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At this point in our Race Bias series it is time to turn our attention once again to the attitudes of our liberal elites.

What gives these elites the idea that social cohesion can be maintained under a potent mix of racial quotas with ever growing groups of non-white beneficiaries?

What leads these liberal elites to think that imposing these burdens on their own kind will not lead to rebellion?

Fascination questions!

The problem is that you cannot just go out and administer a poll to our elites and expect honest answers. After all, they invented the polling game. He who polls others acquires power, while he who responds to the poll gets manipulated! There is no way that our cosmopolitan elites are going to submit truthfully to a poll.

But fortunately, you do not need a poll to find out what our elites really think. You see, our elites love to talk and write. You can plumb their racial attitudes by sampling the texts that they produce for their own amusement and consumption.

The best place to start are the "Leisure and Arts" sections of the L.A. Times and the New York Times. You see, our elites can publish and read whatever they want in the major metropolitan newspapers with little fear that the average middle American will ever read or react to the stuff.

Our elites define and celebrate themselves and their attitudes in these "Arts" sections of the major metropolitan dailies. And they do so with surprising candor.

What you find when you sample these "Arts" pages of the major metropolitan dailies, is that our liberal elites use racial stereotypes and epithets to describe their fellow whites and to describe white culture.

Throughout history, elites have displayed a need to differentiate themselves from the "commoners" and to express a sense of superiority. However, the fragile political coalition that keeps the majority elite in power in the United States depends upon universalisms of social equality. Therefore, it is not possible for this elite to express anti-egalitarian sentiments towards members of racial minorities or, more broadly, based on economic criteria.

Thus, in the U.S., expressions of contempt for "inferiors" must be limited to members of your own race. Paradoxically, the greatest source of social hostility and friction in our multi-racial empire ends up being based on explicit racial criteria. Logically and inevitably, the reaction against the liberal elite by Euro-America must be based on the same explicit racial criteria.

The most vulgar and anti-egalitarian stereotype is already familiar to anyone who reads alt.politics.nationalism.white. It is the stereotype of "trailer parks." The most graphic Hollywood representation of this stereotype is the 20 year-old film classic "Deliverance" starring Jon Voigt and Burt Reynolds.

Only a crude and alienated minority of the liberal elite feels a need to differentiate themselves from the poorest of their fellow whites with images of "white trash," trailer parks, incest and low IQ.

(Indeed, one of the primary benefits of creating alt.politics.nationalism.white was to provide a forum in which young wannabe liberals could provide us with free samples of this vicious stereotype for later use in "motivating" European- Americans to rebel. The curious thing is that these liberal screamers are so profoundly secure in serving up these insults that even after you _tell_ them that you are saving their posts for later "motivational" use, they continue posting!)

In any event, our purpose is not to dissect the stereotypes used by a small but aggressive minority of young, liberal wannabes, but rather to investigate the widespread use of anti-white racial epithets in mainstream liberal culture.

And more specifically, we want to examine what these epithets tell us about the elite's attitudes toward their fellow European- Americans. Do they really believe average European-Americans are so passive that they will tolerate any burden or any insult?

The racial epithet "white-bread" has far broader significance than the liberal stereotype of the Euro-American working man living in a trailer park. "White-bread" is an epithet that applies broadly to suburbia and to middle class Euro-American culture. It is an epithet that our liberal elites use to differentiate themselves from their nearest "middle class" Euro-American competitors. And for that reason, it is much more important than the crude stereotype of the trailer park.

So in this post, we will analyze the ways in which liberal "Culture and Arts" writers for major daily newspapers use the word "white bread" to express contempt for Euro-America.

