The Carlton Banks of Academic Subversion at UNL (Part 9 of 10)

The Carlton Banks of Academic Subversion at UNL: The Institutionalization of Subversion in Academia's Structuration and Traditional Foundations through Infiltration and Manipulation with Diversification, Equitization, and Inclusion - Part 9

Rodney Bennett is widely recognized as the "Carlton Banks of the University of Nebraska at Lincoln," a moniker that draws a parallel between him and the character portrayed by Alfonso Ribeiro on the NBC television sitcom, "The Fresh Prince of Bel-Air." Bennett, akin to Carlton Banks, adopts the persona of a stereotypical white individual, played by a black actor, in his public appearances. This "White Face" façade, reminiscent of an over-the-top caricature, mirrors the exaggerated mannerisms of Carlton Banks, who was infamous for his dance that satirically portrayed how blacks perceive white dancing.

In public, Bennett dons this "White Face" routine, an act so theatrical it borders on mockery, much like Carlton's dance. This performance is not merely an impersonation but a strategic move to fit into an environment he fundamentally despises and aims to transform. Bennett, like Ribeiro's character, navigates between two worlds, embodying the conflict of a person who neither fully belongs to one nor the other.

Yet, beneath this public persona, Bennett harbors deep-seated loathing for white people and the culture they represent. This internal conflict, where he both envies and despises white identity, suggests a psyche teetering on the edge of schizophrenia. His existence is marked by a paradoxical desire to emulate and destroy the very essence of what he perceives as "whiteness," revealing a profound mental dissonance.

This duality is not unique to Bennett but is symptomatic of individuals within this cohort who both hate and aspire to the privileges of whiteness, leading to an ongoing internal war that threatens mental stability. Their commitment to subversive ideologies serves as a pseudo-religious fervor, providing a veneer of sanity to what is, in essence, a life of constant turmoil. It allows them to maintain their public facade while pursuing their ultimate goal—the destruction of the system that has paradoxically elevated them.

Rodney Bennett, like Ribeiro, presents as a figure of confusion and contradiction, an empty suit filled with rage and contempt for white individuals, yet dependent on the very system he seeks to dismantle. He is a stooge in the globalist narrative, living a life of luxury he did not create but actively tries to ruin. His ascent within the system he undermines marks him as a winner among his peers, garnering accolades for his part in escalating the internal decay of the institution he now leads.

Read the full article at the Nebraska Journal Herald

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