On October 15, 1991, the Senate approved Justice Clarence Thomas to the Supreme Court by 52 to 48 after deeming “inconclusive” Anita Hill’s allegations that he had sexually harassed her while the two were colleagues at the Equal Employment Opportunity Commission (EEOC) ten years earlier in 1981 due to contradictory, hearsay evidence.
Given that zero allegations have been brought against Justice Thomas in his 23-year tenure on the Supreme Court and positive endorsements from his female staff, including Laura Ingraham, I think the Senate deeming Hill's testimony "inconclusive" was the appropriate decision. The released phone records indicating Anita Hill had, in fact, called Thomas several times after departing the EEOC raises the biggest doubt for her side of the story.
On March 14 of this year, nearly 23-years after the hearings, and 33-years after the alleged offense, the Tinseltown feminist elite will release a new documentary called Anita that will undoubtedly present Anita Hill as an unrequited saint, sacrificed before an altar of male dominance. The film's trailer and poster accompanied by the tagline "Speaking Truth to Power" confirms that speculation. See poster below:
According to the Huffington Post, the film debuted at Sundance to supposedly "sold out screenings." I can only imagine the smug atmosphere of self-assurance as the audience erupted into thunderous applause once the curtains closed.
By attempting to downplay the film’s obvious mission of discrediting the only black conservative Justice to ever serve on the Supreme Court, the feminist left has billed this "documentary" as an exposé on the hardships women face when bringing sexual harassment charges to light, as stated by Eboni Williams on Fox's Megyn Kelly last Thursday.
There is cause for skepticism. After all, these are the same women who howl at the moon over invisible "glass ceilings" of male hegemony and then proceed to railroad Sarah Palin and Michelle Bachmann in their run for higher office. Anita stems from their two-faced modus operandi - seeking to consolidate power for the feminist elite by libeling their (right-wing) male counterparts as "sexist" for defending and applauding men like Clarence Thomas. “Raise awareness for sexual harassment” usually means "raise awareness for sexual harassment by conservatives.”
In the film's trailer, a female professor asks a class of teenage girls if the name "Anita Hill" rings a bell, only to be met with bewildered shrugs. And why should they have heard Hill's name? She is a woman who made an accusation against a man a quarter of a century ago for which he was found not to be guilty.
The professor should asked if the students had heard of Lori Saldaña, a woman who verifiably told former Democratic party Chairman, Jess Durfe, back in Summer 2011 that six women had been sexually "molested" and "harassed" by former Democratic mayor of San Diego Bob Filner during his 10-year stint as a Congressman only to have them brushed aside once Filner denied the accusations. The fact Nancy Pelosi served as House Minority leader back in 2011, while Filner held a Congressional seat, raises serious suspicion that she colluded with DNC heads to cover-up the allegations in order to push their "War on Women" campaign slogan for 2012.
Perhaps the professor might have asked the teenage girls if they had ever heard the name Mary Jo Kopechne, a woman who suffocated in a car at the bottom of a tidal channel on Chappaquiddick Island in 1969 after Ted Kennedy left her to die after he mistakenly drove his car off a bridge and climbed from the wreckage, only to report the incident nine hours later. Perhaps the professors could ask how Ted Kennedy managed to enjoy a 46-year long Senate career after such an incident, or how supposedly "feminist" organizations like NOW and Emily's List issued such laudatory, emotional statements after his death in 2009?
Afterwards, the discussion could segue into ruminations on how notorious womanizers like former President Bill Clinton garner such admiration from female voters despite having publicly cheated on his wife and a few brief interludes about why New York City nearly elected an admitted, shamed and compulsive sexter as Mayor. Does "Carlos Danger" ring a bell!?
The feminist Tinseltown elite will never commit such boorish treatment of women to celluloid. Just as long as the above men in question willingly inculcate the masses into voting on such meaningless, empty-headed slogans like "equal pay for equal work," "78 cents for every dollar," and "reproductive rights." This, of course, being the same feminist elite who felt not the slightest queasiness giving Oscar accolades to known sexual predators Roman Polanski and Woody Allen.
The feminists' about-face portrayal as moral crusaders against patriarchal oppression while caring nothing for a woman's sanctity and much for cementing totalitarian rule reminds me of an illustration by C. Allan Gilbert called All is Vanity, in which, the viewer's eyes immediately discern a drawing of a beautiful young woman admiring herself in the mirror before the viewer realizes the artist's visual trickery at work as the woman fades into the haunting, ghostly image of a hollowed skull... The face of modern feminism.
