Archives for posts with tag: conspiracy
Laurence Merrick 2

Life imitating art?

One of the many unusual figures whose life trajectory intersects with the Manson Family saga is Laurence Merrick, an Israeli Defense Forces veteran who, as critic Bryan Thomas relates at Night Flight, was sent to the U.S. in 1960 “to speak in support of Zionism, and while he was fundraising in New York City, he met his future wife, a dark-haired aspiring Broadway showgirl and wannabe actress named Joan Huntington.” From there the pair “came out to the west coast, and set up the Merrick Studio, located at 870 N. Vine St. in Hollywood, California, and for a time it was an inexpensive place for actors” – including Vietnam veterans – “to learn lessons about their craft.”

The Merricks were subsidized by the government, too, which enabled them to make a lot of money running the school. They bought a nice house in Beverly Hills and then decided to put their studio profits towards making their own movies, which they could then cast with students from the school, a win-win situation for everybody.

Laurence Merrick

Merrick, Thomas writes, is “probably best known for co-directing the legendary 1972 documentary Manson with Robert Hendrickson, which […] ended up garnering an Academy Award nomination for Best Feature-Length Documentary.” The Israeli “was also well-known in Hollywood […] for the fact that one of his students, Sharon Tate, would later be killed by members of Manson’s Family, during August of 1969, the same year he spent fourteen days directing [the biker film] Black Angels.” Note the interesting choice of words, too, when Thomas relates that Huntington viewed her husband’s movies as “training exercises”.

A 1977 UPI article states that “Merrick became interested in the Manson Family because actress Sharon Tate, who was murdered with four friends by the group, had been a student at his school” – implying that Merrick only took an interest in Manson after the killings had taken place; but Merrick and Hendrickson had begun conducting interviews with Family members “before and after the shocking murders that rocked the nation in 1969,” Thomas indicates (italics added). As his account of the making of Black Angels tantalizes, the totality of Merrick’s involvements with this movie, Tate, and the Manson Family strains the limits of what can be dismissed as mere “synchronicity”:

In fact – in yet another example of the parallels that existed between Southern California’s biker and hippie countercultures – members of Manson’s Family would occasionally drop by Paramount Ranch, located at 2813 Cornell Road, in Agoura, California, and visit the set while Merrick and his cast and crew were filming scenes. […]

Merrick’s script focuses on two biker gangs at each other’s throats, a white motorcycle gang called Satan’s Serpents — led by Chainer (once again played by Merrick’s favorite leading man, Des Roberts) — and a black motorcycle gang, called the Choppers (their leader was played by Bobby Johnston, whose biggest role previous to this one was as a prison guard in In Cold Blood).

The film’s title, Black Angels is actually the name attributed to the highway patrolmen who observe the two rival biker gangs from a distance, waiting for the race-motivated war for turf to explode.

Merrick recruited a real black biker gang to play the Choppers in order to provide authenticity.

The main plot concerns one “Black Angel” in particular – a lieutenant for the highway patrol named Harper (Clancy Syrko, who also edited the film) – who wants to see all of the biker gangs wiped off the face of the earth, and he plots to pit the two gangs against each other so they will end up in a race war leading to both of them being destroyed. […]

Black Angels

It’s interesting to note that this film’s concept of pitting white against black in a race war, in the year 1969, is very similar in some respects to Manson’s concept which he called “Helter Skelter”, an apocalyptic war arising from racial tensions between blacks and white, which he believed was foretold in Chapter 9 of the book of Revelations in the bible (as well as hidden messages he believed he heard in the Beatles’ “Revolution #9”).

Makes you wonder what kinds of conversations they were having at Paramount Ranch between members of the cast and crew and some of Manson’s followers.

There were also many interesting cameo appearances, including a real member of Charles Manson’s gang, Mark Ross (he plays “Singer”), who later claimed to write a theme song for the film that was never used […]

The film’s tagline “God forgives, the Black Angels don’t!,” incidentally, was borrowed from the hugely successful 1967 Italian spaghetti western, God Forgives… I Don’t.

Another tagline – and perhaps another reference to Manson? – was “A portrait of the family.”

Speaking of Manson and his family, again, it was during the film’s production that Merrick was invited to head over to Spahn Ranch, with a 16mm camera, in order to film the Manson family on their own turf.

Merrick also shot footage of them at Devil’s Canyon, their Barker Ranch hideout in Death Valley, and then later – during the Manson trial – at the Hall of Justice in downtown Los Angeles, in addition to other locations.

Los Angeles County Deputy District Attorney Vincent Bugliosi, who did as much as anyone to shape the public’s perception of the Manson Family mythos, participated in the production of Merrick and Hendrickson’s documentary and appears onscreen.

Guess What Happened to Count Dracula

Des Roberts as Count Adrian in Merrick’s Guess What Happened to Count Dracula?

Merrick’s previous movie, Guess What Happened to Count Dracula?, concerns the occult, mind control, and, at least subtextually, acknowledges Jewish power in Hollywood – and it only intensifies the Tate-LaBianca resonance of Merrick’s work, even featuring a minor character named Sharon. Thomas continues:

The movie featured several of Merrick’s students in key parts, and chiefly concerned what happened to Dracula’s son, Count Adrian (Des Roberts, who plays the vampire while sporting a wicked John Carradine-style goatee). Roberts and his musical partner, Andy Wilder, also provided the film’s musical score.

The film was shot at the Magic Castle in the Hollywood Hills, a mansion built in the 1920s which had been renovated for performances by magicians.

One of Merrick’s students owned the place, and had invited Merrick and his wife over for dinner, which left a lasting impression, and when the couple began thinking of locations where they could shoot their Dracula movie, they both remembered the Magic Castle, which was just about to undergo a renovation. […]

The movie also contains a subplot straight out of the then recent box office smash Rosemary’s Baby, when one character — an actor named Guy (just as John Cassavetes’s character was in Roman Polanski’s film), played by John Landon — is all too willing to sell his soul in return for being given a successful acting career.

It’s also interesting to note that Merrick’s film features a “surprise” ending that was clearly inspired by Polanski’s previous film, 1967’s The Fearless Vampire Killers, or Pardon Me, But Your Teeth Are in My Neck, when Polanski’s future wife Sharon Tate sprouts fangs in the film.

According to Horrorpedia, “more obscure X-rated edits of the film [Guess What Happened to Count Dracula?], with an emphasis on male gay sex, were released as Does Dracula Really Suck? and Dracula and the Boys.”

Adding to the mystique of Merrick’s Manson documentary is the fact that it features Lynette “Squeaky” Fromme caressing a rifle and explaining, “You have to make love with it; you have to know it […] so that you could pick it up any second and shoot.” This interview took place several years before Fromme was convicted of (supposedly) having attempted to assassinate President Gerald Ford in Sacramento. Merry Prankster and founding Yippie Paul Krassner claims that Manson sent him a letter instructing him to get into touch with Fromme around 1971:

I called, and we arranged to meet at her apartment in Los Angeles. On an impulse, I brought several tabs of acid with me on the plane. […]

The four of us [Krassner, Fromme, and her roommates Sandra Good and Brenda McCann] ingested those little white tablets containing 300 micrograms of LSD, then took a walk to the office of Laurence Merrick, who had been associated with schlock biker exploitation movies as the prerequisite to directing a sensationalist documentary, Manson.

Squeaky’s basic vulnerability emerged as she kept pacing around and telling Merrick that she was afraid of him. He didn’t know we were tripping, but he must have sensed the vibes. He may even have gotten a touch of contact high. I engaged him in conversation about movies. We discussed the fascistic implications of The French Connection.

Was Fromme “afraid” of the Merrick from the effects of the LSD – or did she have other reasons? This brief encounter, whatever its meaning, in combination with Fromme’s participation in Merrick and Hendrickson’s Manson constitutes another Israeli connection to an eccentric piece of American political assassination drama following the various Jewish and Zionist intrigues surrounding the murder of John F. Kennedy.

Bizarrely, Merrick himself was murdered in an outrageous episode further dissolving any distinction between reality and theater. Bryan Thomas relates the bizarre incident:

Dennis MignanoThen, in 1977, Merrick’s life would intersect fatally with a potential acting student named Dennis Mignano, who – much like Manson himself – had really wanted to have a music career, but when that didn’t pan out, the struggling rock singer decided to take acting lessons.

That decision had led him straight to Merrick Studio – which by now was teaching classes in acting, directing and cinematography – where he applied to be a student.

He believed that Merrick – due to his association with Manson, bikers, and magic – was the perfect person to help him launch a successful acting career (Mignano had reportedly been obsessed with magic as a child).

Mignano filled out an application to be a student, and then was told he was eligible for government assistance to pay for his tuition, but he had to wait for three weeks for the application to be processed.

Mignano grew irritated and felt like the delay was yet another setback and a disappointment, but he waited, and while he did so he watched episodes of a 1976 TV mini-series called Helter Skelter, which just happened to be re-airing on TV.

The TV series may have played a small part in reminding him that his life was now intertwined with Merrick’s and he then became obsessed with the idea that Merrick had actually placed a curse on him.

On January 26th, 1977, he went to the school and waited in ambush for Merrick to appear in the parking lot for a few hours and then pulled out a pistol and shot 50-year old Laurence Merrick in the back.

Mignano then fled the scene, and much like the opening scene of Richard Rush’s 1980 action film The Stunt Man – which, and get this, starred actor Steve Railsback, who had played Charles Manson in the Helter Skelter mini-series – he, by pure chance, happened upon a movie being shot mere blocks away, on Willoughby Ave., and the killer blended in with the crew (just as Railsback’s character did), pretending to be part of the film production team.

Merrick, meanwhile, staggered into his office at the studio, telling his students “Some son of a bitch shot me and I don’t even know why!” Some of the students thought they were witnessing an impromptu acting exercise, but quickly realized that their teacher was dying in front of them.

Merrick was rushed to Hollywood Presbyterian Hospital, but he was pronounced dead within an hour. Students at the Merrick Studio Academy of Dramatic Arts said that Mignano had been hanging around the building all morning, asking them questions about Merrick and his Manson documentary.

Mignano confessed to the crime in 1981 and was confined to a mental institution. Six months after his murder of Merrick, Mignano’s sister Michele, a topless dancer, was also murdered – a case that remains unsolved. Questions about Merrick remain, as well. Why was his actors’ studio receiving government funding? Did his work on behalf of Israel end after he left New York for Los Angeles – or did it continue in some capacity as he interacted with the Manson Family and completed his films?

Rainer Chlodwig von K.

10_cloverfield_lane

Nasty woman Mary Elizabeth Winstead wakes up chained to a cot in survivalist John Goodman’s basement in 10 Cloverfield Lane, a genre-bending experience in the tradition of Cabin in the Woods (2012) and The Signal (2014). Is Winstead, recalling Misery (1990), the prisoner of an obsessive loser who intends to possess her sexually – or is Goodman telling the truth when he claims that he only intends to keep her alive and that the world outside is uninhabitable, that everyone she knows and loves is dead, and that civilization has collapsed after a catastrophic apocalypse? Is it the Russians? The Martians? Or is it just a tall tale to dissuade his uncooperative guest from attempting to escape? Finding out is as frightening and fun as being held captive in John Goodman’s basement!

