Monday, October 29, 2018

Commentary on "A Crash Course on the True Causes of “Anti-Semitism”, Part II"(by the Saker)


http://www.unz.com/tsaker/a-crash-course-on-the-true-causes-of-anti-semitism-part-ii/

The Unspoken Truth about the history of American Power is that went from Wasp Elite to Jewish Elites. It didn't go from Wasp Elites to All Americans.

‘Antisemitism’ is now a trick term used by Jewish Elites to discredit any criticism of Jewish power and influence.

Contra the prevailing PC Narrative, the Power didn’t go from Wasp Elite Rule to All-American-rule(or power dispersed equally and proportionally among all groups of Americans). In other words, the power didn’t go from the Wasp tower to the American square. Rather, it passed from Wasp tower to Jewish tower. It went from Anglo-elitism to Judeo-elitism. THAT is the crux of the problem of American Power. If anything, the New Elitism of Jewish domination is even more unequal and unfair than the Old Elitism of Wasp domination. After all, Anglo-Americans made up a huge part of America. So, Wasp elites were representative of large section(the majority well into the 20th century) of America. In contrast, Jews are only 2% of America, and that means Jewish Elite Rule is really about domination over the 98% by the 2%.
Now, Jews may flatter themselves by claiming that their power is used for the good of all Americans and all peoples around the world. Really? Just ask the Palestinians. In fact, Jewish power compels the US to support Zionist mass murder of Palestinians. And Jews use US power to subvert Russia, Iran, Syria, or any other nation hated by Jews. Also, Jewish Power shuts down BDS movement in the US. Also, Jewish power favors the network of Jewish oligarchs in Las Vegas, Wall Street, Silicon Valley, and Hollywood who rake in all the profits for the globo-expansionist Tribe. And the ONLY reason Jews push for Mass Immigration-invasion is to increase Diversity among goyim so as to play divide-and-conquer over them. Notice Jews do NOT push for non-Jewish immigration to Israel.... even as they demean Hungary and Poland for wanting to maintain their ethnic, cultural, and territorial integrity.
According to the Jewish Narrative, Bad Old America was about Wasp elites hogging most power and privilege for themselves. So, the rise of Good New America was about the Power passing to All Americans equally. But it didn’t happen that way. The once-Wasp-Power went mostly to Jewish elites instead of to All of America equally. THIS is what Jews are trying to hide. They want us to believe either that

(1) The Power went from Wasp elitism to All of America equally(than to Jews)

or

(2) The Power still remains with Big Bad White Male Privilege, and therefore, Jews and non-whites must work together to bring down this Nasty Wasp Country Club Power.

The problem with this Narrative is that it totally ignores the fact that Wasp Elite Power passed over to Jewish Elite Power. In other words, Jews are the ‘new wasps’. Actually, it’s worse. If Wasp Power was out in the open, Jewish Power remains hidden. It is plain-as-day for anyone who wants to notice, but if the observer is honest about what he sees, he is denounced and destroyed as an ‘anti-Semite’.
If awareness about ‘antisemitism’ in the past was about protecting vulnerable Jews from bigots, it is now about safeguarding the ultra-power of the super-privileged Jewish elites. Jewish elites simply want us to remain blind, deaf, and mute about the fact that Wasp elite power did NOT surrender to All-American Power of All Groups, white and non-white, but instead surrendered to Jewish elite power.

Jews want non-white Americans to see Jews as allies and fellow comrades against white elite power. In other words, the American People are to believe that Jews have been anti-elitist and working hard to transform the elitist nature of American Power(in the hands of Wasps) into something more democratic and egalitarian. Burn down the white-shoe country clubs of privilege and turn American Power into one big square for everyone.
But in fact, Jewish Power did no such thing. Rather, it took over the elite institutions from the Wasps and has been ruling America on the basis of “Is it good for the Jews?” Jews didn’t burn down the country clubs. They took them over or built bigger and more lavish ones for themselves. To hide this fact, Jews train and hire yellow dogs like Sarah Jeong to bark at the ur-specter of White Privilege.

The fact that Jewish power hates Populism with such rabid virulence gives the game away though. Elitism is their thing. As for the former Wasp elites, they carry on with the charade of dominance even though they take their orders from the Jewish Bosses. Why? Because as long as they obey the New Jew Bosses, they are given a seat at the table. Clintons, Bidens, and Bushes can have a seat at the table as long as they sing hosannas to Jews and Israel while turning up their noses at Deplorables and Palestinians. So, we have Wasp politicians signing on to Wars for Israel and promoting Hatred against any people Jews don't like: Palestinians, Russians, Iranians, Syrians, etc. Also, cucky Wasp toadies kinda like the idea of 'White Privilege' because, despite its anti-white rhetoric, it gives the impression that Wasps still have the Top Power. Thus, craven Wasp cuckery can masquerade as magnanimity. Thus, Wasp comprador elites(who suck up to Jews) can play at being generous and 'inclusive' of non-whites and helpful to Holy Holocaust Jews even though, in fact, they are just toadying up to Jewish Power that uses the smokescreen of  'white privilege' to conceal the reality of Jewish Dominance.

