How Boomers Were Taught to Hate (Themselves).mp3

00:00:01 If you watch my channel, you know that I like to pay attention to what Hollywood is whispering into.
00:00:04 The public's.
00:00:04 Ear, especially the propaganda that was produced before the Internet and before there was any real competition, because this was the Golden age of propaganda, when propaganda was concentrated into the sights and sounds of films propaganda.
00:00:20 That took months and sometimes years to plan and produce propaganda, so well crafted and compelling that it was profitable.
00:00:29 The target audience paid for the luxury of being programmed and then left the theatres wanting more, and it was during this golden age of propaganda that the propagandists produced the best results with complete control of the national narrative on both the large and small screens in America, the subtle whispers coming from Hollywood.
00:00:49 Got louder and louder and more extreme, desensitizing its audience lately.
00:00:55 We've seen a wave of anti white hate.
00:00:58 And while it.
00:00:59 Might be reaching a fever pitch now.
00:01:01 This is something that has been cultivated slowly and carefully for longer than many of us have even been alive.
00:01:07 I was curious as to when exactly this message really began to be mainstream.
00:01:11 The first real overt attacks on the white Christian majority, so I began by looking back at films.
00:01:17 That had been nominated or had won Oscars as this would demonstrate that the film wasn't some kind of fringe creation, but that it represented the mainstream messaging being put out by.
00:01:28 In Hollywood and while I found several examples going back much further than I expected, including the 1952 film high noon that John Wayne called out as being the product of anti American Communist writers, and there were certainly whispers belittling white Christian males and depicting them as weak and cowardly. But but these whispers 27 years later.
00:01:49 As the baby boomers begin to come of age and start having families, these whispers had evolved into shouts. By 1979, in the film Norma Rae.
00:02:01 I think it's important to get to know the kind of messaging that the baby boomers were subjected to that led to some of the problems and discrimination we face today.
00:02:10 Now, there are certainly other movies that have the same anti white anti American things that Norma Ray does.
00:02:16 I feel as if.
00:02:18 None quite encapsulate the absolute contempt the film makers had for European Americans, their culture, their religion, and even their system of.
00:02:29 Government, in fact, it's so on the nose.
00:02:31 It's kind of ridiculous when you watch it the day it's it's extremely transparent.
00:02:35 Norma Ray was written by Jewish writers Irving Ravitch and Harriet Frank, and I mentioned they were Jewish because in many ways this film.
00:02:45 Is about Jewish identity coming into contact with white identity and then attempting to change it because it sees white identity as inferior, so it's important to understand that this movie was written by Jewish writers and directed by a Jewish Director Co starring a Jewish actor.
00:03:03 And that this is the lens that they looked at White America through.
00:03:08 This is so important because if you understand that aspect.
00:03:13 And you understand that this movie was awarded 2 Oscars and nominated for two others, including Best Picture and and even nominated for the highest prize at the Cannes Film Fest.
00:03:23 So this view, given the demographics in Hollywood, arguably represents the Jewish view of White America in 1979, which I think is important to understand, and it's one of the things I like about older movies because it's kind of like a time capsule.
00:03:37 Now the movie begins a textile factory somewhere in the South. We are introduced to the film's namesake, Norma Ray.
00:03:43 Who is a hard working single mother, but who, along with, well, quite.
00:03:48 Frankly, every other white person in the entire movie is uneducated, ignorant and racist. In fact, they make this extremely clear right off the bat when the the film's hero, a left wing Jewish labor organizer who comes uninvited from New York to try to unionize the textile mill where the majority of the townspeople work, thus saving them from the evil white.
00:04:09 Factory owners, but moreover, they're ignorant hillbilly selves. And when she know it, that ignorance rears its ugly face the moment he rolls in the town and he tries to rent A room from Norma Raye's father and her father finds out he's Jewish.
00:04:22 Far as I'm concerned, all of you people are communists or agitators or crooks or Jews are all full rolled together.
00:04:29 Rubin tells Norman's father that he's stupid for letting the factory rip him off and calls him a schlemiel.
00:04:35 Today's inflation that makes you a bit.
00:04:37 Of a schlemiel.
00:04:38 And Norma's father chases him off, and he goes off and rents a room at the local hotel, the same hotel where we find out that the hard working.
00:04:46 Single mom, Norma.
00:04:48 Is having an affair with some other ignorant white trash person who, in keeping with his white trash persona, decides to start beat?
