Bianca Stigter: Sinner

Director Steve McQueen with his wife Bianca Stigter and daughter Alex attend
the Accenture Gala ahead of the premiere of "Twelve Years A Slave"
during the 57th BFI London Film Festival at the Langham Hotel
in London, England, in October 2013
[Image source]

In my previous post "The Obama Effect": "Depicting Slavery as a Horror Show" I wrote about the black director of the recently released film, 12 Years Running:

...what a disgusting human being this director is, and how pathetic people are to allow themselves to be manipulated by him not just in this film, but in other guilt-filled and exaggerated, and often false, depictions of the lives of blacks as slaves.

What is actually more shocking than the shock effects of this director is that he's married to a white woman! But he's not actually married to her, although they have a daughter and a son together. She is addressed as his "longtime partner" in various sources. She is referred to as a "cultural critic" and is apparently Dutch. Here is a referral to a Bianca Stigter, placing her in Amsterdam, with a photograph of a girl/boy that very closely resembles the photograph of the girl above. And according to a 2010 New York Times article, McQueen left England for Holland in 1996. It makes sense that he settled down in super-liberal Holland, with a "partner" who is a "cultural critic" who probably advocates that all "culture" is good, and that honesty in art is the most important thing - i.e. that an artist should show all the sex, violence, horror, and demonism he thinks is necessary to get his artistic "message" across. And marriage is unecessary, in their world of "free" love

How does this "partner" reconcile her husband's hate for whites (that is what it boils down to) with his with his partnership with her, a white woman? What does their partnership consist of? How do they discuss his film projects?

Male Partner: I have this idea for a film.
Female Partner: Oh, that's great!
Male Partner: It is about slavery.
Female: I'm sure you'll have a lot to say about that.
Male: Well, it's about the evil whites who loved every minute of humiliating their slaves.
Female: Oh, yes...
Male: I'll add a lot of beautiful cinematography, to accentuate the evil.
Female: OK. Mmmm. I'm sure you'll do a great job.

Stigter's cultural criticism includes works such as:

Gold from Straw: The Human Body as an Adventure which is a book about:

Gold from straw is a book about people are in straitjackets and about people who are burst out brilliantly, about people who adhere to standards, or people who paint. Everyone is born with a body, but virtually no one is satisfied. In this book, there are stories about women who want to be men, about robots who want to be human, pigs that talk and elephants who listen to music. [I constructed this English translation of the synopsis from various online translations]

And a book she co-wrote titled Fransje Killaars, where she does reach out to Third World, or at least to the non-white of the world, as she reviews the works fellow Dutch textile "artist" Fransje Killaars, who makes "installations" of textiles she reproduces based on Indian carpets and rugs.

Stigter was the one who gave the book 12 years running to her husband, probably suggesting that it could be made into a film. She is the ideal, white wife (or partner, in this case) for this black man. She subjugates herself, and her race, in expiation for all those sins she has been told, and will continue to be told, she has performed in the name of her white superiority and inherent desire to harm blacks. It is an exorcism that she needs, and part of that involves endlessly seeing, reading and discussing this great sin. And her exorcist, to her great luck, is her "partner."
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Posted By: Kidist P. Asrat
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"The Obama Effect": "Depicting Slavery as a Horror Show"

Title: Some Comfort Gained From the Acceptance of the Inherent Lies in Everything
Constructed: 1996
Artist: Damien Hirst
Description: Multiple cows in a line head-to-tail, divided cross-sectionally
into equal rectangular tanks of formaldehyde, equally-spaced,
each containing about 3 feet (0.91 m) of the animals.
Awards: Turner Prize, awarded in 1995 for Mother and Child Divided

I watched (more on that later) a movie this past week: 12 Years a Slave.

The story revolves around a freed slave, who gets kidnapped and sold back as a slave. It is a true story. This site meticulously separates the truth from the fiction.

But, this movie reviewer questions the truth behind the extreme, vicious, brutality in the film:

Brutality, violence and misery get confused with history in 12 Years a Slave, British director Steve McQueen’s adaptation of the 1853 American slave narrative by Solomon Northup, who claims that in 1841, away from his home in Saratoga Springs, N.Y., he was kidnapped and taken South where he was sold into hellish servitude and dehumanizing cruelty.

For McQueen, cruelty is the juicy-arty part; it continues the filmmaker’s interest in sado-masochistic display, highlighted in his previous features Hunger and Shame. Brutality is McQueen’s forte. As with his fine-arts background, McQueen’s films resemble museum installations: the stories are always abstracted into a series of shocking, unsettling events. With Northup (played by Chiwetel Ejiofor), McQueen chronicles the conscious sufferance of unrelenting physical and psychological pain...

Depicting slavery as a horror show, McQueen has made the most unpleasant American movie since William Friedkin’s1973 The Exorcist. That’s right, 12 Years a Slave belongs to the torture porn genre with Hostel, The Human Centipede and the Saw franchise but it is being sold (and mistaken) as part of the recent spate of movies that pretend “a conversation about race.” The only conversation this film inspires would contain howls of discomfort.

