I will admit to watching television programmes like Antiques Roadshow and Bargain Hunt, although I refuse to pay for the licence fee, as it broke its charter long ago, and there are ways and means of watching the BBC for free.... I once even went so far as to apply to be a contestant on Bargain Hunt back in the David Dickinson days. As with many BBC programmes, my enjoyment of them has waned considerably due to "diversification". Yes, even in these most English of programmes, an unhealthy dose of diversity has been added. Since getting rid of presenter Tim Wonnacott in 2016, who kept the show within a certain all-White group of antique dealers, the BBC have added several non-White so-called experts: Raj Bisram, Danny Sebastian and Gary Pe. All of them are there to express their Otherness and deconstruct British history and culture.
In one episode of Bargain Hunt over Yuletide, the format was interrupted so that Gary Pe could inform us about the ceramist Shoji Hamada, who was brought over to England by fellow potter Bernard Leach for a few years in 1920. He told us how British pottery in the twentieth century owed itself to Hamada's designs and in turn to the ancient amphoras dredged up from the seabeds of the Orient that Pe had seen during his childhood. There was of course no mention that there has always been an exchange in ceramic techniques, nor that Hamada had first come across Leach while Leach was exhibiting his own work in Tokyo. No, as ever on the BBC, culture comes from the Other to the Occident down a one-way street. Indeed, to the discerning viewer, Pe would have proven himself an ignoramus of the highest order in making no distinction between the ceramics of Japan and those found around his island homeland of Marinduque in the Philippines. Sadly, discerning viewers are few and far between, and those at the helm of the BBC know this, for they are precisely the people who have overseen the deliberate dumbing down of its audience.
Danny Sebastian is worse, a man whose appreciation of British culture is shown by one of the purchases he is most proud of: a glass table owned by a Premiership footballer. Sebastian has also reinvented himself after a life of crime in which he spent four years behind bars for robbery with violence. Is this not yet another example of how our society is expected to include errant Negroes and then put them in positions of privilege so that they do not cause mischief? And all the while the native law-abiding downtrodden of our own society get nothing. The message that comes down from above is clear: the system rewards the non-White criminal. Sebastian foregrounds his negritude at every opportunity and looks after the interests of his own people:
If I was not working in the antique trade, I would probably be trying to
fulfil one of my dreams of setting up a charity, and then export
people's cast offs from the UK and send them to the more deprived
islands in the Caribbean.
As we all ought to know by now, charity is the last refuge of the scoundrel, a black hole where money disappears without trace. Charity work is legal money laundering and the farther away from Britain it goes, the more untraceable it is, hence the current Cult of Africa that (((Bob Geldof))) started back in the 1980s with Live Aid, by funding Ethiopian Marxist-Leninist warlord Mengistu Haile Mariam's consolidation of power through mass murder. More on that in another article, but to return to Sebastian, he has done that most typical deed of those who "proclaim their negritude" and married a trophy liberal white woman, with whom he has three half-caste offspring.
The Antiques Roadshow also has its share of "newcomers", with Lennox Cato and Ronnie Morgan joining the team in 2005 and 2011 respectively. The Antiques Roadshow format also allows for more subversive opportunism. In most episodes, there is generally an item brought in by someone that fits the BBC narratives. Such items have included the memorabilia of Britain's first black football player, artwork by Holocaust™ survoivahs, a baseball signed by the Brooklyn Dodgers' first black player Jackie Robinson, and so on. There was inevitably a Holocaust™ special, which was screened two years ago, in which several survoivahs were invited to bring in some object to hang an unbelievable story around that just so happens to both keep the Shoah narrative going and propagandise every anti-White sentiment available. My particular favourite is by experienced children's storyteller Judith Carr, who has brought in some of her drawings that she drew as a child in Berlin before the evacuation, which her mother meticulously gathered together before the more useful and important things. It would be thoroughly anti-Semitic to suggest they were drawn many years later in retrospect or to compare Anne Frank's diary having been written later with a BIC ballpoint pen. Carr's wonderfully woven tale of persecution, adventure, light-hearted triumph in the face of adversity, climaxes conveniently, given the hordes of Merkel's migrants flooding into Europe both at the time of filming and now, on the line spoken in childhood innocence: "Isn't it lovely being a refugee?" Oh the chutzpah....
