One word: artistry. Every picture is worth a thousand words and the power of the images is incredible. One can be a fervent ideological racist and admit that Greg Lansky’s Blacked is more relevant, interesting and aesthetically superior to any other type of pornography. It’s certainly in a league of its own but why?
Blacked makes excellent use of contrast
1. Racial contrast between the radically different but striking and complimentary skin tones (Yin/Yang) and the dominant/submissive positions of the performers
2. Sexual contrast between the brutish, animalistic masculinity of the black man and the delicate, ethereal femininity of the white woman
3. Age contrast between the maturity and experience of the black man and the innocent nubility of the white woman
BLACKED makes powerful use of archetypes
The white female performers are usually exceptionally pretty and nubile; avatars of Aryan beauty, while the always tall, muscular and well-endowed black men are often not even fully shown, represented by their powerful bodies or their colossal cocks. BLACKED presents its black men exactly as racist white males see them: a homogeneous mass, distinctive only by their outstanding physical traits and their insatiable lust for white girls. Elegant and refined white women are presented as being depraved vixens who secretly yearn for BBC and bestial Jungle Sex under the civilized veneer of white puritanism.
Polarity: white is traditionally associated with purity, light and goodness, black with corruption, darkness and evil. The opposites of femininity and masculinity, light and dark, refinement and animism, Yin/Yang come together as pure Aryan angels, avatars of exceptional white beauty, submit to black men; the apex of bestial masculinity. The laws of sexual polarity are such that feminine white women feel an extreme level of primal attraction to masculine black men and vice versa. Black men and Aryan women have explosive natural chemistry combined with the racial history and cultural taboos that make interracial sex an erotic tour de force, guaranteed to give white participants and spectators alike far more powerful orgasms.
Symmetry: in an iconic visual, three Aryan women offer to be taken like animals in triangular positions while the black men hold their asses in place and enter them from behind. The hierarchy clearly presents blacks as the dominant, conquering, masculine race, in contrast to the passive, receptive and feminine whites. There is no place in these shots for white males, who are reduced to sexual spectators: impotent losers and cuckolds, masochistically masturbating to their own demise.
Taboo: the word “Blacked” suggests that the girls are permanently marked and a psychological if not physical transformation comparable to the loss of virginity, a kind of second de-flowerment. They aren’t innocent little white girls anymore; their Aryan maidenhood was surrendered forever when pulsating black serpents invaded their ripe white bodies.
BLACKED plays on the white male’s fear of “defilement” based on his superiority complex and his insecurity that after a white woman lustfully surrenders to the black man’s primal virility, her racial loyalty will shatter in orgasmic convulsions. From the white male spectator’s perspective, “his” women are on the other side. This is as much a triumph of feminism as it is of black virility: Aryan women have the power to reject white boys, give their bodies to African conquerors and even make hardcore pornographic videos with billions of views symbolically depicting the sexual conquest/surrender of Europe. This is game over. The key role of the Jew Lansky in facilitating this is hidden behind a brand name; a fitting tribute to his invisible but indispensable machinations.
Over time, the white male consumer of BLACKED comes to see sex as something that occurs between black men and white women, accepting the passive role of the omega male. Other white males closely identify with the white female in her embrace of black masculinity and are not just psychologically castrated by BBC and made impotent but embrace their latent femininity and engage in sissification. Proximity between black men and white men (as we see in integrated schools, sports, cities and prisons) inevitably results in the destruction of white masculinity. Pussification leads to further humiliation as white women get jungle fever and abandon white boys for the victorious racially-sexually superior studs.
In many pictures, the financially and sexually liberated Aryan woman is central with the black man focused on her while she exhibits a cold, steely gaze; one of confidence and contempt. She’s saying “I don’t belong to you, white boy. My body belongs only to the best alpha studs: big black men. I’ve gone black, I’m never going back and there’s nothing you can do about it, so accept your defeat and jerk-off, you pathetic loser.” This destroys the patriarchal myth of Aryan women’s natural chastity/loyalty, framing it as a repressive social construct for the sexual advantage of white beta males. BLACKED reveals and unleashes the feral side of female nature where model-esque, liberated white women enjoy ecstatic orgies with Negro studs and worship the phallocentric, hedonistic, Dionysian cult of black masculinity.