On October 15, 1991, the Senate approved Justice Clarence Thomas to the Supreme Court by 52 to 48 after deeming “inconclusive” Anita Hill’s allegations that he had sexually harassed her while the two were colleagues at the Equal Employment Opportunity Commission (EEOC) ten years earlier in 1981 due to contradictory, hearsay evidence.
Given that zero allegations have been brought against Justice Thomas in his 23-year tenure on the Supreme Court and positive endorsements from his female staff, including Laura Ingraham, I think the Senate deeming Hill's testimony "inconclusive" was the appropriate decision. The released phone records indicating Anita Hill had, in fact, called Thomas several times after departing the EEOC raises the biggest doubt for her side of the story.
On March 14 of this year, nearly 23-years after the hearings, and 33-years after the alleged offense, the Tinseltown feminist elite will release a new documentary called Anita that will undoubtedly present Anita Hill as an unrequited saint, sacrificed before an altar of male dominance. The film's trailer and poster accompanied by the tagline "Speaking Truth to Power" confirms that speculation. See poster below:
According to the Huffington Post, the film debuted at Sundance to supposedly "sold out screenings." I can only imagine the smug atmosphere of self-assurance as the audience erupted into thunderous applause once the curtains closed.
By attempting to downplay the film’s obvious mission of discrediting the only black conservative Justice to ever serve on the Supreme Court, the feminist left has billed this "documentary" as an exposé on the hardships women face when bringing sexual harassment charges to light, as stated by Eboni Williams on Fox's Megyn Kelly last Thursday.
There is cause for skepticism. After all, these are the same women who howl at the moon over invisible "glass ceilings" of male hegemony and then proceed to railroad Sarah Palin and Michelle Bachmann in their run for higher office. Anita stems from their two-faced modus operandi - seeking to consolidate power for the feminist elite by libeling their (right-wing) male counterparts as "sexist" for defending and applauding men like Clarence Thomas. “Raise awareness for sexual harassment” usually means "raise awareness for sexual harassment by conservatives.”
In the film's trailer, a female professor asks a class of teenage girls if the name "Anita Hill" rings a bell, only to be met with bewildered shrugs. And why should they have heard Hill's name? She is a woman who made an accusation against a man a quarter of a century ago for which he was found not to be guilty.
The professor should asked if the students had heard of Lori Saldaña, a woman who verifiably told former Democratic party Chairman, Jess Durfe, back in Summer 2011 that six women had been sexually "molested" and "harassed" by former Democratic mayor of San Diego Bob Filner during his 10-year stint as a Congressman only to have them brushed aside once Filner denied the accusations. The fact Nancy Pelosi served as House Minority leader back in 2011, while Filner held a Congressional seat, raises serious suspicion that she colluded with DNC heads to cover-up the allegations in order to push their "War on Women" campaign slogan for 2012.
Perhaps the professor might have asked the teenage girls if they had ever heard the name Mary Jo Kopechne, a woman who suffocated in a car at the bottom of a tidal channel on Chappaquiddick Island in 1969 after Ted Kennedy left her to die after he mistakenly drove his car off a bridge and climbed from the wreckage, only to report the incident nine hours later. Perhaps the professors could ask how Ted Kennedy managed to enjoy a 46-year long Senate career after such an incident, or how supposedly "feminist" organizations like NOW and Emily's List issued such laudatory, emotional statements after his death in 2009?
Afterwards, the discussion could segue into ruminations on how notorious womanizers like former President Bill Clinton garner such admiration from female voters despite having publicly cheated on his wife and a few brief interludes about why New York City nearly elected an admitted, shamed and compulsive sexter as Mayor. Does "Carlos Danger" ring a bell!?
The feminist Tinseltown elite will never commit such boorish treatment of women to celluloid. Just as long as the above men in question willingly inculcate the masses into voting on such meaningless, empty-headed slogans like "equal pay for equal work," "78 cents for every dollar," and "reproductive rights." This, of course, being the same feminist elite who felt not the slightest queasiness giving Oscar accolades to known sexual predators Roman Polanski and Woody Allen.
The feminists' about-face portrayal as moral crusaders against patriarchal oppression while caring nothing for a woman's sanctity and much for cementing totalitarian rule reminds me of an illustration by C. Allan Gilbert called All is Vanity, in which, the viewer's eyes immediately discern a drawing of a beautiful young woman admiring herself in the mirror before the viewer realizes the artist's visual trickery at work as the woman fades into the haunting, ghostly image of a hollowed skull... The face of modern feminism.
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