Showing posts with label Drives. Show all posts

Thursday, 18 May 2017

The Repressed Always Returns

Someone who was cruel and irresponsible and refused to listen to advice; motivated by repressed anger rather than a desire to help people.

Sunday, 13 December 2015

…[B]ecause they think they are white.

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.

(http://www.blackpressusa.com)

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.

(http://www.theatlantic.com)

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.

Thursday, 19 November 2015

Choir

Rating: 40%

(http://www.mongrelmedia.com)

Also Known As:: Boychoir
Version:: needed to precede following dl
Review Format:: DVD
Year:: 2014
Countries:
Predominant Genre:: Drama
Director:
Outstanding Performances:: None
Premiss:: Troubled orphan ends up at a choir school after the death of his single mother.
Themes:: Alienation | Art | Atheism | Black people | Coming-of-age | Courage | Curative | Destiny | Emotional repression | Family | Identity | Individualism | Loyalty | Materialism | Narcissism | Nostalgia | Personal | Personal change | Political | Political Correctness | Propaganda | Rationality | Republicanism | Sadomasochism | Schizophrenia | Science | Solipsism | Stereotyping | Totalitarianism | Western world | White culture | White people
Similar to:

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)

Rating: 40%

(http://kingstonhawes.blogspot.co.uk)

Also Known As:: MI-5
Year:: 2008
Country:
Predominant Genre:: Thriller
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://weirdwhites.blogspot.com) is included: E-mail notification requested. All other rights reserved.

Saturday, 4 July 2015

Without Conscience

Rating: 60%

(http://www.amazon.co.uk)

Subtitle:: Disturbing World of the Psychopaths Among Us
Version:
Review Format:: Book
Year:: 1999
Country:
Predominant Genre:: Non-Fiction
Author:
Outstanding Performances:: None
Premiss:: Psychopaths are fully aware of the consequences of their actions and know the difference between right and wrong, yet they are terrifyingly self-centered, remorseless, and unable to care about the feelings of others.
Themes:: Alienation; Curative; Destiny; Emotional repression; Empathy; Ethnicity; Evolution; Family; Grieving; Identity; Individualism; Justice; Loneliness; Loyalty; Materialism; Narcissism; Nature; Nostalgia; Personal; Political; Political Correctness; Preventive; Republicanism; Role modeling; Social class; Society; Snobbery; Solipsism; The State; Stereotyping; White culture; White guilt; White supremacy
Similar to:: America’s Most Wanted

Psychology is the disease for which it pretends to be the cure

WHITE MAN’S CURSE: Self-Absorbed Gratification and a Sense of Omnipotence & Entitlement

Summary: Caucasian Psychopathy Laid Bare in an Attempt to Use Soviet Psychiatry to Imprison Those People Whites Do Not Like.

ascinating look at the psychopathy inherent in Whites (most psychopaths are White) but which refuses to admit this simple fact. This book tries to scare readers to make a buck for its author by evading the issue that the problem with psychopaths is predominantly a White problem - that only Whites, therefore, can fix. Extensive use of the words our & us, does not effectively-conceal that these adjectives and pronouns do not include People of Color (POC).

Science is here being used to label people that Whites simply do not like because they remind them of the personality traits they keep locked-up inside, themselves. As well as to force people to like each other or be placed in prison for not being warm or empathic enough toward Whites; thereby legislating for love. The claim is even made that psychopaths are baffling and complex (since they are not clinically-insane) when it is obvious that people who believe they can do as they please in their desire for attention, often become perverse adults. Do we really need PhDs to tell us this?

Black people, for example, have experienced the deleterious effects of White psychopathy for centuries - so find it easy to spot the variable mixture of sweet-talk and intimidation of the typical psychopath. It is only when Whites turn on each other that Whites claim to be baffled, since the murders committed by, say, the KKK are still not considered psychopathic by Whites, but as racial self-preservation and, therefore, rational.

Trying hard to distance themselves from psychopaths, Whites mis-describe the condition and pretend psychopaths are somehow different from other people in some fundamental way; that is, a lack of empathy that is really nothing more than the desire for a lack of empathy - to facilitate the exploitation of others. Here, Whites confuse the goal, itself, with the achievement of the goal, through subjective inference cloaked in the respectability of scientific discourse - all this allied with the refusal to face-up to alternative explanations for observed behavior.

Perhaps psychopaths are a different species of human or, par for the course with White supremacy, a sub-species? This is supported by no empirical data and is nothing more than a political game to make Whites feel superior to those they so label; making it obvious psychiatry is little more than a soft-science: The militant wing of psychology.

After all this hypothesizing, this book provides only meager help for protecting oneself against psychopaths, since Whites are in denial about the fact that it is White culture that produces such apparently-physiological defects. This leads to absurd advice like being less gullible (& more cynical), rather than being more aware of the nature of objective reality. As with White supremacy, Whites claim to know what racism is, but never to help Blacks distinguish between the good and the bad Whites (if such a distinction is even valid) - since all Whites benefit from no-one knowing, as then racism is harder to detect and defeat. This is because Whites do not see a difference themselves - as this book clearly proves - and they would not want anyone to know just how sick their culture truly is.

Normal people are perfectly able to protect themselves from psychopaths only insofar as they are normal. Psychopaths prey on the very weaknesses that Whites so commonly manifest: Financial greed, attention-seeking, sexual lust, etc; making the Whites the most likely psychopaths and the most likely victims.