Blacked is the aesthetic expression and celebration of several forms of dominant power
Capitalist: the existence of BLACKED as a consumer product being viable because of its commercial success, driven largely by white male demand
Black male physical: through his conquest of the white man’s woman, he defeats his former master decisively and establishes himself as the dominant male
White female sexual: through her submission to physically, sexually, numerically superior black men, she chooses sexual pleasure and life over “loyalty” to weak, defeated white boys
Jewish intellectual: by empowering the Negro to **** white manhood, colonize white nations and ravish a liberated and libidinous Aryan womanhood, the Jew is enacting his ultimate revenge over the Aryan male
Inversion and liberation: mainstream history tells us that Negroes, women and Jews were oppressed by the white patriarchy and BLACKED visualizes their common revenge. Now Negroes, women and Jews are liberated, the white patriarchy has been destroyed and white males are biological slaves, free only to watch and cry (or wank) as their nations and women are taken from them. Slaves are freed and become masters while former masters have been enslaved. Europe, having once colonized the dark continent, becomes darker every year as life imitates art and vice versa. This can be seen as a kind of natural justice; the oppressed rising up collectively to assert their superiority and defeat their mutual oppressor.
Biological reality is that tribal aggressive Jews are smarter than whites, tribal aggressive Negroes are physically-sexually superior and white women are naturally more attracted to black warrior-studs. White males have been defeated by a combination of the black man’s physical power, the white woman’s sexual power and the Jew’s financial/intellectual power. Smart Jews make super high quality pornography that uses the hyper-polarity of black masculinity and white femininity to seduce white boys into accepting our blissful extinction. Although I know exactly what’s going on, I can’t help but unzip and masturbate anyway. That’s the incredible power of BLACKED.
Blacked makes excellent use of contrast
1. Racial contrast between the radically different but striking and complimentary skin tones (Yin/Yang) and the dominant/submissive positions of the performers
2. Sexual contrast between the brutish, animalistic masculinity of the black man and the delicate, ethereal femininity of the white woman
3. Age contrast between the maturity and experience of the black man and the innocent nubility of the white woman
BLACKED makes powerful use of archetypes
The white female performers are usually exceptionally pretty and nubile; avatars of Aryan beauty, while the always tall, muscular and well-endowed black men are often not even fully shown, represented by their powerful bodies or their colossal cocks. BLACKED presents its black men exactly as racist white males see them: a homogeneous mass, distinctive only by their outstanding physical traits and their insatiable lust for white girls. Elegant and refined white women are presented as being depraved vixens who secretly yearn for BBC and bestial Jungle Sex under the civilized veneer of white puritanism.
Polarity: white is traditionally associated with purity, light and goodness, black with corruption, darkness and evil. The opposites of femininity and masculinity, light and dark, refinement and animism, Yin/Yang come together as pure Aryan angels, avatars of exceptional white beauty, submit to black men; the apex of bestial masculinity. The laws of sexual polarity are such that feminine white women feel an extreme level of primal attraction to masculine black men and vice versa. Black men and Aryan women have explosive natural chemistry combined with the racial history and cultural taboos that make interracial sex an erotic tour de force, guaranteed to give white participants and spectators alike far more powerful orgasms.
Symmetry: in an iconic visual, three Aryan women offer to be taken like animals in triangular positions while the black men hold their asses in place and enter them from behind. The hierarchy clearly presents blacks as the dominant, conquering, masculine race, in contrast to the passive, receptive and feminine whites. There is no place in these shots for white males, who are reduced to sexual spectators: impotent losers and cuckolds, masochistically masturbating to their own demise.
