Django Unchained: Quentin Tarantino’s New Anti-Southern Racial Revenge Film

Quentino Tarantino's new movie Django Unchained takes hatred of the American South to a whole new level

Antebellum South

It was only a matter of time.

Black Run America has become so thoroughly and casually hostile to White people that we have lived to see the advent of the anti-White racial snuff film.

The first sign of this was Quentin Tarantino’s Inglourious Basterds (2009) which was unambiguously a Jewish fantasy revenge film on Germans, an escape valve for savage anti-German feelings among Jews, that had no basis in fact or history.

Then came Machete (2010) which was about Hispanic illegal aliens in the Southwest fighting with and triumphing over corrupt American nativists and border vigilantes. That one struck a little closer to home.

Briefly going outside of this particular anti-White sub-genre, the negro Idris Elba was recently cast as Heimdall, a Germanic god, in the new Thor (2011) movie which is now in theaters. The CofCC has organized a Thor boycott. TheRoot.com snarkly described Idris Elba as “our favorite Nordic god.”

In case you think Hollywood only picks on Nazis and White pagans, the actor Jim Caviezel who played Jesus in Passion of the Christ (2004) recently told the Daily Mail that Hollywood has blacklisted him and destroyed his career for having the audacity to play the Savior in one of the most fervently Christian nations in the world.

Mel Gibson – who went outlaw – is the most hated man in Hollywood on account of his “anti-Semitism.” He reportedly told Caviezel: “You’ll never work in this town again.” Caviezel responded, “We all have to embrace our crosses.”

Hollywood and White People

It has been obvious to us for the longest time that Hollywood has racial scores to settle with a number of different White groups: Christians, Germans, pro-Whites, and White males in general who are almost always depicted in Hollywood movies as buffoons, Jack Black in Tropic Thunder (2008), or as villains, Agent Smith in The Matrix (1999).

Who can forget Clint Eastwood’s martyrdom for diversity, multiculturalism, and tolerance in Gran Torino (2009)? The sheer racial and ideological antipathy toward White people in Hollywood movies is now so overwhelming that I all but quit watching them a long time ago – perhaps a mistake, considering the focus of this blog.

All this goes hand in glove with Hollywood’s relentless promotion of non-Whites, especially blacks, as geniuses, heroes, and positive role models: Will Smith saving the world in Independence Day (1996), Morgan Freeman playing God in Bruce Almighty (2003), or more recently, the utterly implausible Danny Glover as President of the United States in 2012 (2009)

There is so much material to work with here that someone could do a Black Run America website on nothing but anti-White racial stereotypes and clichés in Hollywood movies. Hint: we need more collaborators.

You could start with Guess Who Is Coming To Dinner? (1967), a “groundbreaking” film about interracial marriage starring Sidney Poitier and Katharine Hepbern, and track the evolution of the portrayal of blacks down to Will Smith in The Legend of Bagger Vance (2000), where he plays the quintessential “magic negro.”

SBPDL.com has a great new book coming out on Friday called “Hollywood in Blackface” that explores the depiction of blacks in movies in Black Run America. It will be a great addition to your racial library. Buy a copy.

Hollywood and The South

Of all the White groups that Hollywood dislikes, it is clear that White Southerners have long held a special place in their heart. We have always been one of their favorite targets for demonization.

In A Time to Kill (1996), Matthew McConaughey, Sandra Bullock, and Samuel Jackson star in a film about the fictional gang rape of a 10 year old black girl by “white supremacists” in Mississippi.

In Mississippi Burning (1988), William Dafoe and Gene Hackman play heroic federal agents from the Justice Department who descend on Mississippi to fight “hate” and “racism” and the Ku Klux Klan.

In Cold Mountain (2003), Jude Law and Nicole Kidman starred in a film that demonized the Confederate Home Guard.

In Glory (1989), Matthew Broderick led Denzel Washington and Morgan Freeman in the 54th Massachusetts Volunteer Infantry in the War Between the States, where the Confederates kill Broderick and Washington and bury them together in a mass grave.

