Fade to Black
The darkening of our screens and stages and its part in the theft of our past and future
YOU FLY into London on a British Airways plane on which you are shown an animated film about safety. It stars a cartoon Black man with his cartoon White wife and their cartoon mixed-race child. You pass through immigration control and are poked and probed by Brown people wearing hijabs and turbans who jabber at you in an unintelligible version of the English language. Heading for the tube you pass a poster that shows a Black woman dressed in Elizabethan garb beckoning you to the Globe Theatre.
On the ride into town you see posters for the latest West End plays. There are productions of Shakespeare’s Richard II and Henry V starring
Black women in the title roles. (The critics rave that these classic
plays finally make sense.) There is also an Asian actor playing David
Copperfield and Christmas pantos starring Blacks and Asians as
Cinderella, Dick Whittington, and Snow White. Next to the entertainment
ads are those for mortgages and mattresses all featuring Black men with
White women. And, they are almost always blonde women.
You get home, put your feet up in front of
the TV and notice that there are an unusually large number of Brown
people on the streets of Victorian London as depicted in the BBC’s
latest version of A Christmas Carol. And the villages of Midsomer are teeming with more people-of-color than your local benefits office. Even Doctor Who is
suddenly a Black woman! You channel surf and are confronted by Black
vikings, Black centurions, Black Tudors and an Asian King Arthur!
The news is read by a Brown person. The
weather is given to you by a Brown person. Your favorite gardening
program is presented by a Brown person. The Brown person presenting your
favorite wildlife program explains without a trace of irony the danger
of extinction faced by native fauna and flora due to the invasion of
alien species.
In disgust, you turn off your TV and browse
through the latest brochure from the National Trust. But something is
odd — most of the people shown wandering around the stately homes of
England are Brown. The mothers of the large, happy families in the
photos wear Muslim or Hindu garb. The only White faces are those of
blonde women holding hands with Black men and their mixed-race children.
Meanwhile, your teenage son is in his room
playing a new computer game set in World War I. But, in this version of
the Great War, the trenches look like a Saturday night in Brixton and
the game’s logo is the face of a Black Tommy. You wonder if you have
slipped into an alternate universe or are dreaming. But you aren’t
dreaming. You are living through a waking nightmare. And I can tell you
why.
I’ve been a professional actor for fifty
years. I’m also a proud member of that most despised of all groups — old
White men. I’m not a star or even a semi-name but you have probably
seen and heard me many times. I know the world of advertising and show
business. And I know how, why, and by whom our screens are being
darkened, I am being denied work, and our past and future are being
stolen from us.
The answer is BAME. It stands for “Black,
Asian, or Mixed Ethnicity.” And that acronym is now an essential part of
every media company’s ethos. When a “brand” is hiring actors for a
commercial or a production company is hiring actors for a play, movie,
or TV program, they proudly trumpet the fact that they prefer to see or
will only see performers who are BAME. (Imagine what would happen if
someone advertised with a preference for White actors and actresses.)
The Cultural Marxist octopus has many
tentacles and has been at work in all the arts for many decades. As a
child in 1950s America, I saw early attempts at “color-blind” casting.
But, in the 1960s, the prominent New York theatrical producer Joseph
Papp started pushing non-Whites big time in his Shakespearean
productions in Central Park. (You will not be surprised to learn that
Papp was a Jew.) I suffered through many productions of Romeo and Juliet with
a Black Romeo and a White Juliet. Or a Black Macbeth and White Lady
Macbeth. The audience “wasn’t supposed to notice” these racial
absurdities and anyone who did was a “racist.” So, most people pretended
not to notice — and they still do.
Oriental audiences are more forthright in their opinions. They want White heroes. Star Wars films that feature Black actors flop in China — a very important film market. So, the Star Wars producers avoid putting Black faces on the film posters. And, the latest Star Wars had to remove a “gay” kiss to make it acceptable to Orientals who want their heroes straight, too.
