Exposing the Subtle and Blatant Ways in Which the Media Seeks to Denigrate, Humiliate, and Ultimately Exterminate People of European or Caucasian Descent, One Image at a Time.
Showing posts with label black men as cool. Show all posts
Showing posts with label black men as cool. Show all posts
Media works on us so subliminally. Sometimes the more innocuous images are more harmful because like a stealth aircraft they fly under our radar, our Anti-White Media early warning system, and before we know it miscegenation-bombs are being lobbed into our psyche.
You'd think I would be able to do something simple like pay my student loans online without being preached to about the inevitability that my daughter will one day bring home an Afro-Hispanic guy, and that I should be ok with that because he will be a smiling Afro-Hispanic guy and be able to help my daughter with her bills.
For 22 years the mainstream music industry, a massive wing of the Anti-White Media behemoth, has enticed young white girls into pairing up with black guys. They do this by suggesting that interracial pairing will help them feel self-righteous, good, mature, refined, with-it, cool, rebellious, hip, and a little dangerous.
Madonna started this trend in 1989. We have replaced her silly song with something rather different in order to avoid copyright infringement on property of Warner (i.e. BIG JEW) music.
Here Madonna writhes sensually while worshipping blacks. They absolve her of her crime of being white. The white cops are in the wrong. White guys are so racist. White cops won't protect her. She doesn't want them to. Her black lover is her Christ/protector/savior. Her black criminal lover is so misunderstood. She worships the wronged, righteous, misunderstood, perfect, sexy, wonderful, noble savage black guy.
Think of the millions of teenage girls worldwide who admire Madonna, our resident Kabbalist goy, and are prompted to follow her in blackworship.
Unless you are a teenage girl yourself, you might not have ever heard of Jessie J. She is just another of the countless Madonna cookie cutter blackworshipper songbots to have left the factory floor in recent decades. In her video "Price Tag," many of the same Madonna-created memes are evident:
Here the white girl pairs up again with a dangerous, poor, misunderstood black. Again her interracial pairing is morally pure. She's not all about money and materialism. No. She loves this guy despite the fact that he drives a beat-up car. Her love is pure and honorable. Here, the white man is reduced to a mere toy soldier (:30 and 1:38). Like the white cop in the Madonna video, the soldier's role to serve and protect is ridiculized, or rendered obsolete, or passe, or just plain wrong.
Funny how we have these millionaire musicians preaching to us about how money isn't important. I can imagine how lots of teen girls who have never had to work a day in their lives, but who nonetheless live a life of material bounty on their parents' dime, might be made to feel morally empowered and high-and-mighty in conveniently adopting the attitudes and the boyfriend-type as advertised here, as programmed by this high-budget ear, eye, and brain candy.
[Again, due to copyright concerns, this video has been altered, and may still be unavailable in Germany. Sorry.]
This video builds up to the 6:10 mark, where the cocky mulatto Derrick Beckles shows his stripes. "This is what you've wreaked" he says with mocking condescension, gesturing to his white hosts
The men who have invited him into their humble abode are the Schweikhart brothers, whom Mr. Beckles connects rather unconvincingly and tenuously in a montage to Hitler and the Nazis.
Beckles mocks them for living as solitary, anti-social hermits. Yet I am sure if he looked hard enough in the jungles and mountains of South America, he would find lots of people living in even more primitive circumstances. But he wouldn't go out of his way and charter a multi-thousand mile flight in order to mock just any old person for living in poverty and seclusion. The person has to be white. And if they're German--even better!
With his repulsive "Way. To. Go." at 6:18, Mr. Beckles condescendingly suggests that the evil Nazi's standing behind him have gotten their just deserts. Look what happens, he implies, when you try to form a racial utopia. He thinks he is being anti-racist.
But what he is really being is Anti-White: for Mr. Beckles doesn't take a flight to Sierra Leone or Liberia and mock the blacks there for their much more massive and significant failed racial utopia.
As early as the 1790s, British and North American white abolitionist evangelicals such as Thomas Clarkson tried to set up a utopian society of freed black slaves in Sierra Leone. The recent history of that country, however, has been anything but utopian. A military coup in 1992 and another in 1997 have led to total chaos. Deployment of ECOWAS forces in 1998, UN peacekeepers in 1999, and British troops in 2000, all failed to stop a civil war that over the last decade has led to 100,000 deaths in the tiny nation.
