Wednesday, February 22, 2012

The Cohen Predicament in Entertainment: Part I

  It is odd what is considered Entertainment, and stranger still how Reason is abandoned in its pursuit. 

 Consider the "Swing Kids", or the Integration of airways via Rock 'N' Roll.  This has expanded into a wide variety of what should be classed as different genres, having little or no connection to the original fusion of "Gospel" and R&B; which in turn was born out of Jazz, a fusion of West African and a Degradation of European versions of Appalachian and/or the blend of Creole and Denigrated Cajan Folk.  A simple change of name was all it took to set upon a path of destruction.  A duckwalk across the stage Integrated a concert hall.  It is this type of absurdity which Integrated Society.

Think about that: We're allowing Our Kith and Kin to be Miscegenated out of existence because of what The Media tells Us to consider "Good Music"!  That is Insane! 

 Consider the reverse: Estonia attempted a Singing Revolution.  While Estonians fancy this a great Success, it was insignificant in its goal of Fighting Soviet Oppression.  It did serve to Unite People and encourage Traditional Music, however it failed to do anything to direct them to Preserve their own People; allowing those Traditions to continue.  They got lucky in that The Soviet Union drove itself Bankrupt - albeit it drove them further into Disaster beforehand!  They are still Victimized by the Soviet Mentality - a result of ongoing Khazar Occupation! 

 What happened elsewhere leading up to and during said time?  England was influenced by America's Rock Phenomenon, and in turn its new Sub-Genres influenced America's developments in Rock.  This was a forerunner to and an ongoing influence upon The Student Rebellion, which was directed by Marxist Professors, and developed into The Hippy Movement.  The Sexual Bolshevism of the Khazar Magnus Hirschfeld dominated the Cultural Marxist Disaster, though this was virtually only realized by those pulling the strings. 

 As a form of "Multi-Culturalism", there was the attempt at Integrating the Negro "Music" with that which was considered by many to be White but which was actually Khazar, or - at least - the result of a Cultural Disconnect amongst the average White.  Thus, the Pseudo-Folk - a "Pop Culture" Corruption of Frontier Folk Music - was increasingly blurred with or replaced by Nigger "Music".  This "Progressive Bluegrass", having little to do with actual Bluegrass, is the forerunner of "Modern Country". 

 With the Soft Rock likes of The Beach Boys, Southern Rock Bands such as Lynyrd Skynyrd, and Led Zeppelin - named The Definitive Metal Band - all being accused of Stealing Songs from Black "Musicians", despite the obvious Frivolousness of these Lawsuits, the Magic Negro grew into the new Golden Calve.  The Golden Negro, then, developed Rap and Hip-Hop. 

 Disenfranchised Whites, during this time, had been turning to the ill-defined Gothic Genre (having little to nothing to do with either The Gothic Era or the Gothic Literature which was an ode to it) or to Hardcore.  While the one fused with New Wave to create Darkwave, the other birthed Trash Metal.  That give rise to Death Metal.  That begot Black Metal.  There are, of course, cases where Goth fused with Black Metal.  Khazarian Society always needing to control everything, Goth became Sissified for The Masses.  This became known as Emo.  In turn, especially with the onset of "Christian Rock", more of The Masses began to turn to Black Metal.  "Christian Hardcore" was the "Judeo-Christian" response, which only furthered the dissatisfaction with what is oft perceived as Christianity - both in Music and in general!

 The openly-Satanic Sub-Genres continuously descend farther into more Disturbing forms of Darkness, even introducing the world to the Miscreant ilk of Genitorturers.  I will spare you the details because quite frankly, they are too Uncouth for print. 

Israel Cohen must be proud that what he laid out in 1912 has been used so well.  His rudimentary Cultural Marxist Agenda was Vile enough - the infusion of Sexual Bolshevism has made it a far more Grotesque Force to be Reckoned with!

Friday, February 17, 2012

Misrepresentations of Race in Popular "Culture"

 Has anyone else noticed the use of make up and/or prosthetic to make someone seem White at the beginning of a film before showing them as whatever They really are?  They want you to see the Mestizoid, Dravidian, Nigger, Mongoloid, or whatever kind of Cur it is and say "I thought they were White!" - when it's really just a really good make-up department!  They then say "It's just superficial differences" - when in reality they are not taking into account the differences between Genotypes!  It's like looking at Haplotypes of Hybrid Breeds and comparing them to Whites, and saying they are the same - when in reality there are Sub-Types which are Unique to those Hybrids!

 They admit that you cannot use Political Borders, Religions, Languages or Cultures, however they then say that you cannot use continents either; this is misleading - as there is Conclusive Evidence that different Races originated on different continents!  There are, of course, Hybrids which originated on continents which already had a single Indigenous Race; these groups, such as the forms of Khazars which exist today, can be known as (for example) Caucasoids - opposed to true Caucasians!

 Offending films include the Hybrid of Khazar (Pseudo-Russian variety), Gujarat Indian and English, Ben Kingsly in the title role of "Ghandi", and the Mestizoid Vira Montes as Esperanza Santana in "American Me".

 Another example of Hollywood Indoctrination is Bill Adama in BSG being implied as White, having a White son (played by Englishman Jamie Bamber), but being played by a Mestizoid (the same one as in American Me, Edward James Olmos).  His character, however, is played by a Dravidian (Sina Najafi) in Caprica.  His Culture, however, appears to be (intentionally or by coincidence) Fatimid; it is a fusion of Arabic with Italian, though Joseph Adama is played by a Mestizoid (Esia Morales) and Sam Adama is played by an Israeli Khazar (Sasha Roizi).  

 Occasionally, Whites are used to play Non-Whites HOWEVER this serves the same purpose - to confuse!  Examples are Nevada Smith (last time I checked, Steve McQueen wasn't Half-Indian) and the remake of Scarface (Al-Pacino is from Corleone, Sicily; a Village brought to the public's knowledge in The Godfather; however he plays a Mestizoid Cuban).

Interesting to note about The Mafia is that it most likely has Fatimid origins, not actual Sicilian ones.