Archives for posts with tag: white people
George Trendle

George Trendle (1884-1972)

Earlier this week, Aryan Skynet’s Hipster Racist published a post titled “White Nationalists Should Take Over the Freemasons”. By coincidence, I just happened to come across the following passage in Native Americans on Network TV: Stereotypes, Myths, and the “Good Indian”, a study by mass media scholar Michael Ray Fitzgerald. Referring to George Trendle, who originally created the Lone Ranger character for radio, Fitzgerald writes:

One reason Trendle admired the Texas Rangers may have been that the outfit had been founded and staffed by Scottish Rite Freemasons, and Trendle himself was one. During the period The Lone Ranger was aired (1949-1957), Scottish Rite promoted the most extreme sort of racist views. The point here is that Trendle, as an active member of Scottish Rite, was steeped in these views. For example, an excerpt from Scottish Rite’s official publication, the New Age Magazine, published during The Lone Ranger’s first season, declared, “The hand of Providence has chosen the Nordic people to bring and unfold the new order of the world. … Providence has chosen the Nordic people because they have prepared themselves and have chosen God.” Belief in Nordic racial superiority did not originate in Germany: remarkably similar beliefs had been in circulation in England and in the United States (i.e., Anglo-Saxonism) before Germany emerged as a nation. According to Reginald Horsman, Anglo-Saxons have long believed they have a “gift for governing,” which they have a duty to bring to the rest of the world, whether or not it is welcome.

Where, then, does the American Indian fit into this worldview? In The Lone Ranger, Tonto serves as the Indians’ representative; he welcomes the white savior on their behalf. In turn he is accepted into the Anglo-Saxon-Nordic project if – and only if – he is willing to assist in this project of Anglo-American control of the land. Tonto becomes an apprentice white man, a Regulator, doing the dirty work for the white man. It might also be illuminating to ask, where do African Americans fit into this vision? The simple answer is they do not. Not only are blacks not included in Trendle’s vision of the Old West – even as third-class citizens – they simply do not exist. They have been, in [Cedric] Clark’s term, relegated to “Non-recognition” – or, as [George] Gerbner and [Larry] Gross would say, “symbolically annihilated.”1

It should be noted, however, that in a particularly striking instance of political correctness (given the standards of the time), the series converts the Indian into an ally of the white savior. “The villains on The Lone Ranger are always white men, even though a Texas Rangers historical site unequivocally states the organization was founded to fight Indians,” Fitzgerald points out2.

Rainer Chlodwig von K.

Endnotes

  1. Fitzgerald, Michael Ray. Native Americans on Network TV: Stereotypes, Myths, and the “Good Indian”. Lanham, MD: Rowman and Littlefield, 2014, pp. 44-45.
  2. Ibid., p. 36.

White Girl

Just when you thought the movie industry had hit rock bottom, along lumbers White Girl with its Jewish jackhammer to get at the rock beneath the rock. Following on the heels of American Honey (2016), White Girl exemplifies a long tradition of cinema that seeks to shock the sensibilities with its exposure of the wild rites of the rising generation – a genre that stretches from the earliest juvenile delinquent pictures up through the likes of Over the Edge (1979), River’s Edge (1986), Kids (1995), Bully (2001), Spring Breakers (2012), and Heaven Knows What (2014).

White Girl is yet another foray into the demimonde of ugly people in ugly clothes engaging in ugly, loveless dances and lewd acts to ugly, afro-degenerated soundtracks – with the difference that this entry makes its anti-white agenda totally explicit. Purporting to tell the true-life experiences of some lowlife named Elizabeth Wood, the story follows an Oklahoma City slut (Morgan Saylor) after she moves to New York – ostensibly in order to “study” – but instead uses her parents’ money to buy drugs and get into trouble.

Gazing longingly out the window of her apartment at a group of loitering mongrels, White Girl announces, “I’m gonna go get some” and so sets out on an odyssey of debauchery that will occupy the next eighty minutes or so. White Girl falls hard for hat-backwards barrio banger Blue (Brian Marc), who tenderly screws her against a wall. After Blue gets arrested, he trusts her to get his supply of dope back into the hands of his ruthless supplier; but, being the stupid White Girl that she is, she instead hopes to raise money for his legal defense by trying to move the powdered product herself – with inevitably catastrophic results.

Not worth watching more than once, White Girl is a nihilistic film that thrives on shocks and not much else.