[WARNING: POTENTIAL SPOILERS]

4.5 out of 5 stars. Ideological Content Analysis indicates that 10 Cloverfield Lane is:

4. Alt-media-ambivalent. Goodman is “like a black belt in conspiracy theory”, a mixed bag of a man simultaneously tuned-in and misled as to a number of topics. The fact that, in addition to aliens and Russkies, he is also concerned about “Al Qaeda” seems to suggest that the film is condescendingly and disingenuously conflating neoconservative outlets and various conspiracy-oriented media of varying quality.

3. Anti-redneck. Goodman’s character represents a typical cosmopolitan millennial’s idea of a conservative Republican: a slovenly gun nut, “authoritarian personality”, and “no touching” prude scared of Martians and the prospect of a real-life Red Dawn scenario. He is stuck in a vanished American past, as evidenced by his Frankie Avalon records and VHS collection. The fact that major elements of his assertions turn out to be correct prompts the deliciously implied question at the heart of the film. Which would be more horrifying for a millennial woman – the prospect of an alien invasion that razes everything and everyone she knows, or the possibility that, for all of these years, those hateful, judgmental, beer-bellied, rifle-toting, misogynistic deplorables were right?

2. Disaster-alarmist. Turning viewer expectations upside-down, Goodman’s conspiracy-theory-fueled survivalism comes in handy when the shit really hits the fan. Rather than rejecting extreme preparedness outright, the movie suggests that liberals, rather than pointing and laughing at the conservatives, ought to appropriate such foresight and associated skill sets for themselves. The idea that fashion design could become a survival skill in a post-apocalyptic landscape is no doubt highly appealing to a number of young women and homosexuals with tacky, clashing heaps of student loan debt in the closet.

1. Feminist/anti-family. Goodman presents a negative patriarchal archetype (“I want us to be a happy family.”). Winstead also recounts a traumatic memory of seeing a man cruelly pulling his daughter by the arm and hitting her. Perhaps under the influence of such impressions of family life, she rejects the possibility of reuniting with her boyfriend in order to strike out on her own as a superheroine and save the planet – a choice about which the director, Dan Trachtenberg, expresses a cuckolded you-go-girl enthusiasm in his audio commentary.

Rainer Chlodwig von K.

 

inside-out

Pixar puts the spotlight on the squabbling, anthropomorphized emotions inside an eleven-year-old girl’s head in Inside Out, with Amy Poehler voicing Joy, the positive force who has a challenge in reining in the Fear (Bill Hader), Anger (Lewis Black), Sadness (Phyllis Smith), and Disgust (Mindy Kaling) of Riley (Kaitlyn Dias), a girl whose family moves to San Francisco, leaving her feeling alone without her friends back in Minnesota. The lightning-paced obnoxiousness of the action should please children, but the briefly glimpsed dream image of a bisected dog may be disturbing to younger viewers, while the death of Riley’s imaginary friend Bing Bong (Richard Kind) is likely to leave them feeling bummed.

Three-and-a-half out of five stars. Ideological Content Analysis indicates that Inside Out is:

4. Pro-family, perpetuating heteronormative tyranny.

3. Green. Riley’s eco-conscious mother is eager to recycle.

2. Pro-miscegenation. Riley’s mother, briefly irritated with her husband, muses, “For this, we gave up that Brazilian helicopter pilot?”

1. Homophobic tinfoil! “Congratulations, San Francisco! You’ve ruined pizza!” scolds Riley’s Anger in a moment only likely to fuel the heterofascist hate of the #Pizzagate conspiracy theory nerds by connecting homosexuality with pedophilia. “What kind of a pizza place only serves one kind of pizza?” Riley’s mother asks. “Must be a San Francisco thing,” she stereotypes.

Rainer Chlodwig von K.

911-cover

The Woodstock and Altamont concerts of 1969 are widely and rightly regarded as epochally emblematic events and both have been the subject of studies into the sociological, occult, and even the possible mind control significance of each of these programmed mass experiences. The Concert for New York City staged at Madison Square Garden on October 20, 2001, has received much less scrutiny but is no less worthy of investigation on similar grounds. It is interesting to note that, with the inclusion of Mick Jagger, Keith Richards and the Who, the lineup at Madison Square Garden would feature personnel from each of the previous countercultural extravaganzas, inviting comparison between the events. In the case of the Concert for New York City, however, the rock icons who had previously heralded the arrival of an ostensibly freer and more open society valuing peace and love would instead lend whatever remained of their revolutionary prestige to the entrenchment of an authoritarian establishment determined to intensify the drive for war and Zio-corporatist global domination.

The program was orchestrated by the Robin Hood Foundation – ostensibly as a fundraiser for the families of the heroic firefighters and law enforcement officers who had suffered tremendous losses during the rescue efforts in Manhattan on September 11th. Celebrities in attendance begged the viewers at home to donate. Susan Sarandon, making what she characterized as the “money pitch”, assured the audience of the benevolent intentions of the organizers: “Let’s give it up for the Robin Hood Foundation, I can personally vouch for them.” What is the Robin Hood Foundation? Lynn Parramore characterizes the initiative as “Robin Hood in Reverse”:

America’s parasitical oligarchs are masters of public relations. One of their favorite tactics is to masquerade as defenders of the common folk while neatly arranging things behind the scenes so that they can continue to plunder unimpeded. Perhaps nowhere is this sleight of hand displayed so artfully as it is at a particular high-profile charity with the nerve to bill itself as itself as “New York’s largest poverty-fighting organization.” […]

The Robin Hood Foundation, named for that green-jerkined hero of redistribution who stole from the rich to give to the poor, is run, ironically, by some of the most rapacious capitalists the country has ever produced – men who make robber barons of previous generations look like small-time crooks. Founded by hedge fund mogul Paul Tudor Jones, the foundation boasts 19 billionaires on its leadership boards and committees, the likes of which include this sample of American plutocracy […]

By occupation (the more useless and parasitical the better), it comes as no surprise that 12 of the 19 men in leadership positions at the Robin Hood Foundation happen to be hedge fund managers. […]

The mission statement of the Robin Hood Foundation brays about all the funding it provides for school programs, generating “meaningful results for families in New York’s poorest neighborhoods.” Soup kitchens! Homeless shelters! Job training! The tuxedoed tycoons throw money at all these causes “to give New York’s neediest citizens the tools they need to build better lives.”

How far does this largesse actually go toward ameliorating New York’s poverty problem? Unsurprisingly, not very far at all. In fact, as Hedge Clippers points out, the poverty rate in the city has grown over the course of the Robin Hood Foundation’s history, from 20 percent in 1990 to 21.2 percent in 2012.

Guess what’s also grown? The bank accounts of 19 billionaires on the Robin Hood Foundation’s boards, which have ballooned 93 percent since 2008.

A look at Robin Hood’s directors reveals such worthies as Laurence Fink, CEO of BlackRock, pioneer of toxic mortgage-backed securities trading, and member of the Council on Foreign Relations. Also sponsoring the Concert for New York City was Bear, Stearns, Inc., which, according to a study by investigators Mathewson and Nol, was one of the companies engaged in suspicious trading activity during the days leading up to the destruction of the World Trade Center. There “investors traded 3,979 contracts from Sept. 6 to Sept. 10 on September options that profit if shares fall below $50. The previous average volume for those options was 22 contracts” according to Mathewson and Nol. Clearly, these were people gravely concerned about the welfare of the city’s firefighters and police.

911-bowie

The program opens with David Bowie performing the Simon and Garfunkel song “America” to a montage of historic images of Manhattan and newly arrived immigrants. Bowie, not himself an American – and who, just a few years previously, had declared “I’m Afraid of Americans” – would seem at first glance a peculiar choice to perform this particular number and to open the show. However, even this, as with much of the evening’s symbolism, was very deliberate in design. Bowie would be but the first of several British performers to take the stage, reinforcing the coupled commitment of the United Kingdom and the United States in pursuing the newly minted “War on Terror” agenda. Curiously, “America” contains a bizarre and seemingly comical reference to espionage and deceptive appearances. “She said the man in the gabardine suit was a spy. I said, be careful, his bowtie is really a camera.”

Odd, too, is the fact that the montage of shots of New York City skyscrapers includes a clear image of the old International Telephone and Telegraph building on Park Avenue. This is an unexpected choice for inclusion considering that the company is most notorious for its instigation of a CIA-managed coup to install Augusto Pinochet as dictator in Chile on September 11, 1973. Bowie, backed by Paul Shaffer and the CBS Orchestra from the Late Show with David Letterman, next performs “Heroes” – a song with an arguable 9/11 resonance owing to its inclusion in 1998’s Godzilla, a film depicting apocalyptic havoc in New York City and featuring the Twin Towers prominently. “We can beat them forever and ever,” Bowie vows, stirring the men in the audience to warlike enthusiasm.

911-drum

Next the comedian Billy Crystal – not to be confused with decidedly unfunny PNAC signatory Bill Kristol – takes the stage to make some goofy jokes about the then-current anthrax scare. “You know who I’m worried about?” Crystal begins. “My relatives. I mean, my relatives are Jews, they smell everything that looks suspicious.” Crystal perpetuates the theme of paranoia and introduces the evening’s concern with the fate of the Jews. He continues, bringing out the concert’s symbolic involvement with the uniform-oriented regimentation of spectator sports:

Somebody said that this is bigger than Woodstock […] and music brings everybody together. And it’s all about togetherness tonight. We’re here tonight, we are alive in New York, the Yankees are kickin’ ass, the Knicks will kick ass. Alright, we’ve been hit, we’ve been a little down, but we are not out, we are still the greatest city in the world […] and we’re a better New York. We’re a better New York […] and we’re a compassionate nation. We’re a compassionate nation. While we’re at war. We’re at war but we’re also dropping food on Afghanistan. […] Now tonight is important, just to have fun and get away from the news for a while, it’s okay. I can’t watch the shows anymore with the ticker tape going at the bottom of the set, it’s driving me crazy. My neck hurts. […] Get away from the news. And you hear the same things over and over again. […] It’s not the good old days when the only guy we hated was John Rocker. This is a different thing. Now we can have fun. We can make fun of the Taliban. And when they’re together, don’t they look like ZZ Top? But let me ask you something. We have learned something in all of this mess. We have to be kind to people who are different than us, who look different, who talk strange, who have different beliefs. I’m talking ‘bout people from Jersey. We should learn and whether we are Christians or Jews, or a Muslim, we all have to agree on one thing. We can never, ever again let Mariah Carey make a movie. Please.

Crystal makes clear that Muslim terrorists are not the only enemy America faces. The Concert for New York City is also haunted by the specter of the angry white bigot – the old American type personified by Atlanta Braves relief pitcher John Rocker, who in 1999 had said of New York,

It’s the most hectic, nerve-racking city. Imagine having to take the 7 Train to the ballpark looking like you’re riding through Beirut next to some kid with purple hair, next to some queer with AIDS, right next to some dude who just got out of jail for the fourth time, right next to some 20-year-old mom with four kids. It’s depressing. […] The biggest thing I don’t like about New York are the foreigners. You can walk an entire block in Times Square and not hear anybody speaking English. Asians and Koreans and Vietnamese and Indians and Russians and Spanish people and everything up there. How the hell did they get in this country?

