Sunday, 19 February 2017

How Porn Makes Inequality Sexually‑Rousing


Aphrodisiacs for the Emotionally‑Retarded

Summary: How White People Are.

I t is not pornography that makes gender inequality sexually‑arousing; it is inequality that makes porn sexually‑arousing.

It puts the cart‑before‑the‑horse to assume that politics follows esthetics, in this way, when it is much more the other way around. After all, if White cultures were not predicated on inequality, why would porn exist, at all, in its current, largely‑negative form?

Pornography

White pornography is an honest mirror of White culture into which Whites fear to gaze lest they see themselves as they really are. This is why they either pretend it is not important or call for its prohibition – but never for any cultural change that would actually make it irrelevant – or better. For example, a sexually self‑aware man would not need porn: He would either masturbate (a selfish act), have sex or make love (sharing acts) – as circumstance permits.

White‑Supremacist Sexism

White women are doubly‑trapped in a White supremacist and a patriarchal society that eroticizes women’s subordination to male sexism. This, as part of a package‑deal enabling those same women to partly‑benefit from White supremacy – so long as they accept the concept of female inferiority and avoid having invidious sex with men of other ethnicities which might be more enjoyable and more fulfilling than sex with White men.

White women accept their social status as being more like property than that of being cherished, along with the fact that their male partners possess sexual imaginations shaped by a culture that makes women’s subordination a sexual turn‑on for White men. Such women deliberately deprive themselves of more satisfying sexual options because they lack the courage to choose from all those available; hence, the ongoing failure of White feminism to free White women from male control of their sexuality. White women actually want it that way; pretending to be against male domination, while secretly hungering for it. White men can clearly see this White female masochism and can, thus, exploit it for all its sexual and political value.

Politics in the Bedroom

Because White women know from porn what White men really think about them (as Black people know from Hollywood movies what Jews & Whites think of them), White women either choose to associate with men of other ethnicities; thereby risking the loss of the benefits of White supremacy arising from the resulting social ostracism – or try to beat White men at their own political game. Politics is then brought into the bedroom as White women become affective prostitutes trying to gain the sexual acceptance of White males who do not actually like them (or, indeed, sexual intercourse, itself) all that much – except as sperm receptacles or masturbation substitutes, respectively. White men and White women thus become unequal allies in a race‑war, but never equal friends, since they are simultaneously‑engaged in an internecine sex‑war.

White men seeing White women as mere non‑consensual holes‑to‑be‑filled helps explain, for example, White women’s obsession with dieting to desperately make themselves into what White men claim to want by trying to achieve the impossible. Trying to be what others wish you to be in the hope that they will love you a little more and hate you a little less, means White women are effectively forced to mate only with White men in an emotionally‑suicidal game of cultural rape.

This White personal masochism results in the effective end to all the personal relationships that such people could ever hope to achieve, as well as the resulting high incidence of such things as: White guilt, divorce, drug‑ & sex‑addiction, alcoholism & White whining among Whites – the inevitable results of their endemic and self‑created loneliness.

Sexual Intercourse for Robots

Sexism also explains the White penchant for how‑to‑fuck‑books & videos that the emotionally‑repressed believe will cure them of their sexual hangups; which become little more than porn‑by‑another‑name. Such works spring from the White desire to obstruct sexual spontaneity (in hopes of ensuring White women only have sex with White men, on White men’s terms); by taking them as descriptions of correct, normal & healthy sexual activity between allegedly consenting Caucasians. In this way (because White science found no evidence for an ethnic hierarchy), White emotional retardation is perpetuated, in the hope that Whites will appear to be above‑that‑sort‑of‑thing and, thus, somehow more civilized (ie, more repressed) than the so‑called lesser races. Whites are thus willing to sacrifice personal happiness for political correctness by pretending that the alleged problem is actually the alleged solution.

Pornography is created and used by Whites as both a scapegoat for the sexual and racial ills of White culture – which are many and varied – and as a phony cure for those very ills. Only by refusing to conform and by replacing sensational porn with emotional intimacy – with people of their own, personal choice – can White people ever hope to escape their self‑made social trap.

Sunday, 12 February 2017

Charlotte Rampling
(2016)


Inside every White person, Hitler yearns to breathe free

Heads I Win, Tails You Lose

The struggle between the autonomous few and the non‑autonomous many – is only beginning.[1]

T he Academy Awards of Merit (Oscars) are a classic case of the self‑fulfilling prophecy of White supremacy, since there are no years when White people are not nominated for Oscars – an economic advantage White actors rarely renounce and from which Black ones can rarely benefit.