3.5 out of 5 stars. Ideological Content Analysis indicates that writer-director Elizabeth Wood should be institutionalized for her own protection and that White Girl is:

3. Media-skeptical. At the very least, White Girl presents a sobering picture of the species of undesirables who seek employment in the media. The idiot protagonist, the sort of lout produced by a lifetime’s ingestion of mainstream media poison, has gone off to New York to study writing and the “liberal arts”. White Girl’s sleazy magazine editor boss (Jewish actor Justin Bartha, playing a character with the distinctly goyische moniker Kelly), meanwhile, hopes to inflate the value of some worthless artwork he bought by spotlighting the artist (“Rambo”) with a special profile.

2. Pro-drug. The script halfheartedly makes a distinction between marijuana and harder drugs – “We just smoke weed every day, all day,” explains one of the mutts – but all drugs are inextricably linked with sex in the film. The title character falls in love at first sight with a street pusher, and plying women with cocaine or alcohol comes across as an expeditious means to satisfaction. Kelly gains instant access to White Girl’s orifices when he lays out some lines of cocaine and essentially rapes her with little resistance and no consequences. The movie appears to want to dissimulate about its intentions and provides a couple of scenes of morning-after horror and vomit for plausible deniability; but the association of sex with drugs is undeniable in the face of such moments as a young woman snorting a line of cocaine from a man’s penis.

1. Anti-white. Whatever claim White Girl might have to being a cautionary tale is forfeited by the flippant choice of celebratory ape music about pimping white flesh to play during the closing credits. A Jewish triumphalist proclamation of victory in the face of ubiquitous European degeneracy, White Girl is nothing if not an expression of ethnosadism. Zio-prostitute Chris Noth of Sex and the City infamy puts a gentile face on the sleazy lawyer archetype in his role of George, the unscrupulous attorney White Girl hires to represent Blue. In one telling moment, a drop of wine trickles like blood from the corner of George’s mouth – a projection to the effect that whites, not Jews, are the vampires that prey on America. “It’s a really fucked up system,” this character explains. “You could have a white kid stab someone to death and he’ll get less time than a black kid caught with a miniscule amount of drugs. This is the way it is.” One of the movie’s objectives is to get across the propaganda meme of “white privilege”, with White Girl seen to escape unharmed, suffering no repercussions after precipitating what is likely the end of Blue’s career. He goes to prison while she, unperturbed, is accepted back into the fold of the “college” life. White Girl, unsurprisingly, was produced by a rats’ nest of ethnics including Ariel Schulman, Orlee-Rose Strauss, and Gabriel Nussbaum – all of whom, one can only imagine, are deeply concerned about the plight of white girls worldwide. Another producer, Christine Vachon, made The New York Observer’s list of “The New Power Gays” – homosexuals being Jews in spirit and politics.

Vachon

Kosher Lunch

Chris Noth

Chris Noth 2

Rainer Chlodwig von K.

buzzard

Writer-director Joel Potrykus and star Joshua Burge create one of the cinema’s great characters in Marty Jackitansky, as scathing a condemnation of this critic’s generation as has yet dared to bring the pain to the screen. Jackitansky is a loser, but seemingly unaware or unconcerned by this indisputable fact. He “works” for a bank’s mortgage division, but does little to earn his pay and actually spends most of his time devising ways of clipping the company for a quick buck. He orders useless supplies just to sell these back to the vendor for a cash refund, and even thinks he can get away with signing customers’ refund checks over to himself.

Jackitansky, a child of the 1980s, seems to have lost touch with reality sometime during the 1990s, as evidenced by the fact that he plays video games obsessively and yet refuses to use a computer because, as his even nerdier friend Derek (Potrykus) suggests, he is “scared of technology and robots and stuff.” He is young enough to suffer from the same desensitization and nihilism that characterize Generation Y, but too old to be comfortable with the personal technology that defines the social lives of those a few years younger.

Digital technology and an ineffectual public education system have left people like Jackitansky with little or no understanding of rudimentary math or economics. He blows all of his money on horror paraphernalia, and it never seems to occur to him to ration his limited resources once he goes on the run in order to elude the authorities. He thinks nothing, for instance, of eating out or throwing away the bulk of his dwindling cash on one evening in a nice hotel – and ordering room service, to boot.

Jackitansky is almost infectiously likable as an anti-heroic protagonist, his scams indicative of a creative if stupid and misguided resourcefulness and mischievously rebellious streak – at least, that is, until his anarchic revolt reveals itself to be little more than self-absorption and lack of regard for his fellow man. His intensifyingly hostile rudeness toward the admittedly goofy Derek kills any sympathy the viewer might have harbored until the point when Jackitansky finally becomes insufferable. Hoping to avoid detection by the authorities, he crashes in Derek’s father’s basement. Rather than being grateful, however, he dismisses his friend as a “fuckin’ loser” and even has the nerve to complain that his couch “sucks”. Buzzard progressively darkens in tone as the viewer begins to understand that Jackitansky is driven not by merely merry pranksterism, but by genuine junk-food-fueled psychopathy.

