Saturday, March 31, 2012
I never used to associate cheese with interracial sex. But thanks to Philadelphia Cream Cheese, I now do.
The woman here looks vaguely Hispanic or something, but the casting directors knew what they were doing. They knew that 90 percent of the viewing audience would see this couple and think "white woman, black guy." While selling their cheese, why not sell a little New World Order social engineering on the side?
Par for the course in the genocidal world of 21st century Anti-White Media.
Boycott: Philadelphia Cream Cheese and all Kraft products.
Friday, March 30, 2012
The white male patient is just meat to be humiliated.
The white male surgeon is unethical.
The black lady is the "brains of this operation." She calls out her co-worker on his unethical behavior. She's the judge of white male morality.
She knows everything. She's a brain surgeon. She also knows a more efficient way for whitey to plan his vay-cay.
Note the weak-armed whitey hi-five. Note the disapproving black lady gaze.
Thus we have yet another ad in which blacks fill the role of the Big Other. The Lacanian Big Other, simply put, is the person or thing before whom one must keep up appearances, before whom one must be on good behavior. The Big Other can be a state or a parent. Here, as well as in a thousand other Anti-White ads, the Big Other is the black gaze. Why must the New World Order social engineers constantly promote blacks as this Big Other, and show whites, especially white males, as kowtowing to their afro-centric worldview?
Thursday, March 15, 2012
[It is amazing that this show Bonekickers failed to catch on, seeing as it was aimed so narrowly at the enormous "Black British Archaeologist" demographic.]
At :15 we hear a sagacious black man whisper "If you don't know your past, how can you know your future?"
Now, in a normal Britain this would be good advice. Archaeologists would dig up a mountain of evidence showing whites to be the aboriginal inhabitants of their island. Knowing this past, they would promote a future that maintains that heritage.
But in a Britain limping through an age of Anti-White Media, we are brought to the opposite conclusion. Here whites play second fiddle, at best, while blacks are archaeologists, politicians, lovers, and wise men and wise women.
Under the direction of the morally perfect and uber-professional black main character, we find that Britain was always multicultural--"What the hell is a middle-eastern coin doing in a park in Somerset?"-- while at the same time discovering how, historically, whites have been evil slave drivers and evil crusaders and generally evil and culturally insensitive.
But isn't it culturally insensitive to subject white Britain to such an intellectual lashing when no one is producing similar shows in, say, Turkey or Saudi Arabia or Sub-Saharan Africa? -- A show where noble proud whites uncover evidence of centuries of oppression and slavery and brutality fostered by the local Turks, Saudis, and Africans?
Anti-Racism is just a code word for Anti-White.
I give you an episode-by-episode Bonekickers rundown, provided by an anonymous contributor. (Thanks!)
Episode 1: Blonde-haired, blue-eyed Christian terrorists declare a Crusade on poor, innocent brown Muslims. Including one scene where the evil white Christian decapitates an innocent Muslim.
Episode 2: They discover some relic of horrific white-on-black slavery in Bristol, and we get an hour of White Guilt about slavery, on top of a Black Presidential candidate being racially abused by an evil white racist. It also turns out that Black soldiers played a pivotal role in the Revolutionary War in America, but it had been covered up because of evil white racists.
Episode 3: They discover that Boudicca, the Ancient British Queen who famously fought back against the Roman immigration to Britain 2,000 years ago, was actually secretly having an affair with one of the Roman immigrants.
Episode 4: The white female archaeologists tells us that Northern European archaeology is pathetic and boring compared to wonderful Egyptian and Middle Eastern archaeology. We never built anything good and were just savages eating dung. There's also White guilt about looting Middle Eastern artifacts.
Episode 5: I can't remember but it's something that undermines Britain's sense of pride about World War I, they uncover some dead bodies which were on some secret mission to kill some German civilians or something, and the British army tries to cover it up.
Looks like Britain had an evil past and, as punishment, will have a brown future, courtesy of the BBC.
Friday, March 9, 2012
White man. The hockey stick is to emphasize that he's white. Of course he gets humiliated, stripped. His posture is wilty. His voice is meek. He gets transformed into an inanimate object which then gets destroyed. The black guy is given god-like powers. The ad is "funny" so we associate laughter and good times with white men getting smashed.
Par for the course. Now go buy your Old Spice, you self-loathing white sheep.
Thursday, March 8, 2012
This one goes quickly, so you have to watch closely. But the message is clear: white males are the disposable, queer, rightful-recipients of violence and shame. Black males are the rightful recipients of porno messages from white women.
This commercial has an arc, a structure. I can block it out for you. It goes something like this: Naked White Woman [Random White Male Carnage] Cool Black Guy.
We see a duckfaced naked sudsy slut sending her photo through some Motorola messaging service or apparatus. The next few scenes trace the trajectory of the message: first she lights up the wires of a phone line, as if her message was still being sent the old fashioned way and was too hot for the old network to handle. The white phone company employee is not the intended recipient of the message. He's just gawking as it passes by him; in fact as a telecommunications lackey he is only there to facilitate its passing, and he is slacking on the job, drooling over an image not for him.
We are supposed to imagine the image moves on through the sequence of scenes. At each stage, white males are humiliated, infantilized, and bitch-slapped. The at :17 the poor white boy Jimmy behind the bathroom door is implicitly masturbating to the slutty pic. Then in quick succession three white men get slapped, two of whom are homos and all of whom are ugly.
It is no accident that the "cool black guy" (who in no way gets slapped, humiliated, or depicted as gay) stands below what looks to be a line dangling from above. He is, visually, the end of the line, i.e. the phone line that the white phone technician was working on. So the white woman at the beginning and the black guy at the end are bookends. He is the terminus of her slutty text.
What do you think the odds were that this interracial pairing was intended from the beginning, at the inception of this ad? I can see it now: ad agency assholes sitting in their sewing circles, trying to concoct a way for a naked white woman to be paired with a cool black guy's gaze.
Such is often the goal in our genocidal 21st century western visual culture.
[Update: Still working on my book related to this blog. Thanks for your patience while the posts are few-and-far-between for the next several months. I do hope to post a few more this month, however.]