I will never forget Hollywood’s demonization of Gods and Generals (2003) which, virtually alone among films, depicted the Confederacy in a positive light and Robert E. Lee and Stonewall Jackson as heroes.

Compare the treatment of Gods and Generals and The Passion of the Christ to the cooing over Brokeback Mountain (2005), which was about gay cowboys in Wyoming, or The Blind Side (2009), Sandra Bullock’s cinematic return to Mississippi where she adopts that negro football player, or either with Hancock (2008), Will Smith’s casting disaster as a superhero.

It is only in hindsight that all these films, which are seemingly unconnected, can be seen and interpreted in light of a common pattern – Black Run America – that reflects the anti-White, anti-Christian, anti-Southern zeitgeist of our age.

We live in a world where someone like Morris Dees who makes $304,000 a year, one of the highest salaries in Alabama, is invited to speak at universities to lecture others about the “white privilege” of people who live in trailer parks and support their families with food stamps.

Meanwhile, Jared Taylor of American Renaissance cannot rent a hotel conference room in Charlotte, North Carolina. Yet American academia is convinced that our society is so hobbled by “white privilege” and “institutional racism” that black people (like Will Smith, Denzel Washington, Morgan Freeman, President Barack Obama, etc.) cannot possibly succeed in such a racist environment.

Django Unchained

In the course of writing this article, I have drifted far off course, but I felt the historical context of this film was needed.

In many ways, Django Unchained (2012) is the culmination of the American imagination in Black Run America: an anti-White, Hollywood produced racial revenge movie distributed by the Weinstein Brothers (I don’t even have to say it) and set in the American South where a runaway slave becomes a bounty hunter who murders evil plantation owners.

The racial situation in America has swung so far to the other side of the pendulum that Hollywood is now making racially inflammatory movies to cater to the bloodlust in an emerging market of anti-White racial snuff films.

Needless to say, if the racial roles were reversed here, the American Left and the SPLC would be screaming bloody murder about “racism” and “hatred” and “stereotypes,” but because everyone knows that Germans and White Southerners are at the bottom of the racial totem pole in Black Run America, you can get away with making a movie about murdering White Southerners as White Southerners, or Germans as Germans, and make yourself a huge fortune off of it.

There isn’t a “racial double standard” here: it is a single standard that blacks and Jews are noble beings and Southerners and Germans are savage beasts who occupy another rung of the racial ladder somewhere below them.

Shabbos goy, Quentin Tarantino says:

“The title character Django is a freed slave, who under the tutelage of a German bounty hunter (Christoph Waltz) becomes a badass bounty hunter himself and after assisting Waltz on taking down some bad guys for profit, is in turn assisted by Waltz in tracking down his slave wife and liberating her from an evil plantation owner. And that doesn’t even half begin to cover it! This film deals with racism as I’ve rarely seen it handled in a Hollywood film. While it’s 100 percent pure popcorn and revenge flick, it is pure genius in the way it takes on the evil slave owning south. Think of what he did with the Nazis in Inglourious and you’ll get a sense of what he’s doing with slave owners and slave overseers in this one. It’s violent and funny and full of great Tarantino monologues and shoot outs (and slave rapes and slave tortures) and the center piece of the script is this fantastic relationship between Django and his Obi-Wan Waltz and it all just f*cking works in the way only Tarantino makes it work.”

It “f*cking works,” man.

No one in Hollywood has ever taken on “racism” in Nazi Germany or the “evil” American South before. The Pianist? Schindler’s List? Defiance?

We are breaking new ground here: the ground being that playing the Son of God in an American movie ruins your career, but hatred and demonization of White people, Christians, Germans and Southerners is now so mainstream in Hollywood that you have to murder us now (or eat us) to be edgy and take it to the next level.

Freddy Goldstein writes at YouTube:

“This is truly? a wet dream for me. All neo-nazi white supremacists deserve far worse than this. But this is ine of the greatest scenes ever in one of the best films of all time. Hail Bear!”

The Thor boycott was a good idea. We need to take it to the next level and boycott all Hollywood movies though.