We Occidentals feel the same, even if most
won’t admit it. We vote in private with our money. The producer of the
mega-successful comic-book “cape hero” film franchise let slip at a
convention that movies and action figures based on non-White characters
don’t sell — worldwide. The sale of dolls, clothing and mugs, etc. is a
major part of the profit stream for any film or animation. It is a
racially revealing economic fact that Black Barbie and Ken dolls don’t
sell — even to Black kids. “Gay” and trannie Barbies and Kens also
gather dust on store shelves. White heterosexuality is the go-to choice
for everyone.
But, shouting “commercial considerations be
damned”, the Cultural Marxists have doubled down in Britain and are
putting propaganda ahead of profit. The British Film Institute (BFI),
which bestows crucial funding to film projects, fell into the tentacles
of one Josh Berger, an American Jew with a long Hollywood history.
Under Berger’s malevolent influence the BFI
has mandated higher levels of BAME. Any production that does not meet
the set levels will be denied funding and thus any chance of
distribution or awards. It will be dead. So, producers genuflect to
globohomo and grind out the anti-White, anti-heterosexual,
anti-Christian propaganda that pollutes our screens. Adding insult to
injury, we are paying for this filth because the majority of the BFI’s
money comes from the UK taxpayer!
The levels of “race and gender-blind” casting mandated include:
• At least one lead character must be non-White
• 50-50 male-female ratio in entire cast
• At least 20% of cast must be non-White
• At least 10% must be LGBTQ
• At least 7% disabled
• A large proportion of plot lines and filming locations must be set among underrepresented groups.
• 50-50 male-female ratio in entire cast
• At least 20% of cast must be non-White
• At least 10% must be LGBTQ
• At least 7% disabled
• A large proportion of plot lines and filming locations must be set among underrepresented groups.
With those parameters in mind, try writing a
film that should by natural law, reason, and historical fact be set in a
White, male world. How can you fit that many women, homos, lesbians,
trannies, Hindus, Muslims, Sikhs, Blacks, and crippled, cis-phobic,
bi-curious Eskimos into a Lancaster bomber, a monastery, or the Alamo?
And, I wonder if these same race and gender targets will apply if an
all-Black film company sought funding for a movie set in a lesbian
bathhouse in Somalia? Would the screenwriter have to find a way to
squeeze White, Christian, hetero males into the steam room?
We aren’t being betrayed by the BFI alone.
The British Academy of Film and Television Arts which bestows the
prestigious BAFTA awards is equally on-board the globohomo express
though it is (small comfort) privately funded. Still, if you want to win
a BAFTA you must bow down to the Cultural Marxists who run that outfit.
And British Equity (the actors’ union)
promotes and protects every race but White. It cares nothing for the
race that only created theatre, film, television, radio, the Internet,
and trade unions! It promotes and protects every sexual persuasion but
heterosexuality. My union dues are currently paying for a campaign to
ensure that “trans” actors get to audition for roles of any gender
including those of the gender they claim to have left. Meanwhile, I
can’t get an audition to play an old White guy because it’s being played
by a Black female-to-male trannie!
The BBC admitted that its “race-blind”
casting of period dramas is not historically accurate but feels it is
important to do it in the interests of cultural cohesion. Well… if this
BAME business is not part of an anti-White agenda but just a
well-intentioned attempt to make us all race- and “gender”-blind then
when do I get to play Martin Luther King or Winnie Mandela?
Meanwhile, for all their disingenuous calls
for race-blindness, Black performers insist on race-based preferential
treatment and love “acting Black” — especially in period dramas. Notice
how Black actors in plays by Shaw, Ibsen, or Wilde will use a ghetto
pose and vocal inflection to get a cheap laugh. They are Black to their
bones and they know it and are happy to play the minstrel if it’s to
their advantage.
At this point a few questions come to mind.
If non-Whites were important personages in what we thought had been a
White world then what the hell are they complaining about? If Blacks
really “wuz kangz” as the Black Israelites proclaim (including kangz of
England) then where was the discrimination? And, if Blacks were capable
of achieving so much back-in-the-day, then what the heck happened? Did
they simply forget how to be physicians, scientists, architects,
engineers and, yes, kangz?
Remember those National Trust (NT) brochures full of photos of happy smiling Brown people? They are a staged hoax. The National Trust advertised on casting sites all over Britain for BAME models and actors to pose as visitors and staff at stately homes. But, in reality, if you visit NT properties you will see that with rare exception they are delightfully White in both staff and visitors.