The story of Liberia is equally depressing. Started by a group of white abolitionists and evangelicals in Washington DC in 1816, it was supposed to be a paradisal haven for freed black slaves. The Charles Taylor wars of the past decade have led to 250,000 deaths, disease, and misery. But why do a story on that when you can have Mr. Beckles go to Paraguay to mock two white "Nazi" brothers for having no laundary facilities?
Why doesn't Mr. Beckles do a cover story mocking the victims of THIS failed utopia?
He never would because he is only motivated by a strict Anti-White agenda.
I recently saw this horribly Anti-White film called Green Mile. The black guy in this film, John Coffee, is the so-called "magic negro" on steroids. Coffee is godlike in both appearance and effect. He towers above the frail looking white men throughout the film. But do not call this black man a supermasculine menial. No. He is a sensitive, childlike man. He is innocent. He is saintly. And he is contrasted time and again with the evil, sniveling, corrupt, feminized whites. Of course, when two little white girls are raped, Coffee gets the blame, because whitey is racist and evil. But Coffee is innocent. Coffee is perfect. How dare you blame Coffee, you evil white man? It turns out it was an evil, shifty-eyed, skinny, sniveling whitey who raped those girls, not the towering, hulking, herculean, wonderful, in-touch, cosmic, mystical, perfect black man. No. That will teach you never to blame blacks for crimes ever again. Blacks don't do crimes. I have to wonder why whites don't protest movies like this when they are released. Instead whites pay good hard-earned money to bring their wives and girlfriends, to sit through this Anti-White propaganda-fest, to get "entertained" (i.e. indoctrinated) for the evening. The makers of this film thought they were being Anti-Racist. What they are is Anti-White. Anti-Racist is a code word for Anti-White.
Benetton has long shown their expertise in Anti-White and Race-Replacement ad campaigns. They are one of the main Icon Makers of the new Religion.
Here is one of their latest Holy Icons, one of many such ads placed on your typical European streetcorner.
At first glance, this is just another Benetton vision of a Multicultural Heaven: the United States and Europe circa the present day, where all races sport and play and coalesce into a boundary-less oneness.
As if this weren't bad enough, or genocidal enough, on closer inspection we find that Benetton asserts an even more insidious Anti-White angle.
Note how the white guy is consigned to the background. Indeed, the background, being white, further fades his expressionless presence into oblivion. The black woman with him seems far more interested in joining the other party, which we find out is a party indeed: The black man and white woman are utterly euphoric in each other's arms.
The dark black skin on the negro against the white background makes him stand out, as does his ebullient smile. Who wouldn't want to be with this man instead of the white guy, who is essentially a no-show in this photo. The white woman here seems positively thrilled to be racemixing. All the white girls who see this ad will subconsciously think: to really be happy in life, I need to find a big, smiley-mouthed black guy.
Many women will mentally fight against this programming, but many will give in and race-replace themselves, the latest victims in The 21st Century Image War.
Africa for the Africans, Asia For The Asians, - White Countries For Everybody! - Google it.
Another massive budget expended to promote white self-loathing and black supremacism.
This Fed-Ex commercial has all the usual Anti-White Media indicators:
a) A know-it-all, suave, cool black guy in charge of everything. (They cast a Morgan Freemanesque character to assure the public: what we have here is a "magic negro," so you know he should be listened to with a kind of religious deference.)
b) An effeminate, incompetent, white fool whose decisions wreak havoc on the city, potentially killing millions.
It is only through the assuring sagacious commanding presence of the black boss that people's lives will be spared from what white incompetence hath unleashed.
Transatlantic flights allow me to see the kinds of movies I would normally avoid--the kinds of brainwashing sessions to which mainstream America and the world in general is relentlessly subjected and--what is even more tragic--even pays hard-earned money to see.
Unstoppable is one such film. Like the appalling brainwashing-session-disguised-as-a-film Far From Heaven, also seen on a transatlantic flight (see the posting for November 26, 2010), Unstoppable runs rife with Anti-White imagery.
Indeed, such is the Anti-White bias in airport films that I am beginning to suspect the FAA has some hidden requirement that all airlines must propagandize for ZOG. Unstoppable shows one situation after another in which whites are shown as corrupt, dumb, incompetent, lazy, or vulnerable--whereas blacks are in every case morally flawless, giving, caring, concerned--the knowing benefactor.
The trailer alone gives us plenty to work with.