About Hunter Wallace 12325 Articles
Founder and Editor-in-Chief of Occidental Dissent

50 Comments

  1. Resisting Defamation is urging readers not to use “vengeance” or “vindictive” in any of its writing on the ground that it represents the anti-white element as operating from a justified animus based on experience. In other words, “vengeance” and “vindictive” grant legitimacy to hateful anecdotes demonizing (sometimes literally) the diverse white American peoples.

    A different approach would be to characterize this kind of hate speech as simply a campaign of anti-white writers against kids and seniors as preemptively guilty of some horrible crime, and that is not at all the case.

  2. I saw the “Book of Eli” in the same light. A black man kills a lot of sub-human whites and takes their bible away to be placed, in the final scene, on a shelf next to the Torah.

    There’s also Kanye West’s video http://www.youtube.com/watch?v=XYlyqRQXdtc which would have caused a scandal in the media if the colors were reversed.

    I was expecting this if/when white people slipped into actual minority status but not so blatant, so soon. I guess part of it is actually Tarantino. If you look at his early films it’s like he’s a kind of cultural sponge who soaks in everything around him. Maybe he’s soaking in all that anti-white Jewish hatred in Hollywood and projecting it on screen.

  3. Tarantino is definitely a weird one. He has Cherokee ancestry, and according to him his mother defiled herself with various black men when he was growing up. No wonder he’s fucked up.

    “I don’t know if I want to be black. I have an affinity for black culture; it has nothing to do with my pigmentation. I just grew up around a lot of black guys, and there were black influences inside my household. My mother used to date black men.”

    Tarantino added that growing up in a two-toned part of L.A. helped his use of black dialect.

  4. He is a screwball who will make a movie that looks like the real BRA and the idiot jews who dominate the critique racket will applaud it like they did Bastards which made fun of jews. Laugh at these people and their money losing movies.

  5. Well, I squirm to read this, but it least it features a cool German good guy for a change … anyway, there were many ambivalent moments in Inglourious Basterds. Some German characters were pretty attractive and complex, while the “Basterds” often appeared as nasty and one-dimensional. There was space left for viewer’s projections. But admittedly few in the popcorn audience were able to perceive this. The infamous Bear Jew scene actually made the soldier look brave and his henchman sadistic and cruel… if some Jews jerk off on this it is rather telling about them than about Tarantino.

  6. We need a catalogue of movies suitable for White viewers. I refuse to watch anything with black characters. Needless to say, I haven’t been to the movies, or switched on my TV, in years.

    The Occidental Quarterly has been promising a movie list for months, but nothing materialises. Anybody know where this information can be found?

  7. However absurd and vulgar the movie may be it pales in comparison to the real crimes and “revenge” that happens everyday against our people.

    I imagine at least some good will come out of it. Our people more often respond and react more than they take initiative. The harder non-Whites push and insult the better for us.

  8. If you haven’t watched movies in years why would you look forward to OD putting out a movie list?

  9. HW: Regarding H’wood’s slamming of “Gods and Generals”, I think there may be some Jewish payback involved. If you saw “Gettysburg”, made by the same folks as made “G&G”, you might remember the repellent mayor of the town, early in the movie. General Buford (Sam Elliot) said of him Too fat, talks too much, and doesn’t think twice about asking somebody else to die. I was surprised that a character that was so obviously a Jewish parasite appeared in a movie.

  10. The Jew Bear scene is really interesting. I read reviews of this odious Hating on Germans movie. I could not bring myself to watch, when it was released. A review, in the Occidental Observer, I believe, said this anti-Gentile porn-fest is the most subversively anti-Semitic movie ever made, because the Jewish characters come off as totally moronic, twisted, and repulsive psycopaths. The Germans are the ones that come across a attractive, decent, charming and humane.

    I understand that lot of Jews LOVED this movie (Jew porn); I think that so many Jews (not all – but too many) are so inherently twisted, depraved, and degenerate, that they have no ability what-so-ever to comprehend the way they come across to others. That Jew Bear scene backs up my beliefs.

  11. Mark – thanks for the bio info on Tarantino. He’s not White; he’s a genetically, and socially, screwed-up abomination. His backgorund explains a lot.

