Oscar, RIP: In a Putsch, Racists Take Over the Motion Picture Academy

By Nicholas Stix
February 28, 2016

The Oscar is the almost 90-year-old award that used to be the greatest honor in the motion picture industry. When, after a series of affirmative action nominations and wins, no blacks were nominated for the 20 awards for the second straight year, black supremacist crybullies Spike Lee, Jada Pinkett Smith, and Will Smith (Pinkett Smith's husband), threatened to "boycott" the Oscar presentation on February 28.

The crybullies simply asserted that a lack of black nominees was proof of "racism." The Academy immediately prostrated itself, and announced that it would make itself "less male and less white," in other words, engage in illegal, in-your-face racism and sexism, by purging white men from its rolls, in violation of the 1964 U.S. Civil Rights Act and basic human decency, and replace them with untalented, rent-seeking, non-white racists and sexists, thereby guaranteeing mediocre blacks affirmative action nominations and Oscars.

After criticism over Oscar nominations, the Academy sets a goal to become less male and less white https://t.co/nD9yqj7bzS

— The New York Times (@nytimes) January 23, 2016

Purging white men. Hmm. Sounds familiar.

I reckon that John Wayne should have been nominated for Best Actor eight times, instead of the two acting nominations (and one Oscar) he received. But he didn't throw tantrums, and demand quota nominations and Oscars, based on his being the most popular actor ever, and one of the most dramatically powerful.

From circa 1920-1960, American culture was the greatest the world had seen since ancient Greece. But starting around 1960, our brightest creative lights began to dim, and proved irreplaceable. The same period saw the rise of the Red and the Black. Socialists and communists used "anti-anti-Communism" and the so-called civil rights movement to take over Hollywood, and the country.

The struggle between dark and light had begun long before that in Tinseltown. The 1920s and 1930s saw the rise of Communism, with a capital "C." (Capitalized because in those days, many Reds joined the Party.)

During the reign of socialist Franklin Delano Roosevelt (1933-1945), all of the nation's public and many private institutions, including Hollywood, were infiltrated by the immense Communist conspiracy.

Like most Communists, the Hollywood Reds had a dream: to steal all of the private property and assets that most Americans had killed themselves earning; slaughter millions; and install a permanent, totalitarian dictatorship.

FDR was a formidable figure: a socialist power-monger; a father-figure for millions during the Great Depression; and a resolute commander-in-chief. But with the death of Roosevelt and war's end, millions of Americans were fed up with the erosion of the liberty that had been their birthright. They wanted to rout the Reds!

The most effective political spokesmen for the American people against the Red menace was Sen. Joseph McCarthy, nicknamed "Tailgunner Joe," for one of his tasks as a lieutenant and then captain in the Marine Corps during The War. And it took the fearlessness of a tailgunner to do the job. McCarthy was an obnoxious man, but as a law of ethics states, "If you desire the ends, you desire the means" (Rousseau and Kant). Joe McCarthy was the means.

Edward R. Murrow took care of Tailgunner Joe. Murrow is the patron saint of leftist journalistic hacks across America for his brilliant, inventive demolition of McCarthy through inspired means, such as showing clips of the senator picking his nose. Murrow got the Senate to censure McCarthy in 1954, which rendered him politically impotent, and McCarthy died in 1957. (The MSM have sought to do the same with Donald Trump.)

Meanwhile, postwar Hollywood leftists launched two types of propaganda, or "message" movies. One was the anti-anti-Communist picture. One of the earliest of this type was High Noon (1952), written by Communist Carl Foreman, who would later be blacklisted. Foreman was so talented that he spun a story that completely failed to accord with his Communist beliefs. In his mind, the cowardly townspeople were the anti-Communists, while the heroic Marshal Will Kane (Gary Cooper), who faced down the Frank Miller Gang alone, was the Communist.

John Wayne and producer-director Howard Hawks would call the classic Western Rio Bravo (1959) their answer to High Noon, but anti-Communist films were few and far between, while anti-anti-Communist pictures—often excellent—flourish to this day: The Sweet Smell of Success (1957), Spartacus (1960), Inherit the Wind (1960), Seven Days in May (1964), Fail Safe (1964!), Dr. Strangelove (1964!), The Way We Were (1973), The Parallax View (1974), All the President's Men (1976), The Front (1976), JFK (1991), Good Night and Good Luck (2005), The Company You Keep (2012), etc.

In their anti-anti-Communist propaganda pictures, the Hollywood Left warned of the supposed danger posed by the paranoid Left's "Goldsteins"—interchangeable, conspiratorial (!) "fascists," as represented variously by Joe McCarthy, Walter Winchell, Gen. Edwin Walker, Gen. Curtis LeMay, Barry Goldwater, President Richard Nixon, et al., who sought to destroy liberty (hah!), through imposing a dictatorship, and even causing World War III.

Around 1960, the Hollywood Left created a related movie genre. The Magic Negro picture was a variation on early postwar message movies, like Home of the Brave (1949), which starred black pioneer, James Edwards.

In the 1960s, Magic Negro pictures starred Sidney Poitier, whose characters were typically morally and intellectually superior to the movies' white characters: The Defiant Ones (1959), The Lilies of the Field (1963), Pressure Point (1964), A Patch of Blue (1965), In the Heat of the Night (1967), Guess Who's Coming to Dinner? (1967) and To Sir, with Love (1967).

Poitier's silver screen persona was a doppelgänger, a double, of another fictional character named Martin Luther King Jr. King's public persona was of a brilliant intellectual and saintly preacher who only sought to achieve race-blind equality for all Americans. The real King—a whore-mongering, plagiarizing, intellectual nullity and traitor who mouthed all-American platitudes, while seeking to plunge us into racial socialism enslaving whites, was himself playing a role that was as fictional as the ones played by Poitier.

