White Famous (2017)

The latest sitcom from Showtime is yet another incarnation of anti-white animus by blacks, this time in the form of a satire whose run of jokes appear to all revolve around awkward (liberal) whites (or, because it’s Hollywood, liberal Jews) constantly virtue signaling and always trying too hard to not appear ‘racist’. From a product page:

Jay Pharoah stars as Floyd Mooney, an African-American comedian whose star is on the rise. But the path to stardom is a minefield that Floyd must navigate to maintain his credibility while trying to become “white famous.”

‘White famous’ appears to be a pejorative term among blacks, designating a black comedian or other celebrity whose wealth and fame are the product of adoration by white middle America.

From an overall positive Salon review written by one Melanie McFarland, who by her picture appears mulatto:

Performers of color have long known that the place is far more libertine than truly liberal, and we see Floyd live that truth as he break through layer upon layer craziness in his quest for fame.

Floyd is a successful comic with a devoted black fanbase, and the series opens in the midst of his stand-up performance… Pointing out the lone white woman in the audience, he gets laughs by calling her to the stage and announcing she’s been adopted by the community. The room breaks into convivial laughter.

I can envision this scene playing out again later very differently, after Floyd’s brand has exploded and his audience’s racial makeup has shifted…

But what about all that misogyny which saturates the black male subculture?

“White Famous” has its flaws, particularly with regard to the pilot’s denigrating view of gender; in a key scene elements of femininity are used, literally, as a tools of emasculation. (Kapinos’ humor palette is overwhelmingly male-centric, as he proved in “Californication,” so this isn’t particularly shocking.)  Even so, it’s a legitimately pointed examination of the perils of attaining mainstream fame, exposing the apprehensive churn people like Floyd are subjected on their way up the ladder. For Floyd, there’s the matter of being true to his brand while expanding his profile. His fans adore his down-to-Earth nature, but his idol wants to offer him a shot — contingent on a condition Floyd finds to be embarrassing.

McFarland quickly gets beyond this caveat, hoping to elevate the show towards its apparent (and socially never ending) black concern with Racism™, as well as ghetto ‘authenticity’ and its war against assimilation.

At just about every step Floyd is objectified and taken advantage of in ways he rarely seeing coming. Entitlement, cluelessness, bravura and simply craziness rule the world around him, and he’d be more than happy to opt out of the madness entirely.

But the series also suggests that our new age of rampant capitalism and branding the cautionary concept of “selling out,” while not entirely obsolete, may be antiquated. Floyd doesn’t believe that to be the case in his heart of hearts, and his best friend Ron Balls (Jacob Ming-Trent) co-signs that idea when he warns Malcolm to help Floyd stay true to the fans that brought him up. But Floyd also has a son to raise, Trevor (the adorable Lonnie Chavis) and a girlfriend to win back, Sadie (Cleopatra Coleman).

The show sounds absolutely unbearable.

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RamZPaul Welcomes Girls to the Boy Scouts

Stick with this one until the end:

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Stop the Hammering!

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A Day in Congo

Meanwhile, in the Congo:

A woman was raped, whipped and beheaded before a cheering mob in the Democratic Republic of Congo — as punishment for dishing up “forbidden fish” to a group of rebels who then drank her blood.

The atrocity in the main square of Luebo, in the province of Kasaï-Occidental, occurred on April 8 and was captured in stomach-churning video that only emerged this week, France 24 reported.

The naked woman is seen being dragged in front of a crowd by members of an armed group claiming allegiance to the Kamuina Nsapu rebel movement.

“They said she gave them beans that contained pieces of a small, local fish,” a Luebo resident told France 24 about the eatery owner.

“Convinced that she had broken their protection charms, the council of rebels sentenced both the woman and the son of her husband’s second wife to commit incest in public,” the resident said.

In the footage, rebel leader Kalamba Kambangoma holds the victim by her hair and explains in the local Tshiluba language that “she must die” for committing high treason.

He then turns her over to another woman, who is wearing a pink T-shirt and a red bandanna that marks members of the rebel movement.

The woman in pink then takes the victim over to a platform, where she and the young man are forced to have sex in front of the crowd while being whipped for several minutes.

The depraved thugs then executed the woman and the young man by hacking them to death with machetes. Some of the rebels drank their blood, according to witnesses interviewed by France 24.

Remember, though, Africans only do things like this in 2017 because of colonialism. They never acted this way, or had such primitive, superstitious belief systems, until the white man set foot on the continent.