The astute writer then places this film in the context of the Obama presidency:

...12 Years a Slave appears at an opportune moment when film culture - five years into the Obama administration - indulges stories about Black victimization such as Precious, The Help, The Butler, Fruitvale Station and Blue Caprice. (What promoter Harvey Weinstein has called “The Obama Effect.”) This is not part of social or historical enlightenment - the too-knowing race-hustlers behind 12 Years a Slave, screenwriter John Ridley and historical advisor Henry Louis Gates, are not above profiting from the misfortunes of African-American history as part of their own career advancement.

I've written about the nihilistic, dreary, and ugly film Precious here, and commented on The Butler here, comparing it to Precious.

And in an even better observation, the above writer describes 12 years a Slave as "an inhumane analysis" and compares it with:

...the cross-sectional cut-up of a horse in Damien Hirst’s infamous 1996 museum installation “Some Comfort Gained From the Acceptance of the Inherent Lies in Everything.”

While searching for McQueen's biography, I discovered that he is a black man, from Britain. He received the Turner Prize in 1999, a post-modern, nihilistic "art" prize (Damien Hirst received his in 1995 for Mother and Child Divided). McQueen's prize was for his video installations, one titled Drumroll, which consists of images generated:

...by rolling a metal oil drum through the streets of midtown Manhattan, with cameras mounted on the side and two ends.

And another titled Deadpan, which is a:

...restaging of a Buster Keaton stunt in which a house collapses around McQueen, who is left unscathed because he is standing where there is a missing window.

Several elements combined to make this horror film, and for it to succeed in the box office, around Christmas, no less!

- Obama's anti-white, accusatory governorship
- White guilt, which pushes people to sit masochistically through the film
- Blacks, who bring slavery back, in a relentlessly unforgiving manner, despite the
many reformations that have been made to improve their lives, post-slavery
- Nihilistic art, and the various encouraging institutions like the Turner Prize and the Tate Gallery which award such artists with the highest accolades
- And black artists like McQueen, of this Obama-Age, who, using the art education they received from white institutions (and which they couldn't have received in any other kind of institution), portray whites as evil in a relentless and vicious manner.

I shut my eyes through most of the film. I would have normally walked out, but I went to the movie with some other people. I could hear the grunts and moans of the audience as it was plied with one atrocious image after another. I closed my eyes when the black freed slave, who was later kidnapped, was caught, hanged and lynched.

I tried to find a shot of this scene, but it is available nowhere on the internet. It is too terrible to view, as the director and his many aides well knew. I was caught in those few seconds of horror. Perhaps it is a good thing that I saw it (I think I was meant to see it), in order to realize with anger what a disgusting human being this director is, and how pathetic people are to allow themselves to be manipulated by him not just in this film, but in other guilt-filled and exaggerated, and often false, depictions of the lives of blacks as slaves.

McQueen's other feature films are:
- Hunger (2008), which this film reviewer describes as:
British video artist-turned-director Steve McQueen imbued this vision of the 1981 IRA hunger strike with such a potent visceral sense...that watching it is truly a corporeal endurance test of stark immediacy...McQueen’s efforts carries a profoundly haunting, disturbing, and ultimately revealing insight into the politics of the body, told through a symphony of blood, shit, and urine.
- Shame (2011), a film about sexual addiction (and possibly incest)

Horror shown through a relentless aesthetic lens, particularly showing human suffering and degradation, is to be McQueen's demonic vision.

I suspect more such horrors will be presented to us in the near future, in art, politics and other media by McQueen and his ilk. If we can brace ourselves now, we will be in a better position to fight back later on this "Obama Effect."
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Posted By: Kidist P. Asrat
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Paula Deen: Guilty Until Proven Innocent for the Crime of the Century

Mammy protectively reprimanding Scarlett in Gone With the Wind

Paula Deen, the "Southern cook" is in a lot of trouble. She committed the Crime of the Century. She used the n-word. I am sure this was not in malice, as her apology videos repeatedly show. I think it is a traditional Southern thing, where the word simply means black, although with the connotation of a "black gone bad," as white trash, a term used both by blacks and whites, is for whites gone bad. In fact, nigger is used freely by blacks, who use it "endearingly" for a fellow black, usually of a lower class, and who may be involved in some kind of criminal behavior. Blacks have a whole hierarchy of words to classify each other by. They have a clear understanding of each other's limitations.

I think Deen also used the word to point out the limitation of these "nigger" blacks around her, yet towards whom she still feels paternal (or maternal, in her case). She feels close enough to blacks to call them out (by using the word nigger) on behaviors they could improve. I think she still lives psychologically in the Gone With the Wind era, where black slaves were affectionately, and paternalistically, taken care of by their white owners, and punished (some harshly and cruelly) when they breached these social expectations. And the slaves understood these contracts, and took affectionate care of their masters, as Mammy did of the rebellious Scarlett.

Deen says something similar:

Back then [when she was younger], black folk were such integral part of our lives, they were like our family, and for that reason, we didn't see ourselves as being prejudiced.

