Friday, 11 June 2021

WHITE FRAGILITY - Why It‘s So Hard for White People to Talk About Racism
(2018)

CAUCASIAN IDENTITY POLITICS

60%

Well‑written, easy‑to‑read - yet oddly‑repetitive - overview of the intellectually‑ and emotionally‑crippling nature of the White guilt foisted on White people by the unearned advantages which all White people experience.

This short book is primarily aimed only at White people since it talks about issues every Black person is aware‑of from inevitably‑extensive experience with White supremacy. It is also written by a White woman who understands the sociological issues fairly well, but does not understand the psychological reality that White people need White supremacy to lazily‑define themselves - an invented right which they will cling‑to to the very death, the deaths of as many People of Colour as they can manage to destroy with impunity.

Given the enormous, five‑century long Caucasian economic investment in the White supremacy which has made them the wealthiest ethnic group in the world, it is not surprising that this leads Whites to experience massive cognitive dissonance regarding their professed belief in equality and meritocracy and their enduring failure to practice what they preach. This, further, leads White people to want to believe that there is something wrong with Black people's genes and, therefore, nothing wrong with racism. In other words, for White people, it is always better to be White - except when this fact is pointed‑out, when it feels like a personal attack on every White person's moral character and personal integrity.

The reality is that White culture is dependent upon White supremacy for its continuation in its present form; hence, the White anger, White denial & White violence needed to try and force its intended victims to live in fear of it and to get them to comply with it.

Although Robin DiAngelo realises how White supremacy operates, she does not really understand it because she has never experienced it first‑hand. This explains why she makes the claim which is ultimately fatal to her persuasive argument; namely, that mush of White supremacy is unconsciously enacted, despite the rather obvious fact that no White person who is uncomfortable, angry & resentful in the presence of a Person of Colour is ever remotely unaware of this discomfort. Are arachnophobes unconsciously scared of spiders; are gynophobes unconscious of their resentment in the presence of sexy women? Of course not.

She even claims that the ‘United States was founded on the principle that all people are created equal’. An obvious lie which she does not correct by clearly stating that her culture is, in essence, nothing more than a massive fraud. This is place that even self‑proclaimed White anti‑racists dear not go, for fear of outing themselves as the confused White supremacists they really are, underneath. This is also why so many claim the existence of unconscious racism: It is an example of preventive self‑defence; an attempt to let them off the hook, in advance, should their anti‑racist mask slip to reveal the awful reality underneath, that they also struggle with the racist brainwashing that all Whites do, and often fall short of their egalitarian ideals.

Where she is correct, however, is in her claim that White people are profoundly unwilling to come‑to‑terms with the irrational source of this discomfort and self‑alienation, along with generic White denials of being racist which are designed to ignore and invalidate Black experiences as nothing more than worthless lies or playing a Race Card - a card that only White people can play in the very act of claiming Black people are claiming when White people become uncomfortable in their presence. (A White Card - in White cultures, Black people cannot possess a Race Card; and, in Black cultures, do not need one.)

However, the author then proceeds to fall into her own racist trap of claiming the existence of unconscious racism, which allows her and her White readers to feel that their implicit bias against Black people is not really their fault, despite their being perfectly conscious of how scared they feel of Black people when they are in public places with them. This makes the book as racist as those she critiques; especially since she has little to say about the White guilt which drives White fragility nor much to say about her own admittedly‑racist attitudes.

And it is in the psychological arena that this author reveals her ignorance, since she has little to say about the corollary of White privilege, which is White guilt - the single greatest cause of White people not being able to think clearly about the inherent evil which they all benefit from. In this regard, this book offers nothing new or more insightful than the works of W E B Du BOIS, James BALDWIN or Richard WRIGHT - whose works Caucasians largely refuse to read. It is this latter point which really explains why Whites find it impossible to talk about racism, their unwillingness to believe that Black people need to be listened‑to. Even the White author of this book still has some way to go before she has a fuller understanding of her own ideas.


Copyright © 2019 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://protectingthehated.blogspot.com) is included: E-mail notification requested. All other rights reserved.

Thursday, 11 June 2020

MELANATED PEOPLE
(2019)

MELANATED PEOPLE IS A SCAM

What's Wrong with the Melanated people Website is what's wrong with Melanated people:

  1. Narrowcasting rather than broadcasting means you are basically talking to yourselves; resulting only 11,000 Members
  2. Black people are so scared of White people that they feel they must serve the White monster that is killing them - by cowering in fear of it - for fear of being killed sooner;
  3. insecure Black people want to be accepted by White people so use Facebook, Twitter, Instagram, etc, because they feel that supporting White and Jewish businesses will help obtain them this illusory social acceptance;
  4. Black people have little to say about their own experience because they have, like White supremacists, chosen to pretend that what is actually happening to them isn't really happening to them and that the Lord will somehow provide;
  5. Melanated People does not use enough standard English to communicate; alienating potential followers in the way of foreign-language film with subtitles would. This is done to vainly disguise a certain lack of depth in the text. It's not that I do not understand what is being said, it's that I don't understand why you should use verbose and time-wasting slang to communicate with strangers who might not know the code. Is it because you are not really interested in actual communication? Or is it because you have nothing of substance to impart?
  6. there is no chat section to the Website which could be used to discuss relevant issues. The best I've seen along these lines is Kialo;
  7. the founder does not state, in clear English, what purposes the Website serves - in easy-to-read bullet-points; eg; safe-space for Black people; business promotion; discussing Black issues; promoting political causes; etc. People need a clearly-defined reason to take part in anything;
  8. the Website is not promoted enough and is not clearly shown to be a credible alternative for Black people to such Sites as Facebook;
  9. too much wishful-thinking; eg, good will prevail without effort, gloating over White decline, Kemet will rise again, astrology, Hotep bullshit, religious self-delusion, Christian bullshit, etc, and not enough positive call-to-arms regarding practical issues; eg, consistent application of cultural values, business ownership, local political involvement, buy Black, Black Empowerment, gun ownership, Wealth (not income) Matters, Education, self-employment, etc;
  10. charging for membership is problematic because other sites are free. This can only be justified if the content is much better.

Ultimately, Melanated People is a reflection of the disarray and disorganisation and disunity of its potential audience. Only with far greater effort from Users can this

Website be a beacon for Black people to reverse the declining and degraded state of Black culture worldwide.

African-Americans have the following problems, but MP rarely addresses them; preferring, instead, to wallow in self-pity, paranoid/schizophrenia, scapegoating & Afrocentric delusions of a vainglorious Egyptian past:

  1. 50% of children placed in Special Education are African-American;
  2. 1.5 million Black men are in prison;
  3. 47% of the penal population is African-American;
  4. 37% of all school suspensions are of Black children;
  5. Black people have the lowest life expectancy;
  6. Black people have the highest murder and cancer rates;
  7. 31% of African-American males aged 18-25 are unemployed.

The causes of the above are as follows:

  1. White Supremacy & Institutional Racism;
  2. Capital-intensive economic attitudes;
  3. Illegal drugs;
  4. Poor male socialisation;
  5. Doubles standards in child-rearing;
  6. Parental apathy;
  7. Low teacher expectations;
  8. Negative peer-pressure;
  9. Lack of positive role models.

This Black-American laziness and lack of self-discipline helps explain the Black wealth and income gaps (even when taking into account the genocidal nature of White supremacy), as well as why Black people around the rest of the world have little respect for African-Americans, because the latter have little respect for themselves.


Copyright © 2019 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://protectingthehated.blogspot.com) is included: E-mail notification requested. All other rights reserved.

Tuesday, 2 October 2018

AMAZING GRACE:
Big Book
(1994)

RATING:100%
FORMAT:Book


Amusing look at White supremacism and sexism as experienced by the Black heroine of the title.

In keeping with the concept and practice of the extended family, the girl’s mother is angered when told her schoolmates have said she cannot be Peter Pan - in the school pantomime - because she is both female and Black.

But her Nana takes the wider view of ethnic-identity formation in her grand-daughter and demonstrates the White inconsistency-with-reality in making it a tradition in Anglo-White pantomimes that the principal boy is played by a woman; as well as the fact that Peter Pan - who never existed - is not described as being a member of any ethnic group such that his skin color is irrelevant to the ideas expressed in the play.

Nana shows Grace the example of a Black dancer as Juliet (in the ballet: Romeo & Juliet) as proof that you can be anything you want - despite the ignorance of others - given the right motivation.

Grace is shown as a resourceful child full of youthful curiosity about the world and herself - with a rich imagination. Like Mufaro’s Beautiful Daughters, Blackness is not shown as something odd or fearful, but as a norm that is as valid as any other - with illustrations that accurately depict youthful exuberance.

A very useful resource for Black parents to undermine the inherent Whiteness of Western culture in its claim that skin color and gender are destiny - socially-limited ones.

Racial-identity role-modeling never came so sweet and is packaged in an easily-accessible form that will not overwhelm its Black-child audience with overt and strident politics.


Copyright © 2012 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://protectingthehated.blogspot.com/) is included: E-mail notification requested. All other rights reserved.

Sunday, 13 December 2015

Between the Word and Me
(2015)


Summary: How Black people live in White cultures.

Excellent, if overly-wordy (a fault shared with the equally-excellent James Baldwin), book about White people which understands that Whites use euphemisms and half-truths in order to live with their guilt feelings about the White supremacist nature of their cultures.

When Whites say People, they only mean White people; when they say Race, they claim something science has demonstrated as fact - despite the utter absence of any tangible evidence.