Still this hasn’t stopped the NT management
from pushing globohomo. They “out” and promote queer members of the
families that owned the properties. And they suggest that bent Uncle
Bertie was the best of the bunch. The NT even tried to force its
volunteers to wear rainbow flags but most refused. Meanwhile, when I
speak privately with older NT volunteers, I find they have fond memories
of Enoch Powell and Oswald Mosley.
I have starred in many TV commercials for
top brands that were broadcast worldwide. I assure you that it isn’t
merely fashion or whim that matches so many Black men with White women.
In a thirty second commercial every second counts and nothing appears on
screen by chance. I have seen directors, clients and cameramen almost
come to blows in arguments over the color of my shirt. How much more
debate has gone into the color of the actor’s skin?
No, these racial pairings are not
accidental but are blatant attempts to break down the resistance to
race-mixing from all races. Listen to Black talk radio programs and you
will hear Black women weep that Black men are encouraged to get blondes.
In fact, Black nationalists (our mirror image and possible allies)
believe that race-mixing is the ultimate sin. And we know what happens
to Asian girls who race-mix. But, as with films, the Cultural Marxists
don’t give a damn and plow on, sacrificing profits for propaganda.
Case in point: Gillette recently ran an
anti-male ad campaign that suggested all men (especially White men) are
sex-pests. White men were outraged. This campaign culminated in an ad in
which a Black father showed his daughter who had “transitioned to male”
how to shave. This time Black men were outraged. This PC campaign cost
Gillette a record amount of profit. But its CEO said it was worth it to
promote “diversity.”
Alongside the tribe that foments and feasts
off our replacement lives an opportunistic parasite — the Black “race
hustler.” The uber-obnoxious Whoopi Goldberg is a master of this scam.
And, despite being as funny as a fire in an orphanage, Whoopi has made a
fortune playing the fat, sassy soul-sista who is the repository of all
wisdom. (Sort of an X-rated version of Mammy in Gone with the Wind or a potty-mouthed Aunt Jemima.)
You’ll notice that this smart, sassy maid
stereotype is a staple of sitcoms. She is always the smartest person in
the house she cleans. She’s certainly smarter than the doofus White dad
who is the butt of all her jokes. (There is literally a genre of US
sitcom called “Doofus Dad.”)
Believing her own bullshit, Goldberg has
morphed into a political pundit. She holds forth daily on US TV on all
manner of subjects while injecting the race card into all of them — no
matter how misplaced. She gets away with this because Whites are afraid
of challenging her lest they be called “racist.” Believe me, if you
think Jews are good at squeezing the “Holocaust” into any discussion,
you ain’t seen nuthin’ till you see Whoopi at work. (We have the Jewish
director Mike Nichols to thank for Goldberg’s rise to fame.)
Another race-hustler is Bonnie Greer, a
smug, American Negress based in the UK and a poor man’s Goldberg. Greer
is a regular on BBC political chat programs where she is introduced as a
“noted American playwright.” But I challenge anyone on either side of
the pond to name a single Bonnie Greer play. In fact, in America she is
entirely unknown. The woman is a fraud. And, like Whoopi, she benefits
from Whites’ reticence to call her out.
The BBC loves wheeling her out because it
allows them to tick certain boxes on their diversity chart. Foreigner.
Female. Black. Greer’s many appearances allow her to shoe-horn the race
card into every subject imaginable while demonstrating the stultifying
banality of her opinions. But, I gotta give this sassy, soul-sista
credit because with no talent (especially no playwriting talent) she has
become the House Negro of the British middle class and (wait for it) — a
board member of the British Museum!
Homosexuals are also useful idiots for
their Cultural Marxist masters. They’ll do anything if it gives them the
chance to snort poppers and wear frocks. Meanwhile, the lesbians
happily play along because they get to wear the pants on stage in
taxpayer-funded all-female Shakespearean productions. It is true that in
Shakespeare’s day young men played the female roles. But, this was not
transvestism by choice. It was necessary because women weren’t allowed
on the Elizabethan stage. And there was no kissing or touching in the
original productions.
