Media Images of Whites

Wet Whites, Dry Blacks and the Secret Apartheid of American Culture

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American film and TV is often accused of racism. Leftists will complain that Blacks are underrepresented, only play minor roles, and are usually shown in a negative light. White nationalists will talk about “Magic Negroes” and the absurd absence of Black criminals and villains, when Blacks clearly play a much larger role in the criminal fraternity.

This is not unlike the case of the ancient Caledonians who were described as a fair-haired people by the Romans and as a dark-haired people by the subsequent Anglo-Saxons. In other words, it’s the case of the blind men and the elephant yet again.

The crux of the problem is simple. It stems from the central fact of “racial asymmetry” that exists in American society. By racial asymmetry I mean the complete imbalance between Blacks and Whites in society. It goes well beyond the simple fact that Whites are around 60-65% of the population and Blacks around 12-13%. Added to this numerical disparity is the disparity in achievement and dysfunction.

In real life, there are simply a lot less Blacks in higher or meritorious positions, and thus less scope for genuine and interesting Black characters in the culture. For the same reasons, there are also awkward effective stereotypes of Blacks – as opposed to mainstream-promoted ones. This distinction is important because effective stereotypes reflect attitudes that influence behavior, such as where one chooses to live. Read more

Nordics versus Implicit Jews in “The Switch”

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We all know that the Jewish domination of Hollywood leads to consistently positive portrayals of all things Jewish and invidious portrayals of Christianity and anything touching on White identity or interests (see here, p. 53ff). But part of the art of Hollywood is to embed Jewish attitudes and values in other characters. After all, non-Jewish audiences are not going to relate to yarmulke-wearing, overtly Jewish characters preaching to them on the superiority of supposed Jewish values. So a more subtle approach is needed.

One such approach is to present characters that are Jewish in every way except that there are no explicit assertions of Jewish identity. Seinfeld was a great example. Although Jerry’s character was overtly Jewish, the character of George Costanza was obviously Jewish but presented as not Jewish. George is presented as Italian, but he is played by a Jewish actor whose parents on the show are also played by Jewish actors exhibiting stereotypical Jewish family patterns; George’s character was based on the show’s co-creator, Larry David who is quintessentially Jewish. It always seemed to me that the same could be said of the Elaine character, but perhaps less obviously so. She is played by a Jewish actress but is often seen wearing a crucifix; her name suggests she is Czech and in one episode she explicitly states she is not Jewish. But her character, her appearance, her interests, her mannerisms, her voice, and her rapport with Jerry and George seem obviously Jewish. None of this could be said about the Kramer character played by Michael Richards. Clearly a goy.

Such characters might be called implicitly Jewish—ways of expressing a Jewish sensibility without being overtly Jewish. Read more

The media drumbeat: The West is evil

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A major theme at TOO has been Jewish influence on the media and that the media reflects the attitudes of the wider Jewish community hostile to the traditional people and culture of the West (e.g., Media images of Whites; Media bias). (Relatedly, Frank Salter exhaustively shows that the media in Australia is hostile to the traditional people and culture of Australia.)

It’s a pervasive phenomenon. The first paragraphs of Andrew Joyce’s recent TOO article emphasize the many reviews in the elite media of Anthony Julius’s Trials of the Diaspora. While there are some make minor criticisms, the book is taken seriously, and the general conclusion — that the English have had a pathological hatred toward Jews for nearly a millennium — is not challenged. The reviews typically lavish praise on an execrable book—execrable at least partly because it ignores data that fail to confirm its thesis.  The main function of the book and the reviews is to add to the constant condemnatory chorus from the media: the traditional people and culture of the West are evil.

Jewish readers are confirmed in their sense of innocent victimhood; they are once again assured that hostility toward to the people and culture of traditional English society and the West generally is entirely justified.   Read more

Norman Lear’s “All in the Family” resurfaces

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In an argument about Jewish domination of the media, once you get your opponent to admit that yes, Jews do run the media, the usual fall back line is to say that it really doesn’t make any difference. Jews are Americans like everyone else, so we really couldn’t expect anything different no matter who was in charge.

I thought about this reading an LATimes article on the 40th anniversary of Norman Lear’s All in the Family (“Norman Lear Recalls ‘All in the Family’s’ Beginning“). The article begins with Lear recounting how proud he is of getting “a reference to sex that would be considered tame today” into the first episode  The show was wildly successful: “The series was brilliant, daring, funny and poignant. Over the seasons, “All in the Family” explored racism, homosexuality, women’s liberation, menopause, impotence, the Vietnam War and the loss of faith. It was the No. 1 series for five years, won 22 Emmys including four for comedy series…”

I remember reading an article about Carroll O’Connor, who played the main character, Archie Bunker, being wildly applauded whenever he went out in public during the height of the show’s popularity. The show was indeed brilliant—brilliant propaganda because it managed to identify ingrain in the American mind the idea that illiberal thinking was a sure sign of being an uneducated buffoon.