These White delusions spring from the belief that a) nature, itself, is racist; b) that Whites are the only ethnic group able to know this for sure; & c) that the White god has decreed, in advance, who is to be honored and who is to be tortured. Yet, it is recently-invented racism that produces Race - not the other way around; resulting in a superficial people who think of themselves as White - above any other consideration; leaving Whites with no more solid basis for their cultural myths than self-delusion and wishful-thinking.

Black people have never had the luxury of denying White reality by believing in American exceptionalism because they were meant to suffer as scapegoats for the inability of White Americans to achieve the exceptional - and suffering is always self-evident and undeniable. Moreover, Whites decreed that People Of Color existed solely as the basis of White wealth - a wealth Whites pretend came from their hard work when it really came from the hard work of those Whites deem to be untermenschen. For Black people to do otherwise than face reality can only result in the same personally-irresponsible, life-threatening & dream-like schizophrenia Whites wallow in every day of their lives. Thus, White police officers are merely correctly-interpreting the actual legacy and heritage of White supremacy in their openly-racist, Caucasian-accepted & genocidal behavior towards Black people.

An excellent book for Black people to share with one another and to bequeath to their children (like the similarly-themed works of the late James Baldwin) that clearly expresses the reasons for White mediocrity and the social parasitism inherent in a White supremacy based on genocide, looting and rape that benefits all White males, regardless of social class - all because they would much rather exist trapped in the gilded cage of Whiteness than live free as grown men.

Wednesday, 18 November 2015

Choir


The Death of Western Music

Summary: Yet another poor White kid helped by wealthy Whites to achieve not much in particular - but at least he is White.

It is taken as read that the Western classical music presented here is of some value to those listening to it and to the wider White culture which produced it, but this assumption - like so many assumptions in White culture - is not dramatically-examined in case it turns out to be untrue.

Rather than suggest that music has some inherent meaning or value in itself - or some cultural meaning around which a worthwhile society can coalesce - we are presented with the pretense that music somehow unites people - even those for whom it has no meaning or cultural or social value - without either explaining such a process and without addressing such issues as the stasis of high culture versus the vibrant dynamism of low, especially Black, culture; mockingly referred-to here.

The music here is simply on show - to be seen but not really heard - since even its Christian roots are elided in favor of sentimentality. Whites are so loyal to their own culture that they will render it purely materialistic in order to preserve what has long past its sell-by date; destroying any value it once possessed for good, in the process. The only existential choice presented in the drama is the choice not to squander one’s talent - regardless of the totalitarianism such a Hobson’s Choice affectively represents; rendering the Personal as Political as only the fallacy of Political Correctness can. No wonder Whites do not believe in free will.

The lack of human warmth and empathy inherent in White culture is emphasized, but never dramatically linked to the contemporary cultural meaninglessness of centuries-old music that has nothing to say about life in the West today. We are expected to believe that music has a therapeutic purpose in helping overcome human travails - as if paranoid-schizophrenics could be cured by music therapy. This is mystical, pseudo-religious claptrap that is the reverse of the coin of absurd claims that violent video games can make one violent. There is no empathy for any character, here, only an emotionally-repressive desire to discipline talent so it fits the patterns of the past - no matter their relevance today - as a vain substitute for family structures (eg, extended) that Whites are busy abandoning. This is why the boys here develop no lasting friendships and the grieving over the loss of the central character’s mother is all-too-brief.

There is also no dramatic exploration of the nature of talent - as if it comes from nowhere and can be appreciated by only a select few who, yet, cannot explain its existence. In this way, the characterization is poor because the characters are nothing more than stereotypical mouthpieces for the screenwriter&rsquos superficial inability to say anything of importance about music, culture, ontogeny or self-expression. Here, character is malleable and does no more than meet the needs of the screenplay, as opposed to those of human nature; leaving the audience with undifferentiated characters as part of an amorphous, multi-headed Hydra which, one moment, is hostile, the next, beneficent. This leaves the performers with nothing more to explore than the silliness that results from claiming that those with exceptional talent should be encouraged; while those apparently lacking should be left to rot. Even the always-great Kathy BATES and ever-delightful Debra WINGER have nothing more to do than be comic foil and look beatific, respectively, because the script offers them little else.

The thematic formalism and emotional shallowness of the musical appreciation shown here is never explained, nor are the motivations for doing nothing more than reproducing the modes of the past, rather than moving the form on with anything like innovation. It is laziness and alienation that leads to White culture becoming fossilized; the traditions on show here coming to exist for their own sake; serving no higher purpose other than themselves - an inward staring at a crepuscular Caucasian abyss. Pretending to be about nurturing talent when it is really about White narcissism and living in a past that is no longer relevant, this movie only hints at the validity of such a claim, while wallowing in its own sickly-sweet solipsism.