Homosexual playwrights, directors, and
designers rarely miss a chance to demean Whiteness and masculinity and
to degrade females. In a recent London production of a play based on
Patrick Hamilton’s brilliant WW2 novel The Slaves of Solitude,
the queer director and adapter changed the American GI who was the
play’s love interest into a Black soldier. This was impossible casting
for all sorts of reasons. But it allowed the queers to indulge in their
own fantasy of having a Black buck ravage the spinsterish English
heroine.
There have been many other instances of
plays and musicals being mangled by ludicrous race and “gender-bending”
casting. Edward Albee, Arthur Miller, Tennessee Williams, Noel Coward,
and Rodgers and Hammerstein all forbade such changes. Some of those men
were homosexual but they still recognized cultural vandalism when they
saw it. Sadly, their estates are managed by their PC grandchildren
determined to make their Grandpa’s back catalogue hipster-friendly. That
sound you hear is of those disrespected gents turning in their graves.
Meanwhile, the hypocrisy of the Cultural
Marxists and their apparatchiks in the arts is stunning. They live in
the Whitest communities they can find and send their children to the
Whitest schools. (The Clintons live in the Whitest zip code in America,
and Jewish Bernie Sanders moved from multi-ethnic Brooklyn to Vermont —
the Whitest state!) The only contact these hypocrites have with any
non-White is with their Black maids. And, if she gets too sassy, they’ll
fire her Black ass.
As employers these showbiz Marxists are anything but progressive. All the major film, TV, and commercial producers including the big streaming services film their projects in poor countries. South Africa and Eastern Europe are especially popular. They do this to bust the performer’s unions in the US and UK.
This anti-worker behavior is nothing new. In the 1930s, the Jewish movie moguls who ran Hollywood hired goon squads to bust up organizing meetings for the Screen Actors Guild. Meanwhile, British Equity is too busy creating new genders to act as a genuine trade union and fight the media giants.
These media “liberals” also go abroad to
abuse and exploit the local actors and crews. The same producers and
stars who cry on the awards shows about Trump and climate change and
animal rights allow film extras to be treated like cattle — forced to
stand in the cold and wet for many hours (sometimes all night) and given
little or no food and very meagre wages.
I’ve had extras beg me for food while the
loud-mouth lefty stars dined like Meghan Markle. And the film crews are
forced to work round the clock which leads to unsafe conditions. I have
seen actors and extras almost decapitated by machinery. I have walked
off unsafe sets but most actors are afraid to stand up for themselves.
If I sound angry it’s because I am. And I’m proud of it. I’m also proud of my history, heritage, and culture and I’ll be damned if I’ll let anyone degrade, destroy, or steal them. My anger is fueled by the blood of my ancestors that flows through my veins. And as long as that most precious blood flows through me, I shall do all I can to expose and resist the deliberate genocide of our people. A genocide that is being dramatized and broadcast. On prime time. And we are paying to watch the spectacle.
If you don’t believe me, just go to a movie or play. Turn on your radio or TV. Or, just open your eyes. It’s happening. It isn’t a sitcom or movie. It’s real. It’s deliberate. And we can stop it. But the entirely legal means of doing so are best discussed elsewhere. In the meantime — Hail Victory!
===============
Editor’s Note: Jack Antonio is the author of Boy Outa Brooklyn — a murder memoir. It is available on Amazon as a paperback and eBook and from all major eBook distributors. Or, visit Jack’s blog at http://boyoutabrooklyn.com/2020/06/20/fade-to-black/
Editor’s Note: Jack Antonio is the author of Boy Outa Brooklyn — a murder memoir. It is available on Amazon as a paperback and eBook and from all major eBook distributors. Or, visit Jack’s blog at http://boyoutabrooklyn.com/2020/06/20/fade-to-black/
This article originally appeared in Heritage and Destiny a
bi-monthly 24-page magazine, published in the UK, to reflect a cross
section of 21st century racial-nationalist opinion. For a sample copy
please send $10.00 to; H&D, 40 Birkett Drive, Preston, PR2 6HE,
England, UK. For full subscription details check out heritageanddestiny.com
Of course there’s also all the KMAC interviews and talks and so much more that their dirty Globalist hands are yet to destroy.
