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Sept. 30, 2022 - Radio Renaissance - Jared Taylor
09:35
The Great Entertainment Replacement
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Time Text
Out With The Whites 00:08:00
Hello, I'm Jared Taylor with American Renaissance.
The internet's trying to make my videos impossible to find, so if you like this one, please send the link to a lot of people.
Out with the whites and in with the blacks.
That seems to be Hollywood's motto these days.
The Little Mermaid is the latest switcheroo, with a black mermaid as Ariel.
The character in the Hans Christian Andersen fairy tale has always been white, and he described her as having eyes as blue as the deepest sea.
But the author's intentions don't matter, because it's time to let racially diverse casting be part of your world.
A lot of people don't think it's time for that.
When the trailer for the movie appeared on YouTube, it racked up more than two million thumbs-downs in just two days.
So YouTube disabled the dislike counter.
This week the trailer had 63,000 likes and not a single thumbs down.
Why don't people like the new black Ariel?
Many articles have popped up to explain this ridiculous backlash.
Do you have any idea what the problem is?
Racism, plain and simple, says this article.
Not that complicated kind of racism.
Plain and simple racism.
The Washington Post explained that white nostalgia is fueling the Little Mermaid backlash and even dragged in the second most evil man in human history after Adolf Hitler.
The backlash is part of the wave of white nostalgia that Donald Trump used to win the presidency by appealing to white working-class Americans who feel marginalized by the country's growing diversity.
The Post can use even a mermaid to attack Donald Trump.
And then the paper thought it landed a real haymaker with an article called Africa Celebrated Black Mermaids Long Before Disney and Not My Ariel.
It claims Africans have worshipped a black water spirit called Mami Wata for 600 years.
The post forgot to mention that Mami Wata is Pigeon English for Mami Water, and anything African with an English name is not 600 years old.
Mami Wata can charm snakes, is supposed to be very sexy, and often walks around on legs seducing men.
What was that hashtag?
Not My Ariel?
The post doesn't explain how Mami Wata justifies turning Ariel black.
It was the Disney movies producer Robert Marshall who made the decision.
He hasn't explained it publicly, but we do learn from Wikipedia that as of at least 2007, Marshall lives in New York City with his partner, producer John DeLuca.
Ariel is not alone.
J.R.R.
Tolkien's Middle Earth now has plenty of important black characters, and if you don't like it, you are part of the racist backlash.
None of this is new.
There was an idiotic streaming series set in 12th century Iceland that had an Afro-Viking queen.
Bess of Hardwick was a prominent 16th century English woman, but she turned into an Asian when BBC put her in the movie version.
Lord Thomas Randolph, who served Queen Elizabeth I, showed up with an Afro.
A recent Netflix period drama called Bridgerton, which is admittedly fiction, has a thoroughly fictional cast.
The cliché racist response is to say no one would dare take a non-white character and turn him white.
Well, you racists are wrong.
There's a play about Martin Luther King's Last Night on Earth called The Mountaintop.
It's written by a black woman named...
Katori Hall, and somehow I suspect she left out the two adulterous trysts he had that night.
But look at this.
The Kent State Pan-African Studies Department will be premiering The Mountaintop.
That's MLK, folks.
A white man.
It was a six-performance amateur production.
The white played King for three performances, and a black played him for the other three.
Michael Oatman, the Kent State prof who cast the play, explained that it was a true exploration of King's wish that we all be judged by the content of our character and not the color of our skin.
What an idea!
Mr. Oatman is black, of course.
No white man would dare try that.
But protective coloring didn't work.
Playwright outraged after a white actor cast as Martin Luther King, Katori Hall, White bodies can be altered,
though. I guess that's because our skin reflects back our inhumanity.
Katari Hall thinks shows like Hamilton, where blacks play whites, are fine.
Another switcheroo opens next month with an old DC Comics villain called Black Adam.
He's the arch-enemy of the good guys Captain Marvel and Superman.
Now it's not just his clothes that are black.
He's an Afro-Samoan, and he's got his own feature film in which he is the superhero.
There's a completely different level of phoniness in The Woman King, which seems to happen when you have a black screenwriter and a black director.
The movie is about the Agogi, an all-women military unit that fought for the king of Dahomey in West Africa in the 19th century.
A few survive into the age of photography.
In the movie, they fight to abolish slavery, whereas the historical Dahomey was one of the most aggressive slave-catching kingdoms in all of Africa.
It made war all up and down the coast, hunting slaves for human sacrifice and to sell.
So this is like a movie about the war in the Pacific in which the fighting begins with a sneak American A-bomb attack on Tokyo.
The very name, the woman king, is phony.
The main character isn't a king.
She's just the head agoji, and all agoji were minor wives of the king.
Dahomei started using women soldiers because it had fought so many slave-hunting wars, it had a shortage of men.
The real agoji mostly operated at night and sneaked up on enemies and cut off their heads.
The movie agoji are superwomen who slaughter men, black and white, in open battle.
Dahomey fought a five-month war against the French in 1892.
About 14% of the Dahomey army were agoji.
They were armed with modern German rifles, as you can see in this image, and they fought in dresses, not the movie get-up.
The French slaughtered them.
An estimated 2,000 to 4,000 Dahomey soldiers died in the war.
The French lost 52 whites and 33 Africans.
But the facts don't matter to director Gina Prince-Bythewood, who wept for joy when she read the script.
As she explained in this New York Times article, the story was entrenched in truth.
People can now learn that this doesn't have to be a fantasy, that we really were these women.
According to this article, 59% of the audience so far has been black, so I guess they think they really were these women.
Elimination Of White History 00:01:46
Later this year, there will be a sequel to Black Panther, and I don't think any of the Wakandans will be played by white people, or by anyone else for that matter.
So what's the thinking behind this?
That race is a social construct?
Hardly. It's elimination of white people, even from our own history and our own fairy tales, while blacks glory in a heroic, all-black fantasy past and an all-black, high-tech fantasy future.
If that's supposed to boost their self-esteem and make them stop shooting each other and us, it's not working.
Or is it supposed to demoralize whites, make us think we were bit players in history, and have a meager future?
Judging from television ads, in which all the couples are now mixed race, it looks like we're supposed to miscegenate ourselves into extinction and have no future at all.
Black people are posting videos of their children bursting with happiness when they see the trailer for The Little Mermaid.
She's black, like me.
What about the little white girls who say, Daddy, that's not Ariel.
Who cares about them?
They can't have their own stories.
This is all part of the sick and sickening adoration for blacks and loathing for whites we see everywhere.
The good news, you don't have to watch this trash.
Read The Little Mermaid.
It's a beautiful, poignant story.
Disney didn't make a movie about Mami Wada because there's no beauty or poignancy there.
We still have the wonderful things our people made, and we will make more.
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