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Four Years

Should they succeed in neutering the 1st Amendment vis-a-vis the ‘hate speech’ concept, this is what the Left hopes to achieve here in the States.

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A Very Old Poster vs. The Weinsteins

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NPR: 2017 MacArthur ‘Genius’ Grant Winner Nikole Hannah-Jones

While commuting today, I listened to this NPR Fresh Air piece, hosted by the insufferable Terry Gross, someone who is uptight, Jewish, feminist, Political Correctness personified. It’s an interview with Nikole Hannah-Jones, a black woman who is a NYT Magazine writer on what she herself calls ‘the segregation beat.’ (The transcript is here.)

Naturally, she has won a Peabody Award for her writing on institutionalized racism and segregation in our schools, and is a 2017 MacArthur “genius” grant award-winner for the same reason.

What is notable in the interview is the following unquestioned assumptions shared by both Hannah-Hones and Gross:

  • Inner city schools don’t have the same ‘resources’ as affluent white schools. (This is patently false.)
  • High student scores in affluent white schools is solely the function of a ‘charismatic’ principal. (“And when you look at these schools, it is if they are high-functioning, it is almost always because of a single charismatic principal.”)
  • Diversity and integration are innately good.
  • The presence of white children magically improves black student performance.

The best part of the discussion, however, is when Hannah-Jones throws shade at her own ‘rapidly gentrifying’ neighborhood in Brooklyn:

One of the things I’ve done in my work is kind of show the hypocrisy of progressive people who say they believe in inequality, but when it comes to their individual choices about where they’re going to live and where they’re going to send their children, they make very different decisions…

When the majority-white, public school in her neighborhood stopped accepting new (and predominately white) students, due to overcrowding, the white, prog-hipster parents were forced to send their kids to the majority non-white school in the neighborhood, and… they didn’t like that too much. The white hipster parents wrote to their elected officials and then attended public school board meetings to voice their concerns. Hannah-Jones attended these school board meetings:

So I was just sitting in these meetings as a parent who was interested to hear what people who could potentially be coming to my daughter’s school had to say about it. And it was hurtful to hear the things that parents were saying, particularly these are parents who are progressive. They live in Brooklyn because they say that they believe in diversity, often held up as being these kind of hipster people who don’t see race. And I was hearing the same thing from those parents that I had heard in Tuscaloosa, Ala. It was no different.

What makes this piece so listenable is how it is another manifestation of the Left cannibalizing itself, as white progressives, after displaying their double standard, are increasingly being seen by blacks as part of the same monolithic ‘white problem’ in America. That this dynamic is being mainstreamed and normalized among the Left is a beautiful thing, helping to exacerbate the inexorable racialization of politics and getting us to where we’re heading a little more quickly.

What also comes through in the piece is how intellectually unimpressive Hannah-Jones is, and how tenuous her logical reasoning skills are, all of which serves to demonstrate how NGO programs like the MacArthur “genius” grant have largely turned into welfare programs designed to underwrite and subsidize mediocre, non-white, leftist writers (e.g., Ta-Nehisi Coates).

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The Darkness – Pinewood Smile (2017)

Pinewood Smile, the new album by The Darkness is a near masterpiece and a career high for the band. (The Darkness has posted the entire album on YouTube for free listening. If you dig it, buy the album!) This review of the album, and The Darkness itself, puts things in proper perspective:

There are those who dismiss The Darkness out of hand as little more than a one-hit novelty act doing a faux-operatic glam-metal piss-take. Those unfortunate souls are A) probably not much fun at parties, and B) missing the point entirely. Rock and roll, especially heavy rock, has become a dour and earnest beast in the past quarter-century or so, plodding along a loud but often joyless path, rife with negativity and self-loathing. Since day one, The Darkness have served as an antidote against this encroaching gloom, a glittery, sequined outpost shining brightly in a vast expanse of brutal grey. Misery and introspection certainly have their place, but so do joy and outrageousness and just plain fun, dammit, and that’s where The Darkness come in. Yes, their songs are over-the-top; they’re also expertly crafted nuggets of kick-ass rock and roll, stuffed to bursting with beefy riffs, intricate melodies, and cocksure swagger. And sure, some of their lyrics might be a little silly, but those great big jagged hooks they’re attached to ain’t no joke. Their newest album, Pinewood Smile, is a bawdy buzzsaw with peacock plumage, a devastating roundhouse right from a manicured fist. Outrageous and opulent yet fiery and muscular, it’s the finest album in their catalog so far and unless you’re a real fuddy-duddy, it’s likely one of the best times you’ll have listening to a record this year.

