I just watched Crash, released on DVD this week.  Let's talk about it while it still is fresh in my mind.

First, Crash is a very well-made movie, if a little disjointed because of the many separate stories it tells, only some of which intersect, usually surprisingly.  Second, Crash is one of the most effective pieces of propaganda I ever have seen, including that dished up on a daily basis by America's current regime.  Propaganda?  Where?  I can hear the questions welling up out there already.

Think about it:  the hallmark of the most effective propaganda always is that practically nobody sees it for what it really is - propaganda.  Like the people in Washington, DC, the people in Hollywood have been at this business for a long, long time.  Both have become very good at what they do.  Often, the line blurs between the two, as in the movie Wag the Dog, for example, or the Administration's conjuring of Iraqi weapons of mass destruction as a pretext for war.

Today, let's discuss racism as depicted by Hollywood, though.  Crash represents the current state of the art.

Why is Crash so good at what it does?  Because it leaves you feeling, at first, that you have had a broad slice of reality, LA style.  A reality in which all people, regardless of color, truly are equal, carrying measures of both good and bad.  Conflicted character is the recurring theme of Crash.  Nobody seems to be all good.  Nobody seems to be all bad.  It's the little lie slipped in with the big truth that fails to get noticed and Crash performs that sleight of hand superlatively.

However, in the end, the only people who seem truly to be fully alive in Crash, the only ones fully developed, are the so-called minorities.  Whites, while conflicted as well, come off as pale imitations of human beings, mere shadows in a reality properly populated by Blacks, Mestizos and the like.  And, of course, there are heaping doses of obvious lies, such as the tired, old claim that there are eight times as many Blacks in prison as Whites because of pernicious White racism.  The truth, of course, is that the number of Blacks in prison is out of proportion with what it should be because of White racism, but not the sort of racism normally preached (or, should I say propagandized?). 

If Blacks were in prison in proportion to the degree of per-capita crimes they commit, there would be fifty Blacks for every White, just dig out the FBI statistics from the government website for yourself if you don't believe me.  It is the anti-White racism of Whites that skews the current proportions in the politically-correct direction:  anti-White and pro-Black.  Oddly, even that aspect of White hypocrisy is depicted in Crash, merely adding to the general impression that Whites are the real problem with society.  At the end, the intended message is clear:  we are all equal.  Equally bad.  Equally good.  Equally smart.  But not equally and vibrantly alive.  That is the province of Blacks, in the main.

As readers of my writings, particularly my book Defensive Racism, know, nothing could be further from the truth.  While at least half the Blacks in Crash clearly display above-average IQs, the truth out here in reality is very different and that difference makes all the difference, of course.  But, then, the mouthings of Crash's Blacks were scripted by...Jews, of course...who produced Crash.  Who produce almost everything issuing forth from Hollywood or, in fact, any aspect of Western media. 

And they have an agenda - an agenda they push continually.  An agenda designed to divide and defeat Western Whites so that we pose them no threat.  Since Jews now own all of the media, they know they are going to get all the profits anyway, so they have turned to manipulation at every turn.  Every turn.  Make no mistake.  Nothing issues forth from Hollywood, your newspaper or your TV these days without a healthy dose of message larded onto the underside.

And it's done with propaganda.  No, you almost certainly don't notice it.  Why?  Because it's propaganda, you dummy, that's why!  Remember that the whole point of propaganda is to leave no fingerprints.  They've been doing it a long time.  They've become very good at it. 

The scene from this movie that snapped me to full alert occurred right at the outset, when the Black male lead, in bed atop a gorgeous White woman, says into a telephone, "I can't talk to you right now, Mama.  I'm busy screwing a White woman."  No, not subtle, but a scene becoming de rigueur in the modern Hollywood drumbeat encouraging White women to bed Black men.  Yes, I have a real problem with Black/White miscegenation.  No, I feel no need to apologize for it.

Rent Crash and watch while specifically keeping an eye out for the propaganda.  Other than the now-common message that it is cool to have sex with those smart, sexy Blacks and that White men generally are both nerdy and evil, the really dangerous propaganda in this movie will be tough to catch.  But you will see it if you try.  See if you don't agree with me as to how good they have gotten. 

Think about all the propaganda you swallow every single day without giving it a first thought, let alone a second.  Then think about all those around you who haven't opened their minds as much as you and never see anything as propaganda.  Then think about all those who opened their eyes long enough to catch the score, then closed them intentionally so as to get along.  You might be one of them.

My name is Edgar J. Steele.  Thanks for listening.  Please visit my web site, www.ConspiracyPenPal.com, for other messages just like this one.

Copyright ©2006, Edgar J. Steele