Psychopaths are common in White media precisely because they are common in White culture. Like Whites, they know the difference between right and wrong and are fully aware of the consequences of their actions yet, like Whites, they are self-centered, remorseless and choose not to care about the feelings of others; while appearing completely normal (ie, usual) to other Whites because they share the same worldview; the blind always leading the blind.

This appearance of normality does not fool everyone else, who clearly see that this White description of the psychopath closely-matches and is an eidetic description of typical White people, as such (compare with, Bobby Wright). And while establishing a range of idiosyncrasies in linguistic and affective processing under certain conditions, Dr HARE has not confirmed a common pathology of psychopathy. His contention that the pathology is likely due in large part to an inherited deficit in cerebral brain function is speculative but persuasive.

Despite the title of this book, there is no evidence that psychopaths lack a conscience - only the subjective claim that because they do not do what normal people do then they cannot have a conscience. But this is anthropomorphism, not science. The expressed White fear of such people, that such a view reveals, is really a the fear of ones own reflection. Of con-artists, hustlers and rapists who charm, lie and manipulate their way through life to get others to do the responsible work of individuation that they, themselves, should be doing.

The anger directed at psychopaths by this author attempts to hide the usual White resentment at anyone’s apparent ability to be free of guilt while doing as they please. Whites also envy the emotional emptiness of the psychopath who seems so easily to avoid being weighed-down with regret for anything they do.

Hardly surprising then that since Whites looted, raped and mass-murdered their way around the world for 500 years, that the vast majority of psychopaths should be White since they are taught to believe that such behavior is OK. This makes psychopaths hard to detect among Whites because one is not looking for a needle in a haystack, but something common because so numerous. That the White definition of psychopathy describes rather well the White culture that spawned it is lost on Dr HARE. And given that this book possesses a self-congratulatory political tone, throughout, amid absurd and angry claims (angry since psychopaths reveal what POC suspect of all Whites) that White society views psychopathic personality traits as pejorative, despite Whites commonly manifesting them - it is to be wondered if Dr HARE is not, himself, something of a psychopath.

Perhaps this White author will one day write an honest book about White culture and its endemic problems - serial-killing, various addictions, child-molestation, etc - and end the whitewashing that such a culture regularly receives from dishonest authors eager to pretend the problems of the world - and their solutions - have nothing to do with them. Or, perhaps, collaborate with a Black psychiatrist who can see Whites more clearly than Whites see themselves.

The most disturbing aspect of this book is, in fact, the extent to which Whites evade the truth about themselves in hiding behind scientific-sounding babble. As the psychopath must evade reality for his schemes to have any chance of success in the reality so evaded, so must this author’s in claiming to have created a reliable means of spotting and predicting psychopathic behavior; while then implying he finds it easy to function in a White society which creates and tolerates them.

This book sees human nature simplistically as the source of problems to be checked rather than as the source of human happiness; it is obsessed with regulating behavior that Whites fear rather than freeing it. It is dedicated to turning Whites into robots - as opposed to psychopaths - because the author sees humans as animals to be trained, as in A Clockwork Orange. The ultimate goal is to create a dictatorship of psychiatrists.

Angry, insincere and repetitive, as if author does not believe his own thesis and thinks whining on about terrible criminal psychopaths are (we already know how bad they are, so why keep going on about this?) will make his not-very-scientific mantra more believable. Opinion takes the place of hard facts too frequently to not be a deliberate attempt to make money out of people’s fear of psychopathy. Worse, there is no definition of normal against which to judge people you might think are psychopaths.

Either Whites are genetically-vulnerable to being psychopaths (since most psychopaths are White) or psychopaths are hard to spot in White culture because there they are so common, this being what Whites mean when they exclaim: He was such a nice boy! Who’d’ve thought he’d rape and mutilate those kids.

The lack of understanding of psychopathy is replaced with sneering and unscientific contempt - as if the author knows the right buttons to press in his readers, but lacks sufficient insight to help with the fears he attempts to exploit. This is little more than an unscientific puff for PCL-R that contains no references to other, similar metrics that just may be better in their predictive intent and result. Dr HARE describes psychopaths as social predators, while pointing out that most do not commit murder. His work possesses a high moral-tone (sensationalist & self-righteous attempt to substitute for an insightful-enough intellect) yet tends toward sensationalism and graphic anecdotes; providing a useful summary of the assessment of psychopathy while, ultimately, avoiding the difficult questions regarding the internal contradictions in his concept or how it should be classified.

Although a shallow book, it does contain some useful information that will be of use to POC in dealing with the psychopathic nature of White culture and of how to avoid being hurt by Whites by explaining their most likely behavior and the fact that psychopaths can pass for fully-human in White culture since they are so similar to all Whites - and, so, harder to pick out. And yet, if Whites spent as much time looking for sexists, White supremacists and social snobs as they do looking for other psychopaths, there would be a lot less of all of these social problems. But the lives of women, Black people and the poor do not matter to Whites: Fortunately for POC, most victims of psychopaths are White. And the peculiarity of this book is that a White scientist does not ask the victims of sexism, classism & White supremacy for their survival strategies - which would be far superior to those enumerated here. With Whites, potential victims face a simple choice: Adapt to a hopeless situation by a) giving in; b) accepting others treatment of you as an inferior; c) losing their self-identity; or d) fight back.

A curious characteristic of Whites is their desire to be seen as cool; that is, to drain away what little humanity they have in favor of aping psychopaths - which they do rather well compared to other ethnic groups who favor emotionally-expressivity. This explains why Whites are like their tv: Psychopathic in destroying the value in all it touches and treating everything as both equally-banal and equally-interesting.

Weird ‘n’ White™

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