The War on Terror, while rallying westerners to slaughter the inhabitants of distant and easily misrepresented foreign countries, would also pressure Americans and Europeans to find within themselves the capacity to accept an increasingly alien presence in their midst. As Crystal suggests, the 9/11 attacks have metamorphosed the citizens into “a better New York” and “a compassionate nation” that is also “dropping food on Afghanistan”. The obedient open-mindedness demanded of the audience extends beyond the mere acceptance of immigrants from foreign cultures. They must also accept the sexual other, as represented on the concert program by David Bowie, Melissa Etheridge, Elton John, Rudy Giuliani, and Hillary Clinton. The pedophile demographic is also represented, with Bill Clinton, Donald Trump, and Pete Townshend in attendance, and Allan Konigsberg, known to the world as Woody Allen, contributing a short film to the show.

“These colors don’t run” reads an American flag sign hoisted among the audience. Senate Majority Leader Tom Daschle, whose office received one of the anthrax letters five days before the concert, reinforced the bellicose mood of the night, declaring that “America will never be defeated!”

911-bon-jovi

A firefighter then introduces Bon Jovi, with the Jersey boys performing a somber rendition of “Livin’ on a Prayer” – significantly, a song about economic hardship made bearable by a faith in the irrational. The theme of a necessary sacrifice would be repeated in the calls for viewers to donate money and in Jim Carrey’s assertion that “freedom comes at a terrible price.” Bon Jovi next performs “Wanted Dead or Alive”, which, in the context of the Concert for New York City, is cleverly metamorphosed into a song about war and the bravery of soldiers, cowboys on steel horses, riding off to fight in “another place where the faces are so cold.” If the lyrics are honest about one thing, it is that they “might not make it back.” Ironically, Bon Jovi’s drummer beats on a set adorned with images of the American flag and the Statue of Liberty, the effect being that Lady Liberty takes a pummeling throughout the patriotic performance.

Jay-Z grabs the mic to deliver the drug-slinging anthem “Izzo (H.O.V.A.)”, its title a reference to the Israelite god Jehovah. This selection might seem out of keeping with the evening’s festivities if not for the fact that U.S. forces were then in the process of seizing Afghanistan for the reclamation of its poppy fields. The Goo Goo Dolls next invade the stage to rock a cover of Tom Petty’s “American Girl”, with frontman John Rzeznik parading around in camo pants to show his solidarity with the mission of “Operation Enduring Freedom”.

911-scorsese

Leonardo DiCaprio and Robert DeNiro then introduce Martin Scorsese’s short film “The Neighborhood”, which concerns itself with the demographic changes reconfiguring the director’s old stomping grounds on Elizabeth Street in Little Italy. “Today, on the surface,” Scorsese begins, “it seems obvious that the neighborhood’s changed. I mean, it’s Asian-American. It may be Chinese now. But it’s not that simple.” He visits a Mr. De Palo, the proprietor of a cheese shop, who gives the audience a lesson in diversity and social change:

People today say “This is not Little Italy anymore.” And I tell them “You’re wrong. You’re wrong. The spirit of Little Italy, the immigrants that came here […] and you look down the street and you see this whole group of people.” I said “That’s the same exact thing as my grandparents and great-grandparents. This neighborhood hasn’t changed.”

“Wow, look at that cheese, eh?” Scorsese enthuses before treating the audience to a historical lecture that utilizes the themes established by Billy Crystal’s deprecating remark about John Rocker earlier during the show.

There were groups of bigots called Know-Nothings. They didn’t want the Irish in America at all. This was back in 1844. They gathered together to march down Prince Street from the Bowery to burn and destroy St. Patrick’s, but when they got to the corner, they saw that the place was defended not just by Irish men, but by Irish women and by Irish children, too. […] And that was the beginning of the end. The change. The change over acceptance about what America’s supposed to be. Letting in the immigrants, letting in other cultures, other religions, other races, and everybody living together – in freedom […] I had this thing that happened to me […] by 1979 I […] developed dyslexia. Invariably, I want to say “right” but “left” comes out. I want to say “left” but “right” comes out. And, uh, when I think of New York I want to say “New York” but “America” comes out. And that’s real. That’s true.

This will never be the country of the ignorant Know-Nothings again, Scorsese suggests, so nativists are advised instead to learn to love and live with the multicultural gaggle of schoolchildren who traipse across the screen during his diatribe. After all, just like the Italians, they will acculturate and eventually be transformed into real and fully assimilated Americans.

911-joel

Billy Joel shows up to perform “New York State of Mind” and “Miami 2017” – an upbeat tune that, oddly enough, seems to revel in imagery of New York City’s destruction.

Will Ferrell next appears in the role of “W” in a comedy segment celebrating the popular myth of the cowboy adventurer Bush administration and trivializing the horror of the invasion of Afghanistan by turning it into a stupid cartoon:

I wanted to give y’all an update on the current proceedings. Let me take a second to give you my own little Behind the Music on the Artist formerly known as the Taliban. Earlier today I met with the U.S. Senate in their chambers. And then I met with the House of Representatives in their new offices, which are in the basement of an abandoned Sam Goody’s in eastern Maryland. We discussed our plan […] to bomb the Taliban into the Stone Age. The problem is […] they don’t seem to notice the difference. So we had to come up with a new plan. And right now we are focusing our attacks on all the major cities under the Taliban, or as I call them, the Evil Doers. We’ve just started attacking Mazar-i-Sharif. And you know what? Sharif don’t like it. Rock the casbah, rock the casbah. You know, Sharif don’t like it. Now, as many of you know, we’ve had to change the name of our military campaign several times […] but I’ve talked to some of the people here tonight and they’ve given me some new ideas. Paul McCartney said, “Why don’t we call it Taliband on the Run?” I thought that was good. Destiny’s Child suggested “Operation Bootylicious”. Macy Gray, she said somethin’ to me, but I couldn’t understand a word she was sayin’. […] Well, whatever we call it, the mission is clear. The Evil Doers are in their caves. And we’re gonna smoke ‘em out of their caves. And then we’re gonna smoke ‘em back into their caves just for the heck of it. And then out of their caves and then back in. And why are we gonna do this? I can do anything I want, my approval rating is like 106% right now. And since I can do whatever I want, I’m gonna sing a song tonight.

“W” then launches into a rendition of “Stairway to Heaven” only to be interrupted before he can get to the telling line “The piper’s calling you to join him.”

Chris Kattan introduces Destiny’s Child, who treat the crowd to a song titled “Emotion” (“emotions takin’ me over”) followed by a gospel medley to shut down rational thought and give God’s sanction to the new age of international interventionism. An apparently inebriated Harrison Ford thanks the Robin Hood Foundation and Bear, Stearns for their generosity, after which the audience is further distracted with a feel-good “Lovely Day” video with smiling babies, interracial couples, and dogs.

911-clapton

Eric Clapton and Buddy Guy, continuing with the transatlantic theme, collaborate on “I’m Your Hoochie Coochie Man” with backing from Paul Shaffer’s CBS Orchestra.

James Lipton from Inside the Actor’s Studio provides a distinguished introduction for Adam Sandler, reprising the role of his Saturday Night Live character Operaman in order to honor the fallen firefighters and other heroes with novelty songs about consumerism, homosexuality, and Jewish erections. “I got a bone-ah! A Jewish circumcised bone-ah! Can’t get rid of this bone-ah! Operaman wish he was alone-ah!” Generous as his performance has already been, the virtuoso cannot bring himself to leave the stage without first directing the audience’s thoughts to excretions and bestiality:

He no let women read. He no let women vote-ah!

That’s why the only love he gets is from a mountain goat-ah!

He want to spread disease-oh in our mailbox.

For he himself suffers from a case of smallcox!

Osama kiss my ass! Osama bite my dink!

Osama go to hell! Osama get a shrink!

Osama says he’s tough, Osama says he’s brave.

Then tell me why Osama is shitting in a cave!

The Backstreet Boys, tasked with the difficult chore of following Sandler’s triumph, sing “Quit Playing Games (With My Heart)” – again, an ironic selection in consideration of what the concert has been designed to do. David Spade and Melissa Etheridge put in appearances, after which Halle Berry makes another “money pitch” and introduces a Spike Lee tribute to the New York Yankees. Visible over a doorway in the film is a quote from General MacArthur: “There is no substitute for victory.” This conveniently frames the necessity of the “War on Terror” through the collective memory of the “good war” America fought against fascism. MacArthur, of course, commanded American forces in the Pacific theater opened after Japan’s attack on Pearl Harbor in Hawaii. The “War on Terror” had similarly been launched by a “New Pearl Harbor” event as predicted in PNAC’s “Rebuilding America’s Defenses” document. Paul McCartney would also draw a parallel between the Second World War and the “War on Terror” by mentioning that his father served as a firefighter during the Blitz.

911-who

John Cusack introduces the Who, who storm through “Who Are You” with a Union Jack projected onto a screen above the stage. An American flag replaces it during “Baba O’Reilly” with its assessment of a generation “all wasted”. “Behind Blue Eyes” cranks up the anger with its “vengeance” that is “never free”. American flags symbolically flank a Union Jack for the final song of the set, which, in the Concert for New York City’s greatest irony, is “Won’t Get Fooled Again”. Images of the Twin Towers appear on the screen to remind the audience why the war drums have been beating all night.

Governor George Pataki puts in his two cents with some “God bless America!” tripe, after which Cusack introduces Konigsberg’s short “Sounds from a Town I Love”, which spies on neurotic New Yorkers as they kvetch into their cell phones post-9/11. Two of the overheard conversations warrant special attention. “This is the greatest city in the world,” one man says. “Where else can you be paranoid and right so often?” The New Yorker’s paranoia takes on particular meaning in consideration of another character’s restaurant review: “Hey, we went to Balthazar last night. Oh, it’s fantastic. At the table next to ours was Julia Roberts, Brad Pitt, Marlon Brando, Tiger Woods, Tony Blair, the president, and Osama bin Laden. I am telling you, that is the in place to be.” The idea that George W. Bush and Osama bin Laden might be having a business lunch together is only intended to be a joke, because only Allan Konigsberg could imagine something so silly happening – right?

911-stones

The home viewer’s attention is more than once redirected to a Bud Light banner as well as to a bimbo in the audience showing off her ample cleavage, keeping the people’s collective consciousness squarely planted between their legs, which is where it stays as Mick Jagger and Keith Richards take the stage. The pair sings “Salt of the Earth” as an excuse to get in “a prayer for the common foot soldier”, after which Mick hoots his way through “Miss You”. Matters only get grubbier from there, with Howard Stern trotting out and showing the crowd his buttocks.

Hillary Clinton put in a brief appearance behind the microphone and was reportedly booed, but this audience reaction was allegedly edited out of the concert as presented on DVD. Bill, after referencing the Oklahoma City bombing, bubbas his way through a creepy speech in which he says, “We hope we can make your children our children. We hope your future will be ours.” He then finishes with a statement reinforcing the multicultural theme established by Billy Crystal and Martin Scorsese: “Just one last thing I want ‘em [i.e., al Qaeda] to know: in America, you can have any religion you want, you can be from any race or background […] you can do anything you want [i.e., what thou wilt] and still be part of our crowd, if you recognize that our common humanity is more important than all of our interesting differences. That’s the big difference between us and them,” he declares. To fight against terrorism, then, and to be a true American patriot, is to view the racists and the religious bigots as enemies of the state.

