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‘The Lowest Sweepings of the Waterfront’
Captain Kidd and the Slave Girl with Tony Dexter and Eva Gabor

As adventure films go, this is a lame excuse at implausible romance common for second rate movies of the era. My interest in viewing Captain Kidd and the Slave Girl was based on the mirror concept of art in history. In reading on Plantation America, it has become clear to me that histories written before WWII have an honesty and lack of socialist agenda about them lacking in books penned from 1964 onward. As this 1954 movie was written by a fellow named Wiseberg, I also thought it might serve as a test of that theory so common in the alternative media, that globalism, cultural and racial negation and such evils associated with these things are the result of a racial conspiracy on the part of his people, not as a trend toward global conspiracy by those in power whatever their origin and affinity.

Sure enough, this simple B-movie, with cheesy action, simple, redundant story line and campy portrayal of all the prominent pirates from Blackbeard to Black Bart [hilariously depicted as a Puritan] being present at one beach party, served as a simple mirror reflecting common historical perspectives deriving from pre-WWII texts:

-Englishmen, far from the pure-hearted global crusaders of post-WWII Myth “…would sell their own mothers into slavery.”

-The grimmest edifice of the age when Britannia ruled the waves was “Newgate Prison,” where any free man, even a wealthy noble fallen on hard times might be subject to “debtor slavery,” sold and laced aboard a “convict transport ship.”

-That white female slaves in the 1700s were routinely sold and traded as sexual chattel and were sometimes shackled with neck collars.

All of the above facts were well known to people educated prior to WWII and unknown to those having been raised since, having been scrubbed from all standard texts and erased from curriculum and media.

On a trivial note, fans of Gilligan’s Island will find Alan Hale Junior, the skipper, playing the only heroic role in this film, as the protagonist is already tilting toward the James Bond archetype of modern trickster/seducer, rather than a formidable combatant.

So Her Master May Have Her Again

A History of Runaway White Slaves in Plantation America: Part Two

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