Unforgivable Blackness

In a sense, Blacks have little fear of being judged by their skin color for Caucasian awards, since it is so very difficult for them to win such awards from Whites – in the first place. Therefore, since Political Correctness is designed to favor mediocre Whites, anything Black people win from them must be the result of a talent that not even Whites can deny – no matter how hard White people usually try.

Rampling’s claim that Black actors are somehow not as good as Whites proves she is perfectly happy to accept the fact that of the 3,048 Oscars awarded from 1929 to 2016, only 32 were won by Black people – implying Whites are 95.25 times more meritworthy than Blacks. It is White supremacist to assume that the reason for this is anything other than White supremacy, since there is no scientifically‑objective evidence that Whites are more talented than Blacks.

Caucasian Political Correctness

Rampling’s rant is the unassuagable White guilt that comes from being born into a racist culture and of benefiting from the unearned advantages that constantly‑threatening other people’s lives offers Whites. This induces the White desperation of claiming the existence of Black racism (whenever Black people attack White supremacy) as a simple way (Whites think) of evading the existential agonies of White guilt – an evidence‑free White paranoia that also suggests Hitler’s behavior actually was a self‑defensive response to the (non‑existent) predations of European Jewry. Simultaneously, the non‑existence of Black supremacy reveals Whites possess a reckless disregard for the facts‑of‑reality, which is also a tacit admission of just how racist Whites are and wish to remain.

Institutionally‑Racist Cheating

The big problem for White actors, of course, is that if their awards were won because they were White (rather than talented), they would then have to face the ego‑deflating news that it is Whites who are the most undeserving of Oscars – not Black people.

It is an unpalatable fact for Whites that every award given to a White person in a White supremacist culture is automatically‑undermined and tainted by that very White supremacy. Their knowledge that they do not have to work as hard as everyone else to achieve the admiration of their peers, makes Whites lazy‑enough not to deserve the awards they get; meaning that these awards must be being awarded to them on the basis of skin pigmentation, rather than talent, skill or ability.

White supremacy at the Oscars has the same effect as drug-taking in sports – it is cheating‑to‑win; making Whites no better than athletes like Lance Armstrong (the three White exceptions being Dudley Nichols, George C. Scott & especially Marlon Brando).

Rampling conveniently‑ignores the fact that because Western culture is institutionally racist, actors‑of‑color have fewer opportunities to display their acting talent. But La Rampling – being White – lacks empathy, since the obvious fact of Institutional‑Racism means less competition for her acting roles and fewer actors better than she clearly being seen to be better. Actors‑of‑color thus get less opportunities to become the bankable stars whom, Whites claim, do not exist – a classically‑racist self‑fulfilling prophecy.

Negative Racial‑Stereotyping

White people fear that Black people are better actors because Blacks live richer emotional lives; thus being able to reflect and represent more varieties of human experience in their performances. This subverts the self‑fulfilling White tendency to treat Black talent as invisible, in order to make White talent seem so much better by implying Whites face no real competition from anyone else, since Whites wish to be seen as the self‑evident Master race that their racism clearly reveals they are not.

Every admission that a Black actor is better than a White one (& each year their can only be one Best, of either gender) knocks Whites off their racial pedestal – a blow to the ego from which they may never recover; explaining why so few such coups are ever offered Blacks. (Whites would prefer separate actor categories for Best Black Actor & Best (White) Actor, but that would make the Oscars’ racism (& its racist tokenism) even more obvious – as does the fact that most years two movies win for best film: One English-language; the other Foreign; ensuring that at least one White film wins every year.)

Caucasian Talentlessness

Rampling even bizarrely implies that White culture is a meritocracy – without any evidence; proving her to be a paranoid/schizophrenic with White delusions of Grandeur. This is the usual White attempt to maintain the benefits of White supremacy, while vainly‑refusing to accept the most‑appropriate label for such behavior: Racist. Yet, one cannot call such Whites anything else, stuck as they are in the angry vicious‑cycle of continually being reminded of their talentless claims of ethnic greatness.