911-backstage

James Taylor sings “Fire and Rain” and “Up on the Roof”, followed by Michael J. Fox – another interesting piece of booking for the program – introducing a firefighter who angrily brays: “Osama bin Laden, you can kiss my royal Irish ass!”

Rudy Giuliani puts in a good word for New York tourism, after which Jimmy Fallon gives vent to his poor taste by singing a comic rendition of “(I Just) Died in Your Arms” to a room full of people whose loved ones had, in fact, just died. Jon Bon Jovi introduces a foul-mouthed Kevin Smith short, followed by John Mellencamp doing “Peaceful World” and “Pink Houses”. Hilary Swank brings out Vladimir Ondrasik, whose stage name, “Five for Fighting”, slyly reinforces the hawk objective.

911-portman

Natalie Hershlag next pops out to sell the alliance with Israel with sex appeal. “Hi, everybody, I’m Natalie Portman. I was born in Jerusalem, but I am now a proud resident of New York and I want to wish peace to everyone who is a human being [i.e., Jews] everywhere.” Hershlag smooches a fireman and teases the crowd, “I would kiss all of you if I could. Thank you!” Yes, thank you, goyim. Thank you for fighting Israel’s wars. Israel had nothing to do with 9/11, by the way. Check me out, you goyim. I’m totally hot!

Richard Gere, the only performer who seems to want, however timidly and ineffectively, to oppose the rampant warmongering spirit of the night, receives a negative reaction to his embarrassed message of peace:

This is the moment when we need to be healed and when music showed us the way. Music does what it does best, it helps us to heal. And I think in the situation right now, when we have the possibility of taking this energy, this horrendous energy that we’re all feeling – and the possibility of turning it into more violence and revenge – we can stop that. We can take that energy and turn it into something else. We can turn it into compassion, to love, into understanding. That’s apparently unpopular right now, but that’s alright.

An excerpt from a Ric Burns documentary has journalist Ray Suarez spouting more multiculturalist rubbish and hammering into Americans’ heads how brown they have to become and how Jews are eternal victims:

I would submit at the beginning of the twenty-first century that New York is one of those places that you can use to understand the entire American experience, from a string of Indian villages out on the tip of the eastern seaboard to a place where blacks and Dutch and Jewish refugees and people from the four corners of the earth came in – to the America factory […]

Salma Hayek calls out Jim Carrey to do a clown routine before he composes himself and gets serious. “It is the end of a selfish and cynical age,” he proclaims, reinforcing the notion that a new nation has come into being. The heroes of 9/11, he says, “have reminded us who we really are.”

911-mccartney

Finally, to bring the Concert for New York City to a close, the oligarchs trot out their ultimate showstopper, decrepit old beetle [sic] Paul McCartney, who, trashing his stature as the author of “All You Need Is Love”, reveals himself to be a prostitute of the military-industrial complex by unveiling what is positively the stupidest song of the long and depressing decrescendo of his career – and all for the benefit of some parasitic bankers and Zionists. “I tell you what,” the cute beetle announces after playing “I’m Down” and “Yesterday”. “We wrote a new song, um, the day after the attack, and it’s about freedom. That’s one thing these people don’t understand,” he challenges, raising his fist in a martial gesture. “It’s worth fighting for.” McCartney finally launches into the idiotic “Freedom”, instructing audience members to stomp their feet and clap their hands for percussive entrainment similar in its effect to that heard on John Lennon’s record “Give Peace a Chance”. “I will fight for the right to live in freedom,” the song states repeatedly, zombifying the listener.

After the rest of the stars on the program join McCartney for “Let It Be” – another signal to viewers’ brains to shut down logical thought processes and take refuge in the vague and pastel – McCartney again insists on subjecting the audience to another run-through of “Freedom”, this time with all of the other stars taking part and thereby endorsing its insipid neoconservative messaging. “I want to see everyone joining in this time,” McCartney commands, intending that those who sing along will become complicit in the sanction of war and have an emotional investment in the project. Amusingly, McCartney wears a firefighter’s T-shirt that says “Chinatown Dragon Fighters” – as apt a label as any for a charlatan energizing a nation to wage a war against a foe that only exists in a culture’s imagination.

911-singalong

Rainer Chlodwig von K.

buzz-aldrin

Buzz Aldrin with Mickey Rooney

In 2002, Buzz Aldrin made the news again when he punched moon landing skeptic Bart Sibrel in front of Café Rodeo at the Luxe Hotel in Beverly Hills. Sibrel, making a nuisance of himself, had planted himself in Aldrin’s path and demanded that the astronaut swear on a Bible that he had landed on the moon in 1969. Aldrin’s reaction was that of a self-important and temperamental actor rather than that of a disciplined man of science. Aldrin discusses the episode in his 2009 autobiography, Magnificent Desolation.

Like most Americans, I’m quite skeptical about conspiracy theories. I’m someone who has dealt with the exact science of space rendezvous and orbital mechanics, so to have someone approach me and seriously suggest that Neil, Mike, and I never actually went to the moon – that the entire trip had been staged in a sound studio someplace – has to rank among the most ludicrous ideas I’ve ever heard. Yet somehow the media has given credence to some of the kooky people espousing such theories, and my fellow astronauts and I have had to put up with the consequences.1

Hollywood, indeed, alluded to the possibility of a faked lunar landing as early as the 1971 James Bond film Diamonds Are Forever, and the 1977 thriller Capricorn One concerns the cover-up of a faked Mars mission.

The media treated Aldrin like a hero again, however, after assaulting conspiracy theorist Sibrel – and it is interesting to note that the story received news coverage coinciding with the first anniversary of the September 11th attacks. Here is Aldrin’s account of the “Blow Heard ‘Round the World” in his book Magnificent Desolation:

Because of the publicity the hoax theorists have garnered, occasionally even in a serious interview a reporter will broach the subject. One September morning in 2002, I was in Beverly Hills at the Luxe Hotel, filming a television interview for a Far Eastern TV network, when the interview began going in a direction that I knew was out of bounds. At first I tried to be cordial, adroitly answering the question, assuming the interviewer would recognize my reluctance to talk about inanity, and bring the focus back to a bona fide space subject. Instead the interviewer began playing a television segment that had aired in the United States on the subject of hoaxes, including a section suggesting that the Apollo 11 moon landing never happened. I was aware of the piece and had been livid when it originally aired. I did not appreciate the interviewer’s attempts to lure me into commenting on it. Lisa [Cannon, Aldrin’s stepdaughter] had accompanied me to the interview following her early morning triathlon training in the Santa Monica Bay, and she immediately recognized that this was a flagrant violation of our willingness to conduct the interview in good faith, so she called a halt to the production. We weren’t belligerent, but we did not linger long over our good-byes, either.

lisa-cannon

Lisa Cannon

We left the hotel room and walked down the hall to catch the elevator, only a matter of seconds away. I pressed the button for the ground level, and Lisa and I looked at each other and smiled. It had been a strange morning already. When the elevator doors opened on the ground level, it got worse.

As we stepped out into the hotel foyer, a large man who looked to be in his mid-thirties approached me, attempting to engage me in conversation. “Hey, Buzz, how are you?” He had his own film crew along, with the camera already rolling to document the encounter.

I greeted him briefly, acknowledging his presence, and kept moving – standard procedure for life in Hollywood. As Lisa and I walked through the foyer toward the front door of the hotel, however, the man kept getting in my way, peppering me with questions, none of which I answered. Lisa took my arm and glared at the man. “That’s enough,” she said, as I could feel her pressure on my arm guiding me toward the door. “Please let us alone; we’re leaving now.”

We stepped outside under the hotel awning, and the film crew continued right along with us. Lisa’s car was parked across the street on Rodeo Drive, but there was no crosswalk nearby, and the traffic was brisk.

Meanwhile, the “interviewer” had taken out a very large Bible and was shaking it in my face, his voice becoming more animated. “Will you swear on this Bible that you really walked on the moon?”

I looked back at the man and gave him a look as if to say, Will you swear on that Bible that you are an idiot? The man was becoming more virulent, inflammatory, and personally accusatory in his outbursts. I tried not to pay any attention, but he was saying things like, “Your life is a complete lie! And here you are making money by giving interviews about things you never did!”

astronauts-gone-wild

Mardi Gras will never be the same after this.

Lisa approached the cameraman and insisted, “Please turn off that camera! We’re just trying to get across the street to our car.”

I’m a patient man, but this situation was silly. “You conspiracy people don’t know what you’re talking about,” I said.

Lisa spied a break in the traffic, so she grabbed me by the arm again, and said, “Buzz, let’s go.” We started walking across the street, but the large man kept getting right out in front of us, standing in the middle of Rodeo Drive, blocking our path as his cameraman kept rolling film. Lisa seemed nervous about trying to go around him, while searching for her keys to unlock the car with the man in such close proximity, so we turned around and walked back to the bellman’s station outside the hotel.

“Okay, this is ridiculous,” I said to Lisa and to the bellman. “Call the police. This guy is not letting us get to our car.”

I was under the awning, and Lisa turned away from me to approach the cameraman again. “Please turn that camera off,” she said. Meanwhile the large man was nearly screaming at me, “You’re a coward, Buzz Aldrin! You’re a liar; you’re a thief!”

Maybe it was the West Point cadet in me, or perhaps it was the Air Force fighter pilot, or maybe I’d just had enough of his belligerent character assassination, but whatever it was, as the man continued to excoriate me, I suddenly let loose with a right hook that would have made George Foreman proud. WHAAP! I belted the guy squarely in the jaw.

While I prided myself on staying in relatively good shape, it was doubtful that my septuagenarian punch did much damage to the follow, except perhaps to his ego. But he was not at all concerned about the punch, anyhow. It was obvious that he had been goading me in that direction, and he seemed ecstatically happy that I had finally grown exasperated and hit him.

“Hey, did you catch that on tape?” he called out to his cameraman. That was all he cared about.

Lisa turned around and walked back to me. She cocked her head slightly, looked up at me, and asked quietly, “Buzz, what happened?”

I looked back at my stepdaughter rather sheepishly, and said, “I punched the guy.”

“You what?” Lisa’s hand instinctively flew to her mouth in disbelief, as though already postulating in her mind any potential legal ramifications.

The film crew and “interviewer” hastily packed up and headed for their vehicle. They had gotten what they were hoping for – and more. Before the night was over, the film of me punching the guy was on the news and all over the Internet. The interviewer went to the police, threatening to file assault charges against me.

In the meantime, Lisa contacted our legal representative, Robert O’Brien, and told him everything that had happened. Robert suggested that we hire a criminal lawyer, just in case the encounter actually led to charges.

On the following Tonight Show, Jay Leno included the incident in his standup routine, cheering, “Way to go, Buzz!” They doctored up the video of my punch, and edited it to make it appear as though I had given the guy about twenty rapid-fire punches instead of the one.

David Letterman also came to my defense in his opening remarks for The Late Show, and threw in a double feature on the story the next night, since they had “dug up” some old archival footage of a reporter accosting Christopher Columbus, accusing him, “You didn’t really cross the ocean and land in the New World. You’re a liar!” And of course, Columbus decked the guy.