  12. I found “Cold Mountain” to be moving and tragic. I wept. I didn’t regard the Confederate Home Guard as demons; I saw how good, normal people are warped, tortured, and degraded by Jew Wars. And the Head Demons, the Rothschilds, were HEAVILY involved in the Civil War.

  13. Tarantino is a nut, but he can make a movie. Bastards was good. The only Jew who comes across as a decent human being and not a moron like the rest of the Americans was the Austrian chap. The Germans outside of the poofter SS man were portrayed as refined gentlemen.

    The working title for this new movie I hear is, “This nigger gonna git ya.”

  14. Re: Movies

    (1) You can download them now without buying or renting them.

    (2) I’ve seen a lot of movies – just not many recent ones.

    (3) As with the “darky stories,” it is something that ordinary people can see, watch, and think about which allows us to connect racial angles with a mass audience.

  15. This is one industry where I don’t mind the Chinese ripping us off with by copyright theft, because the victims aren’t really us.

  16. This is one industry where I don’t mind the Chinese ripping us off with by copyright theft, because the victims aren’t really us.

    Agreed, even though there’s a downside which is that Hollywood is one of the few large scale Made in America industries left. American pop culture is one of our last great exports.

    But for me that fact is easily overshadowed by how jewish dominated Hollywood is, how so many jews get so rich off of it, for doing so little. Let’s hope Hollywood goes the way the jew run music biz has.

    Sleazebags whining and crying about being ripped off by sleazebags has a special melodiousness to it.

  17. Jerry: If foreign exchange from exporting Jewish sleeze is helping to prop up the Ponzi economy, that’s all the more reason to wish the Chinese digital pirates success.

  18. I think it’s apologism. Tarantino did enough questionable things with ethnic stereotypes to need to make a few humble bows to the established golden calves, then make his exit with a fat envelope of money.

  19. Boffin, Ulrick, thanks for the link. A good start, though it doesn’t quite match my needs. He says, for example, “most Denzel Washington” movies are not recommended. ALL DW, Will Smith, any other negro actor, movies are off the table as far as I’m concerned.

    Hopefully, when he finally publishes his list at TOQ, he will include a section for all-white movies.

  20. Excellent article, much appreciated. I disagree about Cold Mountain, ’cause things got pretty bad throughout many parts of the South in the last year or so of the war – lots of deserters running around, old scores being settled, etc. I saw Inglourious Basterds and agree wholeheartedly. Also agree with the comments about “The Bear” scene – the German soldier who is savagely murdered for not betraying his comrades comes across as brave and dignified. And the only really entertaining people in the movie were the Krauts. BTW, if you guys have never seen the 1957 movie, The Enemy Below, a battle of wits between a U-boat commander played by Curt Jurgens, and an American destroyer escort commander played by Robert Mitchum, you should rent it. One of the few movies portraying the Germans as decent & brave, it has an unforgettable scene where the defiant U-boat crew begins to sing an old drinking song as they are being hammered by depthcharges. The scene is on YouTube in several versions.

  21. As the Cultural Marxist demographers gleefully cheer the projected reduction of whites to minority status, do you think it is simply a coincidence that Hollywood is churning out these kinds of movies which are clearly designed to inflame hatred for whitey in the various collections of already violent and resentful non-whites that they’ve imported into our once 90% white nation? Could they be deliberately ginning up the racial hatred and tensions with the objective of sic’ing these creatures on the dwindling white population?

    I think that is precisely what is going on. And, Hunter Wallace has repeatedly said that he thinks whites can save themselves without having to break any beads of sweat, and that we should never, ever ponder the idea that taking up our arms and defending ourselves in the manner that our 100 percent White Founding Fathers intended when they gave us our precious Second Amendment?

  22. “and that we should never, ever ponder the idea that taking up our arms and defending ourselves”

    Straw man, you lose.

  23. There have been so many movie where Black People and hispanics have been given stereo-types. you dont think some are angered about that? some are. some learn that thhey maybe just need to laugh about yourself sometimes.