It is repeatedly brought out that the main character, Archie Bunker, is uneducated and none too smart—constantly mispronouncing even ordinary words and lacking a basic understanding of geography or history—Lincoln signed the Declaration of Independence, Denmark is the capital of Colorado, and Florida is on the West Coast. But this TV show still shapes current attitudes about people who have a problem with multiculturalism. I found the following posted online by a fan of the show:

This is definitely my favorite show and I am glad that there are re-runs on Nick-At-Nite. One of my favorite episodes is when Archie gets locked in the cellar and is finally “rescued” by a repair man, but Archie is drunk, and he thinks that the repair man is God; little does he now, that the repair man is black! (Not that it matters, but to Archie?!) And when Archie bows down to him and lifts his head to see his “God” the audience roared in laughter as did I. . . . I hope this show remains  on the air for a long time, because I could never get sick of watching All in the Family! (see here) Read more

Denzel Washington in “Safe House” and “Flight”

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The gala premiere of Denzel Washington’s latest film, Flight, was held last week at the ArcLight Cinemas in Hollywood. Washington plays the leading role of airline pilot “Whip Whitaker,” who saves his plane from certain disaster. According to the trailer, however, he might be in trouble because of his drinking problem. We regular Americans will have a chance to find out this Friday, Nov. 2nd, when the film opens nation-wide in theaters.

I’m intensely curious about how African American Washington will be portrayed. What I am hoping is that TOO readers who see the movie will discuss it here at the TOO site in the comments section. I’ve already written about the background to the film in the racial context we have in America (seehere), so we don’t have to start from scratch.

Still, since I suspect some surprises, I will further lay out ideas on what it means to have Washington appear as yet another heroic figure, particularly when he is cast completely against reality. Here are my thoughts. Read more

The Trayvon Martin-George Zimmerman Affair: Previewed by Hollywood

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Well, I’m waiting. I’m waiting for something to wake up White people all over the world, especially in America. I’ve thought before there was enough out there to do the job, but people’s survival instincts have yet to kick in. And now we have the Trayvon Martin-George Zimmerman affair.

I really thought this anti-White media propaganda campaign was a no-brainer, but my brother surprised me by piping up about how terrible it was that a White guy had shot this innocent black boy in cold blood. In other words, my brother had swallowed the media line hook, line and sinker.

What is so discouraging about this is that I’ve kept him informed over the years about racial realism and the real state of crime in America. Further, I’ve situated it in the context of a “culture of critique” explanation showing how ethnic warfare on Whites is being carried out in education, the government, courts, and most explicitly in the mass media. Read more

Trayvon Martin and George Zimmerman: Reaffirming the Anti-White Religion

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Recent photo of Trayvon Martin tweeting as No_Limit_Nigga

Trayvon Martin as usually depicted in the media

You have to be living under a rock not to notice the deluge of media coverage of the Trayvon Martin-George Zimmerman affair. The accounts I have seen inevitably emphasize Blacks as victims and implicitly at least, the message reaffirms the narrative of Blacks as innocent victims of Whites. This of course flies in the face of data on crime showing that Blacks are much more likely to victimize Whites than the reverse, with the media bending over backwards to prevent any indication that race was a factor. I don’t recall any national media outrage recently when two Black teenagers set fire to a White teenager after dousing him with gasoline, even though they said they did it because he was a “white boy.” This happened only a few weeks ago. Rather than the wall-to-wall coverage seen in the Trayvon Martin case, there was only a brief and fleeting mention in the New York Daily News and no mention at all in the prestigious national media. It doesn’t fit the narrative that the media feasts on and promotes. No angst from Obama; no Justice Department investigation of a possible hate crime.

Indeed, it’s quite common for the media not to identify the race of non-White perpetrators. And somehow Mr. Zimmerman’s Latino background also slips into irrelevance.

Also virtually unmentioned is that Martin and Zimmerman were fighting, with at least one witness emphasizing that Martin had the upper hand just before the fatal shot. Although Zimmerman seems to have been overzealous in his scrutiny of possible criminals in his community, he may indeed have been “standing his ground” once the encounter escalated into violence. Indeed, the Orlando Sentinel reports that the police are sticking with the version that Martin was the aggressor.

Police sources say Martin was the aggressor on Feb. 26, knocking Zimmerman to the ground with a single punch and then climbing on top of the 28-year-old neighborhood watch captain and slamming the back of his head into the ground. Police say this account, given by Zimmerman, is supported by eyewitnesses, according to the Sentinel’s report.

One such witness reportedly told police that he saw Martin on top of Zimmerman, striking the man, while Zimmerman cried out for help. The attack left Zimmerman bloodied, police sources told the Sentinel, and led him to fire at Martin in self-defense.

Police say Zimmerman was bleeding from the nose, had a fat lip and confirm that the back of his head was cut. He received first aid at the scene but refused to go to the hospital and received medical treatment the following day, according to the Sentinel’s sources. (see “Trayvon Martin case: Martin was the aggressor, police sources say.“

The above report also indicates that Martin was suspended from school because he was found with an empty baggie for marijuana, a violation of  the school’s zero tolerance for drugs policy. Read more