2012: Harbinger of Revulsion
skins
There have been numerous anti-American "alliances." The vaunted
Jewish-Negro alliance, which seeks to "repair" the Jesse-Jackson
Israeli-Lobby rift. The implausible Conservative-Liberal alliance,
which festoons Casper Weinberger and Douglas Ginsberg over a hapless
Ronald Reagan. The Nixon-Red Chinese alliance, cementing Henry
Kissinger as arbiter of the world. However, the Hollywood-Japanese
alliance has been no less striking or diabolical.
Tokyo has long been animated by the notion that, if the African could
be propelled over the American, the chief impediment to Japanese
hegemony would be removed. The fall of America, by way of eradication
of Americans, has been no less a priority of the Israeli-Lobby, long
ensconced in Hollywood. The Japanese waste no time in cranking out
advertisements, touting Negroes driving their "made-in-USA" cars and
"enjoying" the "American way-of-life."
By the same token, Hollywood delights in producing films depicting
miscegenation, integration and "diversity" as "normal" and, even,
delightful. But, such excesses invariably get enough dander up to
prompt a ferocious backlash. It is though the Oriental potentates and
Hollywood moguls, however, do not have a clue, until their world is
shattered by universal revulsion and popular uprising. Witness
"2012," generated by "Sony" and produced by Michael Wimer.
The movie is so presumptuous as to be ghastly, yet so self-absorbed as
to be ridiculous. Still, it is a study in "brain-washing," which
explodes the myth of anti-American plausibility. Leading off is a
Negro portraying the President of the United States. The character
later states that he is the "last" President, stoking fears that the
nation is already collapsing, due to African-usurpation. The "hero,"
however, is a Negro, who fights the "evil" whites.
The "President" and others solemnly proclaim that everyone in the
world is "one family," which must "stand together" in some ultimate
integration, in the face of natural-disasters wreaking havoc. But,
wait. That is the Sixties' party-line that everyone must "come
together" and be "equal," by forcing Negroes into schools, jobs and
offices. We are now "post-integration," in which the African is
higher, above and nobler, as the movie eventually pontificates.
The "hero" manages to convince the leaders of the world that he is
correct, by being more "compassionate" and "globalist" than the mere
whites around him. In fact, they unofficially elect him leader of the
world, as the planet collapses and the Dark Continent emerges as the
new homeland for an integrated, shipwrecked remnant. So, "Back-to-
Africa" finally takes place, interspersed with a small group of
whites, which will eventually dissolve via miscegenation.
Even a Birch-Society conspiracy-theory never took quite so many
liberties. Negroes in space? A given. America wiped out? No
problem. The church toppled. Par for the course. The computer-
animation never shows the "wailing-wall" yielding to catastrophic
flood-waters, but, so long as Wimer is in charge, all is well. Even
nature sides with amalgamation, as a character, who had objected to
his son marrying an Oriental, meets his doom, while the couple
survives.
The upshot is that "the brown will inherit the earth." If the
Negroes, Israelis and Japs cannot pull it off, nature will. So, give
up trying to take it back, Crackers. Kind of like the Clayton-
Williams, albeit ill-fated, advice to the woman being raped to "lay
back and enjoy it." The only problem is that the same scenario has
played out before. The Moors in Spain. The Royalists in America. The
Soviets in Russia. The Weimars in Germany. And the Obamists in
Washington.
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