I like the tuna here

>I like the tuna here

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FAG

>WATCHHHH YOOOO BAAAACCCCKKK

I hear he likes sushi

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he was talking about the smell of her cunt

this boys tuna crazy

>William Pierce, 2001

It's a film directed at White teenagers, a film designed to give them a particular image of the world and instill in them a myth about the way the world works. It's a film about modern, urban teenagers --
specifically street gangs in Los Angeles -- and cars and street racing. That might seem harmless enough, but the street racing is just a gimmick on which to hang the message, and that message is that the world is multicultural, and it's good that it's multicultural. It's good not to live in a White world, with White friends and White role models and White values and White standards and traditions. That's boring. That's not cool.

The message is that there's
nothing special about being White. The message is that if one is White, then one should hang out with Blacks and Asians and mestizos. One should behave like non-Whites, talk like them, dress like them, be like them. That's what's cool. That's what's sexy. That's what everybody who's really cool is doing. And when you feel like having some sex, you
just reach for whoever is nearest. It doesn't matter at all what race the other person is. If you're a White girl, it's especially cool to have sex with a Black or Asian or mestizo male.

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That's the most obvious message of the film, but actually it's more than that. It's not really that the film says race doesn't matter, that we're
really all the same; that culture doesn't matter, that all cultures are
equivalent. The film says that Whites should become non-White, because
non-White is better. The cultural milieu of the film is not raceless or a
little of this and a little of that. The cultural milieu is Black. The culture is hip-hop. The music is hip-hop. The clothing style, with the baggy shorts and the rest, is hip-hop. It's Black. That is the world into which White teenagers should blend, the world to which they should subordinate themselves.

Surely, White teenagers aren't actually absorbing that message. Are they? Yes, unfortunately, many of them are. The Fast and the Furious
is drawing bigger crowds than any other film produced by Hollywood this season. It grossed $78 million in its first ten days. White teenagers
are flocking to it more than to any other movie. The attraction, of
course, is the action, the street racing, the exciting car stunts.
That's the gimmick that pulls them in. But that's not the message. The
message -- which of course, is subliminal: that is, which is intended to change the kids' perception of the world at a subconscious level -- is
exactly what I just described: it's cool to be part of the hip-hop
culture; it's cool to be multicultural; it's cool not to act White,
think White, or be White.

That's the
message, and it's a Jewish message: Jewish in its conception, Jewish in
its promotion, Jewish in its genocidal intent.

You think I'm imagining things? I'll read to you from a story about the film in last Saturday's edition of the Los Angeles Times:

>Hollywood was stunned when the youth-oriented action film The Fast and the Furious streaked past the competition to become the number-one movie.... With its relatively unknown cast of Latinos, Asians, and African-Americans, heavy doses of high-speed chases, and a driving hip-hop soundtrack, the movie defied expectations.

>...But the teen-oriented movie's success isn't so surprising when one glimpses the youthful crowds flocking to theaters.... With their ultra-baggy cargo shorts, doo-rags wrapped around their heads, and bodies festooned with tattoos and piercings, the look of these young moviegoers mirrors the multiethnic melange of actors on the screen....

>Hollywood likes to pride itself on being ahead of the cultural curve, but with last summer's sassy white-versus-black cheerleading comedy Bring It On grossing $68.4 million domestically and this winter's Save the Last Dance, with its once-taboo interracial dating, raking in more than $90 million in North America alone, the studios have only begun to catch up with the colorblind nature of today's MTV generation.

>Rob Cohen, who directed The Fast and the Furious, said the film not only reflects today's "multiculti" youth culture without purposely drawing attention to it, but depicts what is really going on. When the movie opened, it drew a cross section of races, Cohen said. Surveys taken at theaters where The Fast and the Furious played showed that 50 per cent of moviegoers were white, 24 per cent were Hispanic, 10 per cent were black, and 11 per cent were Asian. "I look at this and go, 'This is exactly what I'm talking about,'" Cohen said....