When the Ole Ygg first logged on to the Nexis "Major Newspaper" library and typed in WHITE BREAD, the computer quickly came up with over 1500 "hits" and stopped the search. The Ole Ygg then narrowed the search to 1994 and later, and quickly discovered that the "hits" were about equally divided between the literal usage in the "Foods" sections of our major dailies, and the derogatory usage in the "Leisure and Arts" sections. In an attempt to eliminate most of the "foods" articles, the Ygg added the word "image" to the search, with the following result:

YOUR SEARCH REQUEST IS:

WHITE BREAD AND IMAGE NUMBER OF STORIES FOUND WITH YOUR REQUEST THROUGH:

LEVEL 1... 468

The raw numbers are staggering. This is one of the most important and oft used anti-white epithets. It is central to understanding the perceptions of our liberal elites. Use of the epithet is so wide-spread that it is even used in the diminutive "Leisure and Arts" section of the Wall Street Journal, an institution that roundly condemns the attitudes behind the epithet on its editorial pages.

It is an epithet from which America cannot escape.

But despite its widespread use, it is an epithet that is unknown to the great mass of freeway commuting "middle Americans." (As a parenthetical, I should mention that Ygg Jr., a politically aware college student, had never heard or seen the term "white bread" used in a cultural context, and was shocked when he read the raw downloads from the Nexis search before this post was written.)

So let us see how our elites actually use the term "white bread."

First, we have an example of an "orthodox" use of the anti- white epithet "white-bread" to mean boring, uninteresting, or "not worth living."

It comes from the March 19, 1995 edition of the Atlanta Constitution, Section A, page 3 in an article headlined "Around the South REGION IN BRIEF:"

SOUTHERN ACCENT "It's not that [Charlotte] has a bad image; it's that it doesn't have an image at all. . . . This is a white-bread town, a city that never wakes. . . . White shirts and dark suits are uniforms de rigueur. Most restaurants view dishes with more than two ingredients as daring culinary experiments. And Marie Osmond is always a guaranteed sellout." - David Goldfield, a University of North Carolina at Charlotte professor in the premiere issue of Reckon: The Magazine of Southern Culture, published by the Center for the Study of Southern Culture at the University of Mississippi.

There are literally thousands of articles that use the term in this way. Above all else, our liberal elites want to escape from suburban America. Instead they want to be seen as "vibrant," exciting and at the cutting edge. The life and culture of the average middle class Euro-America is not good enough.

Next, we have an example in which the term "white bread" is used to mean dull and uninteresting, but in a sexual sense. An example of this usage can be found in a theater review for Newsday dated Nov. 18, 1994 entitled "The Diva Drives 'Sunset Boulevard'," by Linda Winer.

SUNSET BOULEVARD. Music by Andrew Lloyd Webber, book and lyrics by Don Black and Christopher Hampton, based on the Billy Wilder film. With Glenn Close, Alan Campbell, George Hearn, Alice Ripley. Sets by John Napier, with costumes by Anthony Powell, lights by Andrew Bridge, choreography by Bob Avian, musical direction by Paul Bogaev. Minskoff Theater, 45th Street west of Broadway. Seen at Tuesday's preview.

* * *

Close is the major reason to see Trevor Nunn's production of Andrew Lloyd Webber's latest, an extravaganza that turns Billy Wilder's acidic movie classic about the Hollywood dream-machine into a sort of theme-park operetta noir. Depending on one's gooey-music threshold and Broadway's desperation for a new show, she and the sets may be enough.

* * *

The problem is not the cast. There's still no mistaking Alan Campbell for William Holden, but his Joe has become less white-bread, and more attractively dissolute, over the months since L.A. Alice Ripley is not overly innocent as Betty, the symbol of industry goodness. And George Hearn, as Norma's loyal protector and butler Max, replicates Erich von Stroheim's cartoon-stoic dignity while adding his distinct sound and emotional richness.

The above example is interesting because it demonstrates that while "white-bread" is sexually uninteresting, Euro-American actors can "grow" and become less "white-bread" and "more attractively dissolute."