5 stars. Ideological Content Analysis indicates that this journey into the nightmare realm of cubicle jobs, adult virgins, and institutionalized alienation is:

4. Reactionary! Jackitansky, a representative socialist, has had his head filled with vague notions about the unfairness of capitalism. Consequently, he has no compunctions about cheating a “crap mortgage company” out of an honest day’s work or threatening or even attacking a small businessman (Joe Anderson), whom he accuses of “corporate thievery”, for standing in the way of one of his idiotic schemes. “I’m gonna strangle you and rape your fuckin’ face off,” Jackitansky tells him, unaccountably adding, “You’re the reason people get mad and die.” At the same time, not much can be said for an economy that reduces Derek, a man who appears to be in his late twenties or thirties, to living at home with his father. One could, if one chose to find an anti-capitalist message in Buzzard, interpret Jackitansky’s parasitic hustling as merely an echo and reflection of the unproductive vulture economy responsible for the subprime mortgage collapse.

3. Media-critical. A Freddy Krueger poster enlivens the protagonist’s apartment, the Nightmare on Elm Street films clearly furnishing the inspiration for the deadly weapon he fashions from a Nintendo Power Glove. That he chooses to make this game control into a weapon for use in the real world, too, indicates a dangerous confusion of reality and the virtual world of glorified violence. Jackitansky’s given name, Marty, carries for this reviewer associations with two other famous Marties of the American cinema: Ernest Borgnine’s conversely sympathetic role in the 1955 film of that title, and Martin Scorsese, a godfather of trivialized movie bloodshed. Jackitansky, unlike Borgnine’s Marty, allows his self-pity to drive him to lash out at others, with whom he is unable to empathize. Significantly, he wears a T-shirt advertising Demons (1985), an Italian horror classic about demonic creatures emerging from a movie screen to do their evil in actuality.

2. Anti-white. The Jewish-looking Jackitansky, asked about his unusual name, replies that his ethnic background is “White Russian”, an answer that verbally reinforces the character’s presumptive whiteness vis-à-vis the non-whites he encounters during the film. Blacks appear as orderly, clean-cut, honest workers, whereas whites are lazy, crazy, socially awkward, and criminal. A blond convenience store cashier (Alan Longstreet) cheats Jackitansky out of a five-spot. Others, such as Derek, who has “party-zoned” his father’s basement, or those who aimlessly vegetate at a hip-hop performance, waste their lives.

1. Anti-Y. Generation Y, as personified by Marty Jackitansky, has no work ethic whatsoever. It has been made self-absorbed and autistic by spoilage, instant gratification, and pop-cultural depravity.

Rainer Chlodwig von Kook

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AHauntedHouse

To make a comedy that will satisfy its target black audience, experience shows that it helps immensely for certain crucial elements to be firmly in place. Does A Haunted House fulfill these requirements? Serious students of cinema art are encouraged to consult the following checklist of quality standards, not only in judging the movie under consideration, but in all future encounters with the African-American comedy form.

1. Stupid honkies? Check.

2. Honkies with insatiable lust for blacks? Check.

3. Industrial-strength-funk toilet humor? Triple check.

4. Jewish names credited as producers? Check and double check.

Clearly, in renting or (preferably) purchasing the remarkable Michael Tiddes joint/cinematic celebration A Haunted House, the viewer has in hand what promises to be remembered as a timeless classic to rank alongside The Ladies Man and (yes, even) Who’s Your Caddy?.

The flimsy pretense of a plot concerns the haunting of live-in lovers Malcolm (Marlon Wayans) and Kisha (Essence Atkins) and serves to set in motion an unremitting cavalcade of hit-and-miss sight gags and surplus dirty jokes. In its defense, A Haunted House does contain a few genuinely amusing cheap laughs at flatulence, bad breath, body hair, the sight of Marlon Wayans sweatily humping multiple stuffed animals, shitting on his own carpet, and so forth, but the film is only recommended to non-whites or the most contemptible and unsalvageable of white ethnomasochists.

3 stars for the full, screeching, monkey-like intensity of Marlon Wayans’s physiological investment in his part, and Cedric the Entertainer’s earthy turn in a disappointingly small supporting role as a ghetto priest. ICA’s advice: for a funnier, less disgusting movie about spooked blacks bugging their eyes out and acting like utter buffoons, see Mantan Moreland in Lucky Ghost instead.

Lucky Ghost

Ideological Content Analysis indicates that A Haunted House is:

10. Pro-life. “But good thing that clinic was closed,” Kisha’s mother (Robin Thede) says, remembering how she almost aborted her daughter. “Hoo, God is good.”