Yet for all this latter-day ramping-up of Zionist and Leftist propaganda, I have begun to see that these antiques programmes were flawed from the outset. It took another BBC antiques programme called Flog It! and especially one on the channel Quest called Salvage Hunters to make me realise it. In the latter programme, dealer Drew Pritchard roams the country looking for abandoned and unwanted or simply cheap remnants from our past to polish up and sell at a tidy profit. And it occurred to me that such dealers were just vultures picking at the bones of a decaying culture. And the premise of Flog It! and Bargain Hunt is the same: to turn our heritage into shekels. Even every segment of the Antiques Roadshow culminates in the monetary value of the item displayed and examined. Isn't it rather ironic that in the Holocaust Funtime Seaside Special above, presenter Fiona Bruce declared that the items the Jews brought were "beyond any commercial value" and "emotionally and historically priceless"? Yet our heirlooms of the past have a price tag on them and are sold off like cheap or not-so-cheap trinkets. It rather reminds me of Ezra Pound's words in his broadcast for Italian Fascist radio on 26th July 1942:
What does a Belisha
or a Sassoon care for Canterbury? Nothing. It is not his Canterbury, it is NOT
his cathedral. The destroyed monuments are not monuments to the glory of Judah.
They show NOTHING that the Jew can be proud of. IF medieval, they were built in
open defiance of the Jew slime, and of the Talmud. They are an offence in the
eye of the Jew; they are what his oily race has NOT accomplished. Insofar as
there are monuments to OTHER races he is against them. And from the moment they
are classified as national monuments he cannot TRAFFIC in them, and they are
therefore useless to him until they are reduced to fragments that can be sold
in antiques shops.
The problem is that the bourgeoisie of our own race are demonstrably worse, for they are doing it to their own culture. There is no point in "naming the Jew" without "naming the traitor within". The bourgeois elites are only concerned about culture and artifacts as a means of turning a profit - and the quicker the better. This is why few artistic or artisanal pieces are produced today of the quality of those of more aristocratic times, and, ironically, why a highly lucrative market exists for such items. In post-modernity, so-called art is churned out like so much garbage in the consumerist society of wastage. The creations of the past were made beautiful and to last in part because the way of life was non-consumerist, not bourgeois and not wasteful. Bourgeois values are ubiquitous, duplicitous and unsustainable and are relayed to the masses as moral via the media the bourgeoisie controls - including via the ostensibly anti-bourgeois antiques programmes. All channels have such programmes, but here's the thing about the BBC: it is forcibly funded by the taxpayer to the point where, even if he has a television but does not wish to watch BBC channels, he must still buy a licence. It broke its charter of ideological neutrality a long time ago, but has also broken its charter of independence through its commercial advertising on its website, so which is it, a public utility or a private company?
What is to be done? The obvious is to starve the BBC of its funding by not paying the licence fee. The second is to create our own shows through which our own values are transmitted - and I don't mean the endless cycle of interviews and talking-heads videos where people constantly whine and repeat themselves about how shitty everything is. I mean easily produced programmes about everything from history to art to the natural world to sport to hobbies to music to antiques. Everybody knows a bit about something, and I have already done quite a few videos on my channel in that vein. They might not be the most professionally produced, but I know what I'm talking about and I hope they are vaguely entertaining. We also have Mjolnir at the Movies, in which we discuss films on a higher intellectual level than Siskel and Ebert and with far better banter! I hope you will subscribe to them and I hope you will also create channels of your own. If they uphold our values, I will be happy to advertise them on this website. And now a short commercial break.....
No comments:
Post a Comment