Next, we have an example from the January 29, 1995, edition of the Toronto Star, "Spotlight" section, page E-12, by Tanya Barrientos and entitled "Conservative America's sweetheart sings at big game - Kathie Lee Gifford: 'Mom-and-apple-pie with a slice of cheesecake on the side":

* * *

Yes, the Princess of Perk, Kathie Lee Gifford, will be on the tube today singing the national anthem at the Super Bowl.

* * *

She seems to be everywhere, all the time. In the morning, in the evening, she's pertness personified.

* * *

In the last four months, she has been on the cover of TV Guide and McCall's and Ladies Home Journal. She's the co-host for a prime-time institution chock-full of Kathie Lee wannabes - the Miss America Pageant.

* * *

Some Kathie Lee watchers say she has tapped into the hearts and minds of Middle America and it adores her image as conservative America's sweetheart. She's a Christian poster girl with a touch of the devil in her. She's mom-and-apple-pie with a slice of cheesecake on the side. She's sophisticated enough to wear designer clothes and a five-carat diamond ring, but down-home enough to talk about her kids' runny noses and dish out bathroom humor on live television.

* * *

At least 10 million viewers of Live! With Regis And Kathie Lee love to love her because she's openly religious, vocally conservative and downright adamant about her devotion to her family.

* * *

So has Kathie Lee found the key to long-term success? Mullen of Entertainment Weekly thinks so. "Yes, she's white bread, and yes, she's mayonnaise, but go to your supermarket and you'll see there's an entire aisle of white bread and mayonnaise," he said. "It sells." GRAPHIC: Photo: WHITE BREAD: Kathie Lee Gifford's middle-American, God-fearing image made to order for a Super Bowl anthem crooner.

The title under the picture says it all. Above all else, "white- bread" symbolizes "middle-American, God-fearing image." Very unsexy and very boring.

As if to emphasize the point, our next example says the same thing but with a much nastier bite, - no surprise when you consider that the source is the Feb. 17, 1995 edition of the San Francisco Chronicle "Daily Datebook" section, page C3, entitled "It's the Story of Those Oh-So-Groovy Bradys," by Edward Guthmann:

THE BRADY BUNCH MOVIE: Spoof. Starring Shelley Long, Gary Cole, Michael McKean and Jean Smart. Directed by Betty Thomas. (PG-13. 90 minutes. At the UA Galaxy, Empire, the Plaza in Daly City.) Imagine the Brady Bunch, that insipid, polyester family from sitcom-land, entering this world. Like Coneheads on a day pass from Remulak, they're the ultimate in displaced aliens: bland, clueless slices of white bread who still wear bell bottoms, still say "groovy," and seem to thrive in a pastel bubble of their own.

As you can see, the term "white bread" can contain a fair measure of anger and nastiness, even in the cultural realm. Note that the qualities of "alien, bland and clueless" have, for our liberal elites, come to be identified as a white racial characteristic.

From the usage of "white bread" to disparage "middle America, God-fearing," we move on to the term's use in explicitly ethnic and racial contexts. Our first excerpt is a borderline or transition example from a story by Jerry Carroll in the Dec. 11, 1994 edition of The San Francisco Chronicle, page S1, entitled "Mr. Jenkins Has His Eye on You. But just who is that man with the martini in his hand?"

* * *

Mr. Jenkins is slowly stealing his way into the national consciousness. Think of it as subliminal accretion, sort of like the way pearls are made. You become dimly aware of him here and there and don't pay much attention until finally the image load gets so heavy that the cross-over to the conscious level occurs. Then he stands revealed, sardonic and superior, the embodiment of the once-dominant country club WASP paradigm (in, say, the time of Eisenhower), back to demonstrate what roguish savoir-faire is all about.

* * *

In Mr. Jenkins' case the product is Tanqueray, the English- made gin. It has always been a solid seller, but its American distributor, Schieffelin & Somerset Co., brooded that a younger generation of tipplers in the United States identified it with Modern Maturity readers.