  24. The racial situation in America has swung so far to the other side of the pendulum that Hollywood is now making racially inflammatory movies to cater to the bloodlust in an emerging market of anti-White racial snuff films.

    I have to take issue with that. There was never a time (AFAIK) that whites made racial snuff films targeting non-whites. Hollywood never degraded non-whites the way it now degrades whites. This is an unprovoked war.

  25. Travis, your comparison is nonsensical. NAMs are portrayed as harmless saints, one-dimensional heroes/geniuses, innocent victims, and the like, generally. I have never seen the likes of Machete, Mississippi Burning, A Time To Kill, Deliverance, Lethal Weapon 2, Inglorious Basterds, or Django Unchained with the poles reversed. The closest I’ve seen is stuff where white heroes take on non-white ethnic gangs, but great care is usually taken to show their SWPL bona-fides as they fight alongside “model minority” sidekicks, or on behalf of the same ethnic group (Lethal Weapon 4, Live And Let Die). At a bare minimum, the non-white group in question is not vilified as racists, fascists, et cetera (The Wild Geese).

    Also, please consider whose country you’re in. I don’t much care what they do in African, Asian, Middle Eastern, or Latin American cinema, that’s their business. But here, we’re the majority and we deserve more respect than minorities, not less.

    The “cultural revenge” you’re referring to is actually unprovoked culture and race war. The worst blacks ever suffered at the hands of Hollywood was a bit of well-intended condescension (and it’s absurd to take offense at that, seeing how Hollywood had to start somewhere before continually moving leftward; generational indoctrination requires baby steps).

  26. OD readers might want to look into spaghetti westerns. I found a ton of them online and I’ve only just started watching them, but word has it many were sympathetic to the south, for internal Italian political reasons. In any event, they were two-fisted westerns in color, at a time when Hollywood was really ramping up the PC (the tragedy for me regarding westerns (and movies in general) is that most of the good ones are in B&W, and I really don’t care for B&W films).

  27. The oleaginous (and Jewish) Steven Seagal’s Marked for Death is a good example. The bad guys were all Jamaican blacks, so Seagal brought in not one, but two courageous black sidekicks.

  28. In short, film deals largely in stereotype. That’s just the medium. The vast majority of all white characters are stereotypes, too. But the ginning up of racial animosity, the pandering to ethnic aggression, that’s pretty much exclusively anti-white.

    Just look at Candyman. The bogeyman is black…and it’s all whitey’s fault! The ghost of a black murdered by whites (for humping a white woman) seeks revenge on whitey…

    LOL. If Hollywood made any sense, horror movies would be filled with menacing black killers. But some things are more important than money…

    A WN once observed that horror films are very popular with blacks because they like to sit in front of a screen and watch white people die. That dovetails well with how often they complain about “black guy dies first”; they’re not there to see black people die!

  29. The oleaginous (and Jewish) Steven Seagal’s Marked for Death is a good example. The bad guys were all Jamaican blacks, so Seagal brought in not one, but two courageous black sidekicks.

    On his TV show where he’s a “reserve deputy sheriff” he tries his best to act black.

    Urban Justice was a funny one, where he kicks the shit out of ghetto blacks through the whole film. Then out of nowhere there’s a group of skinheads that Seagal has to fight just so it doesn’t seem “racist.”

  30. Urban Justice was a funny one, where he kicks the shit out of ghetto blacks through the whole film. Then out of nowhere there’s a group of skinheads that Seagal has to fight just so it doesn’t seem “racist.”

    Haven’t seen that one. Executive Decision was my last Seagal film (Machete doesn’t count since I stopped watching about half way through out of sheer bordedom). Sounds like a prime candidate for a “hostile edit,” lol.

  31. My standout BRA moment in recent memory is the zombie show The Walking Dead. Evil Cracker provokes black, black attacks him, EC beats shit out of black, chimps out a bit and declares himself in charge. SWPL Cuckold Hero blindsides EC with a rifle butt or something, handcuffs him to the roof, and condemns him to certain death by handing over the keys to the black without a word. Of course the black guy feels really guilty about losing the key, but he had to hurry if he wanted to escape the zombie hordes.

