Mainstreaming "Black" and the death of "White"

In 1982, U.S. Blacks complained that their TV shows were getting bad ratings and repeatedly getting the axe. The media circuit was dominated by programming for White families. The only successful "Black show" was Fat Albert and the Cosby Kids, an all-Black cartoon geared towards young, inner-city Blacks. The series began in 1972. Produced by Jew Lou Scheimer, as well as Norman Prescott, it became a staple of CBS Network which, at the time, was under the thumb of Jewish television executive Fred Silverman.

In addition to Fat Albert, CBS also gave the public The Jeffersons, a spin-off of the popular all-White sitcom All in the Family. Unlike All in the Family, The Jeffersons had an all-Black cast and occasionally touched upon themes like racism and prejudice in their "typically American" struggle to achieve social mobility. The Jeffersons first aired in 1975; it was written by Jews Bernie West and Isidore Rovinsky, and directed by a liberal Jew and political activist named Norman Lear.

Both Fat Albert and The Jeffersons enjoyed long runs of success. However, these were the only successful all-Black shows on network TV until NBC introduced the The Cosby Show in 1984. The Cosby Show, produced by a Jew named Tom Werner, was the brainchild of three individuals, including Jew Ed Weinberger; the show featured Black comedian Bill Cosby as the witty father of an affluent, all-Black family. Incidentally, it marked the third time NBC had tried a gig with Cosby. One gig, co-produced by Weinberger, had "featured Cosby responding to eccentric Whites." It had aired for two seasons, starting in 1969. Jew Robert Sarnoff, the son of NBC's founder, had been a fan of the series. Nevertheless, NBC decided that America was not ready for such "comedy" and pulled the plug.

The 1984 gig with Cosby was less political than the 1969 one; however, it was also more progressive than The Jeffersons. For example, The Cosby Show included commentary about the Civil Rights Movement. It also promoted traditional African culture and featured various Black musical guests, mostly of a refined, artsy nature.

In 1985, Jewish media mogul Murray Rothstein acquired control of Viacom and with it, MTV Network. Viacom became one of the networks to syndicate The Cosby Show. Around the same time, on the other side of the globe, the "inventor of the modern tabloid", Jewish media mogul Rupert Murdoch, left the Australian Labour Party. To expand his empire to include the American-based television industry, in compliance with merger laws, he applied for American citizenship. 

By 1985, Murdoch's attaché included Fox Network. Under Murdoch, FOX gave American TV audiences the show COPS; the series challenged old stereotypes about the Black community by showing more Whites involved in street crimes than America's predominantly Black prison population would suggest there were.

In 1988, Zionist Merv Adelson agreed to a merger that put his Lorimar Pictures under the hat of Warner Brothers (WB) and in the hands of Jew Steve Ross, WB's owner. The following year, Lorimar and WB teamed up to bring viewers Family Matters, an all-Black knock-off of the all-White hit Perfect Strangers. The show aired on ABC. The president of ABC at the time was Leonard Goldenson, a Jew who, years earlier, had hired the first African-American staff announcer in network television and radio history (Sid McCoy). After two seasons, Family Matters underwent an important change and the dorky, but lovable Steve Urkel character was introduced to the script. "Urkel" was played by Jaleel White, who was Black like the rest of the show's main cast. To ABC's delight, "Urkel" became a sensation - a hit with children and a household name that transcended the racial barrier in America.

In 1990, Jews Andy Borowitz and Susan Borowitz introduced the world to Will Smith, a shining prince for their all-Black sitcom, The Fresh Prince of Bel-Air. The show was groundbreaking because it reached out to the teen market and promoted the new Black styles and sound of hip hop. Thus, "experiencing Black" became more than it was in the past; it was no longer about Blacks being portrayed as "typically American" or witty like Bill Cosby or Steve Urkel. It was about projecting the new "cool" in American society, led by blacks. Incidentally, around this time, Rothstein's MTV moved towards the primary promotion of Black-dominated acts. Token Whites ("New Kids on the Block", "Kriss Kross", "Vanilla Ice" and "Marky Mark and the Funky Bunch") popularized hip-hop, and "soft-core" Black acts, like MC Hammer and LL Cool J, took hip-hop fans over the color barrier while keeping things relatively tasteful.

Finally, by the late 1990s, "the funky Black cool" had been cast aside for a rugged, anti-White, womanizing, drug-dealing Black thug "cool"; rappers such as Tupac, Notorious B.I.G., Snoop Dogg, Dr. Dre and DMX became MTV's staple, and the network never looked back. Interestingly, Marky Mark, Tupac, Notorious B.I.G., Snoop Dogg and Dr. Dre had all been brought to the mainstream under Interscope Records, a label belonging to Jew Jimmy Iovine. Interscope was half-owned by Warner Bros., the same company that, ironically, helped produce Family Matters. Today, when rapper Xzibit isn't "pimpin' somebody's ride", MTV's music lineup consists of Hip-Hop, Blacks and more Blacks: Xzibit, Kanye West, Lil' Wayne, Jay-Z, 50 Cent, The Game, Lil Bow Wow, Soulja Boy, Snoop Dogg, Tony Yayo, Ja Rule, Ice Cube, Alicia Keys, Missy Elliot, The Black Eyed Peas, DMX, Cassidy, Puff Daddy, Nas, Fabolous, Queen Latifah, Lil John, Lil Kim, Beyoncé Knowles, Ludacris, Jadakiss and the lone "White", Eminem. The styles these people come up with, the language they use, the way that they talk and act - all of these things are the biggest influence on teens today. What is geared at White teens: angry and depressive music, filled with lyrics about self-hated and self-destructive behavior.