* * *

So Tanqueray sent its advertising into the shop for retooling.

The upshot is a $ 27 million campaign, the biggest in liquor advertising history, designed by a Madison Avenue team led by Deutsch Inc. creative director Greg DiNoto, Dallas Itzen and Kathy Delaney. Their task was to reach out to younger people without losing Tanqueray loyalists who could be counted on to feel horror at being thought hip. "There are associations people made with the core audience that became associations made with the product: older, more conservative, probably kind of white bread and stuffy," said DiNoto. ''We decided, let's take older and turn it into sophisticated. Let's take stuffiness and turn it into urbanity and wit. Let's take conservative and turn it into restraint and a highly evolved sense of humor.''

To sell a product identified in the Public Mind with tired old WASP's, you find a tired old WASP and then give him an image that will sell to a younger, ethnically and racially diverse market. In this case, it is the creative director of the ad agency who uses the term "white bread" to describe an existing customer that the target customer presumably would associate negatively with the product. Again, individual characteristics have come to be associated with the race.

We move next to an example which combines a high level of liberal elitist anger with an explicit racial use of the term "white bread." It is an article by a feminist writer gushing over Hillary Clinton. The example is from an editorial by Leslie Baldacci on page 37 of the Feb. 17, 1995 edition of the Chicago Sun-Times entitled "Hillary Clinton's Homecoming; Memo to the First Lady: You Rule -- Don't Change":

There was no line of panting admirers, so after Hillary Rodham Clinton's speech to the Civic Federation Wednesday night I was able to walk right up to her and shake her hand. "Nice speech," I told her. "And I have a message for you from my daughters. 'You rule.' " Tell some people "You rule" and you can tell they don't have a clue what you're talking about. Not Clinton. Her eyes brightened with understanding and a touch of amusement and she said, "Thank you very much."

* * *

Hillary indeed "rules." I admire her and I encourage my daughters to appreciate precisely what many Americans seem to despise about her -- that she's a strong woman, smart and articulate, and a feminist of my generation who doesn't tone down her act to accommodate other people's comfort levels.

* * *

In some circles, that is a definition for "bitch." Part of our society -- men and women both -- still feels threatened by a woman like Hillary Clinton. That is the only way to explain the consistently bad rap she gets. "Bitch on!" I say. "Go, girl!"

* * *

I heard her excitement about the diversity of the student body at her old high school. When she went to Maine East, she said, it had a homogenous, white student body. Now it has students of every hue who speak 63 different languages. All of our children are growing up amid diversity; I certainly didn't encounter it in my white-bread '60s upbringing. I agree with Clinton: America's growing diversity is something worth celebrating. These high school kids are luckier than we were.

* * *

Fascinating! Note how this white liberal sees fit to express her anger and frustration using black street talk!

Yggdrasil went to a diverse center-city high school with 40% black and 30% jewish populations, and he couldn't agree more. A "diverse" educational experience is something to celebrate! A large fraction of our European-American children are undergoing a similar experience in school now!

However, liberals are going to be surprised at the consequence. There is absolutely no evidence anywhere to suggest that mixing races in this manner increases tolerance and understanding. In fact, the regions and neighborhoods with the greatest amount of inter-racial contact always yield the greatest racial strife.

The absence of a "white-bread '60s upbringing" means that today's Euro-Americans will leave these diverse institutions knowing first hand that the American dream of integration and racial harmony is a lie. The heavy doses of propaganda administered in these schools guarantee that the real education will slip in under the radar of the liberals' polling techniques.

Next we move on to a more gripping personal tale of sexual frustration from page 4 of the January 20, 1995 edition of the Jerusalem Post. In an article by Netty C. Gross entitled "Leavin' Manhattan with the Bombay Heartthrob Blues," a Jewish woman who cannot find a Jewish mate refers to her sexual competitors as "white bread and mayonnaise."