By then, television networks and evening entertainment news programs were calling, suddenly wanting me to appear on their shows. Ordinarily I would have been delighted, but our legal advisers said, “No interviews.” Eventually the matter died down. The city of Beverly Hills did not bring charges against me, and there were witnesses to the harassing behavior that provoked my response. It still cost me money to hire a lawyer to defend myself, and the hoax advocate received the publicity he sought, so I suppose, in the end, he won. But the punch provided me with some satisfaction, at least, and I was gratified by the calls and notes of support. CNN Crossfire commentator Paul Begala gave me a thumbs-up, and many others sent encouraging messages. Ironically, some of the most supportive words came from my fellow astronauts, to the effect of, “Hey, Buzz, I wish I’d punched the guy! Finally, somebody has responded to these hoax theory perpetrators.” More than my knowledge of rendezvous techniques, more than my actions under pressure during the initial lunar landing, more than anything in my career as an astronaut – it seemed as if nothing elevated me more in their estimation than “the punch.” From that day on, I was a hero to them.2

Some have alleged that the scene was staged and cite, for instance, the fact that Aldrin and Sibrel went on to collaborate on the 2004 documentary Astronauts Gone Wild. It is strange, too, to note that Sibrel, in publicizing a theory that ought to hinge on forensic examination and logic, instead decides to interject religion into the showdown, obnoxiously brandishing his Bible and thereby setting himself up for ridicule by progressives. The cameraman is also careful to get a clear shot of the restaurant’s sign and street address, which – if, indeed, this confrontation was a hoax – might have been a condition set by the Luxe Hotel for permission to use the Café Rodeo as a location. Begala’s response, not the typical one for commentary on an assault, was to give the “thumbs-up”, the gesture made synonymous with film criticism by Siskel and Ebert. Lisa Cannon, the woman seen with Aldrin in the video, has been credited with a “significant role” in “developing Buzz Aldrin’s brand”.

Regardless of whether the “Blow Heard ‘Round the World” was a planned event, it served as an object lesson for the public during the politically crucial period following 9/11. As Aldrin’s account makes clear, the media treated him like a hero for punching Sibrel. Aldrin also makes a very deliberate reference to his military service in describing his thought process leading to the moment of violence. The takeaway for the audience is that hitting “conspiracy people” is the laudable thing to do in these turbulent times following the destruction of the World Trade Center. Laugh at them if possible, but punch them if they become too insistent. This was before the advent of YouTube, when critical analysis of the 9/11 matrix was in its comparative infancy. Connecting “conspiracy people” with superstition, socially awkward behavior, and lack of patriotic reverence would pay off in preconditioned public responses as inconvenient scrutiny of these events would become much more common over the years.

apollo

Destination Moon

Notwithstanding his touchiness about the reality of the Apollo mission, Aldrin is eager to emphasize his connection with the entertainment industry, and one of the chapters in Magnificent Desolation is titled “Pop Goes Space Culture”. He boasts of his friendship with science-fiction illusionists like James Cameron, the director of The Terminator, Aliens, and The Abyss. “For several years, Lois and I had been spending a lot of time driving up to L.A. on business and to attend a variety of Hollywood events in the evenings,” he writes, adding that they eventually moved into “a luxury high-rise condo along the Wilshire Corridor of Los Angeles, just west of Beverly Hills, because so much of our business was now connected to the entertainment industry.”3

“A little-known Hollywood fact is that my name had already been firmly ensconced in Hollywood lore long before Lois and I moved there,” he continues. “On the famous Hollywood Walk of Fame, at the corners of Hollywood and Vine, Neil Armstrong, Michael Collins, and I have not one star but four, one on each corner of the intersection. Actually, our ‘stars’ are in the shape of moons.”4 Recognition on Hollywood’s Walk of Fame is a rather unexpected tribute for a veteran of NASA’s Apollo 11 program – either that or a tellingly fitting one.

Rainer Chlodwig von K.

Endnotes

  1. Aldrin, Buzz; and Ken Abraham. Magnificent Desolation. New York, NY: Harmony Books, 2009, p. 281.
  2. Ibid., pp. 282-285.
  3. Ibid., p. 256.
  4. Ibid.

I’ve never been much of a U2 fan, but I’ve always had a soft spot for the group’s song “Beautiful Day”. Upbeat and uplifting in a generic, innocuous way, the track could hardly have been more perfectly engineered for distracting the public with pleasant reflections during some of the darkest days in the history of the United States. Was this the intention?

Curiously for a single offering such a positive message, the album from which it was lifted, All That You Can’t Leave Behind, was released at the end of October 2000, with E! News announcing the album as a “Halloween offering” for the band’s fans1. In retrospect, there is a creepiness to the music video for “Beautiful Day”, which features the band cavorting and performing at Charles de Gaulle Airport in Paris. The video, in addition to showing Bono running about and behaving like a child or a madman, contains a scene in which the group’s luggage is scanned by airport security – did anybody suspect U2 of being terrorists? – and later has them playing a gig on some Persian rugs laid out on a runway. Less than one year later, the unfortunate associations of aircraft, airport security, and the Middle East in conjunction with the stuck traffic and other details referenced in the lyrics would conjure anything but the idea of a “beautiful day” – for most audiences, anyway. The events of September 11th were, of course, highly profitable for many – perhaps even “beautiful”.

bono-u2

Was All That You Can’t Leave Behind designed as a cryptographic soundtrack to 9/11? To ask such a question, of course, sounds foolish, as would any suggestion that Bono or any other members of U2 had anything to do with the terrorism experienced in New York City and Washington, D.C., that day. There are, however, several compelling precedents for an intelligent discussion of popular culture artifacts as possible evidence of cryptically indicated foreknowledge of the 9/11 attacks, the Coup’s Party Music cover depicting the remotely controlled demolition of the World Trade Center being one of the most familiar of these. Are there any circumstances, apart from those listed above, that might lead a person to suspect more than a quasi-synchronicity at work between the perpetrators of 9/11 and All That You Can’t Leave Behind?

The cover of the album itself, also photographed in a terminal of Charles de Gaulle Airport, invites interpretation with its superimposition of the code “J33-3”, a reference to Jeremiah 33:3, which Bono has described as “God’s phone number”2. The biblical passage, which itself refers to mystery, reads, in the New American Standard Bible translation, “Call to Me and I will answer you, and I will tell you great and mighty things, which you do not know.” In the King James version, it says, “Call unto me, and I will answer thee, and shew thee great and mighty things, which thou knowest not”, while the English Standard version renders it more interestingly as, “Call to me and I will answer you, and will tell you great and hidden things that you have not known” (italics added). The Darby Bible and the Jewish Publication Society’s Tanakh of 1917 also favor the use of the word “hidden” in this passage. Is Bono, who as a young fellow in Ireland belonged to a prayer group called Shalom3, suggesting that something or other has been “hidden” or encrypted in the album’s contents?

bono-bush

The context of the quotation from Jeremiah may be instructive in view of the music’s hypothetically posited relevance to the events of September 11th, which infamously prompted Benjamin Netanyahu to observe that the destruction of the World Trade Center was “very good” for Israel4 and to concede years later, “We are benefiting from one thing, and that is the attack on the Twin Towers and Pentagon, and the American struggle in Iraq.”5 Here is what Jeremiah goes on to say after 33:3.

For this is what the Lord, the God of Israel, says about the houses in this city and the royal palaces of Judah that have been torn down to be used against the siege ramps and the sword in the fight with the Babylonians: “They will be filled with the dead bodies of the people I will slay in my anger and wrath. I will hide my face from this city because of all its wickedness.

“Nevertheless, I will bring health and healing to it; I will heal my people and will let them enjoy abundant peace and security. I will bring Judah and Israel back from captivity and will rebuild them as they were before. I will cleanse them from all the sin they have committed against me and will forgive all their sins of rebellion against me. Then this city will bring me renown, joy, praise and honor before all nations on earth that hear of all the good things I do for it; and they will be in awe and will tremble at the abundant prosperity and peace I provide for it.”

bono-star

After the promised revelation of the “hidden things”, the “God of Israel” talks about demolished buildings and war against the enemies of the Jews in connection with the restoration of Israel. A few verses down, Jeremiah even mentions “burnt offerings” and “sacrifices” with reference to Israel’s ascent. For those with an interest in the occult significances of 9/11, the number 333 is also associated in Aleister Crowley’s Thelema system with a destructive force called Choronzon, a “demon of dispersion”, illusion, and hallucination which Aleister Crowley claims to have summoned. This, however, is probably straying too far afield for the purposes of the present essay, possible indications of Crowleyite mysticism at play on 9/11 and Bono’s reputed sartorial dabbling in the Jewish occult notwithstanding (“When he’s going cycling, he likes to dress up as a Hassidic Jew,” the Edge revealed of his bandmate after Bono injured himself in a bicycle accident in 20146).

Returning to “Beautiful Day”, the song informs listeners, “You’re out of luck,” and goes on to intone, “Sky falls, you feel like / It’s a beautiful day.” It goes on, “You’re lovin’ this town / Even if that doesn’t ring true / You’ve been all over / And it’s been all over you” – as, perhaps, material from the combusted skyscrapers would be “all over” the people in the streets of lower Manhattan? Niall Stokes, in his book Into the Heart, notes that Interscope Records executive Jimmy Iovine made a special visit to the Dublin studio where U2 was hard at work on “Beautiful Day” with “co-conspirators” (i.e., producers) Brian Eno and Daniel Lanois. “It wasn’t finished at the time,” Stokes writes, adding that “the lyrics were only half-crafted when Iovine heard the track”7. He goes on to give this interesting account of one member of the production team’s experience of the song:

Daniel Lanois, sitting in the control room also had that [“Beautiful Day”] feeling [expressed by Bono]. “The track at that point was really pumping,” he remembers, “and the mix that we did had the power of shattered metal. You don’t know where it comes from – I think it was a lot of processing. And I had this image of Bono, singing about beauty in the midst of flying pieces of metal and mayhem.”8

bono-eyeWhat “flying pieces of metal and mayhem” have to do with a “beautiful day” is beyond me, but apparently it meant something to U2. Another song on the album is titled “New York”, referencing the target of the attacks explicitly, and name-drops Jews and, in the following line, “political fanatics” – although it’s unclear from the context whether or not the Jews are the fanatics in question. Other lines in “New York”, heard post-9/11, could easily be construed as alluding to the chaos of that day if somebody didn’t know better: “Voices on a cell phone / Voices from home / Voices of the hard sell / Voices down a stairwell / In New York […] You can’t walk around the block / Without a change of clothing / Hot as a hair dryer in your face / Hot as a handbag and a can of mace / New York.”