9. Sexist! Kisha once made a deal with the Devil for a pair of designer shoes.

8. Pro-gay. The ghost has anal sex with Malcolm, and psychic Chip (Nick Swardson) slobbers over the chocolate comic stud and gropes him in every scene in which the two appear together. Kisha experimented with lesbianism in college.

7. Pro-drug. Malcolm and Kisha get high with the ghost (see also no. 4).

6. Anti-gun. Malcolm promises Kisha that no harm will come to her “unless a nigger got a gun – and then you on your own.”

5. Anti-marriage/anti-family. Each couple in the film illustrates the new, childless norm of the West. Dan (David Koechner) becomes hysterical as he remembers how he caught his wife having sex with a mail carrier.

4. Anti-Christian. Father Williams (Cedric the Entertainer) keeps weed in his Bible and cocaine in his crucifix. While possessed, Kisha masturbates with a cross.

3. Racist!/anti-immigration. Mexican housekeeper Rosa (Marlene Forte) is irascible and duplicitous, pretending not to know English when in actuality she speaks it fluently. Kisha, displaying the typical touchiness and quickness to anger of the entitled American negro, suspects Rosa of seducing Malcolm and boils over with rage when Rosa uses the word “negra” (black), with Kisha mistaking it for “nigger”. Further tarnishing the reputation of Hispanics are the revelations that Rosa is running a cocaine ring out of Malcolm’s house and that she is also a murderess and nymphomaniac who has sex on the kitchen table while her employers are away. (Contrarily, if the intention is to portray Mexican women as sexy, sexually available, and proficient in English, then A Haunted House could be interpreted as favoring immigration – at least from the male standpoint – which, considering that one of the screenwriters is named Alvarez, is arguably more probable.)

2. Anti-white. The Caucasians in A Haunted House are awkward, neurotic apes obsessed with stereotypes of blacks. Chip, for instance, assumes that Malcolm plays basketball, while Dan the Security Man (David Koechner) has hardly set foot on the property before he starts blabbing about fried chicken, ribs, hot wings, cornbread, and watermelon. For some reason, he also begs Malcolm for permission to use the word “nigger”. “You can call me a cracker .  . . Let me say it.” Dan’s partner Bob (Dov Zakheim lookalike Dave Sheridan) is brain-damaged, illiterate, and, like Dan, a racist. When the pair first meets Malcolm, Dan asks if the owner is home. “You’re talkin’ to him,” Malcolm answers. “Yeah, right,” Bob objects, clearly disinclined to believe that a black man could be the legitimate owner of such a nice suburban home.

1. Pro-miscegenation (i.e., pro-AIDS). Not only are whites in A Haunted House as dumb as dung; they are also racially suicidal and bent on miscegenation at the cost of every dignity. Sickening prostitutes Alanna Ubach and Andrew Daly play the protagonists’ white friends Jenny and Steve, swingers who constantly try to get Malcolm and Kisha to swap partners. Hoping to entice them, Jenny flashes her breasts and snaps her teeth like an alligator, while enthusiastic cuckold Steve proposes to “double-stuff the Oreo a little bit, huh? Dirty up the white snow . . . black poles, white holes . . .” Finally, the couple settles instead for a “Mandingo party” or black-on-white gangbang with Malcolm’s primitive cousin Ray-Ray (Affion Crockett) and other subhumans assembled to do the job. This scene, which graphically visualizes a bare-bottomed ogre in the process of turd-rodding ecstatically grinning Jenny, is easily the most depressing thing this battle-hardened reviewer has witnessed in some time.

To see that Universal Studios, a brand once known for genre classics like Frankenstein and Jaws, has sunk to distributing biohazardous sludge like this is to realize how close to death this civilization really is. Ubach’s IMDb profile claims that this indeterminate slimewad is “Half Mexican and half Puerto Rican”, but she is no doubt supposed to be portraying a representative Caucasian human female. In any case, this person deserves the scorn of white moviegoers everywhere, who would be entirely justified in boycotting any future productions in which she, Daly, or other perpetrators of this hideous scene participate. Of all of the values, ideals, or lifestyles that Hollywood might spend its time, vast resources, and influence promoting – bravery, devotion, tradition, forbearance, intellect, or self-reliance – screenwriters Marlon Wayans and Rick Alvarez and their backers instead expect audiences to be entertained by the sight of a white woman rapturous in self-immolation and racial death as congoids line up to use her twat for a toilet. Aesthetic considerations aside, one might think that a basic human concern for the public’s health would prevent these lowlifes from promoting promiscuous sex with blacks, one of the most frequent sources of AIDS. But sex hygiene is so boring and unprogressive, right?

future

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