A friend who lives in her own condo on the Upper West Side of Manhattan calls me. She's 39, single, a partner in a Big Eight accounting firm and inexplicitly identified as a traditional Jew. She's called to say good-bye.

It is the old story. She is quitting New York, tired of looking for a husband, tired of being rejected by persnickety Jewish men. Maybe it has something to do with their mothers or with their fathers or with their cousins from France, my friend speculates, laughing. Who cares. I'm outta here, she says. It's 1995. She has to do something radical. She is moving to India.

* * *

The idea of moving to a Third World country - to a place she says where men are still men and where a white woman who can buy her own elephant for transportation is prized - is not new. Another SJF from Manhattan who moved to India several years ago became folklore. In a small Jewish congregation in Bombay, she met her British-Jewish Hugh Grant. Today they are married and living in London. After 15 years of chasing Jewish men, my friend says her tired flesh wants a little adulation, a little lust, a little naches from having been born female. And she wants clamorous attention from thousands of men. A Jewish Benazir Bhutto, that's what she wants. So when her company decided to transfer the current managing partner in Bombay, she, to her parents' dismay, volunteered for the position.

* * *

Jewish men want what's intensely familiar to them - Eastern European food, intelligent female conversation - and what's intensely alien: extreme height, a degree of imagined carnality. (SJFs in Tel Aviv report men there favor Dutch converts for wives.)

* * *

The divorced men, according to my friend, are slightly different. They act like they've just made a jailbreak. They want a whole different model, preferably waitresses from Minnesota, science teachers from Duluth, basically any female whose never heard of Loehmann's, decorators or lawyers. They want women who, when they hear they have to sign a pre-nuptial agreement, say, "Great!"

* * *

As the sun sets over the 20th century, one of the biggest jokes, according to my friend, is that Jewish men aren't anxious to marry her: a pert, admittedly aggressive, self-made Jewish woman. She blames traditional feminists whom, she believes, devalued female sexuality without concerning themselves with cultural trespass. Traditional Jewish women, she says, who really believed they could "have it all" are paying the price. Jewish men can't handle so much firepower. They are seeking their white bread and mayonnaise elsewhere. According to my friend, it's not that Jewish men reject strong women, they just don't like the artifice unmasked. They are still earnest, programmed to work hard for home and hearth but not for peers. Only for pale, lanky types who say "great" every half-hour.

* * *

Don't ask the Ole Ygg what "mayonnaise" adds to the "white bread" image in this context. The Ole Ygg is "clueless."

Finally, we move on to uses of the term "white bread" in the context of the black experience. The first example comes from the Arts section of the Jan. 15, 1995 edition of the Hartford Courant entitled "A Jazz Pianist 'Beyond Category.'"

* * *

Despite schizophrenia, drug abuse, alcoholism, galling encounters with racism and economic exploitation at the hands of club owners, Powell, in a triumph of spirit, mind and heart, somehow created one of the greatest legacies of piano music of the 20th century before dying at 41 in 1966 in a Brooklyn hospital.

* * *

"Bud was classically trained as a kid and knew the repertoire. His family wanted him to be a classical concert pianist, but he was black, and at that time that wasn't possible," Bishop says. Arthur Taylor, who performed as a young drummer on many classic trio sets in both the Blue Note and Verve boxes, agrees that Powell, like such other black virtuosos as Fats Waller and Tatum, was excluded by cultural apartheid from the white-bread world of classical music."

For anyone familiar with the classical music scene, the idea that a black musician would be excluded because of race is laughable. Voluntary affirmative action has been the rule in the classical music world for about a century and everyone knows it. The author knows this too, and he uses the term "white bread" in order to inject a note of ambiguity into the issue of causation. In other words, it might have been "impossible" for a black to make it in the "white bread world of classical music" for reasons of acute cultural discomfort rather than for reasons of discrimination.

In this context, the derisive term "white bread" indicates that the black musician would be turned off by this world and, indeed, that he should be turned off.