The new album’s production by Adrian Bushby (who has worked with Foo Fighters) is crunchy and crisp, with the band taking their vocal-layerings and other Queen-like, guitar layerings to a new level, but it is the quality of the songs on this album that makes the record truly superlative. The band is in top form, and have really come into their own in terms of a unique style, an exploratory ‘prog-glam’ still rooted in riff-heavy, Les Paul driven rock.

The sort of sonic exploration we saw with 2015’s Last of Our Kind album, particularly in the song “Mighty Wings”, is extended here with ambitious songs such as “Buccaneers of Hispaniola” and “Japanese Prisoner of Love”, the latter which contains lyrics such as:

Sentenced and sent to the big house
Jump-suited, shaven and de-loused
Solitarily confined, taken by force from behind
By a surly white supremacist named Klaus

Justin’s lyrics can be beautifully silly, in a Tenacious D sort of way, or just beautiful, as on the song “Why Don’t the Beautiful Cry?”:

Why don’t the beautiful cry?
It’s only in the movies, it’s never in real life
Why don’t the beautiful cry?
I wish I wasn’t ugly on the outside
But I am ugly…

The album’s first single “All the Pretty Girls” is infectious as hell, an instant rock classic, and the follow up single “Solid Gold” is a hilarious take on the record industry, while the third single “Southern Trains” contains an absolutely killer riff propelling the song forward.

However, my favorite track has got to be the epic song “Rock in Space”, with lyrics featuring The Darkness being sent into space to appease an evil alien race’s desire for more glam rock:

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NYT: “White Nationalism Is Destroying the West”

Another day, another prominent NYT article against WN. We must be doing something right.

Today we have “White Nationalism Is Destroying the West” by Sasha Polakow-Suransky:

But this isn’t happening only in European countries. In recent years, anti-immigration rhetoric and nativist policies have become the new normal in liberal democracies from Europe to the United States. Legitimate debates about immigration policy and preventing extremism have been eclipsed by an obsessive focus on Muslims that paints them as an immutable civilizational enemy that is fundamentally incompatible with Western democratic values.

Yet despite the breathless warnings of impending Islamic conquest sounded by alarmist writers and pandering politicians, the risk of Islamization of the West has been greatly exaggerated. Islamists are not on the verge of seizing power in any advanced Western democracy or even winning significant political influence at the polls.

The same cannot be said of white nationalists, who today are on the march from Charlottesville, Va., to Dresden, Germany. As an ideology, white nationalism poses a significantly greater threat to Western democracies; its proponents and sympathizers have proved, historically and recently, that they can win a sizable share of the vote — as they did this year in France, Germany and the Netherlands — and even win power, as they have in the United States.

Far-right leaders are correct that immigration creates problems; what they miss is that they are the primary problem. The greatest threat to liberal democracies does not come from immigrants and refugees but from the backlash against them by those on the inside who are exploiting fear of outsiders to chip away at the values and institutions that make our societies liberal.

Got that?

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NYT Hires “Gender Editor”

More diversity of opinion (and employee ethnicity) from the NYT:

The New York Times on Tuesday announced the hire of a new “gender editor,” a role focused on reimagining the news “through an intersectional lens.”

Former Newsweek editor Jessica Bennett had occasionally freelanced for the Times in the past. She is also the author of the “part manual, part manifesto,” Feminist Fight Club: A Survival Manual for a Sexist Workplace.

“As executive editor of Tumblr, she helped oversee the first live-GIFed presidential debate,” the Timespress release notes.

“In her new role, which she officially starts on Oct. 30, Bennett wants to reimagine the news through an intersectional lens — and not just in one section of the paper,” Teen Vogue reports.

“The reality is that institutions, and old-school media institutions, were primarily created by and for white men,” Bennett told Teen Vogue. “But that has changed.”

Bennett first approached Times executive editor Dean Baquet three years ago, pitching a full-time reporting position focused solely on gender issues, according to Poynter. The discussions fell through, but the Times subsequently created the gender editor role.

So, what inspired her to finagle a position with the NYT? Well, Der Trumpenfuhrer of course!

At first she was overwhelmed, and didn’t know if she should apply, but the 2016 presidential election motivated her to make the leap.

“But then the election happened, and I knew I wanted to help shape the coverage,” Bennett said.

Yes, help ‘shape the coverage’.

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