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.
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/
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
Well, I stopped giving any of my money to the “woke” crowd years ago. I haven’t set foot in a theater or movie house in 30 years. No reason to. I have a TV set and I play my own western DVD’s. If I do watch cable TV I watch westerns. The people are White for the most part. You might see an occasional Hispanic or American Indian. The men are masculine and the women are feminine. I like the old TV westerns. The U.S. was a different country back then. It was better.
Someone after my own heart: no Westerns later than 1960 when they began unraveling the genre! I have recently found suitable viewing material for my downloaded collection here: https://www.youtube.com/c/PophistorieNL/videos Roger Moore as the Saint wasn’t hijacked nor was Gil Favor and Randy Yates.
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!
Dear Mister/Miss JM & Karen, I understand you both, as one who is involved in the Arts and greatly appreciates the Cinema. But JM, I must correct you that after 1960 there are many Westerns that are still of value, no less than excellent, unless of course for whatever reason you have decided to restrict yourself to a definitive period of time. This is not exhaustive, yet it is indicative of the fact I am pointing out:
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.
Dear Mister/Miss JM, You made me think of others I hold in high esteem: two with James Stewart, in 1968 “Firecreek” & “Bandolero” , four with Gregory Peck, in 1968 “The Stalking Moon”, 1971 “Shoot Out” ,1974 “Billy Two Hats” & 1989 “Old Gringo”, the Duke’s last film, 1976 “The Shootist” & “The Last Hard Men” , 1969 “Charro!’ and two with Jack Nicholson in 1966 “The Shooting” & “Ride In The Whirlwind”. I do not mind disagreements. But tell me what is in your opinion a sign of subversion of the Western? God Bless, Aristo Boho
Whites can only blame themselves…they allow and abet it.
By Allan Stevo
August 1, 2020
Looking forward to the update Mother Goose:
Rub a dub dub,
Three men in a tub,
And who do you think they are?
The Beninian, the Botswanian,
And the Cape Verdean.
All of them crossed the sea.
All of them now leading the fair.
There is only one definitive indicative fact about this article by Mister Jack Antonio: it is one hundred percent accurate and truthful. Not one tiny spot of mendacity to be found. And it is very but very depressing, and this is just the dress rehearsal for us who are of European blood: the final act is extermination. And, those who will carry out these homicidal acts are the same ones who’ve put into a position of power the non-White useful idiot, including the sexual deviants: Deranged Whites themselves, and they’re not necessarily all Secular Jews. I remember conversing with an actress who was with the Royal Shakespeare Company, and I said how fortunate she was to be with such an esteemed theatre company, and that I should love to do at least a season with them. Her reply to me, emotionally, passionately was, “Oh would you really? It is ever so prejudiced against Blacks!’ To which I said, “But I have seen a Black or two.” She enunciated with perverse cultural suicidal emphasis so as to make me understand the anti-Negro racism in the Royal Shakespeare Company, ” But they are not Black Black. Really Black!!! These actors and actresses are light! Not Black Black.” This is one example of the contemporary useful idiot of those in control financially, hence sociologically, at that time in 1993, in England, now all over the European Old and New World, except, not yet a common everyday phenomenon, in Eastern Europe or Latin America. Notwithstanding , it’s on its way there to. The preambles have been established as they were in North America and Western Europe: the lie of over-population, hence abortion. birth control, the legitimizing legally of bi-sexuality, homosexuality, lesbianism which legitimacy has further paved the way to transgenderism and the constant struggle to normalize pederasty and pedophilia, not to forget the drug culture. An absolute corruption of God’s greatest creation, the Human Being. The result before our eyes is that we have contorted minds represented by distorted personalities. And this detritus is going to care about the blood that flows in thier veins!!! We are alone my friend and we mustn’t look for approval or understanding for then we allow ourselves to not see the madness of our present existence.If one thinks not one had better wake up, for Cultural Marxism and the Anglo-Saxon World’s Capitalist Democracy is a never ending army at work. All of what Mister Antonio has written, and all the violence we observe to-day both physically