00:04:56 Here she leaves and encounters Rubin on her way out, and he gives her some ice for her face and the two start to get to know each other.
00:05:05 The first thing the writers do is draw a stark contrast between Norma, the simple white woman with the limited vocabulary who seems.
00:05:16 Stunned that Ruben has books, the implication, of course, is that Norma doesn't read much, or if she even knows how to read it all. And between Rubens's Jewish girlfriend back home in New York, who we we never meet. But who's named Dorothy Fink.
00:05:31 Stein, and who is described as a Harvard graduate lawyer. Then we go back to normal's ignorance and bigotry when she says, after asking Rubin if he's a Jew, she says and. And it's not supposed to be a joke. She says she thought Jews had horns on their head.
00:05:49 I heard you all had horns.
00:05:53 Circumcised, yes.
00:05:55 Horns, no.
00:05:56 This scene is the first scene with the two main characters meeting and establishing a relationship and and setting the tone for the rest of the film, and it's through this lens that the writers and the director view White America and to make extra sure that the audience understands that the white people.
00:06:15 Are viewed as different when Norma says now after meeting a Jew for the first time that he doesn't seem that different than than she is.
00:06:24 He says this.
00:06:26 As I could.
00:06:26 See, you don't look any different from the rest of.
00:06:29 Us where we are, yeah.
00:06:32 Well, what makes you different?
00:06:38 So it's an affirmation that this Jewish identity makes him different than Norma, that he sees himself as different than these local town people, a difference he'll bring up later in the film also.
00:06:51 But it's a difference that the writers and director wanted to make clear right from the start.
00:06:56 So as the movie progresses, Ruben tries to get the mill workers.
00:07:00 To unionize, and he's treated as an outsider.
00:07:02 He later sees Norma at a baseball.
00:07:06 And we get more symbolism reinforcing that Rubin is is a high class fish out of water in this backwards town, when when he's unable to stomach the hot dog served at the baseball game, but at the same time he offers to pay for Norma's food out of charity. Now, Rubin superiority over Norma.
00:07:26 Has expounded upon when she begins to talk about her baby daddies.
00:07:31 And the dynamic of master and and teacher that will go on throughout the rest of the movie really begins.
00:07:38 Fast forward a little bit.
00:07:39 Norma runs into Ruben once again.
00:07:41 This time when she's on a date with a a local and equally ignorant and simple white guy, she invites him to sit down with them and Ruben once again takes on the role.
00:07:52 Of the mentor, not only is this easily seen through the camera with the way the shots are framed with Reuben much larger than normal.
00:08:00 On her date, like a father talking to his kids.
00:08:03 But he again rejects the local food and drink because he's dissatisfied with the quality and then drives the two home because they're too irresponsible and drunk and again looks down on her as she's vomiting at the.
00:08:16 Side of the.
00:08:16 Road it's continuing to build this dynamic of.
00:08:20 Superior and inferior.
00:08:21 Now, a short time later, Norma gets married rather abruptly with the man that she went on a date with, who is also a single parent.
00:08:29 The wedding is small and the marriage seems to be kind of lacking in romance, but it's rather a a result of too impoverished single parents coming to an arrangement of convenience. Norma's new husband is always viewed as kind.
00:08:41 But simple average man, lacking inspiration, and we get the idea.
00:08:46 She's settling to get out of her parents house.
00:08:50 The story moves on to the first meeting of the mill employees that want to maybe unionize the meetings held in a black church and nearly all of the attendees other than Norma are black and again.
00:09:02 All the black characters are seen as good, decent people that want to help.
00:09:07 Out and all the white people are very suspicious of Rubin and I never want to hear him out after the meeting, Ruben goes to the mill to enforce, I guess, a federal regulation that allows him to post his Union literature and once again is met by this caricature of the of basically a southern plantation owner.
00:09:27 Like, that's what these characters are, and he has to threaten to sue unless he's allowed to post his notices because they're giving him such a hard time.
00:09:34 And they're Norma, inspired by his feistiness and the way he handles these plantation owners, decides to finally volunteer and work for the Union the 1st.
00:09:46 Actions that she receives from volunteering for the Union, the first enemy, if you will, that she makes is, oddly enough, from her Christian Church.
00:09:57 She goes to the church and she makes this speech about how she's been going there since she was six years old and implies to the preacher that if he doesn't support the union.
00:10:07 And let them meet at his church that he's not really a man of God.
