Sunday, December 4, 2016

Minorities

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Slave Master

Back in 1712, a slave master delivered a speech on the bank of the James River in Virginia.

The British slave master, from the West Indies, was educating colonists on a “fool proof method” on how to control your slaves.

His name was Willie Lynch and since his speech grew in popularity, it has been written off as a hoax; however, the principles of control that he lays out are used to this day by liberal politicians around the nation and race-card players such as Al Sharpton and Jessie Jackson.

Even Nation of Islam leader Louis Farrakhan has quoted Lynch’s speech to educate his followers on the control process.

The principle is simple: “Use fear, distrust and envy for control purposes.”

Lynch amplified differences among slaves on a plantation by pitting classes against each other based upon intelligence, size, sex, status, age and even the shades of black.

Placed in current context, we see these “slave master rules” being deployed by both Hillary Clinton and socialist Bernie Sanders.

Sanders, who has gained a frightening lock on millennial voters, uses age as a point of contention among the populace with his proposal to require tax-payers to cover the high education costs of the youth. Bernie uses age and class to divide voters:

Hillary Clinton, who has mastered the slave principles over the years, uses race and gender as top demographics to create conflict.

Here are just a few ways that she is using Lynch principles to divide voters:

If you were to take a look of the statements made by Democrat and Republican candidates, you’ll find a stark difference between who they see as the opposition.

For Republicans, both Trump and Cruz, their enemy is the Establishment: the class of political and media elites who have controlled government for decades. Trump and Cruz agree that it’s the policies, cronyism and hubris of the political elite that have put our nation on the wrong path.

For Democrats, their “them” jumps around from the 1% to Wall Street, big business, Republicans, the “white middle class,” “old white men,” the wealthy and anyone who can be considered a bigot for their views on income inequality to gay marriage.

Liberals (and now the socialist Sanders) put considerable effort into creating classes of people to pit them against one another.

The tactic has served them well over the years and would have made Willie Lynch proud.

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Liberals were excited when a poet named Yi-Fen Chou published a poem that got ranked as one of the best American poems of 2015–but now, they’re eating their words.

It turns out that Yi-Fen Chou isn’t the fawned-over Chinese-American liberals thought he was. As it turns out, Chou is just the pen name of a white man named Michael Derrick Hudson.

Hudson had submitted his poem, “The Bees, the Flowers, Jesus, Ancient Tigers, Poseidon, Adam and Eve,” more than 40 times under his own name–getting rejected every time.

But when he changed his name to something a bit more “diverse,” he soon found himself a published author–and ranked as one of the top poems of the year, even being included in the high-profile anthology, “The Best American Poetry, 2015.”

Authors have been publishing under fake names for years–but, with their current crusade of identity and so-called “white privilege,” the Left is going ballistic. They’re claiming that Hudson unfairly “misappropriated” Asian culture by picking his pen name, even though his poem was not about anything remotely Asian.

Hudson was aware of the criticism–but stood by his choice.

“There is a very short answer for my use of a nom de plume,” he said. “After a poem of mine has been rejected a multitude of times under my real name, I put Yi-Fen’s name on it and send it out again. As a strategy for ‘placing’ poems, this has been quite successful for me.”

Despite the controversy around Hudson’s selection, the anthology that ranked his poem as one of the best of the year is sticking by his poem–claiming that doing otherwise would delegitimize all of their adjudicating standards.

But the guest editor of the book, Sherman Alexie–who is part Native American–admitted the name Yi-Fen Chou got Hudson’s poem included, rather than any merit of the author himself. But he showed no remorse over that.

“Hey, guess what?” he said, unapologetically. “In paying more initial attention to Yi-Fen Chou’s poem, I was also practicing a form of nepotism. I am a brown-skinned poet who gave a better chance to another supposed brown-skinned poet because of our brownness.”

So much for “white privilege” and a post-racial society–if even the editor of a top poetry anthology is actually blatantly stating that he throws special favors to help get minority authors published.

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