(This article describes how Hollywood shapes and
controls our culture and how American Whites accept it.
In the interest of diversity, DaWhiteRace has
accepted the offer to commit suicide as an act of virtue signaling to show that
we ain't raciss and really mean well! - CL)
"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." - author
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.
A typical example of the “colour-blind” casting was the 1997
Disney adaptation of Cinderella — in which a negress Queen (played by Whoopi
Goldberg) — and a White king somehow managed to have a Filipino son, who ends
up married to a negress Cinderella.
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 latestStar Wars had
to remove a “gay” kiss to make it acceptable to Orientals who want their heroes
straight, too.
What’s wrong with this picture?
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?
Uh… better make that – 12 Angry Black, Chinese, crippled,
cis-phobic, trans-sexual, lesbian Eskimos.
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?
Not Wakanda but Merrie Olde England.
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.”
Careful now, daughter, er… I mean, son… uh… whatever da hell you
is. Wouldn’t want ya to slit your throat now, would we?
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!
“You racist, sexist bastards, I wanted to play LADY MacBeth!
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.
Politically Correct theatre was typified by the multiracial,
“anti-fascist” production of Hamlet at the Irish Theatre, Covent Garden in
2019.
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
(Republished
from The Occidental Observer by
permission of author or representative)
https://www.unz.com/article/fade-to-black/