    BRA doesn’t mean properly representing the demographics of Atlanta, of course Heavily and politically black Atlanta (something blacks are quite proud of; “Chocolate City,” etc.) is overwhelmingly white in Hollywood fantasy land. That’s because zombies are white, and should remain white. Can’t have lots of crackers shooting black zombies in the head in BRA (this is why the new Resident Evil game, set in Africa, probably isn’t coming soon to your TV or local theater).

  32. I liked how The Walking Dead started, but it just became so ridiculously PC and nonsensical I could barely stand it.

    I did like how they showed the “rednecks” as masculine White men and the only ones who really know how to survive with hunting and providing for the rest of the parasites.

    In a PC zombie apocalypse:

    1) It’s morally appropriate to leave a White “racist” to be eaten by zombies.

    2)There is a completely unnatural group of racially diverse people and yet again White men must endure worthless non-White parasites and loud-mouthed, bitchy women.

    3)If a White man displays any sort of patriarchal authority it is a virtue to beat him nearly to death.

    Of course we all know this is completely unnatural and groups would quickly sort by race and other familiarities.

    Worst of all they killed off the blonde angel Emma Bell. I mean who cares after that.

  33. Looking at Emma Bell I noticed she and the hot redhead from Twilight will be in an interesting TV movie called Reconstruction. Might be good.

    Set in a Missouri town during the post-Civil War Reconstruction era and centers on Jason, a Civil War soldier who crosses the country and settles into a complicated town where he is welcomed as its savior.

  34. 2)There is a completely unnatural group of racially diverse people and yet again White men must endure worthless non-White parasites and loud-mouthed, bitchy women.

    Well, they do show the women doing all the washing, and bitching about it. It would be interesting to actually see producers of post-apoc fare actually take this issue on, rather than just pretending men would all continue to be PC morons absent the power that enforces it.

    As for the rednecks providing, they did show the two SWPL chicks fishing up a storm.

    I always find the inherent contradictions of PC fascinating. E.g., it’s okay that the blond chick goes around sticking the gun in men’s faces when she’s PMSing. But we all know men aren’t to point guns at women. But the sexes are equal! “Equality” means women doing whatever the hell they want, and men holding up their end of chivalry.

    3)If a White man displays any sort of patriarchal authority it is a virtue to beat him nearly to death.

    Right. It’s okay for a man to beat another man’s eye socket loose if the latter slaps a woman. Never mind that the vast majority of single women (and not a few men) would require more than one to get their minds right post-apocalypse – that’s a hate fact. The sexes are equal, which means men must never strike women, and men must beat them half to death if they do.

    This pretense that PC will endure in the absence of any power structure, much less the elite power structure that created and sustains it, is one of the major conceits of science fiction TV and film (really too many examples to mention, since it’s ubiquitous throughout the genre, but Battlestar Galactica is a prime example).

    It would be interesting to see a more realistic post-apocalyptic sensibility on-screen, if only to hear the pink mafia howl about it. I bet it would get huge ratings, too, but money isn’t the only thing Hollywood is after. There are many, many dollars they’d rather not have.

  35. What’s really funny is how much preening entertainment types do about how “realistic” entertainment has gotten since the 60’s. What a laff. No, they just replaced one religion with another.

  36. Since we’re on the subject of PC where it doesn’t belong, Sons of Anarchy is a great example. A PC biker gang full of Jews, who get along better with blacks and mestizos than they do whites, lol. Oh yeah, and women call the shots.

  37. Monkeys might fly out of my ass, too.

    You sound like you’re a lot of fun to be around, real life of the party.

  38. Sons of Anarchy is amusing in that they’re a bunch of despicable psychopaths who sell drugs, guns and torture, murder and rape people, yet still feel they have the moral high ground on “racists.”

    Reminds me of when Jeffrey Dahmer assured everyone he was not a racist. A cannibalistic serial killer maybe, but racist, no way!