Blacks were generally grateful towards whites, not for some crumbs they received, but for the protective and familial way in which they were mostly treated. Now, what we have is begrudging, relentlessly accusatory, deeply dissatisfied black Americans, who have reaped the benefits of white America, and yet who are never satisfied, and will at every opportunity point a finger at whites.

I think that whites still feel have a protective attitude towards blacks, to keep them out of trouble, and to keep them American, which means following the rules and leadership of whites as their fellow countrymen, and the contracts of the country. Yet, blacks no longer have this affectionate, familial attitude towards whites. In fact 99% of blacks now think that whites are out to harm them, and they will always be vigilant and hostile towards whites.

But, it is still whites who are the arbitrators of justice for blacks. It is whites who are causing the demise of Deen's businesses, where major retailers are closing their doors on Deen's products for her "racist" behavior.

According to The Examiner:

Sears, Kmart, Walgreens and J.C. Penney are the latest retailers to end their business relationships with Paula Deen. In addition, Ballantine Books just called off a lucrative five-book deal. That makes a total of 11 business partners who have now distanced themselves from the controversial cook.

These partners included Target, Walmart, Novo Nordisk (a diabetes drug maker), The Food Network, QVC, Caesars Entertainment Corp (of casinos), Smithfield (which specializes in hams and pork products), and Home Depot.

And it is the news media, run and controlled by a white majority, which are demanding that she make a national apology for her behavior.


Deen with finger-pointing Matt Lauer on the Today Show, June 26, 2013

Now, the interesting thing here is that whites are once again protecting blacks! From the evils of the Crime of the Century - Racism. Paula Deen, in her candid way, spoke up about blacks and hurt their feelings. That's all she did: she didn't kill anyone; she didn't destroy any black's home or businesses; she didn't yell in public obscenities against blacks. She just used words to describe the black person in a way that is no longer acceptable to the do-gooder, black-saving whites of the twenty-first century version.

So, there it is: both parties (the "For Deen" and the "Against Deen") are protecting the ever-vulnerable blacks to this day.

Deen is making the apology circuit, after she posted her own apology videos on Youtube. The first Youtube video shows a confident, yet penitent Deen. I watched the second video with fascination, and a little horrified. She was disheveled and rambling. The last I could bear to watch is her Today Show interview with Matt Lauer on June 26. Deen sits like a reprimanded child next to the pinched-nosed, finger-pointing Lauer, who glares at her.

Is this what the modern world is making of its icons? There is no doubt that Deen was admired by many. Some may have even idolized her. Now, she has been reduced into an incoherent mess. To have a full society land on you like that must be devastating, especially after it had you on a pedestal for so long. I've never watched her full cooking show, but whenever I saw her, I liked her confidence. She seemed like a friendly, talented, enterprising Southern woman who was running a many-faceted business.

Here she is, with her photo on the Food Newtork, and the cute smiley she put after her name (a little adolescent, but charming):



Below is a video where she is demonstrating how to make peach cobbler. She is confident, playful and sure of her cooking:



Below is a screenshot of her from her first apology video, where is her confident, but shell-shocked:



Below is a screen shot of her rambling, second video. I think she looks like someone who has temporarily lost her sanity:



Like all celebrity women, her private life is a mess. She divorced her first husband in 1989 after twenty-four years of marriage. She married again in 2004. But her family photos (with both husbands, her sibling, and her two sons) show a jovial, happy woman, who may be running a food conglomerate, but who is still sociable and approachable.


At her prom with her first husband (to be) Jimmy Deen, in 1965.
She has been compared to Elizabeth Taylor


With her second husband, former tugboat pilot Michael Groover,
as Grand Marshall at the Tournament of Roses in Pasadena, California, 2011.
Groover started a gourmet coffee line, Captain Michael's Coffee, in 2008.


With her two sons from her first marriage.
She has opened with them a restaurant, "The Lady & Sons" in Savannah Georgia


With her brother Bubba. He is accused of "sexual harrasment" and racism by employees.
Does he have the face of evil, as some would like to paint him?

So this what a white woman is reduced to in a culture that idolizes blacks. She may not fully realize what happened to her, or find a way to respond to all those "allegations," but people are watching, and especially white people. The idiots like Lauer will forever hold their indignant glare, but others will realize the demonization that is taking place, and will react to a country that is holding them guilty without any chance of showing their innocence.

Publishers are cancelling the publication of her new book, saying that it is a business decision:

When Walmart, Target and J. C. Penney all announced they are discontinuing their Paula Deen business, including books, it is awfully tough to stay the course of a publication. It was a business decision...

But ordinary white Americans brought her other cookbooks up to the #1 spot on Amazon.com after Deen hit the prime time news these past few weeks.

Mainstream publishers and retailers may be dropping her books and products, but her supporters will find new ways to promote her work, and continue her franchises. This may take time, and it may include much smaller venues. It looks like America may indeed eventually follow Lawrence Auster's idea of separation:

Those who identify with the former American nation and still want to be part of an American nation must separate themselves from the leftist USA and create new communities and new political expressions suitable for Americans. Until such communities are created, the separation can only be mental and spiritual. But that is the necessary starting point.

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Posted By: Kidist P. Asrat
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