Here, within the first five seconds, we know it is the white man who can't keep a domicile intact. The white man is "sorta" married, while Denzel Washington proclaims proudly that he has "two beautiful daughters."
At :10, a gaggle of white kids are being instructed in railroad safety by their black teachers.
The white girl at :15 seems impossibly frail and vulnerable next to the train bearing down upon her. But fear not, for a fearless black woman is there to save the day at :21--or at least she would, were it not for the bumbling, incompetent whites that surround her at :22. These dullard white men are responsible for the disaster that the black heroine spends most of the film trying to clean up.
This heroine and Denzel Washington, between them, are at their wits end trying to manage teams of white lackeys and pawns. But they are often frustrated by typical white incompetence. It is hard to perform miracles when your tools are so dull. See :38 and :40. You see, Mr. Washington needs to know where that train is, and probably would know, were it not for the whites at the other end, manning their control tower with boundless idiocy.
The screaming white kids at :48 wear on the nerves of the black heroine at :49. How will she save them? How will she save whites from their own incompetence?
Denzel Washington's white co-worker needs to be prodded into action. Without the black hero to coach them, train them at heroism, the whites will perish en masse in a world that they themselves have pushed towards catastrophe.
This film claims it was "based on true events." IMHO, you can file this film under fantasy...or even theater of the absurd.
I have been on the road, so pardon for the hiatus. And as I am still on the road, this post will be short and sweet. It is a companion piece to the posting of July 23rd of last year.
The format is the same: A beer wench who is intended to be "hot" (but really isn't) scolds a clueless white for being a clueless white.
At :05 the beer wench mentions that the white man is wearing his girlfriend's pants, just as he and a blonde woman are framed together. This subliminally connects the blonde woman, as a potential girlfriend, to the clueless white man.
Yet at :12 the camera inspects the man's phallus and it is found to be wanting. It is constrained by the girly pants. The white man is humiliated, emasculated, castrated. Then the blonde woman turns back towards the black guy sitting next to her at the bar.
As if that's not enough Anti-White imagery, the white man, at :25, goes on to get mocked and humiliated by a cool black guy at a table of jocks.
Two Anti-White moments in one 30 second ad? Coincidence? Not when being Anti-White is the new religious dogma, spewed from the media and the marketplace, everywhere you turn.
In-Yo-Face black guy makes incompetent white guy crash his car at :19.
Compare this to the cool, vaguely threatening demeanor of the black guy, at :20, who seems to be protecting his white wimminz.
The most insidiously subtle multiculti nonsense occurs just after the 7up-yours guy says: "We goin' global with dis baby!": Watch out for the final image, at :33, when, for a split second, two blonde women appear and he lasciviously eyes the one staring right in front of him.
Strange that even on a basketball court, of all places, the three people that get caught up in the black man's prank are all white. The white ref, the white player number 40 on the team with the white jersey, and the white player number 12 on the team with the dark jersey, all are made to look incompetent by slipping and sliding foolishly in the wet paint. Three whites victimized on a basketball court at the same time? What are the odds?
The video below similarly features reckless endangerment of whites. Though we cannot see the race of the drivers, the ironclad cultural link between whites and NASCAR makes this a not-too-subtle gesture of caucasian iconoclasm.
"Like shooting fish in a barrel." says the cool black guy after publically humiliating a white.
On the figurative level, this expression means that the white guy is easily duped, that he is simply too dim-witted to avoid being outsmarted by the black genius.
On the more literal level, he is calling the white guy an inhuman or subhuman species, a worthless non-mammal who deserves to get exterminated en mass at close range.
7up: Suggestively selling white genocide since the 1990s. That's right.
I might not know the ingredients for 7up, but I certainly know what seems to go into making a 7up commercial:
Start with one cool black guy. Throw in a bunch of fat, balding, middle-aged white men in bikini bottoms. Have the black guy publically humiliate the white guys. And...that's pretty much it. Stir and serve chilled.
Maybe someday I will do a psychological study on why it is that SOME whites actually respond positively to this stuff. Apparently it makes them buy truckloads of 7up. But, more importantly, it also indoctrinates them to accept the idea that white heritage is something to despise, or at least ignore.
Social engineering propaganda disguised as a soda commercial.
For our next instalment in DOWN with seven UP week, we give you more violence towards whites, courtesy of Young & Rubicam ad agency, which is ultimately run by the tribalist Sir Martin Sorrell.