Other songs on the album, whether intentionally or otherwise, carry similar 9/11 resonances, with imagery evocative of air travel (“Man dreams one day to fly / A man takes a rocket ship into the skies”; “Explain all these controls”; “You’re packing a suitcase”; “you’ve got no destination”; “You make me feel like I can fly / So high, elevation”; “The only baggage you can bring / Is all that you can’t leave behind”; “Who’s to say where the wind will take you”), death and loss (“I wasn’t jumping / For me it was a fall / It’s a long way down to nothing at all”; “They left you with nothing”; “a star that’s dying in the night”; “You lose your balance, lose your wife / In the queue for the lifeboat”; “I’m not afraid to die”), and explosions (“scatter of light”; “fireworks”; “star lit up like a cigar”), and other catastrophes (“All that you wreck / All that you hate”; “I hit an iceberg in my life”). “When I Look at the World”, meanwhile, in lines that could very easily refer to the “Chosen People”, gripes, “I can’t see for the smoke / I think of you and your holy book / When the rest of us choke.” Another of All That You Can’t Leave Behind’s tracks is titled “Kite” and might be of particular interest to those familiar with accusations of esoteric significance to the children’s reading demonstration for President Bush on September 11th. “There’s a kite blowing out of control on a breeze,” the song warns, adding, “I wonder what’s gonna happen to you.”

Notwithstanding the highlighted lyrics, it must be noted that Bono and his bandmates have provided perfectly plausible explanations for the genesis of each of the songs on All That You Can’t Leave Behind – each of which is detailed in Into the Heart. Bono has claimed the death of INXS frontman Michael Hutchence as the inspiration for “Stuck in a Moment You Can’t Get Out Of”9, while “Elevation” purports to convey “a combination of primordial lasciviousness, ecstatic spirituality and soulful need”10 and “Walk On”, according to Bono, was inspired by Aung San Suu Kyi, a Burmese academic and leader of the National League for Democracy11. As for the album’s travel motif, Stokes makes the observation that Bono is “a man who has spent a substantial part of the last 25 years living in hotels.”12 On the origin of “In a Little While”, Stokes offers the following:

Around the turn of the year, Bono had been thinking Millennium thoughts, watching old clips of the Apollo moon landing on TV and experiencing again the sense of awe that he’d felt when he saw those pictures for the first time as a kid, the ecstatic realisation of how tiny and insignificant we are as individuals – and as a race – in the grand scheme of things. It was a mood that fed into “Beautiful Day” with its vision of Bedouin fires, the Great Wall of China, the Grand Canyon and other earthly phenomena, as seen from above, the narrator cocooned in the bosom of a space ship orbiting the globe.13

bono6In addition to the “Bedouin fires” and “oil fields” – clearly references to the Middle East – the line in “Beautiful Day” that goes, “See China right in front of you” is, perhaps, and to force a point, interesting in view of this assertion by geopolitical commentator and former U.S. Treasury official Paul Craig Roberts: “The Western peoples are so dimwitted that they have not yet understood that the ‘war on terror’ is, in fact, a war to create terror that can be exported to Muslim areas of Russia and China in order to destabilize the two countries that serve as a check on Washington’s unilateral, hegemonic power.”14 But, again, such a reading would constitute something of a stretch.

The song “Peace on Earth”, meanwhile, is acknowledged to have been inspired by a terrorist event – but one that took place in Ireland, not New York. Stokes explains:

[…] a bomb went off at 2:30 in the afternoon, on 15 August 1998, in the town of Omagh in County Tyrone. There had been an advance warning. But it was inaccurate, and instead of clearing the area around the car containing the bomb, it drove the crowds of people milling around the town on a busy Saturday afternoon towards the danger zone. When the bomb exploded, the resulting carnage was the worst in the bloody history of the Northern troubles with twenty-nine killed and dozens more scarred, maimed and wounded.15

bono-bush-2

Finally, “New York”, according to Stokes, consists of “the cool pulsing groove acting as a backdrop as the narrator confesses quietly to the terms of the mid-life crisis afflicting him” until “halfway through it explodes in a grungy mess that’s impressively appropriate to the theme of the song.”16

In spite of the flimsiness of the case to be made for All That You Can’t Leave Behind as a cryptographic foreshadowing of the World Trade Center attacks and the coming of the War on Terror, there is an undeniable and consciously cultivated connection between U2 and these events. As The Daily Dot’s Nico Lang recounts:

Their 2000 record, All That You Can’t Leave Behind, not only sold a staggering 12 million copies, but it gave the band a renewed relevance in the wake of 9/11, when songs like “Walk On” came to symbolize an America figuring out how to pick up the pieces. Songs like the anthemic “One” had always found a universal relevance, but this was a reminder of exactly why U2 was so popular: It united the types of people who would normally never agree on liking anything.17

Whatever the group’s intentions in crafting each of the particular songs, fans have made connections between the group, All That You Can’t Leave Behind, and contemporary events in history. One uploader to YouTube has even dubbed “Stuck in a Moment” a “9/11 Song” despite the fact that it was released almost a year before that date.

bono-flag-2

More intriguing than fans’ perceptions of the band’s intentions, however, are Bono’s unexpected involvements with the neoconservative Blair and Bush administrations. “Among liberals there was, it is true, some grumbling when, from 2001, Bono’s friendly persuasion started to provide ‘caring’ cover for a Republican White House rather than a Democratic one,” writes Harry Browne, author of the scathing study The Frontman: Bono (In the Name of Power). “But such grumbling is a mere artefact of the partisan divide in the US, where the distinction between the two parties hides the fact that they have few substantial differences.”18 He continues:

bono-flag-3It was reported that he would hop on a plane immediately after a gig and dash to Washington for meetings first thing in the morning. The Bush White House increasingly liked the cut of his jib. […]

The White House was pleased that Bono was on board with the sort of “conditionalities” on aid that First World governments and institutions had been demanding from developing countries for decades.

After 9/11, it perhaps became a little harder to sell development assistance in Washington. However, [Condoleezza] Rice and secretary of state Colin Powell were keen to ensure that US foreign policy was seen to have a non-military dimension, and Bono and others were frequently heard to conjoin the “war on terror” with a “war on poverty”: as the New York Times put it, paraphrasing Bono’s argument, “fragile states could not be allowed to become failed states, as Afghanistan had been.”19

bono-flagBono does not seem to have had much of a problem with Bush’s interventionist foreign policy, and the singer was disgustingly reported to have “clicked” with Paul Wolfowitz when the pair met20. At the very outset of the War on Terror, he gave his implicit blessing to the American invasion of Afghanistan. “Bono would not always be so sensitive about the dangers of associating ‘Sunday Bloody Sunday’ with nationalism, even violent nationalism,” Browne recalls. “On stage in Madison Square Garden in October 2001, as the US dropped bombs on Afghan cities, during that song he ‘embraced the Stars and Stripes’ and otherwise ‘reverently’ handled the US flag,” he continues. “He didn’t tear it apart.”21 A few months later, at E-Trade Finanacial’s Super Bowl Halftime Show of 2002, U2 performed “Where the Streets Have No Name” as, ironically, the names of the 9/11 dead were projected behind the band. At the close of the show, Bono opened his jacket to reveal the American flag in its lining, appearing to give the crowd a demonstration of his solidarity with America’s warlike response to the terror attacks.

“Such is Bono’s special status among the elite globalist sets of Bilderbergers and Trilateralists that he has, inevitably, come to the attention of American conspiracy theorists, who incoherently (even by their own standards) paint him as a knowing ‘frontman for genocide’ through his connection to an obscure but deadly eugenics agenda that appears to be run by Bill Gates,” Browne observes. “As usual,” however, “such ravings distract from serious consideration of Bono’s place in the world and the service he provides to the powerful by dressing their work, individually and collectively, in humanitarian garb – a relationship that is right out in the open and can be viewed clearly without resort to conspiracy.”22

Inevitably, not every questioner will be satisfied by Browne’s dismissive sarcasm – particularly when Bono conveniently pops up at the recent ISIS Nice truck attack (!).

Thoughts?

Rainer Chlodwig von K.

Endnotes

  1. Grossberg, Josh. “New U2 Album to Rock Halloween”. E! News (August 21, 2000): http://www.eonline.com/news/40334/new-u2-album-to-rock-halloween
  2. Rossell, Raul. “U2 All That You Can’t Leave Behind Airport Photo Location and Bible Reference”. FeelNumb (August 29, 2010): http://www.feelnumb.com/2010/08/29/u2-all-that-you-cant-leave-behind-airport-photo-location/
  3. Browne, Harry. The Frontman: Bono (In the Name of Power). New York, NY: Verso, 2013, p. 14.
  4. Abunimah, Ali. “‘It’s Very Good’: Recalling Benjamin Netanyahu’s Words on the Day of the 9/11 Attacks”. The Electronic Intifada (September 11, 2012): https://electronicintifada.net/blogs/ali-abunimah/its-very-good-recalling-benjamin-netanyahus-words-day-911-attacks
  5. “Report: Netanyahu Says 9/11 Terror Attacks Good for Israel” Haaretz (April 16, 2008): http://www.haaretz.com/news/report-netanyahu-says-9-11-terror-attacks-good-for-israel-1.244044
  6. “U2’s Bono Goes Hasidic”. Jewish News (December 8, 2014): http://jewishnews.com/2014/12/08/u2s-bono-goes-hasidic/
  7. Stokes, Niall. Into the Heart: U2. New York, NY: Thunder’s Mouth Press, p. 146.
  8. Ibid., p. 147.
  9. Ibid., p. 148.
  10. Ibid., p. 150.
  11. Ibid., p. 151.
  12. Ibid., p. 152.
  13. Ibid., p. 154.
  14. Roberts, Paul Craig. “The NeoCon Game”. American Free Press 15, no. 51/52 (December 21-28, 2015), p. 12.
  15. Stokes, Niall. Into the Heart: U2. New York, NY: Thunder’s Mouth Press, p. 156.
  16. Ibid., p. 160.
  17. Lang, Nico. “How U2 Became the New Nickelback”. The Daily Dot (September 16, 2014): http://www.dailydot.com/via/how-u2-became-the-new-nickelback/
  18. Browne, Harry. The Frontman: Bono (In the Name of Power). New York, NY: Verso, 2013, p. 72.
  19. Ibid., p. 73.
  20. Grieve, Tim. “Wolfowitz Reaches Out to Bono”. Salon (March 18, 2005): http://www.salon.com/2005/03/18/wolf_5/
  21. Browne, Harry. The Frontman: Bono (In the Name of Power). New York, NY: Verso, 2013, p. 24.
  22. Ibid., p. 111.
KMFDMAdios

Adios – the “final” piece in constructing the “Columbine Matrix”?

On Hitler’s birthday, April 20, 1999, the abrasive German electronic pop group KMFDM (depending on the source, either “Kill Mother Fucking Depeche Mode” or “Kein Mehrheit Furh Die Mitleid,” which means “No Pity for the Majority”) released what was supposed to be its final album, Adios. This would be a comparatively insignificant footnote in history if not for the fact that this was also the day of the Columbine High School massacre. Eric Harris, a fan of the band, took notice of what he seems to suggest is something more than a simple coincidence. “Heh, get this,” he wrote in his journal. “KMFDM’s new album is entitled ‘Adios’ and its release date is in April. How fuckin appropriate, a subliminal final ‘adios’ tribute to Reb and Vodka [i.e., Harris and Klebold], thanks KMFDM…”

“The Jefferson County Sheriff’s Office, amid pressure over the long delay in publishing their investigation’s findings, released a report in May 2000 including over eleven thousand pages of lead sheets, ballistics and eyewitness reports and other attack-related media,” Evan Long states in the introduction to his essential documentary challenge The Columbine Cause. “The length of these reports did not lend them to rapid digestion, and the 9/11 attacks and overall shift in the American political climate of 2001 obscured many of the pressing domestic troubles facing America,” Long continues. “Perhaps the dust of the Twin Towers has settled enough by now for the people of the world to take a fresh look at the attack launched on Columbine.”