Magic Negro movies were racial fairy tales meant to mask the black murder and mayhem that were the reality of "integration."

In 1944, Hollywood patriots formed their own organization to rout the Reds: The Motion Picture Alliance for the Preservation of American Ideals. The MPA, as it came to be known, had its own roster of Hollywood heavyweights: Studio head Walt Disney; actors Clark Gable, Robert Taylor, Gary Cooper, Adolphe Menjou, John Wayne, et al.; directors Cecil B. DeMille, Clarence Brown, Sam Wood and Leo McCarey; writers John Lee Mahin, Borden Chase, Morrie Ryskind and James Edward Grant; and its most aggressive, obnoxious, loveable/hateable member, one Ward Bond, the brilliant, hard-drinking, prank-pulling character actor whom liberal movie historian Scott Eyman called the "self-appointed Inspector Javert" of the Hollywood Right. (John Wayne, the Life and Legend, 2014).

The MPA and some independent, Hollywood anti-Communists (e.g., Robert Montgomery), staved off a Communist takeover of Hollywood's craft unions.

However, the Hollywood Left ultimately prevailed. The main reasons were:

· By the early 1960s, most of the toughest Hollywood anti-Communists were dead or ancient, and those still alive failed to recruit new members;
· The movie business became decentralized, due to the federal courts' breakup of the old studio system; and
· The pro-Communist side had better propagandists.

The Left had Dalton Trumbo, Michael Wilson, Carl Foreman, Nedrick Young, Rod Serling, Stirling Silliphant, Buck Henry, et al., and most of the press (virtually all of it by the early 1960s) on their side.

The Hollywood anti-anti-Communist and Magic Negro offensives were the two most effective, modern propaganda campaigns I know of.

Smut films: During the 1960s, the Hollywood Left also succeeded in getting the Hays Code eliminated, which gutted morality in movies, gave the public high-quality trash like The Graduate (1967), Easy Rider (1969), Midnight Cowboy (1969) and A Clockwork Orange (1971), and thereby helped destroy public morality. Gruesome violence, explicit sex, and constant profanity have long since been the norm, in a harms race. As John Wayne said in 1971, the picture business he knew was all about "intimation," "illusion," and "magic."

While the U.S. Constitution was a blueprint for freedom, and the Hays Code a blueprint for censorship, they were two sides of the same coin. What President John Adams said of the Constitution applied as well to the Code:

Our Constitution was made only for a moral and religious people. It is wholly inadequate to the government of any other.

Snuff films: Since black supremacists and their racial-socialist white allies have imposed Jim Snow, they no longer see the need for pussy-footing around with saintly Negroes. They have developed a new form of race movie, the anti-white "snuff" movie. In Robert Rodriguez' Machete (2010), Quentin Tarantino's Django Unchained (2012), and Nate Parker's Birth of a Nation (2016), non-whites engage in the mass slaughter of whites, to thunderous applause from … deracinated whites!

Unlike the fantasies of the Magical Negro movies, anti-white "snuff" movies are harbingers of their supporters' hoped-for Holocaust.

Which brings us back to this year's Academy Awards.

If Academy members who were part of the American Nazi Party had threatened to boycott the proceedings, they would simply have been thrown out of the Academy. And yet when black Nazis threatened a boycott, the Academy surrendered without a fight, and the media conjured up non-existent "public outrage" on behalf of the Nazis.

Actually, the analogy I just offered was unfair to real American Nazis who, unlike the black version, have no history of slaughtering people.

Spike Lee, and Will and Jada Pinkett Smith, are all enthusiastic supporters of, and may well be members of the murderous Nation of Islam. (I reached out to the three, but was rebuffed by their various agents, publicists, and flunkies.)

The NOI, founded in 1931, has no connection to Islam. Both ideologies overlap only in their ultra-violence and bans on pork. The NOI's entire basis is its pursuit of the genocide of all whites.

Since 1963, the NOI has slaughtered anywhere from 85-285 whites across the country, in addition to maiming and raping white victims it failed to murder.

In 2012 the NOI sought, through its New Black Panther Party division, to have hate crime victim George Zimmerman murdered, by offering an illegal reward for his "capture."

On July 30 (2015), Louis Farrakhan called for raising an army of 10,000 black men, for slaughtering whites.

Spike Lee has been an NOI propagandist since at least 2006, when he directed an HBO "documentary" on Hurricane Katrina, When the Levees Broke, in which he promoted Farrakhan's blood libel, asserting that the federal government had blown up the levees in New Orleans' Ninth Ward, in order to slaughter the section's predominantly black residents. However, Lee never told viewers that Farrakhan was the source of his insane claim.

Jada Pinkett Smith is an attractive black actress who, in 1994, was quoted by Newsweek as ludicrously saying that she was better looking than any white woman. If any white actress had said that, even if true, she would have been finished. However, following the logic of Jim Snow, if anything, Pinkett Smith's in-your-face racism helped her career. Last year, she and Will Smith reportedly gave $150,000 to the NOI, for Farrakhan's extortionist "Justice Or Else" rally.

It may seem like poetic justice for so many white Hollywood leftists to get their comeuppance by being racially purged from the Academy. However, such schadenfreude will come at the cost of yet another institution submitting to Jim Snow.

Whites can respond to the red and the black by protesting, refusing to watch the Oscars broadcast, and most importantly, boycotting Hollywood's genocidal trash.