Note the white surfer at :11. Does this look like your average surfer physique to you? Maybe a channel surfer / donut eater. This white guy is not only fat and bald, but seems to have the brain of a 5 year old: "Hey Cool!" he says upon seeing the shiny green vending machine.
For his whiteness, he gets pummelled in the gut by a metal projectile. We are supposed to laugh. He's white, so we don't have to feel bad that the black guy has put him in harm's way.
Watch him crawl in humiliation at :29 while the smooth black know-it-all only jokes about his peril.
We have been taught our whole lives to be sensitive to "others," as a recent commeter has noted. The double standard here is quite glaring:
7up mocks the white, exalts the black. Let us, in turn, boycott the green.
In the red-and-green spirit of the holiday season, we turn our attention to 7up.
7up was a pioneer of Anti-White Media. In the 90s it set the trend that we have seen take over the commercial landscape ever since, that of the know-it-all black guy contrasted with the pathetic and ineffectual white.
We owe it all to you, the ultimate assholes at 7up.
In Issue 1, we have ultimate-black-asshole Orlando Jones actually physically harming a minor. But it's OK; the kid is white. So we can just laugh it off!
Who is responsible for this sad state of affairs in which kids can be harmed by adults as a kind of public spectacle, as entertainment, for the profit of massive corporations?
Who created this social environment, toxic to the mind, the soul, and the teeth? You might ask a member of our favorite tribe, the beautiful and charming Irene Rosenfeld.
Stay tuned for the next seven days, for "DOWN with seven UP" week.
Here's a blast from the past. It's Anti-White Propaganda disguised as an Office Depot commercial, circa 2002.
Ok, so you're an over-the-hill white guy. Where to turn for answers? Sure, you've got a lot of questions. As a white guy, you're a little slow on the uptake. But if Office Depot had their way, you would put your trust in smokin' hot blonde professional figure skaters and black guys. Call it a team of insight. They, and they alone, in tandem, would be able to solve all your problems and answer your many questions.
They'll try not to be too smug about it. I mean, what else might they expect but incompetence from a lazy, uncool, balding, overweight, dorky, moronic, slovenly, square, vacuous, dead-eyed, pasty-skinned, white guy?
'Tis the Season to Celebrate the Inescapable Fact that Western Culture has been co-opted by Jews and White-liberal-elitesters (aka PINK RABBITS) who seek to drive white men, and thus whites in general, into the dirt of non-existence, into genetic irrelevance, into genocide.
FYI: Mistletoe is an ANCIENT EUROPEAN symbol of divine MALE essence.[1][2]
How nauseating, then, that it presides over the union between this black man and this BLONDE WOMAN.
Also notable: this union is also ENDORSED and FACILITATED by another BLONDE WOMAN, who holds the mistletoe above the interracial couple, and who thus acts as a kind of priestess for them. For a moment, the two blondies and the black stud form a happy HOLIDAY INTERRACIAL THREESOME.
^ Freeman, Derek. "Thunder, Blood and the Nicknaming of God's Creatures," Psychoanalytic Quarterly 37:353-399, 1968, retrieved via PEP-web, 2 June 2010.
Sometimes I think the more subtle examples of anti-white media are the most insidious.
They are so understated that they often slip past your bullshit filter, and slide ever more sleuthfully into your subconscious.
Consider this video as an example of such subtlety. If you blink, you miss it. The key role is the video's main "white" foil/antagonist, who appears at :35.
His position in the video and his whiteness is hardly an accident. Contrast him in your mind to the video's two black heroes, the honest player and the honest coach.
Already at the :04 second mark this video establishes a blacks vs. whites motif, when the black kid dribbles past the whitey and dunks on his sorry a**.
But then we see how selfless the black hero can be. With his puppy expression, he selflessly pleads to his coach to correct a ref's bad call, though he knows the correction will go against his team and disappoint his teammates.
And now comes the white kid at :35. The casting criteria was settled by the producers, who needed a morally bankrupt, physically ugly, sneering white kid.
Indeed. This video is not really about "How to Be a Good Sportsman" after all. No. That's just its stealth crypto-cloak. Its real agenda is to spread New World Order propaganda: Degrade the white. Always humiliate him. Uplift and praise the black. Even on stupid sportsmanship commercials. This is the new divine media law, ne'er to be gainsaid.
You'd think that once in a while a black woman would come along and ask ever so politely why she never gets any screen time hanging on the arm of a black, let alone a white, man.