Having said this there are people out there who can navigate through all the subversion and still find material that doesn’t insult the intellect too much. They have my utmost admiration for their persistence.
BTW, what a savvy article by Jack Antonio, obviously someone with great wit and insider perspective!
1961: “Two Rode Together” / “The Last Sunset” / “One Eyed Jacks” /
1962: “Ride The High Country” / “The Man Who Shot Liberty Valence” / How The West Was Won” / , not to speak of “The Wild Bunch” in 1969 / “The Man With No Name Trilogy from 1964 to 1966 – “A Fistful Of Dollars” / A Few Dollars More” / The Good The Bad And The Ugly” 1969 : Once Upon A Time In The West” / “True Grit” / in 1972 “Chato’s Land” and a trilogy of Westerns with Burt Lancaster, in 1971 “Lawman” & “Valdez Is Coming” / 1972 “Ulzana’s Raid”. And two more versions of the 1959 classic, “Rio Bravo” > in 1966 “El Dorado” and in 1970 “Rio Lobo”. Search within these post-1960 years and you’ll find many more, including from the eighties unitl now. Not often but of value.God Bless, Aristo Boho
Well named, and even though there are few some exceptions in the palpably changed post 1960 period, one or two of which you have listed, we’ll just have to differ on that. The classic Western, like the rest of the culture, was subverted at an accelerated rate from that date.
August 1, 2020
https://www.lewrockwell.com/2020/08/allan-stevo/the-story-they-want-you-to-believe-why-didnt-more-americans-resist/
Rub a dub dub,
Three men in a tub,
And who do you think they are?
Wrong racist!
The Beninian, the Botswanian,
And the Cape Verdean.
All of them crossed the sea.
All of them now leading the fair.
I know the names of the powerful group…
I know the names of those who, between one mass and the next, made provision and guaranteed political protection…
I know the names of the important and serious figures who are behind the ridiculous figures…
I know the names of the important and serious figures behind the tragic kids…
I know all these names and all the acts (the slaughters, the attacks on institutions) they have been guilty of…
I know. But I don’t have the proof. I don’t even have clues.
– Pier Paolo Pasolini. God Bless, Aristo Boho
yes, sigh… we know, we know. We have known for years- decades even.
“And we can stop it”
How?
There’s a vast difference between treating all humans with dignity and lowering oneself willfully, giving away one’s treasure and knowledge simply to try and prove the absurdly impossible – that all humans are equally capable of anything and everything. Europe’s future is now clearly visible. It will die and it deserves to die because of the stupidity of the majority of its people, who vote time and time again for political parties who aim explicitly to remove all content from the European form and instead replace it with alien content – imagining in lunatic fashion that the Form will yet retain its substance. It needs to be said. White people are now certifiably stupid.
Yes, and God help anyone who in the decades past til now dared to point out this bleeding obvious fact!
The microbe called democracy—not a Jewish invention, but one they have learned to manipulate and profit from—has produced the true pandemic that is crippling the people of the formerly Christian West and of its mutated offspring, the United States. Its most characteristic symptom is the delusion of those infected that they are their own ultimate rulers. Its most virulent symptom is, not stupidity as such, but something far worse: the delusion that they are smarter than their ancestors and contemporaries.
I suppose that in the sense that the worst ignorance resides in the ignorance of one’s ignorance, white people today might indeed be especially stupid. The depressing sea of masked white faces that greets a person when he goes outdoors leads him to the sad conclusion that the essentials of TOO’s summons to our countrymen, “look about you closely, and reflect upon what you see,” have fallen on deaf ears.
For that reason alone, no to discount his impressive articulacy, this wonderful article places me squarely in Jack Antonio’s debt. If I thought it would do him any good (I know it won’t), I’d gladly buy any soup, countertop cleaner, or dessert topping the commercials he participated in were flogging.