Perhaps because there were bigger budgets at stake, change came to cinema much more slowly than to television. However, when the new era struck, it struck hard. In 1984, A Soldier's Story hit the box office. The film was about segregation and racism in a Black U.S. Army regiment training in the Jim Crow Deep South. One year later, The Color Purple was released. The film was directed by Jew Steven Spielberg. It focused on "life as a Black woman in the South in the 1930s" - or, at least, as a person who was beaten, mishandled, raped and impregnated. The film was picked up by Warner Bros., the company controlled by Jew Steve Ross. Interestingly, the Coalition Against Black Exploitation protested the film because Spielberg, an allegedly "White director", was telling an "African-American story".

Around the time of A Soldier's Story and The Color Purple, a Black director named Spike Lee came onto the scene. The young director brought with him more films about "Black community issues". His 1989 film Do the Right Thing dealt with racism and the conflicting messages of Martin Luther King and Malcolm X. The film was distributed by Universal Pictures, a company led by Jews Sidney Sheinberg and Lew Wassermann of RCA.

In 1992, the Rodney King trial occurred. Black riots followed and Los Angeles went up in flames. Later that year, Jewish-owned Warner Bros. set out to make a film about Malcolm X. To avoid another controversy over a non-Black director on a "Black film", Warner Bros. gave the directing job to Spike Lee. The film was widely promoted and brought in a generous amount of revenue; it began with a video of an American flag burning while a clip from the infamous "Rodney King tape" from earlier that year ran. Meanwhile, a Malcolm X speech was read as a voice-over:

"Brothers and sisters, I'm here to tell you that I charge the white man. I charge the white man with being the greatest murderer on earth. I charge the white man with being the greatest kidnapper on earth. There is not place in this world that that man can go and say he created peace and harmony. Everywhere he's gone he's created havoc.

Everywhere he's gone he's created destruction. So I charge him. I charge him with being the greatest kidnapper on this earth. I charge him with being the greatest murderer on this earth. I charge him with being the greatest robber and enslaver on this earth. I charge the white man with being the greatest swine-eater on this earth, the greatest drunkard on this earth.

He can't deny the charges. You can't deny the charges. We're the living proof of those charges. You and I are the proof. You're not an American, you are the victim of America. You didn't have a choice coming over here. He didn't say, "Black man, Black woman, come on over and help me build America." He said, "Nigger, get down in the bottom of that boat and I'm taking you over there to help me build America." Being born here does not make you an American. I'm not an American. You're not an American. You are one of twenty-two million Black people who are the victims of America [...]

--Malcolm X

By this time, Black "cool" and White self-loathing had become the order of the day. But there is more. In 1984, ownership of Disney changed hands and Jew Michael Eisner took over the company. "Children's films" have not been the same since; one year after the takeover, Disney released the first children's film to get slapped with a PG rating. In the years which followed, certain scenes in Disney's The Little Mermaid (1989), Aladdin (1992) and The Lion King (1994) have sparked a great deal of controversy, resulting in complaints, lawsuits and re-releases. Disney's films have also become noticeably "multicultural": that is, the villains are usually Caucasian, and Caucasians are increasingly given the roles of low-IQ fools. Even non-Disney films fit the trend: Remember the Titans, Cold Mountain, is everywhere. And if you are looking for the "let's-make-fun-of-Whites" comedy that Cosby's briefly-aired show in 1969 was supposed to be...look no further than Paul Mooney, Chris Rock and the rest of them.

So why the change now?

Well, one thing to consider is that, until the mid-80s, the media moguls probably hesitated to interfere with the White majority's desire to have America feel like a home. Think about what the American population looked like in 1980, when it was filled with White, aging World War II veterans who grew up long before the introduction of multicultural and liberal messages in entertainment. Would this group of typically conservative, Christian, tradition-minded people have tolerated direct agitation against their ilk, especially when they were used to Caucasians being around 90% of the population? No, probably not.

Another thing to consider is that, until 1991, the Cold War was going on. The Cold War was not the time to challenge the nation's identity; rather, it was the time to embrace it. After all, what would have happened if the United States had started to adopt the same anti-national, leftist banter as the Soviet Union, the very country America was supposedly the enemy and antithesis of, ideologically and otherwise, in the midst of the Cold War?

By contrast, today's America is something completely different; the World War II generation is passing away, immigration is surging and the Caucasian birthrate is declining (Caucasians now make up 65% of the overall U.S. population, down from 90%). Secondly, the Cold War is nothing but a memory, so the leftists in television and the media can become increasingly bolder; they no longer fear that they will be attacked as traitors, or spies for the Soviet Union in a wave of neo-McCarthyism. After all, there is no Soviet Union, and criticism of "WASP" Christian America is now nothing more than a different ideological standpoint - it is no longer the ideology of a rival superpower.

So where does this all take us? American culture has become the undermining of traditional values and American White culture. The proponents claim to be leading is to a golden age where a man is "judged not by the color of his skin but by the content of his character" - but is that where we are headed, or have the roles of who is raised proud and who is told to hate himself simply changed? Are we sharing a stage now or has it simply changed hands?