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The Composite Guy

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Windrush Creationist

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15/ The Windrush Generation and subsequent Black migrant populations can claim to have contributed to sports and music in modern Britain, however it is post-hoc revisionism to claim they have built anything. It is Yookay's foundational myth, aimed at persuading the native population that they should be grateful for a government policy which has been objectively terrible for them. Now here's Eddy Grant to play us out...

15/ The Windrush Generation and subsequent Black migrant populations can claim to have contributed to sports and music in modern Britain, however it is post-hoc revisionism to claim they have built anything. It is Yookay's foundational myth, aimed at persuading the native population that they should be grateful for a government policy which has been objectively terrible for them. Now here's Eddy Grant to play us out...

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Cambridge published a meta-analysis last year on the persuasiveness of 'narrative entertainment (TV, film, etc). The results showed it was particularly effective for reducing out-group stigma/prejudice, thus making it an extremely potent instrument for anti-White propaganda. This is why you have orgs like the Norman Lear Center's 'Hollywood, Health & Society' program consulting with producers to 'normalise behaviours' regarding not only health, but race. You can find documents on 'Systemic Racism' and the 'History of Whiteness' on their website. Hollywood uses common themes and allegories in order to inculcate subversive behaviours into Western audiences. One recurring trope is the 'Birthright' sacrifice, in which a White character (often representing Western patrimony) redeems themselves by relinquishing status, property, or their lives to a non-White racial other. This act is framed as a kind of moral ascendency - Wyatt Stagg has done several brilliant video essays on this topic. One of the most explicit examples is the film Knives Out (2019). Harlan Thrombey, a wealthy White novelist, slits his throat to protect his kind Ecuadorian anchor-baby nurse. He rewrites his will, leaving his estate and publishing empire to her instead of his own family. His disgruntled family are depicted as greedy, vulgar, and backstabbing, while the nurse is selfless and morally incorruptible (she literally cannot lie without vomiting). In the denouement, the most detestable family member delivers the following monologue... The intention of the film is obvious: White people (and by extension, White societies) achieve redemption by sacrificing themselves and their inheritance for outsiders, while anyone who resists this civilisational transfer is a villain. This perverse morality has been deliberately seeded into the minds of millions of White people for decades.

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