One can only assume that White culture has nothing left to offer other than nostalgia and a trumped-up sense of its own importance, as here. The music is very nice, but there is nothing to uplift the soul, stir the emotions or engage the mind, since a balance of these things is not present. After all, what is the point of producing music if it is just a technical exercise in self-discipline?


Thursday, 9 July 2015

Spooks
(Series 7)


Also Known As:
MI-5
Year:
2008
Country:
United Kingdom…
Predominant Genre:
Thriller
Directors:
Directors…
Outstanding Performances:
None
Premiss:
Missions of the UK’s domestic intelligence organization.
Themes:
Alienation
Christianity
Corporate Power
Courage
Destiny
Emotional repression
Ethnicity
Friendship
Identity
Loneliness
Loyalty
Materialism
Narcissism
Nationality
Nostalgia
Personal
Political
Political Correctness
Republicanism
Sadomasochism
Schizophrenia
Self-belief
Social class
Snobbery
Solipsism
The State
Stereotyping
White culture
White guilt
White supremacy
Similar to:
Homeland
Review Format:
DVD

Those who cannot remember the past are condemned to repeat it.

Caucasians will Save the Day - but only in Fiction.

Political Correctness Gone Mad.

Summary: Eurocentric and Imperialistic Caucasians Pretending they can Defeat an Enemy Without Knowing his Motivations while Doctors are unlikely to Defeat a Disease without Epidemiology.

Series about loyalty to Whites as well as to the rich who continue to expect those most loyal to them to risk their lives for little return.

Whites are shown as being so enmeshed in White supremacy that they fully-realize they will never be accepted by any other ethnic group and so are prepared to die to defend their own - even if this means doing so for people who think them socially-inferior. They are given no social alternative (& are social cowards, anyway), so this is the only sense of human loyalty they will ever know - no matter how false. No clue is ever offered as to why Whites engage in such a perversely-masochistic fidelity to others when there is so little to gain from it.

Whites hate being labeled as racist, yet are only too keen to label others by alleged group affiliation as madmen or jumped-up little fanatics; under-estimating the very enemy that has thrust so much fear into their hearts in order to vainly reduce the dread of terror they spend so much time and money trying to defeat.

No political context is ever offered for the events shown since that would mean the White response to terrorism is more of the same kind of behavior being condemned, as well as the direct cause of the terrorism the characters in the series are ostensibly fighting.

The childish political simplifications of the scripting aptly-reflect the White, cry-baby narcissism of those who refuse to accept their responsibility for the terror they claim to fight as well as the fact that they find second-guessing the terrorists they have created difficult-to-impossible. (There is even the absurd claim that there was only one Cold War, when all of the periods of peace between all of the wars were cold wars.)

Like everyone who fights a losing war, this series pretends threats can be neutralized by fictionalizing them into non-existence. Whites conflate Ethnicity with Nationality to enable their support for White supremacy and its handmaiden Political-Correctness - but what will protect us from White supremacy? No one answers this question because the series supports White supremacy by being promotional propaganda for the UK Security Service, despite the fact that it contains no admission that the so-called War on Terror is a Race war - fought solely for the benefit of rich Whites.

Whites are shown as melodramatically-brave, gratuitously-violent and violently-traumatized by the existential despair they try to inflict upon others via their eloquently-martial cultures. The White characters are fleshed-out to reveal shared suffering (rather than shared joy) as the basis for White culture - a culture lacking in substantive content; hence, the White emotional dissociation here offered as espionage cool; eg, angry enough to aggressively kill, but psychopathically-unemotional immediately afterward.

The largely-mediocre actors struggle to embody their two-dimensional characters sufficiently to make us care about what happens to them. They fail; leaving us stranded in a quagmire of melodramatic gimmicks, narrative clichés and over-acting typical of Western media in its quest for false-certainty and forced-uniformity. Its images are designed to be seen as colorless accounts of knowledge, reality, morality and human nature; while unintentionally and simultaneously revealing how biased and one-sided they are.

In no other major civilization do self-regard, self-congratulation and denigration of others run as deep, nor have these tendencies infected as many aspects of White thinking, laws and policy, as they have in the West - and its overseas extensions. Thus, preventive measures against terrorism are actually impossible for Whites since they cannot study People Of Color (POC) without first denying the humanity of the latter with a political intellectualism bent on self-affirmation rather than objective study. POC are thus never to be understood and, thus, never to be defeated through an understanding of their weaknesses, flaws & motivations. Only by great good luck could the scenarios this series offers ever come-to-pass so that one day Whites will be able to live without the fear of the bombers they have created.

Ultimately, this is not a show offering much hope that the Security Services can protect us from the terror they have been instrumental in creating, since its solutions are purely Curative rather than Preventive.

Really quite laughable.

Copyright © 2015 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://protectingthehated.blogspot.com) is included: E-mail notification requested. All other rights reserved.