with Antifa and Black Lives Matter, and Psychologically, with the sham of the Corona Virus Disease-2019, are just the first wave for the coming extermination: culling, rape, torture and final murder of us all. The theatrical rehearsal for all of this was The Arab Spring, if ever there was an Intelligence Operation. I know very well that there are genuine conspiratorial agencies behind this but the fault lies with the ignorance of the average White person who doesn’t have a centered moral code and ideology to depart from so as to enact a counter-revolutionary force. Go back a few years ago, as an example: when the Neo-Bolsheviks attacked The University Of California Berkeley in 2017 and 2019. Where were the counter-revolutionaries to defend her? Nowhere because they are non-existent. Mister Antonio continue to fight on, but remember most of your so-called fellow Europeans wherever, will never come to your assistance because they do not even understand what you wrote above which I PASTE herein:”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.” Yes, MIster Antonio, the blood that flows in your veins and your ancestors. I am of spiritual values and I understand you. Most Whites will think that your crying out for a blood transfusion. They have become excremental humanoids. Beyond ignorance. One last thought: the White Nationalists in primarily the Anglo-Saxon World and Nordicists are also co-responsible. Instead of al Whites being united they despise the Latin and Greek. and these latter two have contributed to their own destruction also with there Communist movements. A person like yourself Jack Oh Boy Outta Brooklyn has a pretty big battle to face, and you know what; since I totally agree with you, you’re at least not alone as far as I am concerned. And so from the specific blood in your veins I quote two Italians: one a great martyred murdered man by his own people, Il Duce Benito Mussolini, who stated that only the criminally insane would allow their nation to be overpopulated by those not of the Nation. and the response he gave to a Grand Imam in Libya who wanted a Mosque in Rome: “You want a mosque in Rome? Fine you can have it! But first let me build a Cathedral in Mecca!” In the eighties the Capitalists and Communists allowed a Mosque to be built in Rome, there’ll never be a Cathedral in Mecca. The second Italian I leave off with was an individual thinker of the Left, a Demonic Genius, notwithstanding gilded often with undeniable facts, who detested the homologation of Italy’s culture into one mess of indiscernible entities. both animate and inanimate. Here he is on those who control us and it is as if these words came straight from my own heart: I know the names of those responsible for the slaughter…
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
That was brilliant. Just brilliant. I only wish ‘black’ had not been capitalised. It’s just a skin tone – not a culture, and not an identity (unless you’re referring to that pantomimic swag referred to in the article itself.)
“It isn’t a sitcom or movie. It’s real. It’s deliberate.”
yes, sigh… we know, we know. We have known for years- decades even.
“And we can stop it”
I only watch TV programs from the 50s and 60s now (my childhood days) because I can’t bear the implicit, at times explicit, modernist messages and scenes in today’s programs. And besides, the current programming has plots that are disgusting and devoid of any interesting story lines.
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.
“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 overwhelming majority of humans who have ever lived, irrespective of color or race, have been stupid. Why else would every serious political philosopher from Plato to Tocqueville have considered democracy—what is widely mischaracterized as popular rule—the worst imaginable form of governance and invariably a cover for tyranny?
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.
Life in present-day alien-occupied, Jew-ruled America includes few reminders of the moral impact that one man with courage can make.
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.
Look at how they are blackening the people of Europe. It would be hilarious if it were not so insulting to intelligent people, black or white.
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!
Are you referring to ‘Classic FM’? If so, it appears to be one of the pseudopods of a company called ‘Global’, which is run by a jew called Ashley Tabor-King. According to Wikipedia, he ‘made his fortune through bookmaking, horsebreeding and property.’ The programme is, as you suggest, piss-poor.
I live in the Netherlands and I am talking about ‘Radio 4’, which is a classical radio station.
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.