Saturday, October 13, 2018

Recently Watched Movies

American Animals
Joyride as cautionary tale, one that actually works. A creative mind and hipster dude recruit two other guys from the middle class milieu to pull off a ridiculous heist involving rare library books. The crime itself is of less interest than complications around it and its aftermath dropping clues as to a culture infected with both excessive apathy and adventurism. Great film. A


Hereditary
Stylistically impressive horror that (all-too)consciously approximates the spellbinding hypnotics of Stanley Kubrick's THE SHINING. Ari Aster(the director) is halfway there as a visualist but lacks the focus of a mature artist who might have pulled the various threads together into a seamless whole. Too often, Ari Aster drops all considerations for the Effect. Still, there are several genuinely jarring moments, and the ultimate point of the story, that all our hysterics and obsessions about the world miss out on the real point of an hidden agenda, is well taken in our Age of Conspiracies. B+


Dark River
This is one of those all-too-common Art Films. Granted, it is good. Like many of its kind, there is the self-conscious reliance on less dialogue and more image. Much is suggested through mood & motions and use of space & details. Like many Art Films, it is set in a rural community in the modern world, accentuating the theme of how much the world has changed but so much remains the same. As the story unfolds, there are the usual uncomfortable truths about characters. Things are not what they seem. All very good but we've seen it all before, and frankly, I was bored through much of it. B


All That Jazz
A most extraordinary cinematic experience upon my first viewing as a child, Bob Fosse's semi-autobiographical musical now belongs in the category of less-than-meets-the-eye. In subsequent viewings(aided with more knowledge of world cinema), Fosse essentially came across as a derivative showman(than an original 'auteur') who, worse, didn't even care to steal from the best. Much of ALL THAT JAZZ owes to Fellini-in-decline(post 8 1/2). Now, it looks more like All That Spazz. Jessica Lange(as angel of death?) has to deal with an ego bigger than King Kong. Musical numbers are like schmaltzy cross between Broadway and Disco. By the way, do we want high-concept Art associated with something as cheesy as Broadway? Fosse's reputation as dance choreographer rests mainly on mannerisms with flickering jazz-hands and rotating hamhock thighs and jiggling jello buns. Maybe that was original at one time, but it's not my cup of tea. Still, there's lots of heart in this movie, and it's sure to please many first-time viewers. B


Something Wild
One of those films I feel the same now as on first viewing. This is a masterpiece, Jonathan Demme's greatest work(based on the brilliant screenplay of E. Max Frye). Sadly, it was his last triumph as an artist. Sure, he made big bucks and won lots of prizes with SILENCE OF THE LAMBS, a sleazy piece of sensationalism, and became a darling of the Libby-Dib set with PHILADELPHIA. But before he became an A-list director of Big Bucks and Big Themes, he was one of the most quirkiest directors who, however, didn't wear his oddball sensibility on his sleeve. His approach was both gentle and penetrating, empathetic and cautionary. His vision was of small characters navigating through obstacles of power(institutional or criminal), albeit one bridged by false but happy(and perhaps necessary) fantasies expressed through pop culture ranging from mainstream to alternative. Ultimately, it's not about replacing lies with truth but accepting the truth that lies are all around us like germs and, with that realization, making the best of things. A+


Sollers Point
A bogus 'art film' about the hard-knocks world of 'white trash' side of Baltimore directed by some cuck-faced dork. The white lead(who looks like Andrew Anglin) is apparently not so bad because he used to have a black girl-friend and still has feelings for her. And he seems to be 'cool' with the Brothas or, at least, tries to be. Meanwhile, all the nasties are 'white trash' hoodlums who act like Gary Oldman in TRUE ROMANCE. Ironically, the 'white trash' hoodlums do little else than imitate rap culture and act like 'whiggers'. So, are we to believe blacks are cool but whites who imitate blacks are 'fool'? Technically, reasonably well-made and well-acted. But bogus. C


Tag
I watched the first 15 min of this movie and grew bored. So, I checked the last 15 min, and it was stupid.


Last Rampage
There are two ways to approach this movie. As a message to white boys and white women not to slavishly obey and follow the Tough White Male. Based on an actual story, LAST RAMPAGE is about three loyal and adoring sons who break their sociopathic father out of prison. Though not evil themselves, their admiration of their Tough Hombre Pa has blinded them to his wicked ways. (Still, despite the man's plain-as-day wretchedness, one can understand why others look to him as a leader of men.) Another way to regard this movie is as an allegory of the dark side of Old Testament teachings where sons are supposed to obey their fathers just like the Tribe must heed the commands of God(as spoken through the Prophets) without question. I'm not sure the allegory works because the father in the movie is clearly a crazy monster, whereas patriarchs in the Old Testament were sometimes confronted with the hard choice of necessary evil. B