I am sure that no TOO frequenter doubts that similarly perverted distortions of reality—and similarly perverted people—are ubiquitous in the US “entertainment” racket, too. The sole difference seems to be a lack of domestic canaries: no white actor resident on this side of the pond has Jack Antonio’s careerism-be-damned fortitude.
https://duckduckgo.com/?q=european+people+history&t=hk&pn=3&iax=images&iai=https%3A%2F%2Frealhistoryww.com%2Fworld_history%2Fancient%2FImages_Etruscan%2FMap_people.jpg&ia=images
I listen every day to a classical radio program when in the kitchen. The programming is disgusting. You will not hear too often Bach, Mozart, Beethoven, Monteverdi but a lot of twentieth century music – often by jewish composers – and ‘forgotten’ black composers, some of them women. The music they play often (if not always) is mediocre but always accompanied by comments like ‘a great composer who was way ahead of his or her times’; ‘what a loss he/she could not give us more of this wonderful music because discriminated or perished in the holocaust’.
It is sickening!
My point is that the blackening of western culture is throughout the western world.
I myself am a huge fan of black music: Motown or blues. But I hate to be tolled that some minor non-white composer of classical music is as great as the great white composers.
His company “Global” own at least 8 major radio stations in the United Kingdom – they also own a large chunk of outdoor advertising.
Most of the people on the board of directors are Jewish, yet you never hear a peep from anyone about the sheer lack of diversity.
https://youtu.be/YQQokcoOzeY
I like the song but will no longer listen to it, or anything else by that artist. If I knew the record label I’d boycott all of its output.
The only way to stop this pernicious hate propaganda is to stop consuming it. Unfortunately most white people like it and devour it with gusto.
Because of their association with quicksilver’s poisonous effects, these allopaths came to be called “quicks,” “quecks,” or, most often, “quacks” as a form of shorthand. Both how ironic and how typical it is that those following in the footsteps of the original quacks—an ever larger number of whom are (((quacks,))) of course—should now tar their competitors with the very brush they stole from the exponents and beneficiaries of traditional medicine!
No. Actually… DON’T go to a movie or play. Turn OFF your radio and TV. Just close your wallets to the demons who produce this filth. I haven’t watched television in ages and I don’t miss ANY of it. On the rare occasion that I happen to walk into a room with one on, it almost ALWAYS has one of the unnatural scenarios or anti-white cast the author wrote about. If we’re not yet ready to take back our world by force, then at LEAST refuse to imbibe the enemy’s evil propaganda.
https://www.youtube.com/watch?v=ikCoIj34QNE [4 minutes trailer]
I try from time to time some new Hollywood “blockbuster” but usually cant stomach it to the end.
So its US movies up to about 1990 for me.. There are also good European movies especially French and Italian.
However there is no need to despair. There are a lot modern fantastic movies and serials. Where there is no Jewish and Indian IT geniuses showed down your throat. There is no revelation that it is a Black women has been in the heart of Apollo Space program. No all possible humiliations of dumb , cucking, disgusting White males by noble POC.. No advertising of all form of sexual perversions..
There are movies and serials about romantic relationship between man and woman, value of hard work and education. Exciting adventures. Movies that have actual plot. Movies not created in assumption that audience is dumb.
I’m speaking of course of Japanese , Korean and lately some Chinese movies. Which way superior IMO to Hollywood movies.
Here’s an example of 1984 vs. 2006.
I was recently watching the original Miami Vice series, and I realized it’s a bit different from what I remember about the movie remake that I had seen before. In the original, Crockett is an experienced undercover narcotics officer, and Tubbs is the new kid in town who has a bad habit of getting emotionally involved with the women he’s investigating. Still, they’re equal partners. In the remake, it’s Crockett (Colin Farrell) who gets involved with a woman and puts the case at risk, and Tubbs (Jamie Foxx) who has to caution him. There’s a scene where they’re undercover, and a criminal they’re trying to get into business with says he likes Tubbs but not Crockett, implying that Crockett may be a cop. Tubbs talks them out of it. The roles are now reversed and out of character so that the cool black cop mentors the kind of lame white cop (whose original version was the coolest guy in the 80s). I remember Crockett being angsty too, which he wasn’t in the original (he also had a son and ex-wife, which were excised from the remake). Foxx also gets top billing for the movie and even stands in front of Farrell in the poster, even though Crockett is meant to be the main hero. Another little detail is that the theme song for the movie is rap, while the most iconic song from the series is by Phil Collins (I don’t dislike the rap song though, and it goes well with the trailer, but it’s another sign of the times).