Finally, we deal with one of the most common uses of the term "white bread" in the context of an article that uses other, more potent anti-white racial epithets as well. This final example comes (appropriately enough) from the March 24, 1995 edition of the New York Times, Section C; Page 8; Column 5 in an article by Caryn James and entitled "Film Festival Review; Drive, They Said, And Drive They Did."

There is a scene at the center of "New Jersey Drive" that captures everything this fast, thoughtful street drama tries to do: a group of black teen-agers in Newark steal a police car from the cop's own driveway and go on a joy ride. Suddenly, the audience is rooting for a bunch of car thieves, young men clearly driving off to destruction. Yet the moment is gleeful. This white cop is corrupt and physically brutal; he deserved it. And the scene takes a comic turn, as the thieves pull over a carload of geeky white guys and discover what it's like to have power. Midget, the tough leader of the thieves, gets on the speaker and in a dead-on white-bread accent scares the preppy types to death. They put their hands up, Midget warns that they have the right to remain stupid, and races on.

Notice that in the above example the epithet "white-bread" is used to describe the black hero's imitation of whites in general. It is a universalized epithet. In contrast, when the author/critic describes the actual Euro-Americans depicted in the movie, he uses the more powerful racial epithet, "geeky white guys."

The above excerpt is particularly fascinating because of its inconsistent mixing of racial images of whites. When one thinks of "geeky white guys" one thinks of "stage crew" types in high school with pocket protectors in their short sleeve shirts.

But in the next sentence, the reviewer notes that the black hero "scares the _preppy_ types to death." Perhaps it is the pressure of deadlines, but the popular stereotype of "preppy" is not at all the same as the stereotype of "geeky white guys." Preppies are "tight white protestants" in training to become the suited businessmen typically portrayed in our movies as criminals.

In any event, the use of the term "white bread" in the excerpt above is intended to demonstrate the greater "authenticity, excitement and masculinity" of the blacks described in the movie. Indeed, when you review the varying uses of the term "white bread" above, you cannot escape the impression that our liberal white elites are profoundly unhappy with the white culture from which they came. To them, it is boring and meaningless, sexless and unattractive.

This widespread and nearly unanimous cultural attitude on the part of our liberal elites emphatically raises some very interesting points.

First, is it any surprise that we have admissions and hiring quotas? Any surprise that we have contracting set-asides? After all, our liberal elites enacting such preferences have never actually met anyone willing to admit to being "white." Everyone they know is profoundly ashamed of "whiteness" and flees from it both literally and metaphorically.

Any chance that those making such free use of this epithet "white bread" could even imagine people taking offense at racial quotas? Where on earth would such people be found? In trailer parks?

Second, anti-white hostility is not confined to liberals from any particular group based on European ethnic origin. Hostility to Euro-American culture seems to be a rite of passage into the elite; one embraced by all, and a minimum qualification, it would appear, for peddling soaps and gin through the mass media. Thus, while one may appropriately abhor the politics of 80% of this country's Jews, it is clear that anti-white animus is often strongest among those in the elite who had a "white-bread '60s upbringing," something that very few Jews would claim.

Third, it seems a near certainty that such strong and pervasive anti-white animus among our elites motivates much of the universalist ideology of "compassion" and "tolerance" and inevitably informs this ideology with intensely destructive policy content. The truth is that after you see enought references to "white bread," you have much less trouble linking destructive policies to evil motives, and ignoring the universalist labels and masks.

Finally, our elites might wish to ponder what the millions and millions of European-Americans with no pretensions and no need to differentiate themselves from their fellow European- Americans will think of all this when they find out (as they inevitably will).

Might these millions suddenly wish to prove the boring and passive stereotype wrong?

And how exactly might they elect to disprove it? After the fashion of Timothy McVeigh?

What options have the liberals left them?

Just a few thoughts from

Yggdrasil-

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