00:10:12 And there's something fundamentally wrong.
00:10:15 With this church.
00:10:17 Now, isn't this an important detail?
00:10:20 Considering the context of this film, not just the faith of the writers and the director, but just the relationship, the left has always had with Christianity that somehow by not supporting their agenda that Christianity is illegitimate.
00:10:34 So in this moment, Norma Ray, the ignorant country Christian bumpkin who is now formally being mentored.
00:10:42 By the benevolent leftist Jewish labor organizer from New York discards her lifelong religion in favor of this new ideology.
00:10:50 Because Christianity.
00:10:53 Was evil.
00:10:55 The next enemy she makes is her bigoted, racist white neighbors who don't like that she's bringing black people into her home for union meetings, and then her evil white racist husband who is appalled by the idea that she invited black people.
00:11:07 Over to their home.
00:11:08 Press a bunch of black men in.
00:11:09 There, you're gonna get us in.
00:11:10 A whole lot of trouble.
00:11:11 I ain't never.
00:11:12 Had any trouble with black men?
00:11:13 But Norma Ray, thanks to Rubin, is now totally woke.
00:11:17 She's breaking free of the racism that afflicts every other white person in the movie, and together they begin to overcome the backward ways.
00:11:27 Of the whites.
00:11:28 No scene in any well made.
00:11:31 Movie is unintentional, and it's with this knowledge that I find it peculiar that with the constant putting down of white Christians in this film and not exactly subtle idolization of Rubin, that it wasn't enough for the film makers to have Norma always inferior to Rubin.
00:11:51 For the dynamic of the film to.
00:11:53 To be that.
00:11:53 Of a patient teacher mentoring a slow study.
00:11:57 But that they decided to take it a step further in this scene where Ruben gets his shirt dirty and decides to take his clothes off and.
00:12:06 Go skinny dipping.
00:12:07 And you see, it's not enough for Norma to idolize Rubin, to hang on his every word.
00:12:14 She also has to want him sexually.
00:12:16 But Rubin.
00:12:18 Ever the patient custodian of wisdom and morality doesn't take advantage of normas burning desire for him, so she's left frustrated honestly, in, in my view, this film is so much more condescending to whites than the handful of movies that Hollywood would make 10 years later.
00:12:38 The white woman, who goes to the schools and the ghetto and teaches the black kids how to graduate or dance or whatever those ridiculous movies have them do.
00:12:46 Because, at least in those movies, there was always that moment where the white lady who came to the inner city would have a learning moment where the disadvantaged kids would teach her something about their culture or or maybe about herself.
00:13:01 And Norma Ray that never ever happens.
00:13:05 Ruben is the perfect man.
00:13:07 The Savior come to rescue the poor, stupid white people from themselves, and this scene really highlights that as clearly as anything can.
00:13:16 I'm not going to go into detail of the rest of the film because it's really kind of just this continued theme of.
00:13:22 Norma being woke and fighting for the Union and ignoring her husband and her family and fighting the evil white racists and trying to impress Ruben towards the end of the film, she's reminded that just like the food in her town, Norma doesn't measure up to Rubin standards, just as her husband.
00:13:42 Despite providing for the family, even after she gets herself fired.
00:13:48 And he takes care of the children while she's out running around.
00:13:52 Being woke.
00:13:53 He will never measure up.
00:13:55 To her standards.
00:13:57 He knows this.
00:13:59 And he accepts this.
00:14:01 But the writers frame it like it.
00:14:02 Somehow he owes this to her because she's a strong, independent woman now he.
00:14:07 Should be so lucky.
00:14:09 And now this independent woman that after finally helping to unionize the mill, having done everything she could to help Rubin impose his values on this community, this independent woman is left standing in the.
00:14:22 Middle of the.
00:14:23 Road staring longingly after him as he drives away, and that.
00:14:29 Is the story of Norma Rae.
00:14:32 Hollywood's view of white America.
00:14:35 Presented to the world in 1979, a view that won Sally Fields and Oscar for Best Actress for representing white people as ignorant, racist hillbillies with the need to be fixed. People who can't determine their own destiny and tell someone like Reuben comes to town.
00:14:54 And shows them that they're doing it all wrong.
00:14:57 And then.
00:14:58 After remaking it in his own image.
00:15:04 And moves on to the next town.
00:15:06 And then the next.
00:15:08 And then the next.
00:15:10 And then the next.
00:15:14 For Black pilled, I'm Devin stack.
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