  39. Does anyone even realize that Tarrantino loves Grindhouse cinema? Nazisploitation films and Blacksploitation films have done this for years. Ghestapo’s Last Orgy had Jews falling in love with Nazis after getting sexually brutalized by them. The Legend Of Nigger Charley or even Boss Nigger have both portrayed racial stereotypes and “racial revenge” angles. This is all Tarrantino is doing, paying tribute to these films. Do they offend? Yup. Does he care? Nope.

    This isn’t some type of “Anti-German” or “Anti-Southern” movement as the bounty hunter who helps Django is both white and German and he’s the hero. In all these films it shows two sides to the coin. Fight For Your Life: Everyone is racist, blacks, Jews, Whites, Hispanics, Asians EVERYONE uses racial slurs in the film and deeply hates other races. Inglorious Basterds and Django Unchained show a politically correct world that “Everyone can be evil and anyone can be racist.” Tarrantino makes films about cinema. Why are Americans portrayed as the good guys in war films? Why are Jews portrayed as victims? Why are Germans portrayed as “Evil.” Inglorious Basterds showed what war really was: “There are no victors, just victims. No good, no evil just different lifestyles clashing.”

  40. On Walking Dead, the good news is that Daryl or whatever the other redneck brother’s name is happens to be the most popular character, but of course he’s gone reformed and become more ‘evolved’ than his missing sibling was, to the point of saving the token negro’s life.
    A couple of things I’d like to point out:
    -Why does hardly anyone have anything vaguely resembling a Southern drawl? This is taking place in Georgia after all…
    -Why is it that the lone Southern belle screws the chink against her father’s unspoken wishes. I think this speaks volumes to the psy-ops being used against Southerners via the media. They have a tendency to portray most of our people as having learned our lesson and come around to their way of thinking.

  41. it makes me sick that jews are using their position of media strongmen to psyops all the decent whites of America into hating each other. I watched the Walking Dead too and was always sighing over the pc-ness of it, it literally creeps into every corner of your life once you recognize it. Shows the grip they have like octopi. You see it every damn where and sometimes wonder if you were better off before you knew Jew-ops. And btw a “redneck” is obviously (even to Jew media moguls) much more use than a liberal Jew like Dale, unless you need someone Kvetching all the time. Kvetching is a good word for them, rhymes with yechh and blechh and wretch and retching. Jewish onomatopoeia. Like nebbish sounds like rubbish. Jew like doo or poo. Shmuck and fuck. I’m sure that there is no end to it. I will say this: I enjoy seeing them exposed on here for what they are and all the bad stuff they do which they think goes unnoticed. Well it doesn’t Hymie. So go tell Isaac and Jacob Schweinstein that your time is almost up and you should pack your kips and go back to live in your homeland. That doesn’t mean any other country but Israel. And Benjamin Franklin once said that even if it were given to them in fee simple (which it was) they would not go back. Why, he asked? Because gentlemen, they are vampires. And vampires cannot live on vampires. That was Ben Franklin – even then smart people knew about them. I find it amazing (got it from here actually) to read What Famous Men Have Said About Jews and it just blew my mind. I felt so good to read this site, to have the honor of reading the opinions of people who are free thinkers and who dare to speak up to these fuckers. Even though it’s a crime to do so in Europe and who knows how long here? They’re priming us for it too. Soon criticizing a Jew will have even bigger penalties than just the destruction of one’s livelihood and homelessness. Soon it’ll be jail time, just like the Christian martyrs in Europe. The Jew finally haas the white gentile European by the shorties. It took them 2000 years, but they did it. How long can they hold on? They did it right too. If I was an admirer of — cunning, sleeveen, cringing, back room, hunchbacked, bignosed, bearded, usurious, acrimonious, artfulness, usurping, hand-rubbing, smug, sly, crafty, guileful, deceptive, avaricious, wily, shrewd, keen, sharp nosed, sharp eyed, sharp practiced — behavior, I might even be conscious of a reluctant sort of admiration at the diabolicalness of it all. BUT SINCE I’M NOT AN ADMIRER OF THOSE QUALITIES, as a Christian woman – I hate them, and hope and pray for them to have a yearning for home and to JUST GO.

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