.

Mr Bardwell makes claims about Black people he does not substantiate, in a clear attempt to make such beliefs true thorugh their sheer repeition - a mantra-like political act that only works well within the frigid limitations of his own coldly-calculating mind. As one has come to expect from Whites, they only obey the laws they make when it is in their interersts to do so - like White police officers warning White teenagers for carrying drugs, but arresting Black ones for doing exactly the same thing.

He hates ethnically-mixed marriages and so damns their offspring as looking forward to a life of suffering (he hopes) despite:

  1. Not knowing any of them, personally;
  2. implying he actually believes they should not be born in the first place;
  3. evading his own psychological suffering in living in mortal dread of one day becoming part of an ethnic minority (& then being treated as badly by Blacks as Whites have treated Blacks); &,
  4. completely ignoring the successful existence of Barack Obama.

With this issue, it becomes self-evident that Whites are deeply-concerned to place their own beliefs above any laws they (or anyone else might make) make, out of a reality-resenting belief that their feelings are the law - much as Hitler did with his so-called Will.

Wednesday, 5 August 2015

BBC faces ridicule


White monkey see; White monkey do.

Anything Blacks can do, Whites can do better!

Caucasoids are even good at things they know nothing about!

Whites make these kinds of choices, so that one can never expect anything else other than White supremacy from them. If Whites cannot be better than Black people, on their own merit, Whites will attempt to tear down individual Blacks or Black people, as a whole, to maintain their allegedly-superior position.

Whites lack both the imagination and the cultural values to produce music people want to listen to, so must take from others; while pretending to be better than those others with whom they cannot compete. Like all forms of affective plagiarism, it is difficult to hide the fons et origo of any creation without having to demonstrate a clear understanding of the creation that gives ones claims to have created it their necessary credibility: Like a White Blues’ singer, it is peculiar because it does not and cannot originate in White culture.

To claim that this decision has nothing to do with skin color makes no sense since labeling an award with an explicit reference to the skin pigmentation being denied is patently-absurd: Like claiming the Oscar for best actress has nothing to do with gender.

In reality, of course, Black music has nothing to do with skin color - it is about Black culture - a culture Whites wish to jealously-emulate while disparaging it. Whites do this based upon the philosophy of White superiority as the ridiculous attempt of a numerical minority (Caucasians) to bolster their own short-comings at the expense of everyone else.

Such short-comings reflect the usual White combination of indignant resentment, malignant defensiveness & intellectual irrelevancy; while Whites also manage to be both self-pitying and self-aggrandizing, at the same time. This white fragility triggers such defensive moves as outward displays of emotions (unusual for usually-repressed Whites) such as anger, fear & guilt and behaviors such as peevish argumentation, sullen silence & reality-evasion - as witness the White emotional regression of the BBC.

Whites black-up and then saying that such minstrel mimicry has nothing to do with Whites’ inbred fear of Black people. It allows Whites (they would like to think) to claim the ability to define Blackness so that they can control both it and their fear of it, by claiming to both be Black and to know what Blacks think - something Whites can never know. In this, Whites are like those primitive tribes who wear the skins of fearsome predators to help overcome their fear of being predated; while hoping, in so doing, to become feared themselves. Yet such White ignorance of other cultures helps explain White racial fears in the first place - as the primitive tribespeople still remain fearful after donning the skins of hunted animals.

Whites evade their own cultural emptiness by mimicking others to provide themselves with a pseudo-culture that their self-chosen, emotionally-repressive ways deny them. Rejecting the people of other cultures, while embracing the forms of other cultures, allows Whites to appear anti-racist while actually being wholly racist in pretending that other cultures somehow belong to them - to do with as they wish. Moreover, Whites secretly believe Black bodies are still their property despite slavery being outlawed in the West.

Whites also, thereby, claim that adopting other cultures while avoiding physical contact with members of those other cultures (except through slumming), allows them to become insiders to those cultures so that Whites never have to listen to anything anyone else says about their own culture because Whites somehow, magically, already know the answers to any questions they might think to ask about anyone and anything else: They do not trust others enough to believe their answers, anyway, since Whites are ruled by a terrible fear that People of Color are engaged in a conspiracy to arrange the downfall of Whites because this is what Whites would do in their place, if the racial power-dynamic were reversed.

Whites always fear to admit they are ignorant of anything - despite their being the most ignorant ethnic group in the world - since this would be tacit proof that they are not the Master Race they claim to be. So, Whites project their own emptiness onto others in the hope of turning those others into mirrors reflecting the imagined greatness of White genes. It is the standard White claim to a full humanity, which understands, knows & experiences all - a wisdom Whites deny others could ever possess.

Because Whites are raised to fear anything not like them, they fear practically everyone else: The vast majority of the world’s population is not like them, after all. Pretending knowledge of others is the result of the White dread of admitting they cannot achieve what White supremacy promises them - control of everything as a substitute for the self-control they lack.

Whites think they can understand Black experience - without the necessity of actual experience - so that they can understand the music it produces - without experience. But it is merely a case of White monkey see; White monkey do - it is empty pastiche.

Whites can only mimic Black music (never understand it nor improve on it): A realization that inevitably leads to ridiculing the forms they appropriate (precisely because such forms have no deep cultural significance for them) to reveal the truth that White cultural homage is just another form of White supremacy. Such behavior is not frightening to Whites because it does not confront them with White guilt; while allowing them to let off steam through overt racism. As with all cultural appropriation, only the form is copied not the meaning or the intent, especially since the latter, here, are never flattering about White culture and its need of racial scapegoats.

Either only people who know what it is like to be Black are the only ones allowed on the list or the list becomes about Urban Music without any reference to a Blackness Whites never experience, can never understand & can never adequately copy. But the Instituitional Racism of the BBC could never cope with this, as it would remove a necessary means for them to mock the Black people Whites fear.

White supremacy is always confused about its desire to hide its expression, but never confused about its goal: White supremacy. The next thing you know, Whites will be claiming to be the best at Jewish music.

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Frank TALKER - Truth-Teller