Taboo: the word “Blacked” suggests that the girls are permanently marked and a psychological if not physical transformation comparable to the loss of virginity, a kind of second de-flowerment. They aren’t innocent little white girls anymore; their Aryan maidenhood was surrendered forever when pulsating black serpents invaded their ripe white bodies.
BLACKED plays on the white male’s fear of “defilement” based on his superiority complex and his insecurity that after a white woman lustfully surrenders to the black man’s primal virility, her racial loyalty will shatter in orgasmic convulsions. From the white male spectator’s perspective, “his” women are on the other side. This is as much a triumph of feminism as it is of black virility: Aryan women have the power to reject white boys, give their bodies to African conquerors and even make hardcore pornographic videos with billions of views symbolically depicting the sexual conquest/surrender of Europe. This is game over. The key role of the Jew Lansky in facilitating this is hidden behind a brand name; a fitting tribute to his invisible but indispensable machinations.
Over time, the white male consumer of BLACKED comes to see sex as something that occurs between black men and white women, accepting the passive role of the omega male. Other white males closely identify with the white female in her embrace of black masculinity and are not just psychologically castrated by BBC and made impotent but embrace their latent femininity and engage in sissification. Proximity between black men and white men (as we see in integrated schools, sports, cities and prisons) inevitably results in the destruction of white masculinity. Pussification leads to further humiliation as white women get jungle fever and abandon white boys for the victorious racially-sexually superior studs.
In many pictures, the financially and sexually liberated Aryan woman is central with the black man focused on her while she exhibits a cold, steely gaze; one of confidence and contempt. She’s saying “I don’t belong to you, white boy. My body belongs only to the best alpha studs: big black men. I’ve gone black, I’m never going back and there’s nothing you can do about it, so accept your defeat and jerk-off, you pathetic loser.” This destroys the patriarchal myth of Aryan women’s natural chastity/loyalty, framing it as a repressive social construct for the sexual advantage of white beta males. BLACKED reveals and unleashes the feral side of female nature where model-esque, liberated white women enjoy ecstatic orgies with Negro studs and worship the phallocentric, hedonistic, Dionysian cult of black masculinity.
Blacked is the aesthetic expression and celebration of several forms of dominant power
Capitalist: the existence of BLACKED as a consumer product being viable because of its commercial success, driven largely by white male demand
Black male physical: through his conquest of the white man’s woman, he defeats his former master decisively and establishes himself as the dominant male
White female sexual: through her submission to physically, sexually, numerically superior black men, she chooses sexual pleasure and life over “loyalty” to weak, defeated white boys
Jewish intellectual: by empowering the Negro to **** white manhood, colonize white nations and ravish a liberated and libidinous Aryan womanhood, the Jew is enacting his ultimate revenge over the Aryan male
Inversion and liberation: mainstream history tells us that Negroes, women and Jews were oppressed by the white patriarchy and BLACKED visualizes their common revenge. Now Negroes, women and Jews are liberated, the white patriarchy has been destroyed and white males are biological slaves, free only to watch and cry (or wank) as their nations and women are taken from them. Slaves are freed and become masters while former masters have been enslaved. Europe, having once colonized the dark continent, becomes darker every year as life imitates art and vice versa. This can be seen as a kind of natural justice; the oppressed rising up collectively to assert their superiority and defeat their mutual oppressor.
Biological reality is that tribal aggressive Jews are smarter than whites, tribal aggressive Negroes are physically-sexually superior and white women are naturally more attracted to black warrior-studs. White males have been defeated by a combination of the black man’s physical power, the white woman’s sexual power and the Jew’s financial/intellectual power. Smart Jews make super high quality pornography that uses the hyper-polarity of black masculinity and white femininity to seduce white boys into accepting our blissful extinction. Although I know exactly what’s going on, I can’t help but unzip and masturbate anyway. That’s the incredible power of BLACKED.
