American society continues to be attacked on multiple fronts by a relentless enemy determined to bring about radical change that will include the implementation of many aspects of classical totalitarian regimes.
The presidency of Barack Obama gave rise to a nasty form of racial revenge in which the fanatical left will be greatly assisted in the imposition of their socialist utopia by pitting Americans against each other based on the color of their skin.
This anti-white racist fifth column was then energized by the election of President Donald J. Trump who has become the target of a daily campaign of vicious hatred and media propaganda but the ugly truth may be that Trump only serves as a whipping boy for the left’s hostility toward capitalism and white people in general.
It was only under Trump that the zealots became so brazen that statues began being ripped down, a chilling censorship enforced on social media and a cultural cleansing being carried out under the pretense of erasing “white supremacy” from history. This is the kind of insanity that has led other socialist/communist countries to round people up and put them into death camps but it is happening right here in the USA.
The latest?
Disney’s classic 1964 musical “Mary Poppins” is a symbol of this vast white supremacist conspiracy because of the scene in which Julie Andrews, Dick Van Dyke and the children had chimney soot on their faces which has now been distorted to claim that they were wearing blackface.
The source for this fiendish propaganda? The New York Times which may as well just become a house organ for the Nation Of Islam given its recent obsession with anti-white race-baiting and the puff pieces on black identity extremist groups like the Black Hebrew Israelites who instigated the kerfuffle with the Covington Catholic kids that showed how vicious that the left has become.
Via the New York Times, “‘Mary Poppins,’ and a Nanny’s Shameful Flirting With Blackface”:
“Mary Poppins Returns,” which picked up four Oscar nominations last week, is an enjoyably derivative film that seeks to inspire our nostalgia for the innocent fantasies of childhood, as well as the jolly holidays that the first “Mary Poppins” film conjured for many adult viewers.
Part of the new film’s nostalgia, however, is bound up in a blackface performance tradition that persists throughout the Mary Poppins canon, from P. L. Travers’s books to Disney’s 1964 adaptation, with disturbing echoes in the studio’s newest take on the material, “Mary Poppins Returns.”
One of the more indelible images from the 1964 film is of Mary Poppins blacking up. When the magical nanny (played by Julie Andrews) accompanies her young charges, Michael and Jane Banks, up their chimney, her face gets covered in soot, but instead of wiping it off, she gamely powders her nose and cheeks even blacker. Then she leads the children on a dancing exploration of London rooftops with Dick Van Dyke’s sooty chimney sweep, Bert.
This might seem like an innocuous comic scene if Travers’s novels didn’t associate chimney sweeps’ blackened faces with racial caricature. “Don’t touch me, you black heathen,” a housemaid screams in “Mary Poppins Opens the Door” (1943), as a sweep reaches out his darkened hand. When he tries to approach the cook, she threatens to quit: “If that Hottentot goes into the chimney, I shall go out the door,” she says, using an archaic slur for black South Africans that recurs on page and screen.
This not only insanity, it is increasingly dangerous because of social media and the abundance of bitter suckers who believe it.
Unless sane Americans start fighting back, their futures will be very bleak indeed if the socialists and those bent on punishing white people ever get political power.
