White Progressive Communist women like Bette Midler have been after Conservative icon, Justice Clarence Thomas for decades-and the actress has gone on a highly racist tirade since baby murder has been overturned and sent to the states.
Cover Photo is from a now-deleted 2012 tweet of Bette Midler at a Halloween party with a man in Black Face- who she refused to identify at the time according to this Breitbart article: Midler Hobnobs With Man in Blackface in Hurricane Aftermath?
But now Midler is targeting Justice Clarence Thomas for his vote on overturning Roe V. Wade.
“Justice Alito wrote the Dobbs decision. Six justices concurred. Racist and bigot @BetteMidlercannot control her malice toward the only black person on the court before Thursday. Bette hates black people,” one poster posted in response to Midler’s racist tirade at Thomas.
Midler seems to have come unglued after the ruling and has exposed a macabre side of her personality.
Midler, whose greatest achievement is pretending to be other people, hates Thomas for his conservative- pro-American beliefs. Midler is intolerant, hostile, nasty and aggressively abusive toward Thomas for the mere fact that he is doing his job well, and is like by Midler’s political opponents.
Milder, who most known role was that of a sadistic and crazy witch, gleefully posted this week about many openly hateful posts about the US Supreme Court’s ruling on abortion- which apparently is very, very important to the aging actress.
First she posted what CJ Pearson called ‘racist’ and he was right.
“Let’s call this what this is: racism. And the only reason she gets away with it is because she’s a white liberal,” Pearson posted.
Everyone knows that “Black Face” is seen as highly racist. Midler’s depiction of Thomas’s wife, Ginni, holding out a Black Face covering of her husband comes after a week of taunts and assaults by other progressive Communist white women like Hillary R. Clinton.
Midler who has been in Hollywood her whole life certainly knows what Black Face means to Black Americans.
The message is clear from the progressives, they will enlist Maoist-style shame tactics to try and humiliate the Thomas couple, with racial barbs and digs.
Perhaps Midler needs some history refreshment, from the History Channel:
How the History of Blackface Is Rooted in Racism
Blackface became popular in the U.S. after the Civil War as white performers played characters that demeaned and dehumanized African Americans.
The portrayal of blackface–when people darken their skin with shoe polish, greasepaint or burnt cork and paint on enlarged lips and other exaggerated features—is steeped in centuries of racism. It peaked in popularity during an era in the United States when demands for civil rights by recently emancipated slaves triggered racial hostility. And today, because of blackface’s historic use to denigrate people of African descent, its continued use is still considered racist.
“It’s an assertion of power and control,” says David Leonard , a professor of comparative ethnic studies and American studies at Washington State University. “It allows a society to routinely and historically imagine African Americans as not fully human. It serves to rationalize violence and Jim Crow segregation.”
Although the exact moment when blackface originated isn’t known, its roots date back to centuries-old European theatrical productions, most famously, Shakespeare’s Othello. The practice then began in the United States in the 18th century, when European immigrants brought the genre over and performed in seaports along the Northeast, says Daphne Brooks, a professor of African American studies and theater studies at Yale University. “But the most famous sort of era to think of as being the birth of the form itself is the Antebellum era of the early 19th century,” Brooks says.
Thomas Dartmouth Rice , an actor born in New York, is considered the “Father of Minstrelsy.” After reportedly traveling to the South and observing slaves, Rice developed a Black stage character called “Jim Crow” in 1830.
With quick dance moves, an exaggerated African American vernacular and buffoonish behavior, Rice founded a new genre of racialized song and dance—blackface minstrel shows—which became central to American entertainment in the North and South.
White performers in blackface played characters that perpetuated a range of negative stereotypes about African Americans including being lazy, ignorant, superstitious, hypersexual, criminal or cowardly.
Several characters in minstrel shows became archetypes, as described in the University of Florida’s digital exhibit, “History of Minstrels: From ‘Jump Jim Crow’ to ‘The Jazz Singer.’” Some of the most famous ones were Rice’s “Jim Crow,” a rural dancing fool in tattered clothing; the “Mammy,” an overweight and loud mother figure; and “Zip Coon,” a flamboyant-dressed man who used sophisticated words incorrectly.
As society modernized, so did the ways in which blackface was portrayed. Not only was blackface in theaters, but it moved to the film industry. In the blockbuster movie The Birth of a Nation, blackface characters were seen as unscrupulous and rapists. The stereotypes were so powerful they became a recruiting tool for the Ku Klu Klan. African Americans protested the film’s portrayals and its distorted take on the post-Civil War era, yet it continued to be popular among white audiences.
“There are different ways in which blackface becomes weaponized as a form of white supremacist propaganda,” says Brooks.