Thank you Aitch. I had strongly suspected that Classic FM is a strongly Jewish-influenced radio company from the many clues it has given, culminating in the appointment of two new black presenters, the superannuated and characterless former newsreaders. It also promotes a certain black cellist and black opera singers,etc.
How on earth did this 43-year-old get to acquire such significant acquisitions at such a young age?
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.
Watch the video to to this song by DJ Quicksilver to see just how the cultural destruction of the West is being undertaken:
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.
Quicksilver = Quecksilber in German = mercury = poison ! In case you didn’t catch the intent !
A footnote: Starting in the mid-nineteenth century, the practitioners of what is now called mainstream medicine—called thus, be it noted, by the same people who have created and maintain the Regnant Narrative, though they are also and more impartially called allopaths (in contrast to homeopaths)—were differentiated in ordinary folks’ minds from practitioners of traditional herbal medicine by the fact that the former made abundant use of mercury (then called “quicksilver” more widely than it is now) a hallmark of their treatment regimen. The number of patients who experienced mercury toxicity, not infrequently resulting in death, had reached into the tens of thousands by the year 1900.
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!
Step 1 in any plan to “stop this pernicious hate propaganda” ought to be to rid your mind of the Jew’s vocabulary of indoctrination. Never characterize these talentless degenerates as artists, as you just did, and never use “culture” or a similar high-value term to characterize the debased lifestyle and degrading excuse for entertainment they call their own. Step 1a involves, to whatever extent you safely can, clearing the minds of others of the terminological cant by which the Jews subvert meaning and accustom the insufficiently alert many to accept their poisonous propaganda as healthful and nourishing food for the spirit.
“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.”
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.
Here on Nat Geo chef Gordon Ramsey goes to Norway. Report back to us about this “filth.”
https://www.youtube.com/watch?v=ikCoIj34QNE [4 minutes trailer]
Why is this filth? God Bless, Aristo Boho
Modern Hollywood movies are not movies, but social engineering projects. They are using some nice special effects as wrappings and deliver inside a payload of sexual perversion, corruption, and some crazy social engineering messages . They are not fit for human consumption. They are basically s#$% candy
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.
I think Antonio’s analysis of blacks in movie roles is a little off. Many successful movies that are still considered classics (among white people) had a black star or co-star. People grumble about Poe in the new Star Wars trilogy, but have no problem with Lando in the original trilogy. The likes of Will Smith and Denzel Washington used to be big stars. But now there’s never, ever enough diversity, and it’s all because white people are literally Nazi Hitler 2000, so they must make way for and learn from their betters, and then maybe disappear so blacks can take over entirely. Blacks (and other victim groups) are inserted everywhere to the point that it becomes intrusive and obnoxious. History is rewritten so that a character like Blade (played by Wesley Snipes) never existed, so that studios can make a lot of noise about how they’re being progressive because their new superhero movie has black characters for the first time ever. Things have become very forced, very hostile, very dishonest and very in-your-face. It’s not black actors by themselves that are really the problem.
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).
Landing in London I had the same experience at your airport, where almost every service person, airport representative was non white. It was a strange welcome to the land of my ancestors. Myself and other white men had an extra security stage at customs, while veiled woman walked past us. There also seemed to be some kind of special role for brown people to walk around smiling at the public and provide ‘help’ in whatever casual way- yet these staff tended to gossip and cackle amongst each other.
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.
Very politically correct would be that Othello (the stupid and gullible murderer) be played by a white man and Desdemona (the pure innocent victim of male brutality) by a black women! Iago (the scheming villain) must remain white! That would really make sense of Shakespeare. Wasn’t he ‘enslaved himself to the Dark Lady’? And ‘The Fair Youth’ the catamite?
“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.”
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.
Wonderfully written article and I enjoyed his light hearted approach to our eternal struggle against the Tribe – which can be quite depressing at times. As they say “humor is the best medicine”.
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.
The British countryside is still overwhelmingly BAME-free. They don’t like it, Captain Mainwaring…!