Was the “Trench Coat Mafia” something other than what mainstream media outlets reported it to be in 1999? Was the Columbine massacre something other than what it appeared to be? “Now, as far as the involvement of the Central Intelligence Agency or some type of brainwashing network, we have to be careful here in terms of avoiding that which our convictions may prejudice us to believe,” Michael A. Hoffman II cautions in “The Columbine Matrix”, a lecture he recorded shortly after the event.

In other words, a good researcher doesn’t act a priori. He doesn’t establish what he wants to see in a story and then look for those things. But rather, he goes to a story with an open mind, even if that report, even if the news details, contradicts his own convictions about something; and, therefore, to the very best of my knowledge, I have not yet seen evidence of an organizational brainwash going on against these two boys. In fact, I think we need to understand what happened in Littleton at a higher level of mind control than what has been previously put forth.

Trench Coat Mafia

Note the KMFDM hat.

Notwithstanding the absence of concrete and credible evidence of intelligence agency involvement, Long, using material released after Hoffman delivered his lecture, presents a compelling case for a cover-up of testimonies concerning disturbing aspects of the Columbine event. The details are beyond the scope of the present essay, which the reader should supplement with a viewing of The Columbine Cause. A further quotation may, however, whet the appetite:

According to an unnamed individual in the JCSO report, the attack had been “the big rumor for two years.”

And Martin Middleton, who had been in the Jefferson County area in the mid-90’s, at that time encountered an individual talking about the attempted bombing that would take place on Hitler’s 110th birthday who also told him that the Trench Coat Mafia which would be attempting it was not just a bunch of lonely depressed kids, but something much larger.

Indeed, we were told after the attack that the Columbine attackers had planned to not just shoot and maim a few dozen students, but to kill 500 people, level the school with bombs, hijack a plane from Denver’s New World Airport and, despite their total inexperience with aviation, fly it over 2000 miles where they would perhaps lodge it into skyscrapers in New York City, a plan which may have sounded foreign to audiences of 1999 but which today seems all too familiar.

KMFDMAdios2

Natural selection, a concept that interested Harris in the social Darwinist context, is also referenced in “Rubicon”, a song by KMFDM, one of the boy’s favorite music groups.

KMFDMParty

Original artwork for the Coup’s album Party Music. A few promotional copies of the CD were sent out with this cover before the official release.

Those acquainted with 9/11 conspiracy lore will be aware of the theories of eerily prescient content in the entertainment media during the years leading up to that event. Such films as The Siege (1998) and Fight Club (1999), in addition to the notorious pilot episode of the short-lived Fox TV series The Lone Gunmen, furnish examples of these alleged indications of foreknowledge of the World Trade Center attack, as does the scrapped artwork for rap group the Coup’s 2001 release Party Music, which depicts the Twin Towers being remotely detonated. Similarly, with Columbine, conspiracy-oriented researchers like Hoffman and Long have pointed to the proliferation of a violent trench coat goth image and sensibility in Hollywood productions like The Crow (1994), The Basketball Diaries (1995), Blade (1998), and The Matrix (1999), which was released a mere three weeks before the shootings in Littleton, Colorado.

As with Warner’s Party Music, the cover of TVT Records’ suspiciously synchronized KMFDM release displays a startling parallelism with the events of that day. Mimicking comic book artwork, the Adios imagery created by Aidan “BRUTE!” Hughes shows two gunmen being rammed and run over by a scowling driver. The content of at least one of the songs is strangely relevant to the Columbine massacre, as well. The lyrics of one track, “Full Worm Garden”, go in part as follows:

Tincture of lead be said with no remorse full of confusion
Wish to enjoy this weightlessness lay me out full worm garden

A noose-knit put on sweater tie it up around the arm
Looks to grip along the trigger down the barrel of a gun

KMFDM

KMFDM’s Sascha Konietzko models the trench coat look.

Another song on Adios, titled “R.U.OK?”, concludes with these interesting lines:

For a moment you might question what you see
For a second your whole world will disappear

This is mind control and you know it
This will shut you up and you know it

Mind control

This is mind control
Mind control
This is mind control
Mind control
This is mind control

That’s all you get
It’s all you need

“That’s All”, meanwhile, features the enigmatic phrases “Get defamed in isolation two plus one negate divine”; “News-print news-peak nevermind”; and “Free the hostage situation taken as a simulation”. “Rubicon”, another of the tracks on Adios, has this to say:

Violence for inner-peace
Bombing for therapy
Terror is everything you need

Cross the dotted line
Fake your destiny […]

Natural selection is based on deception
The ignorant elder empowers the youth

KMFDMAdios3

KMFDM fans

Both boys were known admirers of the group and were photographed wearing KMFDM apparel. Eric Harris made multiple references to the group’s body of work in his writings, and it is difficult, in retrospect, to listen to KMFDM’s output in the years leading up to the Columbine massacre without psychologically hyperlinking much of the band’s imagery back into the Trench Coat Mafia’s “Columbine Matrix”, as Hoffman terms it.

KMFDMNihilMore than one of the songs included on KMFDM’s 1995 album Nihil conveys an angry anxiety coupled with a lack of agency. “Flesh” declares “I am the thing that I can’t control”, while “Beast”, the following song in the album’s sequence, screams “I got no choice / I’m out of control / And the kids just love it”. The listener can only expect to “get respect / When you’re kickin’ ass,” the singer explains. “Some people call them terrorists,” says the sample of an unknown man’s foreign-accented voice that opens the track “Terror”; but “these boys have simply been misguided.” Repeated lines in the song describe a fragile mental state: “I’m close enough to trip the wire / I cannot keep my hate inside.” “Our societies are saturated with bloodlust, sensationalism and violence as a result of alienation from oneself’s reality,” explains another of the sampled voices in “Terror”. Nihil’s next song, “Search & Destroy”, asks, “Are we victims or winners / Believers or sinners? / Do we sit in the saddle / Or are we just cattle?” Here again, as would be the case with much of the public discourse that followed the Columbine massacre, the lines separating automaton and deliberate actor, victim and brutalizer, are blurred.

KMFDMXtortKMFDM’s 1996 effort Xtort declares itself the “Industrial soundtrack to the holy wars” and, in its opening number “Power”, prescribes the use of “Excessive force”: “The children of fear / Are not alone / Rivers of tears / Flesh and blood / An eye for an eye / That’s all we’ve got”. “Craze”, a particularly evil-sounding song on this same album, is especially interesting in consideration of Hoffman’s advancement of his theory of “Revelation of the Method”, or “Must Be”, as James Shelby Downard termed it, according to which a shadow establishment openly mocks its intended audience, both confirming and strengthening its control over a population by “telling you what they are doing to you”. “There’s nothing like giving the game away / All the people are feeling the same today,” asserts a demonically processed voice in “Craze” that goes on to command, “Take a hammer and break a bone for me / There’s nothing like giving the game away”. Whether intentionally or not, the song expresses the wicked delight an elite manipulator would presumably feel in dropping such cryptic hints as to his doings and intentions. Also notable on Xtort is “Son of a Gun”, which describes a “Massive attack” by a “Son of a gun” who has been “Born to kill”. “All are equal” to this “Superhero #1”, who exercises “No discrimination” in his murders – a characterization that prefigures Salon writer Dave Cullen’s description of Harris and Klebold: “They were equal-opportunity haters, railing against minorities and whites, praising Hitler’s ‘final solution’ – and then ranting against racism.” Harris said “Son of a Gun” was one of his favorite songs.

The song “Stray Bullet” from KMFDM’s 1997 album Symbols is known to have been of interest to Eric Harris, who made reference to it on at least one occasion. A “Stray bullet / From the barrel of love” is both an eroticized explosion of violence and an apotheosis: “Stray bullet / From the heavens above […] I’m the illegitimate son of God”. “Megalomaniac”, another track from Symbols, declares “Terrorism our trade” and “Chaos our mental state”. “Anarchy”, a song from Symbols mentioned in Harris’s entry in classmate Nathan Dykeman’s yearbook, evokes a character motivated by revenge who has “made a God out of blood”. Had Harris and Klebold, as Hoffman suggests with reference to the desensitizing content of The Matrix, taken their “MKULTRA marching orders” from KMFDM?

Konietzko

Konietzko

KMFDM snarler-songwriter Sascha Konietzko has complained that “a giant shitstorm came down on KMFDM” after the Columbine horror, and it is entirely possible that Konietzko is justified in his outrage at the band’s being falsely implicated. It is not this essay’s intention to charge that the personnel of KMFDM or Rammstein or any other group are Mossad or Central Intelligence Agency contractors bent on programming America’s youth for commission of acts of mass murder. Easy answers may never be forthcoming where the Columbine massacre is concerned, with more mystery and convolution emerging the more one examines the case. This essay is purely exploratory.

A lack of conclusive information does nothing to dispel the number of anomalies and bizarre circumstances surrounding the event, the release of Adios being one of many of these. Evan Long cites “an unnamed individual in the reports [who] called up accounts of a Denver-area culture well outside the bounds of humanity.” He continues:

This individual, who attended another high school in the area, related that he had been to parties attended by goths and Trench Coat Mafia individuals in their 20’s across the area, and that most of the Trench Coat Mafia individuals were out of school and that there were not very many who were still in school. He stated that they were into bloodletting, cutting and violence.

He also was questioned on sexually explicit photographs found in his backpack which were homosexual in nature, and stated that he had been to the house of an individual known to some in this circuit as “Pedophile Bill”, a homosexual man who was, quote, “not nice sexually” and had given him these pictures and also showed him photo albums which made him sick to his stomach. The albums, he said, contained sexually explicit photographs of small children up to the age of fourteen.

Who was “Pedophile Bill” and what was his connection, if any, to the events at Columbine High School? How extensive was the Trench Coat Mafia, and what was its organizational structure – if indeed it had any to speak of? If Long’s film The Columbine Cause demonstrates anything, it is that the public does not know what happened April 20th, 1999, in Littleton, Colorado, and that further research, much of it on the ground, must be conducted before the case can be closed to any critically conscious observer’s satisfaction. As Sheriff Ted Mink’s reported destruction not only of weapons and shell casings from the crime scene but also the infamous “Basement Tapes” of Harris and Klebold indicates, the authorities are determined that no independent investigator will ever be able to challenge establishment narratives with the aid of this key forensic and psychological evidence.

Rainer Chlodwig von K.

Green Inferno

Eli Roth, the sadistically grinning embodiment of the distinctly Jewish torture porn horror subgenre that flourished under George W. Bush, has never been one of this writer’s favorite moviemakers; but Rainer Chlodwig von Kook is big enough to admit when one of his cultural adversaries knocks one out of the park – one severed head, that is. Cannibalism, as practiced in remote and exotic places, naturally lends itself to action and horror cinema; and the cannibal film, which has an affinity with the “Mondo” genre, flourished especially in Italy in the seventies and eighties, producing such classics of controversy as Cannibal Holocaust (1980) and Cannibal Ferox (1981). It makes perfect sense that unredeemed gorehound Roth would eventually turn his attention to the limitless potentials of the Amazon rainforest to generate compelling and grotesque stories. The Green Inferno is Roth’s homage to Ruggero Deodato and all of the other filmmakers who stalked the forest before him.