Clearly, Rampling has relied more on her skin color in her career than upon any actual talent that she may – or may not – possess. Whites like her fear that if more Black people judged Oscars, less Whites would win; something that would make Rampling even more vocal about her inbred racial‑resentment. (Would she have the courage to say that because most Miss Worlds have been White, that this is because Black women are ugly?) Ultimately, a woman like Charlotte Rampling need never fear women losing‑out at racist awards like the Oscars, because a woman will always (& can only) win Best Actress; a gender quota that only applies to the four acting categories (Best Actor in a Leading Role; Best Actor in a Supporting Role; Best Actress in a Leading Role; Best Actress in a Supporting Role): An attempt to automatically forestall claims of White sexism in the Academy (there is, for example, no Oscar for Best Female Director). If only one actor won for their acting every year, you can be certain that if it were mostly male actors, she would be the first to label the Academy sexist.

Meritocracy for Whites

Whites know perfectly‑well that their culture is not fundamentally‑meritocratic, yet continue to accept awards knowing these have no necessary relationship to actual White ability, talent or skill. They refuse to openly‑admit that this is the case, so act (& it is all about acting) as if such awards were the inevitable reward for genuine, unaided adult achievement – when they are little more than examples of Whites re‑affirming the racist bonds that bind them to one another: Tokens of acceptance and approval that are sometimes given to People Of Color (POC) in the vain hope that no‑one will realize that they are little more than rewards for agreeing to be racist.

When all other arguments fail to convince POC (& Whites, themselves) that their mutual backslapping is anything more than just another form of apartheid, Whites give‑up pretending to be meritocrats; falling back to their default position: Open White supremacy. Whites have to cheat to achieve anything at all in comparison to others, otherwise their other‑directed sense of identity (endless rigged benchmarking tests) can never form, since they are too lazy to develop a self‑directed identity, and certainly too idle to evolve an autonomous one based on what they discover using their own inner gyroscope[1][2]. This is waht makes White laziness as institutionalized as White supremascy.

White Culture

All of this makes White people accessories to racism; additionally‑proving that they believe in White supremacy as the ideal social construction, since it gives Whites the ability to be slothful – at someone else’s expense. There is, after all, no need to hone any aptitude one possesses to its full flowering, if skin color is the basis of success, instead of talent. Whites substitute the need to develop talent with the unsubstantiated belief that they are born with the highest degree of automatic talent: In the diseased minds of White people, actual hard work is never required.

Thus, Whites have nothing else to rely upon as a guide‑to‑living or to tell them whom they are – or might be – and this is at the root of White existential pain. The cultural values that define Whites are the very ones that keep them deprived of self-respect and self-knowledge; meaning that no White actor can ever claim to be the best actor – they can only claim to be the best White one. And the fact that an Oscar is always awarded in every category – no matter the quality of that year’s recipients – means Whites will continue to award Oscars to their fellow Whites – no matter their quality.

Few Whites ever learn whether or not they achieve partly, mostly or entirely because they are White, because few are ever truly‑independent of their ingrained need for the cradle‑to‑grave social‑welfare insurance (White supremacy) that is granted them for simply turning a blind‑eye to the talents of those others allegedly not so well‑born.

Because it is clear Whites like Charlotte Rampling are going to open their stupid mouthes and pontificate upon issues they do not, do not wish‑to nor ever could understand, either Whites create separate Oscars for separate ethnicities, or the other ethnicities create their own Oscars.

Sunday, 5 February 2017

The Wonder of Amazon

(2016)

Summary: Critique of www.amazon.co.uk.

At about 17:15, on Friday, 23 December , I received a telephone call from yourselves regarding an arbitrary LOVEFiLM Rental List item-limit.

I was told your computer system could not handle more than 1,000 list-items, despite my account having been over this limit since at least . This raises five questions:

  1. Does this limit apply to my entire account (6594) or just to each of my eight lists: General (998), Favorites (999), Adult (998), Best (999), Overspill 1 (998), Overspill 2 (645), Overspill 3 (403) and Overspill 4 (554)?
  2. Why does your system allow customers to create lists larger than can be handled?
  3. Why are there no written notifications of such list-limits in your online Help?
  4. When was this limit introduced? &,
  5. Why was this limit introduced?

If there is a means of e-mailing list back-ups to me, I would be more than happy to reduce this list/these lists to any limit you specify.

In the meantime, I have created four more item-lists that do not exceed your limits, in the hope that this might resolve the matter.

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Frank TALKER - Truth-Teller