Another possible example is Men in Black. I didn’t see Men in Black International, but the vibe I got from the trailer and some of the reviews is that the black woman is a know-it-all and his senior white male partner is a goof. In the original there was no question that Tommy Lee Jones’ character was the veteran and Will Smith’s character the bumbling rookie who tries to keep up (but you could read the story as the old white man passing the torch to the young black man).
In Australia within the Visual Arts I can confirm that the broad trends described above are well established. My niche area of classical art is becoming a smaller field, as the opportunities are going to minorities and post modernist causes. While we still have some independent commercial galleries as a platform and a culture of buyers who support artists like myself, the major institutions act as an independent branch of Government, completely on board with globohomo and the far-left progressive agenda. Art and activism have become one at this high end of the art-world. The social justice mindset is of course mimicked by earnest young artists, who model themselves on characters like Marina Abramović or other defiant, brave ‘outcasts’. As I get older I can recognise how our cultural context has been directed from above, to promote certain creative practices above others. Art is just one aspect of this greater societal project, described so well by Dr Kevin Macdonald in his research and so many other writers on this website. Such ‘cultural development’ in Western countries is now playing out in several hegemoneous East European countries. As I also lived internationally, I saw the same slogans and artistic genres pop up and shape their arts culture, of which the template was originally created in the USA. This appeared to play out the way pop culture was used as a weapon in many parts of the world.
Back in Australia, we coddle Aboriginal artists and their art- who need profound support to function as career artists. While many of them have been exploited, we can never talk honestly about differences between peoples and why it is they were taken advantage of in the first place. Outspoken white artists such an Ben Quilty can be thrust into the limelight- but who knows if its because of his artwork or the legion of social causes/ injustices that he champions. Richard Bell is an especially odious Aboriginal person, whose “artwork” is wholly about race hustling and demonising white Australia. In a famous example he won a major prize in 2003 with a piece that included the painted words “ABORIGINAL ART ITS A WHITE THING“. As Bell publicly accepted the award, being photographed with the sponsors he wore a t-shirt that read “WHITE GIRLS CANT HUMP“.
In advertising we too see a disproportionate range of coloured people, over the major white Anglo-Saxon stock. Our publicly funded news media ABC has many channels brimming with diversity, as we are given the privilege of learning about each unique cultural practice but our own and their point of view of us! Even classical music radio stations push the unforgettable compositions of Aboriginal composers, woman and minorities.
Meanwhile as I have returned to the area I grew up in, no longer are basic jobs for young people being filled by whites kids, but mostly Indians who talk incessantly on their phones in their own language as they work. It took me more than a year to get stable work in this area, partly because there are agencies who cater to large companies and provide a stream of internationals who get blue collar jobs instead of white locals.
This seems to be happening in the majority of commercials on t.v., so much so, that I am actually surprised when I see a white couple.
One thing that has struck me when seeing the commercials depicting a black man and white woman is why black woman do not seem to oppose this. God knows, they are extremely vocal about anything else that could be interpreted as racist. Surely this is very insulting to black women as a whole as one can only conclude that seeing the plethora of these ads on a daily basis that black men prefer white women over them. Obviously, white men would have no voice in this situation, as their opinions and feelings are worthless to the p.c. brigade, but black women certainly would. This would be the only way to change this from the norm on t.v. as it is certainly not the norm in real life.
As I mentioned in the essay, Black women do hate the race-mixing message of “Black man get yourself a Blonde.” Listen to a Black talk radio channel or read some Black romance novels and you’ll learn just how angry and insulted they are. I very much doubt that many Black women shed a tear for OJ Simpson’s wife.
The Black Israelites, Moorish Science Temple and Black Muslims are kooks but they all preach against race mixing.
Please visit my blog, I think you’ll enjoy its free-wheeling serio-comic style.
Be well,
Jack
I continue to value being part of TOO and knowing that I’m not alone in being aghast at the insanity in the media and elsewhere – the often seen Black male/White female scenario in TV shows and ads, etc.
Samuel Jackson seems to have only one acting skill – being an angry Black guy who puts down White folks
Hang in there folks – there’s always hope.