Lorenza Izzo plays Justine, a naïve university student who finds herself drawn to a messianic community organizer named Alejandro (Ariel Levy). Wanting to feel that she can give something of value back to the world, but also hoping to spend more time with Alejandro, Justine signs on to accompany a group of volunteers to the jungle to stop a construction project from destroying the indigenous way of life. Once the rag-tag team of idealists has scored its media coup, however, the group finds itself in a world of pain when the local gut-munchers mistake them for the developers they had come to oppose. Worse, the mysterious Alejandro might not be the saintly soul they imagined when they began their journey. Drenched in jungle colors and the epic production values that can only be found in the natural world, Eli Roth’s The Green Inferno is a literally eye-gobbling experience!

[WARNING: POTENTIAL SPOILERS]

5 stars. Ideological Content Analysis indicates that The Green Inferno is:

5. Anti-gun.These are our guns,” says Alejandro as he brandishes a cell phone. The idea is that citizen journalism renders armed self-defense unnecessary. Justine has learned a lesson at the end of the film and prevents a mercenary from shooting her by convincing him that she has him on camera.

4. Politically incorrect. “Honestly, I hope they starve to death,” says frivolous college girl Kaycee (Sky Ferreira) of fellow students enduring a hunger strike out of solidarity with the school’s benefit-bereft janitors. (The Green Inferno, though not released until 2015, was finished in 2013, and there is an Occupy Wall Street feel to the film’s Ché shirt milieu.) She also taunts one of the hunger strikers with a big bagel. “Activism is so fucking gay,” Kaycee declares. Roth, in his audio commentary, indicates that Kaycee is “the voice of realism” in The Green Inferno. Her cynicism prevents her from taking any interest in the jungle expedition from which so few of her peers will return. The primitives are literally redskins who paint themselves with a bright red pigment, so that their communal practices can be read as a skewering of communism as ideological cannibalism. (See the Charlton Heston western Arrowhead for another example of redskins as subtexual commies.) “Maybe we’d have a chance [against the natives] if we hadn’t blown up the bulldozers,” one of the activists laments. Despite the story essentially being one of liberals mugged by reality and confronted with the ignoble nature of the savages they adore, Justine maintains the lie after returning to civilization. “I never felt afraid when I was with them,” she says. Justine even claims the natives saved her. Lefties, the movie suggests, will stoop to feeding false information to the public so as to perpetuate the myth of turd world people’s saintliness.

3. Pro-drug. A bag of powerful weed comes in handy once the activists are prisoners. They stuff it down the throat of one of their dead comrades, so that, when the natives inevitably cook her, they all get high and mellow, allowing for an escape attempt. Unfortunately, the natives also get a giggly case of the cannibal munchies.

2. Cynical and conspiracist. Alejandro, a representative SJW, is revealed to be an unfeeling cad and unconcerned with the safety of his fellows. Confronted with one of The Green Inferno’s worst atrocities, he proceeds to masturbate in order to ensure that he can “think clearly”. The whole expedition on which he has led the group turns out to be a ruse. Instead of being motivated by the dignity of the rainforest or the rights of its indigenous peoples, Alejandro is actually in the employ of a rival developer looking to frustrate a competitor’s project. “Everything’s connected,” Alejandro explains. “The good guys and the bad guys. You think the U.S. government didn’t allow 9/11 to happen? You think the war on drugs is something real?” Understandably, given Roth’s racial background, he situates 9/11 in LIHOP Land and has nothing to say about Larry Silverstein, Dov Zakheim, Odigo, or the celebrants spotted at the Doric Apartments in Union City, New Jersey, on the morning of September 11, 2001. Oil, it is suggested elsewhere in the film, is what motivates U.S. foreign policy.

1. Judeo-obscurantist. “The only things those posers care about is looking like they care,” fumes Kaycee. “It’s just some weird demonstration to appease that fucking white stupid suburban Jewish guilt. Hi, I’m Jewish,” she quickly explains, displaying her Star of David pendant to a passerby. “I’m allowed to say that.” Roth would have viewers believe that Jews are “white” and that their “social justice” agitation is motivated by “Jewish guilt” rather than hatred of Europeans and conscious promotion of social chaos.

Rainer Chlodwig von Kook

Reagan Devil

Regular readers of icareviews are aware of this writer’s interest in shadow government and conspiracy lore. Here, then, if only for the benefit of a chuckle, is a theory that is admittedly rather loony, but nevertheless possessed of a certain poetic charm and appropriateness. It comes from attorney Richard J. Bisbee’s novel Capitalism Imperfectly Understood:

In 2000 I met my favorite client, a woman of about my age, Angela Churchill. True to her name, she was a “church lady,” a regular at the local Catholic Church. […] In 1973 as a young adult she was profoundly affected by the movie, The Exorcist. A few years later, she began hearing “spiritual voices.” She became convinced that she was “demon possessed.” […] Her psychiatrist concluded that she would only cooperate with him if exorcism was tried. He convinced the local Bishop to authorize an exorcism for “therapeutic purposes.” […] Amid much drama, no doubt inspired by the movie, the “demon” was drawn out and expelled, sent “back to Hell.” […]

By 1976 her life was back on track. […]

But Angela’s “vision” was not limited to the afterlife and world of spirits. During her “demonic possession,” she believed that she had been given a special insight into American politics. It all went back to the 1973 movie, The Exorcist. The book of the same name was based on a real life story, the alleged “possession” of a boy. In the movie, a girl named Regan who lives in Washington D.C., is possessed by a spirit that arises from an artifact dug up in Northern Iraq.

Angela’s special insight was that this movie was actually a “coded message” from “Hollywood insiders” regarding the “demonic possession of the American Presidency.” Regan is but a variation of Reagan. In the sixties, Ronald Reagan had been Governor of California, and by 1973 was already being touted as an eventual President. […]

Exorcist

Angela was convinced that Reagan was “demon possessed.” That dark, Satanic powers guided his every move. And that he worshiped Mammon, a pagan god from the Old Testament who was now a demon. Pagan gods were often relegated to demon status in Catholic mythology. Angela was convinced that Reagan, once President, would turn the country over to Mammon, the god of money and greed. […]

Years later when Reagan won election, she was not surprised. It was all coming true, just as she had foreseen. Reagan’s deregulation of the financial industry led directly to the Bank and Savings & Loan bailouts. Their association with mobsters and reliance on astrologers confirmed Angela’s conviction that the Reagans were not true Christians. And that they had given the country over to mobsters turned financiers. […] Even Reagan’s name presaged evil: Ronald Wilson Reagan, three names with six letters each, or “666.” […]

Her disapproval was not limited to the Reagans. Indeed, Angela believed that “the demon” or “demons” continued to “possess” subsequent Presidents and other politicians. The trend toward a “Wall Street government” continued under George H.W. Bush and Bill Clinton. Increasingly, speculators on Wall Street were gambling with the life savings of the people, both in America and worldwide. Usury laws were rescinded. Increasingly, the rich were allowed to prey at will upon the people. Greed was everywhere, corrupting the people with false values and “idols.”

Hmm …

Rainer Chlodwig von Kook

Endnotes

Bisbee, Richard J. Capitalism Imperfectly Understood. Bloomington, IN: AuthorHouse, 2011, pp. 251-254.

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Black Mass poster

A decidedly drab and unglamorous but still magnetic Johnny Depp appears as South Boston gangster James “Whitey” Bulger in Black Mass, a true crime film from Scott Cooper, the director of the excellent Out of the Furnace. As much as it constitutes a crime saga, however, Black Mass is also a cautionary study of ethnonationalism. The film’s handling of the material is mostly sober, but veers dangerously close to the glorification of violence in more than one sequence – with, for instance, dance floor booty intercut with the discovery of a body in the trunk of a car. Depp maintains a controlled burn throughout, and the other players – Joel Edgerton, Rory Cochrane, and Dakota Johnson among them – are also commendably strong. Definitely worthwhile for crime film fans.

4.5 out of 5 stars. Ideological Content Analysis indicates that Black Mass is:

6. Pro-miscegenation. Joel Edgerton enjoys a lewd dance with a black woman.

5. Anti-Christian, but not as vociferously so as one might be led to expect by the film’s title and the promotional trailer. Christian paraphernalia loses its meaning in the context of remorseless murderer Bulger’s participation in empty rituals.

4. Anti-drug. Aspirin doses debilitate Bulger’s son (Luke Ryan) with Reye’s Syndrome, which leaves him braindead. Bulger, while heartbroken by this, shows no concern for the neighborhood kids who buy his drugs. Learning that Bulger participated in government LSD experiments, the viewer is left to speculate that this might have exacerbated his madness and criminal inclinations.

3. Euthanasist. Bulger’s wife (Johnson) prefers to take their son off life support rather than see him continue as a vegetable. “He’s never gonna be our little boy again, ever. […] He’s braindead. He’s on life support. He can’t move, and I don’t want him like that. I can’t have my little boy be like that. I’ll pull the plug myself. I will.” Clashing with the mother’s reasonable assessment of the situation is Bulger’s irrational anger as he curses his wife, kicks over a chair, and knocks a table on its side, with the heavy irony here being that a gangster and murderer, of all people, has become the advocate for the sanctity of human life.

2. State-skeptical. Government is only as worthy as the men who fill the responsible posts. The Winter Hill Gang bribes “local street cops, feds, whatever” in exchange for the cooperation of authorities.

1. Anti-white. Black Mass opens with an interrogation conducted by a federal agent resembling Eric Holder. James “Whitey” Bulger’s nickname is highly significant, as well, as is brought to the fore in a brief scene in which a black man tells him, “This ain’t your neighborhood, Whitey,” and receives a brutal beating in reply. Bulger is an Irish nationalist determined to retake territory from Boston’s “oppressor” Italians, and he and his gang have nothing but contempt for an Irish-American “turncoat motherfucker” like Officer Flynn (David Conley), who works for the other side. Bulger, as his empire grows with the help of childhood acquaintance and FBI investigator John Connolly (Edgerton), who sees to it that the Bureau overlooks his activities, even assists the IRA with shipments of arms. “What is written on a piece of paper [i.e., law] is less important than blood,” Connolly excuses his actions.

“The only time he ever seemed happy was when he was talking about the IRA,” one of Bulger’s associates remembers – the implication being that European ethnic exclusiveness holds a special attraction for gloomy people with unsatisfying lives. The name of the boat, the “Valhalla”, used to transport the weapons, carries associations with Nordicism and Nazism, and that Black Mass should be largely concerned with discrediting ethnonationalism is hardly surprising when Hollywood Zionist sleazoid Brett Ratner’s name shows up in the end credits as an executive producer. Ethnic solidarity is framed as a hollow ideology providing protection for white crime and terrorism. Bulger’s “code of honor”, furthermore, does not prevent him from introducing drugs into his own neighborhood. A Jewish actor, Corey Stoll, plays the upstanding FBI investigator who finally brings “Whitey” Bulger to justice.

Rainer Chlodwig von Kook

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